Puslapio vaizdai
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Drawn by Alfred Brennan. From the collection of Alexander W. Drake

MODEL OF THE "SANTA MARIA," AFTER THE COPY OF THE FLAG-SHIP
OF COLUMBUS, EXHIBITED AT THE CHICAGO WORLD'S FAIR
IN 1893 BY THE SPANISH GOVERNMENT

boats sometimes use, so that the jib may be operated from aft by one sheet in coming about. She has, too, the figurehead which fishermen put even upon yachts that they make over into working-boats, as they do not like the straight bow of the yacht.

Aboard are anchor and cable, the allessential "ground tackle." A galley-pipe or chimney projects above the cabin deck, for the scalloper cooks aboard his craft; the cabin doors are open, the companionway slide is pushed forward, the sliding window-covers, or port-shutters, of the cabin are opened; the forward hatch is divided by the centerboard, and the centerboard pendant is taut, the board being hauled up. An altogether right little, tight little, shipshape craft is The Village Belle.

There may be a personal reason for the gratifying success of the amateur modelmaker in this miniature boat. One day, seated aft in a small sailboat, cruising on Block Island Sound, with the Atlantic rollers coming along, and sometimes combing, constant reminders of the possibilities of the great open beyond, Mr. Wiles remarked with delight:

"We enjoy no advantage over the earlier mariners in this boat-the same elements to contend with and virtually the same

appliances with which to meet them; the same problems, and only the personal resources for grappling with them; no machinery. This is the free life of the sea, with all that it means and all its chances."

This model of a Long Island workingboat will probably some time be the center of one of the most interesting collections of models which a private collector is likely to get together, if Mr. Wiles carries out an intention he has formed. It is his desire to secure models of the fishing-craft of all regions and all nations. No vessels that float are more picturesque than those in which the fishers among all coast peoples go about their piscatorial pursuits. A Venetian fisherman's boat may be seen on page 523 of this paper. As the marine-painter scorns the smart yachts, with their immaculate canvas, and makes his pictures of the weathered working-boats, with their patched and stained and mildewed sails, so the model-collector, with an eye to the picturesque in his fad, comes to admire the boats and vessels in which men rough it in all weathers-boats that take on an air and substance of the sea that never attaches to the prim pleasure-craft, or even to the ocean giants of commercial transportation.

A large undertaking, and the work of years, it will be to acquire such a collection as a representative lot of the world's fishing-craft; but if a man has never known pertinacity before, he becomes a personification of it when he develops into a collector and tastes the joys of adding new specimens to his cherished possessions. In the case of Mr. Wiles, he will unquestionably build some of these models, for he will hunt till he finds plans, or, failing that, will build from pictures; but the

The Indiaman model bears the white stripe along her sides which the East-Indiamen had in order to make them resemble frigates while at sea, and so discourage pirates at a distance. The chief difference in long-range appearance between these merchantmen and the frigates was in the rigging, the merchantmen not being so heavily rigged as the war-ships; and at a distance skilled men had to distinguish between them by this fact.

The collecting of models seems to run

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work of searching for existing models of these boats invites his assiduous attention for many moons to come in the hours to be devoted to the model-collection.

What for a time at least will be the last of his self-built old-time great vessels, a British East-Indiaman with thirty-six guns, has an added interest as it pictures 'not merely a British East-Indiaman, but, in point of type, the Bonhomme Richard of illustrious memory; for it will be recalled that to the immortal Paul Jones was given not a war-ship, but an Indiaman, and with the Indiaman he won his terrific battle with the more powerful Serapis.

somewhat among artists and lovers of art in this city, some collecting for the love of the models and the sea, and some, perhaps, merely with an eye to the real beauty in a fine model of a rolling chariot of the great waters. Among other collectors in New York who possess several fine models are Thomas Shields Clarke, A. W. Drake, and Carleton T. Chapman. The late Stanford White was another. Mr. Drake has a Spanish caravel and an East Indiaman among others. His caravel is a model of Columbus's Santa Maria which was made in Spain and sent by the Spanish Government to this country at the time of the Columbian Exposition. Mr. Chap

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MODEL OF A WAR-SHIP OF THE LATTER HALF OF THE SEVENTEENTH CENTURY This remarkable model, constructed to show on one side the method of arranging the timbers of a ship, is owned by the New York Yacht Club, to which it was presented by Mr. J. Pierpont Morgan.

man has an Italian war-ship of the eighteenth century, several full-rigged merchant-ships, and some small craft. Mr. Clarke numbers among his possessions a fine model of an early sixteenth-century Dutch admiral's ship, a copy of one abroad, which he had made for him in Switzerland, the work of making it requiring nearly a year. One of the finest models owned in the city is made of red lacquer, and it may be said truly that this stunning production has aroused feelings of friendly envy in the breast of more than one New York collector. It belongs to another artist.

Still another New York painter rejoices in the possession of several interesting models obtained in Portugal. One of the rarest models in New York was found abroad by Stanford White and was presented to the New York Yacht Club by J. Pierpont Morgan. Its ornate stern appears at the head of this article. It is known as the Royal Sovereign, but cannot be identified as the model of any of the famous British fighting-ships of that name. Mr. White was so enthusiastic over it that he declared it the finest model in existence. Below the water-line it is not

planked, and the construction of the stem and stern-post can be plainly seen and clearly studied. It represents an English ship of the latter half of the seventeenth century. The librarian of the British Admiralty, after endeavoring to identify it, wrote as follows to the model committee of the yacht club:

"My assistant has carefully compared the photographs with the models of the period at the Royal United Service Institution and at the Naval College Museum at Greenwich, but has been unable to find any corresponding model, and we can only conclude that your model is one which escaped retention in England at the time when, by order of His Majesty William IV, the models at Kensington palace were transferred, in 1830, to the Naval College at Greenwich."

Another interesting model at the club is that of the Half-Moon, which was made in Holland at the time that the reproduction of the Half-Moon was constructed and sent to New York for the HudsonFulton celebration. One of Mr. White's models appears in the illustration of the "Lilliputian Shipyard," where there is also a stern view of the Santa Maria.

SPEKTOR IN SEARCH OF A MODEL

"A

BY HERMAN SCHEFFAUER

WITH PICTURES BY JAY HAMBIDGE

BIG man he must be," cried Pinchas Spektor, the little Russian sculptor to his assistant Yuski Golubok-"big, with long hair. And strong arms he must have, and a beard what curls and is long -my prophet, my nowi. And with a nose like an eagle,-positively,—and, first of all, a Jewish man he must be, an old one, a healthy one, a big one, a stern one-my prophet. Such a type,-see, Yuski?— such a one, and so."

With a few strokes of his wire modeling-tool he traced a patriarchal Hebrew head upon the surface of soft clay before him, and then completed it with the muscular torso and legs of a Samson. Yuski Golubok paused in his task of sprinkling the gray mass in the clay-bin, and looked critically at the outline that the sculptor drew. The eyes of lean little Yuski, Spektor's faithful man-of-all-work, were black, his arms sinewy and hairy, his face

was rodent-like, but filled with a crafty humor.

"So a nowi is a hard thing in this city to find by the Jews," said he, cocking his cropped head. "Demetropolis the Greek he is big in his body and has a big beard." "A Jew he must be," replied the sculptor, vehemently-"a Jew; for the monument is of a Jew and for a Jew and by a Jew. Am I the Almighty that I can shape a Greek into a Jew? No; I will go out looking, and find yet my model for my monument.'

Yuski tittered and resumed his sprinkling. Spektor slapped his soft, dusty hat upon his tumbled locks, thrust his hands into his pockets, strutted to a lime-covered. revolving-stand, and removed a soiled damp cloth from something that stood upon it. A beautiful model of a statue was revealed, an heroic figure of Moses, half clad in a fluttering robe, standing upright on the summit of Sinai, his kingly head upraised, and two massive stone tablets in his stalwart arms. Fondly Pinchas contemplated this offspring of his fancy. By October 17 it must be finished, cast in imperishable bronze, and erected in an open spot on Delancey Street. Ludwig Samoschein, the multimillionaire banker, had given him the commission, and this was Spektor's first important work since he had come to America from Warsaw.

"By October 17," Ludwig Samoschein had said, "on my birthday, the statue must be unveiled."

Ten thousand dollars was the price he had agreed to pay to Spektor. This monument of the great Hebrew lawgiver was to be a gift to the people of the East Side and to the city. "October 17, October 17, 17," rang in the ears of the sculptor. Only four brief months! Would he ever be able to find a suitable model for his great nowi Moses? Ever in his sight upon its pedestal against the wall there glowered, like a vigilant taskmaster, the saturnine, mocking plaster bust which Spektor had made of the banker. Carefully he replaced the damp cloth to keep the clay plastic, left his barnlike atelier near Washington Square, and, sharp-eyed on his quest, went forth to roam the streets of the East Side.

The sun was bright in Seward Park. The mutter of the rushing multitudes, the rattle and rumble of wagons, the calls of push-cart men, the shouts of boys and

screech of girls, made a stunning din and
pother; but on the benches sprawled,
dozed, and nodded countless shabby and
dingy forms, lethargic, listless, basking
and blinking in the sun.
caught sight of a figure on one of the
Pinchas Spektor
benches; his eyes shone, his artist's heart
gave a sudden leap, and hastening, he stood
in rapt admiration before the man.

Large of frame, long of limb, venerable, yet robust, his massive head resting upon his hand, his face half turned to the sun, rugged temples, his nose bold and aquiline, his long gray locks straggling over his and his forked gray beard covering half his chest, the old Hebrew sat upon the bench with eyes closed and legs crossed. His Moses at last, in the flesh! Spektor stood in awe before the snoring patriarch, along the walk, came a policeman. With not daring to wake him. Then, strolling a deft thwack of his club upon the upturned, gaping sole of the old man's boot, he brought him suddenly upright and widely awake, then went whistling on. The gray-head glared, and muttered a delicately, joy in his heart. curse in Yiddish. Spektor approached him

brute-a brute of blue and brass. You "A swine," said he, sympathetically, "a are busy, what?"

The old man raised himself to his great with large and brilliant black eyes. Surheight and looked down upon the sculptor prise replaced the anger in his look, scorn

the wrath in his voice.

shugge-crazy? Very busy am I. Have
"Am I busy, you say? Are you me-
time on loafers what ask foolish questions.
you eyes? So busy am I that I waste no
been busy sleeping on this bench."
For three days and three nights have I

timidly.
"Do you want a job?" asked Pinchas,

"A job?" said the old man, suspiciously.
"What, at my age shall I work yet, an
enough to eat."
old man, a raven of the Lord?

I gets

"It is not work," answered Spektor; "it is rest-rest with wages. It is only still to sit with some of your clothes off, and I make a statue of you-a monument."

The patriarch's coal-black eyes narrowed with distrust. Elaborately Pinchas Spektor told of the necessity of finding a model for his Moses. The old orthodox

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