Tilted pensively against the piano, a guitar—­guitar capable of playing the Spanish Fandango by itself, if you give it a start.  Frantic work of art on the wall—­pious motto, done on the premises, sometimes in colored yarns, sometimes in faded grasses:  progenitor of the ‘God Bless Our Home’ of modern commerce.  Framed in black moldings on the wall, other works of arts, conceived and committed on the premises, by the young ladies; being grim black-and-white crayons; landscapes, mostly:  lake, solitary sail-boat, petrified clouds, pre-geological trees on shore, anthracite precipice; name of criminal conspicuous in the corner.  Lithograph, Napoleon Crossing the Alps.  Lithograph, The Grave at St. Helena.  Steel-plates, Trumbull’s Battle of Bunker Hill, and the Sally from Gibraltar.  Copper-plates, Moses Smiting the Rock, and Return of the Prodigal Son.  In big gilt frame, slander of the family in oil:  papa holding a book (’Constitution of the United States’); guitar leaning against mamma, blue ribbons fluttering from its neck; the young ladies, as children, in slippers and scalloped pantelettes, one embracing toy horse, the other beguiling kitten with ball of yarn, and both simpering up at mamma, who simpers back.  These persons all fresh, raw, and red—­apparently skinned.  Opposite, in gilt frame, grandpa and grandma, at thirty and twenty-two, stiff, old-fashioned, high-collared, puff-sleeved, glaring pallidly out from a background of solid Egyptian night.  Under a glass French clock dome, large bouquet of stiff flowers done in corpsy-white wax.  Pyramidal what-not in the corner, the shelves occupied chiefly with bric-a-brac of the period, disposed with an eye to best effect:  shell, with the Lord’s Prayer carved on it; another shell—­of the long-oval sort, narrow, straight orifice, three inches long, running from end to end—­portrait of Washington carved on it; not well done; the shell had Washington’s mouth, originally—­artist should have built to that.  These two are memorials of the long-ago bridal trip to New Orleans and the French Market.  Other bric-a-brac:  Californian ’specimens’—­quartz, with gold wart adhering; old Guinea-gold locket, with circlet of ancestral hair in it; Indian arrow-heads, of flint; pair of bead moccasins, from uncle who crossed the Plains; three ‘alum’ baskets of various colors—­ being skeleton-frame of wire, clothed-on with cubes of crystallized alum in the rock-candy style—­works of art which were achieved by the young ladies; their doubles and duplicates to be found upon all what-nots in the land; convention of desiccated bugs and butterflies pinned to a card; painted toy-dog, seated upon bellows-attachment—­drops its under jaw and squeaks when pressed upon; sugar-candy rabbit—­limbs and features merged together, not strongly defined; pewter presidential-campaign medal; miniature card-board wood-sawyer, to be attached to the stove-pipe and operated by the heat; small Napoleon, done in wax; spread-open daguerreotypes