Complete Works of Wilkie Collins (2094 page)

“January 20th, 1818. — From this day until Monday 26th, a series of miserable feelings and disappointments. Pecuniary difficulties, debilitating idleness, waging war upon me; dreading what, to my poor and finite capacity, appear insurmountable embarrassments. Notwithstanding my conviction that my troubles are real, and their number great, yet I feel that my desultory habits are adding to the list, (which is voluntarily and criminally incapacitating me for the performance of my numerous duties,) and that my prayers for power cannot be from the heart, when the talents I already possess are suffered to lie idle until their whole strength shall be exerted against me; as the sweetest water becomes, under the same circumstances, first stagnant and then poisonous. Fearing consequences, which God of his infinite mercy avert, I once more implore his assistance.”

His was not, however, a disposition to sink helplessly under such bitter and unjust self-upbraidings as these. His devotion to his Art upheld him now, under the crushing pressure of misfortune, as faithfully as it did long afterwards under the darker evils of debility and pain. From the time when he had first aided him, Sir Thomas Heathcote had never ceased to make constant inquiries, in person and by letter, after his well-being and success; and to this gentleman, after having tried in vain every effort to extricate himself, self-aided, from his difficulties, he once more addressed himself, applying, as a last resource, for the loan of a hundred pounds.

Most men in the position of Sir Thomas Heathcote would have hesitated at granting this fresh application; but, discriminating as he was generous, that gentleman had formed, from long and intimate observation of Mr. Collins, a true estimate of his character and genius. He saw that the painter’s integrity of intention and energy of purpose fitted him remarkably to urge his intellectual qualities through all obstacles to ultimate competence and success; and once more, though he had made a general rule against lending money on any consideration, he complied with my father’s request.

It may be imagined that, in mentioning these circumstances, and in publishing the letters on this subject inserted in a former part of the present work, I have dwelt somewhat too much at length upon matters generally held by the world to be of too delicate and private a nature for the public eye. But transactions such as those between Sir Thomas Heathcote and Mr. Collins, reflect too much credit upon human nature, and display too remarkable an example of graceful generosity on one side and manly integrity on the other, to be hidden at the promptings of morbid delicacy from the world. Let it be remembered by the wealthy, that for want of such timely kindness and confidence as are here exhibited, many a man of genius has lived for disappointment, or perished from neglect; and, by the suspicious or the cynical let it be equally remarked, that in this instance liberality was neither wasted nor outraged, that those pictures paid for in advance were completed first, and that the loan contracted unwillingly was gladly and scrupulously repaid.

To the Royal Academy Exhibition of 1818 my father contributed “The Departure of the Diligence from Rouen,” and a new sea-piece, called, “A Scene on the Coast of Norfolk.” At the British Institution his new productions were entitled “The Bird’s Nest,” and “A Scene on the Boulevard, Paris.” These pictures, gaining for him more exalted patronage than he had hitherto enjoyed, marked the commencement of a new era in his fortunes. From this year, his pecuniary difficulties gradually ceased; and he laid the foundation of an after competence, alike honourable to his own efforts and to the encouragement and appreciation of them by others.

The “Scene on the Coast of Norfolk,” a sea-piece full of the finest qualities of the painter’s works of this description, is to be noticed first among these pictures, both from its own intrinsic merits, and from the fortunate destiny that it achieved. At the annual dinner given by the Academy to the patrons of modern art, Sir George Beaumont, (to whom my father had been lately introduced) intimated to him that the late Earl of Liverpool had become the purchaser of his sea-piece. He had barely time to express his acknowledgments to Sir George ere they were joined by the late Lord Farnborough, (then Sir Charles Long,) who informed them that the Prince Regent had been so delighted with the picture at the private view of the day before, that he desired to possess it. Mr. Collins replied that he had just sold his work to Lord Liverpool, and that under such embarrassing circumstances, he knew not how to act. Observing that the matter might, he thought, be easily settled, Sir Charles Long introduced the painter to Lord Liverpool, who expressed his willingness to resign his purchase to his royal competitor, and gave Mr. Collins a commission to paint him another sea-piece for the next Exhibition. The picture was accordingly delivered to the prince, and is now in the Royal Collection at Windsor Castle. The honest, uncompromising study of Nature, the high finish, the softness and purity of tone, united with power and brilliancy of effect, apparent in all parts of this work, combine to make it in every way worthy of the high approval that it gained. Nothing can be more simple than the scene it depicts: the level beach, in fine perspective, running into the middle of the picture from the foreground; two boys with fish and a fisherman’s hut at the right hand; the sea at left; the sky above, charged with a mass of light, airy cloud, from behind which the sunlight is breaking in faint misty rays, are all the materials of the composition; but they are presented with such consummate truth and skill as to give to the picture that genuine appearance of originality and nature which in all works of art is the best guarantee of their value, as possessions which are always welcome to the eye, and never too familiar to the mind.

My father’s introduction to Lord Liverpool was productive of advantages to him, which he ever remembered with gratitude and delight. At Fife House and Coombe Wood he was a constant guest. On all occasions his interests were forwarded and his pleasures consulted by Lord Liverpool, with a kindness and condescension, which the more important political occupations of that upright and amiable nobleman could never suspend. At no period of his intercourse with the world was the painter’s time spent more delightfully and improvingly than in the cultivated society that he met under Lord Liverpool’s roof. There, he was first introduced to the present possessor of some of his finest pictures — Sir Robert Peel; and there, in the beautiful scenery around Walmer Castle — then a country seat belonging to his noble host he found materials for many of the most successful of his works. One of the last acts of Lord Liverpool’s life was as characteristic of his affectionate regard for Mr. Collins as any that had preceded it. During an interval of ease in the illness that produced his dissolution, he desired that the painter might be sent for to visit him, at Coombe Wood. As he was proceeding towards the drawing-room to welcome his visitor, he suddenly stopped, and, sighing heavily, exclaimed: “No, I cannot see
him
— I feel it would be too much!” Mr. Collins never beheld him again. He returned to his room, and soon afterwards died.

The painter’s second picture at the Royal Academy Exhibition — ”The departure of the Diligence from Rouen” — was well calculated to display the versatility of his genius. As the sea-piece was all repose, so this work was all action. The one was full of freshness — atmosphere — day; the other — representing the departure of the clumsy vehicle, on a dark night, surrounded by a bustling and varied crowd, and illuminated only by the wild light of a single lamp, swung over the middle of the old French street — displayed precisely opposite characteristics, in every feature of the subject which it portrayed. This picture (one of the results of my father’s tour to Paris) was purchased by Sir George Beaumont. The “Scene on the Boulevards,” (drawn from the same sources, and exhibited at the British Institution) was bought by the Duke of Newcastle, who invited the artist to Clumber, the same year, to sketch the scenery and paint the portraits of his sons. The fourth work, “The Bird’s Nest,” (also sent to the British Institution) was sold to the Countess de Grey.

The report that Mr. Collins’s “Coast Scene” had fallen under Royal protection soon circulated, and aided the effect of the merits of the work itself so powerfully, that commissions began to flow in upon him with unaccustomed prodigality. It was necessary, however, before he proceeded to execute them, that he should repair to Clumber, in compliance with the Duke of Newcastle’s invitation. Of his journey to that place, and of his studies, thoughts, and resolutions in the earlier part of the year, the following account is furnished in his Diary.

Journal of 1818.

“March 20th. — I received the Holy Sacrament at Fitzroy Chapel to-day; (Good Friday,) and in pursuance of certain hopes to amend my life, I commence this Journal for the purpose of examining how my time and talents, in this my thirtieth year, are employed. After having done all I can towards the attainment of any temporal object, should I not accomplish it, it is useless to lament the failure. I must never mistake the means for the end, must study hard, and for understanding must implore Almighty mercy. I believe that I must answer for every idle, vain, and unprofitable word that I utter; how absolutely necessary it is then, that I should use those means already in my power to attain the blessing of mental watchfulness. I know no cause so adequate to the entire frustration of the acquisition of this faculty, as indolence, which I believe to be of the will first, and then of the body; where, when it has once taken hold, it is cancerous. God of his infinite mercy grant that I may escape its fatal grasp! and become pure and holy through the merits of Jesus Christ — in the hope of whose assistance, I trust for the power to act consistently with hopes and fears drawn from an entire belief in his holy mission.

“23rd. — Went with Sir George Beaumont to visit Sir Thomas Lawrence — painted on the ‘Departure of the Diligence.’ Sir John Leicester called; and in consequence of a conversation with him, I offered the picture of the ‘Diligence’ to Sir George Beaumont; who desired to have it on Saturday last, but to whom I could not promise it then, as I conceived it to be in some measure engaged by Sir John Leicester; in which I now believe I had misapprehended him. Sir George and Lady Beaumont called, to thank me for .my note offering the picture to Sir George. Allston dined and stayed the evening with me.

“27th. — Only at work by half-past eleven, although I have but eight whole days to finish my pictures for Somerset-house; but, in addition to this loss of time, I begin to suspect that by doing disagreeable things to please others, we may come to doing bad things to please ourselves. Certainly there was nothing that used to be more disagreeable to me than inhaling the smoke of tobacco, and yet I now find myself inclined to take a cigar, as much for the purpose of gratifying my own indolence, I suppose, as from a companionable feeling. This habit of smoking begets an inclination, and in fact a necessity, to allay the heat and dryness of the throat; and, as one smokes in the evening, liquor is always at hand; in addition to which, although I have given up snuff, yet the use of cigars and spirituous drinks would of course beget an inclination for their former companion: seeing all this, I hope I shall be resolute enough to resist the slavery of attachment to what it is best that I should hate. * * * April 7th. — Finished the ‘Departure of the Diligence,’ and the ‘Scene on the Coast of Norfolk,’ and took them to the Royal Academy at five o’clock. * * * May 1st. — Overlooking and planning new subjects till two o’clock: at the private view of the Exhibition afterwards — the Prince Regent there. Dined at Wilkie’s. 2nd. — At the dinner at the Royal Academy, where Lord Liverpool purchased my picture of a ‘ Scene on the Coast of Norfolk,’ at a hundred and fifty guineas. A few minutes afterwards, Sir Charles Long told me that the Prince Regent desired to have the picture: Lord Liverpool afterwards expressed his willingness to give up his purchase to the Prince. 5th. — With Jackson, who called to say that the price settled by Sir George Beaumont, Mr. West, and himself, for the ‘ Departure of the Diligence,’ was two hundred guineas. 6th. — Drowsy all day, from having taken spirits and water, to prevent catching cold after getting wet: the chance of a cold better than the remedy for it. 8th. — Called upon the Duke of Newcastle, who engaged me to paint a view of his country seat, Clumber Park, Notts; for which purpose I agreed to visit that place, soon after three weeks from this day. Afterwards saw Sir George Beaumont, in St. James’s-street, who declared himself satisfied with the price Mr. West had put upon my picture of the ‘Departure of the Diligence.’ * * * 4th June. — Mr. Danby bought, for forty-five guineas, ‘The Young Cottager’s First Purchase.’ Walked — and at Allston’s late. 5th. — Mr. Danby called; and the result of our conversation is so highly pleasing to my mind, that I am most happy in having made his acquaintance. * * * June 11th. — Arose at about five o’clock: left the Saracen’s Head, for Clumber, the seat of the Duke of Newcastle, at about a quarter before seven. Dreadfully hot day; six inside; three of whom, vulgar, common women, were certainly the most troublesome passengers I ever met with. One of them was particularly deaf; asking questions, and never remembering, even when she heard them, the answers she received. Unfortunately, this old lady had a very bad cold; or, what is every whit as disagreeable, had a trick of expectorating from the window. I thought I never beheld a more annoying physiognomy than Nature and her mind had conspired to furnish her with. It so happened that a very well-bred Irish gentleman, about fifty, one who had been a great traveller, and had evidently been in good society — really a sharp, witty, and gentlemanlike person — sat opposite this dame; and it is entirely beyond my powers of description to give an idea of his half-suppressed curses upon each of her gettings up to the window. Although I derived considerable information from this gentleman, my four-and-twenty hours’ ride, with the disagreeable dozings I had by way of sleep, had so completely — with the foregoing accompaniments — exhausted my nerves, that I never recollect to have experienced a more grateful sensation than my arrival, rather before six o’clock, at Tuxford, occasioned me. At this place I went to bed for a couple of hours, by which I was so much refreshed as to be enabled to proceed to Clumber; for which place I left Tuxford at about eleven, and arrived there before two. The remainder of the day, (Friday the 12th) was devoted to exploring the beauties of this delightful seat. Saturday 13th. — During this day I made sketches in water-colours, and further explored the grounds, accompanied by the Duke. Sunday 14th. — Heard service in the Duke’s chapel, where Mr. Mann preached a very excellent practical sermon. His Grace, the Duchess and family, with a numerous retinue of servants and persons in the Duke’s employ, were the auditory. The remainder of the day spent in the park. * * * Monday 15th. — Began, in oil, a sketch of the house looking towards the bridge. Tuesday 16th. — Worked on the above sketch: stormy evening — lightning. * * * Saturday 20th. — Began a portrait of Lord Lincoln. In the evening began a south-west view of Clumber Park. * * * Monday 30th. — Painted a north-west view of Clumber, and finished Lord Lincoln’s portrait. * * * July 9th. — Made studies for portraits of Lords Charles and Thomas Pelham Clinton. Very fine day; evening cloudy and without a breath of wind — a warm, calm scene. 10th. — Began the portraits of Lord Thomas Pelham Clinton, and Lord Charles. From Friday 17th to Tuesday 28th employed upon the portraits of the twins, and a sketch in oil at the old engine-house; and on that day (28th) left Clumber for Nottingham.”