Part 5

Although a Protestant, accounted now the greatest living sculptor, he was made president of the Academy of St. Luke, a position held by Canova when he was alive, and was commissioned to build the monument of Pius VII. in St. Peters. Mendelssohn, the great composer, had become his warm friend, and used to play for him as he worked in his studio. Sir Walter Scott came to visit the artist, and as the latter could speak scarcely a word of English, the two shook hands heartily, and clapped each other on the shoulder as they parted.

When Thorwaldsen was sixty-eight years old, he left Rome to end his days among his own people. The enthusiasm on his arrival was unbounded. The whole city waited nearly three days for his coming. Boats decked with flowers went out to meet him, and so many crowded on board his vessel that it was feared she would sink. The members of the Academy came in a body; and the crowd took the horses from the carriage, and drew it themselves through the streets to the Palace of Charlottenburg. In the evening there was a grand torchlight procession, followed by a constant round of parties.

So beset was he with invitations to dinner, that, to save a little time for himself, he told his servant Wilkins, that he would dine with him and his wife. Wilkins, greatly confused, replied, "What would the world think if it found out that the chancellor dined with his servant?"

"The world--the world! Have I not told you a thousand times that I don't care in the least what the world thinks about these things?" Sometimes he refused even to dine with the King. Finding at last that society would give him no rest, he went to live with some friends at Nyso, seven hours by boat from Copenhagen.

Once more he visited Rome, for a year, receiving royal attentions all through Germany. Two years after, as he was sitting in the theatre, he rose to let a lady pass. She saw him bending toward the floor, and asked, "Have you dropped something?"

The great man made no answer; he was dead. The funeral was a grand expression of love and honor. His body lay in state in the Royal Palace, laurel about his brow, the coffin ornamented with floral crowns--one made by the Queen of Denmark; his chisel laid in the midst of laurel and palm, and his great works of art placed about him. Houses were draped in black, bells tolled in all the churches, women threw flowers from their windows before the forty artists who carried the coffin, and the King and Prince royal received it in person at the Frue Kirke.

Then it was borne to the large museum which Copenhagen had built to receive his work, and buried in the centre of the inner court, which had been prepared under his own hand. A low granite coping surrounds the grave, which is entirely covered with ivy, and on the side is his boyish name, Bertel (Bartholomew) Thorwaldsen.

MOZART.

The quaint old city of Salzburg, Austria, built into the mountain-side, is a Mecca for all who love music, and admire the immortal Mozart. When he was alive, his native city allowed him nearly to starve; when he was dead, she built him a beautiful monument, and preserved his home, a plain two-story, stuccoed building, for thousands of travellers to look upon sadly and tenderly.

Wolfgang Amadeus Mozart was born Jan. 27, 1756, a delicate, sensitive child, who would ask a dozen times a day whether his friends loved him, and, if answered in the negative, would burst into tears. At three, he began to show his passion for music. He would listen intensely as his father taught his little sister, Nannerl, seven years old; would move his playthings from one room to another, to the sound of the violin; and at four, composed pieces which astonished his sire.

Two years later, the proud father took Wolfgang and his sister on a concert tour to Vienna. So well did the boy play, that the Empress Maria Theresa held him in her arms, and kissed him heartily. One day as he was walking between two of her daughters, he slipped on the polished floor and fell. Marie Antoinette, afterward Empress of France, raised him up, whereupon he said, "You are very kind; I will marry you." The father was alarmed at this seeming audacity; but the lovely Princess playfully kissed him.

The next year he was taken to Paris, and here two sets of sonatas, the works of a boy of seven, were brought out, dedicated to Marie Antoinette. The children sat at the royal table, poems were written about them, and everywhere they excited wonder and admiration; yet so excessively modest was young Mozart, that he cried when praised too much. In London, Bach took the boy between his knees, and alternately they played his own great works and those of Handel at sight. Royalty gave them "gold snuffboxes enough to set up a shop," wrote home the father; "but in money I am poor." Wolfgang was now taken ill of inflammatory fever; but he could not give up his music. A board was laid across the bed, and on this he wrote out his thoughts in the notes. Finally, with ardor dampened at their lack of pecuniary success, Leopold Mozart took his dear ones back to quiet Salzburg.

Here the cold archbishop, discrediting the reports of the boy's genius, shut him up alone for a week to compose an oratorio, the text furnished by himself. Mozart, only ten years old, stood the test brilliantly. The next year a second tour was taken to Vienna, to be present at the marriage of the Archduchess Maria Josepha. The bride died from smallpox shortly after their arrival: and poor Wolfgang took the disease, and was blind for nine days. When he recovered, the musicians, moved by envy and jealousy, would not be outdone by a boy of twelve, who was equally at home in German or Italian opera, and determined to hiss off the stage whatever he might compose. Sad at heart, and disappointed, again the Mozarts went back to the old home.

Two years later, after much self-sacrifice, the father took his boy to Italy for study. The first day in Passion Week they went to the Sistine Chapel to hear the famous "Miserere" of Allegri, which was considered so sacred, that the musicians were forbidden to take home any part of it, or copy it out of the chapel, on pain of excommunication. Wolfgang, as soon as he reached his lodgings, wrote it out from memory; which remarkable feat for a boy of fourteen astonished all Rome. So wonderfully did he play, that the audience at Naples declared there was witchcraft in the ring which he wore on his left hand, and he was obliged to remove it. At Milan, when he was nearly fifteen, he composed the opera "Mithridate," conducting it himself, which was given twenty nights in succession to enthusiastic audiences. After this came requests for operas from Maria Theresa, Munich, and elsewhere. He was busy every moment. Overworked, he was often ill; but the need for money to meet heavy expenses made constant work a necessity. All this time he wrote beautiful letters to his mother and sister. "Kiss mamma's hand for me a thousand billion times," is the language of his loving heart. He could scarcely be said to have had any childhood; but he kept his tenderness and affection to the last of his life.

After their return to Salzburg, finding the new archbishop even less cordial than the old--the former had allowed Wolfgang the munificent salary of five dollars and a fourth yearly!--it was deemed wise to try to find a new field for employment. The father, now sixty years of age, must earn a pittance for the family by giving music-lessons, while the mother accompanied the son to Paris. The separation was a hard one for the devoted father, who could not say good-by to his idolized son, and poor Nannerl wept the whole day long. Mozart, now twenty-one, and famous, well repaid this affection by his pure character. He wrote: "I have God always before me. Whatever is according to his will is also according to mine; therefore I cannot fail to be happy and contented."

Stopping for a time at Mannheim, he attempted to gain the position of tutor to the elector's children, but was disappointed. Here he fell in love with Aloysia Weber, a pretty girl of fifteen, whose father, a prompter at the National Theatre, earned only two hundred dollars yearly for the support of his wife and six children. The girl had a fine voice; and Mozart, blinded by love, asked no higher joy than to write operas in which she might be the star. The good old father, who had spent all his life in helping his son to win fame, was nearly heart-broken when he learned of this foolish affection, and wrote him tenderly but firmly: "Off with you to Paris; get the great folks on your side; _aut Caesar, aut nihil_. From Paris, the name and fame of a man of great talent goes through the whole world."

The young man, carrying out his childish motto, "God first, and then papa," reluctantly started for Paris. Here he did not meet with great success, for scores of applicants waited for every position. His loving mother soon died, perhaps from over economy in her cold, dark lodgings; and the young musician took his lonely way back to Salzburg, begging his father's consent to his stopping at Mannheim to see the Webers. Finding that Aloysia had gone upon the stage at Munich, he hastened to see her. She had been offered a good salary. Meantime Mozart had won no new laurels at Paris. He was small in stature, and poor; and the girl who wept at his departure a few months previously professed now scarcely to have seen his face before. The young lover, cut to the heart, yet proud, seated himself at the piano, and played,

"I leave the girl gladly who cares not for me,"

and then hastened away to Salzburg. Aloysia married a comedian, and lived a most unhappy life, gaining some fame from singing the music which Mozart wrote for her.

He remained at home for a year and a half, till called to Munich to write the opera "Idomeneo," and later to Vienna. Here, unfortunately, he met the Webers again, and, their father having died, he boarded in their house, and gave lessons to Constance, a younger sister of Aloysia. She was a plain, good-hearted girl, without much energy, but with a great appreciation of her gifted teacher. The result came naturally; he fell in love with the penniless girl, and, despite the distress of his aged father at his choice, married her when he was twenty-six and she eighteen.

Henceforward there was no hope of any thing save the direst poverty. To marry without love is a grave mistake; to marry simply for love is sometimes a mistake equally grave. He could of course do nothing now for his aged father or sister. Unsteady employment, a rapidly-increasing family, and a wife ill most of the time, made the struggle for existence ten times harder than before his marriage. Once when he had prepared to visit his father for the first time after the wedding, and had waited months for the necessary funds, he was arrested for a debt of fifteen dollars, just as he was stepping into the carriage.

The Emperor Joseph said to him one day, "Why did you not marry a rich wife?" With dignity Mozart at once replied, "Sire, I trust that my genius will always enable me to support the woman I love"; but unfortunately it did not. He wrote after his marriage: "The moment we were made one, my wife as well as myself began to weep, which touched every one, even the priest, and they all cried when they witnessed how our hearts were moved." How little they dreamed that they should weep more seriously when hunger stared their six children in the face!

From the time of his marriage till his death, nine years, says Rev. Mr. Haweis, "his life can be compared to nothing but a torch burning out rapidly in the wind." It was a period of incessant, astonishing labor. He dedicated six quartets to his dear friend Joseph Haydn, who said, "Mozart is the greatest composer who has ever lived"; wrote "Figaro" when he was twenty-nine, which had the greatest popularity, "Don Giovanni" at thirty-one, and the "Flauto Magico" gratis, for the benefit of the theatre director, who was in want. The two latter creations were hailed with delight. Goethe wrote to Schiller later of "Don Giovanni," "That piece stands entirely alone; and Mozart's death has rendered all hope of any thing like it idle."

Whenever he appeared at the theatre, he was called upon the stage from all parts of the house; yet all this time he could not earn enough to live. He received only a hundred dollars from his "Don Giovanni," and less for the others. He gave lessons every hour he could spare, concerts in the open air, borrowed from his friends, scrimped himself, to send money to his sick wife at Baden, pawned his silver plate to make one more unsuccessful journey to win the aid of indifferent princes, and fainted often at his tasks after midnight. Still he wrote to "the best and dearest wife of my heart," "If I only had a letter from you, all would be right," and promised her to work harder than ever to earn money.

When Constance was at home with him, if he left her in the morning before she awakened, he would leave a note for her with the words, "Good-morning, my darling wife. I shall be at home at -- o'clock precisely." Once when she had been ill for eight months, and Mozart was composing beside her as she slept, suddenly a noisy messenger entered. Alarmed lest his wife should be disturbed, he rose hastily, when the penknife in his hand fell, and buried itself in his foot. Without a word escaping his lips, he left the room, a surgeon was called, and, though lame for some time, the wife was not told of the accident.

His compositions found few purchasers, for the people generally could not comprehend them. Publishers' shops were closed to him, unless he would write in the popular style. "Then I can make no more by my pen," he said bitterly, "and I had better starve and go to destruction at once." So poor had his family become, that, with no fuel in the house, he and his wife were found by a friend, waltzing to keep warm.

About this time a sepulchral-looking man called to ask that a "Requiem" be written on the death of the wife of an Austrian nobleman, who was to be considered the author, and thus his intense grief be shown, though manifested through a lie. Mozart consulted with his wife, as was his custom, and, as she indorsed it, he accepted the commission for fifty dollars. Overworked, harassed by debts which he could not pay, hurt at the jealousies and intrigues of several musicians, disappointed at the reception of his new opera at Prague, his hopeful nature forsook him, and he told Constance that the "Requiem" would be written for himself.

In the midst of this wretchedness their sixth child was born. The poor wife forgot her own sorrows, and prevailed upon him to give up work for a time; but the active brain could not rest, and he wrote as he lay on his sick-bed. On the day before he died, Dec. 4, 1791, at two o'clock, he persisted in having a portion of the "Requiem" sung by the friends who stood about his bed, and, joining with them in the alto, burst into tears, saying, "Did I not say that I was writing the 'Requiem' for myself?" Soon after he said, "Constance, oh that I could only hear my 'Flauto Magico!'" and a friend playing it, he was cheered.

A messenger now arrived to tell him that he was appointed organist at St. Stephen's Cathedral, a position for which he had longed for years; but it came too late. Death was unwelcome to him. "Now must I go," he said, "just as I should be able to live in peace; I must leave my family, my poor children, at the very instant in which I should have been able to provide for their welfare." Cold applications were ordered by the physicians for his burning head; he became delirious for two hours, and died at midnight, only thirty-five years old. Constance was utterly prostrated, and threw herself upon his bed, hoping to die also.

Mozart's body was laid beside his piano, and then, in a pouring rain, buried in a "common grave," in the plainest manner possible, with nobody present except the keepers of the cemetery. Weeks after, when the wife visited the spot, she found a new grave-digger, who could not tell where her beloved husband was buried, and to this day the author of fourteen Italian operas, seventeen symphonies, and dozens of cantatas and serenades, about eight hundred compositions in all, sleeps in an unknown grave. The Emperor Leopold aided her in a concert to raise fifteen hundred dollars to pay her husband's debts, and provide a little for herself. Eighteen years afterward she married the Danish councillor, Baron von Missen, who educated her two sons, four other children having died. Salzburg waited a half-century before she erected a bronze statue to her world-renowned genius, in the Square of St. Michael; and, seventy years after his death, Vienna built him a monument in the Cemetery of St. Mark. History scarcely furnishes a more pathetic life. He filled the world with music, yet died in want and sorrow.

DR. SAMUEL JOHNSON.

In a quaint old house in Lichfield, England, now used as a draper's shop, Samuel Johnson, son of a poor bookseller and bookbinder, was born. Here, as in Westminster Abbey, a statue is erected to his memory. Near by is the schoolhouse where Addison and Garrick studied.

When Samuel was two and a half years old, diseased with scrofula, his good mother, with ten dollars sewed in her skirt so that nobody could steal it, took him to London that, with two hundred others, he might be touched by Queen Anne, and thus, as superstitious people believed, be healed. On this journey she bought him a silver cup and spoon. The latter he kept till his dying-day, and parted with the cup only in the dire poverty of later years.

The touch of the Queen did no good, for he became blind in one eye; with the other he could not see a friend half a yard off, and his face was sadly disfigured. Being prevented thus from sharing the sports of other boys, much time was spent in reading. He was first taught at a little school kept by Widow Oliver, who years after, when he was starting for Oxford, brought him a present of gingerbread, telling him he was the best scholar she ever had. After a time he studied Latin under a master who "whipped it into him." The foolish teacher would ask the boy the Latin word for candlestick, or some unexpected thing, and then whip him, saying, "This I do to save you from the gallows!"

Naturally indolent, Samuel had to struggle against this tendency. He had, however, the greatest ambition to excel, and to this he attributed his later success. He was also inquisitive, and had a wonderful memory. When he wore short dresses, his mother gave him the Prayer-Book one day, and, pointing to the Collect, said, "You must get this by heart." She went up stairs, but no sooner had she reached the second floor than she heard him following. He could repeat it perfectly, having looked it over but twice. He left school at sixteen, spending two years at home in helping his parents, and studying earnestly. One day, his father, being ill, asked him to go to a neighboring town and take his place in selling books at a stall on market-day. He was proud, and did not go. Fifty years afterward, in his greatness, then an old man, he went to this stall, and, with uncovered head, remained for an hour in the rain where his father had formerly stood, exposed to the sneers of the bystanders and the inclemency of the weather. It showed the repentance of a noble soul for disobedience to a parent.

At nineteen, he entered Pembroke College, Oxford, where he acted as servant. He used to go daily to his friend Taylor, and get lectures second-hand, till his feet, showing through his worn-out shoes, were perceived by the students, and he ceased going. A rich young man secretly put a pair of new shoes at his door, which he indignantly threw out of the window. He was willing to work and earn, but would not receive charity. At the end of three years he became so poor that he was obliged to leave college, his father dying soon after.

After various experiences, he sought the position of usher at a school, but was refused because it was thought that the boys would make fun of his ugliness. He finally obtained such a place, was treated with great harshness, and left in a few months. Strange to say, the poor, lonely scholar, only twenty-six, now fell in love with a widow forty-eight years old. After obtaining his mother's consent, he married her, and the union proved a most happy one. With the little money his wife possessed, he started a school, and advertised for pupils; but only three came, and the school soon closed. In despair he determined to try London, and see if an author could there earn his bread. In that great city he lived for some time on nine cents a day. One publisher to whom he applied suggested to him that the wisest course would be to become a porter and carry trunks.

A poem written at this time, entitled "London," for which he received fifty dollars, one line of which was in capital letters,

"SLOW RISES WORTH BY POVERTY DEPRESSED,"

attracted attention; and Pope, who was then at the height of his fame, asked Dublin University to give to the able scholar the degree of M.A., that he might thus be able to take the principalship of a school, and earn three hundred dollars a year; but this was refused. Out of such struggles come heroic souls.

When he was forty, he published the "Vanity of Human Wishes," receiving seventy-five dollars, asserted by many to be the most impressive thing of its kind in the language. The lines,

"There mark what ills the scholar's life assail, Toil, envy, want, the patron, and the jail,"

show his struggles. A drama soon after, played by the great actor, David Garrick, brought him nearly a thousand dollars; but the play itself was a failure. When asked by his friends how he felt about his ill success, he replied, "Like the monument," meaning that he continued firm and unmoved, like a column of granite. Fame was coming at last, after he had struggled in London for thirteen years--and what bitterness they had brought!

For two years he worked almost constantly on a paper called the "Rambler." When his wife said that, well as she had thought of him before, she had never considered him equal to this, he was more pleased than with any praise he ever received. She died three days after the last copy was published, and Johnson was utterly prostrated. He buried himself in hard work in his garret, a most inconvenient room; but he said, "In that room I never saw Mrs. Johnson." Her wedding-ring was placed in a little box, and tenderly kept till his death.

Three years afterward, his great work, his Dictionary, appeared, for which he received eight thousand dollars; but, as he had been obliged to employ six assistants for seven years, he was still poor, but now famous. The Universities of Oxford and Dublin, when he no longer needed their assistance, hastened to bestow their degrees upon him. Even George III. invited him to the royal palace,--a strange contrast to a few years before, when Samuel Johnson was under arrest for a debt of thirty dollars! When asked by Reynolds how he had obtained his accuracy and flow of language in conversation, he replied, "By trying to do my best on every occasion and in every company." About this time his aged mother died, and in the evenings of one week, to defray her funeral expenses, he wrote "Rasselas," and received five hundred dollars for it. He wrote in his last letter to her, "You have been the best mother, and I believe the best woman, in the world. I thank you for your indulgence to me, and beg forgiveness of all that I have done ill, and of all that I have omitted to do well." His last great work was "The Lives of the Poets."