painted a dull red as to its brick-work, and a glossy black as to its
wood-work, and with a bright brass bell-pull and door-knob and a large
brass plate for its key-hole escutcheon, had been endowed with an effect
of purity and pride which removed its shabby neighborhood far from it.
Some of these houses were quite small, and imaginably within their means;
but, as March said, some body seemed always to be living there himself,
and the fact that none of them was to rent kept Mrs. March true to her
ideal of a fiat. Nothing prevented its realization so much as its
difference from the New York ideal of a flat, which was inflexibly seven
rooms and a bath. One or two rooms might be at the front, the rest
crooked and cornered backward through in creasing and then decreasing
darkness till they reached a light bedroom or kitchen at the rear. It
might be the one or the other, but it was always the seventh room with
the bath; or if, as sometimes happened, it was the eighth, it was so
after having counted the bath as one; in this case the janitor said you
always counted the bath as one. If the flats were advertised as having
"all light rooms," he explained that any room with a window giving into
the open air of a court or shaft was counted a light room.

The Marches tried to make out why it was that these flats were go much
more repulsive than the apartments which everyone lived in abroad; but
they could only do so upon the supposition that in their European days
they were too young, too happy, too full of the future, to notice whether
rooms were inside or outside, light or dark, big or little, high or low.
"Now we're imprisoned in the present," he said, "and we have to make the
worst of it."

In their despair he had an inspiration, which she declared worthy of him:
it was to take two small flats, of four or five rooms and a bath, and
live in both. They tried this in a great many places, but they never