Jean Francois Millet Part 3

The men wear soft felt hats, the brim of which can be pulled forward to shade the eyes. The women cover their heads neatly with caps or kerchiefs, and are nearly always seen with ap.r.o.ns. Men and women both wear the heavy wooden shoes called _sabots_, in which the feet suffer no pressure as from leather shoes, and are protected against the moisture of the ground.

The peasants of our picture carry all they need for the day's work.

A three-p.r.o.nged fork rests across the man's shoulder, and a wallet of lunch hangs from his left arm. The woman has a basket, a linen sack, and a bit of rope. Evidently something is to be brought home. Just now she has swung the empty basket up over her shoulders and it covers her head like a huge sunbonnet.

The two young people are full of the healthy vigor which makes work a pleasure. They go cheerfully to their day's task as if they really enjoyed it. We cannot help suspecting that they are lovers. The man carries himself erect with a conscious air of manliness, and steps briskly, with his hand thrust into his pocket. The girl hides her shyness in the shadow of the basket as she turns her face towards his. The two swing along buoyantly, keeping step as if accustomed to walking together.

At the close of the day's work the basket and sack will be filled, and the laborers will return to their home by the same way. The burden may be heavy, but they will bear it as the reward of their toil.

The picture of Going to Work was painted at about the same time[1]

as the The Sower, which forms one of the later ill.u.s.trations of our collection. A comparison of the pictures will show interesting points of resemblance between the two men striding down hill. Though Going to Work is not as a work of art of equal rank with The Sower, we get in both pictures a delightful sense of motion which makes the figures seem actually alive.

[Footnote 1: That is, within a year. See dates in the _Historical Directory_.]

II

THE KNITTING LESSON

In the picture we have been examining we have seen something of the outdoor life of the French peasants, and now we are shown the interior of one of their houses, where a Knitting Lesson is being given. The girls of the French peasantry are taught only the plainest kinds of needlework. They have to begin to make themselves useful very early in life, and knitting is a matter of special importance. In these large families many pairs of stockings are needed, and all must be homemade.

This is work which the little girls can do while the mother is busy with heavier labors. The knitting work becomes a girl's constant companion, and there are few moments when her hands are idle.

The little girl in our picture is still a beginner in the art, and the lesson is a very exciting occasion to her. Already she feels like a woman.

The mother and daughter have their chairs by the window to get a good light on the work. It is a large and beautiful cas.e.m.e.nt window, of the kind almost universal in France, opening lengthwise in the middle in two parts which swing on hinges like doors. The window seat serves as a table, to hold the basket and scissors. The doll is thrust into the corner; our little girl has "put away childish things"--at least for the moment,--and takes her task very seriously.

The two chairs are drawn close together, the one a small counterpart of the other. The child braces her feet firmly on one of the rounds and bends her whole mind to her work. Both mother and daughter wear close white caps, though the little girl's is of a more childish pattern and does not cover her pretty hair in front.

The mother has been sewing on some large garment which lies across her lap. She lets the little girl work by herself for a time, and then stops to set her right. Already a considerable length of stocking has been made, but this is a place where close attention is needed.

Perhaps it is time to begin shaping the heel. The mother's work is left altogether for a moment. Putting her arm about the child's shoulder, she takes the two little hands in hers, and guides the fingers holding the needles.

We get some idea of the quaint style of the building from this glimpse of the living-room. Probably it is a low stone cottage with thatched or tiled roof. The deep window seat shows how thick the walls are.

Overhead we see the oak rafters.

The room looks spotlessly clean, as a good housewife's should. Though we see only a corner, that corner holds the most precious household possession, the linen chest. It stands against the wall, and is of generous size. French country people take great pride in storing up a quant.i.ty of linen; tablecloths, sheets, shirts, pillowcases, often of their own weaving, are piled in the deep clothes-presses. In well-to-do families there are enough for six months' use, the family washing taking place only twice a year, in spring and fall, like house-cleaning in America. We judge that our housekeeper is well provided, by the pile of neatly folded sheets on the press. The little clock, high on the wall, and the vase of flowers on the chest are the only touches of ornament in the room. On the wall are some small objects which look like shuttles for weaving.

[Ill.u.s.tration: From a carbon print by Braun, Clement & Co John Andrew & Son, Sc. THE KNITTING LESSON]

As we look at the picture we feel sure that Millet was a lover of children, and it is pleasant to know that he had many of his own. The artist father was his children's favorite playmate, and at the close of his day's work in his studio, they ran to meet him with shouts of joy. He used to like to walk about the garden with them showing them the flowers. In winter time they sat together by the fire, and the father sang songs and drew pictures for the little ones. Sometimes taking a log from the wood basket he would carve a doll out of it, and paint the cheeks with vermilion. This is the sort of doll we see on the window seat in our picture.

Ruskin tells us that a true artist feels like a caged bird in painting any enclosed s.p.a.ce, unless it contains some opening like a door or window. No amount of beauty will content us, he says, if we are shut in to that alone. Our picture is a good proof of this principle. We can easily fancy how different the effect would be without the window: the room would appear almost like a prisoner's cell. As it is, the great window suggests the out-of-door world into which it opens, and gives us a sense of larger s.p.a.ce.

Our ill.u.s.tration is taken from a drawing. Millet was a painstaking artist who made many drawings and studies for his paintings. This is probably such a study, as there is also a painting by him of the same subject very similar to this.

III

THE POTATO PLANTERS

In the picture called The Potato Planters we are reminded at once of the peasants we have already seen in Going to Work. We see here married people a few years older than the young people of the other picture working together in the fields.

It may be that this is their own little plot of ground, for they work with a certain air of proprietorship. They look prosperous, too, and are somewhat better dressed than common laborers. It is the highest ambition of the French peasant to own a bit of land. He will make any sacrifice to get it, and possessing it, is well content. He labors with constant industry to make it yield well.

The field here is at quite a distance from the village where the workers live. We can see the little group of houses on the horizon. In France the agricultural cla.s.ses do not build their dwelling-houses on their farms, but live instead in village communities, with the farms in the outlying districts. The custom has many advantages. The families may help one another in various ways both by joining forces and exchanging services. They may also share in common the use of church, school, and post office. This French farming system has been adopted in Canada, while in our own country we follow the English custom of building isolated farmhouses.

In working season the French farmer must go daily to his labor at a distance. The people in our picture are fortunate enough to own a donkey which is their burden-bearer between house and field. The strong little creature can carry a heavy load properly disposed in pannier baskets. The panniers are made very deep and wide, but rather flat, so as to fit the sides of the donkey. With one of these hanging on each side of the saddle, the weight of the burden is so well distributed that it is easily borne.

The donkey of our picture has been relieved of his panniers, and now rests in the shade of some apple-trees. One of the baskets is in the mean time put to a novel use. Made soft and warm with a heavy cloak, it forms a nice cradle for the baby. The babies in French peasant families are often left at home with the grandmother, while the mother goes out to field work. The painter Millet himself was in childhood the special charge of his grandmother, while his mother labored on the farm. The people of our picture have another and, as it seems, a much pleasanter plan, in going to the field as a family party.

[Ill.u.s.tration: From a carbon print by Braun, Clement & Co John Andrew & Son, Sc. THE POTATO PLANTERS]

The day is well advanced and the work goes steadily on. It is potato planting, and the potato crop is of great importance to country people, second perhaps to the wheat, as it supplies food to both man and beast. The commoner varieties, as the large white, are raised for cattle, and the finer and sweeter kinds, the red and the yellow, are kept for the table.

The laborer and his wife move along the field, facing each other on opposite sides of the row they are planting. The man turns the sod with his hoe, a short-handled tool which long practice has taught him to use skilfully. The wife carries the potato seed in her ap.r.o.n, and as her husband lifts each spadeful of earth, she throws the seed into the hole thus made. He holds the hoe suspended a moment while the seed drops in, and then replaces the earth over it. The two work in perfect unison, each following the other's motion with mechanical regularity, as they move down the field together.

The two who work so well together in the field are sure to work well together in the home. The man has the serious, capable look of a provident husband. The woman looks like a good housewife. That shapely hand throwing the seed so deftly into the ground is well adapted to domestic tasks.

We may easily identify our picture as a familiar scene in Millet's Barbizon surroundings. We are told that "upon all sides of Barbizon, save one, the plain stretches almost literally as far as the eye can reach," and presents "a generally level and open surface." "There are no isolated farmhouses, and no stone walls, fences, or hedges, except immediately around the villages; and were it not all under cultivation, the plain might be taken for a vast common."[1]

It is evident, then, that we here see the plain of Barbizon and true Barbizon peasants of Millet's day. The villagers of the painter's acquaintance were on the whole a prosperous cla.s.s, nearly all owning their houses and a few acres of ground. The big apple-tree under which the donkey rests is just such an one as grew in Millet's own little garden.

Fruit trees were his peculiar delight. He knew all their ways, and "all their special twists and turnings;" how the leaves of the apple-tree are bunched together on their twigs, and how the roots spread under ground. "Any artist," he used to say, "can go to the East and paint a palm-tree, but very few can paint an apple-tree."

[Footnote 1: From Edward Wheelwright's _Recollections of Jean Francois Millet,_ in _Atlantic Monthly_, September, 1876.]

IV

THE WOMAN SEWING BY LAMPLIGHT

Though the peasant women of France have so large a share in the laborious out-of-door work on the farms, they are not unfitted for domestic duties. In the long winter evenings they devote themselves to more distinctly woman's tasks, knitting and sewing, sometimes even spinning and weaving. Their housekeeping is very simple, for they live frugally, but they know how to make the home comfortable. Many modern inventions are still unknown to them, and we should think their customs very primitive, but on this account they are perhaps even more picturesque.

There is contentment in every line of the face of this Woman Sewing by Lamplight. It is the face of a happy young wife and mother. She sits close by her baby's bedside that she may listen to his gentle breathing as he sleeps, and she smiles softly to herself while she sews. It is a sweet face which bends over the work, and it is framed in the daintiest of white caps edged with a wide ruffle which is turned back over the hair above the forehead, that it may not shade her eyes.

The garment that lies on her lap is of some coa.r.s.e heavy material. No dainty bit of fancy work is this, but a plain piece of mending. It may be the long cloak which the shepherd wraps about him in cold and stormy weather. Made from the wool grown on his own sheep, spun by his wife's own hand, it is unrivalled among manufactured cloths for warmth and comfort. The needle is threaded with a coa.r.s.e thread of wool, which the sewer draws deftly through the cloth.

On a pole which runs from floor to ceiling is a hook, from which a lamp is suspended by a chain. This lamp appears to be a boat-shaped vessel with the wick coming out at one end. The light gilds the mother's gentle profile with shining radiance; it illumines the fingers of her right hand, and gleams on the coa.r.s.e garment in her lap, transforming it into a cloth of gold.