Part 32

BY JOHN G. WHITTIER.

I mourn no more my vanished years: Beneath a tender rain,-- An April rain of smiles and tears,-- My heart is young again.

The west winds blow, and, singing low, I hear the glad streams run; The windows of my soul I throw Wide open to the sun.

No longer forward nor behind I look in hope or fear; But, grateful, take the good I find, The best of now and here.

I plough no more a desert land, To harvest weed and tare; The manna dropping from God’s hand Rebukes my painful care.

I break my pilgrim staff, I lay Aside the toiling oar; The angel sought so far away, I welcome at my door.

The airs of Spring may never play Among the ripening corn, Nor freshness of the flowers of May Blow through the Autumn morn;--

Yet shall the blue-eyed Gentian look Through fringèd lids to Heaven, And the pale Aster in the brook Shall see its image given;--

The woods shall wear their robes of praise, The south-wind softly sigh; And sweet, calm days, in golden haze, Melt down the amber sky.

Not less shall manly deed and word Rebuke an age of wrong; The graven flowers that wreathe the sword Make not the blade less strong.

But smiting hands shall learn to heal, To build, as to destroy; Nor less my heart for others feel, That I the more enjoy.

All as God wills, who wisely heeds To give or to withhold, And knoweth more of all my needs Than all my prayers have told.

Enough that blessings undeserved Have marked my erring track,-- That, wheresoe’er my feet have swerved, His chastening turned me back,--

That more and more a Providence Of love is understood, Making the springs of time and sense Sweet with eternal good,--

That death seems but a covered way Which opens into light, Wherein no blinded child can stray Beyond the Father’s sight,--

That care and trial seem at last, Through Memory’s sunset air, Like mountain-ranges, overpast, In purple distance fair,--

That all the jarring notes of life Seem blending in a psalm, And all the angles of its strife Slow rounding into calm.

And so the shadows fall apart, And so the west winds play; And all the windows of my heart I open to the day.

* * * * *

Over the winter glaciers, I see the summer glow, And, through the wild piled snow-drift, The warm rosebuds below.

R. W. EMERSON.

JOHN HENRY VON DANNECKER.

DERIVED FROM MRS. JAMESON’S SKETCHES, LONGFELLOW’S HYPERION, AND FROM VARIOUS EUROPEAN LETTERS.

This celebrated German sculptor was born in 1758, at Stuttgard. His father, who was one of the grooms of the Duke of Würtemberg, was a stupid, harsh man. He thought it sufficient for his son to know how to work in the stable; and how the gifted boy contrived to pick up the rudiments of reading and writing, he could not remember in after life. He had an extraordinary passion for drawing, and being too poor to buy paper and pencils, he used to scrawl figures with charcoal on the slabs of a neighboring stone-cutter. When his father discovered this, he beat him for his idleness; but his mother interfered to protect him. After he arrived at manhood, he was accustomed to speak of her with the utmost tenderness and reverence; saying that her promptings were the first softening and elevating influences he ever knew. His bright countenance and alert ways sometimes attracted the notice of the Duke, who saw him running about the precincts of the palace, ragged and barefoot; but he was far enough from foreseeing the wonderful genius that would be developed in this child of one of his meanest servants.

When John Henry was about thirteen years old, the Duke established a military school, into which poor boys, who manifested sufficient intelligence, might be admitted. As soon as he heard of this opportunity, he eagerly announced the intention of presenting himself as a candidate. His surly father became very angry at this, and told him he should stay at home and work. When the lad persisted in saying he wanted to get a chance to learn something, he beat him and locked him up. The persevering boy jumped out of the window, collected several of his comrades together, and proposed to them to go to the Duke and ask to be admitted into his school. The whole court happened to be assembled at the palace when the little troop marched up. Being asked by one of the attendants what they wanted, Dannecker replied, “Tell his Highness the Duke that we want to be admitted to the Charles School.” The Duke, who was amused by this specimen of juvenile earnestness, went out to inspect the boys. He led aside one after another, till only Dannecker and two others remained. He used to say afterward that he supposed himself rejected, and suffered such an agony of shame, that he was on the point of running away and hiding himself, when he discovered that those who had been led aside were the rejected ones. The Duke ordered the successful candidates to go next morning to the school, and dismissed them. The father did not dare to resist such high authority, but he was so enraged with his son, that he turned him out of the house and forbade him ever to enter it again. But his good mother packed up a little bundle of necessaries for him, accompanied him some distance on the road, and parted with him with tears and blessings.

He did not find himself well situated in this school. The teachers were accustomed to employ the poorer boys as servants, and he was kept so constantly at work, that what little he learned was mostly accomplished by stealth. But he met with one piece of great good fortune. Schiller, who afterward became world-renowned as a writer, was at this school. The two boys recognized kindred genius in each other, and formed a friendship which lasted through life. When he was fifteen years old, his remarkable talent for drawing caused him to be removed to the School of Art in Stuttgard, where he received instruction from Grubel, the sculptor. The next year, he obtained the highest prize for a statue of Milo, modelled in clay. The Duke, who had forgotten the bright, ragged boy that formerly attracted his attention, was astonished to hear he had carried off the highest honors of the School of Art. He employed him to carve cornices and ornaments for two new palaces he was building. Ten years were thus spent, during which he acquired a great deal of mere mechanical skill and dexterity. But he longed to improve himself by the sight of noble models; and at last he obtained leave to travel. The allowance granted him by his ducal patron was only one hundred and twenty dollars a year. With this he set off for Paris, where he studied in the galleries of the Louvre, often going the whole day without food, and in a dress too shabby to be considered respectable. Those who saw him thus perseveringly employed, passed by without recognizing the divine soul that dwelt within the forlorn exterior. He afterward went to Rome, where for some months, he wandered about among monuments and ruins, friendless and homesick. But luckily his illustrious countrymen, Herder and Goethe were there. He was introduced to them, and their conversation imbued him with higher ideas of Art than he had ever before received. The celebrated Italian sculptor, Canova, also became acquainted with him, and often visited him in his studio. There was but a year’s difference in their ages, and their friendship became intimate. He remained five years in Rome, and distinguished himself by the production of several fine statues. He then returned to his native country, where he married. At fifty years of age he was considered the greatest sculptor in Germany. The Grand Duke ennobled him, as the phrase is; though it seems absurd enough that wearing a ribbon in his button-hole, and being allowed to put von before the name his genius had rendered illustrious, could add any nobility to a man like Dannecker.

His two most celebrated works are Ariadne riding on a panther, and his statue of Christ. The circumstances under which the latter was produced are very peculiar. Dannecker was a devout Lutheran, and he often meditated upon a statue of the Mediator between God and man as the highest problem of Art. He sought to embody it, but felt that something was wanting. A child, who was accustomed to run about his studio, came in while he was at his work. “Who do you think that is?” said the artist, pointing to his model. The child looked, and replied: “I don’t know; I guess it is some great king.” Ah, thought Dannecker, I have made the expression of power to predominate over love. The search after a perfect ideal of the Divine and human combined took complete possession of his mind. Filled with such thoughts, he fell asleep and dreamed of a face and form transcending anything he had conceived. He hastened to model it in clay, while the vision was still fresh in his mind. When it was shown to the child, he at once exclaimed, “That is the Redeemer. Mother reads to me about him, where he says, ‘Suffer little children to come unto me.’” This confirmed Dannecker in the belief that he had been directly inspired from above. Others regarded it as a dream produced by the intense activity of his thoughts concentrated upon one subject; but he always viewed it as an immediate revelation. He was fifty-eight years old when this sublime vision was presented to him in his sleep, and for eight years he devoted to it all the energies of mind and heart. He studied the Scriptures intently, and prayed for Divine assistance. His enthusiasm was a compound of Religion and Art. Under this combined influence, he said he felt as if he were pursued by some irresistible power, which visited him in his sleep, and often compelled him to rise in the night and embody the ideas which had been presented to him. When he was sixty-six years old, the glorious statue was completed. It is clothed in a simple robe reaching to the feet. The hair is parted on the forehead, and falls in ringlets over the shoulders. The head is purely moral and intellectual in its outline. One hand is pressed upon the bosom, the other extended, and the lips are partially unclosed, as if in the act of speaking. The expression is said to be a remarkable combination of majesty and tenderness, exciting involuntary reverence in all who look upon it.

Mrs. Jameson visited Dannecker in 1830. The statue was still standing in his studio. She says: “He told me that the figure had visited him in a dream three several times, and that he firmly believed he had been predestined to the work, and divinely inspired. I shall not easily forget the countenance of the good and gifted old man, as he leaned on the pedestal, with his cap in his hand, and his long gray hair waving round his face, looking up at his work with a mixture of reverence and exultation.”