Chapter VIII: Part 8

The time had come for decisive action. Grant's orders were, "Put yourself south of the enemy and follow him to the death. I feel every confidence that you will do the best, and will leave you as far as possible to act on your own judgment, and not embarrass you with orders and instructions." About the middle of September Grant visited Sheridan with a plan of battle for him in his pocket, but he said afterward, "I saw that there were but two words of instruction necessary, 'Go in.' The result was such that I have never since deemed it necessary to visit General Sheridan before giving him orders."

The battle of Opequan was fought Sept. 19, 1864, Early being completely routed and losing about four thousand men, five pieces of artillery, and nine army flags, with an equal loss of men by the Federals. The fight was a bitter one from morning till evening, a regiment like the One Hundred and Fourteenth New York going into the battle with one hundred and eighty men, and coming out with forty, their dead piled one above another! Sheridan at first stood a little to the rear, so that he might calmly direct the battle; but at last, swinging his sword, and exclaiming, "I can't stand this!" he rode into the conflict. The next day he telegraphed to Edwin M. Stanton, Secretary of War, "We have just sent them whirling through Winchester, and we are after them to-morrow. This army behaved splendidly."

This battle quickened the hope and courage of the North, who begun to see the end of the devastating war. "Whirling through Winchester" was reported all over the land. Abraham Lincoln telegraphed, "Have just heard of your great victory. God bless you all, officers and men! Strongly inclined to come up and see you." Grant ordered each of his two Richmond armies to fire a salute of one hundred guns.

The next day Sheridan passed on after Early, and gave battle at Fisher's Hill, the Confederates losing sixteen guns and eleven hundred prisoners, besides killed and wounded. Many of these belonged to Stonewall Jackson's corps, and were the flower of the Southern army. "Keep on," said Grant, "and your good work will cause the fall of Richmond." Secretary Stanton ordered one hundred guns to be fired by various generals, fifteen hundred guns in all, for Fisher's Hill. Early was now so thoroughly beaten, that the Richmond mob wrote on the guns forwarded to him by the South the satirical sentence, "General Sheridan, care of General Early!" Grant's orders were now to lay waste the valley, so that Lee might have no base of supplies. Over two thousand barns filled with grain, over seventy mills, besides bridges and railroads were burned, and seven thousand cattle and sheep appropriated by the Union army. Such destruction seemed pitiful, but if the war was thereby shortened, as it doubtless was, then the saving of bloodshed was a blessing.

Oct. 15 Sheridan was summoned to Washington for consultation. Early, learning his absence, and having been reinforced by twelve thousand troops, decided at once to give battle at Cedar Creek. His army marched at midnight, canteens being left in camp, lest they make a noise. At daybreak, Oct. 19, with the well-known "rebel yell" the enemy rushed upon the sleeping camps of the Union army. Nearly a thousand of our men were taken prisoners, and eighteen guns. A panic ensued, and in utter confusion, though there was some brave fighting, our troops fell back to the rear. Sheridan, on his way from Washington, had slept at Winchester that night, twenty miles away. At nine o'clock he rode out of the town on his splendid black horse, unconscious of danger to his army. Soon the sound of battle was heard, and not a mile away he met the fugitives. He at once ordered some troops to stop the stragglers, and rushed on to the front as swiftly as his foaming steed could carry him, swinging his hat, and shouting, "Face the other way, boys! face the other way! If I had been here, boys, this never should have happened." Meeting a colonel who said, "The army is whipped," he replied, "You are, but the army isn't!"

Rude breastworks of stones, rocks, and trees were thrown up. Then came desperate fighting, and then the triumphant charge. The first line was carried, and then the second, Sheridan leading a brigade in person. Early's army was thoroughly routed. The captured guns were all retaken, besides twenty-four pieces of artillery and sixteen hundred prisoners. Early reported eighteen hundred killed and wounded.

Again the whole North rejoiced over this victory. Sheridan was made a major-general in the regular army "for the personal gallantry, military skill and just confidence in the courage and gallantry of your troops displayed by you on the 19th day of October at Cedar Run," said Lincoln, "whereby, under the blessing of Providence, your routed army was reorganized, a great national disaster averted, and a brilliant victory achieved over the rebels for the third time in pitched battle within thirty days." General Grant wrote from City Point, "Turning what bid fair to be a disaster into a glorious victory stamps Sheridan what I always thought him, one of the ablest of generals."

Well wrote Thomas Buchanan Read in that immortal poem, "Sheridan's Ride":--

"Hurrah! hurrah for Sheridan!
Hurrah! hurrah for horse and man!
And when their statues are placed on high,
Under the dome of the Union sky,
The American soldier's Temple of Fame,
There with the glorious General's name,
Be it said in letters both bold and bright,
'Here is the steed that saved the day,
By carrying Sheridan into the fight
From Winchester, twenty miles away!'"

The noble animal died in Chicago, October, 1878.

"In eleven weeks," says General Adam Badeau, "Sheridan had taken thirteen thousand prisoners, forty-nine battle flags, and sixty guns, besides recapturing eighteen cannon at Cedar Creek. He must besides have killed and wounded at least nine thousand men, so that he destroyed for the enemy twenty-two thousand soldiers."

And now the only work remaining was to join Grant at Richmond in his capture of Lee. He had passed the winter near Winchester, and now having crossed the James River, April 1, 1865, was attacked by General Pickett at Five Forks. After a severe engagement about five thousand prisoners were taken by Sheridan, with thirteen colors and six guns. His magnetic influence over his men is shown by an incident narrated by General Badeau. "At the battle of Five Forks, a soldier, wounded under his eyes, stumbled and was falling to the rear, but Sheridan cried, 'Never mind, my man; there's no harm done!' and the soldier went on with a bullet in his brain, till he dropped dead on the field."

From here he pushed on to Appomattox Court House, where he headed Lee's army, and waited for Grant to come up. Richmond had surrendered to Grant on the morning of April 3. On the 7th of April Grant wrote to Lee, "The result of the last week must convince you of the hopelessness of further resistance on the part of the Army of Northern Virginia in this struggle. I feel that it is so, and regard it as my duty to shift from myself the responsibility of any further effusion of blood, by asking you to surrender that portion of the Confederate States Army known as the Army of Northern Virginia." Lee replied, "Though not entertaining the opinion you express on the hopelessness of further resistance on the part of the Army of Northern Virginia, I reciprocate your desire to avoid useless effusion of blood, and therefore, before considering your proposition, ask the terms you will offer on condition of its surrender." The reply was the only one that could be given. "The terms upon which peace can be had are well understood. By the South laying down their arms they will hasten that most desirable event, save thousands of human lives, and hundreds of millions of property not yet destroyed."

At one o'clock, April 9, 1865, the two able generals met, and at four it was announced that the Army of Northern Virginia, with over twenty-eight thousand men, had surrendered to the Army of the Potomac. Memorable day! that brought peace to a nation tired of the horrors of war. In July, Sheridan assumed command of the Military Division of the Gulf. Ten years later, June 3, 1875, when he was forty-four years old, he married Miss Irene Rucker, the daughter of General D. H. Rucker, for years his friend. She is a fine linguist, and a charming woman. Their home in Chicago has many souvenirs of war times, and tokens of appreciation from those who realize General Sheridan's great services to his country.

He was made Lieutenant-General, March 4, 1869, and when General Sherman retired from the position of Commander-in-Chief of the Army, Nov. 1, 1883, Sheridan moved to Washington, to take his place. The office of "Lieutenant-General" expires with General Sheridan, he being the last of our three great and famous generals,--Grant, Sherman, and Sheridan. In this latter city he has a home purchased by thirty-one of his leading friends from Chicago. He is devoted to his wife and children, honest, upright, and manly, and deserves the honors he has won.

* * * * *

General Sheridan was taken ill of heart disease about the middle of May, 1888. After three months, he died at Nonquitt, Mass., near the ocean, at twenty minutes past ten on the evening of August 5, 1888. He left a wife and four children, a girl of eight, a boy of six, and twin daughters of four. After lying in state at Washington, he was buried with military honors at Arlington Heights, on Saturday, August 11, in the midst of universal sorrow.

THOMAS COLE.

Four of my favorite pictures from childhood have been Cole's "Voyage of Life." I have studied the tiny infant in the boat surrounded by roses, life's stream full of luxuriant vegetation; the happy, ambitious youth, looking eagerly forward to the Temple of Fame, steering the boat himself, with no need of aid from his guardian angel; then the worried and troubled man, his boat tossing and whirling among the broken trees and frightful storms that come to all; and lastly, perhaps most beautiful, the old man sailing peacefully into the ocean of eternity, the angel having returned to guide him, and the way to heaven being filled with celestial spirits. I have always hung these pictures near my writing-table, and their lesson has been a helpful and inspiring one.

No wonder that Thorwaldsen, the great sculptor, said when he looked upon them in Rome, "O great artist! what beauty of conception! what an admirable arrangement of parts! what an accurate study of nature! what truth of detail!" He told Cole that his work was entirely new and original, executed in a masterly manner, and he commended the harmony of color.

These pictures are hung in thousands of homes; but how few persons know the history of the artist! Born in England, Feb. 1, 1801, the only son in a family of eight children, and the youngest but one, we find him when a mere child, in some print-works, learning to engrave simple designs for calico. His father, a woolen manufacturer, had failed in business, and the family were thrown upon themselves for support. He was a kind and honest man, always hoping to succeed, but never succeeding; always trying new scenes to build up his fortune and never building it. Like other fathers, especially those who have been disappointed in life, he had hopes that his boy would accomplish more than himself.

He wished to apprentice him to an attorney or to an iron manufacturer, but Thomas saw no pleasure in Blackstone, or in handling ponderous iron. A boy of tender feelings, he found little companionship with his fellow-operatives, most of whom were rough; and he enjoyed most an old Scotchman who could repeat ballads, and tell of the beautiful hills and lakes of his native land. When he had leisure, he wandered with his sister Sarah into the surrounding country; and while she sang, he accompanied her with his flute.

With little opportunity for school, he was a great reader; and when through with designs for calico for the day, he buried himself in books, especially about foreign countries, and in imagination clambered over high mountains, and sailed upon broad rivers. He talked much to the family of the wonders of the New World; and when he was eighteen, they all sailed for America. The father rented a little house and shop in Philadelphia, and began to sell the small stock of dry-goods which he had brought with him, while Thomas found work with a person who supplied woodcuts for printers.

The father soon became dissatisfied with his prospects, and moved his family to Steubenville, Ohio, where he hoped to find a land flowing with milk and honey. Thomas remained behind, working on some illustrations for Bunyan's "Holy War," keeping up his spirits with his beloved flute; going to Steubenville the next year, walking almost the entire way from Philadelphia.

Here he worked in his father's small manufactory of paper-hangings; yet he had longings to do some great work in the world, as he wandered alone in the wild and charming scenery. He loved music, architecture, and pictures, but he hardly dared breathe his aspirations save in a few verses of poetry. How in that quiet home a boy should be born who had desires to win renown was a mystery. Nobody knows whence the perilous but blessed gift of ambition comes.

About this time a portrait-painter by the name of Stein came to the village. He took an interest in the poetic boy, and loaned him an English illustrated work on painting. Thomas had already acquired some skill in drawing. Now his heart was on fire as he read about Raphael, Claude Lorraine, and Titian, and he resolved to make painting his life-work. How little he knew of the obstacles before a poor artist!

He set to work to make his own brushes, obtaining his colors from a chair-maker. His easel and palette were of his own crude manufacture. The father had serious misgivings for his son; but his mother encouraged him to persevere in whatever his genius seemed to lie. As a rule, women discover genius sooner than men, and good Mary Cole had seen that there was something uncommon in her boy. His brushes ready, putting his scanty wearing apparel and his flute in a green baize bag, hung over his shoulder, the youth of twenty-one started for St. Clairsville, thirty miles distant, to begin life as a painter. He broke through the ice in crossing a stream, and, wet to his breast, arrived at the town, only to find that a German had just been there, and had painted all the portraits which were desired.

However, a saddler was found who was willing to be painted, and after five days of work from morning till night, the young artist received a new saddle as pay. A military officer gave him an old silver watch for a portrait, and a dapper tradesman a chain and key, which proved to be copper instead of gold. For some other work he received a pair of shoes and a dollar. All these, except the dollar, he was obliged to give to his landlord for board, the man being dissatisfied even with this bargain.

From here Thomas walked one hundred miles to Zanesville, and to his great sorrow, found that the German had preceded him here also, and painted the tavern-keeper and his family. The landlord intimated that a historical picture would be taken in payment for the young stranger's board. Accordingly an impromptu studio was arranged. A few patrons came at long intervals; but it was soon evident that another field must be chosen. What, however, was young Cole's astonishment to find that the historical painting would not be received for board, and that if thirty-five dollars were not at once paid, he would be thrust into jail! Two or three acquaintances became surety for the debt to the unprincipled landlord, and the pale, slender artist hastened toward Chillicothe with but a sixpence in his pocket.

After walking for three days, seventy-five miles, he sat down under a tree by the roadside, wellnigh discouraged, in the hot August day; but when the tears gathered in his eyes, he took out his flute, and playing a lively air, his courage returned. He had two letters of introduction in his pocket, given him at Zanesville, and these he would present, whispering to himself that he must "hold up his head like Michael Angelo" as he offered them. The men who received them had little time or wish to aid the young man. A few persons sat for their portraits, and a few took lessons in drawing; but after a time he had no money to pay for washing his linen, and at last no linen even to be washed. Still enthusiastic over art, and with visions of Italy floating in his mind, yet penniless and footsore, he returned to Steubenville to tell his sorrows to his sympathetic mother. How her heart must have been moved as she looked upon her boy's pale face, and great blue eyes, and felt his eager desire for a place of honor in the world, but knew, alas! that she was powerless to aid him.

He took a plain room for a studio, painted some scenes for a society of amateur actors, and commenced two pictures,--Ruth gleaning in the field of Boaz, and the feast of Belshazzar. One Sunday, some vicious boys broke into the studio, mixed the paints, broke the brushes, and cut the paintings in pieces. Learning that the boys were poor, Cole could not bear to prosecute them; and the matter was dropped. He soon departed to Pittsburgh, whither his parents had moved, and began to assist his father in making floor-cloths. Every moment of leisure he was down by the banks of the Monongahela, carefully drawing tree, or cloud, or hill-top.

Finally the old longing became irresistible. He packed his little trunk, his mother threw over his shoulders the table cover, with her blessing and her tears; and with six dollars in his purse, he said good-bye to the family and started for Philadelphia. Then followed, as he used to say in after years, the "winter of his discontent." In a poor quarter of the city, in an upper room, without a bed or fire or furniture, struggled poor Thomas Cole. Timid, friendless, his only food a baker's roll and a pitcher of water, his only bedding at night the table cover, he worked day by day, now copying in the Academy, and now ornamenting bellows, brushes, or Japan ware, with figures of birds or with flowers. Sometimes he ran down a neighboring alley, whipping his hands about him to keep his blood in circulation, lest he be benumbed. He soon became the victim of inflammatory rheumatism, and was a great sufferer. He still saw before him, someway, somehow, renown. Meantime his pure, noble soul found solace in writing poetry and an occasional story for the "Saturday Evening Post." After a year and a half he put his goods on a wheelbarrow, had them carried to the station, and started for New York, whither his family had moved.

He was now twenty-four. Life had been one continuous struggle. Still he loved each beauty in nature, and hoped for the good time to come. In his father's garret in Greenwich Street, in a room so narrow that he could scarcely work, and so poorly lighted that he was "perpetually fighting a kind of twilight," he labored for two years. Obstacles seemed but to increase his determination to persevere. Of such grand material are heroes made!

His first five pictures were placed for exhibition in the shop of an acquaintance, and were sold at eight dollars apiece. Through the courtesy of a gentleman who purchased three of these, he was enabled to go up the Hudson and sketch from nature among the Catskills. This was indeed a great blessing. On his return, he painted "A View of Fort Putnam," "Lake with dead trees," and "The Falls of the Caterskills." These were purchased at twenty-five dollars apiece by three artists,--Trumbull, Dunlap, and Durand.

Trumbull first discovered the merits of the pictures, buying the "Falls" for his studio, and invited Cole to meet Durand at his rooms. At the hour appointed the sensitive artist made his appearance, so timid that at first he could only reply to their cordial questioning by monosyllables. Colonel Trumbull said, "You surprise me, at your age, to paint like this. You have already done what I, with all my years and experience, am yet unable to do." Through the new friends, attention was called to his work, and he soon had abundant commissions. How his hungry heart must have fed on this appreciation! "From that time," said his friend, William Cullen Bryant, "he had a fixed reputation, and was numbered among the men of whom our country had reason to be proud. I well remember what an enthusiasm was awakened by these early works of his,--the delight which was expressed at the opportunity of contemplating pictures which carried the eye over scenes of wild grandeur peculiar to our country, over our arid mountain-tops with their mighty growth of forest never touched by the axe, along the banks of streams never deformed by culture, and into the depth of skies bright with the hues of our own climate; such skies as few but Cole could ever paint, and through the transparent abysses of which it seemed that you might send an arrow out of sight."

The struggles were not all over, but the "renown" of which the calico-designer had dreamed had actually come. Down in the heart of Mary Cole there must have been deep thanksgiving that she had urged him on.

He with a few others now founded the National Academy of Design. He took lodgings in the Catskills in the summer of 1826, and worked diligently. He studied nature like a lover; now he sketched a peculiar sunset, now a wild storm, now an exquisite waterfall. "Why do not the younger landscape painters walk--walk alone, and endlessly?" he used to say. "How I have walked, day after day, and all alone, to see if there was not something among the old things which was new!" He knew every chasm, every velvety bank, every dainty flower growing in some tanglewood for miles around. American scenery, with its untamed wilderness, lake, and mountain, was his chief passion. He found no pleasure, however, in hunting or fishing; for his kind heart could not bear to inflict the slightest injury.

The following spring he exhibited at the National Academy the "Garden of Eden and the Expulsion," rich in poetic conception; and in the fall sketched in the White Mountains, especially near North Conway, which the lamented Starr King loved so well. In the winter he was very happy, finishing his "Chocorua Peak." A visitor said, "Your clouds, sir, appear to move."

"That," replied the artist, "is precisely the effect I desire."

He was now eager to visit Europe to study art; but first he must see Niagara, of which he made several sketches. He had learned the secret, that all poets and artists finally learn,--that they must identify themselves with some great event in history, something grand in nature, or some immortal name. Milton chose a sublime subject, Homer a great war, just as some one will make our civil war a famous epic two centuries hence.

In June, 1829, he sailed for Europe, and there, for two years, studied faithfully. In London, he saw much of Turner, of whom he said, "I consider him as one of the greatest landscape painters that ever lived, and his 'Temple of Jupiter' as fine as anything the world has produced. In landscapes, my favorites are Claude Lorraine, and Gaspar Poussin."

Some of Cole's work was exhibited at the British Gallery, but the autumn coloring was generally condemned as false to nature! How little we know about that which we have not seen!

Paris he enjoyed greatly for its clear skies and sunny weather,--essentials usually to those of poetic temperament, though he was not over pleased with the Venuses and Psyches of modern French art. For nine months he found the "galleries of Florence a paradise to a painter." He thought our skies more gorgeous than the Italian, though theirs have "a peculiar softness and beauty." At Rome, some of his friends said, "Cole works like a crazy man." He usually rose at five o'clock, worked till noon, taking an hour for eating and rest, and then sketched again till night.

There was a reason for this. The support of the family came upon him, besides the payment of debts incurred by his father.

He felt that every hour was precious. In Rome, he found the Pantheon "simple and grand"; the Apollo Belvidere "the most perfect of human productions," while the Venus de Medici has "the excellence of feminine form, destitute in a great measure of intellectual expression"; the "Transfiguration," "beautiful in color and chiaroscuro," and Michael Angelo's "Moses," "one of the things never to be forgotten."

On his return to New York he took rooms at the corner of Wall Street and Broadway. Here he won the friendship of Luman Reed, for whom he promised to paint pictures for one room, to cost five thousand dollars. The chief pictures for Mr. Reed, who died before their completion, were five, called "The Course of Empire," representing man in the different phases of savage life, high civilization, and ruin through sin, the idea coming to him while in Rome. Of this group, Cooper, the novelist, said, "I consider the 'Course of Empire' the work of the highest genius this country has ever produced, and one of the noblest works of art that has ever been wrought."

In November, 1836, Mr. Cole was married to Maria Bartow, a young lady of refinement and loveliness of character. Soon after, both of his parents died. The "Departure and Return" were now painted, "among his noblest works," says Bryant, followed by the "Voyage of Life," for Mr. Samuel Ward, who, like Mr. Reed, died before the set was finished. This series was sold in 1876 for three thousand one hundred dollars. These pictures he had worked upon with great care and intensity. He used to say, "Genius has but one wing, and, unless sustained on the other side by the well-regulated wing of assiduity, will quickly fall to the ground. The artist must work always; his eye and mind can work even when his pen is idle. He must, like a magician, draw a circle round him, and exclude all intrusive spirits. And above all, if he would attain that serene atmosphere of mind in which float the highest conceptions of the soul in which the sublimest works have been produced, he must be possessed of a holy and reasonable faith."

The "Voyage of Life" was well received. The engraver, Mr. Smilie, found one morning before the second of the series, "Youth," a person in middle life looking as though in deep thought. "Sir," he said at length, "I am a stranger in the city, and in great trouble of mind. But the sight of these pictures has done me great good. I go away from this place quieted, and much strengthened to do my duty."

In 1841, worn in health, Cole determined to visit Europe again. He wrote from Kenilworth Castle to his wife, "Every flower and mass of ivy, every picturesque effect, waked my regret that you were not by my side.... How can I paint without you to praise, or to criticize, and little Theddy to come for papa to go to dinner, and little Mary with her black eyes to come and kiss the figures in the pictures?... My life will be burdened with sadness until I return to my wife and family." In Rome he received much attention, as befitted one in his position.

On his return, he painted several European scenes, the "Roman Campagna," "Angels Ministering to Christ in the Wilderness," "Mountain Ford" (sold in 1876 for nine hundred dollars), "The Good Shepherd," "Hunter's Return," "Mill at Sunset," and many others. For his "Mount Etna," painted in five days, he received five hundred dollars. How different these days from that pitiful winter in Philadelphia!

He dreaded interruptions in his work. His "St. John the Baptist in the Wilderness" was destroyed by an unexpected visit from some ladies and gentlemen, who quenched the fire of heart in which he was working. He sorrowfully turned the canvas to the wall, and never finished it. He had now come to the zenith of his power, yet he modestly said, "I have only learned how to paint." He built a new studio in the Catskills, in the Italian villa style, and hoped to erect a gallery for several paintings he had in contemplation, illustrating the cross and the world, and the immortality of the soul.

But the overworked body at forty-seven years of age could no longer bear the strain. On Saturday, Feb. 5, 1848, he laid his colors under water, and cleansed his palette as he left his studio. The next day he was seized with inflammation of the lungs. The following Friday, after the communion service at his bedside, he said, "I want to be quiet." These were his last words. The tired artist had finished his work. The voyage of life was over. He had won enduring fame.

OLE BULL.

In the quaint old town of Bergen, Norway, so strange with its narrow streets, peculiar costumes, and open-hearted people, that no traveller can ever forget it, was born, Feb. 5, 1810, Ole Bull, the oldest in a family of ten children. His father was an able chemist, and his mother a woman of fine manners and much intelligence. All the relatives were musical, and at the little gatherings for the purpose of cultivating this talent, the child Ole would creep under table or sofa, and listen enraptured for hours, often receiving a whipping when discovered.

He loved music intensely, fancying when he played alone in the meadows, that he heard nature sing, as the bluebells were moved among the grasses by the wind. When he was four years old, his uncle gave him a yellow violin, which he kissed with great delight, learning the notes at the same time as his primer. Although forbidden to play till study-hours were over, he sometimes disobeyed, and was punished both at home and at school.

(From his Memoirs, by SARA C. BULL.)]

Finally, at eight, through the good sense of his mother, a music-teacher was provided, and his father bought him a new red violin. The child could not sleep for thinking of it; so the first night after its purchase he stole into the room where it lay, in his night-clothes, to take one peep at the precious thing. He said years after, with tears in his eyes at the painful remembrance, "The violin was so red, and the pretty pearl screws did smile at me so! I pinched the strings just a little with my fingers. It smiled at me ever more and more. I took up the bow and looked at it. It said to me it would be pleasant to try it across the strings. So I did try it, just a very, very little, and it did sing to me so sweetly. At first, I did play very soft. But presently I did begin a capriccio, which I like very much, and it do go ever louder and louder; and I forgot that it was midnight and that everybody was asleep. Presently I hear something crack! and the next minute I feel my father's whip across my shoulders. My little red violin dropped on the floor, and was broken. I weep much for it, but it did no good. They did have a doctor to it next day, but it never recovered its health."

Pitiful it is that sometimes parents are so lacking in judgment as to stifle the best things in a child's nature! Guiding is wise; forcing usually ends in disaster. In two years, Ole could play pieces which his teacher found it impossible to perform. He began to compose melodies, imitating nature in the song of birds, brooks, and the roar of waterfalls; and would hide in caves or in clumps of bushes, where he could play his own weird improvisations. When he could not make his violin do as he wished, he would fling it away impetuously, and not touch it again for a long time. Then he would perhaps get up in the middle of the night, and play at his open window, forgetting that anybody might be awakened by it. Sometimes he played incessantly for days, scarcely eating or sleeping. He had no pleasure in fishing or shooting, on account of the pain inflicted,--a feeling seemingly common to noble and refined natures,--though he greatly enjoyed anything athletic.

At fourteen, having heard of Paganini, he went to his grandparent, of whom he was very fond, and said, "Dear grandmother, can't I have some of Paganini's music?"

"Don't tell any one," was the reply; "but I will try to buy a piece of his for you if you are a good child."

Shortly after this an old miser, of whom the Bergen boys were afraid, called Ole into his house one day as he was passing, and said, "Are you the boy that plays the fiddle?"

"Yes, sir."

"Then come with me. I have a fiddle I bought in England, that I want to show you."

The fiddle needed a bridge and sounding-post, and these the boy gladly whittled out, and then played for the old man his favorite air, "God save the King." He was treated to cakes and milk, and promised to come again. The next afternoon, what was his surprise to receive four pairs of doves, with a blue ribbon around the neck of one, and a card attached bearing the name of "Ole Bull." This present was more precious than the diamonds he received in later years from the hands of royalty.

Ole's father, with a practical turn of mind, urged his being a clergyman, as he honored that profession, and well knew that music and art usually furnish a small bank account. A private tutor, Musaeus by name, was therefore engaged. This man had the unique habit of kneeling down to pray before he whipped a boy, and asking that the punishment might redound to the good of the lad. He soon made up his mind that Ole's violin and theology were incompatible, and forbade his playing it. Ole and his brothers bore his harsh methods as long as possible, when one morning at half past four, as the teacher was dragging the youngest boy out of bed, Ole sprang upon him and gave him a vigorous beating. The smaller boys put their heads out from under the bed-clothes and cried out, "Don't give up, Ole! Don't give up! Give it to him with all your might!" The whole household soon appeared upon the scene, and though little was said, the private feeling seemed to be that a salutary lesson had been imparted.

At eighteen, Ole was sent to the University of Christiana, his father beseeching him that he would not yield to his passion for music. On his arrival, some Bergen students asked him to play for a charitable association.

"But," said Ole, "my father has forbidden me to play."

"Would your father prevent your doing an act of charity?"

"Well, this alters the case a little, and I can write to him, and claim his pardon."

After this he played nearly all night at the home of one of the professors, saying to himself that his father would be pleased if the Faculty liked him, and the next morning failed in his Latin examinations! In despair, he stated the case to the professor, who replied, "My good fellow, this is the very best thing that could have happened to you! Do you believe yourself fitted for a curacy in Finmark or a mission among the Laps? Certainly not! It is the opinion of your friends that you should travel abroad. Meanwhile, old Thrane having been taken ill, you are appointed _ad interim_ Musical Director of the Philharmonic and Dramatic Societies." A month later, by the death of Thrane, he came into this position, having gained the pardon of his disappointed father.

But he was restless at Christiana. He desired to know whether he really had genius or not, and determined to go to Cassell, to see Louis Spohr, who was considered a master. The great man was not sufficiently great to be interested in an unknown lad, and coolly said, when Ole remarked politely, "I have come more than five hundred miles to hear you," "Very well, you can now go to Nordhausen; I am to attend a musical festival there."

Ole went to the festival, and was so disappointed because the methods and interpretation were different from his own, that he resolved to go back to classic studies, feeling that he had no genius for music. Still he was not satisfied. He would go to Paris, and hear Berlioz and other great men. Giving three concerts at Trondhjeim and Bergen, by which he made five hundred dollars, he found himself in possession of the needed funds. When he arrived in this great city, everybody was eagerly looking out for himself. Some were in pursuit of pleasure; but most, as is the case everywhere, were in pursuit of bread and shelter. Nobody cared to hear his violin. Nobody cared about his recommendations from far-off Norway. In vain he tried to make engagements. He had no one to speak for him, and the applicants were numberless.

Madam Malibran was singing nightly to crowded houses, and the poor violinist would now and then purchase one of the topmost seats, and listen to that marvellous voice. His money was gradually melting away. Finally, an elderly gentleman who boarded at the same house, having begged him to take what little money he possessed out of the bank, as it was not a safe place, stole every cent, together with Ole's clothes, and left him entirely destitute.

An acquaintance now told him of a boarding-place where there were several music-teachers, and gave security for his board for one month,--twelve dollars. Soon the friend and the boarding-mistress grew cold and suspicious. Nothing tries friendship like asking the loan of money. At last his condition becoming known to a person, whom he afterward learned was Vidocq, the noted Chief of Police, he was shown by him to a gaming-table, where he made one hundred and sixty dollars. "What a hideous joy I felt," he said afterward; "what a horrid pleasure to hold in the hand one's own soul saved by the spoil of others!" He could not gamble again, though starvation actually stared him in the face.

Cholera was sweeping through the city, and had taken two persons from the house where he lodged. He was again penniless and wellnigh despairing. But he would not go back to Christiana. The river Seine looked inviting, and he thought death would be a relief. He was nervous and his brain throbbed. Finally he saw a placard in a window, "Furnished rooms to let." He was exhausted, but would make one more effort.

An elderly lady answered his query by saying that they had no vacant rooms, when her pretty granddaughter, Alexandrine Felicie, called out, "Look at him, grandmamma!" Putting on her glasses, the tears filled her eyes, as she saw a striking resemblance to her son who had died. The next day found him at Madam Villeminot's house, very ill of brain fever. When he regained consciousness, she assured him that he need not worry about the means for payment. When, however, the Musical Lyceum of Christiana learned of his struggles, they sent him eight hundred dollars.

Becoming acquainted about this time with Monsieur Lacour, a dealer in violins, who thought he had discovered that a certain kind of varnish would increase sweetness of tone, Ole Bull was requested to play on one of his instruments at a soiree, given by a Duke of the Italian Legation. An elegant company were present. The intense heat soon brought out the odor of assafoetida in the varnish. The young man became embarrassed and then excited, and played as though beside himself. The player was advertised, whether Monsieur Lacour's instruments were or not; for Marshal Ney's son, the Duke of Montebello, at once invited him to breakfast, and presided over a concert for him, whereby the violinist made three hundred dollars. The tide had turned at last, and little Felicie Villeminot had done it with her "Look at him, grandmamma!"

As the Grand Opera was still closed to him, he made a concert tour through Switzerland and Italy. In Milan, one of the musical journals said, "He is not master of himself; he has no style; he is an untrained musician. If he be a diamond, he is certainly in the rough and unpolished."

Ole Bull went at once to the publisher and asked who had written the article. "If you want the responsible person," said the editor, "I am he."

"No," said the artist, "I have not come to call the writer to account, but to thank him. The man who wrote that article understands music; but it is not enough to tell me my faults; he must tell me how to rid myself of them."

"You have the spirit of the true artist," replied the journalist.

The same evening he took Ole Bull to the critic, a man over seventy, from whom he learned much that was valuable. He at once gave six months to study under able masters, before again appearing in public. He was, however, an earnest student all through life, never being satisfied with his attainments.

At Venice he was highly praised, but at Bologna he won the celebrity which continued through life. Malibran was to sing in two concerts, but feigned illness when she learned that the man she loved, De Beriot, was to receive a smaller sum than herself, and would not appear. The manager of the theatre was in despair. Meantime, in a poor hotel, in an upper room, Ole Bull was composing his concerto in the daytime, and playing on his violin at night by his open window. Rossini's first wife heard the music, and said, "It must be a violin, but a divine one. That will be a substitute for De Beriot and Malibran. I must go and tell Zampieri" (the manager).

On the night of the concert, after Ole Bull had been two hours in bed from weariness, Zampieri appeared, and asked him to improvise. He was delighted, and exclaiming, "Malibran may now have her headaches," hurried the young artist off to the theatre. The audience was of course cold and disappointed till Ole Bull began to play. Then the people seemed to hold their breath. When the curtain fell, he almost swooned with exhaustion, but the house shook with applause. Flowers were showered upon him. He was immediately engaged for the next concert; a large theatre was offered him free of expense, one man buying one hundred tickets, and the admiring throng drew his carriage to the hotel, while a procession with torchlights acted as guard of honor.

Ole Bull had stepped into the glory of fame in a single night. Henceforth, while there was to be much of trial and disappointment, as come to all, he was to be forever the idol of two continents, drawing crowded houses, honored by the great, and universally mourned at his death. He had come to fame as by accident, but he had made himself worthy of fame.

Malibran at first seemed hurt at his wonderful success in her stead, but she soon became one of his warmest friends, saying, "It is your own fault that I did not treat you as you deserved. A man like you should step forth with head erect in the full light of day, that we may recognize his noble blood."

From here he played with great success at Florence and Rome, at the latter city composing his celebrated "Polacca Guerriera" in a single night, writing till four o'clock in the morning. It was first conceived while he stood alone at Naples, at midnight, watching Mount Vesuvius aflame.

Returning to Paris, he found the Grand Opera open to him. Here, at his first performance, his a-string snapped; he turned deathly pale, but he transposed the remainder of the piece, and finished it on three strings. Meyerbeer, who was present, could not believe it possible that the string had really broken.

He was now twenty-six, famous and above want. What more fitting than that he should marry pretty Felicie Villeminot, and share with her the precious life she had saved? They were married in the summer of 1836, and their love was a beautiful and enduring one until her death twenty-six years afterward. Though absent from her much of the time necessarily, his letters breathe a pure and ardent affection. Going to England soon after, and being at the house of the Duke of Devonshire at Chatsworth, he writes, "How long does the time seem that deprives me of seeing you! I embrace you very tenderly. The word _home_ has above all others the greatest charm for me."

In London, from three to seven thousand persons crowded to hear him. The "Times" said, "His command of the instrument, from the top to the bottom of the scale--and he has a scale of his own of three complete octaves on each string--is absolutely perfect." At Liverpool he received four thousand dollars for a single night, taking the place of Malibran, who had brought on a hemorrhage resulting in death, by forcing a tone, and holding it so long that the audience were astonished. Ole Bull came near sharing her fate. In playing "Polacca," the hall being large and the orchestra too strong, he ruptured a blood vessel, and his coat had to be cut from him.

In sixteen months he gave two hundred and seventy-four concerts in the United Kingdom. Afterwards, at St. Petersburg, he played to five thousand persons, the Emperor sending him an autograph letter of affection, and the Empress an emerald ring set with one hundred and forty diamonds. Shortly after this his father died, speaking with pride of Ole, and thinking he heard divine music.

On his return to Norway, at the request of the King, he gave five concerts at Stockholm, the last netting him five thousand dollars. So moved was the King when Ole Bull played before him at the palace, that he rose and stood till the "Polacca" was finished. He presented the artist with the Order of Vasa, set in brilliants.

In Christiana, the students gave him a public dinner, and crowned him with laurel. He often played for the peasants here and in Bergen, and was beloved by the poor as by the rich. At Copenhagen he was presented at Court, the King giving him a snuff-box set in diamonds. Hans Andersen became his devoted friend, as did Thorwaldsen while he was in Rome. He now went to Cassell, and Spohr hastened to show him every attention, as though to make amends for the coldness when Ole Bull was poor and unknown. At Salzburg he invited the wife of Mozart to his concerts. For her husband he had surpassing admiration. He used to say that no mortal could write Mozart's "Requiem" and live.

While in Hungary, his first child, Ole, died. He wrote his wife, "God knows how much I have suffered! I still hope and work, not for myself,--for you, my family, my country, my Norway, of which I am proud."

All this time he was working very hard. He said, "I must correspond with the directors of the theatres; must obtain information regarding the people with whom I am to deal; I must make my appointments for concerts and rehearsals; have my music copied, correct the scores, compose, play, travel nights. I am always cheated, and in everlasting trouble. I reproach myself when everything does not turn out for the best, and am consumed with grief. I really believe I should succumb to all these demands and fatigues if it were not for my drinking cold water, and bathing in it every morning and evening."

In November, 1843, urged by Fanny Elssler, he visited America. At first, in New York, some of the prominent violinists opposed him; but he steadily made his way. When Mr. James Gordon Bennett offered him the columns of the "Herald," that he might reply to those who were assailing him, he said in his broken English, "I tink, Mr. Bennett, it is best tey writes against me, and I plays against tem." Of his playing in New York, Mrs. Lydia Maria Child wrote, "His bow touched the strings as if in sport, and brought forth light leaps of sound, with electric rapidity, yet clear in their distinctness. He played on four strings at once, and produced the rich harmony of four instruments. While he was playing, the rustling of a leaf might have been heard; and when he closed, the tremendous bursts of applause told how the hearts of thousands leaped like one. His first audience were beside themselves with delight, and the orchestra threw down their instruments in ecstatic wonder."

From New York he took a successful trip South. That he was not effeminate while deeply poetic, a single incident will show. After a concert, a man came to him and said he wished the diamond in his violin bow, given him by the Duke of Devonshire. Ole Bull replied that as it was a gift, he could neither sell it nor give it away.

"But I am going to have that stone!" said the man as he drew a bowie knife from his coat. In an instant Ole Bull had felled the man to the floor with the edge of his hand across his throat. "The next time I would kill you," said the musician, with his foot on the man's chest; "but you may go now." So much did the ruffian admire the muscle and skill of the artist, that he begged him to accept the knife which he had intended to use upon him.

During this visit to America he gave two hundred concerts, netting him, said the "New York Herald," fully eighty thousand dollars, besides twenty thousand given to charitable associations, and fifteen thousand paid to assistant artists. "No artist has ever visited our country and received so many honors. Poems by the hundreds have been written to him; gold vases, pencils, medals, have been presented to him by various corporations. His whole remarkable appearance in this country is really unexampled in glory and fame," said the same newspaper. Ole Bull was kindness itself to the sick or afflicted. Now he played for Alice and Phoebe Carey, when unable to leave their home, and now for insane and blind asylums and at hospitals. He loved America, and called himself "her adopted son."

On his return to Norway, after great success in Spain, the Queen bestowing upon him the order of Charles III. and the Portuguese order of Christus, he determined to build a National Theatre in Bergen, his birthplace, for the advancement of his nation in the drama and in music. By great energy, and the bestowal of a large sum of money, the place was opened in 1850, Ole Bull leading the orchestra. But the Storthing, or Parliament, declined to give it a yearly appropriation,--perhaps the development of home talent tended too strongly toward republicanism. The burden was too great for one man to carry, and the project did not prove a success.

The next plan of the philanthropist-musician was to buy one hundred and twenty-five thousand acres of land on the Susquehanna River, in Pennsylvania, and "found a New Norway, consecrated to liberty, baptized with independence, and protected by the Union's mighty flag." Soon three hundred houses were built, a country inn, store, and church, erected by the founder. To pay the thousands needed for this enterprise he worked constantly at concert-giving, taking scarcely time to eat his meals. He laid out five new villages, made arrangements with the government to cast cannon for her fortresses, and took out patents for a new smelting-furnace.

While in California, where he was ill with yellow fever, a crushing blow fell upon him. He learned that he had purchased the land through a swindling company, his title was invalid, and his fortune was lost. He could only buy enough land to protect those who had already come from Norway, and had settled there, and soon became deeply involved in lawsuits. Hon. E. W. Stoughton of New York, who had never met Ole Bull personally, volunteered to assist him, and a few thousands were wrested from the defrauding agent.