At Haworth he had been industrious, for he had painted some portraits of the members of his family, and of several friends. One of these is well described by Mrs. Gaskell, and her account is worth giving here: — ‘It was a group of his sisters, life-size, three-quarters length … the likenesses were, I should think, admirable. I only judge of the fidelity with which the other two were depicted, from the striking resemblance which Charlotte, upholding the great frame of canvas, and consequently standing right behind it, bore to her own representation, though it must have been ten years and more since the portraits were taken. The picture was divided, almost in the middle, by a great pillar. On the side of the column which was lighted by the sun stood Charlotte, in the womanly dress of that day of gigot sleeves and large collars. On the deeply shadowed side was Emily, with Anne’s gentle face resting on her shoulder. Emily’s countenance struck me as full of power; Charlotte’s of solicitude; Anne’s of tenderness. The two younger seemed hardly to have attained their full growth, though Emily was taller than Charlotte; they had cropped hair and a more girlish dress. I remember looking on these two sad, earnest, shadowed faces, and wondering whether I could trace the mysterious expression which is said to foretell an early death. I had some fond superstitious hope that the column divided their fate from hers who stood apart in the canvas, as in life she survived. I liked to see that the bright side of the pillar was towards her — that the light in the picture fell on her. I might more truly have sought in her presentment — nay, in her living face — for the sign of death in her prime.’
From Mrs. Gaskell’s description of this one picture, it is apparent that Branwell possessed, not only the faculty, as we have seen, of obtaining excellent portraits, but that he had the ability to impress the faces of his sisters with thought, intelligence, and sensibility; and to invest them with the habitual expressions they wore, of power, solicitude, and tenderness. The deep reflection which Branwell bestowed on this picture, and the care he lavished on its mysterious composition, show unquestionably the aptitude and capacity of his own mind, which enabled him to obtain these essential expressions; and it is evident that his peculiarity of thought invested his picture with that sadness and gloom which, in after times, tinctured the poems he wrote under the solemn-sounding pseudonym of ‘Northangerland.’ This picture is only one among many others he painted in preparing himself for his intended studies at the Royal Academy; and the old nurse, Nancy Garrs, tells me that he often wanted to paint her portrait, but she told him that she did not think herself ‘good-looking enough.’
At a later date Branwell related to Mr. George Searle Phillips the story of his artistic hopes. He spoke of the great fondness for drawing manifested by the whole family; and declared that Charlotte, especially, was well read in art-learning, and knew the lives of the old masters, whose works she criticized with discrimination and judgment. But he said that she had ruined her eyesight by making minute copies of line-engravings, on one of which she was occupied six months. He also spoke of his own passionate love of art, and of the bright and confident anticipations with which he had looked forward to his projected studies at the Royal Academy, which had been the cherished hope of his family and himself.
Leyland had visited London in the December of 1833, when he obtained from Stothard a letter of introduction to Ottley, the curator of the Elgin Marbles, to allow him to study the marbles in the British Museum. Permission was readily granted, and the sculptor availed himself of it. A year later Leyland took up his residence in the metropolis. He was received in a friendly manner by Chantrey and Westmacott, the latter inviting him to dinner, and afterwards showing him his foundry at Pimlico, and his works in progress, among which was the statue of the Duke of York. He was also introduced to, and enjoyed the friendship of Nasmyth — the father of the eminent engineer whose story has recently been given to the world — and of Warley: one a landscape-painter of celebrity, and the other famed as an artist in water-colour. The latter, who had considerable faith in astrology, persisted in drawing the younger sculptor’s horoscope. Among others, he became known to Haydon, under whom he subsequently studied anatomy. This lamented artist was a genuine friend, and it was under his instructions that Leyland perfected his natural perception of the grand and beautiful in art. While here he modelled, in life-size, a figure of ‘Kilmeny,’ in illustration of the passage in Hogg’s ‘Queen’s Wake,’ where the sinless maiden is awakened by Elfin music in fairy-land. It was a successful work, and was favourably noticed by the critics. It was subsequently purchased for the Literary and Philosophical Society of his native town.
It was while Leyland was in the metropolis that Charlotte wrote, on the 6th July, 1835:
‘We are all about to divide, break up, separate. Emily is going to school, Branwell is going to London, and I am going to be a governess. This last determination I formed myself, knowing that I should have to take the step sometime, “and better sune as syne,” to use the Scotch proverb; and knowing well that papa would have enough to do with his limited income, should Branwell be placed at the Royal Academy, and Emily at Roe Head.’
While this project was warmly engaging the attention of the Brontë family, Leyland was living in London, at the house of Mr. Geller, a mezzotinto-engraver, who was a native of Bradford; and, at the time, the sculptor modelled a group of three figures illustrative of a passage in Maturin’s tragedy of ‘Bertram,’ which represented the warrior listening to the prior reading. The work was engraved by Geller. This group was said to be conceived in the ‘true spirit of Maturin,’ and met with the favourable notice of the London periodicals of the year 1835, the year of Branwell’s visit to the metropolis. The reviews were also reproduced in most of the Yorkshire papers.
The design of putting Branwell forward as an artist, and of giving him the opportunity and the means of beginning and continuing his studies, where he might be imbued with the spirit of the great sculptors and painters who have left imperishable names, and whose works are stored in the public art-galleries of London, had at last been determined upon. The sacrifices the Brontë family were prepared to make in order to secure this object require but a passing notice here. Branwell was a treasured brother; and they would feel, no doubt, a sincere happiness in promoting his interests, in furthering his views, and in bringing his artistic abilities before the world. It would, however, seem scarcely possible that the difficulties attending Branwell’s admission as a student at the Royal Academy had been duly considered. He could not be admitted without a preliminary examination of his drawings from the antique and the skeleton, to ascertain if his ability as a draughtsman was of such an order as would qualify him for studentship; and, if successful in this, he would be required to undergo a regular course of education, and to pass through the various schools where professors and academicians attended to give instruction. No doubt it was wished that Branwell should have a regular and prolonged preparation for his professional artistic career; but it would have lasted for years, and the pecuniary strain consequent upon it would, perhaps, have been severely felt, even if Branwell’s genius had justified the outlay. But there is no evidence that he ever subjected himself to the preliminary test, or made an application even to be admitted as a probationer.
It would seem that, so far as Mr. Brontë was concerned, his promotion of the wishes of his children arose rather from a desire to gratify them. It does not appear that he had any over-sanguine expectation that Branwell could carry out his ardent intention of becoming an artist. Mr. Brontë’s own wish was, indeed, that his son should adopt his profession, but the mercurial youth was probably little attracted by the functions of the clergyman’s office.
To London Branwell, however, went, where, without doubt, his object was to draw from the Elgin Marbles, and to study the pictures at the Royal Academy and other galleries, with a perfectly honest intention. Whatever impression he may have received of his own powers as an artist, when he saw those of the great painters of the time, we have no certain knowledge; but it do
es not exceed belief that he was discouraged when he looked upon the brilliant chef d’oeuvres of Sir Joshua Reynolds, Gainsborough, Sir Thomas Lawrence, and others; and that, when he reflected on the immeasurable distance between his own works and theirs, his hopes of a brilliant artistic career were partially dissipated. Whether it was due to these circumstances, or that he had become more fully aware of the early struggles that meet all who attempt art as a profession, or that his courage failed him at the contemplation of the unhappy lot which falls to those who, either from lack of talent or through misfortune, fail to make their mark in the artistic world; or whether it was because his father was unable to support him in London during the years of preparation and study for the professional career, — the requirements of which had not been sufficiently considered, — is not now accurately known. Branwell, during his short stay in London, visited most of the public institutions; and, among other places, Westminster Abbey, the western façade of which he some time afterwards sketched from memory with an accuracy that astonished his acquaintance, Mr. Grundy.
Before he left the metropolis, Branwell could not resist a visit to the Castle Tavern, Holborn, then kept by the veteran prize-fighter, Tom Spring, a place frequented by the principal sporting characters of the time. A gentleman named Woolven, who was present through the same curiosity which led Branwell there, noticed the young man, whose unusual flow of language and strength of memory had so attracted the attention of the spectators that they had made him umpire in some dispute arising about the dates of certain celebrated battles. Branwell and he became personal friends in after-years.
Branwell returned to the parsonage a wiser man. His disappointment that he was not to do as others were doing, whom he wished to emulate, was very great, but he was not yet finally discouraged. We shall see subsequently to what purpose Branwell put his artistic knowledge. The failure of the hopes regarding his academical career in art was keenly felt by his family. It was grievous as it was humiliating, but it was borne with exemplary patience and resignation. When these painful experiences had impressed the Brontë sisters with the hopelessness of high artistic study for Branwell, and when their eyes were opened to the consciousness that their large gifts did not include art, Charlotte wrote, in her novel of ‘Villette,’ under the character of Lucy Snowe: ‘I sat bent over my desk, drawing — that is, copying an elaborate line-engraving, tediously working up my copy to the finish of the original, for that was my practical notion of art; and, strange to say, I took extreme pleasure in the labour, and could even produce curiously finished fac-similes of steel or mezzotinto plates — things about as valuable as so many achievements in worsted work, but I thought pretty well of them in those days.’
CHAPTER IX.
CHARLOTTE AT ROE HEAD.
Charlotte returns as a Teacher, with Emily as a Pupil, to Roe Head — Their Determination to Maintain themselves — Charlotte’s Fears respecting Emily — Charlotte’s religious Melancholy — Accuses herself of Flippancy — She is on the Borders of Despair — Anxiety to Know More of the World — Emily at Law Hill, Halifax, as a Teacher — Charlotte’s Excitability — She returns Home out of Health.
‘We are all about to divide, break up, separate,’ Charlotte said, when conveying to her friend the news of the Academy project, and of her determination to enter upon life as a governess. If Branwell’s ambition had encouraged her own, its failure made no change in her plans. She was ‘sad,’ she says, ‘very sad,’ at the thoughts of leaving home; yet she was going back to the school of Miss Wooler, whom she both loved and respected, to live at Roe Head, this time to teach, it is true, instead of to be taught. But her sister Emily was to accompany her, as a pupil of the school, and that they would be together was a consolation to both sisters; and Charlotte, too, would be near the homes of the friends she had made when she was herself a pupil there. It was a pleasure to think she would be able to see them sometimes.
At the end of July, then, the two proceeded to Roe Head. This was the first of those adventurous moves which the sisters, from time to time, made. One of the strongest features, indeed, in their lives is the persistency with which they essayed to maintain themselves, even when no apparently pressing necessity impelled them. Yet we may not doubt that one sad reflection sometimes moved them, and it was that their father’s stipend ceased with his life; that they had no other resource beyond their own endeavours; and that, such was the uncertainty of all human concerns, they might at any moment be deprived of home, support, and shelter. It behoved them then to secure by their personal energies, while they were able, the very means of subsistence.
When Mr. Brontë saw his young family around him, and when he enjoyed the comfort of his hearth, the contingency of his death, and the consequent helplessness of his children, often struck him with apprehension and sadness. But he had the alleviation that they inherited, in a marked degree, his own adventurous and energetic disposition, whose successful career was always before them as an example and incentive to honourable endeavour.
Mr. Brontë looked back with just satisfaction on the early sacrifices he had made to advance himself in the world. His children were familiar with the story of his exertions. They, however, with far higher talents, were not possessed of the physical strength and powers of endurance which had aided his progress; and Charlotte and Emily, when any unusual strain was cast upon them, soon felt their strength exhausted, and they suffered depression of spirits as the consequence. Home-sickness was the great trouble of the younger sister, and, before she had been long at school, Emily grew pale and ill. Charlotte felt in her heart that, if she remained, she would die; and, at the end of three months, she returned to Haworth, where, alone among the moors, with all the wild things of nature, which had inspired so deep an interest in her feelings, she could be contented. But the youngest sister, Anne, came to Roe Head in her place, and she and Charlotte seem to have been very happy there for some time; but a tendency to religious melancholy had been developing in the elder sister’s mind, imperceptibly, out of her deep religious feeling, and it increased upon her.
So early as the letter to ‘E,’ July 6th, 1835, she had spoken of ‘duty, necessity, these are stern mistresses,’ as controlling her action in seeking a situation. Her friend Mary went to see her, and in her letter to Mrs. Gaskell she says: ‘I asked her how she could give so much for so little money, when she could live without it. She owned that, after clothing herself and Anne, there was nothing left, though she had hoped to be able to save something. She confessed it was not brilliant, but what could she do? I had nothing to answer. She seemed to have no interest or pleasure beyond the feeling of duty, and, when she could get, used to sit alone and “make out.” She told me afterwards, that one evening she had sat in the dressing-room until it was quite dark, and then, observing it all at once, had taken sudden fright.’ Some relaxation was gained by the Midsummer holidays of the year 1836. All the family were at home, and their friend ‘E’ visited them, so that a pleasant period of mental diversion was secured. But, after her return to her school, despondency came upon her again, and crowded her thoughts; and she wrote respecting her feelings in religious concerns: ‘I do wish to be better than I am. I pray fervently sometimes to be made so. I have stings of conscience, visitings of remorse, glimpses of holy, of inexpressible things, which formerly I used to be a stranger to; it may all die away, and I may be in utter midnight, but I implore a merciful Redeemer, that, if this be the dawn of the Gospel, it may still brighten to perfect day. Do not mistake me — do not think I am good; I only wish to be so. I only hate my former flippancy and forwardness. Oh! I am no better than ever I was. I am in that state of horrid, gloomy uncertainty that, at this moment, I would submit to be old, grey-haired, to have passed all my youthful days of enjoyment, and to be settling on the verge of the grave, if I could only thereby insure the prospect of reconciliation to God, and a redemption through His Son’s merits. I never was exactly careless of these matters, but I have always taken a clouded and repulsive
view of them; and now, if possible, the clouds are gathering darker, and a more oppressive despondency weighs on my spirits. You have cheered me, my darling; for one moment, for an atom of time, I thought I might call you my own sister in the spirit; but the excitement is past, and I am now as wretched and hopeless as ever.’
Let us not under-estimate the mental suffering which could dictate this confession. Happily, this was not constantly present, nor her feelings always so acutely wrought upon. Even in the same letter from which the above is taken, she wishes her friends should know the thrill of delight which she experienced when she saw the packet of her friend thrown over the wall by the bearer, passing in his gig to Huddersfield Market. She persevered in her place, the whole tendency of her exaggerated reasoning forbidding her to seek that ease and relaxation which she needed so much; but she was not incapacitated for her duties, and probably her family were quite unaware of her troubles: so she remained.
Branwell and Emily were resolved not to be behind their sister in their endeavours, and they were full of anxiety to know more of the world than they could meet with at Haworth. Emily obtained a similar situation to Charlotte’s, in a large school at Law Hill, near Halifax, where she found her duties far from light. Her extreme reserve with strangers is remembered by one who knew her there, but she was not at all of an unkindly nature; on the contrary, her disposition was generous and considerate to those with whom she was on familiar terms: her stay at Law Hill terminated at the end of six months. The place of her sojourn is a lofty elevation, overlooking Halifax. Emily would find the situation of the school agreeable to her taste, and to her delight in the weird and grand as presented by the solemn heath-grown heights of the West-Riding: besides, the air was as pure as that of Haworth, and Law Hill commanded finer views, among which the range of Oxenhope moors, in her father’s chapelry, was visible. In the other direction, she could overlook the more cultivated district of Hartshead and Kirklees, and could see Roe Head, where her sisters Charlotte and Anne resided. Branwell also, emulating his sisters, obtained the situation of usher in the locality, which he retained for a few months.
Delphi Complete Works of the Brontes Page 452
