At the windows the voluminous lace draperies were almost overpowering. Satin lambrequins were festooned with colossal cord and tassels of bullion. A plate-glass mirror as wide as the mantel reflected the Florentine gilt carving of its own elaborate frame. There were bronzes on the mantel, and tall vases of Sévres, and statuettes of bisque brilliantly tinted. At the two sides of the mantel stood pedestals of Italian marble surmounted by urns of the most graceful and elegant proportions, and profusely ornamented with sculptured fruits and flowers. There was the old-fashioned square piano in its carven case, and cabinets from China or East India; also a lacquered Japanese screen, marble-topped tables of filigreed teek, brackets of inlaid ebony. Curios there were galore. Some paintings there were, and these rocked softly upon the gently-heaving walls. As for the velvet carpet, it was a bed of gigantic roses that might easily put to the blush the prime of summer in a queen's garden. I well remember another home in San Francisco, one that possessed for me the strongest attraction. It was bosomed in the sandhills south of Market Street,--I know not between what streets, for they had all been blurred or quite obliterated by drifts of sifting sand. It was a small house fenced about; but the fence was for the most part buried under sand, and looked as if it were a rampart erected for the defense of this isolated cot. Some few hardy flowers had been planted there, but they were knee-deep in sand, and their petals were full of grit. One usually blew into that house with a pinch of sand, but how good it was to be there! Within those walls there was the unmistakable evidence of the feminine touch, the aesthetic influence that refines and beautifies everything. It was not difficult to idealize in that atmosphere. It was the home of a lady who chose to conceal her identity, though her pen-name was a household word from one end of the coast to the other. She was a star contributor to the weekly columns of the _Golden Era,_ a periodical we all subscribed for and were immensely proud of. It was unique in its way. Of late years I have found no literary journal to compare with it at its best. It introduced Bret Harte, Mark Twain, Prentice Mulford, Joaquin Miller, Ina Coolbrith, and many others, to their first circle of admirers. In the large mail-box at its threshold--a threshold I dared not cross for awe of it--I dropped my earliest efforts in verse, and then ran for fear of being caught in the act.