When I reached Cincinnati I found him intimate with my brother, and a favorite with my mother, who had formed a high opinion both of his character and of his talents. The latter had already very markedly manifested themselves in that direction which finally decided his career in life. Yet there was little of that dreamy and enthusiastic worship for the abstract beautiful which is generally supposed to be the marking characteristic of the artistic temperament. But he had a wonderful faculty of executing with his hands whatever his mind had conceived, and a mind singularly active in invention and in devising means for the execution of a mechanical end. Had circumstances not made him a sculptor, he might have been—probably would have been—a successful inventor, mechanician or engineer. Throughout life he was an eminently and specially practical man—a man whose tendency was not to dream, but to do. That artistic temperament, as it is generally called, which so often manifests itself in exactly the opposite direction—in a tendency to dream rather than to do, and to allow the pleasures of the ideal to incapacitate those who indulge in them for real work—was so little his that I have never known a more industrious and conscientious worker with his hands. And there was nothing to which he could not turn them, and that with a degree of skill that would often put to shame the attempts of members of the craft which he might be essaying for the first time.
At that time Hiram Powers was, as the saying is, living upon his wits; and they, being such as I have described them, were not likely to fail in producing the wherewithal to do so. There was at that period a little Frenchman named Dorfeuille at Cincinnati—not a bad sort of little man, I believe, and with some amount of literary and other talent. But he also being engaged in the operation of living on his wits, or mainly so, and not finding them so abundantly sufficient for the purpose as those of my young friend, thought that he too might in part live on the wits of the latter; and during the time of my stay at Cincinnati he did so to the satisfaction of both parties. This Dorfeuille was the proprietor of a museum, the main and most attractive portion of which was a number of wax figures. But the Cincinnati public was not large enough in those days to supply a constant stream of fresh spectators, and, though there was little in the way of public amusement to compete with M. Dorfeuille's museum, the Cincinnati people soon got tired of looking at the same show; and but for the happy chance which brought him into contact with Hiram Powers, M. Dorfeuille must have packed up his museum and sought "fresh woods and pastures new." But with the advent of young Powers, and the contents of the museum given over to his creating brain and clever fingers, a period of halcyon days and new prosperity commenced for the little Frenchman and his show. With the materials at his disposition all things were possible to the young artist, to whom such a chance gave the first clear consciousness of his own powers. New combinations, new names, new costuming, alterations of figures, etc. etc. were adopted to produce fine effects and amuse the public with constant novelties. For the invention of these Powers often used to consult my mother, whose suggestions he never failed to carry into effect, to the great amusement of both parties. On one occasion an idea struck her, which, when she communicated it to him, fired the imagination of Powers and turned out a great success. This was nothing less than to give a representation of some of the more striking scenes of Dante's Divina Commedia. The idea was a sufficiently audacious one. But "audaces Fortuna juvat." Powers scouted the notion of difficulty. My mother was to draw up the programme, and he undertook, with the materials furnished him by the museum, and with the help of some of his own handiwork, to give scenic reality to her suggestions. The result, as I have said, was a brilliant success. I have a copy of the "bill" that was issued to the public inviting them to the exhibition in question, which is a curiosity in its way, and which I must give the reader. It is drawn up in high sensational style, with lines of different lengths and boldness, and printed in all the different sorts of capitals which the printer's case afforded. I cannot occupy space with any imitation of these typographical magnificences, but will simply copy the language of the bill. It must have been my mother's composition, and Powers had to work up to it, which he did to the letter:
"The World to come, as described by Dante, and comprising, Hell, Purgatory, and Paradise, will be exhibited in a room adjoining the Western Museum on the 4th of July, and days following. Admittance, twenty-five cents. In the centre is seen a grand colossal figure of Minos, the Judge of Hell. He is seated at the entrance of the INFERNAL REGIONS [enormous capitals]. His right hand is raised as in the act to pronounce sentence, his left holding a two-pronged sceptre. Above his head is a scroll on which are written the concluding words of Dante's celebrated inscription, 'Abandon hope, all ye who enter here!' To the right of this figure the foreground presents a frozen lake, on the surface of which are seen the heads of those who have been doomed to this species of punishment. Among these is the head of Ugolino, whom Dante describes as eternally gnawing the head of his enemy, who, after placing him and his three sons in the upper chamber of a strong tower near Florence, threw the key of it into the moat and left them to perish with hunger. Grinning in mockery of these ice-bound sufferers, A BLACK IMP [biggest extra black capitals] is seated on a rock, dandling a young monster. On the edge of the opposite side of the frozen lake stands a spirit, who is just about to endure the frozen torment; and his attitude and countenance express the agony of extreme cold. Behind him opens the fiery gulf, the reflection of whose lurid glare is seen on his half-frozen body. At his feet a female head, fixed in the ice, looks up to the flames, as longing for their warmth; while a little way within the lake of fire another head is seen gazing with longing eyes upon the ice. A brilliant fountain of flame is in the midst of the lake, and around it crowds of condemned spirits in all varieties of suffering. In one corner a fiend is proclaiming their infamy by the aid of a trumpet through all the depths of Hell. Birds and animals of hideous form and evil omen are fluttering over the heads and tormenting the sufferers. Large icicles hang from the rocks that form the Gate of Hell, and reflect on their bright surface the red glare of the fires within. On the left of Minos is seen a Skeleton ascending a column of Icicles and holding a standard bearing these lines:
"'To this grim form our cherished limbs have come,
And thus lie mouldering in their earthly home.
In turf-bound hillock or in sculptured shrine
The worms alike their cold caresses twine.
So far we all are equal; but once left
Our mortal weeds, of vital spark bereft,
Asunder farther than the poles we're driven—