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Philip Gilbert Hamerton

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The idea of becoming a candidate was first suggested by T. Woolner after
a journey to Edinburgh, where he had heard some names put forward for
the Watson-Gordon chair, and amongst them that of Mr. Hamerton, which
had seemed to him the most popular. On his part, he had done what he
could to strengthen this favorable opinion by spreading what he knew of
his friend, not only as an artist and cultured man of letters, but also
as a sociable conversationalist, capable of enjoying intercourse with
his fellow-men in moments of leisure, and he took care to let my husband
know that this point was of importance--the new professor being expected
to exercise hospitality, so as to create a sort of centre for the
gathering of art-lovers. He said he had heard of a good income, of light
duties, and of the almost certainty of success in case Mr. Hamerton
should present himself.

Professor Masson had also suggested to Mr. Macmillan that "many persons
in Edinburgh would like to secure the best man in Mr. Hamerton," and Mr.
Craik wrote about it: "You would be an ornament to the University, and
might do useful and important work there. For many reasons the Scotch
professorships are enviable, for this particularly--that the session is
a short one, and would require short residence. It will be pleasant for
all of us, your friends, if you go to Edinburgh, for it will compel you
to come to England and be seen."

Mr. Seeley was also of opinion that "no man ought to be wholly dependent
upon literary labor. It tries the head too much."

All the friends who were consulted by my husband answered that they
considered him perfectly adapted for the situation--apart from friendly
motives. Mr. Alfred Hunt wrote: "I would be very glad to do everything
to forward your election. I am indebted to you for a large amount of
gratification and profit which I have derived from your books; I am sure
you will allow me to say that I am often very far from agreeing with
you," etc.

R. L. Stevenson wrote:--

"Monterey, Monterey Co., California.

"My dear Mr. Hamerton,--Your letter to my father was forwarded to me by
mistake, and by mistake I opened it. The letter to myself has not yet
reached me. This must explain my own and my father's silence. I shall
write by this or next post, to the only friends I have, who, I think,
would have an influence, as they are both professors. I regret
exceedingly that I am not in Edinburgh, as I could perhaps have done
more, and I need not tell you that what I might do for you in the matter
of the election is neither from friendship nor gratitude, but because
you are the only man (I beg your pardon) worth a damn. I shall write to
a third friend, now I think of it, whose father will have great
influence.

"I find here (of all places in the world) your 'Essays on Art,' which I
have read with signal interest. I believe I shall dig an essay of my own
out of one of them, for it set me thinking; if mine could only produce
yet another in reply we could have the marrow cut between us.

"I hope, my dear sir, you will not think badly of me for my long
silence. My head has scarce been on my shoulders. I had scarce recovered
from a prolonged fit of useless ill health than I was whirled over here
double-quick time and by cheapest conveyance.

"I have been since pretty ill, but pick up, though still somewhat of a
massy ruin. If you would view my countenance aright, Come--view it by
the pale moonlight. But that is on the mend. I believe I have now a
distant claim to tan.

"A letter will be more than welcome in this distant clime where I have
a box at the post-office--generally, I regret to say, empty. Could your
recommendation introduce me to an American publisher? My next book I
should really try to get hold of here, as its interest is international,
and the more I am in this country, the more I understand the weight of
your influence. It is pleasant to be thus most at home abroad, above all
when the prophet is still not without honor in his own land."

Mr. W. Wyld had also written: "I need not say I heartily wish you
success--and the more so that it would have the result of my seeing you
at least twice a year, a pleasure I shall anxiously look forward to; for
the older I grow the more I yearn for that sort of communion of thought
which is scarcely ever to be met with in the ordinary way of existence
... I have no one I can discuss art with ... and as for philosophy--"

Miss Susan Hamerton also pressed her nephew to offer himself for the
chair, and indulged in bright hopes of frequent meetings.

The result was that, after a long talk with me on March 21, 1880, my
husband determined to offer himself as a candidate, and although he did
it without much enthusiasm, he began immediately to prepare himself for
the new duties that would be involved. First of all, he told me that his
knowledge of the history of art was insufficient, and would require
additional researches. His plan was to go to Greece first, then to
Italy; another year he would go to Holland and Belgium, then to Spain--I
began to be afraid of this programme, as I reflected that the income
from the professorship would hardly cover our travelling expenses, and
that very little time would be left for literary work if the lectures
required so much preparation; however, I only begged him to wait for the
result of the election before he undertook anything in view of it. He
agreed, and turned his thoughts towards the "Graphic Arts," and a new
edition of "Etching and Etchers."

In the beginning of April, Mr. Hamerton attended with his family the
wedding of Charles Gindriez, his brother-in-law, and was well pleased
with the young lady, who thus became a new member in the gatherings at
La Tuilerie.

Three days later, his elder son Stephen started for Algiers, where he
had an appointment at the Lycée.

For some time past, the two great political parties at Autun had been at
daggers drawn, and the proprietors of the Conservative paper,
"L'Autunois," had brought from Paris a skilful and unscrupulous
political writer to crush its opponents and to effect the ruin of the
rival paper, "La République du Morvan," by fair means or foul. The first
stabs dealt by the new pen were directed against notable residents, and
being a good fencer and a good shot--in fact, a sort of bravo--M.
Tremplier, the wielder of the pen, proclaimed loudly after every libel
that he was ready to maintain what he advanced at the point of the
sword, and to give a meeting to all adversaries. Unacquainted with the
real social standing of Mr. Hamerton in Autun, but knowing that he was
Président Honoraire du Cercle National, a Liberal institution patronized
by the Sous-Préfet and Republican Deputies, M. Tremplier thought it
would be a master-stroke to defame his character by accusing him of
being the author of some anonymous articles against the clergy which had
appeared in "La République du Morvan." Though greatly irritated by this
unfair attack, my husband contrived to keep his temper, and simply
denied the accusation. This denial was indorsed by the editor of the
newspaper in which the articles had been published, and the disagreeable
incident was expected to end there. But this would not have satisfied
the truculent M. Tremplier, and in the next number of his paper he
expressed in arrogant terms an utter disbelief in Mr. Hamerton's denial,
and venomously attacked him for his nationality, literary pretensions,
etc., winding up his diatribe, as usual, by a challenge. This was too
much, and my husband resolved to start for Autun immediately, and to
horsewhip the scoundrel as he deserved. Mr. Pickering, an English
artist, and friend of ours, who happened to be at La Tuilerie, offered
to assist my husband by keeping the ground clear while he administered
the punishment--for M. Tremplier, notwithstanding his bravado, deemed it
prudent to surround himself with a bevy of officers, and was seldom to
be met alone. I was strongly opposed to this course, and at last I
prevailed upon my husband to abandon it by representing that he was
being drawn into a snare, for no doubt M. Tremplier was only waiting for
the attempt at violence he had provoked to get his victim seized and
imprisoned, so as to be able ever after to stigmatize him with the
terrible phrase, "C'est un homme qui a fait de la prison." This would be
undeniable, and as people never inquire _why_ "un homme a fait de la
prison," it is as well to avoid it altogether. We agreed upon a
different policy, and resolved to prosecute the "Autunois" for libel,
and immediately set off to retain a well-known advocate, who belonged to
the Conservative party, and was said to be one of the proprietors of the
"Autunois." He knew my husband personally, and also knew that he was
incapable of having written the anonymous articles, still less capable
of telling a lie, and as we felt sure of his own honorable character, we
boldly asked him to defend a political opponent. This was putting him in
a very delicate situation, and he complained of it at once; but my
husband insisted, and said that he could not fairly shun this duty.
Vainly did this gentleman, supported by the Président du Tribunal and
other notabilities of the same party, try to dissuade Mr. Hamerton from
seeking redress, by saying that "no one attached the slightest
importance to such libels," "that he was too much above M. Tremplier to
resent anything that came from his mercenary pen," "that his character
was unimpeachable," etc. He was even warned that he had not the remotest
chance of a verdict in his favor, because he could not prove that he was
not the author of the objectionable articles. "I should have thought
that M. Tremplier would be called upon to prove that I had written
them," he answered. "Anyhow, if I can't count upon justice here, I will
appeal to the court at Dijon." Seeing that his resolution was not to be
shaken, he was asked what would satisfy him, and he answered, "An
apology from M. Tremplier in the 'Autunois.'" And M. Tremplier had to
submit to the orders of the all-powerful keepers of the purse-strings:
he did it with a bad grace--but he had to do it.

One of the articles attributed to Mr. Hamerton had been directed against
the Bishop of Autun, whom he highly esteemed, and there was much
curiosity as to the opinion of the prelate himself. That opinion was
soon publicly expressed by a visit from this dignitary of the Roman
Catholic Church to the Protestant tenant of La Tuilerie.

On receiving Monseigneur Perraud, I thanked him first for his good
opinion, of which I had never doubted, knowing him to be a reader of my
husband's works, and also because there was no fear that a man of his
culture could believe the anonymous articles to be written by the author
of the biography of l'Abbé Perreyve in "Modern Frenchmen."

Monseigneur Perraud answered that my husband's character and literary
talent were so much above question that he would never have given a
thought to this affair had it not been that the "Autunois" was often
called "Le Journal de l'Evêché," though in fact the Bishop had no more
to do with it than with its editor, M. Tremplier, whom he had never
consented to receive. But unwilling to allow the possibility of any
doubt to remain in other people's minds, he had taken this opportunity
of becoming personally acquainted with my husband, and of giving a proof
of his high regard for him.

Monseigneur Perraud had a reputation for freezing dignity which kept
many people aloof; but he talked quite freely with my husband. Dignity
he certainly possessed in an unusual degree, and the same might be said
of Mr. Hamerton, but it was no bar to interesting intercourse nor to
brotherly sympathy, as we found afterwards in sorrowful circumstances.

This first visit certainly enhanced the high opinion which each had
formed of the other, and subsequent meetings confirmed the interest they
found in each other's views and sentiments.

I mentioned Mr. Pickering in connection with the affair of the
"Autunois," and it may now be explained that after reading "Round my
House," he had fancied he should like to see the scenery described in
the book, as it would probably afford him paintable subjects. Although
the name of the neighboring town was not given, and though great changes
had been made by the construction of a railway since the publication of
the book, Mr. Pickering lighted upon Autun as the very place he was in
search of. He soon made my husband's acquaintance, and a friendship
between them was rapidly established.

Mr. Woolner, who had kept up for some months a brisk correspondence in
behalf of Mr. Hamerton's candidature, now heard that matters were not
going so smoothly as he had expected. He was told that the income would
not come up to the sum stated at first; that the formation of an art
museum was contemplated, in which case the duties of forming and keeping
it would devolve upon the professor. There was also a desire that the
students should receive technical instruction; and, lastly, it was
rumored that forty lectures a year would be required. In fact, Mr.
Hamerton began to regret that he had offered himself for the post
without knowing exactly what he would be expected to do.

Whilst in this frame of mind he was advised to go to Edinburgh in order
to call upon each of the electors. No one acquainted with his character
could have imagined for an instant that he would comply. "The electors,"
he said to me, "must be acquainted with my works; I have sent nearly
fifty testimonials given by eminent artists, men of letters, and
publishers; I consider this as sufficient to enable the electors to
judge of the capacities for which an art professor ought to be chosen.
If these are judged insufficient, my presence could not give them more
weight."

I find this simple entry in the diary: "July 20, 1880. Got news that I
was not elected;" and though he may have regretted the time wasted in
this fruitless attempt, I am convinced that he experienced a sensation
of delightful relief when no longer dreading encroachments upon his
liberty to work as he thought fit. [Footnote: It was also Mr. R.
Seeley's opinion when he wrote: "You have felt so much doubt as to the
effect of such a change of life upon your health that the decision may
come as a relief to you."] After all, there remained to him as a lasting
compensation the tokens of flattering regard for his character and of
appreciation of his talents given in the numerous testimonials by such
eminent persons as Mr. R. Browning, Sir F. Leighton, Sir J. E. Millais,
Sir John Gilbert, Mr. T. Woolner, Mr. G. F. Watts, Professor Seeley,
Professor Sidney Colvin, Professor Oliver, Mr. Mark Pattison, Mr. S.
Palmer, Mr. Orchardson, Mr. Marks, Mr. A. W. Hunt, Mr. Herkomer, Mr.
Vicat Cole, Mr. Alma Tadema, Sir G. Reid, Mr. W. E. Lockhart, Mr. J.
MacWhirter, Professor Legros, M. Paul Rajon, M. Leopold Flameng, etc.

The testimonials are too numerous to be given here, but they all agreed
in the expressed opinion that Mr. Hamerton would be "the right man in
the right place," or "the very man."

Although the "Life of Turner" had first appeared in the "Portfolio," it
was again well received by the public in book form, and greatly praised
by the press, particularly in America. The "Boston Courier" said:--

"We have found this volume thoroughly fascinating, and think that no
open-minded reader of 'Modern Painters' should neglect to read this
life. In it he will find Turner dethroned from the pinnacle of a
demi-god on which Ruskin had set him (greatly to the artist's
disadvantage); but he will also find him placed on another reasonably
high pedestal, where one may admire him intelligently and lovingly, in
spite of the defects in drawing, the occasional lapses in coloring,
and the other peculiarities which are made clear to his observation by
Mr. Hamerton's discussion."

He had found it a difficult subject to treat because of the paucity of
incidents in Turner's life; but the painter's genius had made so deep an
impression upon him in his earlier years that he had eagerly studied his
works and sought information about his personality from the friends who
had, at some time or other, been acquainted with the marvellous artist.
I believe that my husband hardly ever went to the National Gallery
without visiting the Turner Room, and that is saying much, for during
his sojourns in London he seldom missed going every day it was open, and
sometimes he went twice,--once in the morning, and again in the
afternoon. Great as was his admiration of Turner's oil pictures, I
believe it was equalled by his delight in the same master's water-colors
and drawings. When in the lower rooms, where they are exhibited, he
could hardly be prevailed upon to go upstairs again, and I had to plead
fatigue and hunger to recall him to the realities of life. Although his
appreciation of Constable was high, it could not be compared to what he
felt for Turner, because "Turner was so wide in range that he was the
opposite of Constable, whose art was the expression of intense affection
for one locality."




CHAPTER XV.


1880-1882.

Third edition of "Etching and Etchers."--Kew.--"The Graphic
Arts."--"Human Intercourse."

Once rid of the perturbation occasioned by the affair of the election,
Mr. Hamerton was free to devote himself energetically to the preparation
of a new and splendid edition of "Etching and Etchers," for which he
spared neither thought nor pains,--being generously entrusted by Messrs.
Macmillan with the necessary funds, and given _carte blanche_ for the
arrangement. Mr. Craik had said, in a letter dated Jan. 10, 1880: "We
are disposed to make it a very fine book, and not to grudge the outlay.
We must leave all the details for you to arrange." In another, of May
29, he said again: "We are particularly anxious to make it a beautiful
book; and I think the plan of making each edition completely different
from the preceding, gives it an interest and value that will make the
book always sought after. The first edition is a scarce and valuable
book. The second will rise in value."

Being allowed to do exactly as he liked, the author of "Etching and
Etchers" set to his task with delightful anticipation of the result.

At the same time he was also giving a good deal of time to the
annotation of certain engravings and etchings presented by himself and
some friends to the Manchester Museum, in which he took great interest.

When the vacation brought the boys home in August, it was decided to
have a trial trip on the Saône in the "Morvandelle;" but after behaving
well enough on the water, she filled and sank at anchor whilst her
captain was quietly enjoying dinner with his sons at the nearest inn.
The boat being made of wood, and divided into a great many compartments
to hold stores and luggage, let the water into those compartments as the
wood dried and shrank. It became, therefore, necessary to exchange the
wooden tubes for iron ones, for it was a double boat. So the crew had to
come back home, and Mr. Hamerton sent to a periodical a relation of his
impressions and adventures in this brief voyage and shipwreck.

In the summer there was an exhibition at the Glasgow Institute of Fine
Arts, and my husband was asked to send something if possible; but being
almost overwhelmed with work, he was obliged to decline the invitation.
Mr. R. Walker, the secretary of the Institute, wrote to say how sorry he
was not to have his name in the catalogue, and added:--

"Our collection of etchings is very good, and during the short time
we have been open the people of Glasgow have learned more about
etching than ever they knew before. Your book has been a source of
infinite delight to many here. A short time ago we all hoped to have
you among us. The loss is ours. Sometimes I trust we may have the
pleasure of seeing you in Glasgow. You would find us not altogether
wanting in appreciation of what is right in art, and there is an
increasing number of people here who believe that ledgers are not the
only books worth studying."

Although the "Portfolio" was now generally acknowledged to be at the
head of artistic periodicals in England, it was the desire of both its
editor and publisher to improve it still further. In one of his letters
Mr. Craik had said: "What an important part the 'Portfolio' is playing!
I believe you are affecting the public, and compelling them to recognize
the best things in a way they never did before. I think your conduct of
the monthly admirable."

It was now proposed to add to its artistic value by giving more original
etchings. Hitherto the peculiar uncertainty of the art of etching had
hindered the realization of this desire, for there being no certainty
about the quality of an etching from a picture, the risk is immensely
increased when a commission is given for an original etching. The
celebrity of an etcher and his previous achievements can only give hopes
that he _may_ be successful once more, but these hopes are far from a
certainty. Even such artists as Rajon and Jacquemart,--to mention only
two of the most eminent,--who constantly delighted the lovers of art by
masterpieces of skill and artistic feeling,--and were, moreover,
painters themselves,--were not safe against failure, and repeated
failure, even in copying.

When a commission has been given to an artist, the stipulated price has
to be paid whether the result is a success or a failure, unless the
artist himself acknowledges the failure--a very rare occurrence; at best
he admits that some retouching is desirable, and consents to undertake
it; but too often with the result that the plate loses all freshness.

Such considerations, and many more, made it necessary for the publisher
and editor of the "Portfolio" to discuss the subject at length and
without hurry. In addition to the affairs of the "Portfolio," there was
the choice of illustrations for the book on the Graphic Arts, which was
to be published by Mr. Seeley, and for which the presence of the author
in London was almost a necessity.

It was then decided that, both our boys having situations, we would take
our daughter with us and seek for lodgings somewhere on the banks of the
Thames, probably at Kew. Mr. and Mrs. Seeley, with their usual kindness,
invited us to stay with them until we had found convenient
accommodation.

We started in October, and as soon as we reached Paris we heard from our
younger son Richard that he was far from pleased with his present
situation. Instead of having to devote only a few hours a day to
teaching English, as he had been promised, the whole of his time was
taken up by the usual drudgery which is the lot of an under-master, so
that he could not study for himself. The first thing his father did was
to set him free from that bondage, and to devise the best means to
enable him to pursue the study of painting which the boy wished to
follow as a profession. They went together to consult Jean Paul Laurens,
who said that the most efficacious way would be--not to study under one
master, but to go to one of Juan's ateliers, where students get the
benefit of sound advice from several leading artists. In conformity with
this counsel my husband saw M. Juan, and after learning from him the
names of the artists visiting the particular atelier where Richard was
to study, he got him recommended to Jules Lefebvre and to Gérôme by an
intimate friend.

Paul Rajon, as usual, did not fail to call upon us, and we were very
sorry to notice a great change for the worse in his appearance. He said
he had been very ill lately, and was still far from well; he seemed to
have lost all his buoyancy of spirits, and to look careworn. He alluded
to pecuniary difficulties resulting from the early death of his
brother-in-law, which left his sister, and a child I believe, entirely
dependent upon him. Without reckoning on adverse fortune or ill-health,
he had built himself a house with a fine studio at Auvers-sur-Oise, to
escape from the incessant interruptions to his work when in Paris. But
of course the outlay had been heavier than he had intended it to be, and
these cares made him rather anxious. Being very good friends, we had
formerly received confidences from him about the dissatisfaction created
by the loneliness of his home and the want of a strong affection--in
spite of his success in society and the flattering smiles and speeches
of renowned beauties. In answer to my suggestion that marriage would
perhaps give him what he wanted, he had answered: "No doubt; but where
shall I find the wife? The girl I introduce into society as _my_ wife
must be very beautiful, else what would society think of my taste as an
artist?... She must also be above the average in intelligence, to meet
with the _élite_ and keep her proper place; and lastly, she must also be
wealthy, for my earnings are not sufficient for the frame I desire to
show her in." He was quite serious, but I laughed and said: "I beg to
alter my opinion of your wants. The wife you describe would be the mere
satisfaction of your vanity, and if you were fortunate enough to meet
with the gifts of beauty, intelligence, and wealth in the same person it
would be very exacting to expect that in addition to all these she
should be domestic, to minister to your home comforts, and sufficiently
devoted for your need of affection."

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