William Hamilton Gibson: artist—naturalist—authorAdams, John Coleman
General
William Hamilton Gibson: artist—naturalist—author
Adams, John Coleman
Gibson, W. Hamilton (William Hamilton), 1850-1896; Illustrators -- United States -- Biography
His notebooks show the broad scope of his observations and of his
studies. They cover every corner of natural life. One day he would go
out and bring back material for pages of memoranda concerning the chase
of what he believed to be a hermit thrush. On another day he makes an
entry of fourteen varieties of golden-rod analyzed, six kinds of aster,
and, as he adds, “many others.” One page of his notes gives the results
of careful experiments with three dozen dandelion blossoms, to determine
how long the flower requires to pass from bud to the state when it
floats away in silvery down. Another passage records in a minute
description his first observation of the snapping of the witch-hazel
seeds, to which he adds a list of a dozen subjects for illustration. He
counts the number of different plants he finds in his city back-yard.
He sets down the things seen in a walk through the Park with a lantern,
from nine o’clock to eleven at night. He notes that on a certain June
29th, in the midst of a heavy thunder storm he heard the song of the
Wilson thrush in the woods near his house. He makes liberal memoranda of
the things most touching his attention after a fresh snow-fall. He sets
down a list of more than a score of birds whose song he heard “in a
continuous roundel,” while sitting on his porch on a quiet Sunday.
Thoreau in his hermit haunts at Walden was not more minute and attentive
in his observations than this eager three-fold worker, hurrying from
city to country and back to city again, equally busy at sketching, and
writing, and observing. There are pages upon pages of his notes which
read like the “Natural History of Selborne” in their detailed and
leisurely narrative of things seen and heard in the fields and beside
the brooks. In these records of his intermittent life in the country one
never hears the faintest echo of the bustling round of the dweller in
cities. He drops all that when he locks the door of his town-house
behind him. Once in the open air he is again the free and buoyant youth,
preoccupied only by the purposes and the pursuits which belong to the
open air, the meadow, and the wood. Indeed it seems as if his early
training and experiences, those school-days at the “Gunnery,” the
passions there born, the habits there fostered and confirmed, lay at
the basis of all his life afield. He himself somewhere said: “To the
average observer, if the eye is ever thus to be a means of grace, it
must store up its harvest while hearts are light and life is new, when
eyes are bright and undimmed. How many a prisoner caged in city walls is
living on the harvest stored in free, unburdened youth, which has never
been replenished.” Perhaps that was true of this observer so much above
the “average,” and caught for half his time in the city’s durance.
But even there he proved again the truth of Lovelace’s lines:
“Stone walls do not a prison make
Nor iron bars a cage.”
He made the city rural, and told others his secret:
Public-domain text, read in full here on John Shaqi.
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