Kitabı oku: «Lives of Poor Boys Who Became Famous», sayfa 16
MEISSONIER
The old maxim, that "the gods reward all things to labor," has had fit illustration in Meissonier. His has been a life of constant, unvaried toil. He came to Paris a poor, unknown boy, and has worked over fifty years, till he stands a master in French art.
Jean Louis Ernest Meissonier was born at Lyons, in 1811. His early life was passed in poverty so grinding that the great artist never speaks of it, and in such obscurity that scarcely anything is known of his boyhood. At nineteen he came to Paris to try his fate in one of the great centres of the world. He, of course, found no open doors, nobody standing ready to assist genius. Genius must ever open doors for itself.
The lad was a close observer, and had learned to draw accurately. He could give every variety of costume, and express almost any emotion in the face of his subject. But he was unknown. He might do good work, but nobody wanted it. He used to paint by the side of Daubigny in the Louvre, it is said, for one dollar a yard. Now his "Amateurs in Painting," a chef-d'œuvre of six inches in size, is bought by Leon Say for six thousand dollars. Such is fame.
Time was so necessary in this struggle for bread, that he could sleep only every other night; and for six months his finances were so low, it is stated, that he existed on ten cents a week! No wonder that the sorrows of those days are never mentioned.
His earliest work was painting the tops of bon-bon boxes, and fans. Once he grew brave enough to take four little sepia drawings to an editor to illustrate a fairy tale in a magazine for children. The editor said the drawings were charming, but he could not afford to have them engraved, and so "returned them with thanks."
His first illustrations in some unknown journal were scenes from the life of "The Old Bachelor." In the first picture he is represented making his toilet before the mirror, his wig spread out on the table; in the second, dining with two friends; in the third, being abused by his housekeeper; in the fourth, on his death-bed, surrounded by greedy relations; and in the fifth, the servants ransacking the death-chamber for the property.
For a universal history he drew figures of Isaiah, St. Paul, and Charlemagne, besides almost numberless ornamental letters and headings of chapters. Of course he longed for more remunerative work, for fame; but he must plod on for months yet. He worked conscientiously, taking the greatest pains with every detail.
His first picture, exhibited in 1833, when he was twenty-two, called "The Visitors," an interior view of a house, with an old gentleman receiving two visitors, all dressed in the costume of James I., admirable for its light and shade, was bought by the Society of the Friends of Art, for twenty dollars. Two years later he made illustrations for the Bible of the Sieur Raymond, of Holofernes invading Judea, and Judith appearing before Holofernes. For "Paul and Virginia" he made forty-three beautiful landscapes. "They contain evidence of long and careful work in the hot-houses of the 'Jardin des Plantes,' and in front of the old bric-a-brac dealer's stalls, which used to stand about the entrance to the Louvre. And how admirably, with the help of these slowly and scrupulously finished studies, he could reproduce, in an ornamental letter or floral ornament, a lily broken by the storm, or a sheaf of Indian arms and musical instruments."
In 1836, his "Chess Players," two men watching intently the moves of chess, and "The Little Messenger," attracted a crowd of admirers. Each sold for twenty dollars. He had now struggled for six years in Paris. It was high time that his unremitting and patient work should find approval. The people were amazed at so vast an amount of labor in so small a space. They looked with their magnifying glasses, and found the work exquisite in detail. They had been accustomed to great canvases, glowing colors, and heroic or romantic sentiments; but here there was wonderful workmanship.
When the people began to admire, critics began to criticize. They said "Meissonier can depict homelike or ordinary scenes, but not historic." He said nothing, but soon brought out "Diderot" among the philosophers, Grimm, D'Alembert, Baron Holbach, and others in the seventeenth century. Then they said he can draw interiors only, and "on a canvas not much larger than his thumb-nail." He soon produced the "Portrait of the Sergeant," "one of the most daring experiments in the painting of light, in modern art. The man stands out there in the open by himself, literally bathed in light, and he makes a perfect picture." Then they were sure that he could not paint movement. He replied by painting "Rixe," two ruffians who are striving to fight, but are withheld by friends. This was given by Louis Napoleon to the Prince Consort.
Meissonier also showed that he could depict grand scenes, by "Moreau and Dessoles on the eve of the battle of Hohenlinden," the "Retreat from Russia," and the "Emperor at Solferino." Into these he put his admiration for Napoleon the Great, and his adoration for his defeated country. In the former picture, the two generals are standing on a precipice, surveying the snow-covered battle-field with a glass; the trees are bending under a strong wind, and the cloaks of the generals are fluttering behind them. One feels the power of this picture.
In painting the "Retreat from Russia," the artist borrowed the identical coat worn by Napoleon, and had it copied, crease for crease, and button for button. "When I painted that picture," he said, "I executed a great portion of it out of doors. It was midwinter, and the ground was covered with snow. Sometimes I sat at my easel for five or six hours together, endeavoring to seize the exact aspect of the winter atmosphere. My servant placed a hot foot-stove under my feet, which he renewed from time to time, but I used to get half-frozen and terribly tired."
He had a wooden horse made in imitation of the white charger of the Emperor; and seating himself on this, he studied his own figure in a mirror. His studies for this picture were almost numberless, – a horse's head, an uplifted leg, cuirasses, helmets, models of horses in red wax, etc. He also prepared a miniature landscape, strewn with white powder resembling snow, with models of heavy wheels running through it, that he might study the furrow made in that terrible march home from burning Moscow. All this was work, – hard, patient, exacting work.
It had now become evident to the world, and to the critics as well, that Meissonier was a master; that he was not confined to small canvases nor home scenes.
In 1855 he received the grand medal; in 1856 he was made an officer of the Legion of Honor; in 1861, a member of the Institute; and in 1867, at the International Exhibition, he received the grand medal again. When the prizes were given by the Emperor, the "Battle of Solferino" was placed in the centre of the space cleared for the ceremony, with the works of Reimers, the Russian painter, Knaus of Prussia, Rousseau, the French landscape-painter, and others. This painting represents Napoleon III. in front of his staff, looking upon the battle "as a cool player studies a chess-board. On the right, in the foreground, some artillery-men are manœuvring their guns. The corpses of a French soldier and two white Austrians, torn to rags by some explosion, show where the battle had passed by."
Meissonier's paintings now brought enormous prices. His "Marshal Saxe and his Staff" brought eight thousand six hundred dollars in New York; the "Soldiers at Cards," in 1876, in the same city, eleven thousand five hundred dollars; in 1867, his "Cavalry Charge" was sold to Mr. Probasco of Cincinnati, for thirty thousand dollars; and the "Battle of Friedland," upon which he is said to have worked fifteen years, to A. T. Stewart, of New York, for sixty thousand dollars. Every figure in this was drawn from life, and the horses moulded in wax. It represents Napoleon on horseback, on a slight elevation, his marshals grouped around him, holding aloft his cocked hat in salutation, as the soldiers pass hurriedly before him.
Edmund About once wrote, "To cover M. Meissonier's pictures with gold pieces simply would be to buy them for nothing; and the practice has now been established of covering them with bank notes."
"The Blacksmith," shoeing a patient old cart-horse, perfect in anatomy; "La Halte," some soldiers at an inn, now in Hertford House gallery; and "La Barricade," a souvenir of the civil war, are among the favorite pictures of this famous man. And yet as one looks at some of the exquisite work about a convivial scene, the words of the great Boston painter, William Hunt, come to mind. Being shown a picture, very fine in technique, by a Munich artist, of a drunken man, holding a half-filled glass of wine, he said, "It's skilfully done, but what is the use of doing it! The subject isn't worthy of the painter."
Rarely does a woman appear in Meissonier's pictures. He has done nothing to deprave morals, which is more than can be said of some French art. His portrait of Madame Henri Thénard was greatly admired, while that of Mrs. Mackay was not satisfactory, and was said to have been destroyed by her. Few persons, however, can afford to destroy a Meissonier. When told once that "he was a fortunate man, as he could possess as many Meissoniers as he pleased," he replied, "No, no, I cannot; that would ruin me. They are a great deal too dear."
He lives in the Boulevard Malesherbes, near the lovely Parc Monceau, in the heart of the artists' quarter in Paris. His handsome home, designed by himself in every detail, is in the Italian Renaissance style. He has two studies, – one a quiet nook, where he can escape interruptions; and one very large, where are gathered masterpieces from every part of the world. Here is "a courtyard of the time of Louis XIII., brilliantly crowded with figures in gala dress; a bride of the same period, stepping into an elegant carriage of a crimson color, for which Meissonier had a miniature model built by a coach-maker, to study from; a superb work of Titian, – a figure of an Italian woman in a robe of green velvet, the classic outline of her head shown against a crimson velvet curtain in the background; a sketch of Bonaparte on horseback, at the head of his picturesquely dressed staff, reviewing the young conscripts of the army of Italy, who are cheering as he passes;" and many more valuable pictures. Here, too, are bridles of black leather, with silver ornaments, once the property of Murat.
One picture here, of especial interest, was painted at his summer home at Poissy, when his house was crowded with German soldiers in the war of 1871. "To escape their company," says M. Claretie, "in the rage that he experienced at the national defeat, he shut himself up in his studio, and threw upon the canvas the most striking, the most vivid, the most avenging of allegories: he painted Paris, enveloped in a veil of mourning, defending herself against the enemy, with her soldiers and her dying grouped round a tattered flag; sailors, officers, and fusiliers, soldiers, national guards, suffering women, and dying children; and, hovering in the air above them, with the Prussian eagle by her side, was Famine, wan and haggard Famine, accomplishing the work that the bombardment had failed to achieve."
His summer home, like the one in Paris, is fitted up luxuriously. He designed most of the furniture and the silver service for his table. Flowers, especially geraniums and tea roses, blossom in profusion about the grounds, while great trees and fountains make it a restful and inviting place. The walls of the dining-room are hung with crimson and gold satin damask, against which are several of his own pictures. An engraver at work, clad in a red dressing-gown, and seated in a room hung with ancient tapestry, has the face of his son Charles, also an artist, looking out from the frame. One of Madame Meissonier also adorns this room.
Near by are his well-filled stables, his favorite horse, Rivoli, being often used for his model. He is equally fond of dogs, and has several expensive hounds. How strange all this, compared with those early days of pinching poverty! He is rarely seen in public, because he has learned – what, alas! some people learn too late in life – that there is no success without one commands his or her time. It must be frittered away neither by calls nor parties; neither by idle talk nor useless visits. Painting or writing for an hour a day never made greatness. Art and literature will give no masterships except to devotees. The young lady, sauntering down town to look at ribbons, never makes a George Eliot. The young man, sauntering down town to look at the buyers of ribbons, never makes a Meissonier. Nature is rigid in her laws. Her gifts only grow to fruitage in the hands of workers.
Meissonier is now seventy-four, with long gray beard and hair, round, full face, and bright hazel eyes. His friend, Claretie, says of him, "This man, who lives in a palace, is as moderate as a soldier on the march. This artist, whose canvases are valued by the half-million, is as generous as a nabob. He will give to a charity sale a picture worth the price of a house. Praised as he is by all, he has less conceit in his nature than a wholesale painter."
January 31, 1891, at his home in Paris, the great artist passed away. His illness was very brief. The funeral services took place at the Church of the Madeleine, which was thronged with the leaders of art and letters. An imposing military cortege accompanied the body to its last resting-place at Poissy, the summer home of the artist, on the Seine, ten miles from Versailles.
GEORGE W. CHILDS
The "Public Ledger" of Philadelphia, and its owner, are known the world over. Would we see the large-hearted, hospitable millionaire, who has come to honor through his own industry, let us enter the elegant building occupied by his newspaper.
Every portion is interesting. The rooms where editors and assistants work are large, light, and airy, and as tasteful as parlors. Alas! how unhomelike and barren are some of the newspaper offices, where gifted men toil from morning till night, with little time for sleep, and still less for recreation. Mr. Childs has thought of the comfort and health of his workmen, for he, too, was a poor boy, and knows what it is to labor.
He has also been generous with his men in the matter of wages. "He refused to reduce the rate of payment of his compositors, notwithstanding that the Typographical Union had formerly sanctioned a reduction, and notwithstanding that the reduced scale was operative in every printing-office in Philadelphia except his own. He said, 'My business is prosperous; why should not my men share in my prosperity?' This act of graciousness, while it endeared him to the hearts of his beneficiaries, was commented on most favorably at home and abroad. That his employés, in a formal interview with him, expressed their willingness to accept the reduced rates, simply augments the generosity of his act." Strikes among laborers would be few and far between if employers were like George W. Childs.
Each person in his employ has a summer vacation of two or more weeks, his wages being continued meantime, and paid in advance, with a liberal sum besides. On Christmas every man, woman, and boy receives a present, amounting, of course, to many thousands of dollars annually. Mr. Childs has taken care of many who have become old or disabled in his service. The foreman of his composing-room had worked for him less than twelve months before he failed in health. For years this man has drawn his weekly pay, though never going to the establishment. This is indeed practical Christianity.
Besides caring for the living, in 1868 this wise employer of labor purchased two thousand feet in Woodlands for a printers' cemetery, and gave it to the Philadelphia Typographical Society, with a sum of money to keep the grounds in good order yearly. The first person buried beyond the handsome marble gothic gateway was a destitute and aged printer who had died at the almshouse and whose dying message to Mr. Childs was that he could not bear to fill a pauper's grave. His wish was cordially granted.
But after seeing the admirable provision made for his workmen, we must enter the private office of Mr. Childs. He is most accessible to all, with no airs of superior position, welcoming persons from every clime daily, between the hours of eleven and one. He listens courteously to any requests, and then bids you make yourself at home in this elegant office, that certainly has no superior in the world, perhaps no rival.
The room itself in the Queen Anne style, with exquisite wood-carving, marble tiles, brass ornaments, and painted glass, is a gem. Here is his motto, a noble one, and thoroughly American, "Nihil sine labore," and well his life has illustrated it. All honor to every man or woman who helps to make labor honored in this country. The design of the ceiling was suggested by a room in Coombe Abbey, Warwickshire, the seat of the Earls Craven, fitted up by one of its lords for the reception of Queen Elizabeth. Over a dozen valuable clocks are seen, one made in Amsterdam over two hundred years ago, which, besides the time of day, gives the phases of the moon, the days of the week, and the month; another, a clock constructed by David Rittenhouse, the astronomer of the Revolution, in the old colonial days, which plays a great variety of music, has a little planetarium attached, and nearly six thousand teeth in wheels. It was made for Joseph Potts, who paid six hundred and forty dollars for it. The Spanish Minister in 1778 offered eight hundred for it, that he might present it to his sovereign. Mr. Childs has about fifty rare clocks in his various homes, one of these costing six thousand dollars.
Here is a marble statuette of Savonarola, the Florentine preacher of the fifteenth century; the little green harp which belonged to Tom Moore, and on which he used to play in the homes of the great; a colossal suit of antique French armor, one hundred and fifty years old; a miniature likeness of George Washington, handsomely encased in gold, bequeathed by him to a relative, a lock of his hair in the back of the picture; a miniature ship, made from the wood of the Alliance Frigate, the only one of our first navy, of the class of frigates, which escaped capture or destruction during the Revolutionary war. This boat, and a silver waiter, presented after the famous battle of New Orleans, were both the property of President Jackson, and were taken by him to the Hermitage. Here, also, is a photograph of "Old Ironsides" Stewart, in a frame made from the frigate Constitution, in which great victories were achieved, besides many portraits given by famous people, with their autographs.
After a delightful hour spent in looking at these choice things, Mr. Childs bids us take our choice of some rare china cups and saucers. We choose one dainty with red birds, and carry it away as a pleasant remembrance of a princely giver, in a princely apartment.
Mr. Childs has had a most interesting history. Born in Baltimore, he entered the United States navy at thirteen, where he remained for fifteen months. At fourteen he came to Philadelphia, poor, but with courage and a quick mind, and found a place to work in a bookstore. Here he remained for four years, doing his work faithfully, and to the best of his ability. At the end of these years he had saved a few hundred dollars, and opened a little store for himself in the Ledger Building, where the well-known newspaper, the "Public Ledger," was published.
He was ambitious, as who is not, that comes to prominence; and one day he made the resolution that he would sometime be the owner of this great paper and its building! Probably had this resolution been known, his acquaintances would have regarded the youth as little less than crazy. But the boy who willed this had a definite aim. Besides, he was never idle, he was economical, his habits were the best, and why should not such a boy succeed?
In three years, when he was twenty-one, he had become the head of a publishing house, – Childs & Peterson. He had a keen sense of what the public needed. He brought out Kane's "Arctic Expedition," from which the author, Dr. Kane, realized seventy thousand dollars. Two hundred thousand copies of Peterson's "Familiar Science" were sold. Allibone dedicated his great work, "Dictionary of English and American Authors," to the energetic and appreciative young publisher.
He had now acquired wealth, sooner almost than he could have hoped. Before him were bright prospects as a publisher; but the prize that he had set out to win was to own the "Public Ledger."
The opportunity came in December, 1864. But his paper was losing money. His friends advised against taking such a burden; he would surely fail. But Mr. Childs had faith in himself. He expected to win where others lost. He bought the property, doubled the subscription rates, lowered the advertising, excluded everything questionable from the columns of his paper, made his editorials brief, yet comprehensive, until under his judicious management the journal reached the large circulation of ninety thousand daily. For ten years he has given the "Ledger Almanac" to every subscriber, costing five thousand dollars annually. The yearly profits, it is stated, have been four hundred thousand dollars. All this has not been accomplished without thought and labor.
Fortune, of course, had come, and fame. He built homes, elegant ones, in Philadelphia and at Newport, but these are not simply places in which to spend money, but centres of hospitality and culture.
His library is one of the most charming places in this country. The wood-work is carved ebony with gold, the bookshelves six feet high on every side, and the ceiling built in sunken panels, blue and gold. In the centre is a table made from ebony, brought from Africa by Paul du Chaillu. One looks with interest upon the handsome volumes of the standard authors, but other things are of deeper interest.
Here is an original sermon of Rev. Cotton Mather; the poems of Leigh Hunt, which he presented to Charles Dickens; the original manuscript of Nathaniel Hawthorne's "Consular Experiences"; the first edition of the "Scarlet Letter," with a note to Mr. Childs from the great novelist; Bryant's manuscript of the "First Book of the Iliad"; James Russell Lowell's "June Idyl," begun in 1850 and finished eighteen years afterward; the manuscript of James Fenimore Cooper's "Life of Captain Richard Somers"; and Edgar Allan Poe's "Murders in the Rue Morgue," seventeen pages of large paper written small and close.
Here is an autograph letter from Poe, in which he offers to his publishers thirty-three short stories, enough to fill two large volumes, "On the terms which you allowed me before; that is, you receive all profits and allow me twenty copies for distribution to friends." From this it seems that Poe had the usual struggles of literary people.
One of the most unique things of the library is the manuscript of "Our Mutual Friend," bound in fine brown morocco. The skeleton of the novel is written through several pages, showing how carefully Dickens thought out his plan and his characters; the paper is light blue, written over with dark blue ink, with many erasures and changes. Here are also fifty-six volumes of Dickens' works, with an autograph letter in each, from the author to Mr. Childs. Here is Lord Byron's desk on which he wrote "Don Juan." Now we look upon the smallest book ever printed, Dante's "Divina Commedia," bound in Turkey gilt, less than two and one-fourth inches long by one and one-half inches wide.
The collection of Mr. and Mrs. S. C. Hall, now the property of Mr. Childs, letters and manuscripts from Lamb, Hawthorne, Mary Somerville, Harriet Martineau, Coleridge, Wordsworth, Browning, and hundreds of others, is of almost priceless value. In 1879 Mrs. Hall gave the Bible of Tom Moore to Mr. Childs, "an honored and much loved citizen of the United States, as the best and most valuable offering she could make to him, as a grateful tribute of respect, regard, and esteem."
Another valuable book is made up of the portraits of the presidents, with an autograph letter from each. Dom Pedro of Brazil sent, in 1876, a work on his empire, with his picture and his autograph. George Peabody sat for a full-length portrait for Mr. Childs. The album of Mrs. Childs contains the autographs of a great number of the leading men and women of the world.
One could linger here for days, but we must see the lovely country-seat called "Wootton," some distance out from the city. The house is in Queen Anne style, surrounded by velvety lawns, a wealth of evergreen and exquisite plants, brought over from South America and Africa. The farm adjoining is a delight to see. Here is the dairy built of white flintstone, while the milkroom has stained glass windows, as though it were a chapel. The beautiful grounds are open every Thursday to visitors.
Here have been entertained the Duke and Duchess of Buckingham, the Duke of Sutherland, Lord Rosse, Lord Dufferin, Sir Stafford Northcote, Herbert Spencer, John Waller, M.P., of the "London Times," Dean Stanley, Thomas Hughes, Dickens, Grant, Evarts; indeed, the famous of two hemispheres.
With all this elegance, befitting royalty, Mr. Childs has been a constant and generous giver. For his own city he was one of the foremost to secure Fairmount Park, and helped originate the Zoölogical Gardens, the Pennsylvania Museum, and the School of Industrial Arts. He gave ten thousand dollars for a Centennial Exposition. He has been one of General Grant's most generous helpers; yet while doing for the great, he does not forget the unknown. He gives free excursions to poor children, a dinner annually to the newsboys, and aids hundreds who are in need of an education.
He has placed a stained glass window in Westminster Abbey, in commemoration of George Herbert and William Cowper; given largely to a memorial window for Thomas Moore at Bronham, England; for a stone to mark Leigh Hunt's resting-place in Kensal Green; and toward a monument for Poe.
Mr. Childs has come to eminence by energy, integrity, and true faith in himself. He has had a noble ambition, and has worked towards it. He has proved to all other American boys that worth and honest dealing will win success, in a greater or less degree. That well-known scientist, Prof. Joseph Henry, of the Smithsonian Institute, said, "Mr. Childs is a wonderful man. His ability to apply the power of money in advancing the well-being of his fellow-men is unrivalled. He is naturally kind and sympathetic, and these generous feelings are exalted, not depressed, by his success in accumulating a fortune… Like man in the classification of animals, he forms a genus in himself. He stands alone; there is not another in the wide world like him."
Mr. Childs died at 3.01 A.M. February 3, 1894 from the effects of a stroke of paralysis sustained at the Ledger office on January 18. He was nearly sixty-five years of age. He was buried on February 6, in the Drexel Mausoleum in Woodland Cemetery beside his life long friend.
