Delphi collected works o.., p.755
Delphi Collected Works of Grant Allen, page 755
From the day that Gibson arrived at man’s estate, the great dream of his life was to go to Rome. For Rome is to art what London is to industry — the metropolis in its own way of the entire earth. But travelling in 1810 cost a vast deal of money; and the poor Liverpool marble-cutter (for as yet he was really nothing more) could hardly hope to earn the immense sum that such an expedition would necessarily cost him. So for six years more he went on working at Liverpool in his own native untaught fashion, doing his best to perfect himself, but feeling sadly the lack of training and competition. One of the last works he executed while still in Mr. Francis’s service was a chimney-piece for Sir John Gladstone, father of the future premier. Sir John was so pleased with the execution, that he gave the young workman ten pounds as a present. But in spite of occasional encouragement like this, Gibson felt himself at Liverpool, as he says, “chained down by the leg, and panting for liberation.”
In 1817, when he was just twenty-seven, he determined to set off to London. He took with him good introductions from Mr. Roscoe to Mr. Brougham (afterwards Lord Chancellor), to Christie, the big picture-dealer, and to several other influential people. Later on, Roscoe recommended him to still more important leaders in the world of art — Flaxman the great sculptor, Benjamin West, the Quaker painter and President of the Royal Academy, and others of like magnitude. Mr. Watson Taylor, a wealthy art patron, gave Gibson employment, and was anxious that he should stop in London. But Gibson wanted more than employment; he wanted to learn, to perfect himself, to become great in his art. He could do that nowhere but at Rome, and to Rome therefore he was determined to go. Mr. Taylor still begged him to wait a little. “Go to Rome I will,” Gibson answered boldly, “even if I have to go there on foot.”
He was not quite reduced to this heroic measure, however, for his Liverpool friends made up a purse of L150 for him (we may be sure it was repaid later on); and with that comparatively large sum in his pocket the young stone-cutter started off gaily on his continental tour, from which he was not to return for twenty-seven years. He drove from Paris to Rome, sharing a carriage with a Scotch gentleman; and when he arrived in the Pope’s city (as it then was) he knew absolutely not a single word of Italian, or of any other language on earth save Welsh and English. In those days, Canova, the great Venetian sculptor, was the head of artistic society in Rome; and as all society in Rome is more or less artistic, he might almost be said to have led the whole life of the great and lively city. Indeed, the position of such a man in Italy resembles far more that of a duke in England than of an artist as we here are accustomed to think of him. Gibson had letters of introduction to this prince of sculptors from his London friends; and when he went to present them, he found Canova in his studio, surrounded by his numerous scholars and admirers. The Liverpool stone-cutter had brought a few of his drawings with him, and Canova examined them with great attention. Instinctively he recognized the touch of genius. When he had looked at them keenly for a few minutes, he turned kindly to the trembling young man, and said at once, “Come to me alone next week, for I want to have a talk with you.”
On the appointed day, Gibson, quivering with excitement, presented himself once more at the great master’s studio. Canova was surrounded as before by artists and visitors; but in a short time he took Gibson into a room by himself, and began to speak with him in his very broken English. Many artists came to Rome, he said, with very small means, and that perhaps might be Gibson’s case. “Let me have the gratification, then,” he went on, “of assisting you to prosecute your studies. I am rich. I am anxious to be of use to you. Let me forward you in your art as long as you stay in Rome.”
Gibson replied, with many stammerings, that he hoped his slender means would suffice for his personal needs, but that if Canova would only condescend to give him instruction, to make him his pupil, to let him model in his studio, he would be eternally grateful. Canova was one of the most noble and lovable of men. He acceded at once to Gibson’s request, and Gibson never forgot his kind and fatherly assistance. “Dear generous master,” the Welsh sculptor wrote many years after, when Canova had long passed away, “I see you before me now. I hear your soft Venetian dialect, and your kindly words inspiring my efforts and gently correcting my defects. My heart still swells with grateful recollection of you.”
Canova told his new pupil to devote a few days first to seeing the sights of Rome; but Gibson was impatient to begin at once. “I shall be at your studio to-morrow morning,” the ardent Welshman said; and he kept his word. Canova, pleased with so much earnestness and promptitude, set him to work forthwith upon a clay model from his own statue of the Pugilist. Gibson went to the task with a will, moulding the clay as best he could into shape; but he still knew so little of the technical ways of regular sculptors that he tried to model this work from the clay alone, though its pose was such that it could not possibly hold together without an iron framework. Canova saw his error and smiled, but let him go on so that he might learn his business by experience. In a day or two the whole thing, of course, collapsed by its own weight; and then Canova called in a blacksmith and showed the eager beginner how the mechanical skeleton was formed with iron bars, and interlacing crosses of wood and wire. This was quite a new idea to Gibson, who had modelled hitherto only in his own self-taught fashion with moist clay, letting it support its own weight as best it might. Another pupil then fleshed out the iron skeleton with clay, and roughly shaped it to the required figure, so that it stood as firm as a rock for Gibson to work upon. The new hand turned to vigorously once more; and, in spite of his seeming rawness, finished the copy so well that Canova admitted him at once to the Academy to model from life. At this Academy Canova himself, who loved art far more than money, used to attend twice a week to give instruction to students without receiving any remuneration whatsoever. It is of such noble men as this that the world of art is largely made up — that world which we too-practical English have always undervalued or even despised.
Gibson’s student period at Rome under Canova was a very happy episode in a uniformly happy and beautiful life. His only trouble was that he had not been able to come there earlier. Singularly free from every taint of envy (like all the great sculptors of his time), he could not help regretting when he saw other men turning out work of such great excellence while he was still only a learner. “When I observed the power and experience of youths much younger than myself,” he says in his generous appreciative fashion, “their masterly manner of sketching in the figure, and their excellent imitation of nature, my spirits fell many degrees, and I felt humbled and unhappy.” He need not have done so, for the man who thus distrusts his own work is always the truest workman; it is only fools or poor creatures who are pleased and self-satisfied with their own first bungling efforts. But the great enjoyment of Rome to Gibson consisted in the free artistic society which he found there. At Liverpool, he had felt almost isolated; there was hardly anybody with whom he could talk on an equality about his artistic interests; nobody but himself cared about the things that pleased and engrossed his earnest soul the most. But at Rome, there was a great society of artists; every man’s studio was open to his friends and fellow-workers; and a lively running fire of criticism went on everywhere about all new works completed or in progress. He was fortunate, too, in the exact moment of his residence: Rome then contained at once, besides himself, the two truest sculptors of the present century, Canova the Venetian, and Thorwaldsen the Dane. Both these great masters were singularly free from jealousy, rivalry, or vanity. In their perfect disinterestedness and simplicity of character they closely resembled Gibson himself. The ardent and pure-minded young Welshman, who kept himself so unspotted from the world in his utter devotion to his chosen art, could not fail to derive an elevated happiness from his daily intercourse with these two noble and sympathetic souls.
After Gibson had been for some time in Canova’s studio, his illustrious master told him that the sooner he took to modelling a life-size figure of his own invention, the better. So Gibson hired a studio (with what means he does not tell us in his short sketch of his own life) close to Canova’s, so that the great Venetian was able to drop in from time to time and assist him with his criticism and judgment. How delightful is the friendly communion of work implied in all this graceful artistic Roman life! How different from the keen competition and jealous rivalry which too often distinguishes our busy money-getting English existence! In 1819, two years after Gibson’s arrival at Rome, he began to model his Mars and Cupid, a more than life-size group, on which he worked patiently and lovingly for many months. When it was nearly finished, one day a knock came at the studio door. After the knock, a handsome young man entered, and announced himself brusquely as the Duke of Devonshire. “Canova sent me,” he said, “to see what you were doing.” Gibson wasn’t much accustomed to dukes in those days — he grew more familiar with them later on — and we may be sure the poor young artist’s heart beat a little more fiercely than usual when the stranger asked him the price of his Mars and Cupid in marble. The sculptor had never yet sold a statue, and didn’t know how much he ought to ask; but after a few minutes’ consideration he said, “Five hundred pounds. But, perhaps,” he added timidly, “I have said too much.” “Oh no,” the duke answered, “not at all too much;” and he forthwith ordered (or, as sculptors prefer to say, commissioned) the statue to be executed for him in marble. Gibson was delighted, and ran over at once to tell Canova, thinking he had done a splendid stroke of business. Canova shared his pleasure, till the young man came to the price; then the older sculptor’s face fell ominously. “Five hundred pounds!” he cried in dismay; “why, it won’t cover the cost of marble and workmanship.” And so indeed it turned out; for when the work was finished, it had stood Gibson in L520 for marble and expenses, and left him twenty pounds out of pocket in the end. So he got less than nothing after all for his many months of thought and labour over clay and marble alike.
Discouraging as this beginning must have proved, it was nevertheless in reality the first important step in a splendid and successful career. It is something to have sold your first statue, even if you sell it at a disadvantage. In 1821 Gibson modelled a group of Pysche and the Zephyrs. That winter Sir George Beaumont, himself a distinguished amateur artist, and a great patron of art, came to Rome; and Canova sent him to see the young Welshman’s new composition. Sir George asked the price, and Gibson, this time more cautious, asked for time to prepare an estimate, and finally named L700. To his joy, Sir George immediately ordered it, and also introduced many wealthy connoisseurs to the rising sculptor’s studio. That same winter, also, the Duke of Devonshire came again, and commissioned a bas-relief in marble (which is now at Chatsworth House, with many other of Gibson’s works), at a paying price, too, which was a great point for the young man’s scanty exchequer.
Unfortunately, Gibson has not left us any notice of how he managed to make both ends meet during this long adult student period at Rome. Information on that point would indeed be very interesting; but so absorbed was the eager Welshman always in his art, that he seldom tells us anything at all about such mere practical every-day matters as bread and butter. To say the truth, he cared but little about them. Probably he had lived in a very simple penurious style during his whole studenthood, taking his meals at a caffe or eating-house, and centering all his affection and ideas upon his beloved studio. But now wealth and fame began to crowd in upon him, almost without the seeking. Visitors to Rome began to frequent the Welshman’s rooms, and the death of “the great and good Canova,” which occurred in 1822, while depriving Gibson of a dearly loved friend, left him, as it were, that great master’s successor. Towards him and Thorwaldsen, indeed, Gibson always cherished a most filial regard. “May I not be proud,” he writes long after, “to have known such men, to have conversed with them, watched all their proceedings, heard all their great sentiments on art? Is it not a pleasure to be so deeply in their debt for instruction?” And now the flood of visitors who used to flock to Canova’s studio began to transfer their interest to Gibson’s. Commission after commission was offered him, and he began to make money faster than he could use it. His life had always been simple and frugal — the life of a working man with high aims and grand ideals: he hardly knew now how to alter it. People who did not understand Gibson used to say in his later days that he loved money, because he made much and spent little. Those who knew him better say rather that he worked much for the love of art, and couldn’t find much to do with his money when he had earned it. He was singularly indifferent to gain; he cared not what he eat or drank; he spent little on clothes, and nothing on entertainments; but he paid his workmen liberally or even lavishly; he allowed one of his brothers more than he ever spent upon himself, and he treated the other with uniform kindness and generosity. The fact is, Gibson didn’t understand money, and when it poured in upon him in large sums, he simply left it in the hands of friends, who paid him a very small percentage on it, and whom he always regarded as being very kind to take care of the troublesome stuff on his account. In matters of art, Gibson was a great master; in matters of business, he was hardly more than a simple-minded child.
Sometimes queer incidents occurred at Gibson’s studio from the curious ignorance of our countrymen generally on the subject of art. One day, a distinguished and wealthy Welsh gentleman called on the sculptor, and said that, as a fellow Welshman, he was anxious to give him a commission. As he spoke, he cast an admiring eye on Gibson’s group of Psyche borne by the Winds. Gibson was pleased with his admiration, but rather taken aback when the old gentleman said blandly, “If you were to take away the Psyche and put a dial in the place, it’d make a capital design for a clock.” Much later, the first Duke of Wellington called upon him at Rome and ordered a statue of Pandora, in an attitude which he described. Gibson at once saw that the Duke’s idea was a bad one, and told him so. By-and-by, on a visit to England, Gibson waited on the duke, and submitted photographs of the work he had modelled. “But, Mr. Gibson,” said the old soldier, looking at them curiously, “you haven’t followed my idea.” “No,” answered the sculptor, “I have followed my own.” “You are very stubborn,” said Wellington. “Duke,” answered the sturdy sculptor, “I am a Welshman, and all the world knows that we are a stubborn race.” The Iron Duke ought to have been delighted to find another man as unbending as himself, but he wasn’t; and in the end he refused the figure, which Gibson sold instead to Lady Marian Alford.
For twenty-seven years Gibson remained at Rome, working assiduously at his art, and rising gradually but surely to the very first place among then living sculptors. His studio now became the great centre of all fashionable visitors to Rome. Still, he made no effort to get rich, though he got rich without wishing it; he worked on merely for art’s sake, not for money. He would not do as many sculptors do, keep several copies in marble of his more popular statues for sale; he preferred to devote all his time to new works. “Gibson was always absorbed in one subject,” says Lady Eastlake, “and that was the particular work or part of a work — were it but the turn of a corner of drapery — which was then under his modelling hands. Time was nothing to him; he was long and fastidious.” His favourite pupil, Miss Hosmer, once expressed regret to him that she had been so long about a piece of work on which she was engaged. “Always try to do the best you can,” Gibson answered. “Never mind how long you are upon a work — no. No one will ask how long you have been, except fools. You don’t care what fools think.”
During his long life at Rome, he was much cheered by the presence and assistance of his younger brother, Mr. Ben, as he always called him, who was also a sculptor, though of far less merit than John Gibson himself. Mr. Ben came to Rome younger than John, and he learned to be a great classical scholar, and to read those Greek and Latin books which John only knew at second hand, but from whose beautiful fanciful stories of gods and heroes he derived all the subjects for his works of statuary. His other brother, Solomon, a strange, wild, odd man, in whom the family genius had degenerated into mere eccentricity, never did anything for his own livelihood, but lived always upon John Gibson’s generous bounty. In John’s wealthy days, he and Mr. Ben used to escape every summer from the heat and dust of Rome — which is unendurable in July and August — to the delightfully cool air and magnificent mountain scenery of the Tyrol. “I cannot tell you how well I am,” he writes on one of these charming visits, “and so is Mr. Ben. Every morning we take our walks in the woods here. I feel as if I were new modelled.” Another passage in one of these summer tourist letters well deserves to be copied here, as it shows the artist’s point of view of labours like Telford’s and Stephenson’s. “From Bormio,” he says, “the famous road begins which passes over the Stelvio into the Tyrol; the highest carriage-road in the world. We began the ascent early in the morning. It is magnificent and wonderful. Man shows his talents, his power over great difficulties, in the construction of these roads. Behold the cunning little workman — he comes, he explores, and he says, ‘Yes, I will send a carriage and horses over these mighty mountains;’ and, by Jove, you are drawn up among the eternal snows. I am a great admirer of these roads.”
In 1844 Gibson paid his first visit to England, a very different England indeed to the one he had left twenty-seven years earlier. His Liverpool friends, now thoroughly proud of their stone-cutter, insisted upon giving him a public banquet. Glasgow followed the same example; and the simple-minded sculptor, unaccustomed to such honours, hardly knew how to bear his blushes decorously upon him. During this visit, he received a command to execute a statue of the queen. Gibson was at first quite disconcerted at such an awful summons. “I don’t know how to behave to queens,” he said. “Treat her like a lady,” said a friend; and Gibson, following the advice, found it sufficiently answered all the necessities of the situation. But when he went to arrange with the Prince Consort about the statue, he was rather puzzled what he should do about measuring the face, which he always did for portrait sculpture with a pair of compasses. All these difficulties were at last smoothed over; and Gibson was also permitted to drape the queen’s statue in Greek costume, for in his artistic conscientiousness he absolutely refused to degrade sculpture by representing women in the fashionable gown of the day, or men in swallow-tail coats and high collars.
