The Fortunes of Oliver HornSmith, Francis Hopkinson
General
The Fortunes of Oliver Horn
Smith, Francis Hopkinson
Baltimore (Md.) -- Fiction; Bildungsromans; New York (N.Y.) -- Fiction; Painters -- Fiction; Young men -- Fiction
The students in his school were from all stations in life: young and
old; all of them poor, and most of them struggling along in kindred
professions and occupations--engravers, house-painters, lithographers,
and wood-carvers. Two or three were sign-painters. One of these--a
big-boned, blue-eyed young follow, who drew in charcoal from the cast
at night, and who sketched the ships in the harbor during the day--came
from Kennedy Square, or rather from one of the side streets leading out
of it. There can still be found over the door of what was once his shop
a weather-beaten example of his skill in gold letters, the product of
his own hand. Above the signature is, or was some ten years since, a
small decorative panel showing a strip of yellow sand, a black dot of a
boat, and a line of blue sky, so true in tone and sure in composition
that when Mr. Crocker first passed that way and stood astounded before
it--as did Robinson Crusoe over Friday's footprint--he was so overjoyed
to find another artist besides himself in the town, that he turned into
the shop, and finding only a young mechanic at work, said:
"Go to New York, young man, and study, you have a career before you."
The old landscape-painter was a sure prophet; little pen-and-ink
sketches bearing the initials of this same sign-painter now sell for
more than their weight in gold, while his larger canvases on the walls
of our museums and galleries hold their place beside the work of the
marine-painters of our own and other times and will for many a day to
come.
This exile from Kennedy Square had been the first man to shake Oliver's
hand the night he entered the cast-room. Social distinctions had no
place in this atmosphere; it was the fellow who in his work came
closest to the curve of the shoulder or to the poise of the head who
proved, in the eyes of his fellow-students, his possession of an
ancestry: but the ancestry was one that skipped over the Mayflower and
went straight back to the great Michael and Rembrandt.
"I'm Jack Bedford, the sign-painter," he said, heartily. "You and I
come from the same town," and as they grasped each other's hands a new
friendship was added to Oliver's rapidly increasing list.
Oliver's seat was next to Fred, with Jack Bedford on his right. He had
asked to join this group not only because he wanted to be near his two
friends but because he wanted still more to be near the Milo. He had
himself selected a certain angle of the head because he had worked from
that same point of sight with Mr. Crocker, and it had delighted him
beyond measure when the professor allowed him to place his stool so
that he could almost duplicate his earlier drawing. His ambition was to
get into the life-class, and the quickest road, he knew, lay through a
good cast drawing. Every night for a week, therefore, he had followed
the wonderful lines of the Milo's beautiful body, which seemed to grow
with warmth under the flare of the overhanging gas-jets.
Public-domain text, read in full here on John Shaqi.
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