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1844 AD (search for this): chapter 7
f Alcott. He would make these humorous sketches to entertain his friends at any time, seizing on a half-sheet of paper, or whatever might be at hand; but he did not long continue to caricature Emerson. His first volume of poetry, published in 1844, was dedicated to Emerson, and in Dwight's Translations from Goethe and Schiller, there are a number of short pieces by Cranch, almost perfect in their rendering from German to English. Among these the celebrated ballad of The Fisher is translateet for Marseilles. He had the good fortune to find a fellow-passenger in George William Curtis, and during the voyage of seven weeks, a life-long friendship grew up between these two highly gifted men. The volume of poems which he published in 1844 is now exceedingly rare; yet many of the pieces belong to a high order of excellence. In ease and grace of versification they resemble Longfellow, but in thought they are more like Emerson or Goethe. Consider this opening from The riddle : Y
1846 AD (search for this): chapter 7
family, Miss Elizabeth De Windt. If she did not come to him out of the Hudson, there can be no doubt that he courted her by the banks of the most beautiful river in North America. Cranch had given up the clerical profession six months before this, and had adopted that of a landscape painter, for which he would seem to have studied with some artist in New York City, --unknown to fame, and long since forgotten. He continued to sketch and paint, and write prose and verse on the Hudson until 1846, when he embarked with his wife on a sailing packet for Marseilles. He had the good fortune to find a fellow-passenger in George William Curtis, and during the voyage of seven weeks, a life-long friendship grew up between these two highly gifted men. The volume of poems which he published in 1844 is now exceedingly rare; yet many of the pieces belong to a high order of excellence. In ease and grace of versification they resemble Longfellow, but in thought they are more like Emerson or Go
1880 AD (search for this): chapter 7
ge lead up, as it were, like a flight of steps to this final glory,--a restful and impressive scene. This landscape is not painted in the smooth manner of the Two Oaks, but with soft, flakelike touches which slightly remind one of Murillo. Its coloring has the peculiarity that artificial light wholly changes its character, whereas Cranch's paintings, previous to 1875, appear much the same by electric light that they do in daytime. It is called the Home of the Wood Duck. Between 1870 and 1880 he published a number of poems in the Atlantic Monthly as well as a longer piece called Satan, for which it was said by a certain wit that he received the devil's pay. His two books for young folks, The last of the Huggermuggers and Kobboltozo, ought not to be overlooked, for the illustrations in them are the only remains we have of his rare pencil drawings, as good, if not better, than Thackeray's drawings. It is likely that the parents read these stories with more pleasure than their chi
1848 AD (search for this): chapter 7
s fell into the background. From Marseilles George W. Curtis proceeded to Egypt, where he wrote his well known book of Nile travels, while Cranch set out for Rome to perfect his art. He studied there at a night-school, painting in water colors from nude models and arrangements of drapery, but not taking lessons from any regular instructor. He never applied himself much to figure-painting, however. He sold his paintings chiefly to American travellers, and when the Revolution broke out in 1848, he returned to Sorrento, where his second child, Mrs. Leonora Scott, was born. His first child was born the year previous, in Rome, but afterwards died. In 1851, he returned to New York and Fishkill, but not meeting with such good appreciation there as he had in Italy, he went to Europe again in the autumn of 1853, and resided in Paris. One cause of this may have been the unfriendliness of his brother-in-law, who was a leading art critic in New York City, and who disliked Cranch on accoun
October, 1841 AD (search for this): chapter 7
ight's Translations from Goethe and Schiller, there are a number of short pieces by Cranch, almost perfect in their rendering from German to English. Among these the celebrated ballad of The Fisher is translated so beautifully as to be slightly, if at all, inferior to the original. The stanza, The water in dreamy motion kept, As he sat in a dreamy mood, A wave hove up, and a damsel stept All dripping from the flood, may have appealed strongly to Cranch at this time; for we find that in October, 1841, he was married at Fishkill-on-the-Hudson to a young lady of an old Knickerbocker family, Miss Elizabeth De Windt. If she did not come to him out of the Hudson, there can be no doubt that he courted her by the banks of the most beautiful river in North America. Cranch had given up the clerical profession six months before this, and had adopted that of a landscape painter, for which he would seem to have studied with some artist in New York City, --unknown to fame, and long since for
March 9th, 1813 AD (search for this): chapter 7
C. P. Cranch. Christopher Pearce Cranch was born March 9, 1813, at Alexandria, Virginia, and was the son of Judge William Cranch, of the United States Circuit Court. His father came originally from Weymouth, Massachusetts, and had been appointed to his position through the influence of John Quancy Adams. His mother, Anna Greenleaf, belonged to a well known Boston family. Pearce, as he was always called by his relatives, indicated a talent for the fine arts, as commonly happens, at an early age, and united with this a lively interest in music, singing and playing on the flute. These side issues may have prevented him from entering college so early as he might otherwise have done. He graduated at Columbia College, in 1832, after a three-year course. He wished to make a profession of painting, but Judge Cranch was aware how precarious this would be as a means of livelihood, and advised him to study for the ministry,--for which his quiet ways and grave demeanor seemed to have ad
1877 AD (search for this): chapter 7
it was the last thing he would have done himself without an invitation; but he enjoyed the reading, and often referred to it. When he returned to America in 1863 he went to live on Staten Island in order to be near George William Curtis, who cared for him as Damon did for Pythias, and who served to counteract the ill-omened influence of Cranch's brother-in-law. The Century Club purchased one of his pictures, an allegorical subject, which I believe still hangs in their halls. From 1873 to 1877 Lowell would seem to have frequented Cranch's house in preference to any other in Cambridge. When Cranch first went to live there he occupied a small but sunny and otherwise desirable house on the westerly side of Appian Way,a name that amused him mightily,--but in 1876 he purchased the house on the southwestern corner of Ellery and Harvard Streets. Having arranged his household goods there he sent one of his own paintings as a present to Emerson in order to renew their early acquaintance.
1876 AD (search for this): chapter 7
r Pythias, and who served to counteract the ill-omened influence of Cranch's brother-in-law. The Century Club purchased one of his pictures, an allegorical subject, which I believe still hangs in their halls. From 1873 to 1877 Lowell would seem to have frequented Cranch's house in preference to any other in Cambridge. When Cranch first went to live there he occupied a small but sunny and otherwise desirable house on the westerly side of Appian Way,a name that amused him mightily,--but in 1876 he purchased the house on the southwestern corner of Ellery and Harvard Streets. Having arranged his household goods there he sent one of his own paintings as a present to Emerson in order to renew their early acquaintance. Emerson responded to it by a characteristic note, in which he said that his son and daughter, who were both good artists, had expressed their approval of his present. He then referred to the danger which arises from a multiplicity of talents, and said: I well recollect
1875 AD (search for this): chapter 7
rywhere, and receiving numerous calls without, however, settling down to a fixed habitation. This would seem to have been a peculiarity of his temperament; for in 1875 George William Curtis wrote to Mr. and Mrs. Cranch a letter which began with O ye Bedouins ; and it is true that until that time he can hardly be said to have had t much effort of the will. He once confessed that when he was a boy he would never fire a gun for fear it might kick him over, and when he was at Hampton beach in 1875 he was in the habit of going out to sketch at a certain hour with prosaic regularity. He did not seem to be on the watch, as an artist should, for rare effects ofwhich slightly remind one of Murillo. Its coloring has the peculiarity that artificial light wholly changes its character, whereas Cranch's paintings, previous to 1875, appear much the same by electric light that they do in daytime. It is called the Home of the Wood Duck. Between 1870 and 1880 he published a number of poems i
1849 AD (search for this): chapter 7
sest plan. Yet sweetly the bard did sing, And learnedly talked the sage, And the seer flashed by with his lightning wing, Soaring beyond his age. This is sonorous. It has a majesty of expression and a greatness of thought which makes Longfellow's Psalm of life seem weak and even common-place. The whole poem is pitched in the same key, and Cranch never equalled it again, excepting once, and then in a very different manner. Rev. Gideon Arch, a Hungarian scholar, philologist, and exile of 1849, said of his Endymion that there were Endymions in all languages, but that Cranch's was the best. To resuscitate it from the oblivion into which it has fallen, it is given entire: Yes, it is the queenly moon Walking through her starred saloon, Silvering all she looks upon: I am her Endymion; For by night she comes to me,-- O, I love her wondrously. She into my window looks, As I sit with lamp and books, And the night-breeze stirs the leaves, And the dew drips down the eaves; O'er my should
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