and I told Lowell how the dear old poet felt, and then put them together at the table. Lowell laid himself out to captivate Bryant, and did so completely, for his tact was such that in society no one whom he desired to interest could resist him; and our dinner was a splendid success. Of all present at it only Durand and myself are now living.
The subscription list of our paper had risen in the first month to above 1200, and the promise for the future seemed brilliant. But, unfortunately, neither of us understood the business part of journalism, or that a paper does not live by its circulation, but by advertisements; and that our advertisements, being a specialty, must be canvassed for vigorously. We did not canvass. Cunning publishers persuaded us that it would be a good thing to take their advertisements for nothing, so as to persuade the others that we had a good advertising list. But the bait never took, and we never got the paying list, and the printer, being interested in our expenditure, never helped us to economize, but played the "Wicked Uncle" to our "Babes in the Wood," and so we wasted our substance. It was, perhaps, fortunate that the funds ran short as they did, for our five thousand dollars could not go far when the subscriptions were all paid in and spent, and the overwork began to tell on me fatally. With the conclusion of the third volume I broke down and had to give up work entirely.
When I got out of harness, and had no longer the stimulus of the daily demand and habit of work, the collapse was such that I thought I was dying. I gave my share of the paper to Durand, to do as he pleased with, and went off to North Conway, in the mountains of New Hampshire, to paint one more picture before I died. I chose a brook scene, and Huntington and Hubbard—two of our leading painters—and a Düsseldorf-educated painter, by name Post, sat down with me to paint it. I gave six weeks of hard work to a canvas twelve by eighteen inches, and my competitors cordially admitted my victory. Autumn fell on my work with still something to do to it, and it was never finished to my entire satisfaction, but it was one of the successes of the year at the Academy Exhibition. I stayed late amongst the mountains, only thinking of dying, but nature brought me round. There came, towards the end of the season, a newly married couple from Boston, destined in later years to become a large part of my life,—Dr. and Mrs. Amos Binney. Mrs. Binney was one of the earliest women graduates in medicine in America,—an earnest, true woman, whose ministrations to me in body and mind, in those months of dying hopes, flying leaves, and early snowfalls, were full of healing. I had had a skirmish with Cupid that summer, my first real passion, reciprocated by the subject of it, one of the ardent readers of "The Crayon," an enthusiast in art, and like me in Ruskin—an affair which ended in our double defeat under the merciless veto of the mother of my flame. In that affair Mrs. Binney's tact and knowledge of human nature befriended me profoundly, and were the origin of a cordial intimacy which incidentally had on my subsequent life a great influence. Dr. Binney gave me a commission for two pictures, and invited me to come to his home near Boston to paint them.
CHAPTER XII
CAMBRIDGE
I gave up my studio in New York and went to Boston, and, my commissions executed, moved from there to Cambridge, where I made my home, returning thenceforward to the Adirondacks in the late summer and autumn of every year while I remained in America. The following springtime I spent making studies in that classic neighborhood, especially in a favorite haunt of Lowell's,—the "Waverley Oaks,"—a curious group of large white oaks, which had taken root some hundreds of years ago on the foot of a moraine of one of the offsets of the great glacier which, countless thousands of years ago, had covered New England. They were beautiful trees and greatly beloved by Lowell, for whom I painted the principal group, with Beaver Brook, another of his favorite studies, and he lying by its bank in the foreground, a little full-length portrait, not the length of my finger. I painted also a similar portrait of Longfellow, under the most beautiful of the oaks, on an eight-by-ten-inch canvas. It was a good portrait, but Lowell deterred me from finishing it as I wished, saying that if I touched it again I should destroy the likeness. I am half inclined to think that his insistence was mainly intended to abbreviate the martyrdom of Longfellow, whom I conducted every day to the Oaks, to insure pre-Raphaelite fidelity, making him sit on a huge boulder under the tree and even forgetting to carry a cushion for him, so that he sat on the bare stone until at last the discomfort was evident to me, when I folded my coat to cushion his stone seat. So kindly was his nature that he had submitted to the inconvenience with the docility and delicacy of a child, without a sign of impatience.
This absolute unselfishness and extreme consideration for others was characteristic of the man. I saw much of him in the years following, and found in him the most exquisitely refined and gentle nature I have ever known,—one to which a brutal or inconsiderate act was positive pain, and any aggression on the least creature, cause of intense indignation. My recollection of his condescension to my demands on his time and physical comfort remain in my memory as the highest expression of his social beneficence. Longfellow was not expansive, nor do I remember his ever becoming enthusiastic over anything or anybody. One who knew nothing of his domestic life might have fancied that he was cold, and certainly he did not possess that social magnetism which made Lowell the loadstone of so many hearts, and made the exercise of that attraction necessary to his own enjoyment of existence. Longfellow adored his wife and children; but beyond that circle, it seemed to me, he had no imperious longing to know or be known. He had likes and dislikes; but so far as I understood him, no strong antipathies or ardent friendships. He had warm friendships for Lowell, the Nortons, and Agassiz, for example, but I think he had but a mild regard for Emerson, and I remember his saying one day that Emerson used his friends like lemons,—squeezing them till they were dry, and then throwing them away. This showed that he misunderstood Emerson, but perhaps intelligibly, for Longfellow had few of those qualities which interested Emerson, and there could not have been much in common to both. Emerson liked men who gave him problems to solve,—something to learn,—while Longfellow was transparent, limpid as a clear spring reflecting the sky and showing all that was in its depths; and to Emerson he offered no problem. I never saw him angry but once, and that was at his next-door neighbor shooting at a robin in a cherry-tree that stood near the boundary between the two gardens. The small shot carried over and rattled about us where we sat on the verandah of the old Washington house, but showed the avicidal intent, and Longfellow went off at once to protest against the barbarity, not at all indignant at the personal danger, if he thought of any.
His adoration of his wife was fully justified, for rarely have I seen a woman in whom a Juno-like dignity and serenity were so wedded to personal beauty and to the fine culture of brain and heart, which commanded reverence from the most ordinary acquaintance, as in her. No one who had seen her at home could ever forget the splendid vision, and the last time I ever saw her, so far as I remember, was in summer time, when she and her two daughters, all in white muslin, like creatures of another world, evanescent, translucent, stood in the doorway to say good-by to me. In the same costume, a little later, she met death. She was making impressions in sealing-wax, to amuse her daughters, when a flaming drop fell on the inflammable stuff, and in an instant she was in flames, burned to death before help could come. It was then that they found that Longfellow was not the cold man they had generally believed him. He never recovered from the bereavement, and shortly after he became a Spiritualist, and, until he in his glad turn passed the gates of death, he lived in what he knew to be the light of her presence. And certainly if such a thing as communion across that grim threshold can be, this was the occasion which made it possible. There was something angelic about them both, even in this life,—a natural innocence and large beneficence and equanimity which, in the chance and contradiction of life, could rarely be found in wedded state.
One of the most notable personages of that little world, whom I knew in connection with Longfellow, was his brother-in-law,—Thomas G. Appleton,—a most distinguished amateur of art; a subtle, if sometimes vagarious, critic, poet, and thinker: the wit to whom most of the clever things said in Boston came naturally in time to be attributed. The famous saying that "Good Americans, when they die, go to Paris," is generally supposed to be his, though Oliver Wendell Holmes told me one day that he himself was really the author of it; but, if a keen witticism was floating about fatherless in the Boston circles it drifted to Tom Appleton as putative parent. His, too, was a kindly nature, and many a rising artist found his way to a larger recognition by Appleton's unobtrusive aid. He, like Longfellow, was a sincere Spiritualist. One of the most remarkable of this group of men was Professor Peirce, mathematician, of whose flights into the higher regions of the science of numbers and quantities many interesting things were told. He had written a book to show, if I remember right after so many years, that the square root of minus one was a right angle
__ (\/-1=90°),