of North and South America, Carleton reached first an
audience, and then, through the types, wider circles of readers.

CHAPTER XXII.

MUSIC AND POETRY.

Besides other means of recreation, Carleton was happy in having been
from childhood a lover of music. In earlier life he sang in the church
choir, under the training of masters of increasing grades of skill, in
his native village, at Malden, and in Boston. He early learned to play
upon keyed instruments, the melodion, the piano, and the organ, the
latter being his favorite. From this great encyclopaedia of tones, he
loved to bring out grand harmonies. He used this instrument of many
potencies, for enjoyment, as a means of culture, for the soothing of
his spirits, and the resting of his brain. When wearied with the
monotony of work with his pen, he would leave his study, as I
remember, when living in Boston, and, having a private key to Shawmut
Church, and dependent on no assistance except that of the water-motor,
he would, for a half hour or more, and sometimes for hours, delight
and refresh himself with this organ,--grandest of all but one, in
Boston, the city of good organs and organ-makers. Many times
throughout the war, in churches deserted or occupied, alone or in the
public service, in the soldier's camp-church or meeting in the open
air, wherever there was an instrument with keys, Carleton was a valued
participant and aid in worship.

Religious music was his favorite, but he delighted in all sweet
melodies. He loved the Boston Symphony concerts and the grand opera.
Among his best pieces of writing were the accounts of Wagner's
Parsifal at Bayreuth, and the great Peace Jubilee after our civil war.
At most of the great musical events in Boston, he was present.

Shawmut Church had for many years one of the very best quartette
choirs in the city, supported at the instrument by such organists as
Dudley Buck, George Harris, Samuel Carr, H. E. Parkhurst, and Henry M.
Dunham. In Carleton, both voice and instrument found so appreciative a
hearer, and one who so often personally commended or appraised their
renderings of a great composer's thought, or a heart-touching song,
that "as well the singers as the players on instruments" were always
glad to know how he received their art and work. In Europe, this lover
of sweet sound enjoyed hearing the greatest vocalists, and those
mightiest of the masses of harmony known on earth, and possible only
in European ca