{"Anch' io son pittore" = "I too, am a painter!" (Italian). Antonio Allegri da Correggio (Italian painter, 1494-1534), exclamation on viewing Raphael's "St. Cecilia" at Bologna (1525)}
THERE was one subject, in which the family at Wyllys-Roof felt particularly interested just then, and that was, Charlie Hubbard's picture. This piece was to decide finally the question, whether Charlie should be an artist, or a merchant's clerk; a question which he himself considered all important, and which caused much anxiety to his friends.
The house in which the Hubbards lived was a grey, wooden cottage, of the smallest size; curious gossips had, indeed, often wondered how it had ever been made to contain a large family; but some houses, like certain purses, possess capabilities of expansion, quite independent of their apparent size, and connected by mysterious sympathies with the heads and hearts of their owners. This cottage belonged to the most ancient and primitive style of American architecture; what may be called the comfortable, common sense order—far superior, one might suppose to either Corinthian or Composite, for a farm-house. The roof was low, and unequally divided, stretching, on one side, with a long, curving slope, over the southern front; which was scarce seven feet high: towards the road the building was a little more elevated, for a dormer-window gave it the dignity of a story and a half. Not only the roof, but the walls—we have classical authority for wooden walls—were covered with rounded shingles, long since grey, and in spots, moss-grown. Twice the cottage had escaped a more brilliant exterior; upon one occasion it had been inhabited by an ambitious family, who talked of a coat of red paint; fortunately, they moved away, before concluding a bargain with the painter. Again, when the Hubbards took possession of the 'old grey house,' a committee of ladies actually drove over from Longbridge, with the intention of having it whitewashed; but, the experienced old negro engaged to clean generally, gave it as his opinion, that the shingles were not worth the compliment. The windows were very small; more than half the glass was of the old, blue bull's-eye pattern, no longer to be found at modern glaziers, and each heavy window-shutter had a half-moon cut in its upper panel, to let in the daylight. When we add, that there was a low porch before the door, with a sweet-briar on one side, and a snowball on the other, the reader will have a correct idea of the house inhabited by our friends, the Hubbards.
{"Corinthian or Composite" = two of the classical orders of architecture, based on the style of column used. The "Composite order," however, was something of a Cooper family joke, first used by James Fenimore Cooper in "The Pioneers" (1823) to describe a pretentious building of no particular style at all. The Coopers, father and daughter, were contemptuous of buildings that pretended to be Greek temples}
The cottage stood within a little door-yard, near the gate which opened on the lawn of Wyllys-Roof; and, immediately opposite the place recently purchased by Mr. Taylor. Here the family had lived for the last twelve years; and, from that time, Miss Patsey had been obliged to struggle against poverty, with a large family of younger brothers and sisters, dependent, in a great measure, upon her prudence and exertions.
Mr. Hubbard, the father, a respectable Presbyterian minister, had been, for half his life, in charge of a congregation in Connecticut, where, by-the-bye, Mr. Pompey Taylor, at that time a poor clerk, had been an unsuccessful suitor for Patsey's hand. After a while, the family had removed to Longbridge, where they had lived very comfortably and usefully, until, at length, the minister died, leaving his widow and seven children entirely unprovided for. Happily, they possessed warm friends and kind relatives. The old grey house, with a garden and a little meadow adjoining, was purchased for his brother's family by Mr. Joseph Hubbard, known to the young people as Uncle Josie: he was a merchant, in easy circumstances, and cheerfully gave the thousand dollars required. The cottage was furnished by the minister's congregation. Many useful presents were made, and many small debts forgiven by kind neighbours. With this humble outfit the family commenced their new career. Mrs. Hubbard, the second wife, and mother of the three younger children, had lost the use of one hand, by an attack of paralysis. She had always been a woman of very feeble character; and although treated with unvarying kindness and respect by her step-children, could do little towards the government or assistance of the family. It was Patsey who toiled, and managed, and thought for them all. With the aid of two younger sisters, mere children, at first, and an old black woman, who came once a week to wash, all the work was done by herself, including baking, ironing, cooking, cleaning, &c.; and yet Patsey found time to give up four hours a day to teaching a class of some dozen children, belonging to several neighbouring families. This school furnished the only money that passed through her hands, and contributed the only regular means of support to the family. They received, however, much kind assistance, in many different ways; indeed, otherwise, it would have been scarcely possible to keep a fireside of their own. There had been, in all, nine children; but the eldest son, a missionary, died before his father; the second had already gone to Kentucky, to seek his fortunes as a physician; he had married young, and, with children of his own to support, it seemed but little he could do for his step-mother; he sent for a younger brother, however, engaging to provide for him entirely. Another son was educated by his rich Longbridge relative, kind Uncle Josie; another uncle, a poor old bachelor, known to the neighbourhood as Uncle Dozie, from a constant habit of napping, did his utmost, in paying the school-bills of his niece Catherine. In the course of a few years, Uncle Josie's protege became an assistant in the school where he had been educated; Kate Hubbard, Uncle Dozie's favourite, married a quick-witted, but poor, young lawyer, already introduced to the reader, by the name of Clapp.
Still, there remained in the family two younger daughters, and Charlie, besides Miss Patsey and Mrs. Hubbard. By the exertions and guidance of Patsey, the assistance of friends, and their own good conduct, the young people, in due time, were all growing up, endowed with good principles, good educations, and with respectable prospects opening before them. At the period of our narrative, the third daughter hoped shortly to become an under-governess in the school where she had been educated; and Mary, the youngest of the family, had such a decided taste for music, that it was thought she would have no difficulty in supporting herself, by giving lessons, in the course of two or three years. Of all the family, Charlie was the one that caused his friends the most anxiety. He was a fine, spirited, intelligent boy; and Uncle Josie had promised to procure a situation for him, with his son-in-law, a commission-merchant and auctioneer, in New York. This plan was very pleasing to Mrs. Hubbard and Miss Patsey; but, unfortunately, Charlie seemed to have no taste for making money, and a fondness for pictures and pencils, that amounted almost to a passion. Here was an unexpected obstacle; Charlie was the pet and spoiled child of the family. All the rest of the young people had been quite satisfied with the different means of support that had offered for each; and they had followed their respective careers with so much quiet good sense, that Charlie's remonstrances against the counting-house, and his strong fancy for an artist's life, was something quite new, and which Miss Patsey scarcely knew how to answer. There was nothing in the least poetical or romantic about Patsey Hubbard, who was all honest kindness and straight-forward common sense. She had no feeling whatever for the fine arts; never read a work of imagination; scarcely knew one tune from another; and had never looked with pleasure at any picture, but one, a portrait of her own respected father, which still occupied the place of honour in their little parlour, nearly covering one side of the wall. This painting, to speak frankly, was anything but a valuable work of art, or a good likeness of the worthy minister. The face was flat and unmeaning, entirely devoid of expression or relief; the body was stiff and hard, like sheet-iron, having, also, much the color of that material, so far as it was covered by the black ministerial coat. One arm was stretched across a table, conspicuous from a carrot-coloured cloth, and the hand was extended over a pile of folios; but it looked quite unequal to the task of opening them. The other arm was disposed of in some manner satisfactory to the artist, no doubt, but by no means easy for the spectator to discover, since the brick-coloured drapery which formed the back-ground to the whole, certainly encroached on the side where nature had placed it. Such as it was, however, Miss Patsey admired this painting more than any she had ever seen, and its gilt frame was always carefully covered with green gauze, no longer necessary to preserve the gilding, but rather to conceal its blackened lustre; but Charlie's sister belonged to that class of amateurs who consider the frame as an integral part of the work of art. It was, perhaps, the most promising fact regarding any future hopes of young Hubbard's, as an artist, that this same portrait was far from satisfying his taste, uncultivated as it was. Charlie was, for a long time, so much ashamed of his passion for drawing, that he carefully concealed the little bits of paper on which he made his sketches, as well as the few old, coarse engravings he had picked up to copy. But, one day, Miss Patsey accidentally discovered these treasures between the leaves of a number of the Longbridge Freeman, carefully stowed away in an old chest of drawers in the little garret-room where Charlie slept. She found there a head of Washington; one of Dr. Blair; a view of Boston; and an old French print called L'Ete, representing a shepherdess making hay in high-heeled shoes and a hoop; there were copies of these on bits of paper of all sizes, done with the pen or lead-pencil; and lastly, a number of odd-looking sketches of Charlie's own invention. The sight of these labours of art, was far from giving Miss Patsey pleasure, although it accounted for the surprising disappearance of her writing-paper, and the extraordinary clipping, she had remarked, of late, on all notes and letters that were left lying about, from which every scrap of white paper was sure to be cut off. She spoke to Charlie on the subject, and, of course, he had to confess. But he did not reform; on the contrary, matters soon grew worse, for he began to neglect his studies. It happened that he passed the whole summer at home, as the school where his brother had been assistant, and he himself a pupil, was broken up. At last, Miss Patsey talked to him so seriously, about wasting time on trifles, that Charlie, who was a sensible, warm-hearted boy, and well aware of the exertions his sister had made for him, promised amendment, and actually burnt all his own sketches, though the precious engravings were still preserved. This improvement only lasted a while, however, when he again took to drawing. This time he resolutely respected Miss Patsey's paper, but that only made matters worse, for he became more ambitious; he began to sketch from nature; and, having a special fancy for landscape, he used to carry his slate and arithmetic into the fields; and, instead of becoming more expert in compound interest, he would sit for hours composing pictures, and attempting every possible variety in the views of the same little mill-pond, within a short distance of the house. He soon became quite expert in the management of his slate and pencil, and showed a good deal of ingenuity in rubbing in and out the white shading on the black ground, something in the manner of a stump-drawing; but, of course, these sketches all disappeared before Charlie went to take his regular lesson in book-keeping, from the neighbour who had promised to keep him in practice until the winter, when he was to enter the counting-house.
{"Dr. Blair" = possibly Robert Blair (Scottish poet, 1699-1747), author of "The Grave"; or James Blair (1656-1743), founder of the College of William and Mary in Williamsburg, Virginia. "L'Ete" = summertime (French); "stump drawing" = probably from "stump", a pencil-like drawing implement of rolled paper or of rubber, used to smooth or rub in dark lines}
At last, however, Charlie determined to have an explanation with his mother and sister; he made a clean breast as to the misdoings on the slate, and boldly coming to the point, suggested the possibility of his being able to support himself, one day, as an artist, instead of a commission merchant. Poor Miss Patsey, this was a sad blow to her! It had been her cherished ambition to see Charlie an upright, prosperous merchant; and now that his prospects were brightening, and a situation was provided for him, that he should be only a painter! She had a very low opinion of artists, as a class, and she would almost as soon have expected Charlie to become a play-actor, or a circus-rider. When the boy found that both Uncle Josie and Uncle Dozie thought his idea a very foolish one, that Miss Patsey was very much distressed, and Mrs. Hubbard could not be made to comprehend the difference between an artist and a house-painter, he again abandoned his own cherished plans, and resumed his commercial studies. Unfortunately, one day, Elinor was choosing a book as a present for her old play-fellow, at a bookstore in Philadelphia, when she laid her hand on the Lives of the Painters. These volumes finally upset Charlie's philosophy; he immediately set to work to convince Miss Patsey and Uncle Josie, by extracts from the different lives, that it was very possible to be a good and respectable man, and not only support himself, but make a fortune, as an artist. Of course, he took care to skip over all unpleasant points, and bad examples; but when he came to anything creditable, he made a note of it—and, one day, pursued Miss Patsey into the cellar, to read to her the fact that Reubens had been an ambassador.
{"Reubens" = Peter Paul Rubens (1577-1640), famous Flemish painter, who served as a diplomat in Spain from 1626-30}