Philip Gilbert Hamerton Part 30

It may be here briefly explained that Miss Susan Hamerton greatly needed her nephew's advice about money matters; they had been hitherto managed by her brother, and she had had no care about it; but now, after entrusting what she possessed to a person recommended by Mr. T.

Hamerton, she had become aware that it was not safe, and was afraid of losing the savings she had been able to make, for she had no control over the capital.

It was difficult to explain all this by letters, and she was anxious to give all the details by word of mouth, consequently she grew more and more pressing in the expression of the desire that her nephew should attempt the journey; he was not to be detained by the consideration of expense, for she intended to make him a present of some bank-shares which she no longer wanted, since her brother had left her an increase of income for her life.

My husband resolved to undertake the long journey in the course of 1876, and to arrange his work in view of it. Besides his contributions to different periodicals, he had in the year 1875 entirely written "Round my House," prepared the new edition of "Etching and Etchers," got the notes necessary for the "Life of Turner," and given much consideration to a plan mentioned thus in the note-book: "December 28, 1875. Feel inclined to write a book on remarkable Frenchmen, such as the Amperes, Victor Jacquemont, the Cure d'Ars, and a few others who interest me."

CHAPTER XIII.

1876-1877.

"Round my House."--Journey to England after seven years' absence.

--Friends in London.--Visit to Mr. Samuel Palmer.--Articles for the "Encyclopaedia Britannica."--Death of my sister.--Mr. Appleton.

The note-book for 1876 opened with the following rules, written by my husband for his own guidance:--

"Rise at six in winter and five in summer. Go to bed at eleven in winter and ten in summer. There must be two literary sittings every day of two hours each. The first to be over as soon as possible, in order to leave me free for practical art work; the second to begin at five p.m., and end at seven p.m.

"_Something_ really worth reading must be read every day, the quant.i.ty not fixed.

"I must go out every day whatever the weather may be.

"Time may be taken, no matter when, for putting things in order. The best way is to do it every morning before setting to work. It is better to try to keep things in order than to acc.u.mulate disorder.

"Keep everything _quite_ in readiness for immediate work in literature and art.

"When tired, rest completely, but never dawdle. Be either in harness or out of harness avowedly. Special importance is to be given to painting this year. Pictures are to be first painted in monochrome, in raw umber and white. Read one thing at a time in one language. All rules suspended during fatigue."

At the beginning of the year Roberts Brothers had asked for a photograph of the now popular author of "The Intellectual Life." In April they acknowledged the receipt of two, and were sending some copies of the engraving from them. They also said:--

"Suppose we should wish to bring out an edition of 'Wenderholme' this autumn, would you abridge and rewrite it? Condensation would be likely to make it more powerful and more interesting. Or perhaps you would rather write an entirely new novel? We think such a novel as you could write would have a large sale.

"The accompanying letters will interest you as proofs of your growing popularity. We mail you to-day, by request of Miss May Alcott, a copy of her father's clever little volume, 'Concord Days.' A fine old gentleman he is, the worthy father of the most popular of American auth.o.r.esses."

Here is Miss May Alcott's letter:--

"MY DEAR MR. HAMERTON,--I am pleased and proud that you should have considered my letter worthy an answer, and I am still more gratified to be allowed the satisfaction of selecting the best pictures of Concord's great man for you. Mr. Emerson has been for more than thirty years the most intimate friend of my father, as also Mrs. Emerson and mother; the daughters and myself growing up together. And as father is thought to know and understand the poet perhaps better than any other contemporary, I venture sending by post one of his books, which contains an essay on Mr. Emerson, which may interest you. It was thought so fine and true on its first appearance that it was published in illuminated form for private circulation only; but as there is not a copy of the small edition to be obtained, I send 'Concord Days' instead. This morning, on receipt of your very kind reply to my letter, I went to Mr. Emerson's study and read him the paragraph relating to himself, which pleased him exceedingly; and while his daughter Ellen stood smilingly beside him, he said, 'But I know Mr. Hamerton better than he thinks for, as I have read his earlier works, and though I did not meet him while in England, I value all he writes.' Then I showed him the two pictures which father and I thought the preferable likenesses, which I enclose by mail to you, though he produced a collection taken at Elliot and Fry's, Baker Street, London, from which we find none better on the whole than this head, which gives his exact expression, and the little one giving the _tout ensemble_ of the man we admire so much."

Few things could have given greater pleasure to Mr. Hamerton than to learn that his works were appreciated by such a writer and thinker as Mr. Emerson, whose books he studied and enjoyed and quoted very frequently. But he was quite put out by the engraving of his portrait, which, indeed, could not be called a likeness. He wrote as much to Roberts Brothers, who replied: "We are not a bit disappointed to hear that you don't like the head, for we have come to consider the dislike of all authors to similar things as chronic." They offered, however, to have the plate corrected according to the victim's directions, and added: "But take heart upon the fact that nine hundred and ninety-nine out of a thousand who look upon it believe it to be a facsimile of yourself, and where ignorance is bliss, 'tis folly to be wise."

In another letter, they say again:--

"The head, which to you is an insurmountable defect, is favorably looked upon by everybody. If Mrs. Hamerton should hear the praise from fair lips she would certainly be jealous. However, the engraver will see how nearly he can conform to your wishes, and perhaps we may be able to please you yet."

No praises from lips however fair would have induced me to put up with the portrait, and I said so frankly, without being at all influenced by jealousy, for in my opinion the original was far handsomer in expression and bearing than the likeness; but Roberts Brothers, who had never seen the original, still clung to the obnoxious engraving, and wrote again: "If _we_ are deluded, and happy in that delusion, why should _you_ care?

Mrs. Hamerton, she must confess it, is jealous of our fair countrywomen." Nevertheless it was withdrawn in deference to our wishes.

Mr. Powers was now and then discreetly reminding Mr. Hamerton of his promised pictures, and after hearing from the painter that they were _safe_ (whatever that may have brought to his mind) sent these verses:--

"MY PICTURES.

"A famous artist over the sea Promised to paint two pictures for me.

"He wrought, but his colors would not show His pure ideal and heart's warm glow.

"And so the paintings are still unsent, Though years ago their spirit went.

"Two pictures hang in my treasured thought-- My dream of those the artist wrought.

"They are sweet and fadeless, and soothe my sight, When weary and sad, with a strange delight.

"But the light which shows their marvellous art Is the generous glow of the painter's heart.

"This is the way that there came to me The gift of pictures from over the sea."

"ANSWER.

"There's a parson out West in Chicago, To whom I did promise--long ago-- A couple of pictures, Not fearing strictures Of the critical folk of Chicago.

"Time pa.s.sed, and the works were not finished; Time pa.s.sed, yet with hope undiminished, That parson he wrote, And my conscience he smote, And so was I greatly punished.

"For a promise is not a pie-crust, And 'I will' is changed to 'I must'

When you say to a friend-- 'Two pictures I'll send,'

And he orders the _cadres_ in trust.

"Then the parson he sighed in despair-- 'Where are my two pictures?--O where?'

In regions ideal Far, far from the real, Like cloudscapes that melt into air.

"And then I thought--'Now it grows serious, For deferred hope is most deleterious; Yet how can I toil In color and oil In a world where the publishers weary us?'

"Ah me! for a month with the flowers, And the sweet April sunshine and showers.

To paint with delight From morning till night, For my dear friend, Horatio N. Powers!"

It may be said here that the pictures were completed and packed off in the beginning of October, 1876.

In view of a series of large etchings Mr. Hamerton went to Decize, on the Loire, where he hoped to find material for several subjects. He made twenty sketches of the town, river, boats, etc., and then called upon M.

Hanoteau, the painter, who had expressed a desire for his acquaintance.

There is a short note relating the visit:--

"April 21, 1876. Arrived at ten a.m., and had a pleasant day watching him paint. I also saw the interior of his atelier, and the things in progress. He only paints in the immediate neighborhood. Always from nature. When we had finished _dejeuner_ we went together to a little _etang_ in the wood, near to which were some old cottages. He painted that bit on a small panel. After completing his sitting he showed me part of the road to Cercy-la-Tour, and a gentleman with him showed me the rest.

"Had a deal of art talk with Hanoteau, also with a young sculptor called Gautherin."

This young sculptor was poor, but energetic and courageous; he rapidly made his way to fame, but unfortunately died too soon to reap the benefit of his remarkable talent.