Читать книгу: «Chambers's Edinburgh Journal, No. 420», страница 5

Being so near, we may as well look in for a few moments at the New Coal Exchange opposite Billingsgate Market; a sightly, circular building, of rich interior decoration, that will well repay a visit. It is one of our newest 'lions,' and is certainly a very significant sign and monument of the enormous and swiftly-increasing commercial activity of the country. On the tesselated wooden floor—with the anchor in the centre, an emblem not long to be appropriate to such a place, as we shall presently see—thousands of tons of coal are disposed of with marvellous rapidity; the days of sale being the same as those of the Mark-Lane Market.

There was a coal-tax, popularly known as the Richmond duty, which was levied for many years, for the benefit of one family, but was abolished some time ago. Its origin, and the especial circumstance which, gossip saith, more immediately led to its infliction, are not a little curious, perhaps instructive. The first Duke of Richmond of the present line was a son of Charles II. by Louise René de Pennevant de Querouaille, a French lady, better known to us as the Duchess of Portsmouth, to whom Otway dedicated his 'Venice Preserved' in such adulatory terms. This son, when only nine years of age, was created a Knight of the most noble Order of the Garter; and his mother, with the proverbial taste of her country, arranged a more graceful mode of wearing the blue ribbon, which, as we see in old portraits, was till then worn round the neck of the knight, with the George pendent from it. The duchess presented her son to the king with the ribbon thrown gracefully over his left shoulder, and the George pendent on the right side. His majesty was delighted, embraced his son, commanded that the insignia of the order should always be so worn, presented the youthful knight with 1s. per ton, Newcastle measure, upon all coals shipped in the Tyne for consumption in England, and secured the munificent parental gift by patent to the young duke and his heirs for ever. Hôni soit qui mal y pense.

After the fortunate family had enjoyed this revenue for about a century and a quarter, the then Duke of Richmond, a personage said to be wise in his generation, negotiated the sale of his patent with the government; and on the 19th of August 1799 the Lords of the Treasury agreed that the sum of L.499,833, 11s. 6d., the price of a perpetual annuity of L.19,000, should be paid for the surrender of the duke's right. This enormous sum was accordingly actually disbursed by the Exchequer in two payments, and the obnoxious impost on the Tyne coal-trade was abolished some thirty years afterwards—by which time the Treasury had been repaid much more than it had advanced, a circumstance inducing a belief that his Grace sold his inheritance much too cheaply. The estimate of the quantity of coals consumed in the United Kingdom, and exported during the last year, reaches the staggering amount of 50,000,000 of tons—a tremendous advance, which proves, if nothing else, that if, as some will have it, we are an 'old' country, the capacity for hard work as well as power of consumption increases marvellously with age. At anyrate the three great business localities I have partially indicated are stupendous facts, the full significance of which will be fully comprehended by all and every one who may choose to compare these slight outline sketches with the great originals.

STORY OF REMBRANDT

At a short distance from Leyden may still be seen a flour-mill with a quaint old dwelling-house attached, which bears, on a brick in a corner of the wide chimney, the date 1550. Here, in 1606, was born Paul Rembrandt. At an early age he manifested a stubborn, independent will, which his father tried in vain to subdue. He caused his son to work in the mill, intending that he should succeed him in its management; but the boy shewed so decided a distaste for the employment, that his father resolved to make him a priest, and sent him to study at Leyden. Every one knows, however, that few lads of fifteen, endowed with great muscular vigour and abundance of animal spirits, will take naturally and without compulsion to the study of Latin grammar. Rembrandt certainly did not; and his obstinacy proving an overmatch for his teachers' patience, he was sent back to the mill, when his father beat him so severely, that next morning he ran off to Leyden, without in the least knowing how he should live there. Fortunately he sought refuge in the house of an honest artist, Van Zwaanenberg, who was acquainted with his father.

'Tell me, Paul,' asked his friend, 'what do you mean to do with yourself, if you will not be either a priest or a miller? They are both honourable professions: one gives food to the soul, the other prepares it for the body.'

'Very likely,' replied the boy; 'but I don't fancy either; for in order to be a priest, one must learn Latin; and to be a miller, one must bear to be beaten. How do you earn your bread?'

'You know very well I am a painter.'

'Then I will be one too, Herr Zwaanenberg; and if you will go to-morrow and tell my father so, you will do me a great service.'

The good-natured artist willingly undertook the mission, and acquainted the old miller with his son's resolution.

'I want to know one thing,' said Master Rembrandt; 'will he be able to gain a livelihood by painting?'

'Certainly, and perhaps make a fortune.'

'Then if you will teach him, I consent.'

Thus Paul became the pupil of Van Zwaanenberg, and made rapid progress in the elementary parts of his profession. Impatient to produce some finished work, he did not give himself time to acquire purity of style, but astonished his master by his precocious skill in grouping figures, and producing marvellous effects of light and shade. The first lessons which he took in perspective having wearied him, he thought of a shorter method, and invented perspective for himself.

One of his first rude sketches happened to fall into the hands of a citizen of Leyden who understood painting. Despite of its evident defects, the germs of rare talent which it evinced struck the burgomaster; and sending for the young artist, he offered to give him a recommendation to a celebrated painter living at Amsterdam, under whom he would have far more opportunity of improvement than with his present instructor.

Rembrandt accepted the offer, and during the following year toiled incessantly. Meantime his finances were dreadfully straitened; for his father, finding that the expected profits were very tardy, refused to give money to support his son, as he said, in idleness. Paul, however, was not discouraged. Although far from possessing an amiable or estimable disposition, he held a firm and just opinion of his own powers, and resolved to make these subservient first to fortune and then to fame. Thus while some of his companions, having finished their preliminary studies, repaired to Florence, to Bologna, or to Rome, Paul, determined, as he said, not to lose his own style by becoming an imitator of even the mightiest masters, betook himself to his paternal mill. At first his return resembled that of the Prodigal Son. His father believed that he had come to resume his miller's work; and bitter was his disappointment at finding his son resolved not to renounce painting.

With a very bad grace he allowed Paul to displace the flour-sacks on an upper loft, in order to make a sort of studio, lighted by only one narrow window in the roof. There Paul painted his first finished picture. It was a portrait of the mill. There, on the canvas, was seen the old miller, lighted by a lantern which he carried in his hand, giving directions to his men, occupied in ranging sacks in the dark recesses of the granary. One ray falls on the fresh, comely countenance of his mother, who has her foot on the last step of a wooden staircase.³ Rembrandt took this painting to the Hague, and sold it for 100 florins. In order to return with more speed, he took his place in the public coach. When the passengers stopped to dine, Rembrandt, fearing to lose his treasure, remained in the carriage. The careless stable-boy who brought the horses their corn forgot to unharness them, and as soon as they had finished eating, excited probably by Rembrandt, who cared not for his fellow-passengers, the animals started off for Leyden, and quietly halted at their accustomed inn. Our painter then got out, and repaired with his money to the mill.

Great was his father's joy. At length these silly daubs, which had so often excited his angry contempt, seemed likely to be transmuted into gold, and the old man's imagination took a rapturous flight. 'Neither he nor his old horse,' he said, 'need now work any longer; they might both enjoy quiet during the remainder of their lives. Paul would paint pictures, and support the whole household in affluence.'

Such was the old man's castle in the air; his clever, selfish son soon demolished it. 'This sum of money,' he said, 'is only a lucky windfall. If you indeed wish it to become the foundation of my fortune, give me one hundred florins besides, and let me return to Amsterdam: there I must work and study hard.'

It would be difficult to describe old Rembrandt's disappointment. Slowly, reluctantly, and one by one, he drew forth the 100 florins from his strong-box. Paul took them, and with small show of gratitude, returned to Amsterdam. In a short time his fame became established as the greatest and most original of living artists. He had a host of imitators, but all failed miserably in their attempts at reproducing his marvellous effects of light and shade. Yet Rembrandt prized the gold which flowed into him far more than the glory. While mingling the colours which were to flash out on his canvas in real living light, he thought but of his dingy coffers.

When in possession of a yearly income equal to L.2000 sterling, he would not permit the agent who collected his rents to bring them in from the country to Amsterdam, lest he should be obliged to invite him to dinner. He preferred setting out on a fine day, and going himself to the agent's house. In this way he saved two dinners—the one which he got, and the one, he avoided giving. 'So that's well managed!' he used to say.

This sordid disposition often exposed him to practical jokes from his pupils; but he possessed a quiet temper, and was not easily annoyed. One day a rich citizen came in, and asked him the price of a certain picture.

'Two hundred florins,' said Rembrandt.

'Agreed,' said his visitor. 'I will pay you to-morrow, when I send for the picture.'

About an hour afterwards a letter was handed to the painter. Its contents were as follow: 'Master Rembrandt—During your absence a few days since, I saw in your studio a picture representing an old woman churning butter. I was enchanted with it; and if you will let me purchase it for 300 florins, I pray you to bring it to my house, and be my guest for the day.' The letter was signed with some fictitious name, and bore the address of a village several leagues distant from Amsterdam.

Tempted by the additional 100 florins, and caring little for breaking his engagement, Rembrandt set out early next morning with his picture. He walked for four hours without finding his obliging correspondent, and at length, worn out with fatigue, he returned home. He found the citizen in his studio, waiting for the picture. As Rembrandt, however, did not despair of finding the man of the 300 florins, and as a falsehood troubled but little his blunted conscience, he said: 'Alas! an accident has happened to the picture; the canvas was injured, and I felt so vexed that I threw it into the fire. Two hundred florins gone! However, it will be my loss, not yours, for I will paint another precisely similar, and it shall be ready for you by this time to-morrow.'

'I am sorry,' replied the amateur, 'but it was the picture you have burned which I wished to have; and as that is gone, I shall not trouble you to paint another.'

So he departed, and Rembrandt shortly afterwards received a second letter to the following effect: 'Master Rembrandt— You have broken your engagement, told a falsehood, wearied yourself to death, and lost the sale of your picture—all by listening to the dictates of avarice. Let this lesson be a warning to you in future.'

'So,' said the painter, looking round at his pupils, 'one of you must have played me this pretty trick. Well, well, I forgive it. You young varlets do not know the value of a florin as I know it.'

Sometimes the students nailed small copper coins on the floor, for the mischievous pleasure of seeing their master, who suffered much from rheumatism in the back, stoop with pain and difficulty, and try in vain to pick them up.

Rembrandt married an ignorant peasant who had served him as cook, thinking this a more economical alliance than one with a person of refined mind and habits. He and his wife usually dined on brown bread, salt herrings, and small beer. He occasionally took portraits at a high price, and in this way became acquainted with the Burgomaster Six, a man of enlarged mind and unblemished character, who yet continued faithfully attached to the avaricious painter. His friendship was sometimes put to a severe test by such occurrences as the following:—

Rembrandt remarked one day that the price of his engravings had fallen.

'You are insatiable,' said the burgomaster.

'Perhaps so. I cannot help thirsting for gold.'

'You are a miser.'

'True: and I shall be one all my life.'

''Tis really a pity,' remarked his friend, 'that you will not be able after death to act as your own treasurer, for whenever that event occurs, all your works will rise to treble their present value.'

A bright idea struck Rembrandt. He returned home, went to bed, desired his wife and his son Titus to scatter straw before the door, and give out, first, that he was dangerously ill, and then dead—while the simulated fever was to be of so dreadfully infectious a nature that none of the neighbours were to be admitted near the sick-room. These instructions were followed to the letter; and the disconsolate widow proclaimed that, in order to procure money for her husband's interment, she must sell all his works, any property that he left not being available on so short a notice.

The unworthy trick succeeded. The sale, including every trivial scrap of painting or engraving, realised an enormous sum, and Rembrandt was in ecstasy. The honest burgomaster, however, was nearly frightened into a fit of apoplexy at seeing the man whose death he had sincerely mourned standing alive and well at the door of his studio. Meinherr Six obliged him to promise that he would in future abstain from such abominable deceptions. One day he was employed in painting in a group the likenesses of the whole family of a rich citizen. He had nearly finished it, when intelligence was brought him of the death of a tame ape which he greatly loved. The creature had fallen off the roof of the house into the street. Without interrupting his work, Rembrandt burst into loud lamentations, and after some time announced that the piece was finished. The whole family advanced to look at it, and what was their horror to see introduced between the heads of the eldest son and daughter an exact likeness of the dear departed ape. With one voice they all exclaimed against this singular relative which it had pleased the painter to introduce amongst them, and insisted on his effacing it.

'What!' exclaimed Rembrandt, 'efface the finest figure in the picture? No, indeed; I prefer keeping the piece for myself.' Which he did, and carried off the painting.

Of Rembrandt's style it may be said that he painted with light, for frequently an object was indicated merely by the projection of a shadow on a wall. Often a luminous spot suggested, rather than defined, a hand or a head. Yet there is nothing vague in his paintings: the mind seizes the design immediately. His studio was a circular room, lighted by several narrow slits, so contrived that rays of sunshine entered through only one at a time, and thus produced strange effects of light and shade. The room was filled with old-world furniture, which made it resemble an antiquary's museum. There were heaped up in the most picturesque confusion curious old furniture, antique armour, gorgeously-tinted stuffs; and these Rembrandt arranged in different forms and positions, so as to vary the effects of light and colour. This he called 'making his models sit to him.' And in this close adherence to reality consisted the great secret of his art. It is strange that his favourite amongst all his pupils was the one whose style least resembled his own—Gerard Douw—he who aimed at the most excessive minuteness of delineation, who stopped key-holes lest a particle of dust should fall on his palette, who gloried in representing the effects of fresh scouring on the side of a kettle.

Rembrandt died in 1674, at the age of sixty-eight. He passed all his life at Amsterdam. Some of his biographers have told erroneously that he once visited Italy: they were deceived by the word Venetiis placed at the bottom of several of his engravings. He wrote it there with the intention of deluding his countrymen into the belief that he was absent, and about to settle in Italy—an impression which would materially raise the price of his productions. Strange and sad it is to see so much genius united with so much meanness—the head of fine gold with the feet of clay.⁴