from which could be taken—
“The measure of a man,
Which is the measure of an angel, saith
The apostle.”
Mr. Hart wore the apron and the cap that sculptors affect, as a protection from the fine, white dust that the marble sheds; generally, too, an ancient dressing-gown. Costumes in Bohemia, the native land of artists, are apt to be unconventional.
It was a most wondrous thing to me to watch the brown clay take shapes and beauty under the sculptor’s touch. I can still see him fashioning a wreath of grape-leaves around a Bacchante’s head; the leaves would grow beneath his hand, in all the details of tendrils, stems, veinings. It seemed to me he must be so happy, to live in this world of his own creating. I hope that he was happy, the kindly man; he had the patience and the enthusiasm of the genuine artist,—a patience that had enabled him to surmount serious obstacles before he reached his present position. Like Powers and Rheinhart, he began life as a stone-cutter. I wonder what dreams of beauty those three men saw imprisoned in the unhewn stone, to which they longed to give shape, before Fate smiled on them, and put them in the way of doing the best that in them lay!
An Italian Garden.
In spite of the fact that neither Painting nor Sculpture proved propitious, a great reverence and love of Art was born in me at this time. Possibly a love and reverence all the more intense, because Art became to me, individually, an unattainable thing. I remember passing many hours, at this period, in what would certainly have been durance vile, had I not been fired with a lofty ambition. Mr. Edwin White was sketching in a picture which called for two figures—an old man and a child. The old man was easily obtained, a beautiful professional model of advanced years; but the child was not so readily found. I was filled with secret joy when it was suggested to me that I should be the required model. I was enchanted when the permission was given me to perform this important service. This was before the time of the long illness to which I referred in the beginning of this paper. The spending every morning for a week or so in Mr. White’s studio implied the being excused from French verbs and Italian translations. What a happy life, I thought, to be a model! I envied the beautiful old patriarch with whom I was associated in this picture. Kneeling beside him, as I was instructed to do, I thought what bliss it would be to be associated with him always, and to go about with him from studio to studio, posing for pictures.
There must be an inspiration for artists in the very air of Florence. The beautiful city is filled with memorials of the past, painted and carved by the masters passed away. I suppose that artists are constantly aroused to the wish to do great things by the sight of what these others have accomplished. Then, too, the history of the past, the religion of the past, are such realities in Florence. The artist feels called upon to interpret them, not as dead fancies, but as facts. The mythology of the Greeks and Romans meets one at every turn. I, for one, was as intimately acquainted with the family history of Venus, of Ceres, of Pallas, of Persephone, as with that of Queen Elizabeth, of Catherine de’ Medici, of Henrietta Maria. Nay, I was more intimate with the delightful elder set.