Chapter 41 of Life on the MIssissippi:
THE approaches to New Orleans were familiar; general aspects were unchanged. When one goes flying through London along a railway propped in the air on tall arches, he may inspect miles of upper bedrooms through the open windows, but the lower half of the houses is under his level and out of sight. Similarly, in high-river stage, in the New Orleans region, the water is up to the top of the enclosing levee-rim, the flat country behind it lies low—representing the bottom of a dish—and as the boat swims along, high on the flood, one looks down upon the houses and into the upper windows. There is nothing but that frail breastwork of earth between the people and destruction.
The old brick salt-warehouses clustered at the upper end of the city looked as they had always looked; warehouses which had had a kind of Aladdin's lamp experience, however, since I had seen them; for when the war broke out the proprietor went to bed one night leaving them packed with thousands of sacks of vulgar salt, worth a couple of dollars a sack, and got up in the morning and found his mountain of salt turned into a mountain of gold, so to speak, so suddenly and to so dizzy a height had the war news sent up the price of the article.
The vast reach of plank wharves remained unchanged, and there were as many ships as ever: but the long array of steamboats had vanished; not altogether, of course, but not much of it was left.
The city itself had not changed—to the eye. It had greatly increased in spread and population, but the look of the town was not altered. The dust, waste-paper-littered, was still deep in the streets; the deep, trough-like gutters alongside the curbstones were still half full of reposeful water with a dusty surface; the sidewalks were still—in the sugar and bacon region—encumbered by casks and barrels and hogsheads; the great blocks of austerely plain commercial houses were as dusty-looking as ever.
Canal Street was finer, and more attractive and stirring than formerly, with its drifting crowds of people, its several processions of hurrying street-cars, and—toward evening—its broad second-story verandas crowded with gentlemen and ladies clothed according to the latest mode.
Not that there is any 'architecture' in Canal Street: to speak in broad, general terms, there is no architecture in New Orleans, except in the cemeteries. It seems a strange thing to say of a wealthy, far-seeing, and energetic city of a quarter of a million inhabitants, but it is true. There is a huge granite U.S. Custom-house—costly enough, genuine enough, but as a decoration it is inferior to a gasometer. It looks like a state prison. But it was built before the war. Architecture in America may be said to have been born since the war. New Orleans, I believe, has had the good luck—and in a sense the bad luck—to have had no great fire in late years. It must be so. If the opposite had been the case, I think one would be able to tell the 'burnt district' by the radical improvement in its architecture over the old forms. One can do this in Boston and Chicago. The 'burnt district' of Boston was commonplace before the fire; but now there is no commercial district in any city in the world that can surpass it—or perhaps even rival it—in beauty, elegance, and tastefulness.
However, New Orleans has begun—just this moment, as one may say. When completed, the new Cotton Exchange will be a stately and beautiful building; massive, substantial, full of architectural graces; no shams or false pretenses or uglinesses about it anywhere. To the city, it will be worth many times its cost, for it will breed its species. What has been lacking hitherto, was a model to build toward; something to educate eye and taste; a suggester, so to speak.
The city is well outfitted with progressive men—thinking, sagacious, long-headed men. The contrast between the spirit of the city and the city's architecture is like the contrast between waking and sleep. Apparently there is a 'boom' in everything but that one dead feature. The water in the gutters used to be stagnant and slimy, and a potent disease-breeder; but the gutters are flushed now, two or three times a day, by powerful machinery; in many of the gutters the water never stands still, but has a steady current. Other sanitary improvements have been made; and with such effect that New Orleans claims to be (during the long intervals between the occasional yellow-fever assaults) one of the healthiest cities in the Union. There's plenty of ice now for everybody, manufactured in the town. It is a driving place commercially, and has a great river, ocean, and railway business. At the date of our visit, it was the best lighted city in the Union, electrically speaking. The New Orleans electric lights were more numerous than those of New York, and very much better. One had this modified noonday not only in Canal and some neighboring chief streets, but all along a stretch of five miles of river frontage. There are good clubs in the city now—several of them but recently organized—and inviting modern-style pleasure resorts at West End and Spanish Fort. The telephone is everywhere. One of the most notable advances is in journalism. The newspapers, as I remember them, were not a striking feature. Now they are. Money is spent upon them with a free hand. They get the news, let it cost what it may. The editorial work is not hack-grinding, but literature. As an example of New Orleans journalistic achievement, it may be mentioned that the 'Times-Democrat' of August 26, 1882, contained a report of the year's business of the towns of the Mississippi Valley, from New Orleans all the way to St. Paul—two thousand miles. That issue of the paper consisted of forty pages; seven columns to the page; two hundred and eighty columns in all; fifteen hundred words to the column; an aggregate of four hundred and twenty thousand words. That is to say, not much short of three times as many words as there are in this book. One may with sorrow contrast this with the architecture of New Orleans.
I have been speaking of public architecture only. The domestic article in New Orleans is reproachless, notwithstanding it remains as it always was. All the dwellings are of wood—in the American part of the town, I mean—and all have a comfortable look. Those in the wealthy quarter are spacious; painted snow-white usually, and generally have wide verandas, or double-verandas, supported by ornamental columns. These mansions stand in the center of large grounds, and rise, garlanded with roses, out of the midst of swelling masses of shining green foliage and many-colored blossoms. No houses could well be in better harmony with their surroundings, or more pleasing to the eye, or more home-like and comfortable-looking.
One even becomes reconciled to the cistern presently; this is a mighty cask, painted green, and sometimes a couple of stories high, which is propped against the house-corner on stilts. There is a mansion-and-brewery suggestion about the combination which seems very incongruous at first. But the people cannot have wells, and so they take rain-water. Neither can they conveniently have cellars, or graves,{footnote [The Israelites are buried in graves—by permission, I take it, not requirement; but none else, except the destitute, who are buried at public expense. The graves are but three or four feet deep.]} the town being built upon 'made' ground; so they do without both, and few of the living complain, and none of the others.
In the next chapter, Twain goes on about graveyards:
THEY bury their dead in vaults, above the ground. These vaults have a resemblance to houses—sometimes to temples; are built of marble, generally; are architecturally graceful and shapely; they face the walks and driveways of the cemetery; and when one moves through the midst of a thousand or so of them and sees their white roofs and gables stretching into the distance on every hand, the phrase 'city of the dead' has all at once a meaning to him. Many of the cemeteries are beautiful, and are kept in perfect order. When one goes from the levee or the business streets near it, to a cemetery, he observes to himself that if those people down there would live as neatly while they are alive as they do after they are dead, they would find many advantages in it; and besides, their quarter would be the wonder and admiration of the business world. Fresh flowers, in vases of water, are to be seen at the portals of many of the vaults: placed there by the pious hands of bereaved parents and children, husbands and wives, and renewed daily. A milder form of sorrow finds its inexpensive and lasting remembrancer in the coarse and ugly but indestructible 'immortelle'—which is a wreath or cross or some such emblem, made of rosettes of black linen, with sometimes a yellow rosette at the conjunction of the cross's bars—kind of sorrowful breast-pin, so to say. The immortelle requires no attention: you just hang it up, and there you are; just leave it alone, it will take care of your grief for you, and keep it in mind better than you can; stands weather first-rate, and lasts like boiler-iron.
City Sights:
THE old French part of New Orleans—anciently the Spanish part—bears no resemblance to the American end of the city: the American end which lies beyond the intervening brick business-center. The houses are massed in blocks; are austerely plain and dignified; uniform of pattern, with here and there a departure from it with pleasant effect; all are plastered on the outside, and nearly all have long, iron-railed verandas running along the several stories. Their chief beauty is the deep, warm, varicolored stain with which time and the weather have enriched the plaster. It harmonizes with all the surroundings, and has as natural a look of belonging there as has the flush upon sunset clouds. This charming decoration cannot be successfully imitated; neither is it to be found elsewhere in America.
The iron railings are a specialty, also. The pattern is often exceedingly light and dainty, and airy and graceful—with a large cipher or monogram in the center, a delicate cobweb of baffling, intricate forms, wrought in steel. The ancient railings are hand-made, and are now comparatively rare and proportionately valuable. They are become bric-a-brac.