Chapter IX: Part 9

On his return to Norway he was accused of speculating with the funds of his countrymen, which cut him to the heart. A little later, in 1862, his wife died, worn with ill health, and with her husband's misfortunes, and his son Thorvald fell from the mast of a sailing-vessel in the Mediterranean, and was killed.

In the autumn of 1868 he returned to America, and nearly lost his life in a steamboat collision on the Ohio. He swam to land, saving also his precious violin. Two years afterward he was married to Miss Thorp of Madison, Wis., an accomplished lady much his junior in years, who has lived to write an admirable life of her illustrious husband. A daughter, Olea, came to gladden his home two years later. When he was sixty-six years old, he celebrated his birthday by playing his violin on the top of the great pyramid, Cheops, at the suggestion of King Oscar of Norway and Sweden.

In the Centennial year he returned to America, and made his home at Cambridge, in the house of James Russell Lowell, while he was Minister to England. Here he enjoyed the friendship of such as Longfellow, who says of him in his "Tales of a Wayside Inn":--

"The angel with the violin,
Painted by Raphael, he seemed,

* * * * *

And when he played, the atmosphere
Was filled with magic, and the ear
Caught echoes of that Harp of Gold,
Whose music had so weird a sound,
The hunted stag forgot to bound,
The leaping rivulet backward rolled,
The birds came down from bush and tree,
The dead came from beneath the sea,
The maiden to the harper's knee!"

The friend of the highest, he never forgot the lowest. When a colored barber in Hartford, a lad who was himself a good fiddler, heard Ole Bull play, the latter having sent him a ticket to his concert, he said, "Mister, can't you come down to the shop to-morrow to get shaved, and show me those tricks? I feel powerful bad."

And Ole Bull went to the shop, and showed him how the wonderful playing was accomplished.

In 1880 Ole Bull sailed, for the last time, to Europe, to his lovely home at Lyso, an island in the sea, eighteen miles from Bergen. Ill on the voyage, he was thankful to reach the cherished place. Here, planned by his own hand, was his elegant home overlooking the ocean; here his choice music-room upheld by delicate columns and curiously wrought arches; here the shell-roads he had built; and here the flower-beds he had planted. The end came soon, on a beautiful day full of sunshine.

The body lay in state in the great music-room till a larger steamer came to bear it to Bergen. This was met by a convoy of sixteen steamers ranged on either side; and as the fleet approached the city, all flags were at half-mast, and guns were fired, which re-echoed through the mountains. The quay was covered with juniper, and the whole front festooned with green. As the boat touched the shore, one of Ole Bull's inimitable melodies was played. Young girls dressed in black bore the trophies of his success, and distinguished men carried his gold crown and order, in the procession. The streets were strewn with flowers, and showered upon the coffin. When the service had been read at the grave by the pastor, Bjornson, the famous author, gave an address. After the coffin had been lowered and the mourners had departed, hundreds of peasants came, bringing a green bough, a sprig of fern, or a flower, and quite filled the grave. Beautiful tribute to a beautiful life!

MEISSONIER.

The old maxim, that "the gods reward all things to labor," has had fit illustration in Meissonier. His has been a life of constant, unvaried toil. He came to Paris a poor, unknown boy, and has worked over fifty years, till he stands a master in French art.

Jean Louis Ernest Meissonier was born at Lyons, in 1811. His early life was passed in poverty so grinding that the great artist never speaks of it, and in such obscurity that scarcely anything is known of his boyhood. At nineteen he came to Paris to try his fate in one of the great centres of the world. He, of course, found no open doors, nobody standing ready to assist genius. Genius must ever open doors for itself.

The lad was a close observer, and had learned to draw accurately. He could give every variety of costume, and express almost any emotion in the face of his subject. But he was unknown. He might do good work, but nobody wanted it. He used to paint by the side of Daubigny in the Louvre, it is said, for one dollar a yard. Now his "Amateurs in Painting," a chef-d'oeuvre of six inches in size, is bought by Leon Say for six thousand dollars. Such is fame.

Time was so necessary in this struggle for bread, that he could sleep only every other night; and for six months his finances were so low, it is stated, that he existed on ten cents a week! No wonder that the sorrows of those days are never mentioned.

His earliest work was painting the tops of bon-bon boxes, and fans. Once he grew brave enough to take four little sepia drawings to an editor to illustrate a fairy tale in a magazine for children. The editor said the drawings were charming, but he could not afford to have them engraved, and so "returned them with thanks."

His first illustrations in some unknown journal were scenes from the life of "The Old Bachelor." In the first picture he is represented making his toilet before the mirror, his wig spread out on the table; in the second, dining with two friends; in the third, being abused by his housekeeper; in the fourth, on his death-bed, surrounded by greedy relations; and in the fifth, the servants ransacking the death-chamber for the property.

For a universal history he drew figures of Isaiah, St. Paul, and Charlemagne, besides almost numberless ornamental letters and headings of chapters. Of course he longed for more remunerative work, for fame; but he must plod on for months yet. He worked conscientiously, taking the greatest pains with every detail.

His first picture, exhibited in 1833, when he was twenty-two, called "The Visitors," an interior view of a house, with an old gentleman receiving two visitors, all dressed in the costume of James I., admirable for its light and shade, was bought by the Society of the Friends of Art, for twenty dollars. Two years later he made illustrations for the Bible of the Sieur Raymond, of Holofernes invading Judea, and Judith appearing before Holofernes. For "Paul and Virginia" he made forty-three beautiful landscapes. "They contain evidence of long and careful work in the hot-houses of the 'Jardin des Plantes,' and in front of the old bric-a-brac dealer's stalls, which used to stand about the entrance to the Louvre. And how admirably, with the help of these slowly and scrupulously finished studies, he could reproduce, in an ornamental letter or floral ornament, a lily broken by the storm, or a sheaf of Indian arms and musical instruments."

In 1836, his "Chess Players," two men watching intently the moves of chess, and "The Little Messenger," attracted a crowd of admirers. Each sold for twenty dollars. He had now struggled for six years in Paris. It was high time that his unremitting and patient work should find approval. The people were amazed at so vast an amount of labor in so small a space. They looked with their magnifying glasses, and found the work exquisite in detail. They had been accustomed to great canvases, glowing colors, and heroic or romantic sentiments; but here there was wonderful workmanship.

When the people began to admire, critics began to criticize. They said "Meissonier can depict homelike or ordinary scenes, but not historic." He said nothing, but soon brought out "Diderot" among the philosophers, Grimm, D'Alembert, Baron Holbach, and others in the seventeenth century. Then they said he can draw interiors only, and "on a canvas not much larger than his thumb-nail." He soon produced the "Portrait of the Sergeant," "one of the most daring experiments in the painting of light, in modern art. The man stands out there in the open by himself, literally bathed in light, and he makes a perfect picture." Then they were sure that he could not paint movement. He replied by painting "Rixe," two ruffians who are striving to fight, but are withheld by friends. This was given by Louis Napoleon to the Prince Consort.

Meissonier also showed that he could depict grand scenes, by "Moreau and Dessoles on the eve of the battle of Hohenlinden," the "Retreat from Russia," and the "Emperor at Solferino." Into these he put his admiration for Napoleon the Great, and his adoration for his defeated country. In the former picture, the two generals are standing on a precipice, surveying the snow-covered battle-field with a glass; the trees are bending under a strong wind, and the cloaks of the generals are fluttering behind them. One feels the power of this picture.

In painting the "Retreat from Russia," the artist borrowed the identical coat worn by Napoleon, and had it copied, crease for crease, and button for button. "When I painted that picture," he said, "I executed a great portion of it out of doors. It was midwinter, and the ground was covered with snow. Sometimes I sat at my easel for five or six hours together, endeavoring to seize the exact aspect of the winter atmosphere. My servant placed a hot foot-stove under my feet, which he renewed from time to time, but I used to get half-frozen and terribly tired."

He had a wooden horse made in imitation of the white charger of the Emperor; and seating himself on this, he studied his own figure in a mirror. His studies for this picture were almost numberless,--a horse's head, an uplifted leg, cuirasses, helmets, models of horses in red wax, etc. He also prepared a miniature landscape, strewn with white powder resembling snow, with models of heavy wheels running through it, that he might study the furrow made in that terrible march home from burning Moscow. All this was work,--hard, patient, exacting work.

It had now become evident to the world, and to the critics as well, that Meissonier was a master; that he was not confined to small canvases nor home scenes.

In 1855 he received the grand medal; in 1856 he was made an officer of the Legion of Honor; in 1861, a member of the Institute; and in 1867, at the International Exhibition, he received the grand medal again. When the prizes were given by the Emperor, the "Battle of Solferino" was placed in the centre of the space cleared for the ceremony, with the works of Reimers, the Russian painter, Knaus of Prussia, Rousseau, the French landscape-painter, and others. This painting represents Napoleon III. in front of his staff, looking upon the battle "as a cool player studies a chess-board. On the right, in the foreground, some artillery-men are manoeuvring their guns. The corpses of a French soldier and two white Austrians, torn to rags by some explosion, show where the battle had passed by."

Meissonier's paintings now brought enormous prices. His "Marshal Saxe and his Staff" brought eight thousand six hundred dollars in New York; the "Soldiers at Cards," in 1876, in the same city, eleven thousand five hundred dollars; in 1867, his "Cavalry Charge" was sold to Mr. Probasco of Cincinnati, for thirty thousand dollars; and the "Battle of Friedland," upon which he is said to have worked fifteen years, to A. T. Stewart, of New York, for sixty thousand dollars. Every figure in this was drawn from life, and the horses moulded in wax. It represents Napoleon on horseback, on a slight elevation, his marshals grouped around him, holding aloft his cocked hat in salutation, as the soldiers pass hurriedly before him.

Edmund About once wrote, "To cover M. Meissonier's pictures with gold pieces simply would be to buy them for nothing; and the practice has now been established of covering them with bank notes."

"The Blacksmith," shoeing a patient old cart-horse, perfect in anatomy; "La Halte," some soldiers at an inn, now in Hertford House gallery; and "La Barricade," a souvenir of the civil war, are among the favorite pictures of this famous man. And yet as one looks at some of the exquisite work about a convivial scene, the words of the great Boston painter, William Hunt, come to mind. Being shown a picture, very fine in technique, by a Munich artist, of a drunken man, holding a half-filled glass of wine, he said, "It's skilfully done, but _what is_ the _use_ of _doing_ it! The subject isn't worthy of the painter."

Rarely does a woman appear in Meissonier's pictures. He has done nothing to deprave morals, which is more than can be said of some French art. His portrait of Madame Henri Thenard was greatly admired, while that of Mrs. Mackay was not satisfactory, and was said to have been destroyed by her. Few persons, however, can afford to destroy a Meissonier. When told once that "he was a fortunate man, as he could possess as many Meissoniers as he pleased," he replied, "No, no, I cannot; that would ruin me. They are a great deal too dear."

He lives in the Boulevard Malesherbes, near the lovely Parc Monceau, in the heart of the artists' quarter in Paris. His handsome home, designed by himself in every detail, is in the Italian Renaissance style. He has two studies,--one a quiet nook, where he can escape interruptions; and one very large, where are gathered masterpieces from every part of the world. Here is "a courtyard of the time of Louis XIII., brilliantly crowded with figures in gala dress; a bride of the same period, stepping into an elegant carriage of a crimson color, for which Meissonier had a miniature model built by a coach-maker, to study from; a superb work of Titian,--a figure of an Italian woman in a robe of green velvet, the classic outline of her head shown against a crimson velvet curtain in the background; a sketch of Bonaparte on horseback, at the head of his picturesquely dressed staff, reviewing the young conscripts of the army of Italy, who are cheering as he passes;" and many more valuable pictures. Here, too, are bridles of black leather, with silver ornaments, once the property of Murat.

One picture here, of especial interest, was painted at his summer home at Poissy, when his house was crowded with German soldiers in the war of 1871. "To escape their company," says M. Claretie, "in the rage that he experienced at the national defeat, he shut himself up in his studio, and threw upon the canvas the most striking, the most vivid, the most avenging of allegories: he painted Paris, enveloped in a veil of mourning, defending herself against the enemy, with her soldiers and her dying grouped round a tattered flag; sailors, officers, and fusiliers, soldiers, national guards, suffering women, and dying children; and, hovering in the air above them, with the Prussian eagle by her side, was Famine, wan and haggard Famine, accomplishing the work that the bombardment had failed to achieve."

His summer home, like the one in Paris, is fitted up luxuriously. He designed most of the furniture and the silver service for his table. Flowers, especially geraniums and tea roses, blossom in profusion about the grounds, while great trees and fountains make it a restful and inviting place. The walls of the dining-room are hung with crimson and gold satin damask, against which are several of his own pictures. An engraver at work, clad in a red dressing-gown, and seated in a room hung with ancient tapestry, has the face of his son Charles, also an artist, looking out from the frame. One of Madame Meissonier also adorns this room.

Near by are his well-filled stables, his favorite horse, Rivoli, being often used for his model. He is equally fond of dogs, and has several expensive hounds. How strange all this, compared with those early days of pinching poverty! He is rarely seen in public, because he has learned--what, alas! some people learn too late in life--that there is no success without one commands his or her time. It must be frittered away neither by calls nor parties; neither by idle talk nor useless visits. Painting or writing for an hour a day never made greatness. Art and literature will give no masterships except to devotees. The young lady, sauntering down town to look at ribbons, never makes a George Eliot. The young man, sauntering down town to look at the buyers of ribbons, never makes a Meissonier. Nature is rigid in her laws. Her gifts only grow to fruitage in the hands of workers.

Meissonier is now seventy-four, with long gray beard and hair, round, full face, and bright hazel eyes. His friend, Claretie, says of him, "This man, who lives in a palace, is as moderate as a soldier on the march. This artist, whose canvases are valued by the half-million, is as generous as a nabob. He will give to a charity sale a picture worth the price of a house. Praised as he is by all, he has less conceit in his nature than a wholesale painter."

* * * * *

January 31, 1891, at his home in Paris, the great artist passed away. His illness was very brief. The funeral services took place at the Church of the Madeleine, which was thronged with the leaders of art and letters. An imposing military cortege accompanied the body to its last resting-place at Poissy, the summer home of the artist, on the Seine, ten miles from Versailles.

GEORGE W. CHILDS.

The "Public Ledger" of Philadelphia, and its owner, are known the world over. Would we see the large-hearted, hospitable millionaire, who has come to honor through his own industry, let us enter the elegant building occupied by his newspaper.

Every portion is interesting. The rooms where editors and assistants work are large, light, and airy, and as tasteful as parlors. Alas! how unhomelike and barren are some of the newspaper offices, where gifted men toil from morning till night, with little time for sleep, and still less for recreation. Mr. Childs has thought of the comfort and health of his workmen, for he, too, was a poor boy, and knows what it is to labor.

He has also been generous with his men in the matter of wages. "He refused to reduce the rate of payment of his compositors, notwithstanding that the Typographical Union had formerly sanctioned a reduction, and notwithstanding that the reduced scale was operative in every printing-office in Philadelphia except his own. He said, 'My business is prosperous; why should not my men share in my prosperity?' This act of graciousness, while it endeared him to the hearts of his beneficiaries, was commented on most favorably at home and abroad. That his employes, in a formal interview with him, expressed their willingness to accept the reduced rates, simply augments the generosity of his act." Strikes among laborers would be few and far between if employers were like George W. Childs.

Each person in his employ has a summer vacation of two or more weeks, his wages being continued meantime, and paid in advance, with a liberal sum besides. On Christmas every man, woman, and boy receives a present, amounting, of course, to many thousands of dollars annually. Mr. Childs has taken care of many who have become old or disabled in his service. The foreman of his composing-room had worked for him less than twelve months before he failed in health. For years this man has drawn his weekly pay, though never going to the establishment. This is indeed practical Christianity.

Besides caring for the living, in 1868 this wise employer of labor purchased two thousand feet in Woodlands for a printers' cemetery, and gave it to the Philadelphia Typographical Society, with a sum of money to keep the grounds in good order yearly. The first person buried beyond the handsome marble gothic gateway was a destitute and aged printer who had died at the almshouse and whose dying message to Mr. Childs was that he could not bear to fill a pauper's grave. His wish was cordially granted.

But after seeing the admirable provision made for his workmen, we must enter the private office of Mr. Childs. He is most accessible to all, with no airs of superior position, welcoming persons from every clime daily, between the hours of eleven and one. He listens courteously to any requests, and then bids you make yourself at home in this elegant office, that certainly has no superior in the world, perhaps no rival.

The room itself in the Queen Anne style, with exquisite wood-carving, marble tiles, brass ornaments, and painted glass, is a gem. Here is his motto, a noble one, and thoroughly American, "Nihil sine labore," and well his life has illustrated it. All honor to every man or woman who helps to make labor honored in this country. The design of the ceiling was suggested by a room in Coombe Abbey, Warwickshire, the seat of the Earls Craven, fitted up by one of its lords for the reception of Queen Elizabeth. Over a dozen valuable clocks are seen, one made in Amsterdam over two hundred years ago, which, besides the time of day, gives the phases of the moon, the days of the week, and the month; another, a clock constructed by David Rittenhouse, the astronomer of the Revolution, in the old colonial days, which plays a great variety of music, has a little planetarium attached, and nearly six thousand teeth in wheels. It was made for Joseph Potts, who paid six hundred and forty dollars for it. The Spanish Minister in 1778 offered eight hundred for it, that he might present it to his sovereign. Mr. Childs has about fifty rare clocks in his various homes, one of these costing six thousand dollars.

Here is a marble statuette of Savonarola, the Florentine preacher of the fifteenth century; the little green harp which belonged to Tom Moore, and on which he used to play in the homes of the great; a colossal suit of antique French armor, one hundred and fifty years old; a miniature likeness of George Washington, handsomely encased in gold, bequeathed by him to a relative, a lock of his hair in the back of the picture; a miniature ship, made from the wood of the _Alliance Frigate_, the only one of our first navy, of the class of frigates, which escaped capture or destruction during the Revolutionary war. This boat, and a silver waiter, presented after the famous battle of New Orleans, were both the property of President Jackson, and were taken by him to the Hermitage. Here, also, is a photograph of "Old Ironsides" Stewart, in a frame made from the frigate _Constitution_, in which great victories were achieved, besides many portraits given by famous people, with their autographs.

After a delightful hour spent in looking at these choice things, Mr. Childs bids us take our choice of some rare china cups and saucers. We choose one dainty with red birds, and carry it away as a pleasant remembrance of a princely giver, in a princely apartment.

Mr. Childs has had a most interesting history. Born in Baltimore, he entered the United States navy at thirteen, where he remained for fifteen months. At fourteen he came to Philadelphia, poor, but with courage and a quick mind, and found a place to work in a bookstore. Here he remained for four years, doing his work faithfully, and to the best of his ability. At the end of these years he had saved a few hundred dollars, and opened a little store for himself in the Ledger Building, where the well-known newspaper, the "Public Ledger," was published.

He was ambitious, as who is not, that comes to prominence; and one day he made the resolution that he would sometime be the owner of this great paper and its building! Probably had this resolution been known, his acquaintances would have regarded the youth as little less than crazy. But the boy who willed this had a definite aim. Besides, he was never idle, he was economical, his habits were the best, and why should not such a boy succeed?

In three years, when he was twenty-one, he had become the head of a publishing house,--Childs & Peterson. He had a keen sense of what the public needed. He brought out Kane's "Arctic Expedition," from which the author, Dr. Kane, realized seventy thousand dollars. Two hundred thousand copies of Peterson's "Familiar Science" were sold. Allibone dedicated his great work, "Dictionary of English and American Authors," to the energetic and appreciative young publisher.

He had now acquired wealth, sooner almost than he could have hoped. Before him were bright prospects as a publisher; but the prize that he had set out to win was to own the "Public Ledger."

The opportunity came in December, 1864. But his paper was losing money. His friends advised against taking such a burden; he would surely fail. But Mr. Childs had faith in himself. He expected to win where others lost. He bought the property, doubled the subscription rates, lowered the advertising, excluded everything questionable from the columns of his paper, made his editorials brief, yet comprehensive, until under his judicious management the journal reached the large circulation of ninety thousand daily. For ten years he has given the "Ledger Almanac" to every subscriber, costing five thousand dollars annually. The yearly profits, it is stated, have been four hundred thousand dollars. All this has not been accomplished without thought and labor.

Fortune, of course, had come, and fame. He built homes, elegant ones, in Philadelphia and at Newport, but these are not simply places in which to spend money, but centres of hospitality and culture.

His library is one of the most charming places in this country. The wood-work is carved ebony with gold, the bookshelves six feet high on every side, and the ceiling built in sunken panels, blue and gold. In the centre is a table made from ebony, brought from Africa by Paul du Chaillu. One looks with interest upon the handsome volumes of the standard authors, but other things are of deeper interest.

Here is an original sermon of Rev. Cotton Mather; the poems of Leigh Hunt, which he presented to Charles Dickens; the original manuscript of Nathaniel Hawthorne's "Consular Experiences"; the first edition of the "Scarlet Letter," with a note to Mr. Childs from the great novelist; Bryant's manuscript of the "First Book of the Iliad"; James Russell Lowell's "June Idyl," begun in 1850 and finished eighteen years afterward; the manuscript of James Fenimore Cooper's "Life of Captain Richard Somers"; and Edgar Allan Poe's "Murders in the Rue Morgue," seventeen pages of large paper written small and close.

Here is an autograph letter from Poe, in which he offers to his publishers thirty-three short stories, enough to fill two large volumes, "On the terms which you allowed me before; that is, you receive all profits and allow me twenty copies for distribution to friends." From this it seems that Poe had the _usual_ struggles of literary people.

One of the most unique things of the library is the manuscript of "Our Mutual Friend," bound in fine brown morocco. The skeleton of the novel is written through several pages, showing how carefully Dickens thought out his plan and his characters; the paper is light blue, written over with dark blue ink, with many erasures and changes. Here are also fifty-six volumes of Dickens' works, with an autograph letter in each, from the author to Mr. Childs. Here is Lord Byron's desk on which he wrote "Don Juan." Now we look upon the smallest book ever printed, Dante's "Divina Commedia," bound in Turkey gilt, less than two and one-fourth inches long by one and one-half inches wide.

The collection of Mr. and Mrs. S. C. Hall, now the property of Mr. Childs, letters and manuscripts from Lamb, Hawthorne, Mary Somerville, Harriet Martineau, Coleridge, Wordsworth, Browning, and hundreds of others, is of almost priceless value. In 1879 Mrs. Hall gave the Bible of Tom Moore to Mr. Childs, "an honored and much loved citizen of the United States, as the best and most valuable offering she could make to him, as a grateful tribute of respect, regard, and esteem."

Another valuable book is made up of the portraits of the presidents, with an autograph letter from each. Dom Pedro of Brazil sent, in 1876, a work on his empire, with his picture and his autograph. George Peabody sat for a full-length portrait for Mr. Childs. The album of Mrs. Childs contains the autographs of a great number of the leading men and women of the world.

One could linger here for days, but we must see the lovely country-seat called "Wootton," some distance out from the city. The house is in Queen Anne style, surrounded by velvety lawns, a wealth of evergreen and exquisite plants, brought over from South America and Africa. The farm adjoining is a delight to see. Here is the dairy built of white flintstone, while the milkroom has stained glass windows, as though it were a chapel. The beautiful grounds are open every Thursday to visitors.

Here have been entertained the Duke and Duchess of Buckingham, the Duke of Sutherland, Lord Rosse, Lord Dufferin, Sir Stafford Northcote, Herbert Spencer, John Waller, M.P., of the "London Times," Dean Stanley, Thomas Hughes, Dickens, Grant, Evarts; indeed, the famous of two hemispheres.

With all this elegance, befitting royalty, Mr. Childs has been a constant and generous giver. For his own city he was one of the foremost to secure Fairmount Park, and helped originate the Zoological Gardens, the Pennsylvania Museum, and the School of Industrial Arts. He gave ten thousand dollars for a Centennial Exposition. He has been one of General Grant's most generous helpers; yet while doing for the great, he does not forget the unknown. He gives free excursions to poor children, a dinner annually to the newsboys, and aids hundreds who are in need of an education.

He has placed a stained glass window in Westminster Abbey, in commemoration of George Herbert and William Cowper; given largely to a memorial window for Thomas Moore at Bronham, England; for a stone to mark Leigh Hunt's resting-place in Kensal Green; and toward a monument for Poe.

Mr. Childs has come to eminence by energy, integrity, and true faith in himself. He has had a noble ambition, and has worked towards it. He has proved to all other American boys that worth and honest dealing will win success, in a greater or less degree. That well-known scientist, Prof. Joseph Henry, of the Smithsonian Institute, said, "Mr. Childs is a wonderful man. His ability to apply the power of money in advancing the well-being of his fellow-men is unrivalled. He is naturally kind and sympathetic, and these generous feelings are exalted, not depressed, by his success in accumulating a fortune.... Like man in the classification of animals, he forms a genus in himself. He stands alone; there is not another in the wide world like him."

* * * * *

Mr. Childs died at 3.01 A.M. February 3, 1894 from the effects of a stroke of paralysis sustained at the Ledger office on January 18. He was nearly sixty-five years of age. He was buried on February 6, in the Drexel Mausoleum in Woodland Cemetery beside his life long friend.

DWIGHT L. MOODY.

"There's no chance to get in there. There's six thousand persons inside, and two thousand outside."

This was said to Dr. Magoun, President of Iowa College, and myself, after we had waited for nearly an hour, outside of Spurgeon's Tabernacle, in London, in the hope of hearing Mr. Moody preach. Finally, probably through courtesy to Americans, we obtained seats. The six thousand in this great church were sitting as though spellbound. The speaker was a man in middle life, rugged, strong, and plain in dress and manner. His words were so simple that a child could understand them. Now tears came into the eyes of most of the audience, as he told some touching incident, and now faces grew sober as the people examined their own hearts under the searching words. There was no consciousness about the preacher; no wild gesture nor loud tone. Only one expression seemed applicable, "a man dead in earnest."

And who was this man whom thousands came to hear? Not a learned man, not a rich man, but one of the greatest evangelists the world has ever seen. Circumstances were all against him, but he conquered circumstances.

Dwight Lyman Moody was born at Northfield, Mass., Feb. 5, 1837. His father, a stone-mason and farmer, died when the boy was four years old, broken down with reverses in business. His mother was left with seven sons and two daughters, the eldest a boy only fifteen. What happened to this lad was well told by Mr. Moody, a few years since. "Soon after my father's death the creditors came in and took everything. One calamity after another swept over the entire household. Twins were added to the family, and my mother was taken sick. To the eldest boy my mother looked as a stay in her calamity; but all at once that boy became a wanderer. He had been reading some of the trashy novels, and the belief had seized him that he had only to go away, to make a fortune. Away he went. I can remember how eagerly she used to look for tidings of that boy; how she used to send us to the post-office to see if there was a letter from him, and recollect how we used to come back with the sad news, 'No letter!' I remember how in the evenings we used to sit beside her in that New England home, and we would talk about our father; but the moment the name of that boy was mentioned she would hush us into silence. Some nights, when the wind was very high, and the house, which was upon a hill, would tremble at every gust, the voice of my mother was raised in prayer for that wanderer, who had treated her so unkindly. I used to think she loved him better than all of us put together, and I believe she did.

"On a Thanksgiving day she used to set a chair for him, thinking he would return home. Her family grew up, and her boys left home. When I got so that I could write, I sent letters all over the country, but could find no trace of him. One day, while in Boston, the news reached me that he had returned. While in that city, I remember how I used to look for him in every store--he had a mark on his face--but I never got any trace. One day, while my mother was sitting at the door, a stranger was seen coming toward the house, and when he came to the door he stopped. My mother didn't know her boy. He stood there with folded arms and great beard flowing down his breast, his tears trickling down his face. When my mother saw those tears, she cried, 'Oh, it's my lost son!' and entreated him to come in. But he stood still, 'No, mother,' he said, 'I will not come in until I hear that you have forgiven me.' She rushed to the threshold, threw her arms around him, and breathed forgiveness."

Dwight grew to be a strong, self-willed lad, working on the farm, fond of fun rather than of study, held in check only by his devotion to his mother. She was urged to put the children into different homes, on account of their extreme poverty, but by tilling their garden, and doing some work for their neighbors, she managed to keep her little flock together. A woman who could do this had remarkable energy and courage.

What little schooling Dwight received was not greatly enjoyed, because the teacher was a quick-tempered man, who used a rattan on the boys' backs. Years after, he told how a happy change was effected in that school. "After a while there was somebody who began to get up a movement in favor of controlling the school by love. I remember how we thought of the good time we should have that winter, when the rattan would be out of school. We thought we would then have all the fun we wanted. I remember who the teacher was--a lady--and she opened the school with prayer. We hadn't seen it done before, and we were impressed, especially when she prayed that she might have grace and strength to rule the school with love. The school went on several weeks, and we saw no rattan; but at last the rules were broken, and I think I was the first boy to break them. She told me to wait till after school, and then she would see me. I thought the rattan was coming out sure, and stretched myself up in warlike attitude. After school, however, she sat down by me and told me how she loved me, and how she had prayed to be able to rule that school by love, and concluded by saying, 'I want to ask you one favor, that is, if you love me, try and be a good boy;' and I never gave her trouble again."

He was very susceptible to kindness. When an old man, who had the habit of giving every new boy who came into the town a cent, put his hand on Dwight's head, and told him he had a Father in heaven, he never forgot the pressure of that old man's hand.

Farming among Northfield rocks was not exciting work enough for the energetic boy; so with his mother's consent, he started for Boston, when he was seventeen, to look for work. He had the same bitter experience that other homeless boys have. He says, "I went to the post-office two or three times a day to see if there was a letter for me. I knew there was not, as there was but one mail a day. I had not any employment and was very homesick, and so went constantly to the post-office, thinking perhaps when the mail did come in, my letter had been mislaid. At last, however, I got a letter. It was from my youngest sister,--the first letter she ever wrote me. I opened it with a light heart thinking there was some good news from home, but the burden of the whole letter was that she had heard there were pickpockets in Boston, and warned me to take care of them. I thought I had better get some money in hand first, and then I might take care of pickpockets."

The homesick boy finally applied to an uncle, a shoe-dealer, who hesitated much about taking the country lad into his employ. He agreed to do so on the conditions that the boy would heed his advice, and attend regularly the Mount Vernon Church and Sunday-school. The preaching of Dr. Kirk, the pastor, was scholarly and eloquent, but quite above the lad's comprehension. His Sunday-school teacher, Mr. Edward Kimball, was a devoted man, and withal had the tact to win a boy's confidence. One day he came into the store where young Moody worked, and going behind the counter, placed his hand on the boy's shoulder and talked about his becoming a Christian. Such interest touched Dwight's heart, and he soon took a stand on the right side. Years afterward, Moody was the means of the conversion of the son of Mr. Kimball, at seventeen, just his own age at this time.

His earnest nature made him eager to do Christian work; but so poor was his command of language, and his sentences were so awkward, that he was not accepted to the membership of the church for a year after he had made his application. They thought him very "unlikely ever to become a Christian of clear and decided views of gospel truth; still less to fill any extended sphere of public usefulness." Alas! how the best of us sometimes have our eyes shut to the treasures lying at our feet.

He longed for a wider field of usefulness, and in the fall of 1856, when he was nineteen, started for Chicago, taking with him testimonials which secured him a place as salesman in a shoe store. He joined Plymouth Church, and at once rented four pews for the young men whom he intended to bring in. Here, it is said, some of the more cultured assured him that his silence would be more effective for good than his speech! Certainly not encouraging to a young convert.

He offered his services to a mission school as a teacher. "He was welcome, if he would bring his own scholars," they said. The next Sunday, to their astonishment, young Moody walked in at the head of eighteen ragged urchins whom he had gathered from the streets. He distributed tracts among the seamen at the wharfs, and did not fear to go into saloons and talk with the inmates.

Finally he wanted a larger field still, and opened an old saloon, which had been vacated, as a Sunday-school room. It was in the neighborhood of two hundred saloons and gambling-dens! His heart was full of love for the poor and the outcasts, and they did not mind about his grammar. A friend came to see him in these dingy quarters, and found him holding a colored child, while he read, by the dim light of some tallow candles, the story of the Prodigal Son to his little congregation. "I have got only one talent," said the unassuming Moody. "I have no education, but I love the Lord Jesus Christ, and I want to do something for him. I want you to pray for me."

Thirteen years later, when all Great Britain was aflame with the sermons of this same man, he wrote his friend, "Pray for me every day; pray now that the Lord will keep me humble."

Soon the Sunday-school outgrew the shabby saloon, and was moved to a hall, where a thousand scholars gathered. Still attending to business as a travelling salesman, for six years he swept and made ready his Sunday-school room. He had great tact with his pupils, and won them by kindness. One day a boy came, who was very unruly, sticking pins into the backs of the other boys. Mr. Moody patted him kindly on the head, and asked him to come again. After a short time he became a Christian, and then was anxious about his mother, whom Mr. Moody had been unable to influence. One night the lad threw his arms about her neck, and weeping told her how he had stopped swearing, and how he wanted her to love the Saviour. When she passed his room, she heard him praying, "Oh, God, convert my dear mother." The next Sunday he led her into the Sabbath-school, and she became an earnest worker.

He also has great tact with his young converts. "Every man can do something," he says. "I had a Swede converted in Chicago. I don't know how. I don't suppose he was converted by my sermons, because he couldn't understand much. The Lord converted him into one of the happiest men you ever saw. His face shone all over. He came to me, and he had to speak through an interpreter. This interpreter said this Swede wanted to have me give him something to do. I said to myself, 'What in the world will I set this man to doing? He can't talk English!' So I gave him a bundle of little handbills, and put him out on the corner of the greatest thoroughfare of Chicago, and let him give them out, inviting people to come up and hear me preach. A man would come along and take it, and see 'Gospel meeting,' and would turn around and curse the fellow; but the Swede would laugh, because he didn't know but he was blessing him. He couldn't tell the difference. A great many men were impressed by that man's being so polite and kind. There he stood, and when winter came and the nights got so dark they could not read those little handbills, he went and got a little transparency and put it up on the corner, and there he took his stand, hot or cold, rain or shine. Many a man was won to Christ by his efforts."

In 1860, when Moody was twenty-three, he made up his mind to give all his time to Christian work. He was led to this by the following incident. He says, "In the Sunday-school I had a pale, delicate young man as one of the teachers. I knew his burning piety, and assigned him to the worst class in the school. They were all girls, and it was an awful class. They kept gadding around in the schoolroom, and were laughing and carrying on all the while. One Sunday he was absent, and I tried myself to teach the class, but couldn't do anything with them; they seemed farther off than ever from any concern about their souls. Well, the day after his absence, early Monday morning, the young man came into the store where I worked, and, tottering and bloodless, threw himself down on some boxes.

"'What's the matter?' I asked.

"'I have been bleeding at the lungs, and they have given me up to die,' he said.

"'But you are not afraid to die?' I questioned.

"'No,' said he, 'I am not afraid to die; but I have got to stand before God and give an account of my stewardship, and not one of my Sabbath-school scholars has been brought to Jesus. I have failed to bring one, and haven't any strength to do it now.'

"He was so weighed down that I got a carriage and took that dying man in it, and we called at the homes of every one of his scholars, and to each one he said, as best his faint voice would let him, 'I have come to just ask you to come to the Saviour,' and then he prayed as I never heard before. And for ten days he labored in that way, sometimes walking to the nearest houses. And at the end of that ten days, every one of that large class had yielded to the Saviour.

"Full well I remember the night before he went away (for the doctors said he must hurry to the South); how we held a true love-feast. It was the very gate of heaven, that meeting. He prayed, and they prayed; he didn't ask them, he didn't think they could pray; and then we sung, 'Blest be the tie that binds.' It was a beautiful night in June that he left on the Michigan Southern, and I was down to the train to help him off. And those girls every one gathered there again, all unknown to each other; and the depot seemed a second gate to heaven, in the joyful, yet tearful, communion and farewells between these newly-redeemed souls and him whose crown of rejoicing it will be that he led them to Jesus. At last the gong sounded, and, supported on the platform, the dying man shook hands with each one, and whispered, 'I will meet you yonder.'

"From this," says Mr. Moody, "I got the first impulse to work solely for the conversion of men."

When he told his employer that he was going to give up business, he was asked, "Where will you get your support?"

"God will provide for me if he wishes me to keep on, and I shall keep on till I am obliged to stop," was the reply.

To keep his expenses as low as possible, he slept at night on a hard bench in the rooms of the Young Men's Christian Association, and ate the plainest food. Thus was the devoted work of this Christian hero begun. He was soon made city missionary for a time. Then the civil war began, and a camp was established near Chicago. He saw his wonderful opportunity now to reach men who were soon to be face to face with death. The first tent erected was used as a place of prayer. Ministers and friends came to his aid. He labored day and night, sometimes eight or ten prayer-meetings being held at the same time in the various tents.

He did not desert these men on the field of battle. He was with the army at Pittsburgh Landing, Shiloh, Murfreesboro', and Chattanooga. Nine times, in the interests of the Christian Commission, he visited our men at the front, on his errands of mercy. He tells this incident in a hospital at Murfreesboro'.

"One night after midnight, I was woke up and told that there was a man in one of the wards who wanted to see me. I went to him, and he called me 'chaplain,'--I wasn't a chaplain,--and he said he wanted me to help him die. And I said, 'I'd take you right up in my arms and carry you into the kingdom of God, if I could; but I can't do it; I can't help you to die.'

"And he said, 'Who can?'

"I said, 'The Lord Jesus Christ can. He came for that purpose.' He shook his head and said, 'He can't save me; I have sinned all my life.'

"And I said, 'But he came to save sinners.' I thought of his mother in the north, and I knew that she was anxious that he should die right, and I thought I'd stay with him. I prayed two or three times, and repeated all the promises I could, and I knew that in a few hours he would be gone. I said I wanted to read him a conversation that Christ had with a man who was anxious about his soul. I turned to the third chapter of John. His eyes were riveted on me, and when I came to the fourteenth and fifteenth verses, he caught up the words, 'As Moses lifted up the serpent in the wilderness, even so must the Son of man be lifted up: that whosoever believeth in him should not perish, but have eternal life.'

"He stopped me, and said, 'Is that there?' I said, 'Yes;' and he asked me to read it again, and I did so. He leaned his elbows on the cot and clasped his hands together, and said, 'That's good; won't you read it again?' I read it the third time, and then went on with the rest of the chapter. When I finished his eyes were closed, his hands were folded, and there was a smile on his face. Oh, how it was lit up! What a change had come over it. I saw his lips quiver, and I leaned over him, and heard in a faint whisper, 'As Moses lifted up the serpent in the wilderness, so must the Son of man be lifted up: that whosoever believeth on him should not perish, but have eternal life.'

"He opened his eyes and said, 'That's enough; don't read any more.' He lingered a few hours, and then pillowed his head on those two verses, and went up in one of Christ's chariots and took his seat in the kingdom of God."

On the 28th of August, 1862, Mr. Moody married Miss Emma C. Revell, a most helpful assistant in his meetings, and a young lady of noble character. A daughter and a son came to gladden their simple cottage, and there was no happier home in all Chicago. One morning he said to his wife, "I have no money, and the house is without supplies. It looks as if the Lord had had enough of me in this mission work, and is going to send me back again to sell boots and shoes." But very soon two checks came, one of fifty dollars for himself, and another for his school. Six years after his marriage, his friends gave him the lease of a pleasant furnished house.

This home had a welcome for all who sought the true way to live. One day a gentleman called at the office, bringing a young man who had recently come out of the penitentiary. The latter shrunk from going into the office, but Mr. Moody said, "Bring him in." Mr. Moody took him by the hand, told him he was glad to see him, and invited him to his house. When the young man called, Mr. Moody introduced him as his friend. When his little daughter came into the room, he said, "Emma, this is papa's friend." She went up and kissed him, and the man sobbed aloud.

When she left the room, Mr. Moody said, "What is the matter?"

"Oh sir," was the reply, "I have not had a kiss for years. The last kiss I had was from my mother, and she was dying. I thought I would never have another kiss again."

No wonder people are saved from sin by visiting a home like this!