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Brighter days for France may lead her artists to a healthier and freer development; but they can never be more single-hearted, true, and loving than Ary Scheffer. This picture is now in the Louvre. It is a composition of great dramatic power. Mrs. Stowe gives a graphic description of the effect it produced upon her, in her "Sunny Memories of Sunny Lands."
From the salon in which the famous portrait by Ary Scheffer was hung and which was devoted to ordinary instrumental and vocal music, we went down a short staircase to a gallery filled with valuable paintings, and finally to an exquisite organ, one of Cavaillé-Coll's masterpieces. In this temple dedicated to music we listened to arias from the oratorios of Handel and Mendelssohn.
Did you ever see the first poems of Madame la Duchesse d'Ivry, Les Cris de l'Ame? She used to read them to her very intimate friends, in white, with her hair a good deal down her back. They had some success. Dubufe having painted her as a Duchess, Scheffer depicted her as a Muse.
"Tannhauser" is to be produced at Berlin in December. How far have you got with the "Valkyrie?" I am looking forward to our meeting in November. The Princess and the Child are still in Paris. They study carefully the exhibition of pictures, and see a good deal of Scheffer, Delacroix, and other artistic notabilities, which suits them exactly.
At the expiration of this period he is bound to support himself and the four convicts are to be withdrawn. But if he shall then, or at any future period, declare himself able to maintain a moderate number of these people for their labour, they will be assigned to him. Mr. Scheffer is a man of industry and respectable character.
Pale and peaceful, patiently sad, without a trace of bitterness or harshness, her countenance might have served as a model for some which Ary Scheffer dimly saw in his rapt musings over "Wilhelm Meister." "Oh! yonder comes mamma and Uncle Grey! No; that is not my uncle Grey. Who can it be? It is Sir Roger!"
"A Great Harvest from a Little Seed," Some years ago there was a celebrated artist in Paris whose name was Ary Scheffer. On one occasion he wished to introduce a beggar into a certain picture he was painting. Baron Rothschild, the famous banker, and one of the richest men in the world, was a particular friend of this artist.
It is a revolution that has come a thousand times, and must and will come again and again. When custom gets greater than man it must be broken. The ankylosis of artistic smugness is no new thing. In heart and taste and ambition Ary and the Little Mother were one. Madame Scheffer rejoiced in the revolt she saw in the air against the old and outgrown.
This was enclosed in a letter which read as follows: "Sir: You one day gave a louis d'or to Baron Rothschild, in the studio of Ary Scheffer. He has invested it, and made good use of it, and to-day he sends you the capital you entrusted to him, together with the interest it has gained. A good action is always followed by a good reward.
It is this quality which gives the greatest value to the works of Le Sueur and Poussin. Scheffer possessed this power in a remarkable degree, but it was united to a directness and truth of feeling which made his art the perfection of natural expression. A very charming little engraving, entitled "The Lost Children," which appeared in "The Token" for 1830, is probably from a picture of this period.
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