66 and fragile as if just plucked from the water. Birds, bees, flowers and butterflies in alto-relievo, hold favorite places in the way of ornamentation. The Pottery Club not long since held a reception at its headquarters in the pottery building, where most of the work of the preceding six months was displayed. A brief mention of some of the articles, enumerated in a published account of the affair, will give some idea of the diversity of their work exhibited. "The work of the fair potters was displayed in a fashion to delight the heart of the bric-a-bracquer, flowers and palms mingled with the ceramic treasures that were arranged upon a broad shelf which ran around three sides of the room. Upon the walls the soft but brilliant colors of Oriental rugs served as a fine background for the display of plaques." Miss McLaughlin, the president of the club, displayed thirty-six pieces, among them the Ali Baba vase. Among others of her articles mentioned is a plaque, on which she has painted the face of a lovely girl in the fashion of those plates called Amatoier, upon which the cavalier used to have painted the face portrait of his lady. The face is presented in profile, and every detail, from the lace kerchief to the penciled eyebrows, has come out admirably." Among the numerous articles of the other members is mentioned "a splendid vase in cream body, decorated in arabesques of old blue, barred with lines of gold, and thoroughly Oriental in its entire treatment; a pair of blue plaques, decorated in relief in Parian, with delicate ornamentation." On a teapot are Chinese figures, drawn with charming grace, the faces provokingly concealed by a big umbrella; two fruit dishes—in shape, big green leaves-beautifully modelled, and having the Majolica finish." In a different style of ornamentation is mentioned "a tall vase in ivory body, on which is spiritedly sketched a chariot of victory, drawn by two fiery steeds, and driven by some classic Jehu;" also "a saloon pitcher, handsomely decorated with narcissus, and a plaque showing a most happy blending of rich contrasting colors, the peculiar red and gold being blended in the style which marks the Kaga ware." Another tall vase is mentioned as decorated with the leaves and berries of the Virginia creeper, the leaves just touched with frost, and the berries preserving the perfect bloom of Nature, two golden flies serving for handles." "A plaque in old blue, with three heads of " horses" is mentioned; also "two plaques in o blue, one showing a flight of birds, and the other an owl;" also vases in Parian relief. "A slim vase, and an immense snowball, a guelder-rose being noticeable; another vase, showing upon a chocolate body splendid clusters of water lilies in Parian ;" also "two vases in Limoge, one showing birds, and the other a brace of geese;" still another a graceful vase in old blue decoration, a stork brooding upon its nest, attended by its faithful mate on one side, and on the other, two stork fishing in a pool, typifying night and morning Some of the choice bits were eagerly bought, showing how genuine was the admiration. Spe cial reference should be made of Miss McLaughlin's Ali Baba vase, already mentioned, the largest with the exception of one she is now at work upon, ever cast in this country. It is thirtyseven inches high, not quite large enough to make a convenient hiding-place for even the most dwarfish of the forty thieves, but sufficiently handsome and valuable to constitute a most enticing booty for any modern thief. It is decorated in the Limoge style, in which she still holds the mas tery, the foundation being in pearly tints, with an over decoration, consisting of a branch of the atiscis. Mr. Bennet did not go to Cincinnati when urged to do so, but kept his secret in New York, where he turns out from his own furnace wors that is the envy of all beholders. But who knows but that in time these dauntless workers in the Cincinnati faience may get at his secret? Alreads one sees now and then clever imitations of bi ware, several of them being mentioned in the exhibit of the Pottery Club, notably "a chocolate pitcher, showing a cream body decorated wit cat-tail rushes and sedgy grasses, with a rich bang of color in arabesques at top and bottom, ar across the top of the cover a spider's web in lines of black;" also "an antique pitcher with the handle and rim in deep blue, the body in ivory tint, decorated with clusters of the cyclamen crimson purple flowers, and leaves in dark green" A list of all these beautiful things reads like a romance, or as if they had been created at the command of some genii; but the struggles a disappointments that have been endured and woes that still attend the pursuit of this departme of art only the initiated can fully comprehend Those who have any experimental knowledge & china painting, and know the risks attended with the firing, in the process of which their cherished colors so often suffer damage, may have some slight idea of the amount of philosophy to be exercised by those whose colors are subjected to the still greater risks consequent upon the glazing process. The heat required in this work is several degrees less than that required in the common pottery work, and so long as it is subjected to the heat of an ordinary kiln, much difficulty will be encountered. A kiln is being constructed at the Dallas pottery better adapted to this work, and it is to be hoped that there will be fewer heartaches and more encouraging results. The colors are mineral, and when applied differ much from what they are after the firing. As yet the list of colors used is small, but is increasing every day. Indeed, the risks to be encountered in many ways is great, and she who intrusts her frail handiwork to the great kilns, knowing that it must take its chances along with the common pottery, must school herself to a vast amount of patience in awaiting the results. It may come out all right, but there is an even chance that the colors may be washed out, or changed past all recognition; the clay may shrink too much, the glaze may look as if filled with tiny cracks, a pet rose or leaf may be broken off, or the entire article may be destroyed beyond reparation. This work, which is yet in its infancy, promises much for the future. What secrets shall yet be unravelled, what results achieved, it is impossible to conjecture. Already it has attracted much attention, and some of it has met with ready sales. That these efforts may sometimes crystallize into a valuable industry is not too much to expect. That such beautiful objects can be fashioned from the crude material which is to be found almost at our doors is a fact which in itself is sufficient to recommend it to the popular heart. That the art has taken a strong hold upon the affections of its devotees is sufficiently evident when a trio of school-girls met together for a mutual holiday frolic, choose to convert it into a patient practice of their beloved art, the result being a pretty Pilgrim jar, a graceful pitcher, and a flower-pot ornamented in white Parian, which shall serve not only as a pleasing ornament to her father's grounds, but a lasting memorial to her industry and good taste. BENJAMIN WEST. By J. H. A FEW yards north of the railroad, and about the same distance from Swarthmore College, in Springfield, Delaware County, stands the birthplace of the celebrated American painter Benjamin West. The small house still there, is said to be the one in which he was born, though there have been disputes at times about the fact. The writer of this sketch recollects distinctly a decayed building standing within a few yards of the present one, that was claimed as the true birthplace. But this is a matter of little importance; the location is sufficiently designated to guarantee to the lovers of art a proper site upon which to erect a monument to American genius, if the idea should ever impress itself upon their generosity. The location is one of the most delightful along the line of the railroad, and will no doubt soon be occupied by neat modern suburban residences. A handsome monument to the artist would greatly add to the value and beauty of the place. Benjamin was born on the 28th of September, 1738, of John and Sarah West, whose chief wealth consisted of ten children, Benjamin being the youngest. He had nothing to gain, therefore, from "pampered wealth." He is claimed by his biographer, Galt, to have been under the special charge and guidance of the Quakers; but this and many other sayings of that author are known to be purely imaginary. One hundred and forty years ago the surroundings of the little hamlet were not so picturesque and fascinating as at present. It was in the midst of peril, plunder and difficulties of almost every description. Large forests abounded on all sides. For many years after, the noted “thousand acres” of dense woodland through which the Strasburg road passed, leading from the city west, loomed up in continued range to the north of the hamlet. Over this thoroughfare wagoners passed in sections with loaded muskets, and strings of bells arched over their horses' hames, as a protection against marauders and wild animals. It was considered very unsafe for single travellers on horseback, with saddle-bags, to venture through these deep forests even in day time; and none made the attempt without being well armed. Then, stretching away to the Delaware River, the dense woodlands along the King's highway to Chester, Wilmington, etc., afforded ample protection to the brigands of that and succeeding periods, and who had their cabins and hiding-places near by. It is true the immediate citizens and settlers had nothing to fear so long as they kept aloof. Tradition has nearly lost sight of the sanguinary scenes that occurred in these localities during the long period of pioneer life under King George and years succeeding the Revolution, and they were not pleasant or proper topics to record in history. But there are men still living who, with a little refreshing of the memory, could furnish graphic accounts of scenes and hair-breadth escapes that would cause the blood to curdle, even in the veins of the incredulous. We mention these things, merely to show that the early life of West was not cast in a bed of roses without plenty of thorns. His genius must therefore be regarded as purely native and original; for, with this state of the country and society, he could have no other advantages, no teachers of note, and but very few rude pictures for a study. Nature was his guide, and this he adhered to in all his after life and fame. West's talent manifested itself in very early life. It is recorded that at the age of seven years he astonished his friends by the accuracy of his pencil drawings; that at nine years he produced a painting in colors which was deemed worthy of preservation, and which, we understand, is now in excellent keeping at the Kirkbride Institution, Philadelphia. In referring to these facts, and to the first crude specimen, we must not lose sight of the difficulties of the times in comparison with the present period, when the art of drawing, painting, etc., forms a noted branch in our popular schools. Young West passed his college life at a log school-house in the adjoining township of Newtown, where A B C's were conveyed to the understanding at the end of a hickory switch, rather than by experienced teachers; but he was equal to all the tasks imposed except arithmetic. This he got over by the exercise of his native talent. While a school-mate did his sums for him, he returned the compliment by drawing birds, anima's and landscapes in his copy-book. It was while at this school that Dr. Jonathar Morris's attention was attracted by West's drawings. He took immediate interest in the young artist, and furnished him with his first box of paints and brushes, until which time he had use black, red and yellow, colors he had been taught to mix by the Indians, and brushes of his owr construction. He now, with a little instruction, made rapid progress. Dr. Morris moved to Newtown in 1751. This fixes the age of West at about thirteen or fourteen, instead of nine, when he made his first effort, and succeeded in painting the portrait of two of his sister's children, whit for correctness of delineation and style of execu tion were deemed worthy of preservation. One, if not both of these portraits, is now in possession of Mrs. David Jones of West Chester. West came into immediate and prominent notice. Hitherto relying solely upon his native talent, he was deemed worthy of assistance by his friends, ani sent to Philadelphia to obtain the best instruction the city afforded at that time. Dr. Morris and Anthony Wayne, afterwards General Wayne, were his first patrons. Through them he obtained introduction to and the frierd. ship of Benjamin Franklin, and the leading mer of Philadelphia. In his eighteenth year he made Philadelphia his residence, as a portrait painter In the execution of his profession, we find b during the two succeeding years plying the brush with success in New York and Lancaster, producing many portraits. His first effort from real life was made at Lancaster, where he painted in masterly style the Death of Socrates, a work very much admired at the time by lovers of the art. As evidence that he was not under the spel guidance of the Quakers, it may be mentioned that he was made captain of a military comp while at Lancaster. Poets, painters, and men of special genius arc generally poor, simply from the fact that ther minds are employed on a specialty that does n lead to the saving of pennies. West was no to ception. He received excellent pay for his lab v but he had no talent for keeping it. He used freely as a means of gratifying his ambition, as a consequence was always poor. Aided by friends in Philadelphia and New York West sailed for Italy in his twenty-first year, with the view of obtaining full insight into the mysteries of the art. He was well prepared with letters of introduction, and had scarcely touched the pave of Rome ere his fame began to spread as the remarkable genius from the wilds of North America. Mengs, an acknowledged leader in art, became much attached to West, and together they made the tour of the art capitals of Italy, and it was undoubtedly to the advantage of both; for West manifested an independence of idea and style from the old authors that gave him eclat, and the art a new impulse. Two prominent paintings executed in Rome, "Cimon and Iphigenia," and "Angelica and Medora," added much to his fame as a shrewd delineator of character. He spent three years in Rome, gaining information and substantial fame. that. So it was agreed between them that West should go alone, and she promised to meet him in any part of Europe whenever he should feel able and send for her. Stephen Shewell was not aware of this, and proceeded with his arrangements to thwart an elopement by turning the key upon her, and keeping her a close prisoner until after West had left the harbor. It was a supposed triumph on his part. After a short interval the discarded friend was reintroduced, but only to be the more sternly rejected. In due course, Mr. West sent for his father and Miss Shewell, desiring them to take passage in the vessel by which he had sent the message. Miss Shewell made her arrangements; her brother objected; he said but little. Two days before the vessel was to sail, Stephen Shewell resorted to his former method of locking his sister in her room until after the vessel had set sail. But he had failed to estimate the feelings of the community. He was appealed to; but refused to listen to any one, and fearing interference as the time arrived, he determined, on the night before the vessel was to sail, to keep close watch. To this end he in In 1763 he returned to America via England. And now his life becomes involved in special romance. Soon after landing upon his native soil he met his future wife, Miss Elizabeth Shewell of Philadelphia. The attachment from the first seems to have been mutual, and as ardent as mutual. Her brother, Stephen Shewell, with whom she resided, and who had his own choice of a com-vited, unwittingly, some of her friends to remain panion he wished her to marry, took violent dislike to West on account of his lack of wealth and the obscurity of his family. He used all the persuasive powers at his command; but she had repugnance to the man of his choice. She could not tolerate, and refused him in positive terms. This exasperated the brother, particularly so when he found that West had procured the affections he so desired to have bestowed upon his friend, and he resorted to violence as a means of severing the lovers. He placed her a prisoner under lock and key. This fact coming to the public ear produced a warm sympathy and many friends for the lady, who expostulated with the brother, but to no effect. Indeed, his arbitrary course seemed to increase rather than soften by these interferences, until it was found that West never attempted to procure an interview when she was released from her room; but not from the house. West and Miss Shewell had passed their vows; talked the situation over calmly. West made his arrangements to return to England, and the time for his departure was fixed. This fact became known to the brother of his affianced. West would have been glad to have taken Miss Shewell with him as his wife, but the fates were against with him during the night. They accepted ; were on hand; but there had been whisperings with Benjamin Franklin; Franklin had a talk with Francis Hopkins, then about twenty-three, and with Bishop White, the about nineteen. About dark these three took old man West to the vessel, made arrangements with the captain to sail the moment they furnished the lady passenger. Then they procured a rope ladder, and just about midnight Shewell's invited friends got up a little boisterous jollification; they kept up the noise and confusion long enough to allow Franklin, Hopkins and White to make good use of the rope ladder, get Miss Shewell safely away, and on board the vessel; then they sobered down, and as everything seemed quiet, took a little nap. Shewell kept awake until near morning, then dropped into a profound slumber, from which he awoke about ten o'clock. When the party were ready to retire, they were all wonderfully surprised to find the lady had disappeared. It was too late; with an ebb tide the vessel was out of reach of the fastest team of the age. Shewell's chagrin knew no bounds; he acknowledged himself beat, but never recognized his sister after, though she made repeated advances. Miss Shewell had a safe passage; met Mr. West on the wharf in waiting, and soon after the wedding was consummated. It was surmised they would have returned to this country; but for the brother's relentless opposition, London became their permanent residence, where the painter ended his career, March 11th, 1820. Madam West died in 1817. They left two sons. Notwithstanding West's birthplace, soon after taking up his residence in London he was claimed as an Anglo-American, subsequently as an Englishman. It was the highest compliment England could bestow upon him. America might claim West, but England demanded his genius. He rose almost at once under the patronage of George the Third, who continued his warm friend for forty years, during which time he executed twenty-eight large paintings for Windsor Castle. Of his earliest pictures, the "Death of Wolfe" is mentioned as having created pleasurable sensation, from the fact that it was the first and most radical deviation from the ancient Greek and Roman rule of painting in armor. The figures were habited in their appropriate costume. The painting of "Agrippina Landing with the Ashes of Germanicus" is also mentioned with much pride as one of superior merit, though the "Battle of La Hogue" was considered by critics as its superior.. His West never rested upon others' ideas. mind was grasping, and his ambition in proportion. He had no taste for fancy that did not harmonize with Nature; had nothing to do with chalk and carmine. He gave to his pictures the ruddy, rugged glow of the hardy knight or cavalier of the age; and blondes were not fashionable. In his conception of historical and Scriptural scenes he was beyond reach, and was always successful. Leaving portrait painting, he grasped at subjects requiring thought and correct information, as well as skill. One of his famous conceptions, "Christ Healing the Sick," originally designed as a present to the Pennsylvania Hospital, was not allowed to leave London, but was purchased at the price of £3,000, and retained. A copy of the original was afterwards made by West, and is now in the possession of Philadelphia. "Death on the Pale Horse" has never been equalled in thought or execution. It is a pleasing task to thoroughly criticise Mr. West's paintings. At first glance they are pleasing to the eye; but this is not sufficient; the mind becomes interested in the subject; if not, but little is gained to the beholder beyond that of a pictorial sign-board. Let the critic read and understand thoroughly the scriptural accounts of "Christ Healing the Sick;" then he will scarcely be content with a half-hours' examination of a painting that represents so faithfully, a scene that never after can be thoroughly effaced. So with "Death on the Pale Horse," he must read the Revelations. It is so with West's paintings generally; they are emanations from the mind at the command of genius, and demand of the beholder more than eye service. The sharpest, and yet unjust modern criticism that we have seen and which might readily pass unnoticed, is that he gave a peculiar sameness to all his pictures by clothing his characters in a reddish brown cast. This is puerile at best. West's paintings are far less susceptible of criticism in this respect, than modern effusions that are run upon the other extreme of pearl and carmine. Admiration at the present centres on the blonde idea, and not upon the natural glow of health and strength. We should not lose sight of this fact. West's early display of genius is often attributed to precocity; but this could not be. Precocity leads to early decay of body, and often to imbecility of mind. West on the contrary retained his faculties until after his fourth score of years; a fact that proves his talent to have been true to nature. West was an exception in another respect; men of special genius are apt to fits of irritability; West, on the contrary, led an exemplary life. THE foundation of every good government is the family. The best and most prosperous country is that which has the greatest number of happy firesides. TRUE Courage is cool and calm. The bravest of men have the least of a brutal, bullying inso lence, and in the very time of danger are found the most serene and free. THE expectation of future happiness is the best relief for anxious thoughts, the most perfect cure of melancholy, the guide of life and the comfort of death. |