The Life, Studies, and Works of Benjamin West, Esq.. John Galt
Читать онлайн книгу.
This notion is prudent, perhaps judicious; but works of imagination may be rendered subservient to the same purpose. Every thing in Pennsylvania was thus unpropitious to the fine arts. There were no cares in the bosoms of individuals to require public diversions, nor any emulation in the expenditure of wealth to encourage the ornamental manufactures. In the whole Christian world no spot was apparently so unlikely to produce a painter as Pennsylvania. It might, indeed, be supposed, according to a popular opinion, that a youth, reared among the concentrating elements of a new state, in the midst of boundless forests, tremendous waterfalls, and mountains whose summits were inaccessible to "the lightest foot and wildest wing," was the most favourable situation to imbibe the enthusiasm either of poetry or of painting, if scenery and such accidental circumstances are to be regarded as every thing, and original character as nothing. But it may reasonably be doubted if ever natural scenery has any assignable influence on the productions of genius. The idea has probably arisen from the impression which the magnificence of nature makes on persons of cultivated minds, who fall into the mistake of considering the elevated emotions arising in reality from their own associations, as being naturally connected with the objects that excite them. Of all the nations of Europe the Swiss are the least poetical, and yet the scenery of no other country seems so well calculated as that of Switzerland to awaken the imagination; and Shakespeare, the greatest of all modern Poets, was brought up in one of the least picturesque districts of England.
Soon after the occurrence of the incident which has given rise to these observations, the young Artist was sent to a school in the neighbourhood. During his hours of leisure he was permitted to draw with pen and ink; for it did not occur to any of the family to provide him with better materials. In the course of the summer a party of Indians came to pay their annual visit to Springfield, and being amused with the sketches of birds and flowers which Benjamin shewed them, they taught him to prepare the red and yellow colours with which they painted their ornaments. To these his mother added blue, by giving him a piece of indigo, so that he was thus put in possession of the three primary colours. The fancy is disposed to expatiate on this interesting fact; for the mythologies of antiquity furnish no allegory more beautiful; and a Painter who would embody the metaphor of an Artist instructed by Nature, could scarcely imagine any thing more picturesque than the real incident of the Indians instructing West to prepare the prismatic colours. The Indians also taught him to be an expert archer, and he was sometimes in the practice of shooting birds for models, when he thought that their plumage would look well in a picture.
His drawings at length attracted the attention of the neighbours; and some of them happening to regret that the Artist had no pencils, he enquired what kind of things these were, and they were described to him as small brushes made of camels' hair fastened in a quill. As there were, however, no camels in America, he could not think of any substitute, till he happened to cast his eyes on a black cat, the favourite of his father; when, in the tapering fur of her tail, he discovered the means of supplying what he wanted. He immediately armed himself with his mother's scissors, and, laying hold of Grimalkin with all due caution, and a proper attention to her feelings, cut off the fur at the end of her tail, and with this made his first pencil. But the tail only furnished him with one, which did not last long, and he soon stood in need of a further supply. He then had recourse to the animal's back, his depredations upon which were so frequently repeated, that his father observed the altered appearance of his favourite, and lamented it as the effect of disease. The Artist, with suitable marks of contrition, informed him of the true cause; and the old gentleman was so much amused with his ingenuity, that if he rebuked him, it was certainly not in anger.
Anecdotes of this kind, trifling as they may seem, have an interest independent of the insight they afford into the character to which they relate. It will often appear, upon a careful study of authentic biography, that the means of giving body and effect to their conceptions, are rarely withheld from men of genius. If the circumstances of Fortune are unfavourable, Nature instructs them to draw assistance immediately from herself, by endowing them with the faculty of perceiving a fitness and correspondence in things which no force of reasoning, founded on the experience of others, could enable them to discover. This aptness is, perhaps, the surest indication of the possession of original talent. There are minds of a high class to which the world, in the latitude of its expressions, often ascribes genius, but which possess only a superior capacity for the application of other men's notions, unconnected with any unusual portion of the inventive faculty.
In the following year Mr. Pennington, a merchant of Philadelphia, who was related to the West family, came to pay a visit to Mr. West. This gentleman was also a member of the Society of Friends, and, though strictly attentive to the peculiar observances of the sect, was a man of pleasant temper and indulgent dispositions. He noticed the drawings of birds and flowers round the room, unusual ornaments in the house of a Quaker; and heard with surprise that they were the work of his little cousin. Of their merit as pictures he did not pretend to judge, but he thought them wonderful productions for a boy only entering on his eighth year, and being told with what imperfect materials they had been executed, he promised to send the young Artist a box of paints and pencils from the city. On his return home he fulfilled his engagement, and at the bottom of the box placed several pieces of canvass prepared for the easel, and six engravings by Grevling.
The arrival of the box was an æra in the history of the Painter and his art. It was received with feelings of delight which only a similar mind can justly appreciate. He opened it, and in the colours, the oils, and the pencils, found all his wants supplied, even beyond his utmost conceptions. But who can describe the surprise with which he beheld the engravings; he who had never seen any picture but his own drawings, nor knew that such an art as the Engraver's existed! He sat over the box with enamoured eyes; his mind was in a flutter of joy; and he could not refrain from constantly touching the different articles, to ascertain that they were real. At night he placed the box on a chair near his bed, and as often as he was overpowered by sleep, he started suddenly and stretched out his hand to satisfy himself that the possession of such a treasure was not merely a pleasing dream. He rose at the dawn of day, and carried the box to a room in the garret, where he spread a canvass, prepared a pallet, and immediately began to imitate the figures in the engravings. Enchanted by his art he forgot the school hours, and joined the family at dinner without mentioning the employment in which he had been engaged. In the afternoon he again retired to his study in the garret; and for several days successively he thus withdrew and devoted himself to painting. The schoolmaster, observing his absence, sent to ask the cause of it. Mrs. West, affecting not to take any particular notice of the message, recollected that she had seen Benjamin going up stairs every morning, and suspecting that the box occasioned his neglect of the school, went to the garret, and found him employed on the picture. Her anger was appeased by the sight of his performance, and changed to a very different feeling. She saw, not a mere copy, but a composition from two of the engravings. With no other guide than that delicacy of sight which renders the Painter's eye, with respect to colours, what the Musician's ear is with respect to sounds, he had formed a picture as complete, in the scientific arrangement of the tints, notwithstanding the necessary imperfection of the pencilling, as the most skilful Artist could have painted, assisted by the precepts of Newton. She kissed him with transports of affection, and assured him that she would not only intercede with his father to pardon him for having absented himself from school, but would go herself to the master, and beg that he might not be punished. The delightful encouragement which this well-judged kindness afforded to the young Painter may be easily imagined; but who will not regret that the mother's over-anxious admiration would not suffer him to finish the picture, lest he should spoil what was already in her opinion perfect, even with half the canvass bare? Sixty-seven years afterwards the writer of these Memoirs had the gratification to see this piece in the same room with the sublime painting of "Christ Rejected," on which occasion the Painter declared to him that there were inventive touches of art in his first and juvenile essay, which, with all his subsequent knowledge and experience, he had not been able to surpass.
Chap. II
The Artist visits Philadelphia. – His second Picture. – Williams the Painter gives him the works of Fresnoy and Richardson. – Anecdote of the Taylor's Apprentice. – The Drawings of the Schoolboys. – Anecdote relative to Wayne. – Anecdote relative to Mr. Flower. – Anecdote relative to Mr. Ross, – Anecdote of Mr. Henry. – The Artist's first Historical