While in England, not long since, the writer of these pages was told an anecdote relating to Mrs. Siddons which was new to him, and which illustrates how often accident has directed the future bent of genius. When quite a young lady, Sarah Siddons saw in some private gallery an antique statue of great excellence, which had a most electrifying effect upon her. It suggested to her at once the most effective position and manner in which to express intensity of feeling. The arms were close down at the sides, and the hands nervously clenched, while the head was erect, the chest expanded, and the face half in profile. "I cannot express how indelibly the pose took effect upon my imagination," said the great actress many years afterwards, "or the force of the lesson taught me by the marble." If memory serves us correctly, we recall an old engraving of Mrs. Siddons in the character of Lady Macbeth, which would be nearly a reproduction of the pose described.[178]
Accident developed one of the greatest vocalists the world has ever known. Jenny Lind was at the beginning of her life a poor neglected little girl, homely and uncouth, living in a single room of a tumble-down house in a narrow street at Stockholm. When the humble woman who had her in charge went out to her daily labor, she was accustomed to lock Jenny in with her sole companion, a cat. One day the little girl, who was always singing to herself like a canary-bird, "because," as she said, "the song was in her and would come out," sat with her dumb companion at the window warbling her sweet childlike notes. She was overheard by a passing lady, who paused and listened, struck by the clearness and trill of the untutored notes. She made careful inquiries about the child and became the patroness of little Jenny, who was at once supplied with a music-teacher. She loved the art of song, and had the true genius for it. Jenny made rapid progress, surprising both patroness and teachers, and presently became the great Queen of Song.
The world knows of Jenny Lind's splendid fortune, of her professional triumphs, and of her noble charities; but few, perhaps, have ever pictured her humble girlhood, cooped up in a cheerless room, with only her cat for a companion, in a dull quarter of the Swedish capital. The plain, awkward girl grew up under favorable culture to be a graceful, lovely woman. The courts of Europe treated her as a revered guest; she was covered with laurels and with jewels, but she was ever in disposition and character the same pure, simple Swedish girl. Adulation had no power to spoil this child of Nature and of art. The Swedish public cherish her name as that of their most favored daughter, and honor her for the noble educational institution which she has so liberally founded in her native Stockholm.
Christina Nilsson, another Scandinavian vocalist, was the daughter of an humble Swedish peasant, born in so lowly a cabin that it was difficult to conceive of the name of "home" being applied to it. While yet a child she was obliged to work with the rest of the family in the fields and on the mountain-side. Her sweet voice was first heard at the fairs and peasant weddings, where her simple Scandinavian melodies delighted the assembled crowds. At one of these public gatherings a man of taste and means heard the child's voice, and realized the hidden possibilities it indicated. He was a magistrate, and became her patron, taking her from her humble surroundings and supplying her with suitable teachers. She was carefully taught instrumental as well as vocal music, and became both an eminent pianist and singer, developing like her fair countrywoman, Jenny Lind, into a vocalist of grandest genius, and of such ability as the world affords but few examples.
Taglioni was also Scandinavian by birth, having been born at Stockholm, in 1804, of humble parentage, her father being a dancing-master. She had the genius of an artist, which she patiently developed through many dark hours of toil and deprivation, until she made herself acknowledged as queen of the ballet in the great cities of Europe. Her purity of character added a charm to her public performances, giving her a prestige never before enjoyed by any exponent of her art. She finally amassed a large fortune, and retiring from the stage married Count Gilbert de Voisins. Doubtless many of our readers have paused in their gondolas beneath the windows of her marble palace on the Grand Canal at Venice, to recall the story of the great danseuse, or have looked with pleasure upon her elegant villa on the Lake of Como.
CHAPTER X.
It is not the author's purpose to treat the names of painters, or indeed those of any other branch of art, especially by themselves. Were any single line to be selected, the peculiarities of its representatives would alone be sufficient to fill a volume. Under the general design of this gossip about genius, the pen is permitted to glide after its own fancy, treating only upon such individuals as readily suggest themselves, and who are illustrative of characteristics already introduced.