第23章

"I should think, you would find water-colours cheaper; but oils must be more durable. Which are most generally in use among painters?"

Charlie, understanding the point, at last, explained that water-colours, and oils, were two entirely distinct branches of the art.

"Which is your picture, there, done in?"

"I am learning to paint in oils, sir."

"And that porTRATE, overhead, which is your father, I presume; is that in oils, too?"

"Yes, sir.--There are very few pictures, of that size, in water-colours, I believe. Here is a miniature, in water-colours, which Mrs. Van Horne lent me; I am taking a large picture, in oils, from it."

Mr. Taylor examined the miniature. "It has puzzled me considerably," he observed, "to know how painters could change the size of an object, and be correct, without measuring it off in feet and inches; but, I suppose, that is what you term perspective."

One is sometimes surprised by the excessive ignorance, on all matters concerning the fine arts, betrayed in this country, by men of some education; very clever, in their way, and quite equal to making a speech or a fortune, any day. In Europe, just notions, on such matters, are much more widely spread. But, after all, such a state of things is perfectly natural; we have hitherto had no means of cultivating the general taste, in America, having few galleries or even single works of art, open to the public. With the means, it is probable, that as we grow older, we shall improve, in this respect. That there is talent, ay, genius, in the country, sufficient to produce noble works of art, has been already proved. Nor can it be doubted, that there is latent feeling, and taste enough, among the people, to appreciate them, if it were called forth by cultivation. It is only a brutal and sluggish nation, who cannot be made to feel, as well as think. The cultivation necessary, however, is not that which consists in forcing the whole body of the people to become conceited smatterers; but that which provides a full supply of models for mediocrity to copy, and for talent to rival. It is evident, that common sense requires us to pursue one of two courses; either to give true talent, in every field--in literature, in music, painting, sculpture, architecture--some share of the honourable encouragement which is its due, or else honestly to resign all claim to national merit, in these branches of civilization; leaving the honour to the individual. As neither the government, nor men singly, can do much toward encouraging the arts, this would seem to be the very field in which societies might hope to produce great results. Would it not be a good innovation, if those who often unite to present some public testimonial of respect to an individual, should select, instead of the piece of plate, usual on such occasions, a picture or work of sculpture? Either, it is to be supposed, if respectable in its way, would be a more agreeable offering, to a person of education, than gold or silver in the shape most modern workmen give them. Under such circumstances, who would not prefer a picture by Cole or Wier {sic}, a statue like Greenough's Medora, Power's Eve, or Crawford's Orpheus, to all the silver salvers in New York? Who would not prefer even a copy from some fine bust or head of antiquity, from some celebrated cabinet picture, to the best medal that has yet been struck in this country?

{"Cole" = Thomas Cole (1801-1848), American painter and founder of the so-called Hudson River School of landscape painting; "Wier" = Robert Weir (1803-1889), another American landscape painter; "Greenough" = Horatio Greenough (1805-1852), American sculptor, and a close friend of Susan Fenimore Cooper's father; "Power" = Hiram Powers (1805-1873), another famous American sculptor; "Crawford" = Thomas Crawford (1813-1857), another American sculptor, whose statue of Orpheus was purchased by the Boston Athenaeum; "cabinet picture" = picture exhibited in a gallery or museum}

Thoughts like these were passing through Mr. Wyllys's mind, as he sat looking at Charlie's picture. Mrs. Taylor had, in the mean time, been making arrangements for her younger children to enter Miss Patsey's school for the summer. Mr. Taylor having joined the ladies, something was heard about 'terms,' and the affair appeared settled. Miss Agnes having mentioned to Mrs. Taylor that she had intended calling on her, but would now postpone it until another day, she was so strongly urged to accompany them home, that she consented to do so, aware that the visit should have been paid some time before. Accordingly, they all left the Hubbards together.

It was not often that Miss Patsey's little parlour was so full, and so much littered, as it had been that afternoon; it generally looked crowded, if it contained two or three persons besides the minister's portrait, and was thought out of order, if the large rocking-chair, or the clumsy, old-fashioned tea-table did not stand in the very positions they had occupied for the last twelve years.

Very different was the aspect of things at Mr. Taylor's. Not that the rooms were imposing, in size, but the elegance of the furniture was so very striking. Of course, there were two drawing-rooms, with folding-doors and Brussels carpets; while everything corresponded to a fashionable model. Mrs. Taylor, good soul, cared very little for these vanities of life. The window-blinds, in her two drawing-rooms, were never opened, except for some occasional morning visiter or evening tea-party; she herself used what she called the 'living room,' where she could have her younger children about her, and darn as many stockings as she chose. The drawing-rooms were opened, however, for the Wyllyses, who were urged to stay to tea. Miss Agnes declined the invitation, though Mr. Wyllys and herself remained long enough to look at the plan of a new house, which Mr. Taylor was to build shortly; it was to be something quite grand, far surpassing anything of the kind in the neighbourhood, for Mr. Taylor had made a mint of money during the past winter.