These remarkable specimens of sculpture, have been recently exhibited
in this city, and have attracted, we believe, universal admiration. The
artist is a native of Ayrshire, Scotland,--which also gave birth to the
Immortal Bard, whose conceptions are so happily illustrated by the
genius of the sculptor. Not pretending ourselves to any of those
mysterious capabilities, which are claimed by _connoiseurs_ and
_amateurs_, to judge of the productions of art; we rely upon our simple
perceptions of what is both true and excellent, in their design and
execution. The following is the passage from Burns, which the artist
has chosen in order to give visible and tangible form to the poet's
fancy:
Ae market night,
Tam had got planted unco right,
Fast by an ingle, bleezing finely,
Wi' reaming swats, that drank divinely;
And at his elbow Souter Johnny,
His ancient trusty, drouthy crony:
Tam lo'ed him like a vera brither;
They had been fou for weeks thegither.
The night drave on wi' sangs and clatter,
And aye the ale was growin' better:
The landlady and Tam grew gracious,
Wi' favours, secret, sweet, and precious:
The Souter tauld his queerest stories,
The landlord's laugh was ready chorus:
The storm without might rair and rustle,
Tam did na mind the storm a whistle.
Never perhaps, as is well observed by a political journal in this city,
was the genius of art so truly impressed upon stone, as in the present
instance,--to represent human bodies in a state of petrifaction. A
reader of Romance, would almost imagine that the wand of enchantment
had passed over the merry group, and had frozen the currents of
life--without disturbing the mirth, enlivened feature, the arch and
humorous look,--or the easy and careless attitudes of nature. We admire
the productions of the great masters of modern times, or, of classical
antiquity--but, whilst we gaze, we never once even _imagine_ that the
promethean spark might have animated the marble. Belonging, as most of
them do, to the _ideal_ schools of sculpture--imbodying all that is
fair and beautiful, in the artist's conception; rather than what is
absolutely true in the visible forms of nature,--they do not strike us
with the same irresistible force, or so instantly seize upon our
feelings--as does the rude, simple, but faithful sculpture of this
unlettered and inexperienced Scottish stone-cutter. Considering that
Mr. Thom was entirely ignorant of the rules of his art,--that he had
not even the advantage of first modelling his productions in
clay,--that the group from Tam O'Shanter is among his first efforts,
and that each of these fine pieces, was hewn at once out of the
shapeless stone, without the power of correcting the mistakes of his
chisel as he proceeded,--the mind is lost in wonder at the vigor and
originality of his genius. Such a man is worthy the birthplace of
Robert Burns,--who little thought whilst he was sketching the
hilarities of the ale-house, that one of his countrymen would so soon
arise to present in the forms and models of a sister art, so fine a
representation of the scene. The following detailed account of the
artist, and of his singularly successful labors, is extracted from an
Edinburg journal. We copy it from "_The People's Magazine_." It will be
highly interesting to most of our readers:
James Thom, the sculptor of these wonderful figures, is a native of
Ayrshire, and of respectable parentage near Tarbolton. Although, like
those of his countryman and inspirer, his relatives were all engaged in
agricultural pursuits, (his brothers, we understand, possess large
farms,) the young man himself preferred the occupation of a mason, and
was, accordingly, apprenticed to a craftsman in Kilmarnock. This
profession was probably selected as offering the nearest approach to
the undefined workings and predilections of his own inexperienced mind,
since he was not, as in the instance of several sculptors of eminence,
thrown first into the trade of a stone mason by the force of
circumstances. This would appear from his showing little attachment to
the drudgery of the art: accordingly, his first master is understood to
have pronounced him rather a dull apprentice. From the beginning, he
seems to have looked forward to the ornamental part of his calling; and
in a country town where there was little or no opportunity of
employment in that line, to those more immediately concerned, he might
appear less useful than a less aspiring workman. The evidences of young
Thom's diligence and talent at this time, however, still remain in
numerous specimens of carving in stone, which he himself still
considers, we are told, as superior to any thing he has yet done.
His term of apprenticeship being expired, Mr. Thom repaired to Glasgow
in pursuit of better employment. Here his merits were immediately
perceived, and so well rewarded, that his wages were considerably
higher than the ordinary rate.
In his present profession, Mr. Thom's career may be dated from the
commencement of the winter of 1827. Being employed at this time in the
immediate neighborhood, he applied to Mr. Auld, of Ayr, who afterwards
proved his steady and judicious friend, for permission to take a sketch
from a portrait of Burns, with the intention of executing a bust of the
poet. This is a good copy of the original picture by Mr. Nasmyth, and
is suspended in the very elegant and classical monument, from a design
by Mr. Hamilton, erected to the memory of the bard, on the banks of the
Doon, near "Allowa's auld haunted kirk." The permission was kindly
granted; doubts, however, being at the same time expressed, how far the
attempt was likely to prove successful, Mr. Thom not being then known
in Ayr. These doubts seemed to be confirmed, on the latter returning
with a very imperfect sketch, taken by placing transparent paper on the
picture. These occurrences happened on the Wednesday, consequently
nothing could be done till Thursday, when materials were to be
procured, and other arrangements made, before the work was absolutely
begun. The surprise then may be conceived, on the artist returning on
the Monday following with the finished bust. In this work, though
somewhat defective as a likeness, the execution, the mechanical
details, and the general effect, were wonderful, especially when viewed
in connexion with the shortness of the time and the disadvantage of
being finished almost from memory--the very imperfect outline, already
mentioned, being the only _external_ guide. It was this general
excellence that encouraged the proposal of a full length figure--a
proposal to which the artist gave his ready assent, stating that he had
wished to undertake something of the kind, but did not consider it
prudent, without any prospect of remuneration, to hazard the expense
both of the block of stone and the loss of time. On this Mr. Auld
offered to procure any stone from the neighboring quarries which the
artist might judge fit for his purpose. Several days elapsed in this
search; in the meantime, the matter was rather laughed at than
encouraged; and some apprehensions of failure, and exposure to
consequent comments, being expressed, "Perhaps," said the artist,
endeavoring to re-assure his friends, "I had just better try my _hand_
at a _head_, as a specimen o' Tam." This being agreed to, he returned
to Crosby church-yard, where he was then employed upon a grave-stone.
The day following happened to be one of continued rain; and, finding
that the water filled up his lines; probably, too, thinking more on
"glorious Tam," than on the _memento mori_ he was attempting to
engrave, our artist resolved to take time by the forelock, and to set
about the "specimen head" directly. Accordingly, pulling from the ruins
of the church of Crosby a rabat of the door-way, as a proper material
for his purpose, he sat himself down among the long rank grass covering
the graves, and in that situation actually finished the head before
rising. Nay, more, although the day has been described to us "as a
dounright pour," so total was his absorption in the work--so complete
his insensibility to every thing else, that he declares himself to have
been unconscious of the "rattling showers," from the moment he
commenced. Such is the power of genuine and natural enthusiasm in a
favorite pursuit. This head, which contained perhaps, more expression
than even that of the present figure, decided the matter. Next day, the
block requisite for a full-length of Tam o' Shanter, was brought into
Ayr, a load for four stout horses, and placed in a proper workshop,
within Cromwell's fort.
It may be interesting to mention a few particulars of the manner in
which these figures have been composed and finished.--"Tam" was
selected by the artist as a subject for his chisel. The figure is
understood to bear a strong traditional resemblance to the well-known
Douglass Graham, some forty years ago a renowned specimen of a Carrick
farmer, and who, residing at Shanter, furnished to Burns the prototype
of his hero.
---- Souter Johnnie,
His antient, trusty, drouthie cronie--
is said to be a striking likeness of a living wight--a cobbler near
Maybole; not that this individual sat for his portraiture, but that the
artist appears to have wrought from the reminiscences of two interviews
with which he was favored, after twice travelling 'some lang Scotch
miles,' in order to persuade the said "souter" to transfer his body, by
means of his pair of soles, from his own to the artist's studio. The
bribe of two guineas a-week, exclusive of "half-mutchkins withouten
score," proved, however, unavailing, and the cobbler remained firm to
the _last_. By this refusal, "the birkie" has only become poorer by the
said couple of guineas, and certain "half-mutchkins drouthier," for so
true has the eye of the sculptor proved, that every one is said
instantly to recognise the cobbler's phiz and person. A strange
perverseness, indeed, or fatality, or what you will, seems to have
seized upon all the favored few selected as fitting archetypes for
these admirable figures. For, Tam's "nether man" occasioning some
anxiety in the perfecting of its sturdy symmetry, a carter, we believe,
was laid hold of, and the _gamashins_, being pulled on for
half-an-hour, Tam's _right leg_ was finished in rivalship of the said
gentleman's _supporter_. It appears to have been agreed upon that he
should return at a fitting opportunity, having thus left Tam
"hirpling:" but, in the interval, the story of the sitting
unfortunately taking _air_, and the soubriquet of "Tam o' Shanter"
threatening to attach to the lawful and Christian appellations of the
man of carts, no inducement could again bring him within the unhallowed
precincts of our sculptor's work-room. In like manner, though at a
somewhat later period, while the artist was engaged upon the figure of
the landlady, no persuasion could prevail upon one of the many "bonny
lasses" who have given such celebrity to Ayr, to exhibit even the
"fitting of their pearlings" to Mr. Thom's gaze. One sonsy damsel, on
being hard pressed to grant a sitting, replied, "Na, na, I've nae mind
to be nickinamed 'landlady;' and, as for gudewife, twa speerings maun
gang to that name."
It will, doubtless, excite the admiration of every one in the slightest
degree conversant with the Arts, that these figures, so full of life,
ease and character, were thus actually executed without model, or
drawing, or palpable archetype whatsoever. The artist, indeed, knows
nothing of modelling; and so little of drawing, that we question if he
would not find difficulty in making even a tolerable sketch of his own
work. The chisel is his modelling tool--his pencil--the only instrument
of his art, in short, with which he is acquainted, but which he handles
in a manner, we may say, almost unprecedented in the history of
sculpture.--This, however, is the minor part; for we think, nay, are
sure, we discover in this dexterity of hand, in this unerring precision
of eye, in this strong, though still untutored, conception of form and
character--the native elements of the highest art. These primodial
attributes of genius, by proper culture, may do honor to the country
and to their possessor. At all events, instruction will refine and
improve attempts in the present walk of art, even should study be
unable to elevate attainment to a higher. Now, however, it would be not
only premature, but unjust, to criticise these statues as regular
labors of sculpture. They are to be regarded as wonderful, nay, almost
miraculous, efforts of native, unaided, unlearned talent--as an
approach to truth almost in spite of nature and of science; but they do
not hold with respect to legitimate sculpture--the high-souled, the
noblest, the severest of all arts--the same rank as, in painting, the
works of the Dutch masters do as compared with the lofty spirits of the
Romans--precisely for this reason, that while similar subjects are not
only fit, but often felicitous, subjects for the pencil, they are
altogether improper objects of sculptural representation.
Though, from the circumstance of being the principals in the
composition, and from the intrinsic excellence of their conception,
these two figures have chiefly occupied the public attention, they
ought not to induce forgetfulness of the artist's other labors. These,
besides the Landlord and his mate, consist of several[1] copies, in
various sizes, of this original group, and of numerous sculptures, of
different character and purpose, from a "head-stane" upwards, executed
by Mr. Thom, since his residence in Ayr as a professional stone-cutter.
Here his studio is the resort of all intelligent strangers who visit
this ancient and beautiful burgh; while his modest manners, and moral
worth have conciliated the respect of every one. The character of the
Landlady is well sustained, as the buxom bustling head of a well
frequented "change-house." Her lord and master, on the other hand, is
represented as one who has little to say in his own house, and better
qualified to drink, than to earn his pint. The former seems by no means
disinclined to reciprocate glances with Tam; while the latter is so
convulsed with laughter at the Souter's stories, as to be hardly
capable of maintaining the equipoise of the foaming tankard in his
hand. Neither, however, is equal in graphic truth and humor to their
two companions. A more gigantic, but by no means so happy a work, is
the statue of the Scottish patriot, lately placed in the niche of the
New Tower, just erected in Ayr, on the site of the ancient "Wallace
Tower" of Burns. In fact, we regard this figure as nearly a failure. It
possesses neither the truth of nature, nor the dignity of ideal
representation. Omitting others of less moment, we shall pass to the
most perfect of all Mr. Thom's works--the figure of "Old Mortality."
This, though only a model, and not yet, we believe, even commissioned
in stone, offers by far the most striking evidence of genius in its
author.[2] The costume, attitude, and expression of the old man, as he
is represented sitting upon a grave-stone, which he has been occupied
in cleaning, are most admirable; and perhaps no artist ever more
completely realized the exquisite conception of the original mind. The
history of this composition supplies a striking instance of the power
of genius over spirits of a congenial stamp, and of the singular
coincidences which sometimes take place in its manner of conceiving the
same sentiment. During a voyage to London, in a Leith steam packet, Mr.
Thom one day found in the cabin, Sir Walter's delightful tale of Old
Mortality, which he had never read. Taking it up, he quickly became
entirely engrossed in the narrative. The description of the old man, to
whom posterity is indebted for many a record, else lost, of our
single-minded sufferers for conscience' sake--so fixed itself upon the
artist's imagination, that he instantly conceived the idea of
representing it in sculpture. By way of concentrating his thoughts, he
sketched a figure in the imagined attitude, on one of the boards of the
book he had been reading. Pleased with his idea, he transferred it to
his pocket-book. A few days after his arrival in London, he was
introduced to our celebrated countryman, Wilkie, who, with his
accustomed kindness, showed him his portfolios. Mr. Thom's surprise may
be imagined, when in one of these he found a sketch of Old Mortality,
almost identical with his own, executed by Wilkie several years before.
The same thought had struck both, and almost in the same manner.
[Footnote 1: There are now five sets; three of which are the size of
life, and two, four and twenty inches high. One set is, or is to be
deposited at the temple called the tomb of Burns, in Ayrshire.--Another
belongs to Lord Cassili. The third is in this country.]
[Footnote 2: Since the above has been published, Thom has nearly
finished his Old Mortality in a block too small for his conception, and
which will oblige him to execute an entirely new figure.]
[We extract the following affecting story from the "_Western Monthly
Magazine_." Though written in the form of romantic narrative, it
presents one of the strongest cases we recollect to have seen, in which
innocence is overborne by powerful but false appearances of guilt. It
is certainly a strong illustration of the danger of convicting a fellow
creature, upon what is technically called _presumptive evidence_, a
topic upon which the gentlemen of the bar are furnished with as wide a
field for the display of professional ingenuity, as upon any other in
the whole compass of jurisprudence. That it is often safe, and
indispensably necessary however to rely upon such kind of evidence, is
so obvious in itself--and so well established as a legal maxim--that
the danger of sometimes convicting, upon a train of specious but
deceptive circumstances, is less than the evil of acquittal in the
absence of positive, conclusive, and infallible testimony.]