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Ae market night, Tam had got planted unco right, Fast by an ingle, bleezing finely, Wi' reaming swats, that drank divinely; And at his elbow Souter Johnny, His ancient trusty, drouthy crony: Tam lo'ed him like a vera brither; They had been fou for weeks thegither. The night drave on wi' sangs and clatter, And aye the ale was growin' better: The landlady and Tam grew gracious, Wi' favours, secret, sweet, and precious: The Souter tauld his queerest stories, The landlord's laugh was ready chorus: The storm without might rair and rustle, Tam did na mind the storm a whistle. |
Never perhaps, as is well observed by a political journal in this city, was the genius of art so truly impressed upon stone, as in the present instance,—to represent human bodies in a state of petrifaction. A reader of Romance, would almost imagine that the wand of enchantment had passed over the merry group, and had frozen the currents of life—without disturbing the mirth, enlivened feature, the arch and humorous look,—or the easy and careless attitudes of nature. We admire the productions of the great masters of modern times, or, of classical antiquity—but, whilst we gaze, we never once even imagine that the promethean spark might have animated the marble. Belonging, as most of them do, to the ideal schools of sculpture—imbodying all that is fair and beautiful, in the artist's conception; rather than what is absolutely true in the visible forms of nature,—they do not strike us with the same irresistible force, or so instantly seize upon our feelings—as does the rude, simple, but faithful sculpture of this unlettered and inexperienced Scottish stone-cutter. Considering that Mr. Thom was entirely ignorant of the rules of his art,—that he had not even the advantage of first modelling his productions in clay,—that the group from Tam O'Shanter is among his first efforts, and that each of these fine pieces, was hewn at once out of the shapeless stone, without the power of correcting the mistakes of his chisel as he proceeded,—the mind is lost in wonder at the vigor and originality of his genius. Such a man is worthy the birthplace of Robert Burns,—who little thought whilst he was sketching the hilarities of the ale-house, that one of his countrymen would so soon arise to present in the forms and models of a sister art, so fine a representation of the scene. The following detailed account of the artist, and of his singularly successful labors, is extracted from an Edinburg journal. We copy it from "The People's Magazine." It will be highly interesting to most of our readers:
James Thom, the sculptor of these wonderful figures, is a native of Ayrshire, and of respectable parentage near Tarbolton. Although, like those of his countryman and inspirer, his relatives were all engaged in agricultural pursuits, (his brothers, we understand, possess large farms,) the young man himself preferred the occupation of a mason, and was, accordingly, apprenticed to a craftsman in Kilmarnock. This profession was probably selected as offering the nearest approach to the undefined workings and predilections of his own inexperienced mind, since he was not, as in the instance of several sculptors of eminence, thrown first into the trade of a stone mason by the force of circumstances. This would appear from his showing little attachment to the drudgery of the art: accordingly, his first master is understood to have pronounced him rather a dull apprentice. From the beginning, he seems to have looked forward to the ornamental part of his calling; and in a country town where there was little or no opportunity of employment in that line, to those more immediately concerned, he might appear less useful than a less aspiring workman. The evidences of young Thom's diligence and talent at this time, however, still remain in numerous specimens of carving in stone, which he himself still considers, we are told, as superior to any thing he has yet done.
His term of apprenticeship being expired, Mr. Thom repaired to Glasgow in pursuit of better employment. Here his merits were immediately perceived, and so well rewarded, that his wages were considerably higher than the ordinary rate.
In his present profession, Mr. Thom's career may be dated from the commencement of the winter of 1827. Being employed at this time in the immediate neighborhood, he applied to Mr. Auld, of Ayr, who afterwards proved his steady and judicious friend, for permission to take a sketch from a portrait of Burns, with the intention of executing a bust of the poet. This is a good copy of the original picture by Mr. Nasmyth, and is suspended in the very elegant and classical monument, from a design by Mr. Hamilton, erected to the memory of the bard, on the banks of the Doon, near "Allowa's auld haunted kirk." The permission was kindly granted; doubts, however, being at the same time expressed, how far the attempt was likely to prove successful, Mr. Thom not being then known in Ayr. These doubts seemed to be confirmed, on the latter returning with a very imperfect sketch, taken by placing transparent paper on the picture. These occurrences happened on the Wednesday, consequently nothing could be done till Thursday, when materials were to be procured, and other arrangements made, before the work was absolutely begun. The surprise then may be conceived, on the artist returning on the Monday following with the finished bust. In this work, though somewhat defective as a likeness, the execution, the mechanical details, and the general effect, were wonderful, especially when viewed in connexion with the shortness of the time and the disadvantage of being finished almost from memory—the very imperfect outline, already mentioned, being the only external guide. It was this general excellence that encouraged the proposal of a full length figure—a proposal to which the artist gave his ready assent, stating that he had wished to undertake something of the kind, but did not consider it prudent, without any prospect of remuneration, to hazard the expense both of the block of stone and the loss of time. On this Mr. Auld offered to procure any stone from the neighboring quarries which the artist might judge fit for his purpose. Several days elapsed in this search; in the meantime, the matter was rather laughed at than encouraged; and some apprehensions of failure, and exposure to consequent comments, being expressed, "Perhaps," said the artist, endeavoring to re-assure his friends, "I had just better try my hand at a head, as a specimen o' Tam." This being agreed to, he returned to Crosby church-yard, where he was then employed upon a grave-stone. The day following happened to be one of continued rain; and, finding that the water filled up his lines; probably, too, thinking more on "glorious Tam," than on the memento mori he was attempting to engrave, our artist resolved to take time by the forelock, and to set about the "specimen head" directly. Accordingly, pulling from the ruins of the church of Crosby a rabat of the door-way, as a proper material for his purpose, he sat himself down among the long rank grass covering the graves, and in that situation actually finished the head before rising. Nay, more, although the day has been described to us "as a dounright pour," so total was his absorption in the work—so complete his insensibility to every thing else, that he declares himself to have been unconscious of the "rattling showers," from the moment he commenced. Such is the power of genuine and natural enthusiasm in a favorite pursuit. This head, which contained perhaps, more expression than even that of the present figure, decided the matter. Next day, the block requisite for a full-length of Tam o' Shanter, was brought into Ayr, a load for four stout horses, and placed in a proper workshop, within Cromwell's fort.
It may be interesting to mention a few particulars of the manner in which these figures have been composed and finished.—"Tam" was selected by the artist as a subject for his chisel. The figure is understood to bear a strong traditional resemblance to the well-known Douglass Graham, some forty years ago a renowned specimen of a Carrick farmer, and who, residing at Shanter, furnished to Burns the prototype of his hero.
—— Souter Johnnie,
His antient, trusty, drouthie cronie—
is said to be a striking likeness of a living wight—a cobbler near Maybole; not that this individual sat for his portraiture, but that the artist appears to have wrought from the reminiscences of two interviews with which he was favored, after twice travelling 'some lang Scotch miles,' in order to persuade the said "souter" to transfer his body, by means of his pair of soles, from his own to the artist's studio. The bribe of two guineas a-week, exclusive of "half-mutchkins withouten score," proved, however, unavailing, and the cobbler remained firm to the last. By this refusal, "the birkie" has only become poorer by the said couple of guineas, and certain "half-mutchkins drouthier," for so true has the eye of the sculptor proved, that every one is said instantly to recognise the cobbler's phiz and person. A strange perverseness, indeed, or fatality, or what you will, seems to have seized upon all the favored few selected as fitting archetypes for these admirable figures. For, Tam's "nether man" occasioning some anxiety in the perfecting of its sturdy symmetry, a carter, we believe, was laid hold of, and the gamashins, being pulled on for half-an-hour, Tam's right leg was finished in rivalship of the said gentleman's supporter. It appears to have been agreed upon that he should return at a fitting opportunity, having thus left Tam "hirpling:" but, in the interval, the story of the sitting unfortunately taking air, and the soubriquet of "Tam o' Shanter" threatening to attach to the lawful and Christian appellations of the man of carts, no inducement could again bring him within the unhallowed precincts of our sculptor's work-room. In like manner, though at a somewhat later period, while the artist was engaged upon the figure of the landlady, no persuasion could prevail upon one of the many "bonny lasses" who have given such celebrity to Ayr, to exhibit even the "fitting of their pearlings" to Mr. Thom's gaze. One sonsy damsel, on being hard pressed to grant a sitting, replied, "Na, na, I've nae mind to be nickinamed 'landlady;' and, as for gudewife, twa speerings maun gang to that name."
It will, doubtless, excite the admiration of every one in the slightest degree conversant with the Arts, that these figures, so full of life, ease and character, were thus actually executed without model, or drawing, or palpable archetype whatsoever. The artist, indeed, knows nothing of modelling; and so little of drawing, that we question if he would not find difficulty in making even a tolerable sketch of his own work. The chisel is his modelling tool—his pencil—the only instrument of his art, in short, with which he is acquainted, but which he handles in a manner, we may say, almost unprecedented in the history of sculpture.—This, however, is the minor part; for we think, nay, are sure, we discover in this dexterity of hand, in this unerring precision of eye, in this strong, though still untutored, conception of form and character—the native elements of the highest art. These primodial attributes of genius, by proper culture, may do honor to the country and to their possessor. At all events, instruction will refine and improve attempts in the present walk of art, even should study be unable to elevate attainment to a higher. Now, however, it would be not only premature, but unjust, to criticise these statues as regular labors of sculpture. They are to be regarded as wonderful, nay, almost miraculous, efforts of native, unaided, unlearned talent—as an approach to truth almost in spite of nature and of science; but they do not hold with respect to legitimate sculpture—the high-souled, the noblest, the severest of all arts—the same rank as, in painting, the works of the Dutch masters do as compared with the lofty spirits of the Romans—precisely for this reason, that while similar subjects are not only fit, but often felicitous, subjects for the pencil, they are altogether improper objects of sculptural representation.
Though, from the circumstance of being the principals in the composition, and from the intrinsic excellence of their conception, these two figures have chiefly occupied the public attention, they ought not to induce forgetfulness of the artist's other labors. These, besides the Landlord and his mate, consist of several1 copies, in various sizes, of this original group, and of numerous sculptures, of different character and purpose, from a "head-stane" upwards, executed by Mr. Thom, since his residence in Ayr as a professional stone-cutter. Here his studio is the resort of all intelligent strangers who visit this ancient and beautiful burgh; while his modest manners, and moral worth have conciliated the respect of every one. The character of the Landlady is well sustained, as the buxom bustling head of a well frequented "change-house." Her lord and master, on the other hand, is represented as one who has little to say in his own house, and better qualified to drink, than to earn his pint. The former seems by no means disinclined to reciprocate glances with Tam; while the latter is so convulsed with laughter at the Souter's stories, as to be hardly capable of maintaining the equipoise of the foaming tankard in his hand. Neither, however, is equal in graphic truth and humor to their two companions. A more gigantic, but by no means so happy a work, is the statue of the Scottish patriot, lately placed in the niche of the New Tower, just erected in Ayr, on the site of the ancient "Wallace Tower" of Burns. In fact, we regard this figure as nearly a failure. It possesses neither the truth of nature, nor the dignity of ideal representation. Omitting others of less moment, we shall pass to the most perfect of all Mr. Thom's works—the figure of "Old Mortality." This, though only a model, and not yet, we believe, even commissioned in stone, offers by far the most striking evidence of genius in its author.2 The costume, attitude, and expression of the old man, as he is represented sitting upon a grave-stone, which he has been occupied in cleaning, are most admirable; and perhaps no artist ever more completely realized the exquisite conception of the original mind. The history of this composition supplies a striking instance of the power of genius over spirits of a congenial stamp, and of the singular coincidences which sometimes take place in its manner of conceiving the same sentiment. During a voyage to London, in a Leith steam packet, Mr. Thom one day found in the cabin, Sir Walter's delightful tale of Old Mortality, which he had never read. Taking it up, he quickly became entirely engrossed in the narrative. The description of the old man, to whom posterity is indebted for many a record, else lost, of our single-minded sufferers for conscience' sake—so fixed itself upon the artist's imagination, that he instantly conceived the idea of representing it in sculpture. By way of concentrating his thoughts, he sketched a figure in the imagined attitude, on one of the boards of the book he had been reading. Pleased with his idea, he transferred it to his pocket-book. A few days after his arrival in London, he was introduced to our celebrated countryman, Wilkie, who, with his accustomed kindness, showed him his portfolios. Mr. Thom's surprise may be imagined, when in one of these he found a sketch of Old Mortality, almost identical with his own, executed by Wilkie several years before. The same thought had struck both, and almost in the same manner.