Part 15

Another change, and lo! the verge of a cataract and a fearful storm. The rudderless bark is just about to plunge into the abyss below, while the voyager (now in the prime of manhood) is imploring the only aid that can avail him in the trying hour, that of heaven. Demoniacal images are holding forth their temptations in the clouds around him, but he heeds them not. His confidence in God supports him, the previous agony of his soul is dispelled or subdued, by a reflection of immortal light stealing through the storm, and by the smiles of his guardian angel, visibly stationed in the far-off sky.

The Voyage of Life is ended, and our voyager, now white with hoary hairs, has reached that point where the waters of time and eternity mingle together—a bold conception, which is finely embodied by the daring genius of the painter. The hour-glass is gone, and the shattered bark is ready to dissolve into the fathomless waters beneath. The old man is on his knees, with clasped hands and his eyes turned heavenward, for the greenness of earth is forever departed, and a gloom is upon the ocean of eternity. But just above the form of our good voyager is hovering his angel, who is about to transport him to his home; and, as the eye wanders upward, an infinite host of heavenly ministers are seen ascending and descending the cloudy steps which lead to the bosom of God. Death is swallowed up in life, the glory of heaven has eclipsed that of the earth, and our voyager is safe in the haven of eternal rest. And thus endeth the allegory of Human Life.

With regard to the mechanical execution of these paintings, we consider them not equal to some of the earlier efforts of the same pencil. They are deficient in atmosphere, and have too much the appearance of paint. The water in the first, second, and third pictures is superior, but the perspective and atmosphere in the second are masterly. In all of them the figures are very fine, considering the difficulty of managing such peculiar characters. In the first we are pleased with the simplicity of the composition: in the second, with the variety, there being portrayed the elm of England, the plains of Tuscany, the palm of tropic climes, the mountains of Switzerland, and the oak of America; in the third, with the genius displayed in using the very storm to tell a story; and in the fourth, with the management of the shadows, and the apparent reality of the light from heaven. These pictures were painted for the late Samuel Ward of New York city, and the price received for them was six thousand dollars. During the last year, however, they were purchased by the American Art Union, and distributed among the prizes at their annual lottery in December.

Duplicates of the above paintings were executed by Cole, and sold to a gentleman in Cincinnati in the year 1846.

The last, and in many respects the most impressive, of Cole’s more ambitious productions, is a series of five pictures entitled _The Cross and the World_. The designs or studies for these pictures were all executed, but owing to the untimely death of the artist, only two out of the five were ever finished on a large scale. This series of pictures constitutes a Christian poem of a high order, and in describing them, we shall employ the language of the artist’s friend Noble, who has probably studied the entire work more thoroughly than any other man. The idea is that two youths enter upon a pilgrimage—one to the cross and the other to the world.

In the first picture the eye of the beholder first strikes the bold termination of a chain of mountains, with craggy peaks lost in the clouds.

The same lofty range is seen through the entire series.

To the left, a straight and narrow path takes its way up a rugged gorge, down which there beams a silvery light from a bright cross in the sky. The path at first leads off through fields of real flowers, betokening the early part of the Christian life, neither difficult nor uninviting. In the distance a dark mist, hovering over the track, conceals from the advancing wayfarer the real difficulties of his journey, and betokens the sorrows which of necessity befall him. To the right, a gracefully winding way leads down into a gently undulating and pleasant vale. Stretching forward through delightful landscapes, it finally fades away, and leaves the eye to wander on to the dim pinnacles and domes of a great city. A golden light falls through an atmosphere of repose, and lends warmth, softness, and beauty, as well to crag and precipice as to the rich valley. By-paths, serpent-like, steal up upon the sunny slopes of the mountain, inviting the traveler to the enjoyment of the prospect and the coolness of the waterfall.

Vegetation of unnatural growth, and gorgeous and unreal flowers skirt the borders of the way.

At the foot of the mountain stands Evangelist with the open Gospel. A little in advance are the waters, symbolical of Baptism.

Two youths, companions in the travel of life, having come to the parting of their road, are affectionately and earnestly directed to the shining cross. While one, through the power of truth, enters with timid steps upon his holy pilgrimage, the other, caught by the enchantment of the earthly prospect, turns his back upon Evangelist and the Cross, and speeds forward upon the pathway of the world.

In the second picture we have a wild mountain region now opening upon the beholder. It is an hour of tempest. Black clouds envelop the surrounding summits. A swollen torrent rushes by, and plunges into the abyss. The storm, sweeping down through terrific chasms, flings aside the angry cataract, and deepens the horror of the scene below. The pilgrim, now in the vigor of manhood, pursues his way on the edge of a frightful precipice. It is a moment of imminent danger. But gleams of light from the shining cross break through the storm, and shed fresh brightness along his perilous and narrow path. With steadfast look, and renewed courage, the lone traveler holds on his heavenly pilgrimage.

The whole symbolizes the trials of faith.

In the third picture the beholder looks off upon an expanse of tranquil water. On the right are the gardens of pleasure, where the devotees of sensual delights revel in all that satiates and amuses. Near a fountain, whose falling waters lull with perpetual murmurs, stands a statue of the goddess of Love. An interminable arcade, with odorous airs and delicious shade, invites to the quiet depths of a wilderness of greenery and flowers. A gay throng dances upon the yielding turf, around a tree, to the sound of lively music. Near an image of Bacchus, a company enjoys a luxurious banquet.

On the left is the Temple of Mammon, a superb and costly structure, surmounted by the wheel of Fortune. Beneath its dome, a curiously-wrought fountain throws out showers of gold, which is eagerly caught up by the votaries below.

From the great censers, rising here and there above the heads of the multitude, clouds of incense roll up and wreath the columns of the temple—a grateful odor to the God. The trees and shrubbery of the adjacent grounds are laden with golden fruit.

Far distant, in the middle of the picture, a vision of earthly power and glory rises upon the view. Splendid trophies of conquest adorn the imposing gateway; suits of armor, gorgeous banners, and the victor’s wreath. Colonnades and piles of architecture stretch away in the vast perspective. At the summit of a lofty flight of steps stand conspicuous the throne and the sceptre. Suspended in the air, at the highest point of human reach, is that glittering symbol of royalty, the crown. Between the beholder and this grand spectacle are the armies in conflict, and a city in flames, indicating that the path to glory lies through ruin and the battle-field. To the contemplation of this alluring scene the Pilgrim of the World, now in the morning of manhood, is introduced. Which of the fascinating objects before him is the one of his choice, is left to the imagination of the spectator. The picture symbolizes the pleasure, the fortune, and the glory of the world.

In the fourth picture, the pilgrim, now an old man on the verge of existence, catches a first view of the boundless and eternal. The tempests of life are behind him; the world is beneath his feet. Its rocky pinnacles, just rising through the gloom, reach not up into his brightness; its sudden mists, pausing in the dark obscurity, ascend no more into his serene atmosphere. He looks out upon the infinite. Clouds—embodiments of glory, threading immensity in countless lines, rolling up from everlasting depths—carry the vision forward toward the unapproachable light. The Cross, now fully revealed, pours its effulgence over the illimitable scene. Angels from the presence, with palm and crown of immortality, appear in the distance, and advance to meet him. Lost in rapture at the sight, the pilgrim drops his staff, and with uplifted hands, sinks upon his knees.

In the last picture, desolate and broken, the pilgrim, descending a gloomy vale, pauses at last on the horrid brink that overhangs the outer darkness. Columns of the Temple of Mammon crumble; trees of the gardens of pleasure moulder on his path. Gold is as valueless as the dust with which it mingles. The phantom of glory—a baseless, hollow fabric—flits under the wing of death to vanish in a dark eternity. Demon forms are gathering around him. Horror-struck, the pilgrim lets fall his staff, and turns in despair to the long-neglected and forgotten Cross. Veiled in melancholy night, behind a peak of the mountain, it is lost to his view forever.

The above pictures are in the possession of the artist’s family. We did think of describing at length _all_ the imaginative productions of our great master in landscape, but upon further reflection we have concluded merely to record their titles, by way of giving our readers an idea of the versatility of Cole’s genius. They are as follows:—_The Departure and Return_, which is a poetical representation of the Feudal Times, _The Cross in the Wilderness_, _Il Penseroso_, _L’Allegro_, _The Past and Present_, _The Architect’s Dream_, _Dream of Arcadia_, _The Expulsion of Adam and Eve_, and _Prometheus Bound_. As the last mentioned picture is owned in England, and is unquestionably one of the wildest and most splendid efforts of the painter’s pencil, we cannot refrain from a brief description. The scene represented is among the snow-covered peaks of a savage mountain land, and to the loftiest peak of all, is chained the being who gives the picture a name. Immediately in the foreground, is a pile of rocks and broken trees, which give a fine effect to the distant landscape, while, just above this foreground, is a solitary vulture slowly ascending to the upper air, to feast upon its victim. The idea of leaving the devouring scene to the imagination, could only have been conceived by the mind of the most accomplished artist. The time represented is early morning—and the cold blue ocean of the sky is studded with one brilliant star, which represents Jupiter, by whose order Prometheus was chained to the everlasting rock.

This is one of the most truly sublime pictures we have ever seen, and possesses all the qualities which constitute an epic production. The unity of the design is admirable—one figure, one prominent mountain, a cloudless sky, one lonely star, one representative of the feathery tribes, and one cluster of rocks for the foreground—and it is also completely covered with an atmosphere which gives every object before us a dreamy appearance. In point of execution we cannot possibly find a fault with this glorious picture, and we do not believe that the idea of the poet was ever better illustrated by any landscape painter.

With regard to the actual views and other less ambitious productions of Cole, we can only say that the entire number might be estimated at about one hundred. The majority of them are illustrative of European scenery, but of those which are truly American, it may be said that they give a more correct and comprehensive idea of our glorious scenery, than do the productions of any other American artist. In looking upon his better pictures of American scenery we forget the pent-up city, and our hearts flutter with a joy allied to that which we may suppose animates the woodland bird, when listening in its solitude to the hum of the wilderness. Perpetual freedom, perpetual and unalloyed happiness, seem to breathe from every object which he portrays, and as the eye wanders along the mountain declivities, or mounts still farther up on the chariot-looking clouds, as we peer into the translucent waters of his lakes and streams, or witness the solemn grandeur and gloom of his forests, we cannot but wonder at the marvelous power of genius. The style of our artist is bold and masterly. While he did not condescend to delineate every leaf and sprig which may be found in nature, yet he gave you the spirit of the scene. To do this is the province of genius, and an attainment beyond the reach of mere talent. The productions of Cole appeal to the intellect more than to the heart, and we should imagine that Milton was his favorite poet. He loved the uncommon efforts in nature, and was constantly giving birth to new ideas. He had a passion for the wild and tempestuous, and possessed an imagination of the highest order. He was also a lover of the beautiful, and occasionally executed a picture full of quiet summer-like sentiment: but his joy was to depict the scenery of our mountain land, when clothed in the rich garniture of autumn. He was the originator of a new style, and is now a most worthy member of that famous brotherhood of immortals whom we remember by the names of Lorraine, Poussin, Rosa, Wilson, and Gainsborough.

The name of Cole is one which his countrymen should not willingly let die. A man of fine, exalted genius, by his pencil he has accomplished much good, not only to his chosen art, by becoming one of its masters, but eminently so in a moral point of view. And this reminds us of the influences which may be exerted by the landscape painter. That these are of importance no one can deny. Is not painting as well the expression of thought as writing? With his pencil, if he is a wise and good man, the artist may portray, to every eye that rests upon his canvass, the loveliness of virtue and religion, or the deformity and wretchedness of a vicious life. He may warn the worldling of his folly and impending doom, and encourage the Christian in his pilgrimage to heaven. He may delineate the marvelous beauty of nature, so as to lead the mind upward to its Creator, or proclaim the ravages of time, that we may take heed to our ways and prepare ourselves for a safe departure from this world, into that beyond the Valley of the Shadow of Death. A goodly portion of all these things have been accomplished by Thomas Cole. As yet, he is the only landscape painter in this country who has attempted imaginative painting, and the success which has followed him in his career, even in a pecuniary point of view, affords great encouragement to our younger painters in this department of the art. He has set a noble example, which ought to be extensively followed. Observe, we do not mean by this that his subjects ought to be imitated. Far from it; because they are not stamped with as decided a national character, as the productions of all painters should be. Excepting his actual views of American scenery, the paintings of Cole might have been produced had he never set foot upon our soil. Let our young artists aspire to something above a mere copy of nature, or even a picture of the fancy; let them paint the visions of their imagination. No other country ever offered such advantages as our own. Let our young painters use their pencils to illustrate the thousand scenes, strange, wild, and beautiful, of our early history. Let them aim high, and their achievements will be distinguished. Let them remember that theirs is a noble destiny. What though ancient wisdom and modern poetry have told us that “art is long and time is fleeting!”—let them toil and persevere with nature as their guide, and they will assuredly have their reward.

POVERTY.[2]

And wherefore do the poor complain? The rich man asked of me: Come walk abroad with me, I said, And I will answer thee. Southey.

Attended by police officers, we once paid a visit to a building called the Old Brewery, which infests the city of New York as does a cancer the bosom of a splendid woman. At the time in question, it was a very large and rickety affair, and the _home_ of about _eighty pauper families_; and we verily believe contained more unalloyed suffering than could have been found in any other building in the United States. It belonged to the city, and was rented by a woman, who, in her turn, rented it out by piecemeal to the paupers. For many years it was a dram shop or a college for the education of drunkards, and it is now the comfortless hospital or dying-place of those drunkards and their descendants. We visited this spot at midnight, and were lighted on our way by torches which we carried in our hands.

Having passed through a place called Murderer’s Alley (on account of the many murders committed there), our leading officer bolted into a room, where was presented the following spectacle. The room itself was more filthy than a sty. In the fireplace were a few burning embers, above which hung a kettle, tended by a woman and her daughter. It contained a single cabbage, and was all they had to eat, and the woman told us she had not tasted food for twenty-four hours. The wretched being, it appears, had been engaged in a fight with some brute of a man, who had so severely bruised her face that one whole side was literally black and blue. We asked her some questions and alluded to her young daughter. She replied to our inquiries, and then burst into tears, and wept as if her heart was broken. The only comment which the daughter made was, “Mother, what are you crying about? Don’t make a fool of yourself. Tears will not wipe away God’s curse.” The couch to which this pair of women were to retire after their midnight meal, was a pallet of straw, wet with liquid mud that came oozing through the stone walls of the subterranean room. This woman told us that her husband was in the State prison, and that she was the mother of seven daughters, all of whom but the one present had died in girlhood, utterly abandoned to every vice. “Yes,” added the woman, “and I hope that me and my Mary will soon join them; there can be no worse hell than the one we are enduring.” She mourned over her unhappy fate, and looked upon vice as a matter of necessity—for they could not starve.

In the next room that we entered, on a litter of straw, and with hardly any covering upon them, lay a man and his wife, the former suffering with asthma and the latter in the last stages of consumption. Covered as they were with the most filthy rags, they looked more like reptiles than human beings. In another corner of the same room, upon a wooden box, sat a young woman with a child on her lap; the former possessing a pale and intellectual countenance, while the latter was a mere skeleton. The woman uttered not a word while we were present, but seemed to be musing in silent despair. Her history and very name were unknown, but her silence and the vacant stare of her passionless eyes spoke of unutterable sorrow. She was the “queen of a fantastic realm.”

Another room that we entered contained no less than five families, and in one corner was a woman in the agonies of death, while at her side sat a miserable dog, howling a requiem over the dying wretch. In another corner lay the helpless form of a boy, about ten years of age, who was afflicted with the small-pox, and had been abandoned to his miserable fate. He had rolled off the straw, and his cheek rested upon the wet floor, which was black with filth. All the rooms we visited were pretty much alike, crowded with human beings, but there were particular ones which attracted our attention. The faded beauty and yet brilliant eye of one woman attracted our notice, and we were informed that it was only about two years ago that she was performing Juliet at one of the principal theatres to the delight of thousands. She is now an outcast, and her only possession is a ragged calico gown. In another room we noticed the living remains of a German philosopher, who was once a preacher, then a professor in the Berlin and Halle Universities, an author, a rationalist, a doctor of philosophy, and now a—pauper. He came to this country about three years ago, supposing that his learning would here find a ready market. This man is master of the Hebrew, Greek, Latin, French, and German languages, and yet a bitter reviler of the Christian religion! He was brought to his present state by the united influences of his infidel principles and the wine cup.

In one room we saw a husband and his wife with three children, sound asleep on a bed of shavings, and the furniture thereof consisted of only a pine box, a wooden bowl (partly filled with meal), and a teacup, while on the hearth of the empty fireplace were scattered a few meatless bones. In another we saw a woman in a state of gross intoxication, whose child, wrapped in rags, was lying on a bed of _warm ashes_ in one corner of the fireplace. In one room a lot of half-clothed negroes were fighting like hyenas; and in another a forlorn old man was suffering with delirium tremens. In another, still, the fireplace was destitute of fire and the hearth of wood. On the floor were three litters of straw; on one lay the corpse of a woman and a dead infant, and another child about three years of age, which had no covering upon its shivering body except the fragments of an old cloak. On one pile of straw lay a middle-aged man apparently breathing his last; and in the opposite corner was seated a drunken woman, a stranger to the dead and dying, who was calling down curses upon the head of her husband, who had abandoned her to her misery. As we rambled about the old building, peering into the dark rooms of poverty and infamy, we were forcibly reminded of Dante’s description of hell. The majority of women that we saw were widows, and we were informed that the rent they paid varied from two to six shillings per week. Our guide, before leaving, directed our attention to the back yard, where, within the last two years, twenty people had been found dead. Their histories yet remain in mystery, and we were told of the singular fact that a funeral had not been known to occur at the Old Brewery for many years, as it has ever been a market-place for anatomists and their menials.