Cambridge Sketches Part 6

Cranch did not feel that this was very complimentary, but a few days later there came an invitation for Mr. and Mrs. Cranch to spend the day at Concord. Emerson met them at the railway station with his carryall. He had on an old cylinder hat which had evidently seen good service, and yet became him remarkably. He was interested to hear what George William Curtis thought about politics, and to find that it agreed closely with the opinion of his friend, Judge h.o.a.r. The Cranchs had a delightful visit.

Cranch's baritone voice was like his poem, the "Riddle," deep, rich and sonorous. He might have earned a larger income with it, perhaps, than he did by writing and painting. He sang comic songs in a manner peculiarly his own,--as if the words were enclosed in a parenthesis,--as much as to say, "I do not approve of this, but I sing it just the same," and this made the performance all the more amusing. He sang Bret Harte's "Jim" in a very effective manner, and he often sang the epitaph on Shakespeare's tomb,

"Good friend, for Jesus sake forbeare,"

as a recitative, both in English and Italian,--_In questa tomba_.

He seemed to bring out a hidden force in his singing, which was not apparent on ordinary occasions. His reading of poetry was also fine, but he depended in it rather too much on his voice, too little on the meaning of the verse. It was not equal to Celia Thaxter's reading.

The same types of physiognomy continually reappear among artists. William M. Hunt looked like Horace Vernet, and Cranch in his old age resembled the Louvre portrait of Tintoretto, although his features were not so strong. He used to say in jest that he was descended from Lucas Cranach, but that the second vowel had dropped out. He cared as little for the fas.h.i.+ons as poets and artists commonly do, but there was no dandy in Boston who appeared so well in a full dress suit.

In 1873 the Velasquez method of painting was in full vogue at Boston.

Cranch did not believe in imitations, or in adopting the latest style from Paris, and he set himself against the popular hue-and-cry somewhat to his personal disadvantage. Charles Perkins and the other art scholars who founded the Art Museum in Copley Square were all on Cranch's side, but that did not seem to help him with the public. "They cannot bend the bow of Ulysses," said Cranch in some disgust. He preferred Murillo to Velasquez, and once had quite an argument with William Hunt on the subject in Doll & Richards's picture-store. Hunt a.s.serted that there was no essential difference between a sketch and a finished picture,--he might have said there was no difference between a boy and a man,--that all the artist needed was to express himself, and that it was immaterial in what way he did so. Cranch thought afterwards, though unfortunately it did not occur to him at the moment, that the test of such a theory would be its application to sculpture. He wondered what Raphael would have thought of it.

It was quite a grief to Cranch that his own daughter, who inherited his talent, should have deserted him at this juncture, and gone over to the opposition. She filled his house with rough, heavily-shaded studies of still-life, flowers, and faces of her friends; but of all Hunt's pupils, Miss Cranch, Miss Knowlton, and Miss Lamb were the only ones who achieved artistic distinction in their special work.

It was in order to withdraw her from this Walpurgis art-dance that Cranch undertook his last journey to Paris in his seventieth year. There the young lady quickly dropped her Boston method, and, acquiring a more conservative handling, became an excellent portrait painter; too soon, however, obliged to relinquish her art on account of ill-health.

Cranch's landscapes now adorn the walls of private houses; very largely the houses of his numerous friends. He did not paint in the fas.h.i.+on of the time, but like Millet followed a fas.h.i.+on of his own; and I do not know of any of his pictures in public collections, although there are many that deserve the honor. The best landscape of his that I have seen was painted just before his last visit to Paris. It represents a low- toned sunset like the "Two Oaks"; an autumnal scene on a narrow river, with maples here and there upon its banks. The sky is covered by a dull gray cloud, but in the west the sun s.h.i.+nes through a low opening and gives promise of a better day. The peculiar liquid effect of the setting sun is wonderfully rendered, and the rich browns and russets of the foliage lead up, as it were, like a flight of steps to this final glory, --a restful and impressive scene. This landscape is not painted in the smooth manner of the "Two Oaks," but with soft, flakelike touches which slightly remind one of Murillo. Its coloring has the peculiarity that artificial light wholly changes its character, whereas Cranch's paintings, previous to 1875, appear much the same by electric light that they do in daytime. It is called the "Home of the Wood Duck."

Between 1870 and 1880 he published a number of poems in the _Atlantic Monthly_ as well as a longer piece called "Satan," for which it was said by a certain wit that he received the devil's pay. His two books for young folks, "The Last of the Huggermuggers" and "Kobboltozo," ought not to be overlooked, for the ill.u.s.trations in them are the only remains we have of his rare pencil drawings, as good, if not better, than Thackeray's drawings.

It is likely that the parents read these stories with more pleasure than their children; for they not only contain a deal of fine wit, but there is a moral allegory running through them both. An American vessel is wrecked on a strange island, and the sailors who have escaped death are astonished at the gigantic proportions of the sand and the sea-sh.e.l.ls, and of the bushes by the sh.o.r.e. Presently the Huggermuggers appear, and the American mariners in terror run to hide themselves; but they soon find that these giants are the kindliest of human beings. There are also dwarfs on the island, larger than ordinary men, but small compared with the Huggermuggers. They are disagreeable, envious creatures, who wish to ruin the giants in order to have the island more entirely to themselves.

Having accomplished this in a somewhat mysterious manner, they attempted to improve their own stature by eating a certain sh.e.l.l-fish which had been the favorite food of the giants; but the sh.e.l.l-fish had also disappeared with the Huggermuggers, and after searching for it a long time they finally summoned the Mer-King, the genius of the sea, who raised his head above the water in a secluded cove and spoke these verses:

"Not in the Ocean deep and clear, Not on the Land so broad and fair, Not in the regions of boundless Air, Not in the Fire's burning sphere-- 'Tis not here--'tis not there: Ye may seek it everywhere.

He that is a dwarf in spirit Never shall the isle inherit.

Hearts that grow 'mid daily cares Come to greatness unawares; n.o.ble souls alone may know How the giants live and grow."

This is an allegory, but of very general application; and it has more especially a political application. Cranch may have intended it to ill.u.s.trate the life of Alexander Hamilton.

Cranch was not a giant himself, but he knew how to distinguish true greatness from the spurious commodity. Emerson considered his varied accomplishments his worst enemy; but that depends on how you choose to look at it. It is probable enough that if Cranch had followed out a single pursuit to its perfection, and if he had not lived so many years in Europe, he would have been a more celebrated man; but Cranch did not care for celebrity. He was content to live and to let live. Men of great force, like Macaulay and Emerson, who impress their personality on the times in which they live, communicate evil as well as good; but Cranch had no desire to influence his fellow men, and for this reason his influence was of a purer quality. It was like the art of Albert Durer. No one could conceive of Cranch's injuring anybody; and if all men were like him there would be no more wars, no need of revolutions. Force, however, is necessary to combat the evil that is already established.

He died at his house on Ellery Street January 20, 1890, as gently and peacefully as he had lived. There is an excellent portrait of him by Duveneck in the rooms of the University Club, at Boston; but the sketch of his life, by George William Curtis, was refused on the ground that he was an Emersonian. The same objection might have been raised against Lowell, or Curtis himself with equally good reason.

T. G. APPLETON.

Thomas G. Appleton, universally known as "Tom" Appleton, was a notable figure during the middle of the last century not only in Boston and Cambridge, but in Paris, Rome, Florence, and other European cities. He was descended from one of the oldest and wealthiest families of Boston, and graduated from Harvard in 1831, together with Wendell Phillips and George Lothrop Motley. He was not distinguished in college for his scholars.h.i.+p, but rather as a wit, a _bon vivant_, and a good fellow.

Yet his companions looked upon him as a strong character and much above the average in intellect. After taking his degree of Bachelor of Arts he went through the Law School, and attempted to practise that profession in Boston. At the end of the first year, happening to meet Wendell Phillips on the sidewalk, the latter inquired if he had any clients. He had not; neither had Phillips, and they both agreed that waiting for fortune in the legal profession was wearisome business. They were both well adapted to it, and the only reason for their ill success would seem to have been that they belonged to wealthy and rather aristocratic families, amongst whom there is little litigation.

At the same time Sumner was laying the foundation by hard study for his future distinction as a legal authority, and Motley was discussing Goethe and Kant with the youthful Bismarck in Berlin. Wendell Phillips soon gave up his profession to become an orator in the anti-slavery cause; and Tom Appleton went to Rome and took lessons in oil painting.

Nothing can be more superficial than to presume that young men who write verses or study painting think themselves geniuses. A man may have a genius for mechanics; and in most instances men and women are attracted to the arts from the elevating character of the occupation. It is not likely that Tom Appleton considered himself a genius, for although he had plenty of self-confidence, his opinion of himself was always a modest one. He painted the portraits of some of his friends, but he never fairly made a profession of it. However, he learned the mechanism of pictorial art in this way, and soon became one of the best connoisseurs of his time.

His finest enjoyment was to meet with some person, especially a stranger, with whom he could discuss the celebrated works in the galleries of Europe. He soon became known as a man who had something to say, and who knew how to say it. He told the Italian picture-dealers to cheat him as much as they could, and he gave amusing accounts of their various attempts to do this. He knew more than they did.

After this time he lived as much in Europe as he did in America. Before 1860 he had crossed the Atlantic nearly forty times. The marriage of his sister to Henry W. Longfellow was of great advantage to him, for through Longfellow he made the acquaintance of many celebrated persons whom he would not otherwise have known, and being always equal to such occasions he retained their respect and good will. One might also say, "What could Longfellow have done without _him_?" His conversation was never forced, and the wit, for which he became as much distinguished in social life as Lowell or Holmes, was never premeditated, often making its appearance on unexpected occasions to refresh his hearers with its sparkle and originality.

In the "Autocrat of the Breakfast Table" Doctor Holmes quotes this saying by the "wittiest of men," that "good Americans, when they die, go to Paris." Now this wittiest of men was Tom Appleton, as many of us knew at that time. He said of Leonardo da Vinci's "Last Supper" that it probably had faded out from being stared at by sightseers, and that the same thing might have happened to the Sistine Madonna if it had not been put under gla.s.s,--these being the two most popular paintings in Europe. His fund of anecdotes was inexhaustible.

Earlier in life he was occasionally given to practical jokes. A woman who kept a thread and needle store in Boston was supposed to have committed murder, and was tried for it but acquitted. One day, as Appleton was going by her place of business with a friend he said: "Come in here with me; I want to see how that woman looks." Then surveying the premises, as if he wished to find something to purchase, he asked her if she had any "galluses" for sale,--gallus being a shop-boy's term at the time for suspenders.

When the Art Museum in Boston was first built its odd appearance attracted very general attention, and some one asked Tom Appleton what he thought of it. "Well," he said, "I have heard that architecture is a kind of frozen music, and if so I should call the Art Museum frozen 'Yankee Doodle.'"

Thomas G. Appleton was no dilettante; his interest in the subject was serious and abiding. He did not wear his art as he did his gloves, nor did he turn it into an intellectual abstraction. There was nothing he disliked more than the kind of pretension which tries to make a knowledge of art a vehicle for self-importance. "Who," he said, "ought not to feel humble before a painting of t.i.tian's or Correggio's? It is only when we feel so that we can appreciate a great work of art." He believed that an important moral lesson could be inculcated by a picture as well as by a poem,--even by a realistic Dutch painting. "Women wors.h.i.+p the Venus of Milo now," he said, "just as they did in ancient Greece, and it is good for them, too." He respected William Morris Hunt as the best American painter of his time, but thought he would be a better painter if he were not so proud. Pride leads to arrogance, and arrogance is blinding.

After he came into possession of his inheritance he showed that he could make a good use of money. One of his first acts was to purchase a set of engravings in the Vatican, valued at ten thousand dollars, for the Boston Public Library. "I was not such a fool as to pay that sum for it, though," he remarked to Rev. Samuel Longfellow. He visited the studios of struggling artists in Rome and Boston, gave them advice and encouragement,--made purchases himself, sometimes, and advised his friends to purchase when he found a painting that was really excellent.

He also purchased some valuable old paintings to adorn his house on Commonwealth Avenue.

He placed two of these at one time on free exhibition at Doll's picture- store, and going into the rooms where they hung, I found Tom Appleton explaining their merits to a group of remarkably pretty school-girls.

At the same moment, another gentleman who knew Mr. Appleton entered, and said, "Ah! a Palma Vecio, Mr. Appleton; how delightful! It is a Palma, is it not?"

"That," replied Mr. Appleton, "is probably a Palma; but what do you say to this, which I consider a much better picture?" The gentleman did not know; but it looked like Venetian coloring.

"Quite right," said Mr. Appleton; "I bought it at the sale of a private collection in Rome, and it was catalogued as a Tintoretto, but I said, 'No, Ba.s.sano;' and it is the best Ba.s.sano I ever saw. The Italians call it '_Il Coconotte_.'"

Mr. Appleton had no intention of palming off doubtful paintings on his friends or the public; but in regard to "_Il Coconotte_" he was confident of its true value, and rightly so. The painting, so called from a head in the group covered very thinly with hair, was the pride of his collection and one of the best of Ba.s.sano's works. The other painting looked to me like a Palma, and I have always supposed that it was one.

After this Mr. Appleton branched off on to an interesting anecdote concerning an Italian cicerone, and finally left his audience as well entertained as if they had been to the theatre.

In 1871 he published a volume of poems for private circulation, in which there were a number of excellent pieces, and especially two which deserve a place in any choice collection of American poetry. One is called the "Whip of the Sky" and relates to a subject which Mr. Appleton often dwelt upon,--the unnecessary haste and restlessness of American life, and is given here for the wider circulation which it amply deserves:

THE WHIP OF THE SKY.

Weary with travel, charmed with home, The youth salutes New England's air; Nor notes, within the azure dome, A vigilant, menacing figure there, Whose thonged hand swings A whip which sings: "Step, step, step," sings the whip of the sky: "Hurry up, move along, you can if you try!"

Remembering Como's languid side, Where, pulsing from the citron deep, The nightingale's aerial tide Floats through the day, repose and sleep, Reclined in groves,-- A voice reproves.

"Step, step, step," cracks the whip of the sky: "Hurry up, jump along, rest when you die!"

Slave of electric will, which strips From him the bliss of easeful hours; And bids, as from a tyrant's lips, Rest, quiet, fly, as useless flowers, He wings his heart To make him smart.

"Step, step, step," snaps the whip of the sky: "Hurry up, race along, rest when you die!"

He maddens in the breathless race, Nor misses station, power or pelf; And only loses in the chase The hunted lord of all,--himself.

His gain is loss, His treasure dross.

"Step, step, step," mocks the whip of the sky, "Hurry up, limp along, rest when you die!"

With care he burthens all his soul; Heaped ingots curve his willing back; Submissive to that fierce control, He needs at last the sky-whip's crack, Till at the grave, No more a slave,-- "Rest, rest, rest," sighs the whip of the sky: "Hurry not, haste no more, rest when you die!"

Celia Thaxter, the finest of poetic readers, read this to me one September morning at the Isles of Shoals, and at the conclusion she remarked: "If that could only be read every year in our public schools it might do the American people some good."

As compared with this, the sonnet on Pompeii has the effect of a strong complementary color,--for instance, like orange against dark blue. It echoes the pathetic reverie that we feel on beholding the monuments of the mighty past. It contains not the pathos of yesterday, nor of a hundred years ago, but as Emerson says, "of the time out of mind."

POMPEII.

The silence there was what most haunted me.

Long, speechless streets, whose stepping-stones invite Feet which shall never come; to left and right Gay colonnades and courts,--beyond, the glee, Heartless, of that forgetful Pagan sea.

O'er roofless homes and waiting streets, the light Lies with a pathos sorrowfuler than night.