The Mansion (Illustrated)
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About this ebook
Henry Van Dyke
Henry Van Dyke (1928–2011) was born in Allegan, Michigan, and grew up in Montgomery, Alabama, where his parents were professors at Alabama State College. He served in the Army in occupied Germany, playing flute in the 427th Marching Band. There he abandoned his early ambition to become a concert pianist and began to write. In 1958, after attending the University of Michigan on the G.I. Bill and living in Ann Arbor, he moved to New York, where he spent the rest of his life. Henry taught creative writing part-time at Kent State University from 1969 until his retirement in 1993, and was the author of four novels, including Blood of Strawberries, a sequel to Ladies of the Rachmaninoff Eyes.
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Reviews for The Mansion (Illustrated)
17 ratings1 review
- Rating: 3 out of 5 stars3/5A pillar of the community, a man of rectitude and charity, differs with his son about several matters. The son wants to give up business for a while and to assist a friend of his in need, both of which the father disapproves of. On Christmas Eve, the father dreams of his arrival in Heaven, which shows him the true worth of his life and actions.Van Dyke wrote several inspiring fables of this sort. This one takes aim at the self-satisfied and comfortable. The message is still apt.
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The Mansion (Illustrated) - Henry Van Dyke
THE MANSION
BY HENRY VAN DYKE
ILLUSTRATED BY ELIZABETH SHIPPEN GREEN
A Digireads.com Book
Digireads.com Publishing
Print ISBN 13: 978-1-4209-4240-8
Ebook ISBN 13: 978-1-59625-828-0
This edition copyright © 2012
Please visit www.digireads.com
img1.pngimg2.pngTHE MANSION
img3.pngThere was an air of calm and reserved opulence about the Weightman mansion that spoke not of money squandered, but of wealth prudently applied. Standing on a corner of the Avenue no longer fashionable for residence, it looked upon the swelling tide of business with an expression of complacency and half-disdain.
The house was not beautiful. There was nothing in its straight front of chocolate-colored stone, its heavy cornices, its broad, staring windows of plate glass, its carved and bronze-bedecked mahogany doors at the top of the wide stoop, to charm the eye or fascinate the imagination. But it was eminently respectable, and in its way imposing. It seemed to say that the glittering shops of the jewelers, the milliners, the confectioners, the florists, the picture-dealers, the furriers, the makers of rare and costly antiquities, retail traders in luxuries of life, were beneath the notice of a house that had its foundations in the high finance, and was built literally and figuratively in the shadow of St. Petronius' Church.
At the same time there was something self-pleased and congratulatory in the way in which the mansion held its own amid the changing neighborhood. It almost seemed to be lifted up a little, among the tall buildings near at hand, as if it felt the rising value of the land on which it stood.
John Weightman was like the house into which he had built himself thirty years ago, and in which his ideals and ambitions were incrusted. He was a self-made man. But in making himself he had chosen a highly esteemed pattern and worked according to the approved rules. There was nothing irregular, questionable, flamboyant about him. He was solid, correct, and justly successful.
His minor tastes, of course, had been carefully kept up to date. At the proper time, pictures of the Barbizon masters, old English plate and portraits, bronzes by Barye and marbles by Rodin, Persian carpets and Chinese porcelains, had been introduced to the mansion. It contained a Louis Quinze reception-room, an Empire drawing-room, a Jacobean dining-room, and various apartments dimly reminiscent of the styles of furniture affected by deceased monarchs. That the hallways were too short for the historic perspective did not make much difference. American decorative art is capable de tout, it