THE ORIGINAL PAINTER.
As I was lounging one fair and very warm morning on the Levee at New Orleans, I chanced to observe a gentleman, whose dress and other accompaniments greatly attracted my attention. I wheeled about, and followed him for a short space, when, judging by every thing about him that he was a true original, I accosted him.
But here, kind reader, let me give you some idea of his exterior. His head was covered by a straw hat, the brim of which might cope with those worn by the fair sex in 1830; his neck was exposed to the weather; the broad frill of a shirt, then fashionable, flapped about his breast, whilst an extraordinary collar, carefully arranged, fell over the top of his coat. The latter was of a light green colour, harmonizing well with a pair of flowing yellow nankeen trowsers, and a pink waistcoat, from the bosom of which, amidst a large bunch of the splendid flowers of the Magnolia, protruded part of a young alligator, which seemed more anxious to glide through the muddy waters of some retired swamp, than to spend its life swinging to and fro among folds of the finest lawn. The gentleman held in one hand a cage full of richly-plumed Nonpareils, whilst in the other he sported a silk umbrella, on which I could plainly read "Stolen from I," these words being painted in large white characters. He walked as if conscious of his own importance, that is, with a good deal of pomposity, singing "My love is but a lassie yet," and that with such thorough imitation of the Scotch emphasis, that had not his physiognomy brought to my mind a denial of his being from "within a mile of Edinburgh," I should have put him down in my journal for a true Scot. But no:—his tournure, nay, the very shape of his visage, pronounced him an American, from the farthest parts of our eastern Atlantic shores.
All this raised my curiosity to such a height, that I accosted him with "Pray, Sir, will you allow me to examine the birds you have in that cage?" The gentleman stopped, straightened his body, almost closed his left eye, then spread his legs apart, and, with a look altogether quizzical, answered, "Birds, Sir, did you say birds?" I nodded, and he continued, "What the devil do you know about birds. Sir?"
Reader, this answer brought a blush into my face. I felt as if caught in a trap, for I was struck by the force of the gentleman's question; which, by the way, was not much in discordance with a not unusual mode of granting an answer in the United States. Sure enough, thought I, little or perhaps nothing do I know of the nature of those beautiful denizens of the air; but the next moment vanity gave me a pinch, and urged me to conceive that I knew at least as much about birds as the august personage in my presence. "Sir," replied I, "I am a student of nature, and admire her works, from the noblest figure of man to the crawling reptile which you have in your bosom." "Ah!" replied he, "a-a-a naturalist, I presume!" "Just so, my good Sir," was my answer. The gentleman gave me the cage; and I observed from the corner of one of my eyes, that his were cunningly inspecting my face. I examined the pretty finches as long as I wished, returned the cage, made a low bow, and was about to proceed on my walk, when this odd sort of being asked me a question quite accordant with my desire of knowing more of him: "Will you come with me, Sir? If you will, you shall see some more curious birds, some of which are from different parts of the world. I keep quite a collection." I assured him I should feel gratified, and accompanied him to his lodgings.
We entered a long room, where, to my surprise, the first objects that attracted my attention were a large easel, with a full length unfinished portrait upon it, a table with pallets and pencils, and a number of pictures of various sizes placed along the walls. Several cages containing birds were hung near the windows, and two young gentlemen were busily engaged in copying some finished portraits. I was delighted with all I saw. Each picture spoke for itself: the drawing, the colouring, the handling, the composition, and the keeping—all proved, that, whoever was the artist, he certainly was possessed of superior talents.
I did not know if my companion was the painter of the picture, but, as we say in America, I strongly guessed, and without waiting any longer, paid him the compliments which I thought he fairly deserved. "Aye," said he, "the world is pleased with my work, I wish I were so too, but time and industry are required as well as talents, to make a good artist. If you will examine the birds, I'll to my labour." So saying, the artist took up his pallet, and was searching for a rest-stick, but not finding the one with which he usually supported his hand, he drew the rod of a gun, and was about to sit, when he suddenly threw down his implements on the table, and, taking the gun, walked to me, and asked if "I had ever seen a percussion-lock." I had not, for that improvement was not yet in vogue. He not only explained the superiority of the lock in question, but undertook to prove that it was capable of acting effectually under water. The bell was rung, a flat basin of water was produced, the gun was charged with powder, and the lock fairly immersed. The report terrified the birds, causing them to beat against the gilded walls of their prisons. I remarked this to the artist. He replied, "The devil take the birds!—more of them in the market; why, Sir, I wish to shew you that I am a marksman as well as a painter." The easel was cleared of the large picture, rolled to the further end of the room, and placed against the wall. The gun was loaded in a trice, and the painter, counting ten steps from the easel, and taking aim at the supporting-pin on the left, fired. The bullet struck the head of the wooden pin fairly, and sent the splinters in all directions. "A bad shot, sir," said this extraordinary person, "the ball ought to have driven the pin farther into the hole, but it struck on one side; I'll try at the hole itself." After reloading his piece, the artist took aim again, and fired. The bullet this time had accomplished its object, for it had passed through the aperture, and hit the wall behind. "Mr——, ring the bell and close the windows," said the painter, and turning to me, continued, "Sir, I will shew you the ne plus ultra of shooting." I was quite amazed, and yet so delighted, that I bowed my assent. A servant having appeared, a lighted candle was ordered. When it arrived, the artist placed it in a proper position, and retiring some yards, put out the light with a bullet, in the manner which I have elsewhere, in this volume, described. When light was restored, I observed the uneasiness of the poor little alligator, as it strove to effect its escape from the artist's waistcoat. I mentioned this to him. "True, true," he replied, "I had quite forgot the reptile, he shall have a dram;" and unbuttoning his vest, unclasped a small chain, and placed the alligator in the basin of water on the table.
Perfectly satisfied with the acquaintance which I had formed with this renowned artist, I wished to withdraw, fearing I might inconvenience him by my presence. But my time was not yet come. He bade me sit down, and paying no more attention to the young pupils in the room than if they had been a couple of cabbages, said, "If you have leisure and will stay awhile, I will shew you how I paint, and will relate to you an incident of my life, which will prove to you how sadly situated an artist is at times." In full expectation that more eccentricities were to be witnessed, or that the story would prove a valuable one, even to a naturalist, who is seldom a painter, I seated myself at his side, and observed with interest how adroitly he transferred the colours from his glistening pallet to the canvas before him. I was about to compliment him on his facility of touch, when he spoke as follows:
"This is, sir, or, I ought to say rather, this will be the portrait of one of our best navy officers, a man as brave as Cæsar, and as good a sailor as ever walked the deck of a seventy-four. Do you paint. Sir.?" I replied "Not yet." "Not yet! what do you mean?" "I mean what I say: I intend to paint as soon as I can draw better than I do at present." "Good," said he, "you are quite right, to draw is the first object; but, sir, if you should ever paint, and paint portraits, you will often meet with difficulties. For instance, the brave Commodore, of whom this is the portrait, although an excellent man at every thing else, is the worst sitter I ever saw; and the incident I promised to relate to you, as one curious enough, is connected with his bad mode of sitting. Sir, I forgot to ask if you would take any refreshment—a glass of wine, or——." I assured him I needed nothing more than his agreeable company, and he proceeded. "Well, Sir, the first morning that the Commodore came to sit, he was in full uniform, and with his sword at his side. After a few moments of conversation, and when all was ready on my part, I bade him ascend this throne, place himself in the attitude which I contemplated, and assume an air becoming an officer of the navy." He mounted, placed himself as I had desired, but merely looked at me as if I had been a block of stone. I waited a few minutes, when, observing no change on his placid countenance, I ran the chalk over the canvas, to form a rough outline. This done, I looked up to his face again, and opened a conversation which I thought would warm his warlike nature; but in vain. I waited and waited, talked and talked, until my patience—Sir, you must know I am not overburdened with phlegm—being almost run out, I rose, threw my pallet and brushes on the floor, stamped, walking to and fro about the room, and vociferated such calumnies against our navy, that I startled the good Commodore. He still looked at me with a placid countenance, and, as he has told me since, thought I had lost my senses. But I observed him all the while, and, fully as determined to carry my point, as he would be to carry off an enemy's ship, I gave my oaths additional emphasis, addressed him as a representative of the navy, and, steering somewhat clear of personal insult, played off my batteries against the craft. The Commodore walked up to me, placed his hand on the hilt of his sword, and told me, in a resolute manner, that if I intended to insult the navy, he would instantly cut off my ears. His features exhibited all the spirit and animation of his noble nature, and as I had now succeeded in rousing the lion, I judged it time to retreat. So, changing my tone, I begged his pardon, and told him he now looked precisely as I wished to represent him. He laughed, and returning to his seat, assumed a bold countenance. And now. Sir, see the picture?"
At some future period, I may present you with other instances of the odd ways in which this admired artist gave animation to his sitters. For the present, kind reader, we shall leave him finishing the Commodore, while we return to our proper studies.