eople. But our fathers were large and healthy enough to make a thing humane, and not worry about whether it was hygienic. They were big enough to get into small rooms.
Of this quite deliberate and artistic quality in the close Christmas chamber, the standing evidence is Dickens in Italy. He created these dim firelit tales like little dim red jewels, as an artistic necessity, in the centre of an endless summer. Amid the white cities of Tuscany he hungered for something romantic, and wrote about a rainy Christmas. Amid the pictures of the Uffizi he starved for something beautiful, and fed his memory on London fog. His feeling for the fog was especially poignant and typical. In the first of his Christmas tales, the popular "Christmas Carol," he suggested the very soul of it in one simile, when he spoke of the dense air, suggesting that "Nature was brewing on a large scale." This sense of the thick atmosphere as something to eat or drink, something not only solid but satisfactory, may seem almost insane, b