Chambers's Journal of Popular Literature, Science, and Art, No. 731. VariousЧитать онлайн книгу.
long had a design to shew the life of a London thief by a series of drawings. Dickens, while paying Cruikshank a visit, happened to turn over some sketches in a portfolio. When he came to that one which represents Fagin in the condemned cell, he studied it for half an hour, and told his friend that he was tempted to change the whole plot of his story, not to carry Oliver through adventures in the country, but to take him up into the thieves' den in London, shew what this life was, and bring Oliver through it without sin or shame. Cruikshank consented to let Dickens write up to as many of the drawings as he thought would suit his purpose. So the story as it now runs resulted in a great measure from that chance inspection of the artist's portfolio. The remarkable picture of the Jew malefactor in the condemned cell biting his nails in the torture of remorse, is associated with a happy accident. The artist had been labouring at the subject for several days, and thought the task hopeless; when sitting up in his bed one morning with his hand on his chin and his fingers in his mouth, the whole attitude expressive of despair, he saw his face in the cheval glass. 'That's it!' he exclaimed; 'that's the expression I want.' And he soon finished the picture.
The sudden prosperity of many a famous painter has resulted from some fortunate accident. Anthony Watteau, when a nameless struggling artist, timidly offered a painting to a rich picture-dealer for six francs, and was on the eve of being scornfully rejected, had not a stranger, who happened to be in the shop, come forward, and seeing some talent in the work, spoke encouragingly to the youth, and offered him one hundred and fifty francs for the picture; nor was this all, for he became Watteau's patron and instructor. – One day a little shepherd-boy was seated near the road-side on the way from Vespignano to Florence drawing upon a polished stone, his only pencil another polished stone which he held in his tiny fingers. A richly dressed stranger, who had descended from a conveyance that was following him, chanced to pass, and looking over the boy's shoulder, saw that he had just sketched with wonderful truth and correctness a sheep and its twin lambs. Surprised and pleased, he examined the face of the young artist. Certainly it was not its beauty that attracted him. The child looked up, but with such a marvellous light in his dark eyes, that the stranger exclaimed: 'My child, you must come with me; I will be your master and your father: it is some good angel that has led me here.' The stranger was Cimabue, the most celebrated painter of that day; and his pupil and protégé became the famous painter, sculptor, and architect Giotto, the friend and admiration of Dante and Petrarch.
How the fortunes of painters may hinge upon the most trifling circumstances, has another example in that of Ribera or Spagnoletto, which was determined by a very simple incident. He went to reside with his father-in-law, whose house, it so happened, stood in the vast square one side of which was occupied by the palace of the Spanish Viceroy. It was the custom in Italy, as formerly amongst the Greeks, that whenever an artist had completed any great work, he should expose it in some street or thoroughfare, for the public to pass judgment on it. In compliance with this usage, Ribera's father-in-law placed in his balcony the 'Martyrdom of St Bartholomew' as soon as it was finished. The people flocked in crowds to see it, and testified their admiration by deafening shouts of applause. These acclamations reached the ears of the Viceroy, who imagined that a fresh revolt had broken out, and rushed in complete armour to the spot. There he beheld in the painting the cause of so much tumult. The Viceroy desired to see the man who had distinguished himself by so marvellous a production; and his interest in the painter was not lessened on discovering that he was, like himself, a Spaniard. He immediately attached Spagnoletto to his person, gave him an apartment in his palace, and proved a generous patron ever afterwards.
Lanfranco, the wealthy and munificent artist, on his way from the church Il Gesú, happened to observe an oil-painting hanging outside a picture-broker's shop. Lanfranco stopped his carriage, and desired the picture to be brought to him. Wiping the thick dust from the canvas, the delighted broker brought it, with many bows and apologies, to the great master, who on nearer inspection saw that his first glance had been correct. The picture was labelled 'Hagar and her Son Ishmael dying of Thirst,' and the subject was treated in a new and powerful manner. Lanfranco looked for the name of the painter, and detecting the word Salvatoriello modestly set in a corner of the picture, he gave instructions to his pupils to buy up every work of Salvatoriello they could find in Naples. To this accident Salvator owed the sudden demand for his pictures, which changed his poverty and depression into comparative ease and satisfaction.
More than one famous singer might probably never have been heard of but for some discriminating patron chancing to hear a beautiful voice, perhaps exercised in the streets for the pence of the compassionate. – Some happy stage-hits have resulted from or originated in accidents. The odd hop skip and jump so effective in the delineation of Dundreary, says an American interviewer of Mr Sothern, was brought about in this way. In the words of the actor: 'It was a mere accident. I have naturally an elastic disposition, and during a rehearsal one cold morning I was hopping at the back of the stage, when Miss Keene sarcastically inquired if I was going to introduce that into Dundreary. The actors and actresses standing around laughed; and taking the cue, I replied: "Yes, Miss Keene; that's my view of the character." Having said this, I was bound to stick to it; and as I progressed with the rehearsal, I found that the whole company, including scene-shifters and property-men, were roaring with laughter at my infernal nonsense. When I saw that the public accepted the satire, I toned down what was a broad caricature to what can be seen at the present day by any one who has a quick sense of the absurd.'
An excellent landscape of Salvator Rosa's exhibited at the British Institution in 1823 came to be painted in a curious way. The painter happened one day to be amusing himself by tuning an old harpsichord; some one observed they were surprised he could take so much trouble with an instrument that was not worth a crown. 'I bet you I make it worth a thousand before I have done with it!' cried Rosa. The bet was taken; and Salvator painted on the harpsichord a landscape that not only sold for a thousand crowns, but was esteemed a first-rate painting. – Chemistry and pathology are indebted to what has often seemed the merest chance for many an important discovery. A French paper says it has been accidentally discovered that in cases of epileptic fits, a black silk handkerchief thrown over the afflicted persons will restore them immediately. Advances in science and art and sudden success in professions have often more to do with the romance of accident than most people imagine; but as we may have occasion again to take up the subject, we quit it for the present.
A DIFFICULT QUESTION
The mistletoe hung from the chandelier, the holly wreaths were on the walls, the clear fire shed a warm glow through the dimly lighted room, upon pictures and gilding, upon a great vase filled with crimson camellias, upon Ralph Loraine's dark handsome face. Christmas eve again, his first year in England over. How little certainty there is in this world; when we think we have smoothed our path, and see our way straight before us, there rises up some roughness, some unevenness we have left unnoticed, or thought too small to trouble us. So with Ralph; he had answered the question he asked himself last Christmas eve by another; he was very happy, but he was thinking now as he leaned against the mantel-piece whether he could bear to leave the army and give up the life he had led for so long; the life, at times one of bold daring, at others of lazy pleasure, which had suited him so well; that even now, with the wish of his heart fulfilled, it cost him a struggle to bid farewell to it, and to settle down into a quiet country gentleman. He had kept his oath to his dead friend, the oath he had taken in answer to the faintly spoken words, 'I meant to have made her so happy.' Louise would remain in her old home as its mistress.
It had been a happy year to Ralph, and had glided away so quickly since that first night when he had seen her standing in the snowy churchyard, listening to words which sounded very much like love from another man's lips. That other had, however, confirmed his opinion. Vere Leveson had been away with his regiment during all the twelve months; not once had he met Louise; the field had been clear for Ralph. Yet it was only a week since he had spoken; he had not dared at first to break through the barrier of childish affection. She looked upon him as her guardian, her father's friend, with the same grateful reverence she might have given to that father had he lived; so he had tried very gently to awaken deeper feelings, through the sweet early spring-time and the glowing summer days, till when the leaves were lying in brown showers upon the sodden earth, she had grown silent, shy, and distant, and