1. It is impossible to model successfully without living models; and in America, in my time, it was almost at the peril of reputation, both for model and sculptor, that an artist employed the living model, even if he could procure it. Now, I understand, a few models may be obtained in New York; but they are so rare and so expensive, that it is almost ruinous to employ them. It costs two or three dollars there to secure a model which here may be had for half a day for forty cents. There is no want of models here; but their history is a sad one, and makes one often seriously lament the necessity for employing them. Young women, especially, are driven to this employment by the want of bread. I have numerous offers of their services made by parents who are in great distress. I make it a point to discourage all who come to me from entering the business, and am only conquered when I feel sure that, if I decline, they will be driven to other studios. I prefer only professional models, already thoroughly committed to the calling, as I shrink from the responsibility of leading any into so perilous a vocation. They are usually accompanied by their mothers, and I strive to treat them in a way to save their self-respect and delicacy—a very hard task, which too often breaks down in less scrupulous hands.
2. The opportunities of anatomical studies are here nearly perfect, and free from all expense. The medical schools not only illustrate anatomy by surgery on the cadaver, but standing by the side of the dead body is a living one, in which the action of the muscles dissected before the student may be studied in life. These colleges are open to all artists, and furnish the best possible schooling in anatomy, a thorough acquaintance with which is indispensable to the sculptor, and can only be obtained in America at great cost.
3. Marble is no cheaper here than in New York, the long sea-carriage costing no more to America than the short land-carriage does from the quarries to Florence or Rome. But good workmen, who can not be dispensed with, are so abundant and so cheap here, so rare and so dear at home, that that alone is a decisive reason for coming abroad. Even here it is a heavy expense to procure sufficient and competent workmen; at home it is almost at ruinous cost and with nearly insuperable difficulty. I have two workmen—as good, certainly, as the best in America—to the finest of whom I pay only four dollars a day. He could make twice that cutting weeping-willows on American tomb-stones. What could he not justly demand in wages from a New York sculptor? I employ a dozen workmen in my studios; the poorest, at work on pedestals and rough work, earn about half a dollar a day; the moderately skilled, a little over a dollar. The whole cost me about fifteen dollars per day, which is wonderfully low. Then, my rent—which could not, for my extensive accommodations, be less than two thousand five hundred dollars a year in any eligible position which the public would visit—reaches only about four hundred and fifty dollars, annually.
But, 4. The general expenses of maintaining a family are so much less here than at home, that a man without capital, possessing a profession so slow in reaching its pecuniary returns as an artist's, finds an immense inducement to live abroad. It is true that, music and accomplishment in languages apart, the opportunities of a substantial education for one's children are not as good here as at home. There are, however, less temptations to vice, and less exposures to the American habit of hard drinking among young men; but, no doubt, the general influences here, in the way of developing a manly, energetic, and self-relying character, are less favorable than at home. There is a softness, a disposition to take life easy, and a want of moral earnestness in Italy, which are not favorable to youthful ambition and independence. On the other hand, the money-getting propensities and social rivalries of America tend to harden human character, and to bring out a severe selfishness which is offensive. On the whole, the balance is on our side, and, other things apart, American youth are better brought up in America. But the artist must make this sacrifice to his art.
Mr. Powers is sixty-five years old, but is in full possession of his mental and physical strength. He is a genuine American, notwithstanding his long residence abroad, and has always a warm welcome for his countrymen visiting his studio. He is a favorite with the younger artists, who find in him a kind and judicious friend. Scorning servile imitation, he still exhibits in his works the freshness of his youth and the genuine originality which was the basis of his fame.
CHAPTER XXX.
EMMANUEL LEUTZE.
EMMANUEL LEUTZE, by adoption an American, was born in the village of Emingen, near the city of Reutlingen, in Wurtemberg, on the 24th of May, 1816. His father emigrated to America during the infancy of his son, and the future artist spent his youth in the city of Philadelphia and the town of Fredericksburg, Virginia. He received a good common school education, and passed his time in comparative seclusion from society, reading and studying, but showing no especial fondness for art. At length, during his father's last illness, in which he nursed him with great devotion, he took up drawing to beguile the weary hours of the sick-room, and succeeded so well in his attempts that after his father's death he continued his efforts under the instruction of a competent drawing master. He improved rapidly, and was so well satisfied with his success that he determined to adopt the profession of an artist as the one best suited to his talents and inclination.