DROWNE'S WOODEN IMAGE
ONE sunshiny morning, in the good old times of the town of Boston, a young carver in wood, well known by the name of Drowne, stood con- templating a large oaken log, which it was his purpose to convert into the figure-head of a vessel. And while he discussed within his own mind what sort of shape or similitude it were well to bestow upon this excellent piece of timber, there came into Drowne's workshop a certain Captain Hunnewell, owner and commander of the good brig called the Cynosure, which had just returned from her first voyage to Fayal.
``Ah! that will do, Drowne, that will do!'' cried the jolly captain, tapping the log with his rattan. ``I bespeak this very piece of oak for the figure-head of the Cynosure. She has shown herself the sweetest craft that ever floated, and I mean to decorate her prow with the handsomest image that the skill of man can cut out of timber. And, Drowne, you are the fellow to execute it.''
``You give me more credit than I deserve, Captain Hunnewell,'' said the carver, modestly, yet as one conscious of eminence in his art. ``But, for the sake of the good brig, I stand ready to do my best. And which of these designs do you prefer? Here,''--pointing to a staring, half-length figure, in a white wig and scarlet coat,--``here is an excellent model, the likeness of our gracious king. Here is the valiant Admiral Vernon. Or, if you prefer a female figure, what say you to Britannia with the trident?''
``All very fine, Drowne; all very fine,'' answered the mariner. ``But as nothing like the brig ever swam the ocean, so I am determined she shall have such a figure-head as old Neptune never saw in his life. And what is more, as there is a secret in the matter, you must pledge your credit not to betray it.''
``Certainly,'' said Drowne, marvelling, however, what possible mystery there could be in reference to an affair so open, of necessity, to the inspection of all the world as the figure-head of a vessel. ``You may depend, captain, on my being as secret as the nature of the case will permit.''
Captain Hunnewell then took Drowne by the button, and communicated his wishes in so low a tone that it would be unmannerly to repeat what was evidently intended for the carver's private ear. We shall, therefore, take the opportunity to give the reader a few desirable particulars about Drowne himself.
He was the first American who is known to have attempted--in a very humble line, it is true--that art in which we can now reckon so many names already distinguished, or rising to distinction. From his earliest boyhood he had exhibited a knack--for it would be too proud a word to call it genius--a knack, therefore, for the imitation of the human figure in whatever material came most readily to hand. The snows of a New England winter had often supplied him with a species of marble as dazzingly white, at least, as the Parian or the Carrara, and if less durable, yet sufficiently so to correspond with any claims to permanent existence possessed by the boy's frozen statues. Yet they won admiration from maturer judges than his school-fellows, and were indeed, remarkably clever, though destitute of the native warmth that might have made the snow melt beneath his hand. As he advanced in life, the young man adopted pine and oak as eligible materials for the display of his skill, which now began to bring him a return of solid silver as well as the empty praise that had been an apt reward enough for his productions of evanescent snow. He became noted for carving ornamental pump heads, and wooden urns for gate posts, and decorations, more grotesque than fanciful, for mantelpieces. No apothecary would have deemed himself in the way of obtaining custom without setting up a gilded mortar, if not a head of Galen or Hippocrates, from the skilful hand of Drowne.
But the great scope of his business lay in the manufacture of figure-heads for vessels. Whether it were the monarch himself, or some famous British admiral or general, or the governor of the province, or perchance the favorite daughter of the ship-owner, there the image stood above the prow, decked out in gorgeous colors, magnificently gilded, and staring the whole world out of countenance, as if from an innate consciousness of its own superiority. These specimens of native sculpture had crossed the sea in all directions, and been not ignobly noticed among the crowded shipping of the Thames and wherever else the hardy mariners of New England had pushed their adventures. It must be confessed that a family likeness pervaded these respectable progeny of Drowne's skill; that the benign countenance of the king resembled those of his subjects, and that Miss Peggy Hobart, the merchant's daughter, bore a remarkable similitude to Britannia, Victory, and other ladies of the allegoric sisterhood; and, finally, that they all had a kind of wooden aspect which proved an intimate relationship with the unshaped blocks of timber in the carver's workshop. But at least there was no inconsiderable skill of hand, nor a deficiency of any attribute to render them really works of art, except that deep quality, be it of soul or intellect, which bestows life upon the lifeless and warmth upon the cold, and which, had it been present, would have made Drowne's wooden image instinct with spirit.
The captain of the Cynosure had now finished his instructions.
``And Drowne,'' said he, impressively, ``you must lay aside all other business and set about this forthwith. And as to the price, only do the job in first-rate style, and you shall settle that point yourself.''
``Very well, captain,'' answered the carver, who looked grave and somewhat perplexed, yet had a sort of smile upon his visage; ``depend upon it, I'll do my utmost to satisfy you.''
From that moment the men of taste about Long Wharf and the Town Dock who were wont to show their love for the arts by frequent visits to Drowne's workshop, and admiration of his wooden images, began to be sensible of a mystery in the carver's conduct. Often he was absent in the daytime. Sometimes, as might be judged by gleams of light from the shop windows, he was at work until a late hour of the evening; although neither knock nor voice, on such occasions, could gain admittance for a visitor, or elicit any word of response. Nothing remarkable, however, was observed in the shop at those late hours when it was thrown open. A fine piece of timber, indeed, which Drowne was known to have reserved for some work of especial dignity, was seen to be gradually assuming shape. What shape it was destined ultimately to take was a problem to his friends and a point on which the carver himself preserved a rigid silence. But day after day, though Drowne was seldom noticed in the act of working upon it, this rude form began to be developed until it became evident to all observers that a female figure was growing into mimic life. At each new visit they beheld a larger pile of wooden chips and a nearer approximation to something beautiful. It seemed as if the hama-dryad of the oak had sheltered herself from the unimaginative world within the heart of her native tree, and that it was only necessary to remove the strange shapelessness that had incrusted her, and reveal the grace and loveliness of a divinity. Imperfect as the design, the attitude, the costume, and especially the face of the image still remained, there was already an effect that drew the eye from the wooden cleverness of Drowne's earlier productions and fixed it upon the tantalizing mystery of this new project.
Copley, the celebrated painter, then a young man and a resident of Boston, came one day to visit Drowne; for he had recognized so much of moderate ability in the carver as to induce him, in the dearth of professional sympathy, to cultivate his acquaintance. On entering the shop, the artist glanced at the inflexible image of king, commander, dame, and allegory, that stood around, on the best of which might have been bestowed the questionable praise that it looked as if a living man had here been changed to wood, and that not only the physical, but the intellectual and spiritual part, partook of the stolid transformation. But in not a single instance did it seem as if the wood were imbibing the ethereal essence of humanity. What a wide distinction is here! and how far the slightest portion of the latter merit have outvalued the utmost degree of the for
mer!
``My friend Drowne;'' said Copley, smiling to himself, but alluding to the mechanical and wooden cleverness that so invariably distinguished the images, ``you are really a remarkable person! I have seldom met with a man in your line of business that could do so much; for one other touch might make this figure of General Wolfe, for instance, a breathing and intelligent human creature.''
``You would have me think that you are praising me highly, Mr. Copley,'' answered Drowne, turning his back upon Wolfe's image in apparent disgust. ``But there has come a light into my mind. I know what you know as well, that the one touch which you speak of as deficient is the only one that would be truly valuable, and that without it these works of mine are no better than worthless abortions. There is the same difference between them and the works of an inspired artist as between a sign-post daub and one of your best pictures.''
``This is strange,'' cried Copley, looking him in the face, which now, as the painter fancied, had a singular depth of intelligence, though hitherto it had not given him greatly the advantage over his own family of wooden images. ``What has come over you? How is it that, possessing the idea which you have now uttered, you should produce only such works as these?''
The carver smiled, but made no reply. Copley turned again to the images, conceiving that the sense of deficiency which Drowne had just expressed, and which is so rare in a merely mechanical character, must surely imply a genius, the tokens of which had heretofore been overlooked. But no; there was not a trace of it. He was about to withdraw when his eyes chanced to fall upon a half-developed figure which lay in a corner of the workshop, surrounded by scattered chips of oak. It arrested him at once.
``What is here? Who has done this?'' he broke out, after contemplating it in speechless astonishment for an instant. ``Here is the divine, the life-giving touch. What inspired hand is beckoning this wood to arise and live? Whose work is this?''
``No man's work,'' replied Drowne. ``The figure lies within that block of oak, and it is my business to find it.''
``Drowne,'' said the true artist, grasping the carver fervently by the hand, ``you are a man of genius!''
As Copley departed, happening to glance backward from the threshold, he beheld Drowne bending over the half-created shape, and stretching forth his arms as if he would have embraced and drawn it to his heart; while, had such a miracle been possible, his countenance expressed passion enough to communicate warmth and sensibility to the lifeless oak.
``Strange enough!'' said the artist to himself. ``Who would have looked for a modern Pygmalion in the person of a Yankee mechanic!''
As yet, the image was but vague in its outward presentment; so that, as in the cloud shapes around the western sun, the observer rather felt, or was led to imagine, than really saw what was intended by it. Day by day, however, the work assumed greater precision, and settled its irregular and misty outline into distincter grace and beauty. The general design was now obvious to the common eye. It was a female figure, in what appeared to be a foreign dress; the gown being laced over the bosom, and opening in front so as to disclose a skirt or petticoat, the folds and inequalities of which were admirably represented in the oaken substance. She wore a hat of singular gracefulness, and abundantly laden with flowers, such as never grew in the rude soil of New England, but which, with all their fanciful luxuriance, had a natural truth that it seemed impossible for the most fertile imagination to have attained without copying from real prototypes. There were several little appendages to this dress, such as a fan, a pair of earrings, a chain about the neck, a watch in the bosom, and a ring upon the finger, all of which would have been deemed beneath the dignity of sculpture. They were put on, however, with as much taste as a lovely woman might have shown in her attire, and could therefore have shocked none but a judgment spoiled by artistic rules.
The face was still imperfect; but gradually, by a magic touch, intelligence and sensibility brightened through the features, with all the effect of light gleaming forth from within the solid oak. The face became alive. It was a beautiful, though not precisely regular and somewhat haughty aspect, but with a certain piquancy about the eyes and mouth, which, of all expressions, would have seemed the most impossible to throw over a wooden countenance. And now, so far as carving went, this wonderful production was complete.
``Drowne,'' said Copley, who had hardly missed a single day in his visits to the carver's workshop, ``if this work were in marble it would make you famous at once; nay, I would almost affirm that it would make an era in the art. It is as ideal as an antique statue, and yet as real as any lovely woman whom one meets at a fireside or in the street. But I trust you do not mean to desecrate this exquisite creature with paint, like those staring kings and admirals yonder?''
``Not paint her!'' exclaimed Captain Hunnewell, who stood by; ``not paint the figure-head of the Cynosure! And what sort of a figure should I cut in a foreign port with such an unpainted oaken stick as this over my prow! She must, and she shall, be painted to the life, from the topmost flower in her hat down to the silver spangles on her slippers.''
``Mr. Copley,'' said Drowne, quietly, ``I know nothing of marble statuary, and nothing of the sculptor's rules of art; but of this wooden image, this work of my hands, this creature of my heart,''--and here his voice faltered and choked in a very singular manner,--``of this--of her --I may say that I know something. A well-spring of inward wisdom gushed within me as I wrought upon the oak with my whole strength, and soul, and faith. Let others do what they may with marble, and adopt what rules they choose. If I can produce my desired effect by painted wood, those rules are not for me, and I have a right to disregard them.''
``The very spirit of genius,'' muttered Copley to himself. ``How otherwise should this carver feel himself entitled to transcend all rules, and make me ashamed of quoting them?''
He looked earnestly at Drowne, and again saw that expression of human love which, in a spiritual sense, as the artist could not help imagining, was the secret of the life that had been breathed into this block of wood.
The carver, still in the same secrecy that marked all his operations upon this mysterious image, proceeded to paint the habiliments in their proper colors, and the countenance with Nature's red and white. When all was finished he threw open his workshop, and admitted the towns people to behold what he had done. Most persons, at their first entrance, felt impelled to remove their hats, and pay such reverence as was due to the richly-dressed and beautiful young lady who seemed to stand in a corner of the room, with oaken chips and shavings scattered at her feet. Then came a sensation of fear; as if, not being actually human, yet so like humanity, she must therefore be something preternatural. There was, in truth, an indefinable air and expression that might reasonably induce the query, Who and from what sphere this daughter of the oak should be? The strange, rich flowers of Eden on her head; the complexion, so much deeper and more brilliant than those of our native beauties; the foreign, as it seemed, and fantastic garb, yet not too fantastic to be worn decorously in the street; the delicately-wrought embroidery of the skirt; the broad gold chain about her neck; the curious ring upon her finger; the fan, so exquisitely sculptured in open work, and painted to resemble pearl and ebony;--where could Drowne, in his sober walk of life, have beheld the vision here so matchlessly embodied! And then her face! In the dark eyes, and around the voluptuous mouth, there played a look made up of pride, coquetry, and a gleam of mirthfulness, which impressed Copley with the idea that the image was secretly enjoying the perplexing admiration of himself and other beholders.
``And will you,'' said he to the carver, ``permit this masterpiece to become the figure-head of a vessel? Give the honest captain yonder figure of Britannia--it will answer his purpose far better--and send this fairy queen to England, where, for aught I know, it may bring you a thousand pounds.''
``I have not wrought it for money,'' said Drowne.
``What sort of a fellow is this!'' thought Copley. ``A Yankee, and throw away the chance of making
his fortune! He has gone mad; and thence has come this gleam of genius.''
There was still further proof of Drowne's lunacy, if credit were due to the rumor that he had been seen kneeling at the feet of the oaken lady, and gazing with a lover's passionate ardor into the face that his own hands had created. The bigots of the day hinted that it would be no matter of surprise if an evil spirit were allowed to enter this beautiful form, and seduce the carver to destruction.
The fame of the image spread far and wide. The inhabitants visited it so universally, that after a few days of exhibition there was hardly an old man or a child who had not become minutely familiar with its aspect. Even had the story of Drowne's wooden image ended here, its celebrity might have been prolonged for many years by the reminiscences of those who looked upon it in their childhood, and saw nothing else so beautiful in after life. But the town was now astounded by an event, the narrative of which has formed itself into one of the most singular legends that are yet to be met with in the traditionary chimney corners of the New England metropolis, where old men and women sit dreaming of the past, and wag their heads at the dreamers of the present and the future.
One fine morning, just before the departure of the Cynosure on her second voyage to Fayal, the commander of that gallant vessel was seen to issue from his residence in Hanover Street. He was stylishly dressed in a blue broadcloth coat, with gold lace at the seams and button-holes, an embroidered scarlet waistcoat, a triangular hat, with a loop and broad binding of gold, and wore a silver-hilted hanger at his side. But the good captain might have been arrayed in the robes of a prince or the rags of a beggar, without in either case attracting notice, while obscured by such a companion as now leaned on his arm. The people in the street started, rubbed their eyes, and either leaped aside from their path, or stood as if transfixed to wood or marble in astonishment.
``Do you see it?--do you see it?'' cried one, with tremulous eagerness. ``It is the very same!''
Drowne's Wooden Image Page 1