Philip Gilbert Hamerton Part 32

"26th. Walked with Mr. Appleton to Pre-Charmoy in the morning. In the afternoon took him to Autun and showed him the Roman arches, the Gothic walls, the cathedral, the Chemin des Tours, etc., etc. A very pleasant day. We got home in time for dinner, found the boys at home, and talked till one in the morning.

"27th. Took Mr. Appleton to the railway in the morning, with regrets, and a certain sadness on account of his health."

Mr. Appleton was on his way to Egypt by his doctor's advice. He was singularly amiable and sympathetic. He thought, and said simply, that very likely he had not long to live, and dared not marry on that account, though he often felt solitary. He suffered from asthma, and could only sleep with the windows of his bedroom wide open, and a bright wood fire burning in the chimney.

He had promised to pay us another visit if he were spared, but alas! we never saw him again.

As the biographies advanced, the author grew uncertain about the t.i.tle he would give them. It could not be "Celebrated Frenchmen," because some of them would not exactly answer to the qualification. He had thought of "Earnest Frenchmen," but Mr. Seeley objected, and said, "The word 'earnest' has got spoilt. It was used over and over again till it got to sound like cant, and then people began to laugh at it. How would 'Modern Frenchmen' do?" It was deemed a perfectly suitable t.i.tle, and given to the book.

At the end of the summer Mr. Seeley and his wife paid us a flying visit on their way back from Switzerland. It was a great pleasure to see them again.

Shortly after them M. Brunet-Debaines came, and I could not help directing my husband's attention to the simplicity of his arrangements for working from nature; a small stool, upon which was fixed a canvas or a drawing-board, and a color-box, were all he required; however, I was told that "wants varied with individuals."

Hitherto Mr. Hamerton's plan about painting had been to begin several pictures at once, to allow them to dry; but now he was sick of remaining so long over the same pieces of work, and he decided to paint only two pictures at a time, and to use drying materials.

He had succeeded in mastering the technicality of charcoal drawing, and had made an arrangement with the Autotype Company for the reproduction of some drawings in this medium.

CHAPTER XIV.

1878-1880.

"Marmorne."--Paris International Exhibition.--"Modern Frenchmen."

--Candidature to the Watson Gordon Chair of Fine Arts.--The Bishop of Antun.--The "Life of Turner."

The important literary works undertaken by Mr. Hamerton in the year 1878 were "Modern Frenchmen" and a "Life of Turner."

The artistic work remained unsatisfactory to the severe self-criticism of the artist, who kept destroying picture after picture, notwithstanding his serious studies and experiments in various modes and methods of painting. He succeeded better with charcoals and monochromes, and sent several finished subjects to be reproduced by the Autotype Company. Mr. S. Palmer wrote about it: "If I had twenty years before me, I should like to spend them on monochromes and _etching_."

In the same letter he went on:--

"Life being spared, your 'Marmorne,' the fame of which had already arrived, is the next reading treat on my list. You call it your 'little book,' a recommendation to me, for, with few exceptions, I have found small books and small pictures the most beautiful, and I doubt not that you know better than myself how much almost all three-volume novels (including Scott's) would be improved, _as works of art_, by condensation into one.

"Both yourself and Mrs. Hamerton are often mentally present with us here: the evening of our first, and, alas! only meeting is among the vivid pleasures of memory, and a repet.i.tion is a cherished pleasure of _hope_. I will only add that I fear you are killing yourself with overwork, and that you should put yourself under a repressive domestic police."

Some time before, my husband had received from G. H. Lewes a letter with this address: "Mr. Adolphus Segrave, care of P. G. Hamerton, Esq., Pre-Charmoy, Autun." George Eliot and Mr. Lewes had been reading "Marmorne," and had never entertained the slightest doubt about the authors.h.i.+p, though the book was published under the a.s.sumed name of Adolphus Segrave. The story had been greatly appreciated by both of them, and especially the style in which it was told. Such high praise was in accordance with what Mr. Palmer had previously said to Mr.

Seeley; namely, that "he considered Mr. Hamerton as the first prose-writer of his time."

It may be remembered that a cousin of my husband's, Mr. H. Milne, had called upon us at Innistrynich, and had since bought his little property. He heard of our last visit to Yorks.h.i.+re, and, not aware of his relative's trouble in regard to railway travelling, had felt hurt at his apparent neglect. Luckily my husband heard of it through his Aunt Susan, and immediately wrote to explain matters. Mr. H. Milne, who had known all about the pecuniary situation, now answered:--

"I can a.s.sure you that it is very pleasing to me to know that your career has been so successful as to enable you to give your sons an education to fit them to grapple with the difficulties people have to meet with nowadays to make them comfortable, and to do so is all the more satisfactory when accomplished by their own exertions. My mother [the lady who served as model and suggestion for Mrs. Ogden in 'Marmorne'] still retains unimpaired all her faculties, and looks much the same as when you were here. We shall celebrate her eighty-sixth birthday on March 15. She really is wonderful, and a marvel to every one, and particularly so to her doctor, who on no occasion has ever prevailed on her to take one drop of medicine, notwithstanding he persists in coming to see her twice a week--for what reasons seems quite past my mother's comprehension."

The pecuniary situation had certainly improved, which was a relief to my husband, for his children were growing up, and losses due to non- remunerative work and ill-health had to be gradually made good. There seemed to be a fate adverse to his making money, even by his most successful works. Here is "Marmorne" as an example, published in America, in England, in France, both in Hachette's "Bibliotheque des meilleurs Romans etrangers," and as a feuilleton in the "Temps," also in the Tauchnitz collection, unanimously well received by the press; said to be "_le_ roman de l'annee" by the "Revue des Deux Mondes," and still bringing considerably less than 200 to the author's purse. It was a great disappointment to the publishers also. Roberts Brothers wrote: "Of 'Marmorne' we have only sold 2,000 copies; there ought to have been 10,000 sold;" and Mr. Blackwood said: "The sales have been rather disappointing to us after the attention and favorable impression the work attracted; we had looked for a larger and more remunerative demand."

The character of the scenery in the Autunois pleased Mr. Hamerton more and more, though it lacked the grandeur of real mountains. He was particularly sensitive to the beauty of its color, which reminded him sometimes of the Scotch Highlands, and was said to be very like that of the Roman Campagna in summer-time. Such notes as the following are frequent in his diary:--

"January 11, 1878. Went to Fontaine la Mere; beautiful drive the whole way. Was delighted with the t.i.tian-like quality of the landscape. Much of the sylvan scenery reminded me of Ruysdael. Took five sketches."

Throughout this year my husband gave a great deal of his time to his aunt's affairs, which were in a deplorable state, owing to the dishonesty of her lawyers; accounts for several years past had to be gone over, cleared up, and settled, and at so great a distance the proceedings involved a heavy correspondence. However, the help given was efficacious, and Miss Hamerton's independence was secured in the end. In the summer Gilbert had to relinquish the river-baths that he enjoyed so much. In the two preceding years he had remarked that he was often unwell and agitated after a swim, but had kept hoping that the effect might be transitory; it was, however, now renewed with growing intensity every time he took a cold bath, so that, with much regret, he had to give them up. He used to say with a shade of melancholy, that we must resign ourselves to the gradual deprivation of all the little pleasures of existence,--even of the most innocent ones,--but that the hardest for him to renounce would be work.

Having borne the journey to England in 1877 without bad results to his health, he now decided to attempt a visit to the Paris International Exhibition. He was very anxious to ascertain the present state of the fine arts all over the globe, and if possible to make the best of this opportunity. On the day appointed for starting, and whilst he was packing up, Mr. R. L. Stevenson just happened to call without previous notice. What a bright, winning youth he was! what a delightful talker!

there was positively a sort of radiance about him, as if emanating from his genius. We had never seen him before; we only knew his works, but he seemed like a friend immediately. Listening to his fluent, felicitous talk, his clear and energetic elocution, his original ideas and veins of thought, was a rare treat, and his keen enjoyment of recovered health and active life was really infectious. He could not remain seated, but walked and smoked the whole of the afternoon he remained with us.

Knowing that he had lately been dangerously ill, I ventured to express my fear that the smoking of endless cigarettes might prove injurious.

"Oh, I don't know," he said; "and yet I dare say it is; but you see, Mrs. Hamerton, as there are only a very limited number of things enjoyable to an individual in this world, _these_ must be enjoyed to the utmost; and if I knew that smoking would kill me, still I would not give it up, for I shall surely die of _something_, very likely not so pleasant." Although the shutters were closed in all the rooms that were not to be used in our absence, they were opened again to let him see the etchings on the walls; for he had a fine taste, not only for the beauties of nature, but also for artistic achievements. We felt it most vexatious to be obliged to leave that very evening, but my husband managed to remain with Mr. Stevenson till the last available minute, by asking me to pack up his things for him. I remember that after reading the "Inland Voyage" I had told my husband how I had been charmed by it, and had begged to be given everything which came from the same pen; but at that time we were afraid that such a delicate and refined talent would not bring popularity to the author; happily we were mistaken,--perhaps only to a certain extent, however,--as his most successful works belong to a later and quite different genre.

At the recommendation of M. Rajon, we went to a quaint little hotel in Paris, near La Muette, well known to artists and men of letters, and patronized, for its quietness, by some of the most famous, being usually let in apartments to persons who brought their own servants with them.

Its situation, close to the Bois de Boulogne, made our returns from the exhibition easy and pleasant--so easy, indeed, that when we had to spend the evening in Paris, and could find no carriage to take us there, we merely went back to our headquarters, where we had the choice of railway, tramways, and omnibuses for every part of Paris.

According to our promise we went to meet M. Rajon at his studio, and amongst other things saw a beautiful portrait of him, which, however, was so much flattered that for some time I hesitated about the likeness.

He was represented on horseback, with a long flowing cloak, and a sombrero casting a strong shadow over one of his eyes, which was afflicted with a weakness of the eyelid, which kept dropping down so frequently that the pupil was seldom seen for any time; the horse was a thoroughbred; two magnificent greyhounds (the originals we could admire, at rest upon a raised platform of carved oak and red cus.h.i.+ons) ran alongside of him, and this tall-looking, dignified, romantic rider was--little, spare, merry M. Rajon. Gossip whispered that he had been somewhat intoxicated by his sudden fame, and had been, for a while, desirous of showing off, so that he had brought back from England the thoroughbred and the greyhounds to be noticed in the "Allee des Cavaliers," but that not having been accustomed to sit a horse before, his thoroughbred had flung him against a tree so severely that the taste for equitation had gone out of him for ever. Be this as it may, M. Rajon was far from being vainglorious; he knew his value as an artist, frankly and openly enjoyed his success, but remained simple, urbane, and courteous. He told us that he could only give _two hours_ a day to original work, and that his mother (a simple woman for whom art remained an incomprehensible mystery) could not admit this limitation. At that time he was spending money rather lavishly--giving _fetes_ in his studio to celebrated actors and actresses, musicians, singers, poets, and artists, and the expenses were sometimes a cause of momentary embarra.s.sment; then his simple mother would say: "Why need you trouble yourself about it? You work very little--then work twice as much, which won't tire you, and you'll have twice as much money." She could not, he said, be made to understand that this prolonged labor would be worthless, because the inspiring flame would be burned out.

Mr. Woolner arrived in Paris a few days after Mr. Hamerton, and they spent a whole day together in the sculpture galleries of the Louvre. Mr.

Woolner remembered that old Madame Mohl, having read my husband's works, had expressed a wish to renew the acquaintance of former days, and would be glad to see us both at tea-time--any day that might suit us.

A week later we called upon the wonderfully preserved old lady, who was delighted to receive a visit from a rising celebrity--though a host of celebrities had pa.s.sed through her drawing-room. She complained of being _delaisee_ by the young generation. Still, she remained lively and gracious; her quick intelligence and ready memory were unimpaired by her great age, and it was with eagerness that she seized upon another opportunity for narrating her treasured-up stories of renowned people, particularly of the two Amperes, whom she had known intimately. She was still living in the same house that they had inhabited together, when Mr. Mohl kindly gave them the benefit of his more practical sense in household management. Madame Mohl was rather severe about Jean Jacques Ampere, whom she called a "young c.o.xcomb," and "an egotist." She was not sentimental, and had no sympathy with or pity for the love so long faithful to Madame Recamier; nay, I thought I could detect in her strictures the unconscious feminine jealousy of a lady whose salon had been forsaken by one of its "lions" for a more attractive one, and who had resented it bitterly. But Andre Marie Ampere she praised unreservedly, with the warmth of most exalted admiration.

It was very funny to see the little lady curled up on a couch, propped by cus.h.i.+ons, running over her strings of memories with pleased alacrity, then jumping down in her stockings to pour out tea for her guests in utter disregard of her shoes, which lay idly by the sofa, even when we took leave of her; and as she accompanied us to the door, the white stockings conspicuously displayed themselves at every step, without the slightest attempt at concealment. (At that time black stockings would have been thought an abomination.)

Almost every morning saw Mr. Hamerton in the exhibition before the crowd of visitors arrived, so that he was able to study in peace and profitably. He had had a card-case, and cards of a convenient size and thickness, made especially to take notes upon, and he devoted a separate card to every picture worth studying. It was a very convenient plan, with alphabetical cla.s.sification for references; every time he went he took with him a fresh supply, and was not enc.u.mbered with those he had already filled up.

Generally some etcher met him by appointment, and together they selected pictures to be reproduced for the "Portfolio." His evenings were mostly taken up by invitations; and it was well for his wife that she had been mercifully exempted by nature from jealous tendencies, for the ladies paid the author of "Marmorne" such a tribute of admiration that he was sometimes abashed by their fervor, yet never intoxicated. Friends had repeatedly told him that he could win the hearts of men, and if women dared not say as much of themselves, they let him see that he exercised a great and healthy influence over them too; he also enjoyed their society, and though he did not mean it to be a flattery, they accepted it as such.

Amongst artists and men of letters he was acknowledged as a writer of genuine worth and extensive acquirements. There is a proof of it in a letter addressed to him by M. Veron, editor of "L'Art," on merely _guessing_ that Mr. Hamerton must be the writer of a criticism of his "Esthetique" in the "Sat.u.r.day Review."

"PARIS, 11 9_bre_, 1878.

"CHER MONSIEUR,--On me communique une revue tres remarquable de la 'Sat.u.r.day Review' sur mon 'Esthetique.' Ce qui distingue cet article c'est une serieuse connaissance du sujet et une puissance d'a.n.a.lyse des plus rares. Cela ne ressemble en rien a ces generalites vagues et flottantes dont se contentent la plupart des ecrivains qui font de la critique dans la revue des journaux. Aussi ai-je eprouve a etre loue par un pareil homme une jouissance infiniment plus vive que celle qu'auraient pu me procurer des eloges beaucoup plus hyperboliques, mais moins competents.

"Cet homme, je suppose que c'est vous. Si je ne me trompe pas, permettez-moi de vous dire que je me sens singulierement heureux de me rencontrer en fait d'esthetique avec un ecrivain capable de raisonner sur ces questions comme l'a fait l'auteur de l'article de la 'Sat.u.r.day Review.'"

More acquaintances amongst artists were made during his stay in Paris, including Bracquemond, Protais, Feyen-Perrin, Waltner, Lhermitte, and Munkacsy.

Having finished his work in the exhibition, my husband went home to write a notice of it for the "International Review." In the course of November his eldest son Stephen pa.s.sed a successful examination for the second part of the Baccalaureat-es-Lettres, and as the boy was now to study at home, his father frequently employed him to write letters under his dictation. It was very good practice for Stephen, and spared his father's time for painting and drawing.

At the beginning of 1879, Mr. R. L. Stevenson had sent a ma.n.u.script to Mr. Hamerton, with a request that he would read it, and recommend it to a publisher if it were thought worth the trouble. It was appreciated, and a successful sale expected. In the interest of Mr. Stevenson, my husband advised him to sacrifice the idea of immediate payment, and to retain the copyright, hoping that it would prove more advantageous.

However, the young author preferred the ready cash, which he may have been in need of; nevertheless acknowledging afterwards that it would have been preferable to have acted according to the sound advice given at the time.

As our daughter was fast developing a talent for music, her father felt tempted to resume the practice of the violin regularly, and they often played duets and sonatas together; but the difficulty--nay, the impossibility--of finding time for the prosecution of all the studies he had undertaken was a source of oft-recurring discouragement, because unavoidably he had to replace one by another now and then, it being impracticable to carry them on _de front_. Sometimes he complained, good-humoredly, that I rather discouraged than encouraged him about music--which was certainly true, for well knowing that to become a violinist of any skill involves years and years of regular and steady practice, I was adverse to this additional strain, leading to no adequate reward. I well knew it could not be sustained, and would have to give way to pressure from other quarters--writing, painting, etching, or reading. The study of Italian had also been vigorously resumed, so that in the diary I see this note regularly: "Practised Spohr and Kreutzer, or Beethoven. Read Dante." I also find the following in April: "Spent the greater part of the day in planning my new novel with Charles (his brother-in-law). Worked on plan of my novel, and modified it by talking it over with my wife," I did not like the plan, which, in my opinion, went too much into the technicalities and details of a young n.o.bleman's education; I feared they might prove tedious to the reader; in consequence there is a new entry a week later: "Improved plan of novel with wife. Now reserve mornings exclusively for it, or it will never be finished at all. Make this a fixed rule."

At the end of April some monochromes had been sent for reproduction, but he was greatly disappointed with them, as may be seen by the diary:--

"May 31. Had a great deal of trouble this month about reproductions of drawings in autotype. Dissatisfied with the reproductions of the oil monochromes, which came coa.r.s.e, with thousands of false specks of light.

The surface of a drawing should be _mate_ for autotype reproduction.

This led me to make various experiments of various kinds, and the latest conclusion I have arrived at is something like drawing on wood; that is, pencil or chalk, going into detail, and sustained by washes of Indian ink, and relieved by touches of Chinese white. The whole business. .h.i.therto has been, full of difficulties of various kinds."