Garcia the Centenarian And His Times Part 21

In the present state of our knowledge of such matters, it is rather startling to remember that two and a half centuries ago the famous physician of Norwich, Sir Thomas Brown, thought it a part of his duty, as an advanced teacher of his contemporaries, to devote a chapter of one of his books to stating and proving that food and drink did not descend into the body by two separate tubes. It appears that at that date the majority of the British public actually believed that, as Nature had placed two pipes in the neck, solids were transmitted by one and fluids by the other during the ordinary act of swallowing.

Most people nowadays are aware that the vibrations of the elastic bands, of which there is one on each side beneath the membrane of the upper part of the larynx, produce the sounds of the voice by their effect on the air issuing from the lungs. Certain qualities of tone, and of course the pitch of a note, are determined by their length and tension, while the special characteristics which make the voice of each individual definitely recognisable are due to the varied forms of the several parts of the throat, nose, mouth, &c., above that level. Again, the "breaking"

of the voice of a boy on reaching the threshold of adolescence is due to the mechanical effect of the elongation of the elastic bands above referred to--so-called "vocal cords,"--produced by the forward growth of the cartilages of the larynx which determine the formation of the "Adam's apple." All these simple facts were absolute mysteries previously to the enlightening device of Manuel Garcia.

Though Czermak took up the laryngoscope and added to its general feasibility by the introduction of artificial light, it still had many obstacles to overcome, but in this it only shared the common fate of all innovations. A number of the men who bore the heat of the day in the early time of storm and stress are still alive, and must rejoice in the fulness of recognition which their speciality has gained.

Intralaryngeal medication and surgery soon followed the discovery of the diagnostic properties, and its principles were extended to the elucidation and treatment of diseases of the parts situated between the nose and throat.

Professor Osler has told us that if we take the sum of human achievement in science and the arts, and subtract the work of those above forty, "while we should miss great treasures, even priceless treasures, we should practically be where we are to-day." The achievement of Garcia supplies a striking comment on these hasty words. He was ten years over the limit fixed by the professor when by his invention he opened up a new world to scientific exploration. Subtract the laryngoscope from medicine, and what a gap is left in modern methods of diagnosis and treatment! Before its invention threw light into places which had been dark since the birth of the human race, the larynx was an undiscovered country, and its diseases lay beyond the limits of medical art.

"Had Garcia's work ended when he was forty, we should still not improbably be powerless to deal with functional aphonia, with laryngeal growths, with tuberculosis of the larynx, and with many conditions in the upper air-pa.s.sages which can now be treated satisfactorily, because they can be seen. What is more important, we should be without a means of diagnosis which has proved invaluable in the detection of unsuspected disease of the brain and in the elucidation of obscure mediastinal affections. Abductor paralysis of a vocal cord is often the only appreciable symptom in the early stage of tabes, and it may give the key to the situation of a growth in the fourth ventricle, the medulla, or the cerebellum. Faint appearances, discoverable only by laryngosocopy, may furnish the first indication of pulmonary tuberculosis before any physical signs are present. The state of the larynx, in fact, is often a danger-signal to those who can read its meaning. The laryngoscope may also reveal the presence of an aortic aneurism or a mediastinal tumour.

Its value in medicine is greater than that of the ophthalmoscope, because its application is wider, and the indications which it supplies are often more definite."

While touching general medicine at many points, laryngology is also to a large extent an autonomous territory in the great federation of the human organism. The extensions of Garcia's discovery which have been made in so many directions, have given it a field of usefulness vaster than was dreamt of by those who first applied the laryngoscope to medicine.

As to the development of the instrument, Manuel Garcia, the discoverer of the hidden land, attained his results by the most simple means. He merely placed the little dentist's mirror (previously heated) with a long handle against the uvula, holding it at an angle of 135 degrees, and then, by means of an ordinary hand-mirror, flashed a ray of sunlight upon its surface. Next Czermak and Turck took the matter up, and made certain improvements in the instrument, subst.i.tuting artificial light so as to render it useful independently of the sun. The laryngoscope was illumined by a concave mirror fastened to the forehead of the observer.

This mirror received the rays of a lamp situated close to the head of the subject, and focussed their concentrated light on to the laryngoscope. The position to be given to the patient was definitely fixed by these workers.

With the advent of electric light fresh perfections were introduced; while in 1896 Kirstein, of Berlin, discovered a novel method of laryngeal investigation which led to the establishment by Killian, in 1902, of a new method of "bronchoscopy," which permits of the direct exploration of the "bronchiae."

But all these discoveries are only a continuation of that invention which a.s.sures to Garcia a glorious name in the history of medicine.

With the advent of March 17, 1905, which saw not only Manuel Garcia's hundredth birthday, but the fiftieth anniversary of this discovery, the acorn which he had planted in the middle of the nineteenth century had grown to a stately and wide-branching oak-tree. We shall see later, when we come to the description of this event, how medical representatives from every part of the world combined to do honour to him as the author of a most fruitful addition to the resources of medical art and as the initiator of a great advance in medical science. It must have brought the centenarian a great and justifiable pride when on that day he looked on the representatives of the Laryngological societies encircling the world, who united to call him Father.

CHAPTER XV.

CHARLES SANTLEY AND ANTOINETTE STERLING.

(1857-1873.)

1841 became a memorable date in the earlier period of Manuel Garcia's career as a teacher, as bringing Jenny Lind to his studio in Paris. In the same way, 1857 stood out in the later portion, as bringing to him the first pupil in London who was to achieve a world-wide reputation, Sir Charles Santley. In making this statement I leave out of account Julius Stockhausen, since his lessons had been commenced in Paris.

The circ.u.mstances which brought about the advent of Santley are related in his 'Reminiscences':--

"One morning in the autumn of 1857 I received a message to go round to Chorley's house immediately, as he had something of importance to communicate. It was to the effect that Hullah was going to perform the 'Creation': he could not offer me any terms, but if I was satisfied with this opportunity of making an appearance in public, he would be pleased to accept my services to sing the part of Adam."

Santley accepted at once, having only a few weeks before returned from Italy, where he had been studying under Nava.

"I went to try over the duet with the lady who was to represent my _malheureuse cotelette_, and found someone seated in the drawing-room, who made me a distant bow on my entrance. After a few moments' hesitation I ventured to remark, 'Miss----, I presume.'

'No,' she replied, 'I am Miss Messent, and I understand I am to have the pleasure of singing the duets in the last part of the "Creation" with you. Miss---- was to have sung them, but for some unexplained reason has given up the engagement.'"

The reason the baritone only learned some years after. Miss---- had made a small reputation already, which she declined jeopardising by singing duets with a young man fresh from Italy.

"I dined with Chorley on the evening of the concert, and met Manuel Garcia, who accompanied us to St Martin's Hall.

"I succeeded better than I had dared to hope. When I walked home with Chorley and Garcia after the performance, the latter expressed himself as pleased, but pointed out certain defects to be overcome, at the same time offering to render me any a.s.sistance in his power."

It was an offer of which Santley promptly availed himself, and he commenced lessons forthwith, the maestro being at the time in his fifty-third year, his pupil a lad of twenty-three. The profit which was received during those lessons the baritone has never forgotten. As to his personal memories of the maestro,--"It would require a whole book to say what I should be bound to say," he wrote to me in a letter during the preparation of the present memoir.

The feelings with which the world-renowned baritone regards his old master may best be summed up in the words inscribed on the photograph which used to stand on the grand piano in Senor Garcia's home: "To the King of Masters." Moreover, I remember his remarking one day, while I was studying under the maestro, "You are learning from the greatest teacher the world has ever known." Nor is he less ardent in his admiration for Mme. Viardot-Garcia. "No woman in my day has ever approached her as a dramatic singer," he once said; "she was perfect, as far as it is possible to attain perfection, both as vocalist and actress."

Santley is himself remarkable as a man no less than as an artist. After having made a name which will ever be honoured and reverenced throughout the musical world for high ideals n.o.bly sustained, he is, though over seventy, still able to make before the public occasional appearances, in which he shows how the old Italian method, coupled with a fine intellect and dramatic instinct, can triumph over mere weight of years. As one listens it seems impossible to believe that a man who sings to-day with all the fire, vigour, and pa.s.sion of youth, can have been before the public for anything like so long a period as half a century. Up to the present time Sir Charles Santley remains unquestionably the greatest baritone this country has produced.

[Ill.u.s.tration: _Photo by Chancellor, Dublin._]

Shortly after Santley had commenced lessons under the renowned teacher, he received an invitation to a party at Chorley's to meet a pupil of Garcia, Gertrude Kemble, who was about to make her _debut_ at St Martin's Hall in the Christmas performance of the "Messiah."

"I would have much preferred staying at home with a book," he writes. "I had made my first appearance at the Crystal Palace in the afternoon, and felt depressed with the poor impression I had made. The party, which had been arranged to give Miss Kemble an opportunity of singing before a small a.s.sembly previously to confronting the larger audience at St Martin's Hall, included the famous Adelaide Kemble, Virginia Gabriel, John Hullah, Mr and Mrs Henry Leslie, and others.

"I felt great sympathy for the poor trembling girl who was about to undergo an ordeal for which she was not physically prepared. I learned afterwards her voice had been much strained by an incompetent professor during her long residence in Hanover. Manuel Garcia had done wonders with it since her return to England, but she still had great difficulty in controlling the upper register, which naturally added considerably to her nervousness. Nevertheless she sang exceedingly well and with great intelligence.

"This party," he concludes, "which I would willingly have s.h.i.+rked, proved a very important event for me,--in less than eighteen months Miss Kemble became my wife."

The year 1859 was memorable for the fine work of Garcia's two pupils--Pauline Viardot and Battaille. The former revived Orphee, and achieved so great a success in the part that it stood out afterwards as one of her most famous _roles_. The latter brought out a book on singing which reflected the greatest credit not only on himself but on the maestro from whom he had received inspiration and knowledge.

The next year, which saw the capture of Pekin in far-off China, brought with it a strange coincidence. As we have seen, some improvements in the laryngoscope had followed its invention, due to the labours of Turck and the experimental skill and ac.u.men of Czermak, and in due course questions of priority became a bone of contention, as they had done nearly two decades previously in connection with Senor Garcia's 'Memoire sur la Voix humaine.'

For the annual prize awarded in 1860 by the Paris Academy of Sciences, under the Montyon foundation, Turck and Czermak submitted contributions on the art of laryngoscopy. But nice points of priority were brushed aside by the Academy, and to each there was awarded a "mention honorable," accompanied by a gift of money.

This action seems to have prompted Garcia to put forward a claim for the prize in Experimental Physiology to be awarded for the year 1861.

Accordingly he presented a memoir, in which he recapitulated his pioneer work, and expressed the hope that the favours meted out to the before-mentioned authors might be extended to himself. The matter does not, however, appear to have gone any further.

In this year another of his famous pupils, Mathilde Marchesi, brought out a book on singing, 'L'ecole du Chant,' founded on her master's teaching, and with it achieved notable success.

With 1862 there came the first tardy recognition which Manuel Garcia received from the medical world for the inestimable boon which he had conferred on them by his invention: the diploma of Doctor of Medicine, _honoris causa_, was bestowed on him by the University of Konigsberg.

But as the year brought in its train this pleasure, so, too, it had its compensating sorrow, for on the 10th of May, at Saint-Josse-ten-Noode in Belgium, his mother pa.s.sed away at the ripe old age of eighty-four.

1868, in which Disraeli a.s.sumed the helm of State as Prime Minister, saw the advent of Antoinette Sterling, who came on to Garcia from Cologne, where she had been studying under Mathilde Marchesi.

The letter which the maestro sent to Signor Marchesi, after hearing the contralto, I am able to quote:--

_Translation._

LONDON, _July_ 17, 1864.

_To_ SIGNOR S. DE C. MARCHESI, Professor at the Conservatoire of Music, Cologne.

MOST ESTEEMED SIGNOR MARCHESI,--Miss Sterling, whom I have already heard several times, possesses a beautiful voice, but she is still a beginner. In every way I will do what little I can to continue the very excellent direction given to the studies of the young lady by your wife, to whom I beg you to present my most distinguished salutations. Pray accept the same yourself from your sincere friend,

MANUEL GARCIA.

I am very grateful for the recommendation. Farewell.

Antoinette Sterling ever regarded Senor Garcia with the greatest affection and esteem, and used to delight in recalling the following memories of the days when she had studied with him. I have set them down before in the little memoir of her career already published.