Biographies of Working Men

al outgrowth of his own special handicraft or calling. If he attains, not only to riches, but to distinction as well, it is in

tt, the inventor of the very steel pen with which this book is written; from Arkwright the barber who fashioned the first spinning-machine, to Crompton the weaver, whose mule gave rise to the mighty Manchester cotton trade; from Newcomen, who made the first rough attempt at a steam-engine, to Stephenson, who sent the iron horse from end to end of the land,-the chief mechanical improveme

t be frankly confessed the advantage is not always on the side of the Englishman. The Welsh peasants, living among their own romantic hills and valleys, speaking their own soft and exquisite language, treasuring their own plaintive and melodious poetry, have grown up with an intense love for beauty and the beautiful closely intwined into the very warp and woof of their inmost natures. They have almost always a natural refinement of manner and delicacy of speech which is unfortunately too often wanting amongst our rougher English labouring classes, especially in large towns. They are intensely musical, producing a very large pr

In 1790, his wife gave birth to a son whom they christened John, and who grew up, a workman's child, under the shadow of the great castle, and among the exquisite scenery of the placid land-locked Conway river. John Gibson's parents, like the mass of labouring Welsh people, were honest, God-fearing folk, with a great earnestness of principle, a profound love of truth, and a ha

like the geese;" and Jack, encouraged by her praise, decided immediately to try again. But not being an ordinary child, he determined this time to do better; he drew the geese one behind the other as one generally sees them in actual nature. His mother then asked him to draw a horse; and "after gazing long and often upon one," he says, "I at last ventured to commit him to the slate." When he had done so, the good mother was even more delighted. So, to try his childish art, she asked him to put a rider on the horse's back.

sh. Liverpool was a very different place for young Jack Gibson from Conway: there were no hills and valleys there, to be sure, but there were shops-such shops! all full of the most beautiful and highly coloured prints and caricatures, after the fashion of the days when George IV. was still Prince Regent. All his spare time he now gave up to diligently copying the drawings which he saw spread out in tempting array before him in the shop-windows. Flattening his little nose against the glass panes, he used to look long and patiently at a single figure, till he had got every detail of its execution fixed firmly on his mind's eye; and then he would go home hastily and ske

self-complacency, "I do paint." The stationer, who had himself studied at the Royal Academy, asked him to bring his pictures on view; and when Jack did so, his new friend, Mr. Tourmeau, was so much pleased with them that he lent the boy drawings to copy, and showed him how to draw for him

ccupation, and pursued it so eagerly that he carved even during his leisure hours from plaster casts. But after another year, as ill-luck or good fortune would have it, he happened to come across a London marble-cutter, who had come down to Liverpool to carve flowers in marble for a local firm. The boy was enchanted with his freer and more artistic work; when the marble-cutter took him over a big yard, and showed him the process of modelling and cutting, he began to feel a deep contempt for his own stiff and lifeless occupation of woodcarving. Inspired with the de

ly the cabinet-makers found Gibson too useful a person to be got rid of so easily: they said he was the most industrious lad they had ever had; and so his very virtues seemed as it were to turn against him. Not so, really: Mr. Francis thought so well

hole life he was always deeply interested in painting and sculpture and everything that related to them. He was a philanthropist, too, who had borne his part bravely in the great struggle for the abolition of the slave trade; and to befriend a struggling lad of genius like John Gibson was the very thing that was nearest and dearest to his benevolent heart. Mr. Francis showed Roscoe the boy's drawings and models; and Roscoe's appreciative eye saw in them at once the visible promise of great things to be. He had come to order a chimney-piece for his library at Allerton, where his important historical works were all composed; and he

he hoped to paint some day; and he carried it out as well as he was able in his own self-taught fashion. For as yet, it must be remembered, Gibson had had no regular artistic instruction: there was none such, indeed, to be had at all in Liverpool in his day; and there was no real art going on in the town in any way. Mr. Francis, his master, was no artist; nor was there anybody at the works who

Michael Angelo had been a great anatomist, and Michael was just at that moment the budding sculptor's idol and ideal. But how could he learn? A certain Dr. Vose was then giving lectures on anatomy to young surgeons at Liverpool, and on Roscoe's

ly hope to earn the immense sum that such an expedition would necessarily cost him. So for six years more he went on working at Liverpool in his own native untaught fashion, doing his best to perfect himself, but feeling sadly the lack of training and competition. One of the last works he executed while still in Mr. Francis's ser

important leaders in the world of art-Flaxman the great sculptor, Benjamin West, the Quaker painter and President of the Royal Academy, and others of like magnitude. Mr. Watson Taylor, a wealthy art patron, gave Gibson employment, and was anxious that he should stop in London. But Gibson wanted mor

rd of Italian, or of any other language on earth save Welsh and English. In those days, Canova, the great Venetian sculptor, was the head of artistic society in Rome; and as ALL society in Rome is more or less artistic, he might almost be said to have led the whole life of the great and lively city. Indeed, the position of such a man in Italy resembles far more that of a duke in England than of an artist as we here are accustomed to think of him. Gibson had letters of introduction to this prince

ook Gibson into a room by himself, and began to speak with him in his very broken English. Many artists came to Rome, he said, with very small means, and that perhaps might be Gibson's case. "Let

ld be eternally grateful. Canova was one of the most noble and lovable of men. He acceded at once to Gibson's request, and Gibson never forgot his kind and fatherly assistance. "Dear generous master," the Welsh sculptor wrote many years

ssibly hold together without an iron framework. Canova saw his error and smiled, but let him go on so that he might learn his business by experience. In a day or two the whole thing, of course, collapsed by its own weight; and then Canova called in a blacksmith and showed the eager beginner how the mechanical skeleton was formed with iron bars, and interlacing crosses of wood and wire. This was quite a new idea to Gibson, who had modelled hitherto only in his own self-taught fashion with moist clay, letting it support its own weight as best it might. Another pupil then fleshed out the iron skeleton with cla

e done so, for the man who thus distrusts his own work is always the truest workman; it is only fools or poor creatures who are pleased and self-satisfied with their own first bungling efforts. But the great enjoyment of Rome to Gibson consisted in the free artistic society which he found there. At Liverpool, he had felt almost isolated; there was hardly anybody with whom he could talk on an equality about his artistic interests; nobody but himself cared about the things that pleased and engrossed his earnest soul the most. But at Rome, there was a great society of artists; every man's studio was open to his friends and fellow-workers; and a lively running fire of criticism went o

hich he worked patiently and lovingly for many months. When it was nearly finished, one day a knock came at the studio door. After the knock, a handsome young man entered, and announced himself brusquely as the Duke of Devonshire. "Canova sent me," he said, "to see what you were doing." Gibson wasn't much accustomed to dukes in those days-he grew more familiar with them later on-and we may be sure the poor young artist's heart beat a little more fiercely than usual when the stranger asked him the price of his Mars and Cupid in marble. The sculptor had never yet sold a statue, and didn't know how much he ought to ask; but after a few minutes' consideration he said, "Five hundred pounds. But, perhaps," he added timidly, "I have said too much." "Oh no," t

f a distinguished amateur artist, and a great patron of art, came to Rome; and Canova sent him to see the young Welshman's new composition. Sir George asked the price, and Gibson, this time more cautious, asked for time to prepare an estimate, and finally named 700 pounds. To his joy, Sir George immediately ordered it, and al

end, left him, as it were, that great master's successor. Towards him and Thorwaldsen, indeed, Gibson always cherished a most filial regard. "May I not be proud," he writes long after, "to have known such men, to have conversed with them, watched all their proceedings, heard all their great sentiments on art? Is it not a pleasure to be so deeply in their debt for instruction?" And now the flood of visitors who used to flock to Canova's studio began to transfer their interest to Gibson's. Commission after commission was offered him, and he began to make money faster than he could use it. His life had always been simple and frugal-the life of a working man with high aims and grand ideals: he hardly knew now how to alter it. People who did not understand Gibson used to say in his later days that he loved money, because he made much and spent little

andly, "If you were to take away the Psyche and put a dial in the place, it'd make a capital design for a clock." Much later, the first Duke of Wellington called upon him at Rome and ordered a statue of Pandora, in an attitude which he described. Gibson at once saw that the Duke's idea was a bad one, and told him so. By-and-by, on a visit to England, Gibson waited on the duke, and submitted photographs of the work he had modelled. "But, Mr. Gibson," said the ol

He would not do as many sculptors do, keep several copies in marble of his more popular statues for sale; he preferred to devote all his time to new works. "Gibson was always absorbed in one subject," says Lady Eastlake, "and that was the particular work or part of a work-were it but the turn of a corner of drapery-which was then under his modelling hands. Time was

entricity, never did anything for his own livelihood, but lived always upon John Gibson's generous bounty. In John's wealthy days, he and Mr. Ben used to escape every summer from the heat and dust of Rome-which is unendurable in July and August-to the delightfully cool air and magnificent mountain scenery of the Tyrol. "I cannot tell you how well I am," he writes on one of these charming visits, "and so is Mr. Ben. Every morning we take our walks in the woods here. I feel as if I were new modelled." Another passage in one of these summer tourist letters well deserves to be copied here, as it shows

he received a command to execute a statue of the queen. Gibson was at first quite disconcerted at such an awful summons. "I don't know how to behave to queens," he said. "Treat her like a lady," said a friend; and Gibson, following the advice, found it sufficiently answered all the necessities of the situation. But when he went to arrange with the Prince Consort about the statue, he was rather puzzled what he s

igure of the Killingworth engine-man. Did those two great men, as they sat together in one room, sculptor and sitter, know one another's early history and strange struggles, we wonder? Perhaps not; but if they did, it must surely have made a bond of union between them. At

nd himself landed at Portsmouth, and only discovered his mistake when, on asking the way to the cathedral, he was told there was no cathedral in the town at all. Another story of how he tried to reach Wentworth, Lord Fitzwilliam's place, is best told in his own words. "The train soon stopped at a small station, and, seeing some people get out, I also descended; when, in a moment, the train moved on-faster and faster-and left me standing on the platform. I walked a few paces backward and forward in disagreeable meditation. 'I wish to Heaven,' thought I to myself,

ing, so that Gibson used often to call him "my classical dictionary." In 1847, however, Mr. Ben was taken ill. He got a bad cold, and would have no doctor, take no medicine. "I consider Mr. Ben," his brother writes, "as one of the most amiable of human beings-too good for this world-but he will take no care against colds, and when il

ll the strength of his single-minded nature. All visitors to the great Exhibition of 1862 will remember his beautiful tinted Venus, which occupied the place of honour in a

the English cemetery at Rome. Both his brothers had died before him; and he left the whole of his considerable fortune to the Roya

laugh at and ridicule him. Besides his exquisite taste, his severe love of beauty, and his marvellous power of expressing the highest ideals of pure form, he had one thing which linked him to all the other great men whose lives we have here recounted-his steadfast and unconquerable personal energy. In one sense it may be said that he was not a practical man; and yet in another and higher sense, what could possibly be more practical than this accomplished resolve of the