And you must not imagine this dustless, spotless, sweet apartment as anything but beautiful. Its appearance is a little unfamiliar of course, but all the muddle of dust-collecting hangings and witless ornament that cover the earthly bedroom, the valances, the curtains to check the draught from the ill-fitting wood windows, the worthless irrelevant pictures, usually a little askew, the dusty carpets, and all the paraphernalia about the dirty, black-leaded fireplace are gone. But the faintly tinted walls are framed with just one clear coloured line, as finely placed as the member of a Greek capital; the door handles and the lines of the panels of the door, the two chairs, the framework of the bed, the writing table, have all that final simplicity, that exquisite finish of contour that is begotten of sustained artistic effort. The graciously shaped windows each frame a picture—since they are draughtless the window seats are no mere mockeries as are the window seats of earth—and on the sill, the sole thing to need attention in the room, is one little bowl of blue Alpine flowers.
The same exquisite simplicity meets one downstairs.
Our landlord sits down at table with us for a moment, and seeing we do not understand the electrically heated coffee-pot before us, shows us what to do. Coffee and milk we have, in the Continental fashion, and some excellent rolls and butter.
He is a swarthy little man, our landlord, and overnight we saw him preoccupied with other guests. But we have risen either late or early by Utopian standards, we know not which, and this morning he has us to himself. His bearing is kindly and inoffensive, but he cannot conceal the curiosity that possesses him. His eye meets ours with a mute inquiry, and then as we fall to, we catch him scrutinising our cuffs, our garments, our boots, our faces, our table manners. He asks nothing at first, but says a word or so about our night's comfort and the day's weather, phrases that have an air of being customary. Then comes a silence that is interrogative.
“Excellent coffee,” I say to fill the gap.
“And excellent rolls,” says my botanist.
Our landlord indicates his sense of our approval.
A momentary diversion is caused by the entry of an elfin-tressed little girl, who stares at us half impudently, half shyly, with bright black eyes, hesitates at the botanist's clumsy smile and nod, and then goes and stands by her father and surveys us steadfastly.
“You have come far?” ventures our landlord, patting his daughter's shoulder.
I glance at the botanist. “Yes,” I say, “we have.”
I expand. “We have come so far that this country of yours seems very strange indeed to us.”
“The mountains?”
“Not only the mountains.”
“You came up out of the Ticino valley?”
“No—not that way.”
“By the Oberalp?”
“No.”
“The Furka?”
“No.”
“Not up from the lake?”
“No.”
He looks puzzled.
“We came,” I say, “from another world.”
He seems trying to understand. Then a thought strikes him, and he sends away his little girl with a needless message to her mother.
“Ah!” he says. “Another world—eh? Meaning―?”
“Another world—far in the deeps of space.”
Then at the expression of his face one realises that a Modern Utopia will probably keep its more intelligent citizens for better work than inn-tending. He is evidently inaccessible to the idea we think of putting before him. He stares at us a moment, and then remarks, “There's the book to sign.”
We find ourselves confronted with a book, a little after the fashion of the familiar hotel visitors' book of earth. He places this before us, and beside it puts pen and ink and a slab, upon which ink has been freshly smeared.
“Thumbmarks,” says my scientific friend hastily in English.
“You show me how to do it,” I say as quickly.
He signs first, and I look over his shoulder.
He is displaying more readiness than I should have expected. The book is ruled in broad transverse lines, and has a space for a name, for a number, and a thumbmark. He puts his thumb upon the slab and makes the thumbmark first with the utmost deliberation. Meanwhile he studies the other two entries. The “numbers” of the previous guests above are complex muddles of letters and figures. He writes his name, then with a calm assurance writes down his number, A.M.a.1607.2.αβ⊕. I am wrung with momentary admiration. I follow his example, and fabricate an equally imposing signature. We think ourselves very clever. The landlord proffers finger bowls for our thumbs, and his eye goes, just a little curiously, to our entries.
I decide it is advisable to pay and go before any conversation about our formulæ arises.
As we emerge into the corridor, and the morning sunlight of the Utopian world, I see the landlord bending over the book.
“Come on,” I say. “The most tiresome thing in the world is explanations, and I perceive that if we do not get along, they will fall upon us now.”
I glance back to discover the landlord and a gracefully robed woman standing outside the pretty simplicity of the Utopian inn, watching us doubtfully as we recede.
“Come on,” I insist.
8.
We should go towards the Schoellenen gorge, and as we went, our fresh morning senses would gather together a thousand factors for our impression of this more civilised world. A Modern Utopia will have done with yapping about nationality, and so the ugly fortifications, the barracks and military defilements of the earthly vale of Urseren will be wanting. Instead there will be a great multitude of gracious little houses clustering in college-like groups, no doubt about their common kitchens and halls, down and about the valley slopes. And there will be many more trees, and a great variety of trees—all the world will have been ransacked for winter conifers. Despite the height of the valley there will be a double avenue along the road. This high road with its tramway would turn with us to descend the gorge, and we should hesitate upon the adventure of boarding the train. But now we should have the memory of our landlord's curious eye upon us, and we should decide at last to defer the risk of explanations such an enterprise might precipitate.
We should go by the great road for a time, and note something of the difference between Utopian and terrestrial engineering.
The tramway, the train road, the culverts, and bridges, the Urnerloch tunnel, into which the road plunges, will all be beautiful things.
There is nothing in machinery, there is nothing in embankments and railways and iron bridges and engineering devices to oblige them to be ugly. Ugliness is the measure of imperfection; a thing of human making is for the most part ugly in proportion to the poverty of its constructive thought, to the failure of its producer fully to grasp the purpose of its being. Everything to which men continue to give thought and attention, which they make and remake in the same direction, and with a continuing desire to do as well as they can, grows beautiful inevitably. Things made by mankind under modern conditions are ugly, primarily because our social organisation is