While deploring some of these civic manifestations, Mr. Prentiss had appreciated that the basis of this æsthetic sterility was ethical. When less discerning persons had attributed it solely to ignorance and self-righteous superficiality he had maintained that a puritanical, yet moral and sincere, hostility to extravagance and display was responsible for the preference for ugly architecture and homely upholstery and decoration, and that conscience was the most formidable obstacle to progress. As a priest of a church which fostered beauty and favored rational enjoyment of the fruits of the earth, he had never sympathized with this public attitude, but he had understood and, as an American, respected it.
Now, in the twinkling of an eye, as it were, all was changed, and Benham was in the throes of a revival; a revival which during the last ten years had revolutionized Benham's architecture and Benham's point of view. The public had become possessed by the conviction that they had outgrown their associations and that the standards hitherto revered were out of date and unworthy of a nation and a city pledged to enlighten the world, upon whom prosperity had been bestowed in large measure. The group of earnest souls who had dared to criticise seemed suddenly to have become a phalanx--numerically unimportant, still, when compared with the whole population, that seething army of industrial wage-earners--but assertive and energetic out of proportion to their numbers. The city had become a hive of reforming activities. Specialists in the arts and humanities were no longer classed as traitors, but were welcomed by a growing clientage as safeguards against bumptious individualism. Though a cheerful optimism in regard to the city's architectural merits still prevailed at large, a silent censorship was at work; substituting, in the business quarter, new mammoth structures adapted to modern industrial needs, erecting in the fashionable quarter, by the aid of American architects trained in Paris, well-built and individual-looking residences. Instead of three or four cheerless, barrack-like caravansaries with sodden cookery, there was a score of modern hotels, the proprietors of which vied with one another in their endeavors to lure patronage by costly and sumptuous innovations. There were comfortable and inviting restaurants. The slap-dash luncheon counter, with its display of pallid pie and one cadaverous chicken, was waning in the popular esteem, in favor of neat spas, at which the rush of patronage was alleviated by clean service and wholesome fare. There were eight theatres, each more spacious and splendid than its predecessor. A frowsy black coat, worn in the forenoon, had ceased to be a badge of patriotism or moral worth, and the community had become alive to the values of spruceness, color, and comfort in matters of dress. Not only this, but on the streets of Benham there were many stylish equipages with liveried grooms, and in the superb homes which the wealthy citizens had established, there were grand entertainments, where rivalry was rampant and money flowed like champagne. And last, but not least, there was Mrs. Randolph Wilson, the quintessence in her own person of all that was best in this revival in favor of the beautiful things of life, the living embodiment of this newly directed and freshly inspired energy. For well-to-do Benham and Mr. Prentiss liked to believe that the impulse behind these materialistic manifestations was conscience and aspiration, a reaching out for a greater human happiness and a wider human usefulness than had been possible under the old dispensation. This access of lavish philanthropy and study of charitable methods, this zeal of committees promoting new and more thorough methods in hygiene and education, and all the phases of this new awakening in quest of Christian beauty signified to him Benham's--and hence American--originality and fervor refined and spiritualized; Benham's enterprise and independence informed, chastened, and fortified.