Cambridge Sketches

F >> Frank Preston Stearns >> Cambridge Sketches

Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19

The story of Lowell's visions rests on a single authority, and if there
was any truth in it, it seems probable that he would have confided the
fact to more intimate friends. There are well-authenticated instances of
visions seen by persons in a waking condition--this always happens, for
instance, in _delirium tremens_--but they are sure to indicate
nervous derangement, and are commonly followed by death. If there was
ever a poet with a sound mind and a sound body, it was James Russell
Lowell.

Edwin Arnold considered him the best of American poets, while Matthew
Arnold did not like him at all. Emerson, in his last years, preferred him
to Longfellow, but it is doubtful if he always did so. The strong point
of his poetry is its intelligent manliness,--the absence of affectation
and all sentimentality; but it lacks the musical element. He composed
neither songs nor ballads,--nothing to match Hiawatha, or Gray's famous
Elegy. America still awaits a poet who shall combine the _savoir
faire_ of Lowell with the force of Emerson and the grace and purity of
Longfellow.

Emerson had an advantage over his literary contemporaries in the vigorous
life he lived. You feel in his writing the energy of necessity. The
academic shade is not favorable to the cultivation of genius, and Lowell
reclined under it too much. His best work was already performed before he
became a professor. What he lacks as a poet, however, he compensates for
as a wit. He is the best of American humorists--there are few who will be
inclined to dispute that--even though we regret occasional cynicisms,
like his jest on Milton's blindness in "Fireside Travels."

[Illustration: C. P. CRANCH]

CRANCH.

Christopher Pearce Cranch was born March 9, 1813, at Alexandria,
Virginia, and was the son of Judge William Cranch, of the United States
Circuit Court. His father came originally from Weymouth, Massachusetts,
and had been appointed to his position through the influence of John
Quincy Adams. His mother, Anna Greenleaf, belonged to a well known Boston
family. Pearce, as he was always called by his relatives, indicated a
talent for the fine arts, as commonly happens, at an early age, and
united with this a lively interest in music, singing and playing on the
flute. These side issues may have prevented him from entering college so
early as he might otherwise have done. He graduated at Columbia College,
in 1832, after a three-year course. He wished to make a profession of
painting, but Judge Cranch was aware how precarious this would be as a
means of livelihood, and advised him to study for the ministry,--for
which his quiet ways and grave demeanor seemed to have adapted him. He
accordingly entered the Harvard Divinity-School, and was ordained as a
Unitarian clergyman.

For the next six years Cranch lived the life of an itinerant preacher. He
preached all over New England, making friends everywhere, and receiving
numerous calls without, however, settling down to a fixed habitation.
This would seem to have been a peculiarity of his temperament; for
in 1875 George William Curtis wrote to Mr. and Mrs. Cranch a letter which
began with "O ye Bedouins"; and it is true that until that time he can
hardly be said to have had a habitation of his own. He extended his
migration as minister-at-large from Bangor, Maine, to Louisville,
Kentucky. His varied accomplishments made him attractive to the younger
members of the parishes for which he preached, but he never remained long
enough in one place for their interest to take root.

The wave of German thought and literary interest was now sweeping over
England and America. Repelled by doctors of divinity and the older class
of scholars, it was seized upon with avidity by the more susceptible
natures of the younger generation. Its influence was destined to be felt
all through the coming period of American literature. C. P. Cranch was
affected by it, as Emerson, Longfellow and even Hawthorne, were affected
by it. This, however, did not take place at once, and when Emerson's
"Nature" was published, Cranch was at first repelled by the peculiarity
of its style. At the house of Rev. James Freeman Clark, in Cincinnati, he
drew some innocently satirical illustrations of it. One was of a man with
an enormous eye under which he wrote: "I became one great transparent
eye-ball"; and another was a pumpkin with a human face, beneath which was
written: "We expand and grow in the sunshine." In another sketch Emerson
and Margaret Fuller were represented driving "over hill and dale" in a
rockaway.

[Footnote: Sanborn's Life of Alcott.]

He would make these humorous sketches to entertain his friends at any
time, seizing on a half-sheet of paper, or whatever might be at hand; but
he did not long continue to caricature Emerson. His first volume of
poetry, published in 1844, was dedicated to Emerson, and in Dwight's
"Translations from Goethe and Schiller," there are a number of short
pieces by Cranch, almost perfect in their rendering from German to
English. Among these the celebrated ballad of "The Fisher" is translated
so beautifully as to be slightly, if at all, inferior to the original.
The stanza,

"The water in dreamy motion kept,
As he sat in a dreamy mood,
A wave hove up, and a damsel stept
All dripping from the flood,"

may have appealed strongly to Cranch at this time; for we find that in
October, 1841, he was married at Fishkill-on-the-Hudson to a young lady
of an old Knickerbocker family, Miss Elizabeth De Windt. If she did not
come to him out of the Hudson, there can be no doubt that he courted her
by the banks of the most beautiful river in North America.

Cranch had given up the clerical profession six months before this, and
had adopted that of a landscape painter, for which he would seem to have
studied with some artist in New York City,--unknown to fame, and long
since forgotten. He continued to sketch and paint, and write prose and
verse on the Hudson until 1846, when he embarked with his wife on a
sailing packet for Marseilles. He had the good fortune to find a fellow-
passenger in George William Curtis, and during the voyage of seven weeks,
a lifelong friendship grew up between these two highly gifted men.

The volume of poems which he published in 1844 is now exceedingly rare;
yet many of the pieces belong to a high order of excellence. In ease and
grace of versification they resemble Longfellow, but in thought they are
more like Emerson or Goethe. Consider this opening from "The Riddle":

"Ye bards, ye prophets, ye sages,
Read to me, if ye can,
That which hath been the riddle of ages,
Read me the riddle of _Man_.

Then came the bard with his lyre,
And the sage with his pen and scroll,
And the prophet with his eye of fire,
To unriddle a human soul.

But the soul stood up in its might;
Its stature they could not scan;
And it rayed out a dazzling mystic light,
And shamed their wisest plan.

Yet sweetly the bard did sing,
And learnedly talked the sage,
And the seer flashed by with his lightning wing,
Soaring beyond his age."

This is sonorous. It has a majesty of expression and a greatness of
thought which makes Longfellow's "Psalm of Life" seem weak and even
common-place. The whole poem is pitched in the same key, and Cranch never
equalled it again, excepting once, and then in a very different manner.
Rev. Gideon Arch, a Hungarian scholar, philologist, and exile of 1849,
said of his "Endymion" that there were Endymions in all languages, but
that Cranch's was the best. To resuscitate it from the oblivion into
which it has fallen, it is given entire:

"Yes, it is the queenly moon
Walking through her starred saloon,
Silvering all she looks upon:
I am her Endymion;
For by night she comes to me,--
O, I love her wondrously.

She into my window looks,
As I sit with lamp and books,
And the night-breeze stirs the leaves,
And the dew drips down the eaves;
O'er my shoulder peepeth she,
O, she loves me royally!

Then she tells me many a tale,
With her smile, so sheeny pale,
Till my soul is overcast
With such dream-light of the past,
That I saddened needs must be,
And I love her mournfully.

Oft I gaze up in her eyes,
Raying light through winter skies;
Far away she saileth on;
I am no Endymion;
O, she is too bright for me,
And I love her hopelessly!

Now she comes to me again,
And we mingle joy and pain,
Now she walks no more afar,
Regal with train-bearing star,
But she bends and kisses me--
O, we love now mutually!"

This has the very sheen of moonlight upon it, and certainly is to be
preferred to Dr. Johnson's scholastic "Endymion":

"Diana, huntress chaste and fair,
Now thy hounds have gone to sleep,"--

If Cranch had continued in this line, and perhaps have improved upon it,
he would surely have become one of the foremost American poets, but a
poet cannot live by verse alone, and after he began to be thoroughly in
earnest with his painting, his rhythmic genius fell into the background.
From Marseilles George W. Curtis proceeded to Egypt, where he wrote his
well known book of Nile travels, while Cranch set out for Rome to perfect
his art.

He studied there at a night-school, painting in water colors from nude
models and arrangements of drapery, but not taking lessons from any
regular instructor. He never applied himself much to figure-painting,
however. He sold his paintings chiefly to American travellers, and when
the Revolution broke out in 1848, he returned to Sorrento, where his
second child, Mrs. Leonora Scott, was born. His first child was born the
year previous, in Rome, but afterwards died. In 1851, he returned to New
York and Fishkill, but not meeting with such good appreciation there as
he had in Italy, he went to Europe again in the autumn of 1853, and
resided in Paris. One cause of this may have been the unfriendliness of
his brother-in-law, who was a leading art critic in New York City, and
who disliked Cranch on account of his wife, and never neglected an
opportunity of disparaging his work.

One of his early landscapes is now before me. I think it must have been
painted anterior to his sojourn in Rome, owing to the coldness of the
coloring. It represents a scene on the Hudson near Fishkill, with some
cattle in the foreground, and a rather bold-looking mountain on the
opposite side of the river. The clouds above the mountain are light and
fleecy; the foliage soft and graceful; the cattle also are fine, but the
effect is like a chilly spring day when one requires a winter overcoat.
An allegorical piece, illustrating Heine's fir-tree dreaming of the palm,
has a much pleasanter effect, although it represents a wintry scene.

His art improved greatly in Paris, and he also wrote a number of short
poems which his friend, James Russell Lowell, published in the
_Atlantic Monthly_. In 1856 George L. Stearns sent him an order for
a painting, which Cranch executed the following year, and wrote Mr.
Stearns this explanation concerning it, in a very interesting letter
dated Paris, March 18, 1857:

"Your picture is done and is quite a favorite with those who have seen
it. In fact, I think so well of it that I shall probably send it to the
Exposition, which opens soon. After that it shall be sent to you. It is
an oak and a sunset--a warm and low-toned picture--and I am sure you
will like it."

This landscape represents two vigorous oak trees by the bank of a river,
with a sunset seen through the branches, and reflected in the water. The
scene is remarkably like a similar one on Concord River, about two
hundred yards below the spot where Hawthorne and Channing discovered the
body of the schoolmistress who drowned herself, as Hawthorne supposed,
from lack of sympathy. It seems as if the original sketch must have been
made at that point. It is of a deep rich coloring, smoothly and
delicately finished,--a painting that no one has yet been able to find
fault with. Rev. Samuel Longfellow, who knew almost every picture in the
galleries of Europe, considered it equal to a Ruysdael, and he liked it
better than a Ruysdael.

In the letter above referred to Cranch also writes:

"Since your letter (a long time ago) I have written you a good many
epistles (in a kind of invisible ink of my invention) which probably you
have never received.

"The truth is, I am a distinguished case of total depravity in the matter
of correspondence. Letters ought to flow from one as easily and
spontaneously as spoken words. But then one must write all the time and
report life continuously, as one does in speech. A letter does nothing
but give some little detached morsel of one's life--and we say to
ourselves what is the use of holding up to a friend three thousand miles
off such unsatisfactory statements, such dribblings and droppings? 'Write
what is uppermost,' says one at your elbow. Ah, if we could only say what
is uppermost; as I sit down for instance to write (say this letter) I am
caught into a sort of whirl of thoughts, in which it is impossible to say
exactly what is foremost and what is hindmost. Then if I only attempt to
narrate events, where am I to begin--so you see (I am theorizing about
letters) a letter must be a sort of epitome of a friend's being and life
or else nothing. Applying the theory to myself, finding myself unable to
shut my genie in a box and carry him on my shoulders, I simply go and
state that there is such a box with a genie supposed to be in it, lying
at the custom-house, and here is the roughest sort of sketch of it," etc.

This is characteristic of the man. He lived largely in an atmosphere of
poetic pleasantry, which served as an alleviation to his cares and as an
attraction to his friends.

Cranch did not always succeed so well. He never became a mannerist, but
there was too much similarity in his subjects, and the treatment too
often bordered on the commonplace. Tintoretto said: "Colors can be bought
at the paint-shop, but good designs are only obtained by sleepless nights
and much reflection." It is doubtful if Cranch ever laid awake over his
work, either in poetry or painting. He had a dreamy, phlegmatic
disposition, which seemed to carry him through life without much effort
of the will. He once confessed that when he was a boy he would never fire
a gun for fear it might kick him over, and when he was at Hampton beach
in 1875 he was in the habit of going out to sketch at a certain hour with
prosaic regularity. He did not seem to be on the watch, as an artist
should, for rare effects of light and scenery, and he talked of art with
very little enthusiasm. Yet he lived the true life of his profession,
enjoying his work, contented with little praise, and without envy of
those who were more fortunate. What is called _odium artisticum_ was
unknown to him.

He was an unpretending, courteous American gentleman. His disposition was
perfect, and no one could remember having seen him out of temper. His
pleasant flow of wit and humor, together with his varied accomplishments,
made him a very brilliant man in society, and he counted among his
friends the finest _literati_ in Rome, London, and the United
States. He knew Thackeray as he knew Curtis and Lowell, and was once
dining with him in a London chop-house, when Thackeray said: "Have you
read the last number of The Newcombs?--if not, I will read it to you."
Accordingly he gave the waiter a shilling to obtain the document, and
read it aloud to Cranch and a friend who was with him.

[Footnote: Both mentioned in Hawthorne's Notebook.]

Cranch could never understand this, for it was the last thing he would
have done himself without an invitation; but he enjoyed the reading, and
often referred to it.

When he returned to America in 1863 he went to live on Staten Island in
order to be near George William Curtis, who cared for him as Damon did
for Pythias, and who served to counteract the ill-omened influence of
Cranch's brother-in-law. The Century Club purchased one of his pictures,
an allegorical subject, which I believe still hangs in their halls. From
1873 to 1877 Lowell would seem to have frequented Cranch's house in
preference to any other in Cambridge.

When Cranch first went to live there he occupied a small but sunny and
otherwise desirable house on the westerly side of Appian Way,--a name
that amused him mightily,--but in 1876 he purchased the house on the
southwestern corner of Ellery and Harvard Streets. Having arranged his
household goods there he sent one of his own paintings as a present to
Emerson in order to renew their early acquaintance. Emerson responded to
it by a characteristic note, in which he said that his son and daughter,
who were both good artists, had expressed their approval of his present.
He then referred to the danger which arises from a multiplicity of
talents, and said: "I well recollect how you made the frogs vocal in the
ponds back of Sleepy Hollow."

Cranch did not feel that this was very complimentary, but a few days
later there came an invitation for Mr. and Mrs. Cranch to spend the day
at Concord. Emerson met them at the railway station with his carryall. He
had on an old cylinder hat which had evidently seen good service, and yet
became him remarkably. He was interested to hear what George William
Curtis thought about politics, and to find that it agreed closely with
the opinion of his friend, Judge Hoar. The Cranchs had a delightful
visit.

Cranch's baritone voice was like his poem, the "Riddle," deep, rich and
sonorous. He might have earned a larger income with it, perhaps, than he
did by writing and painting. He sang comic songs in a manner peculiarly
his own,--as if the words were enclosed in a parenthesis,--as much as to
say, "I do not approve of this, but I sing it just the same," and this
made the performance all the more amusing. He sang Bret Harte's "Jim" in
a very effective manner, and he often sang the epitaph on Shakespeare's
tomb,

"Good friend, for Jesus sake forbeare,"

as a recitative, both in English and Italian,--_In questa tomba_.
He seemed to bring out a hidden force in his singing, which was not
apparent on ordinary occasions. His reading of poetry was also fine, but
he depended in it rather too much on his voice, too little on the meaning
of the verse. It was not equal to Celia Thaxter's reading.

The same types of physiognomy continually reappear among artists. William
M. Hunt looked like Horace Vernet, and Cranch in his old age resembled
the Louvre portrait of Tintoretto, although his features were not so
strong. He used to say in jest that he was descended from Lucas Cranach,
but that the second vowel had dropped out. He cared as little for the
fashions as poets and artists commonly do, but there was no dandy in
Boston who appeared so well in a full dress suit.

In 1873 the Velasquez method of painting was in full vogue at Boston.
Cranch did not believe in imitations, or in adopting the latest style
from Paris, and he set himself against the popular hue-and-cry somewhat
to his personal disadvantage. Charles Perkins and the other art scholars
who founded the Art Museum in Copley Square were all on Cranch's side,
but that did not seem to help him with the public. "They cannot bend the
bow of Ulysses," said Cranch in some disgust. He preferred Murillo to
Velasquez, and once had quite an argument with William Hunt on the
subject in Doll & Richards's picture-store. Hunt asserted that there was
no essential difference between a sketch and a finished picture,--he
might have said there was no difference between a boy and a man,--that
all the artist needed was to express himself, and that it was immaterial
in what way he did so. Cranch thought afterwards, though unfortunately it
did not occur to him at the moment, that the test of such a theory would
be its application to sculpture. He wondered what Raphael would have
thought of it.

It was quite a grief to Cranch that his own daughter, who inherited his
talent, should have deserted him at this juncture, and gone over to the
opposition. She filled his house with rough, heavily-shaded studies of
still-life, flowers, and faces of her friends; but of all Hunt's pupils,
Miss Cranch, Miss Knowlton, and Miss Lamb were the only ones who achieved
artistic distinction in their special work.

It was in order to withdraw her from this Walpurgis art-dance that Cranch
undertook his last journey to Paris in his seventieth year. There the
young lady quickly dropped her Boston method, and, acquiring a more
conservative handling, became an excellent portrait painter; too soon,
however, obliged to relinquish her art on account of ill-health.

Cranch's landscapes now adorn the walls of private houses; very largely
the houses of his numerous friends. He did not paint in the fashion of
the time, but like Millet followed a fashion of his own; and I do not
know of any of his pictures in public collections, although there are
many that deserve the honor. The best landscape of his that I have seen
was painted just before his last visit to Paris. It represents a low-
toned sunset like the "Two Oaks"; an autumnal scene on a narrow river,
with maples here and there upon its banks. The sky is covered by a dull
gray cloud, but in the west the sun shines through a low opening and
gives promise of a better day. The peculiar liquid effect of the setting
sun is wonderfully rendered, and the rich browns and russets of the
foliage lead up, as it were, like a flight of steps to this final glory,
--a restful and impressive scene. This landscape is not painted in the
smooth manner of the "Two Oaks," but with soft, flakelike touches which
slightly remind one of Murillo. Its coloring has the peculiarity that
artificial light wholly changes its character, whereas Cranch's
paintings, previous to 1875, appear much the same by electric light that
they do in daytime. It is called the "Home of the Wood Duck."

Between 1870 and 1880 he published a number of poems in the _Atlantic
Monthly_ as well as a longer piece called "Satan," for which it was
said by a certain wit that he received the devil's pay. His two books for
young folks, "The Last of the Huggermuggers" and "Kobboltozo," ought not
to be overlooked, for the illustrations in them are the only remains we
have of his rare pencil drawings, as good, if not better, than
Thackeray's drawings.

It is likely that the parents read these stories with more pleasure than
their children; for they not only contain a deal of fine wit, but there
is a moral allegory running through them both. An American vessel is
wrecked on a strange island, and the sailors who have escaped death are
astonished at the gigantic proportions of the sand and the sea-shells,
and of the bushes by the shore. Presently the Huggermuggers appear, and
the American mariners in terror run to hide themselves; but they soon
find that these giants are the kindliest of human beings. There are also
dwarfs on the island, larger than ordinary men, but small compared with
the Huggermuggers. They are disagreeable, envious creatures, who wish to
ruin the giants in order to have the island more entirely to themselves.
Having accomplished this in a somewhat mysterious manner, they attempted
to improve their own stature by eating a certain shell-fish which had
been the favorite food of the giants; but the shell-fish had also
disappeared with the Huggermuggers, and after searching for it a long
time they finally summoned the Mer-King, the genius of the sea, who
raised his head above the water in a secluded cove and spoke these
verses:

"Not in the Ocean deep and clear,
Not on the Land so broad and fair,
Not in the regions of boundless Air,
Not in the Fire's burning sphere--
'Tis not here--'tis not there:
Ye may seek it everywhere.
He that is a dwarf in spirit
Never shall the isle inherit.
Hearts that grow 'mid daily cares
Come to greatness unawares;
Noble souls alone may know
How the giants live and grow."

This is an allegory, but of very general application; and it has more
especially a political application. Cranch may have intended it to
illustrate the life of Alexander Hamilton.

Cranch was not a giant himself, but he knew how to distinguish true
greatness from the spurious commodity. Emerson considered his varied
accomplishments his worst enemy; but that depends on how you choose to
look at it. It is probable enough that if Cranch had followed out a
single pursuit to its perfection, and if he had not lived so many years
in Europe, he would have been a more celebrated man; but Cranch did not
care for celebrity. He was content to live and to let live. Men of great
force, like Macaulay and Emerson, who impress their personality on the
times in which they live, communicate evil as well as good; but Cranch
had no desire to influence his fellow men, and for this reason his
influence was of a purer quality. It was like the art of Albert Durer. No
one could conceive of Cranch's injuring anybody; and if all men were like
him there would be no more wars, no need of revolutions. Force, however,
is necessary to combat the evil that is already established.

Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19