many curious and interesting facts of old as well as new time, some of
which we should, on the whole, be rather glad to forget. Without
confessing that we were sinners above others, we yet are not so clean
given over to mutual admiration as to take special pleasure in learning
that Hugh Bowett was banished for maintaining that he was free from
original sin, (though in our day we generally find such saints
disagreeable enough to deserve banishment,)--nor that Oliver Holmes was
whipped for being a Baptist,--nor that William Robinson and Marmaduke
Stevenson were hung on the Common as Antinomians and heretics,--nor that
a Frenchman, who was _suspected_ of setting a fire near the dock, which
consumed eighty buildings, was sentenced to stand in the pillory, to
have both ears cut off, pay charges of court, give five hundred pounds
bonds with sureties, and stand committed till sentence was performed. We
must also suspect the early English traveller, Mr. Ward, of a little
Old-Country prejudice, when he writes of Boston,--"The buildings, like
their women, are neat and handsome; and their streets, like the hearts
of their men, are paved with pebbles. They have four churches, built
with clapboards and shingles, and supplied with four ministers,--one a
scholar, one a gentleman, one a dunce, and one a clown. The captain of a
ship met his wife in the street after a long voyage, and kissed her, for
which he was fined ten shillings. What a happiness, thought I, do we
enjoy in Old England, where we can not only kiss our own wives, but
other men's, without a danger of penalty!" Unquestionably Boston was no
place for Mr. Ward, and Mr. Ward not at all the man for Boston. Yet,
with an occasional blemish and many a casualty, the record is also one
of good works and alms-deeds.
Reading the Police Recollections is like peering down through a crevice
into some subterranean cavern, where an intense convulsive activity
prevails without ceasing, day and night. The actors seem scarcely to be
men and women, but such puppets as dance on electric machines, of
movements too swift and sudden for human beings, too reckless,
eccentric, and apparently inconsequent for moral beings. A certain
phenomenal life they have, a fitful flare of gusty, fierce existence,
and then the instant flicker and fading into extinction. Yet the
philanthropist remembers, with a sigh, that these are living souls,
children of the same Father as himself, amenable to the same laws,
accountable at the same judgment-seat; and the practical question bears
down upon him with ever-increasing force, How shall these outcasts of
society be brought into the Father's house?
More hopeless than the Pariahs are the Brahmins of our
heathenism,--those miserable men whose corrupt lives are glossed over
with a varnish of respectability. Church, assembly, and drawing-room see
the outer surface; the police know the under side, and a sorry side it
seems too often to be. The solid man of Boston bears himself loftily to
wife, child, and neighbor; but the bluecoat on the corner perceives a
shameful secret of crime and guilt lurking under the fair outward
seeming. These are the spots in our feasts of charity.
There are kind hearts for sorrow, as well as sharp eyes for crime, among
our policemen, as many a deed of charity and humanity bears witness; and
their varied duties bring them into contact with human nature in its
oddest manifestations. At a large fire they were obliged to carry out by
main strength "an old lady weighing nearly two hundred pounds, very much
against her will.... When told that her life was in danger, she replied,
'It is all bosh that ye tell me. Has not my landlord repeatedly told me
that the house was insured?' Kitty Quadd was very much delighted that
her trunk had been found. 'It's not the value of me clothing, Sir, but
it's me character that's there,--me character it is'; and, hurrying her
hand into the pocket of an old dress, as she lifted it from the trunk,
she drew forth a dirty piece of paper with much apparent satisfaction.
'This is it, an' sure enough it's safe it is, and it's yerself that
shall read it too, for yer kindness,' said she. I unfolded the paper,
and read as follows:--
"'This certifies that Kitty Quadd is a good domestic, capable of doing
all kinds of work; _but she will get drunk_ when opportunity offers.
"'(Signed) MRS. S----.'"
_The Life of Michael Angelo._ By HERMAN GRIMM. Translated,
with the Author's Sanction, by FANNY ELIZABETH BUNNETT. Two
Volumes, Boston; Little, Brown, & Co.
Although it is impossible, in the short space usually allotted to
book-notices, to criticize such an important work as M. Grimm's Life of
Michael Angelo, a concise description of its contents may still be
desirable. The work may be taken as an example of the great advance made
in the art of writing biography since the commencement of the present
century. Old biographies, like old histories, are little else than
gossiping chronicles of events, interspersed with vague moral
reflections, which usually have as much to do with every other subject
in the realm of thought as with the subject especially under
consideration. The present generation, however, has produced histories,
like those of Buckle and Draper, which, whether successfully or not,
have endeavored to exhibit the causal relation of events to one another.
In them, historic occurrences are viewed as the evidence, confirmatory
or illustrative, of certain laws of progress, the elucidation of which
is the main object of the work. A similar change has occurred in the
manner of writing biography. The Life of Robespierre, and the still more
elaborate and finished Life of Goethe, by Mr. Lewes, have aimed at
presenting the circumstances which influenced the development of their
heroes,--at showing us the steps by which they have obtained, the one an
infamous and horrible notoriety, the other the love and veneration of
mankind, both now and as long as mankind shall endure. The work of M.
Grimm is in some respects similar to these. The author is not content
with telling us when the great Michael Angelo was born, when he died,
who his parents were, what he painted, wrote, sculptured, and builded,
where he lived, and how many feet and inches he measured in his
stockings. He aims at more than this. He presents us with a vivid
picture of the life and manners, the opinions and feelings of Italian
men at the time when this great creative genius lived. He sets before us
the circumstances which guided his career, the occurrences upon which
his intellect was brought to bear, and the objects with which his
imagination was nurtured. In short, he shows us Michael Angelo in his
environment. The life of Michael Angelo is, indeed, peculiarly
susceptible of such a treatment. To a far greater extent in him than in
most creators can be traced the influence of external circumstances. His
long life, extending over nearly a century, was affected for good or ill
by very many of the great political events contemporaneously
occurring,--and few other ages have been more fruitful in great events.
Born in 1475, in the good old days of Florentine freedom under the
earlier Medici, when the Arabs still ruled from the Alhambra the fairest
portion of Spain, when America was yet undiscovered, and before England
had recovered from the civil wars of the Roses, his life extended to
1564, to the times of Elizabeth, of Philip II., and of William the
Silent. He saw the end of the Middle Ages and the beginning of modern
times. He beheld the rise and fall of Savonarola; the invasions of
Naples by Charles VIII. and Louis XII., and its conquest by Gonsalvo;
the struggle for supremacy between Charles V. and Francis I.; the rise
of Protestantism and the establishment of the Inquisition; the horrible
sack of Rome by the troops of De Bourbon; and the extinction of liberty
in his native city,--the robbing of the Florentine Peter in 1530 to
reimburse the Roman Paul for damages sustained in 1527. In the last
fearful struggle of the Florentines for their liberty Michael Angelo
took an important part. The city-walls were fortified under his
direction, and not a day of the dreadful siege saw him absent from his
post on San Miniato. Before that, he had been connected with the
proceedings of Savonarola; and his marvellous group of the Mourning
Madonna and the Dead Christ is supposed by Grimm to have been called
forth by the sad occurrences of 1498. He was connected with Lorenzo de'
Medici, Piero his son, Julius II., Leo X., Clement VII, Paul III., Paul
IV., and Pius IV.; and the complicated affairs of each of these rulers
affected at every turn his life, and not unfrequently gave to his labors
an entirely new direction.
It is M. Grimm's great merit to have described all these events so that
they appear with the vividness of contemporaneous history, and to have
clearly indicated their effect upon the life of his hero. He has given
us a charming history of the sixteenth century, with Michael Angelo as
its colossal central figure. The work contains much else that is
admirable: reflections upon Grecian and Venetian art, and a sketch of
the history of design in later times.--But to discuss or even to
enumerate all its beauties, and to criticize its few defects, would be
here impossible. We will therefore dismiss the subject, hoping that M.
Grimm may gratify and instruct us by still further productions of the
nature of that which has already rendered him so illustrious.
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