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She accepted the invitation and once more stood before us, violin in hand, and surrounded by hosts of kind and true friends ready to welcome her back again. Here begins the new artist-life in our own city and at her childhood’s second home where she had won such honors as a girl.
In the midst of these ironies of fate, this satyr-play of the nether forces with the master, in which he occupies at times so undignified a position, it is gratifying to note that the artist-life goes on apace. In the last quartets which now come up for consideration, the labors of the tone-poet are brought to a close. The quartet was a favorite musical form with the master.
Macready in 1855 Mademoiselle Urso left the concert stage, gave up playing in public and retired to private life in Nashville, Tenn., only appearing at occasional charity concerts. Seven years later, in the Autumn of 1862, she returned to New York prepared to resume her artist-life. The musical world remembered with respect and admiration the Camilla Urso of her brilliant girlhood.
Of course, his whole childhood and youth were surrounded with objects of Art; and it was scarcely possible for him not to be impressed in the most lively manner by the unbroken artist-life in which he was necessarily brought up. It would appear that from his childhood he employed himself in daubing on walls, and drawing on scraps of paper all sorts of little soldiers.
Without being in the least degree examples of a high style of Art in its absolute sense, they answer well the purpose for which they were designed. Indeed, if they were more truly ideal, and, at the same time, more truly human, they would doubtless be far less popular. Ernest Carroll, or Artist-Life in Italy. A Novel, in Three Parts. Boston; Ticknor & Fields. 1858.
In this part of the book, and subsequently in the Prologues to the stories, it has been my object to give the reader one more glimpse at that artist-life which circumstances have afforded me peculiar opportunities of studying, and which I have already tried to represent, under another aspect, in my fiction, "Hide-and-Seek."
She had never felt his artist-life was to be the only note of his career. When, therefore, in the West she read a telegram in a newspaper announcing his candidature, she guessed the suddenness of his decision. When she read it, she spread the paper on the table, smoothed it as though it were a beautiful piece of linen, then she stretched out her hands in happy benediction.
It strengthened and consoled him in the midst of his nervous, restless artist-life, to look upon the calm, peaceful face of his friend; this alone, without a word spoken, soothed his heart agitated by storms and passions, and made him mild and peaceable.
The most ambitious moment of her artist-life seemed to have arrived at last. If she attained success, the crown was set on all the previous triumphs of her art; if failure were the issue, she would return to America discredited, if not disgraced, as an actress. The very crisis of her stage-life had come now in earnest.
When Thyrsis received this, he racked his brains once more; and then he sat down and wrote a letter to Barry Creston. He told how he had worked over the play, and how it had gone to ruin; he told of his present plight. He knew, he said, that Mr. Creston had been interested in the play, and that he was a man understood the needs of the artist-life.
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