Curiosities of Human Nature Part 5

_F._ You ought to know,--you must know. It was not one of my pupils. It is beyond them all.

_D._ Is it as good as you could have done yourself, father?

_F._ Yes; I never painted anything better in my life. It is like nature's own work, it is so light, so true; on my soul, I was deceived at first, and was about to brush the insect away with my handkerchief.

_D._ And so, father, you think it is as well as you could have done yourself?

_F._ Yes.

_D._ Well, I will send for Quentin Matsys; perhaps he can tell you who did it.

_F._ Aye, girl, is that it? Did Quentin do it? Then he is a clever fellow, and shall marry you.

Whether such a dialogue as this actually took place, we cannot say; but it appears that Quentin's acknowledged excellence as an artist soon won the painter's consent, and he married the daughter. From this time he devoted his life to the art which love alone had at first induced him to pursue. He soon rose to the highest rank in his profession, and has left behind him an enduring fame. Though he was dest.i.tute of early education, and never had the advantage of studying the great masters of the Italian school, he rivalled, in some respects, even their best productions. His designs were correct and true to nature, and his coloring was forcible.

His pictures are now scarce and command great prices. One of them, called the Two Misers, is in the Royal Gallery of Windsor, England, and is greatly admired. Matsys died at Antwerp, in 1529.

[Ill.u.s.tration]

WEST.

Benjamin West was born at Springfield, Pennsylvania, October 10, 1738.

His father was a merchant, and Benjamin was the tenth child. The first six years of his life pa.s.sed away in calm uniformity, leaving only the placid remembrance of enjoyment. In the month of June, 1745, one of his sisters who was married, came with her infant daughter to spend a few days at her father's. When the child was asleep in her cradle, Mrs. West invited her daughter to gather flowers in the garden, and committed the infant to the care of Benjamin, during their absence; giving him a fan to drive away the flies from molesting his little charge.

After some time, the child happened to smile in its sleep, and its beauty attracted the boy's attention. He looked at it with a pleasure, which he never before experienced; and observing some paper on a table, together with pens, and red and black ink, he seized them with agitation, and endeavored to delineate a portrait, although at this period, he was only in the seventh year of his age.

Hearing the approach of his mother and sister, he endeavored to conceal what he had been doing; but the old lady observing his confusion, inquired what he was about, and requested him to show her the paper. He obeyed, entreating her not to be angry. Mrs. West, after looking at the drawing with evident pleasure, said to her daughter, "I declare, he has made a likeness of little Sally;" she kissed him with much fondness and satisfaction. This encouraged him to say that if it would give her any pleasure, he would make pictures of the flowers which she held in her hand; for the instinct of his genius was now awakened, and he felt that he could imitate the forms of those things which pleased his sight.

[Ill.u.s.tration: _Christ healing the sick._]

Some time after this, Benjamin having heard that pencils for painting were made in Europe of camel's hair, determined to manufacture a subst.i.tute, for his own use: accordingly, seizing upon a black cat, kept in the family, he extracted the requisite hairs from her tail for his first brush, and afterwards pillaged it again for others.

Such was the commencement of a series of efforts which raised West to be a favorite painter in England, and, at last, president of the Royal Academy of London. His parents were Quakers, but they encouraged his efforts. He, however, had no advantages, and for some time he was obliged to pursue his labors with such pencils as he made himself, and with red and yellow colors, which he learned to prepare from some Indians who roamed about the town of Springfield: to these, his mother added a little indigo.

He had a cousin by the name of Pennington, who was a merchant, and having seen some of his sketches, sent him a box of paints and pencils, with canva.s.s prepared, and six engravings. The possession of this treasure almost prevented West's sleeping. He now went into a garret as soon as it was light, and began his work. He was so wrapt up in his task, as to stay from school. This he continued till his master called to inquire what had become of him. A search was consequently made, and he was found at his easel, in the garret. His mother's anger soon subsided, when she saw his picture, now nearly finished. He had not servilely copied one of the engravings, as might have been expected, but had formed a new picture by combining the parts of several of them. His mother kissed the boy with rapture, and procured the pardon of his father and teacher. Mr. Galt, who wrote West's life, says, that, sixty-seven years after, he had the pleasure of seeing this very piece, hanging by the side of the sublime picture of Christ Rejected.

Young West's fame was soon spread abroad, and he was shortly crowded with applications for portraits, of which he painted a considerable number. He was now of an age to require a decision of his parents in respect to the profession he was to follow, in life. They deliberated long and anxiously upon this subject, and at last concluded to refer the matter to the society of Quakers to which they belonged. These decided, that, although they did not acknowledge the utility of painting to mankind, yet they would allow the youth to follow a path for which he had so evident a genius.

At the age of eighteen, he established himself in Philadelphia, as a portrait painter, and afterwards spent some time at New York, in the same capacity. In both places, his success was considerable. In 1760, aided by friends, he proceeded to Italy, to study his art; in 1763, he went to London, where he soon became established for life. The king, George III., was his steadfast friend, and he became painter to his majesty. He was offered a salary of seven hundred pounds a year, by the Marquis of Rockingham, to embellish his mansion at Yorks.h.i.+re with historical paintings, but this he declined.

On the death of Sir Joshua Reynolds, he was elected president of the Royal Academy, and took his place in March, 1792. In his sixty-fifth year, he painted his great picture of Christ healing the sick, to aid the Quakers of Philadelphia in the erection of a hospital for that city.

It was so much admired that he was offered no less than fifteen thousand dollars for this performance. He accepted the offer, as he was not rich, upon condition that he should be allowed to make a copy for the Friends of Philadelphia, for whom he had intended it. This great picture, of which we give an engraving, was long exhibited at Philadelphia, and the profits essentially aided the benevolent object which suggested the picture.

West continued to pursue his profession, and painted several pictures of great size, under the idea that his talent was best suited to such performances. In 1817, his wife, with whom he had long lived in uninterrupted happiness, died, and he followed her in 1820. If his standing, as an artist, is not of the highest rank, it is still respectable, and his history affords a striking instance of a natural fitness and predilection for a particular pursuit. If we consider the total want of encouragement to painting, in a Quaker family, in a country town in Pennsylvania, more than a century ago, and advert to the spontaneous display of his taste and its persevering cultivation, we shall see that nature seems to have given him an irresistible impulse in the direction of the art to which he devoted his life.

West was tall, firmly built, and of a fair complexion. He always preserved something of the sedate, even and sober manners of the sect to which his parents belonged; in disposition, he was mild, liberal and generous. He seriously impaired his fortune by the aid he rendered to indigent young artists. His works were very numerous, and the exhibition and sale of those in his hands, at the time of his death, yielded a handsome sum to his family. Though his early education was neglected, he supplied the defect by study and observation, and his writings connected with the arts are very creditable to him as a man, a philosopher and an artist.

[Ill.u.s.tration]

BERRETINI.

Pietro Berretini was born 1596, at Cortona, in Italy. He is called Pietro Da Cortona, from the place of his birth. Even when a child, he evinced uncommon genius for painting; but he appeared likely to remain in obscurity and ignorance, as the extreme poverty of his situation precluded him from the usual means of improving natural talent. He struggled, however, with his difficulties, and ultimately overcame every obstacle which opposed him.

When twelve years old, he went, alone and on foot, to Florence, the seat of the fine arts, possessed of no money, and, in fact, completely without resources of any kind. Notwithstanding this gloomy aspect of affairs, he did not lose his courage, but still persevered in a resolution he had thus early formed, to become "an eminent painter."

Pietro knew of no person to whom he could apply for a.s.sistance in Florence, excepting a poor boy from Cortona, who was then a scullion in the kitchen of Cardinal Sachetti. Pietro sought him out; his little countryman welcomed him very kindly, shared with him his humble meal, offered him the half of his little bed as a lodging, and promised to supply him with food from the spare meat of his kitchen.

Thus provided with the necessaries of life, Pietro applied himself with indefatigable diligence to the art to which he had devoted himself, and soon made such progress in it, as, in his own opinion, amply recompensed him for all the toil, privation and difficulties he had undergone. It was interesting to observe this poor, dest.i.tute child, without a friend to guide his conduct or direct his studies, devoting himself with such unceasing a.s.siduity to his own improvement. His little friend, the scullion, did not relax in kindness and generosity towards him; for all that he possessed he shared with Pietro, and the latter, in return, brought him all the drawings he made, and with these he adorned the walls of the little garret in which they slept.

Pietro was in the habit of wandering to a distance from Florence, to take views of the beautiful scenery in the environs of that city. When night overtook him unawares, which was often the case, he very contentedly slept under the shelter of a tree, and arose as soon as daylight dawned to renew his employment. During his absence, on one of these excursions, some of his pictures accidentally fell into the hands of Cardinal Sachetti, who, struck with the merit that distinguished them, inquired by what artist they were executed. He was not a little astonished to hear that they were the performances of a poor child, who had, for more than two years, been supported by the bounty of one of his kitchen boys. The cardinal desired to see Pietro; and when the young artist was brought before him, he received him in a kind manner, a.s.signed him a pension and placed him as a scholar under one of the best painters of Rome.

Pietro afterwards became a very eminent painter, and made the most grateful returns to his friend, the scullion, for the kindness he had shown him in poverty and wretchedness. He spent the latter part of his life at Rome, where he enjoyed the patronage of successive pontiffs, and was made a knight by Pope Alexander III. He was an architect as well as a painter, and designed the church of Saint Martin, at Rome, where he was buried, and to which he bequeathed a hundred thousand crowns. He died 1669, full of wealth and honors. His works display admirable talents, and his history affords a striking example of native genius, overcoming all obstacles, and hewing its way to success in that pursuit for which nature had seemed to create it.

[Ill.u.s.tration]

HENRY KIRK WHITE.

This youthful bard, whose premature death was so sincerely regretted by every admirer of genius, was the son of a butcher of Nottingham, England, and born March 21, 1788. He manifested an ardent love of reading in his infancy; this was, indeed, a pa.s.sion to which everything else gave way. "I could fancy," says his eldest sister, "that I see him in his little chair, with a large book upon his knee, and my mother calling, 'Henry, my love, come to dinner,' which was repeated so often without being regarded, that she was obliged to change the tone of her voice, before she could rouse him."

When he was seven years old, he would creep unperceived into the kitchen, to teach the servant to read and write; and he continued this for some time before it was discovered that he had been thus laudably employed. He wrote a tale of a Swiss emigrant, which was probably his first composition, and gave it to this servant, being ashamed to show it to his mother. "The consciousness of genius," says his biographer, Mr.

Southey, "is always, at first, accompanied by this diffidence; it is a sacred, solitary feeling. No forward child, however extraordinary the promise of his childhood, ever produced anything truly great."

When Henry was about eleven years old, he one day wrote a separate theme for every boy in his cla.s.s, which consisted of about twelve or fourteen.

The master said he had never known them write so well upon any subject before, and could not refrain from expressing his astonishment at the excellence of Henry's own composition.

At the age of thirteen, he wrote a poem, "On being confined to school one pleasant morning in spring," from which the following is an extract:

"How gladly would my soul forego All that arithmeticians know, Or stiff grammarians quaintly teach, Or all that industry can reach, To taste each morn of all the joys That with the laughing sun arise; And unconstrained to rove along The bushy brakes and glens among; And woo the muse's gentle power In unfrequented rural bower; But ah! such heaven-approaching joys Will never greet my longing eyes; Still will they cheat in vision fine, Yet never but in fancy s.h.i.+ne."

The parents of Henry were anxious to put him to some trade, and when he was nearly fourteen, he was placed at a stocking loom, with the view, at some future period, of getting a situation in a hosier's warehouse; but the youth did not conceive that nature had intended to doom him to spend seven years of his life in folding up stockings, and he remonstrated with his friends against the employment. His temper and tone of mind at this period, are displayed in the following extracts from his poems:

----"Men may rave, And blame and censure me, that I don't tie My ev'ry thought down to the desk, and spend The morning of my life in adding figures With accurate monotony; that so The good things of this world may be my lot, And I might taste the blessedness of wealth.

But oh! I was not made for money-getting."

----"For as still I tried to cast, with school dexterity, The interesting sums, my vagrant thoughts Would quick revert to many a woodland haunt, Which fond remembrance cherished; and the pen Dropt from my senseless fingers, as I pictur'd In my mind's eye, how on the sh.o.r.es of Trent I erewhile wander'd with my early friends In social intercourse."