# Portraits of Places (London: Macmillan & Co., 1883)/Saratoga

XVII.
SARATOGA.
1870.
The sentimental tourist makes images in advance; they grow up in his mind by a logic of their own. He finds himself thinking of an unknown, unseen place, as having such and such a shape and figure rather than such another. It assumes in his mind a certain complexion, a certain colour which frequently turns out to be singularly at variance with reality. For some reason or other, I had supposed Saratoga to be buried in a sort of elegant wilderness. I imagined a region of shady forest drives, with a bright, broad-terraced hotel gleaming here and there against a background of mysterious groves and glades. I had made a cruelly small allowance for the stern vulgarities of life—for the shops and sidewalks and loafers, the complex machinery of a city of pleasure. The fault was so wholly my own that it is quite without bitterness that I proceed to affirm that the Saratoga of experience is sadly different from this. I confess, however, that it has always seemed to me that one's visions, on the whole, gain more than they lose by ​being transmuted into fact. There is an essential indignity in indefiniteness; you cannot allow for accidents and details until you have seen them. They give more to the imagination than they receive from it. I frankly admit, therefore, that the Saratoga of reality is a much more satisfactory place than the all-too-primitive Elysium I had constructed. It is indeed, as I say, immensely different. There is a vast number of brick—nay, of asphalt—sidewalks, a great many shops, and a magnificent array of loafers. But what indeed are you to do at Saratoga—the morning draught having been achieved—unless you loaf? "Que faire en un gîte à moins que l'on ne songe?" Loafers being assumed, of course shops and sidewalks follow. The main avenue of Saratoga does not scruple to call itself Broadway. The untravelled reader may form a very accurate idea of it by recalling as distinctly as possible, not indeed the splendours of that famous thoroughfare, but the secondary charms of the Sixth Avenue. The place has what the French would call the "accent" of the Sixth Avenue. Its two main features are the two monster hotels which stand facing each other along a goodly portion of its course. One, I believe, is considered much better than the other,—less of a monster and more of a refuge,—but in appearance there is little choice between them. Both are immense brick structures, directly on the crowded, noisy street, with vast covered piazzas running along the façade, supported by great iron posts. The piazza of the Union Hotel, I have been repeatedly informed, is the largest "in the world." There are a number of objects in Saratoga, by the ​way, which in their respective kinds are the finest in the world. One of these is Mr. John Morrissey's casino. I bowed my head submissively to this statement, but privately I thought of the blue Mediterranean, and the little white promontory of Monaco, and the silver-gray verdure of olives, and the view across the outer sea toward the bosky cliffs of Italy. The Congress waters, too, it is well known, are excellent in the superlative degree; this I am perfectly willing to maintain.
The piazzas of these great hotels may very well be the biggest of all piazzas. They have not architectural beauty; but they doubtless serve their purpose—that of affording sitting-space in the open air to an immense number of persons. They are, of course, quite the best places to observe the Saratoga world. In the evening, when the "boarders" have all come forth and seated themselves in groups, or have begun to stroll in (not always, I regret to say, to the sad detriment of the dramatic interest, bisexual) couples, the big heterogeneous scene affords a great deal of entertainment. Seeing it for the first time, the observer is likely to assure himself that he has neglected an important item in the sum of American manners. The rough brick wall of the house, illumined by a line of flaring gas-lights, forms a natural background to the crude, impermanent, discordant tone of the assembly. In the larger of the two hotels, a series of long windows open into an immense parlour—the largest, I suppose, in the world, and the most scantily furnished in proportion to its size. A few dozen rocking-chairs, an equal number of small tables, tripods to ​the eternal ice-pitcher, serve chiefly to emphasise the vacuous grandeur of the spot. On the piazza, in the outer multitude, ladies largely prevail, both by numbers and (you are not slow to perceive) by distinction of appearance. The good old times of Saratoga, I believe, as of the world in general, are rapidly passing away. The time was when it was the chosen resort of none but "nice people." At the present day, I hear it constantly affirmed, "the company is dreadfully mixed." What society may have been at Saratoga when its elements were thus simple and severe, I can only vaguely and mournfully conjecture. I confine myself to the dense, democratic, vulgar Saratoga of the current year. You are struck, to begin with, at the hotels, by the numerical superiority of the women; then, I think, by their personal superiority. It is incontestably the case that in appearance, in manner, in grace and completeness of aspect, American women surpass their husbands and brothers; the relation being reversed among some of the nations of Europe. Attached to the main entrance of the Union Hotel, and adjoining the ascent from the street to the piazza, is a "stoop" of mighty area, which, at most hours of the day and evening, is a favoured lounging-place of men. I should add, after the remark I have just made, that even in the appearance of the usual American male there seems to me to be a certain plastic intention. It is true that the lean, sallow, angular Yankee of tradition is dignified mainly by a look of decision, a hint of unimpassioned volition, the air of "smartness." This in some degree redeems him, but it fails to make him ​handsome. But in the average American of the present time, the typical leanness and sallowness are less than in his fathers, and the individual acuteness is at once equally marked and more frequently united with merit of form. Casting your eye over a group of your fellow-citizens in the portico of the Union Hotel, you will be inclined to admit that, taking the good with the bad, they are worthy sons of the great Republic. I have found, at any rate, a great deal of entertainment in watching them. They suggest to my fancy the swarming vastness—the multifarious possibilities and activities—of our young civilisation. They come from the uttermost ends of the Union—from San Francisco, from New Orleans, from Alaska. As they sit with their white hats tilted forward, and their chairs tilted back, and their feet tilted up, and their cigars and toothpicks forming various angles with these various lines, I seem to see in their faces a tacit reference to the affairs of a continent. They are obviously persons of experience—of a somewhat narrow and monotonous experience certainly; an experience of which the diamonds and laces which their wives are exhibiting hard by are, perhaps, the most substantial and beautiful result; but, at any rate, they have lived, in every fibre of the will. For the time, they are lounging with the negro waiters, and the boot-blacks, and the news-vendors; but it was not in lounging that they gained their hard wrinkles and the level impartial regard which they direct from beneath their hat-rims. They are not the mellow fruit of a society which has walked hand-in-hand with tradition and culture; they are ​hard nuts, which have grown and ripened as they could. When they talk among themselves, I seem to hear the cracking of the shells.
If the men are remarkable, the ladies are wonderful. Saratoga is famous, I believe, as the place of all places in America where women adorn themselves most, or as the place, at least, where the greatest amount of dressing may be seen by the greatest number of people. Your first impression is therefore of the—what shall I call it?—of the abundance of petticoats. Every woman you meet, young or old, is attired with a certain amount of richness, and with whatever good taste may be compatible with such a mode of life. You behold an interesting, indeed a quite momentous spectacle; the democratisation of elegance. If I am to believe what I hear—in fact, I may say what I overhear—many of these sumptuous persons have enjoyed neither the advantages of a careful education nor the privileges of an introduction to society. She walks more or less of a queen, however, each uninitiated nobody. She often has, in dress, an admirable instinct of elegance and even of what the French call "chic." This instinct occasionally amounts to a sort of passion; the result then is wonderful. You look at the coarse brick walls, the rusty iron posts of the piazza, at the shuffling negro waiters, the great tawdry steamboat-cabin of a drawing-room—you see the tilted ill-dressed loungers on the steps—and you finally regret that a figure so exquisite should have so vulgar a setting. Your resentment, however, is speedily tempered by reflection. You feel the impertinence of your old reminiscences of English and French novels, and of the ​dreary social order in which privacy was the presiding genius and women arrayed themselves for the appreciation of the few. The crowd, the tavern-loungers, the surrounding ugliness and tumult and license, constitute the social medium of the young lady you are so inconsistent as to admire; she is dressed for publicity. The thought fills you with a kind of awe. The social order of tradition is far away indeed, and as for the transatlantic novels, you begin to doubt whether she is so amiably curious as to read even the silliest of them. To be dressed up to the eyes is obviously to give pledges to idleness. I have been forcibly struck with the apparent absence of any warmth and richness of detail in the lives of these wonderful ladies of the piazzas. We are freely accused of being an eminently wasteful people; and I know of few things which so largely warrant the accusation as the fact that these conspicuous élégantes adorn themselves, socially speaking, to so little purpose. To dress for every one is, practically, to dress for no one. There are few prettier sights than a charmingly-dressed woman, gracefully established in some shady spot, with a piece of needlework or embroidery, or a book. Nothing very serious is accomplished, probably, but an æsthetic principle is recognised. The embroidery and the book are a tribute to culture, and I suppose they really figure somewhere out of the opening scenes of French comedies. But here at Saratoga, at any hour of morning or evening, you may see a hundred rustling beauties whose rustle is their sole occupation. One lady in particular there is, with whom it appears to be an inexorable fate that she shall ​be nothing more than dressed. Her apparel is tremendously modern, and my remarks would be much illumined if I had the learning necessary for describing it. I can only say that every evening for a fortnight she has revealed herself as a fresh creation. But she especially, as I say, has struck me as a person dressed beyond her life and her opportunities. I resent on her behalf—or on behalf at least of her finery—the extreme severity of her circumstances. What is she, after all, but a "regular boarder"? She ought to sit on the terrace of a stately castle, with a great baronial park shutting out the undressed world, and bandy quiet small-talk with an ambassador or a duke. My imagination is shocked when I behold her seated in gorgeous relief against the dusty clapboards of the hotel, with her beautiful hands folded in her silken lap, her head drooping slightly beneath the weight of her chignon, her lips parted in a vague contemplative gaze at Mr. Helmbold's well-known advertisement on the opposite fence, her husband beside her reading the New York Herald.
I have indeed observed cases of a sort of splendid social isolation here, which are not without a certain amount of pathos—people who know no one, who have money and finery and possessions, only no friends. Such at least is my inference, from the lonely grandeur with which I see them invested. Women, of course, are the most helpless victims of this cruel situation, although it must be said that they befriend each other with a generosity for which we hardly give them credit. I have seen women, for instance, at various "hops," approach their ​lonely sisters and invite them to waltz, and I have seen the fair invited surrender themselves eagerly to this humiliating embrace. Gentlemen at Saratoga are at a much higher premium than at European watering-places. It is an old story that in this country we have no "leisure-class"—the class from which the Saratogas of Europe recruit a large number of their male frequenters. A few months ago, I paid a visit to an English "bath," commemorated in various works of fiction, where, among many visible points of difference from American resorts, the most striking was the multitude of young men who had the whole day on their hands. While their sweethearts and sisters are waltzing together, our own young men are rolling up greenbacks in counting-houses and stores. I was recently reminded in another way, one evening, of the unlikeness of Saratoga to Cheltenham. Behind the biggest of the big hotels is a large planted yard, which it is the fashion at Saratoga to talk of as a "park," and which is perhaps believed to be the biggest in the world. At one end of it stands a great ballroom, approached by a range of wooden steps. It was late in the evening; the room, in spite of the intense heat, was blazing with light and the orchestra thundering a mighty waltz. A group of loungers, including myself, were hanging about to watch the ingress of the festally-minded. In the basement of the edifice, sunk beneath the ground, a noisy auctioneer, in his shirt and trousers, black in the face with heat and vociferation, was selling "pools" of the races to a dense group of frowsy betting-men. At the foot of the steps was stationed a man in a linen coat and straw ​hat, without waistcoat or necktie, to take the tickets of the ball-goers. As the latter failed to arrive in sufficient numbers, a musician came forth to the top of the steps and blew a loud summons on a horn. After this they began to straggle along. On this occasion, certainly, the company promised to be decidedly "mixed." The women, as usual, were much bedizened, though without any constant adhesion to the technicalities of full-dress. The men adhered to it neither in the letter nor the spirit. The possessor of a pair of satin-shod feet, twinkling beneath an uplifted volume of gauze and lace and flowers, tripped up the steps with her gloved hand on the sleeve of a railway "duster." Now and then two ladies arrived alone; generally a group of them approached under convoy of a single man. Children were freely scattered among their elders, and frequently a small boy would deliver his ticket and enter the glittering portal, beautifully unembarrassed. Of the children of Saratoga there would be wondrous things to relate. I believe that, in spite of their valuable aid, the festival of which I speak was rated rather a "fizzle." I see it advertised that they are soon to have, for their own peculiar benefit, a "Masquerade and Promenade Concert, beginning at 9 P.M." I observe that they usually open the "hops," and that it is only after their elders have borrowed confidence from the sight of their unfaltering paces that the latter dare to dance. You meet them far into the evening, roaming over the piazzas and corridors of the hotels—the little girls especially—lean, pale, formidable. Occasionally childhood confesses itself, even when maternity resists, and you see at eleven ​o'clock at night some poor little bedizened precocity collapsed in slumber in a lonely wayside chair. The part played by children in society here is only an additional instance of the wholesale equalisation of the various social atoms which is the distinctive feature of collective Saratoga. A man in a "duster" at a ball is as good as a man in regulation-garments; a young woman dancing with another young woman is as good as a young woman dancing with a young man; a child of ten is as good as a woman of thirty; a double negative in conversation is rather better than a single.
An important feature in many a watering-place is the facility for leaving it a little behind you and tasting of the unmitigated country. You may wander to some shady hillside and sentimentalise upon the vanity of a high civilisation. But at Saratoga civilisation holds you fast. The most important feature of the place, perhaps, is the impossibility of carrying out any such pastoral dream. The surrounding country is a charming wilderness, but the roads are so abominably bad that walking and driving are alike unprofitable. Of course, however, if you are bent upon a walk, you will take a walk. There is a striking contrast between the concentrated prodigality of life in the immediate neighbourhood of the hotels and the pastoral solitudes into which a walk of half an hour may lead you. You have left the American citizen and his wife, the orchestras, the pools, the precocious infants, the cocktails, the importations from Worth, but a mile or two behind, but already the forest is primeval and the landscape is without figures. Nothing could be less ​manipulated than the country about Saratoga. The heavy roads are little more than sandy wheel-tracks; by the tangled wayside the blackberries wither unpicked. The horizon undulates with an air of having it all its own way. There are no white villages gleaming in the distance, no spires of churches, no salient details. It is all green, lonely, and vacant. If you wish to enjoy a detail, you must stop beneath a cluster of pines and listen to the murmur of the softly-troubled air, or follow upward the scaly straightness of their trunks to where the afternoon light gives it a colour. Here and there on a slope by the roadside stands a rough unpainted farmhouse, looking as if its dreary blackness were the result of its standing dark and lonely amid so many months—and such a wide expanse—of winter snow. It has turned black by contrast. The principal feature of the grassy unfurnished yard is the great wood-pile, telling grimly of the long reversion of the summer. For the time, however, it looks down contentedly enough over a goodly appanage of grain-fields and orchards, and I can fancy that it may be amusing to be a boy there. But to be a man, it must be quite what the lean, brown, serious farmers physiognomically hint it to be. You have, however, at the present season, for your additional beguilement, on the eastern horizon, the vision of the long bold chain of the Green Mountains, clad in that single coat of simple, candid blue which is the favourite garment of our American hills. As a visitor, too, you have for an afternoon's excursion your choice between a couple of lakes. Saratoga Lake, the larger and more distant of the two, is the goal of the regular afternoon drive. Above the ​shore is a well-appointed tavern—"Moon's" it is called by the voice of fame—where you may sit upon a broad piazza and partake of fried potatoes and "drinks;" the latter, if you happen to have come from poor dislicensed Boston, a peculiarly gratifying privilege. You enjoy the felicity sighed for by that wanton Italian lady of the anecdote, when, one summer evening, to the sound of music, she wished that to eat an ice were a sin. The other lake is small, and its shores are unadorned by any edifice but a boat-house, where you may hire a skiff and pull yourself out into the minnow-tickled, wood-circled oval. Here, floating in its darkened half, while you watch on the opposite shore the tree-stems, white and sharp in the declining sunlight, and their foliage whitening and whispering in the breeze, and you feel that this little solitude is part of a greater and more portentous solitude, you may recall certain passages of Ruskin, in which he dwells upon the needfulness of some human association, however remote, to make natural scenery fully impressive. You may recall that magnificent page in which he relates having tried with such fatal effect, in a battle-haunted valley of the Jura, to fancy himself in a nameless solitude of our own continent. You feel around you, with irresistible force, the eloquent silence of undedicated nature—the absence of serious associations, the nearness, indeed, of the vulgar and trivial associations of the least complete of all the cities of pleasure—you feel this, and you wonder what it is you so deeply and calmly enjoy. You make up your mind, possibly, that it is a great ​advantage to be able at once to enjoy Mr. Ruskin and to enjoy Mr. Ruskin's alarms. And hereupon you return to your hotel and read the New York papers on the plan of the French campaign and the Nathan murder.