Complete Works of Wilkie Collins (2095 page)

After quitting Clumber, Mr. Collins proceeded to visit Sir George Beaumont at the Cumberland Lakes. Here he was introduced to Wordsworth and Southey, and enjoyed the advantage of visiting in their company, as well as in that of his accomplished host, many of the most exquisite features of the surrounding scenery. He often mentioned, as an instance of Southey’s remarkable facility in composition, his having been shown into the study of that fertile and valuable writer, while he was engaged over a MS, Before, however, the painter could make his apologies for the intrusion, Southey started up, threw down his pen in the middle of a sentence, and, taking his hat, gaily proposed a pedestrian excursion for the morning. They went out, extending their walk to some distance, and talked over no inconsiderable variety of miscellaneous topics. On their return, Mr. Collins again entered Southey’s study, (for the purpose, I believe, of consulting some book in the library) when, to his astonishment, he saw his friend sit down again immediately at the writing table, and conclude the imperfect passage in his MS. as coolly and easily as if no interruption had happened in the interval to distract his mind for a moment from its literary task.

Notices of the above tour, and of one that followed it, with Sir Francis and Lady Chantrey, to Edinburgh, where he visited for the first time the lovely scenery of his mother’s birth-place, are thus scattered among Mr. Collins’s papers:

“August 22nd, 1818. — Left Manchester for Kendal, where I arrived at about 8 P.M. Beautiful day — stayed there till Monday 24th, at five, when 1 started for Keswick. Went to Sir George Beaumont’s, where I spent the remainder of the day. 25th. — Rode with Sir George, to Borrowdale and Buttermere, where we dined; returned by Newlands — saw a man descend with a sledge of skates from Howester Crag: he appeared so small, from the height of the place, that I frequently lost sight of him during his descent. Occasional showers — fine effects: charmed with the place. 26th. — Rainy morning; painted from Sir George’s window. 27th. — Showery day, walked about with Sir George; went to see Southey. 28th. — Made a sketch, for Sara Coleridge’s portrait. 29th. — Painted all day upon the portrait of Sara Coleridge: a drenching day, hardly ceasing to rain from ten o’clock till bed-time. Mr. Coleridge dined with Sir George. 30th. — At Keswick Church, walked afterwards to Lodore waterfall — fine day, with a few slight showers. 31st. — A very fine day: at Ormthwaite and Applethwaite — sketching all day. September 1st. — From six o’clock, A.M., till night, hardly ceased raining a minute worse than Saturday: painted till three, on Miss Coleridge’s portrait. 2nd. — Painted, from my window, Grisdale Pike — showery all day. Lord Lowther and Mr. Wordsworth at dinner. In the evening at Mr. Southey’s — lightning in the evening. 3rd. — Showery day: painted, from the barn at Browtop, a view of Borrowdale. * * * 15th. — Started after breakfast from Keswick, with Mr. and Mrs. Chantrey, for Edinburgh: slept at Langholme — rainy. 16th. — Started early, and breakfasted at Hawick; from whence went to Melrose Abbey, and afterwards to Edinburgh, where we arrived at ten P.M. * * * 20th. — Went to hear Doctor Alison in the morning; and, in the afternoon, Doctor Brunton: excellent discourses from both. 21st. — Sketching at Leith with Mr. and Mrs. Chantrey — driven home by the rain. 22nd. — Breakfasted at Rosslyn; walked from thence to Lasswade, by the river side: beautiful day. 23rd. — Walked about in the morning; got wet through, in the evening, upon Arthur’s Seat. 24th. — Saw Queen Mary’s apartments at Holyrood-house; dined at Raeburn’s. 25th. — Sketched the Castle, and left Edinburgh at two P.M., for Keswick. * * * 28th. — Left Keswick, with Sir George and Lady Beaumont, for Ulswater: dined and slept at Mr. Marshall’s. 30th. — Left Mr. Marshall’s for Patterdale; dined and sketched there: after dinner set out for Wordsworth’s. * * * October 3rd. — Took leave of these excellent people: walked to Ambleside with Wordsworth and his wife — sketched the mill there. * * * 5th. — Rainy morning; Wordsworth read to me: walked out before dinner — took my farewell of the Lakes; and, at ten, arrived at Kendal.”

Among all the pleasant acquaintances made during this tour, none was recollected with greater pleasure, or improved with more assiduity by the painter, than that procured for him by his introduction to the late Mr. Marshall of Leeds. While in the North, and ever afterwards, he continued to receive from that gentleman, and all the members of his family, the most unvaried kindness and attention. Many of his finest pictures are now in their possession; and many others owe their first conception to the sketches, which his visits to their mansion at Ullswater enabled him to make, amid the rarest natural beauties of the Cumberland Lakes.

It is not always that a painter finds a sketching tour productive, beyond his Art, of general intellectual benefit. This fortunate privilege was, however, enjoyed by my father throughout his excursion, of this year, to the North. Although but lately introduced to Sir George Beaumont, his acquaintance with that cultivated and amiable man speedily expanded into friendship. To sketch in his company, and in that of Wordsworth — to hear from the mouths of each the antiquarian and poetical associations connected with the scenes which the pencil portrayed, proved an addition of no slight value to the painter’s professional studies; for it fortified him in the possession of the most important of the minor ingredients of success in the Art general information. It opened to his leisure hours new sources of literary studies; and by a natural consequence, roused in his mind new trains of pictorial thought. It is to the absence of habits of reading of frequent intercourse with the intellects of others, in a sister pursuit, that the inaptitude to originality — the perverse reiteration, by some modern artists, of subjects discovered and exhausted by their predecessors, is to be considered in no small degree to be due. The originality of the conception is more thoroughly dependent on the novelty of the subject, than is generally imagined. A new passage in history may mould a new form of composition, and a fresh description of Nature lead to a fresh choice of scenery, more frequently and more readily than the artist may always suppose.

During the tour to the Lakes — as indeed in all other country excursions — the number of sketches made by the painter excited the surprise of all who beheld them. No obstacles of unfavourable weather, incomplete materials, intrusive spectators, or personal discomfort, ever induced him to resign the privilege of transcribing whatever objects in Nature might happen to delight his eye. His talent in forcing a large amount of labour into a small space of time, and in making the lightest and hastiest touches produce an effect of completeness and finish, insured success to his industry, and advantage to his enthusiasm. To all his works of this description an extrinsic value is attached, through his invariable practice of never placing a touch upon his sketches after he had quitted the scene they were intended to represent. What they were at the time of their original production, that they invariably remained, when stored in his portfolio, or hung round the walls of his painting-room.

On my father’s return from his visit to the Lakes, his collections of drawings did not, through the carelessness of the people attached to the different conveyances, reach London with him. They were at first supposed to be lost, but were subsequently recovered. Lady Beaumont wrote to him in London upon the subject of this misfortune, and began her communication by good-naturedly rallying him upon his notorious disinclination to letter-writing. The answer she received, was as follows:

“To LADY BEAUMONT.

“New Cavendish-street,

“November 1st, 1818.

“Madam, — That a most indescribable helplessness overcomes me, when I am under the necessity of writing, I readily admit; but, that I am not dead to the stimulus of a letter from your ladyship, this immediate reply will, I trust, furnish an adequate proof and the paper I sent to Coleorton, many days since, carries with it an assurance of unartistlike punctuality, which argues at least a
desire
to be a man of business.

“The recovery of my sketches, after having been separated from them for nearly a week, was a sensation amply repaying me for the three hundred miles I travelled, in a state little short of frenzy; for, notwithstanding I endeavoured to bring myself to a belief that they were not worth lamenting, still I saw them in the light of the most useful things I had ever done. The picture I have begun from these studies is somewhat advanced; and I have the very great advantage of occasionally painting upon it Sir John’s Gallery.*

* This was a new commission, to which reference will be shortly made.

“I dined with Wilkie, about a week since. He is entirely recovered; and I feel the highest gratification in saying, that all that his picture of the Scotch Wedding promised in its unfinished state has been most essentially realized and I know not how I could say more in its praise. The depth of the tone and richness of colour are equal to Ostade. Of the characters, refined feeling, and exquisite humour, you have already a complete idea.

“I have also seen the head Jackson has painted of Mr. Smith. Of the likeness I know nothing, but do not hesitate to say that the clearness, colour, and spirit of the execution, surpass most of his other attempts.

“With my best regards to Sir George — to whom, and to your ladyship, I shall always consider myself indebted for some of the happiest moments of my life,

“I am, with great respect,

“Your Ladyship’s obliged and obedient servant,

“WILLIAM COLLINS.”

Among others, to whom my father was largely indebted, at this period, for some of his most important mental acquisitions, may be mentioned the names of Washington Allston, the American painter; and Samuel Taylor Coleridge, the poet. The first of these gifted men, is principally known in England, as the painter of the noble historical pictures:- “Uriel in the Sun” — ”The dead Man restored, by touching the Bones of Elijah” — ”Jacob’s Dream” — and others of equal merit and importance; but, he possessed poetical and literary abilities of no common order as well. To a profound and reflective intellect, he united an almost feminine delicacy of taste and tenderness of heart, which gave a peculiar charm to his conversation, and an unusual eloquence to his opinions. It was on his second visit to England, from his native country, that he became acquainted with Mr. Collins, who soon found himself united to him by the warmest friendship; and who owed to his short personal intercourse with this valued companion, not only much delightful communication on the Art, but the explanation of many religious difficulties under which his mind then laboured, and the firm settlement of those religious principles, which were afterwards so apparent in every action of his life. After a stay of some years in England, (during which, the merit of his exhibited works procured his election as an Associate, by the Royal Academy; and would, had he remained longer, have insured his election as an Academician,) Mr. Allston departed for America — never, as it afterwards proved, to leave it again. During the years of his after life, he continued to enrich the collections of his native land with some of the most admirable productions of his genius; and, when in the year 1843, he died, so widely had the influences of his gentle and admirable character extended, and so intimately had they connected themselves with the beauties of his works, that his death was mourned by all — even by those among his countrymen, who had only known him by fame — as a calamity, in which the ranks of virtue suffered as great a loss as the interests of Art.

In a future part of this work will be inserted a letter by Mr. Collins, written on the occasion of his friend’s death, and containing a just and interesting review of his character and genius. In the mean time, the following letters exchanged soon after Mr. Allston’s return to America, will testify that though both the painters were indolent correspondents neither was forgetful, in absence, of the common dues of friendship and esteem.

“To MR. ALLSTON, A.R.A.,

“London, November 4th, 1818.

“Dear Allston — From my very heart’s core do I congratulate you upon your election, as an Associate of the Royal Academy; a circumstance as honourable to that body as to yourself, and of which I received the gratifying intelligence yesterday. I immediately sent to Leslie, who came over, out of breath; and the news I had to communicate to him has, I believe, kept him, to a certain degree, in the same state ever since. Had you been here! — but you will come.

“And now to the fulfilment of your commission, to send all the news I can: to which end, I shall give you a succession of such events as may serve to remind you of ties you have in this country. The letter you sent me at Sir George Beaumont’s, came during dinner; and I, of course, made Sir George and her ladyship acquainted with that part of it relating to themselves; if I have any knowledge of the human heart, what the two said of you was direct from that spot. May all the success we that day wished you, attend your steps!

“With the scenery of the North I am charmed; and, considering the time necessarily occupied in travelling, I have not been altogether idle. Your hints about Coleridge, I did not fail attending to. With his wife I am pleased; and his elegant daughter, Sara, I have made a painting of. She is a most interesting creature, about fifteen years of age, and the parties we occasionally form with these good people, Southey, Hartley, Coleridge, etc., I shall not soon forget.