To be grafted in your Album is immortality.
Sincerely yours,
ALBERT BIERSTADT.
This gift was a big surprise to me. I was then corresponding with two Boston papers and one in the West. I thought it discourteous in the artists of the new Impressionist school, to sneer a little at Bierstadt's great paintings, as if he could ever be set back as a bye-gone or a has-been. And it gave me great pleasure to say so. I sent several letters to him, and one day I received a card asking me to call at his studio to look over some sketches. He said he wanted me to help him to select a sketch out of quite a pile on the table, as he wished to make a painting of one for a friend. I assured him I did not know enough to do that, but he insisted he was so busy that I must tell him which I thought would be most effective. I looked at every one, feeling quite important, and at last selected the Mountain Sheep poised on a high peak in a striking pose. A rare sight then.
At Christmas that splendid picture painted by Bierstadt was sent to our apartment for me. Never before had I received such appreciation for my amateur scribbling.
Ah, me! I was both complimented and proud. But my humiliation soon came. When I called to thank the kind donor and speak of the fine frame the mountain big-horn was now in, I was surprised to have Mr. Bierstadt present to me a tall, distinguished-looking foreigner as Munkacsy, the well-known Hungarian artist. He was most cordial, saying in French that he was glad to meet an American woman who could doubtless answer many questions he was anxious to ask. I could only partially get his meaning, so Bierstadt translated it to me. And I, who could read and translate French easily, had never found time to learn to chat freely in any language but my own. I could have cried right there; it was so mortifying, and I was losing such a pleasure. I had the same pathetic experience with a Russian artist, Verestchagin, whose immense picture, revealing the horrors of war, was then on exhibition in New York.
Again and again I have felt like a dummy, if not an idiot, in such a position. I therefore beg all young persons to determine to speak and write at least one language beside their own.
Tom Hood wrote:
"Never go to France
Unless you know the lingo
If you do, like me,
You'll repent by jingo."
But it's even worse to be unable in your own country to greet and talk with guests from other countries.
I should like to see the dead languages, as well as Saxon and Sanscrit, made elective studies every where; also the higher mathematics, mystic metaphysics, and studies of the conscious and subconscious, the ego and non-ego, matters of such uncertain study. When one stops to realize the tragic brevity of life on this earth, and to learn from statistics what proportion of each generation dies in infancy, in childhood, in early maturity, and how few reach the Biblical limit of life, it seems unnecessary to regard a brain-wearying "curriculum" as essential or even sensible. Taine gives us in his work on English Literature a Saxon description of life: "A bird flying from the dark, a moment in the light, then swiftly passing out into the darkness beyond."