planted. The DeJong place was markedly ugly ever in that community of squat houses. It lacked the air of sparkling cleanliness that saved the other places from sordidness. The house, even then, was thirty years old—a gray, weather-beaten frame box with a mansard roof and a flat face staring out at the dense willows by the roadside. It needed paint; the fences sagged; the window curtains were awry. The parlour was damp, funereal. The old woman who tended the house for Pervus slopped about all day with a pail and a wet gray rag. There was always a crazy campanile of dirty dishes stacked on the table, and the last meal seemed never to catch up with the next. About the whole house there was a starkness, a bareness that proclaimed no woman who loved it dwelt therein.
Selina told herself (and Pervus) that she would change all that. She saw herself going about with a brush and a can of white paint, leaving beauty in her wake, where ugliness had been.
Her trousseau was of the scantiest. Pervus’s household was already equipped with such linens as they would need. The question of a wedding gown troubled her until Maartje suggested that she be married in the old Dutch wedding dress that lay in the bride’s chest in Selina’s bedroom.
“A real Dutch bride,” Maartje said. “Your man will think that is fine.” Pervus was delighted. Selina basked in his love like a kitten in the sun. She was, after all, a very lonely little bride with only two photo-
