is
nose, and then go away contented. He had a habit of coming to my
study in the morning, sitting quietly by my side or on the table for
hours, watching the pen run over the paper, occasionally swinging his
tail round for a blotter, and then going to sleep among the papers by
the inkstand. Or, more rarely, he would watch the writing from a
perch on my shoulder. Writing always interested him, and, until he
understood it, he wanted to hold the pen.

He always held himself in a kind of reserve with his friend, as if he
had said, "Let us respect our personality, and not make a 'mess' of
friendship." He saw, with Emerson, the risk of degrading it to
trivial conveniency. "Why insist on rash personal relations with
your friend?" "Leave this touching and clawing." Yet I would not
give an unfair notion of his aloofness, his fine sense of the
sacredness of the me and the not-me. And, at the risk of not being
believed, I will relate an incident, which was often repeated.
Calvin had the practice of passing a portion of the night in the
contemplation of its beauties, and would come into our chamber over
the roof of the conservatory through the open window, summer and
winter, and go to sleep on the foot of my bed. He would do this
always exactly in this way; he never was content to stay in the
chamber if we compelled him to go upstairs and through the door. He
had the obstinacy of General Grant. But this is by the way. In the
morning, he performed his toilet and went down to breakfast with the
rest of the family. Now, when the mistress was absent from home, and
at no other time, Calvin would come in the morning, when the bell
rang, to the head of the bed, put up his feet and look into my face,
follow me about when I rose, "assist" at the dressing, and in many
purring ways show his fondness, as if he had plainly said, "I know
that she has gone away, but I am here." Such was Calvin in rare
moments.

He had his limitations. Whatever passion he had for nature, he had
no conception of art. There was sent to him once a fine and very
expressive cat's head in bronze, by Fremiet. I placed it on the
floor. He regarded it intently, approached it cautiously and
crouchingly, touched it with his nose, perceived the fraud, turned
away abruptly, and never would notice it afterward. On the whole,
his life was not only a successful one, but a happy one. He never
had but one fear, so far as I know: he had a mortal and a reasonable
terror of plumber