Is This Young Howard Pyle?

Figure 1. Young man photographed by Emily Webb, Wilmington, Delaware, 1870s

Is this young Howard Pyle?

I don’t know. But I really, really wish I did - and I’m 99 percent convinced that it is Howard Pyle, somewhere in his early 20s. What throws me is the size of his hands, which seem too big (Pyle had smallish hands, apparently), and the shape of his ears. But these could be optical illusions. Also, I don’t know what color hair young Pyle had, or what his hairline was like before he started balding.

His eyes, though, look right, as does his nose, brows, and especially the shape and smallness of his mouth. In 1909, a reporter noted that Pyle had “eyes blue as a fog, a small mouth, bland, but massive and singularly youthful face.” And artist James Edward Kelly remembered that when Pyle arrived in New York in 1876, “he had a high, smooth forehead; a long, smooth nose; light blue eyes; long flat jaws; rosy cheeks; a long smooth chin; small pursed mouth.”

Fortunately, there is a bona fide early photo of Pyle - Figure 2 - taken about 1875 in Owings Mills, Maryland. Here he has longish, darkish hair, and a face very much in keeping with Kelly’s description. The slope and shape of the shoulders, nose, chin, mouth, etc., etc., are also very similar to Figure 1’s.

Figure 2. Howard Pyle at Owings Mills, Maryland, c.1875

Then again, the youngish Pyle in another early photo (Figure 3) appears to have brown or maybe even reddish hair, or at least something lighter than what we see in Figure 1 - but the darker tone there could be an illusion or from Macassar oil, or something...

Figure 3. Howard Pyle, by a Philadelphia photographer, c.1880-85

Still, there is indeed something reminiscent of Figure 1 in Figure 3. Not to mention in Frances Benjamin Johnston photos of Pyle, taken when he was in his early 40s. Pyle’s face has become rounder in Figure 4 and Figure 6, but his demeanor is similar, as are his mouth and eyes.

Figure 4. Howard Pyle photographed by Frances Benjamin Johnston, 1896

Curiously and coincidentally, the photographer of Figure 1, Emily Webb, was Howard Pyle’s first-cousin-once-removed: she had grandparents in common with Pyle’s father. Emily was born on February 23, 1830, died on April 24, 1914, and somewhere along the line - and at a time when female photographers were quite rare - she set up her “Union Gallery” on Market Street in Wilmington. Her sister Sarah, meanwhile, was the wife of the Saturday Evening Post’s Henry Peterson, who was also Pyle’s mother’s first publisher.

Perhaps another, identified copy of Webb’s photo - or the use of a facial recognition system of some kind - will solve the mystery. (Though, in laying out all these things, I think I'm now 99.9 percent sure.)

Figure 5. Closeup of young man photographed by Emily Webb, Wilmington, Delaware, 1870s

Figure 6. Closeup of Howard Pyle photographed by Frances Benjamin Johnston, 1896

A Semi-Lost Howard Pyle Student

Portrait of Elisabeth Moore Hallowell by Violet Oakley (via Pook and Pook)

In 1872, Howard Pyle, 19 and fresh out of art school, rented a room in the Grand Opera House in Wilmington and advertised that he would teach “drawing, sketching, and painting in oils.” Whether anyone took him up on the offer is still in question, however. Not long after his mother’s death in 1885, Pyle took his sister Katharine under his wing and into his studio and helped establish her career as an illustrator. And then in May 1894 he accepted a teaching position at the Drexel Institute in Philadelphia. But even before Pyle began his course on “Practical Illustration” that October, he agreed to help another artist.

Her name was Elisabeth Moore Hallowell (1861-1910) and today is the 118th anniversary of her first lesson with Pyle. She initially approached Pyle by letter on June 14, 1894, and he replied the next day:

I do not know just how much assistance I could be to you in the matter of pen drawing. It is a medium which I use but very little, except for the lighter and more decorative kind of illustrative work. If I can help you I shall be glad to do so.

He added that “if you could bring your work to me every week, say, on Saturday afternoons, I would be very glad to criticize it for you and to give you such suggestions as I can - I shall not charge you anything for such criticism.” Then - on 19th - Pyle told her to meet him on Saturday, June 21st at his then-residence, “Delamore Place,” an airy old mansion at the corner of Clayton and Maple Streets. I gather he didn’t have her come to his studio either for propriety, or because he only worked till midday on Saturdays, or because he was doing a lot of work at home at that time (a number of his illustrations from 1893-96 are indeed set at Delamore).

Whether Miss Hallowell did in fact see Pyle every Saturday that summer is in doubt: he went on a whirlwind trip, for instance, to Onteora, New York, in late June or early July 1894, and also spent days and maybe weeks at a time at his family’s cottage in Rehoboth, Delaware. Evidently, however, she did make periodic visits: on September 20th, for example, Pyle wrote that he could probably see her on the 29th, but that “I should like you that time to come to my studio instead of my house. You will find me there between the hours of three and five. The address is 1305 Franklin Street.”

Subsequently, Hallowell continued to seek Pyle’s help both informally and at Drexel, where she attended his classes: in a January 1896 letter, for example, Pyle said, “I will try, unless I miss my train, to be at your room at nine o’clock, and will give you an hour’s criticism between then and ten o’clock.” And although primarily a botanical artist, she made at least one Pylesque illustration - “Betsy Ross Making the First American Flag” - for Leslie’s Weekly in 1896.

Surely, this was produced under Pyle’s influence - if not his direct supervision. But it’s not clear how long their association continued. In 1897 the Macmillan Company announced the publication of Hallowell’s Elementary Drawing: A Series of Practical Papers for Beginners and touted it as “a very practical interesting book, with suggestions as to the best methods of grouping, management of light and shade, and other essentials of composition, all intended to give reliable help to students who are filling their first sketch-books.” I haven’t seen the book, or her articles in The Art Amateur which composed it, but perhaps some of it came out of what she learned from Pyle.

Hallowell later taught pen and ink drawing and was “Instructor in Charge of the Class in Illustration” at the Philadelphia Museum and School of Industrial Art. In 1902, she married author-naturalist-traveler-botanist-historian (etc.!) Charles Francis Saunders (1859-1942) and the two collaborated on a number of projects. In 1906, for the sake of for Elisabeth’s health they moved to California, where she died at age 49.

Incidentally, the portrait of Hallowell shown above was drawn by Violet Oakley, one of Pyle’s most celebrated Drexel students and, it seems, Hallowell’s friend.

Marginal Greatness from “A Puppet of Fate”

Relatively primitive - and slightly off-register - color printing, but still a fine marginal illustration by Howard Pyle. It’s untitled and was only reproduced once, in Pyle’s short story - or “Extravaganza for the Christmas Season” - titled “A Puppet of Fate” in Harper’s New Monthly Magazine for December 1899. The as-yet missing original is probably oil on board.

 In keeping with the “Oriental” aspect of the story, Pyle pushed the flatness of his design to excellent effect. Actually, here’s a case where a Pyle reminds me more of his students’ work than the other way around - particularly of his female students, like Sarah S. Stilwell, who Pyle was guiding quite closely at this time. Perhaps there was some cross-pollination going on.

The picture illustrates the moment when the hero, the Reverend Enoch Miller, a clergyman from a small Pennsylvania town, who has been thrown into a series of weird adventures in Philadelphia (during which he tears his trousers and is “given a pair of yellow silk drawers, also of an Oriental pattern, to be worn until his accustomed garments could be mended and restored to him”), is ushered

into a room whose Oriental magnificence and splendor exceeded the possibility of his wildest imaginings. Upon the walls hung tapestries of heavy and Oriental damask, whilst a multitude of Eastern rugs of infinite magnificence and beauty were spread thickly upon the floor. The splendors of this apartment were brilliantly illuminated by the light of a score of perfumed waxen tapers burning in as many candlesticks, apparently of silver and of exquisite workmanship, and the furniture and appointments were of ebony inlaid with silver.

Upon a cushioned couch at the farther side of the room reclined a female figure clad in an exquisite négligé of yellow silk, and presenting so ravishing a beauty that had she been a houri from Paradise she could not more have dazzled the sight of the Rev. Enoch Miller. Near to her lay a lute inlaid with ebony and mother-of-pearl, which she had apparently only just the moment before allowed to slip from her indolent grasp. The hand that had perhaps just struck its silver strings now lightly held a cigarette, from which arose a thread of blue smoke perfuming the warm and fragrant air with the aroma of Turkish tobacco.

On “The Story of Adhelmar”

“He found Mélite alone” by Howard Pyle (1904)

“I am most pleased that my illustrations for your Story of Adhelmar should have met with your approval,” wrote Howard Pyle to James Branch Cabell on June 12, 1904. “A good story is always a great inspiration for an illustrator, and I hope I may have the pleasure of illustrating many more of yours.”

It’s funny, though: Pyle’s three pictures for “The Story of Adhelmar” weren’t so inspired. John K. Hoyt’s criticism of Pyle (which I’ve reprinted in full) zeros in on two of them. Of “He found Mélite alone” Hoyt wrote:

Here we have a wooden image sitting, garbed in the habiliments of a woman, with a heavy mat of jute, in lieu of hair, falling from her head to her waist. The figure is devoid of any lines indicative of feminine grace; it might be the figure of a boy - a wooden boy. The arms in those sleeves are not made of flesh and bones and muscle, but of good solid oak. The expression of the face betokens intense, sullen stupidity. A knight clad in armor stands in the doorway, leaning against the jamb for support, evidently bereft of strength - as well he may be - at the ugliness of the thing.

Meanwhile, “He sang for her as they sat in the gardens”...

...represents a woman with a faded, washed-out face; a silly, simpering face; and whose right side has been developed at the expense of the left. And then, while gazing, one is stricken with deep compassion, as he perceives that this poor creature has curvature of the spine, and he wonders how, under the circumstances, she can even simper. In this figure also there are no lines to indicate the sex.

“He sang for her as they sat in the gardens” by Howard Pyle (1904)

“These two compositions are enough to drive the luckless author of ‘The Story of Adhelmar’ frantic,” Hoyt went on. “And if he has survived the sight of them, he is doubtless now going about in quest of the artist and thirsting for his gore.” Cruel assessments, perhaps, but he makes some good points.

Even so, the “luckless” Cabell was pleased with the set of illustrations and had written to Pyle on March 27, 1904: “I wish that I could properly express my admiration for the magnificent pictures you have made for the ‘Story of Adhelmar.’ But as I cannot, will you not take the word for the deed?” Pyle’s letter of June 12th (quoted above) was in response to this praise.

That same June, however, Pyle wrote to editor Thomas Bucklin Wells of Harper’s Monthly Magazine, “Again let me urge you not to send me too much medieval work.” But Wells seems to have ignored the request (or Pyle didn’t stand firm) and after another three years of illustrating Cabell and many other seemingly middling authors, Pyle complained to Wells on April 23, 1907:

I am in great danger of grinding out conventional magazine illustrations for conventional magazine stories. I feel myself now to be at the height of my powers, and in the next ten or twelve years I should look to do the best work of my life. I do not think that it is right for me to spend so great a part of my time in manufacturing drawings for magazine stories which I cannot regard as having any really solid or permanent literary value. Mr. Cabell’s stories, for instance, are very clever, and far above the average of magazine literature, but they are neither exactly true to history nor exactly fanciful, and, whilst I have made the very best illustrations for them which I am capable of making, I feel that they are not true to medieval life, and that they lack a really permanent value such as I should now endeavor to present to the world.

Of course, when Pyle wrote that letter, he only had four and a half years to live - not ten or twelve - and - despite his protestations - he and Harper’s Monthly continued on a similar path until his death.

“He climbed the stairs slowly, for he was growing feeble” by Howard Pyle (1904)

Howard Pyle at the Norman Rockwell Museum

The Rush from the New York Stock Exchange on September 18, 1873, 1895 Howard Pyle (1853-1911) 
Oil on panel, 18 x 11 7/8 inches Delaware Art Museum, Museum Purchase, 1915

What's the rush? Why, Howard Pyle: American Master Rediscovered opens today at the Norman Rockwell Museum.

Yes, the show - previously on view at the Delaware Art Museum - has been reassembled in Stockbridge, Massachusetts. Tonight’s festivities include a “Swagger and Dagger” party and special events will be held throughout its satisfyingly long run till October 28th. Even I’ll be up there on August 16th to have a conversation about Pyle.

On to Stockbridge! Hurry, hurry!

Abbey and Pyle Entangled

Entangled - Drawn by E. A. Abbey, from a Sketch by H. Pyle (Harper’s Weekly, January 19, 1878)

In his memoir, A World Worth While: A Record of “Auld Acquaintance”, illustrator W. A. Rogers said:

In looking over an old file of Harper’s Weekly the other day I came across a picture of Colonial life under which was printed, “Drawn by E. A. Abbey from a sketch by Howard Pyle.” That was before Pyle’s wings were strong enough to enable him to fly alone. It was in the days when most of the work was drawn on wood, and Pyle never was successful in working on the block.

“Entangled” is the picture Rogers mentions. “This was redrawn by Abbey from my original drawing,” Pyle noted in his scrapbook. “My drawing was made before I left Wilmington and was accepted as an ‘idea’. I got, I think, twenty dollars for it.” After Edwin Austin Abbey tightened it up, Victor Bernstrom engraved it for the January 19, 1878, issue of Harper’s Weekly. An accompanying paragraph explained:

The costumes and accessories in our engraving on page 52 show that the artist designed to represent a scene in an American country house of the last century; but the story suggested suits all times and countries. The tell-tale chairs placed cozily side by side, the evident embarrassment of the young gentleman, in spite of his effort to look cool and unconcerned, and as if he had been leaning all the morning against the mantel-piece, are quite perceptible to the keen glance of the maiden’s father as he comes into the room. Likely enough he is a loyalist, while the suitor for his daughter’s heart and hand may be the son of a patriot. Out of this hint every reader may weave a romance for himself.

“Entangled” was published just when Pyle’s early career was turning a corner, when publishers - and fellow illustrators, like Abbey - were beginning to take him seriously.

And in looking at this picture again, I feel more and more convinced that in redrawing Pyle’s picture, Abbey used Pyle himself as the model for “the young gentleman.” There’s something about the height and body language and the shape of head and brow, the texture of the hair, the sideburns, the way the hands are tucked in the pockets... Not many photographs of a twenty-something Pyle have turned up, but take a look at these two - maybe you’ll see what I mean.

Photograph of Howard Pyle, c.1875

Photograph of Howard Pyle, c.1880-83

Taking Pyle for Granted?

It seems strange to me that all these years people have apparently taken Howard Pyle for granted, and yet scarcely written a word about him as one of the biggest men of his calibre, or of any calibre, that we have in this country.

 So said Homer Saint-Gaudens, son of the sculptor Augustus Saint-Gaudens, on June 1, 1911. He was addressing Robert Underwood Johnson, then editor of The Century Magazine. “So I thought that I would start on a pilgrimage to find whether or no some magazine would not care for an article upon him by me, and I am beginning with you,” Saint-Gaudens added.

Johnson didn’t take the bait. Nor - as far as I can tell - did any other editor. Granted, Pyle wasn’t particularly newsworthy at that time, but I wonder if there wasn’t a subtle prejudice against him. Sometimes I think he wasn’t European enough for America - or at least for the American taste-makers.

Howard Pyle’s Speech

Detail of a photograph of Howard Pyle by Frances Benjamin Johnston (1896)

Usually, when imagining Howard Pyle, the Movie, I cast Tom Wilkinson in the title role - though he might be too old for it at this point. And I’d definitely want to hear David Ogden Stiers recite Pyle’s words or narrate a Pyle documentary à la Ric Burns or Ken Burns on, maybe, PBS’s American Experience. (Stiers could have easily been cast as Pyle, too, once upon a time.) But did Pyle sound like either of these two men? It’s impossible to say, barring the discovery of a wax cylinder recording of Pyle’s voice. I dream of finding one; I doubt, though, that one exists.

So, how did Pyle sound and speak?

In a 1903 letter, Pyle told John Ferguson Weir that his voice had “a somewhat dominant and carrying quality.”  Fellow illustrator (and alleged student) Ernest Clifford Peixotto recalled Pyle’s “manly voice.” Pyle pupil Harvey Dunn remembered his teacher’s “far carrying voice” and his “deep and compelling laugh.” A 1909 interviewer said Pyle spoke “easily and swiftly...in curt sentences and jerky pauses.” Biographer Charles D. Abbott said, “Howard Pyle had a rich tenor voice, and considerable facility in using it, that made him very popular in musical circles.” Indeed, Pyle sang in public quite often, particularly in the choir of his church and in the chorus of the Tuesday Club. He also - in his twenties, at least - performed in amateur theatricals.

In my mind’s ear, I hear a clear, confident, steady stream of words issuing from Pyle’s mouth.

But artist James Edward Kelly remembered that when he met the young Howard Pyle in 1876, he “talked with a slight lisp.” And Pyle’s longtime friend, journalist Edward Noble Vallandigham, who befriended Pyle in the early 1880s, recalled that he had “a slight impediment of speech.”

Pyle himself echoed Vallandigham’s unfortunately vague description at least twice: in 1895, when invited to do a reading of his works, Pyle begged off, blaming “somewhat of an impediment in my speech that would perhaps make it unpleasant and awkward both for myself and my hearers.” Refusing a similar invitation that same year, he confessed, “I have unfortunately at times a slight impediment in my speech that might in such a public reading be unpleasant, both to you and to myself.”

So was it - like Kelly said - merely a “slight lisp”? Perhaps, but when asked in a 1982 tape-recorded interview if her father read aloud from books, Eleanor Pyle Crichton (1894-1984) said, “No, he never read. He stuttered.”

Whatever it was, though, the “impediment” didn’t always stop Pyle from singing, acting, teaching, or, for that matter, from more formal speaking engagements. At the same time that he was turning down the above mentioned offers, he was finding his way as a teacher, starting with lectures on “Practical Illustration” to students at the Drexel Institute in the fall of 1894. And it wasn’t long before Pyle did begin to accept invitations to speak: in 1897 he delivered the commencement address at Delaware College, and in the first decade of the 20th Century he spoke before the Society of Arts and Crafts of Boston, the School of Fine Arts of Yale University, the Art Institute of Chicago, the Franklin Inn Club in Philadelphia, Milwaukee-Downer College, the Irvington Athenaeum (in Indianapolis), the Art Students’ League of New York, the National Academy of Design, the American Institute of Architects - and so on - not to mention his ten years’ worth of almost weekly “composition lectures” to students and guests at Wilmington and Chadd’s Ford.

Somewhere along the line, it seems that Pyle overcame his “impediment,” or at least he became less self-conscious about it. Perhaps his conviction to the cause of raising illustration from what he described as a “discredited handicraft” to a distinctly American school of art had something to do with it.

Howard Pyle DVD Trailer

The official trailer of “Howard Pyle and the Illustrated Story” has just gone up on YouTube.

Howard Pyle on TV Tonight

If you’re in the greater Philadelphia or Wilmington area and get the PBS station WHYY, tune in tonight at 10.00 p.m. and watch “Howard Pyle and the Illustrated Story.” It’s a documentary put together in conjunction with the recent Delaware Art Museum show and features some great interviews with historians, experts and enthusiasts. I particularly enjoyed hearing what Jamie Wyeth had to say, both from the point of view of an artist and someone whose family owes much to Pyle.

Copies of the DVD are also available on Ebay.

“An Old-time May Day in ‘Merrie England’”

“An Old-time May Day in ‘Merrie England’” by Howard Pyle (1878)

About a year after Howard Pyle made his illustration for “The Merrie Month of May” - used on the cover of St. Nicholas for May 1877 - he revisited the topic of “May Day” in the illustration shown here. It illustrated “The Story of May-Day” by Olive Thorne in St. Nicholas for May 1878.

In his scrapbook, Pyle wrote, “This picture was ordered by St Nicholas on the strength of the Carnival in Phila.” And of that picture Pyle scribbled: “This was my first seriously ordered work. I received the commission to paint this picture after having completed a drawing for Harper’s Weekly called a ‘Wreck in the Offing’. It is a labored composition but was much liked.”

“Carnival, Philadelphia, 1778” appeared in “The Battle of Monmouth Court-House” by Benson J. Lossing in the June 1878 Harper’s New Monthly Magazine. The original black and white gouache painting is now at the Delaware Art Museum. It differs slightly from the engraving shown here; evidently, the engraver altered Pyle’s image, or - more likely, I think - Pyle tweaked it after it was engraved, perhaps to ready it for the Salmagundi Sketch Club’s exhibition at the Kurtz Gallery in February 1879. At which time, the New York Herald heralded it as “a careful and good scene at carnival time in Philadelphia in colonial days.”

“Carnival, Philadelphia, 1778” by Howard Pyle (1878)

Howard Pyle’s First Cover?

This is probably the first magazine cover ever to feature an illustration by Howard Pyle. It’s not something that Pyle remembered, apparently, and it also eluded his bibliographers. But here it is: the May 1877 cover of St. Nicholas, Scribner’s Illustrated Magazine for Girls & Boys.

Of course, Pyle didn’t design the entire cover, just the long rectangular illustration that the publisher - for better or worse - slapped across it. Fortunately, a word of explanation was included in “The Letter Box” on page 508:

The beautiful tablet by Mr. Pyle, which adorns our cover this month, tells a true story in its own lively fashion. Its quaint costumes of successive centuries, showing how May-day rejoicings have been kept up from age to age, will send some of you a-Maying in encyclopedias and year-books, but it gives its real meaning at a glance - which is, that through all time people have welcomed the first coming of the spring. “Merrie May,” meaning pleasant May (for in old times “merry” simply meant pleasant), was as fresh and beautiful ages ago as it is to-day; and in one way or another the thought at the bottom of all the rejoicing is ever that of the old carol:

“A garland gay I’ve brought you here,
And at your door I stand;
It’s but a sprout, but it’s well budded out.
The work of our Lord’s hand.”

Pyle most likely drew this “tablet” for “The Merrie Month of May” in the depths of the winter of 1877, while occupying a “small hall bedroom” at 250 West 38th Street (between Seventh and Eighth Avenues) in New York.

Pyle Drives a Hard Bargain

“Cap’n Goldsack” by Howard Pyle (1902)

Henry Edward Rood, an assistant editor at Harper’s Monthly, got to see Howard Pyle’s original illustration for “Cap’n Goldsack” a few months before it was published in the July 1902 issue of the magazine. He wanted to buy it. Pyle wrote him on April 30, 1902:

I feel very much complimented that you should like “Captain Goldsack” and shall be very pleased for you to have it. Do you think that $75.00 is more than you care to give for it? If so I shall be glad for you to mention what you think would be sufficient value.

Pyle drives a hard bargain, doesn’t he? I don’t know if Rood accepted the offer - but I sure would.

The painting has yet to turn up: it was last seen at the Art Institute of Chicago in December 1903. It illustrated a poem of the same name by William Sharp:

CAP’N GOLDSACK

Down in the yellow bay where the scows are sleeping,
Where among the dead men the sharks flit to and fro -
There Cap’n Goldsack goes, creeping, creeping, creeping.
Looking for his treasure down below!

Yeo, yeo, heave-a-yeo!
Creeping, creeping, creeping down below -
Yo! ho!

Down among the tangleweed where the dead are leaking
With the ebb an’ flow o’ water through their ribs an’ hollow bones,
Isaac Goldsack stoops alow, seeking, seeking, seeking.
What's he seeking there amidst a lot o’ dead men’s bones?

Yeo, yeo, heave-a-yeo!
Seeking, seeking, seeking down below -
Yo! ho!

Twice a hundred year an’ more are gone acrost the bay,
Down acrost the yellow bay where the dead are sleeping:
But Cap’n Goldsack gropes an’ gropes from year- long day to day —
Cap’n Goldsack gropes below, creeping, creeping, creeping:

Yeo, yeo, heave-a-yeo!
Creeping, creeping, creeping down below -
Yo! ho!

“After Reading Shakspere”

Headpiece for “After Reading Shakspere” by Howard Pyle (1900)

I admit I'm more of an Oxfordian than a Stratfordian, and even Howard Pyle said of Shakespeare - or Shakespere, or Shakspeare, or Shakspere - that “the man himself looms a very big, dim figure.” But Pyle had a lifelong love of the playwright-poet, whoever he was: he quoted him, acted in his plays, and hoped - in vain, due to his untimely death - to illuminate an edition of the Sonnets. Even so, no specific Shakespeare illustrations of Pyle’s were ever published.

The only “Shakespearean” Pyle illustration that I can find is the one shown here, from Edwin Markham’s The Man with the Hoe and Other Poems, which he made in 1900.

After Reading Shakspere
by Edwin Markham

Blithe Fancy lightly builds with airy hands
Or on the edges of the darkness peers,
Breathless and frightened at the Voice she hears:
Imagination (lo! the sky expands)
Travels the blue arch and Cimmerian sands,—
Homeless on earth, the pilgrim of the spheres,
The rush of light before the hurrying years,
The Voice that cries in unfamiliar lands.

Men weigh the moons that flood with eerie light
The dusky vales of Saturn—wood and stream;
But who shall follow on the awful sweep
Of Neptune through the dim and dreadful deep?
Onward he wanders in the unknown night,
And we are shadows moving in a dream.

“I hope sometime for you to see the original”

“The Attack upon the Chew House” by Howard Pyle (1898)

On April 19, 1898, Howard Pyle wrote to a fellow member of the Mahogany Tree Club:

Wilmington Delaware

April 19th 1898

Dear Mr Cadwalader: -

I send you with this a reproduction of my picture of the attack upon Chew House.

It does not, of course, give any suggestion of the color - which was in cool and luminous greys - but it will at any rate indicate the arrangement of the “composition”

I hope sometime for you to see the original

Sincerely Yours,

Howard Pyle

To John Cadwalader Esq
Philadelphia
Penna -

I echo Pyle’s hopes. The tiny reproduction of the picture shown here, from Henry Cabot Lodge’s “The Story of the Revolution” in Scribner’s Magazine for June 1898, does little justice to the original oil on canvas, which is indeed luminous - and big - some 23.25 by 35.25 inches.

Notes from a 1949 conversation between Pyle’s student Frank Schoonover and Pyle’s secretary Gertrude Brincklé reveal these details about the painting:

Some of Mr. Pyle’s students (including Schoonover and [Clyde] Deland) went to Germantown and photographed the house from the angle you see in the painting. On this side of the steps where the men are standing there was a green bench with flowerpots on it. The students told Mr. Pyle about it, and he said that was a good idea, and that if it were there at the time the photograph was taken, it would probably always be there - even at the time of the battle.... Some of the students posed for the painting, Mr. Schoonover included.

Pyle most likely painted the picture in March 1898. He then put it on view, briefly, in Philadelphia before shipping it to New York to be photographed and engraved for the magazine. After his hopes that it and the other eleven pictures in the series would be purchased and hung in the Library of Congress were dashed due to some legal technicality, it was exhibited here and there over the next several years. In a review of a 1905 Pyle show, The American Art News said of the "The Attack on the Chew Mansion" [sic]: “The composition is excellent, and the drawing and color make it one of the finest of modern historical paintings.” Hear, hear!

“The Attack upon the Chew House” - also known as “The Battle of Germantown” - now lives at the Delaware Art Museum.

Howard Pyle’s Titanic Connections

Headpiece for “McAndrew’s Hymn” by Howard Pyle (1894)

Howard Pyle’s connections to the Titanic disaster are tenuous at best, seeing that he had been dead five months when the ship went down. Legend has it, however, that his son Wilfrid, aged 14 - and perhaps also his other son Godfrey, 16 - who had stayed on in Europe to attend school in Switzerland, had tickets for the Titanic’s maiden voyage, but didn’t use them. At least one ticket is believed to have survived, but it’s gone missing. The question is, though, why would the boys leave school in April instead of filling out the school year? Grief? Homesickness? Spring break? At any rate, they wound up sailing safe and sound on the Kaiser Wilhelm II from Cherbourg in July 1912.

But Pyle was indeed connected to at least two bona fide Titanic passengers. One was Major Archibald Butt, who had served as an aide to both Theodore Roosevelt and William Howard Taft, and who had grown so distressed over the 1912 presidential race that he needed a recuperative trip to Europe. Teddy’s daughter Alice Roosevelt Longworth (whose conversations generated one of my favorite books, Mrs. L) recalled him fondly:

Archie Butt was another good friend. Archibald Willingham Andrew Brackenbreed...Butt, we used to chant, teasing him about his name, which we said sounded like a load of coal falling downstairs. He had a very good sense of humor.

It so happens that Butt mentioned both Alice and Pyle in a letter to his sister, written November 12, 1908, the day after a celebratory White House luncheon attended by key players in Taft’s recent campaign victory over William Jennings Bryan:

A Mr. Pyle, a distinguished illustrator, and his wife were guests also. The former spent most of his time making sketches of those at the table and presenting them to Mrs. Longworth.

(Oh, what I’d give for those sketches! I’ve looked for them, in vain. But, anyway...) It sounds like Butt barely knew Pyle. Actually, unless he was just over-explaining for his sister’s benefit, it sounds like he may not even have known of Pyle. This seems odd, though, considering Pyle’s stature at the time, not to mention his friendship with people Butt knew very well. Like Francis Davis Millet, who apparently shared a house with Butt in Washington, D. C. (and whose relationship with Butt has been the source of some speculation).

Artist-author Frank Millet had known Pyle for over 30 years and was an unabashed enthusiast of Pyle’s work. In fact, Millet had been instrumental in getting Pyle his last mural commission for the Hudson County Court House in Jersey City, New Jersey. On November 14, 1911, Millet, then in Rome, had written to Anne Poole Pyle:

Having been out of touch for some time with newspapers, I came across by accident yesterday the shocking news of your husband’s death. I had planned to come to Florence within a few days to see you all quite unsuspicious that anything was the matter with him.

I write now to offer you my heartfelt sympathies in your great affliction and irreparable loss, this to you and to the children. I shall always cherish as one of my most pleasant memories the visit I made to Wilmington.

He has built a great monument for himself and his family in the art he has produced and has had no rival....

Five months later, Millet joined Archie Butt on the Titanic for the voyage back to America. Both went down with the ship.

Tailpiece for “McAndrew’s Hymn” by Howard Pyle (1894)

[Please note that the images shown here have nothing to do with the Titanic per se, but they’re the best I could do. Pyle made them to illustrate Rudyard Kipling’s poem, “McAndrew’s Hymn” for the December 1894 issue of Scribner’s Magazine.]

Howard Pyle’s Wedding Pictures

“The Sailor’s Wedding” by Howard Pyle (1895)

It’s Howard Pyle’s wedding anniversary today: on April 12, 1881, the 28-year-old artist-author married the 22-year-old Anne Poole, daughter of the J. Morton and Ann (Suplee) Poole, in a Quaker ceremony in the parlor of the Poole house at 207 Washington Street in Wilmington. Pyle’s close friend and fellow illustrator, Arthur B. Frost, was best man and his sister, Katharine, was one of the bridesmaids. Lunch followed and later that day the couple took the train to Washington and stayed just a few blocks from the Executive Mansion at the Arlington House, the finest hotel in the city at that time (and not to be confused with Custis-Lee Mansion across the Potomac River in Virginia).

Somehow, weddings don’t show up too often in Pyle’s pictures. The image above, “The Sailor’s Wedding,” comes from his story “By Land and Sea” in Harper’s New Monthly Magazine for December 1895. Wilmingtonians might recognize Old Swedes Church in the background - a place Pyle was fond of, historically and aesthetically, and where his brother Walter married his first wife in 1884.

Pyle’s own nuptials more likely resembled the scene he presented in “A Quaker Wedding” (Harper’s Bazar, December 12, 1885). It’s tempting to call it a self-portrait, but Pyle was probably already balding and his sister recalled that the chairs were arranged in rows, with an aisle leading to a bow window, where the couple stood under a large bell made of white flowers. Even so, the mood and the crowd must have been akin to this.

“A Quaker Wedding” by Howard Pyle (1885)

And, just for the sake of completeness, here’s another Pyle wedding picture, from Building the Nation by Charles Carleton Coffin (Harper & Brothers, 1882).

“A Kentucky Wedding” by Howard Pyle (1882)

I might add that on April 12, 1911, Howard and Anne Pyle celebrated their 30th - and last - anniversary together by taking a day-trip from Florence to Pisa with their two daughters. I wish I had some pictures.

“A True Portrait of an Imaginary Gentleman”

One of the more unusual pieces of “Pyleana” in existence is the mug seen here, which Howard Pyle decorated to help out the Salmagundi Club. The New York Times Saturday Review of Books and Art of April 12, 1902, explained:

The recent library dinner at the Salmagundi Club and the sale of ex libris mugs that followed the dinner constitute an annual function notable for its originality of conception and for the successful way in which a clever idea is working itself out. It was the fourth dinner at which the arbitrarily limited number of twenty-four mugs, decorated by well-known artists and numbered and registered in the library of the club, was sold at auction for the benefit of the library.

The painter Bruce Crane (who knew Pyle since the late 1870s, apparently) served as the auctioneer and, the Times said, “charm[ed] the money from the bidders’ pockets.” 

The mug signed by that accomplished illustrator, Howard Pyle, brought out some lively bidding before it was secured by Mr. W. E. Baillie of Bridgeport. Quite properly Mr. Pyle’s mug showed a literary as well as an artistic side. A pleasant-faced pirate in a dark sombrero was described opposite in a panel of quaint lettering as “The [sic] true portrait of an imaginary gentleman painted by Howard Pyle for the Salmagundi Club of New York, MCMII.”

Pyle’s mug, which is just shy of six inches in height, went for $100 and has since found its way to the Delaware Art Museum. It’s a nice little painting, but Pyle didn’t think much of it, as seen in this scrawling letter to William Henry Shelton, artist, club historian and member of the Library Committee.

Here’s a transcription:

Wilmington, Del. April 9th 1902

Dear Mr Shelton -

I am delighted to hear of the success of your “mug” sale. It seems preposterous that my half hour sketch should fetch so much as you say. I am sure I would not give a hundred dollars for it - or a hundred cents for that matter. I am glad to have been of use though and am

Faithfully yours

Howard Pyle

But Pyle was of use at least once more: the mug he contributed to the 1906 club fundraiser sold for $260. I can only hope that it didn’t get broken or wind up in somebody’s dishwasher and that it’ll turn up one day.

My Book-Children

“My books have never possessed a great or universal popularity, but every year I find them to be more and more read, and every year brings them a wider and wider circulation. I do not think that any writer has a more charming audience than I. I call you my book-children, and next to my own children I regard you, who are my readers, as a sort of literary family.”

Howard Pyle to Mrs. Edwin M. Leask, April 6, 1907.

Howard Pyle’s Birthplace: A Crack in the Case

Two years ago I talked about why I believed that Howard Pyle was born in a house on Market Street, between Eighth and Ninth Streets, in Wilmington, Delaware. You can read about it and see some pictures here. Yesterday, a new piece of evidence - which seems to support my theory - caught my eye:
 

The most intriguing thing about this is that it was written by Pyle’s sister, Katharine. It appeared in her syndicated history, “The Story of Delaware,” in the magazine section of The Sunday Morning Star - a.k.a. The Delmarva Star - on November 9, 1924.

Although there are some problems with the piece (particularly with some of the dates), I’m inclined to take her statement - “Howard Pyle was born in an old house on Market street in Wilmington” - at its word. And, despite its flaws, this brief biography of her brother - with whom she had a somewhat conflicted relationship - is worth reading, so I’ve quoted it in full, below.

Of course, Katharine Pyle was no mean artist and writer herself, and she’s presently the focus of an extensive exhibition at the Delaware Art Museum.

THE STORY OF DELAWARE
by Katharine Pyle

Conclusion of Chapter on “Famous Men”

HOWARD PYLE
1853-1912 [sic 1911]

Howard Pyle was born in an old house on Market street in Wilmington, and it was in Wilmington the greater part of his life was spent.

Even as a child he showed a talent for drawing. The blank places and margins in his school books were filled with sketches, the most of them made in hours when he was supposed to be studying.

At eighteen [sic sixteen] he was sent to an art school in Philadelphia and a few years later he set off for New York to seek his fortune.

He was ambitious to support himself, and after he once began to earn money he made up his mind that he would not ask his father for further help. At times he had scarcely enough money to buy art materials or pay for his models, but he held to his determination, and before long his name became known as a rising illustrator. Publishers spoke of him as one of the most promising among the younger artists.

In 1878 [sic 1879] he came back to Wilmington to live and soon after he married. Already his reputation as an artist had been made, but his fame as a writer came later. He had written quite a number of verses and short stories but his book of “Robin Hood” was the beginning of his real reputation in that line. As years went on still other books were written, - “The Wonder Clock.” “Otts [sic Otto] of the Silver Hand,” “The Garden Behind the Moon,” “Twilight Land” and others. The last of all was the King Arthur Series. All these are now child classics and are rich in illustrations done by his own hand.

Some of his tales were dictated to his stenographer as he stood at his easel painting, but he found this double work wearisome after a time, and in his later years he never attempted it.

He loved to have someone read to him as he drew or painted. Hour after hour was spent by his stenographer in reading about tales of pirates or adventure: or perhaps she read to him one of Trollope’s novels, or a book of Swedenborg, for he was of the Swedenborgian religion, and the influence of his belief was shown, not only in his life, but in his pictures and writings as well.

His work hours were long. They did not always end with the daylight. Sometimes he worked at home in the evenings over some delicate bit of pen-and-ink or a wash drawing while his wife read to him.

Besides his illustrating and writing he did a number of mural decorations.

The amount of work he turned out was enormous; in all he produced over three thousand pictures and decorations.

In 1893 [sic 1894] he was asked to teach a class in illustration at the Drexel Institute, Philadelphia. It was the first class of its kind in this country and proved a great success.

Out of it grew Mr. Pyle’s Summer School at Chadd’s Ford.

Later he gave up his classes at the Drexel. He built studios about his own for some of his students; and others who had followed him to Wilmington for the sake of his teaching, rented rooms or buildings near by.

Many of the men and women who studied under him in those years are among the most famous illustrators of the day.

In 1911 [sic 1910] Mr. Pyle set sail with his family, intending to spend a year or more abroad. But from this journey he never returned. He died in Florence the following year.

Since then a great number of his pictures have been bought by the people of Wilmington. A society called “The Fine Arts Society of Wilmington” [sic The Wilmington Society of the Fine Arts] was formed with the express purpose of keeping them together, caring for them and exhibiting them at certain times.

Now a special room in the Wilmington Public Library has been built for them, and there they have been hung and can be seen any time. It is probably the largest collection there is of any one man’s work, and it stands as a greater memorial to the art of Howard Pyle than the most imposing monument that could have been built.

A Howard Pyle Tiffany Window

In 1893, Howard Pyle designed a stained-glass window which was to be fabricated by the Tiffany Glass and Decorating Company.

“Designed” might not be the precise word: Pyle didn’t so much design the window as paint a picture that was, in essence, “translated” by Tiffany’s stained-glass artisans.

The window was destined for - and, presumably, commissioned by - the Colonial Club of New York, which had moved into a handsome new building on Broadway and 72nd Street the previous year. The subject was Anthony Van Corlaer, and the work has generally been known by the title “Antony Van Corlear [sic], the Trumpeter of New Amsterdam”. Then again, it could be argued that the “official” title is that which Pyle lettered on the work itself:

ANTONIVS VAN CORLEARVS TVBIC
EN PRO NOVELLO AMSTERDAMO

(That title might not be too reliable, however: “My Latin is very loose,” Pyle later wrote (in reference to a mistake in the first printing of his Story of King Arthur), “and I am afraid that I always depend too much on the text reader to help me with that - as well as with my dreadful spelling.”)

At any rate, Pyle seems to have been proud of his painting: on March 18, 1893 he welcomed invited guests to his Wilmington studio to take a look at it before it was shipped off. It was subsequently shown at the Tiffany studios, 333 Fourth Avenue, New York, February 25-26, 1897, and at the First Annual Exhibition of the Pittsburgh Chapter of the American Institute of Architects, May 2-31, 1898.

But the painting has since gone missing. We can take a look at it, however, courtesy of an article on “Window Making as an Art” by William H. Thomas in The Munsey Magazine for December 1901.

Granted, it’s in black and white, but at least we can see the general scheme - not to mention a great many of the painterly details that were “lost in translation” - perhaps because they were deemed unnecessary or impossible to replicate in glass. (Note, for instance, Pyle’s rendering of the boots.)

The window was completed and installed in a Colonial Club stairway sometime that year or the next. The American Architect and Building News for December 29, 1894 described it thus:

At the head of the first flight is a Tiffany window, quite expressive of the Club - Antony Van Corlear sits jovial, surrounded by laughing maidens, who fill his glass and flatter his bachelor vanity, while in the tablets on either side we read the tale, as set forth in the “Knickerbocker’s History”:

“But it was a moving sight
To see ye buxom lasses;
How they hung about ye Doughty
Antony Van Corlear;
For he was a jolly rosy-faced
Lusty bachelor
Fond of his joke and withal
A desperate rogue among ye women!”

A humorous and pleasing thing to greet one on entering the Club!

But in 1903 the clubhouse went into foreclosure and over the next century the building underwent a series of modifications and renovations before ultimately being demolished in 2007.

Fortunately, the window weathered these storms: somewhere along the line it was removed and on March 30, 1984 it was auctioned by Christie’s in New York and purchased by the Delaware Art Museum. It measures 65.5 x 39.5 inches, and Pyle’s painting most likely is - or was - of similar dimensions. Maybe it weathered some storms, too, and will show up one day.

“Come, come, your Future Majesty! Cheer up!”

Another long-lost Howard Pyle painting is about to go on the block at Scottsdale Art Auction on March 31, 2012. It’s Lot 322.

“Come, come, your Future Majesty! Cheer up!” illustrated “Eden-Gates” by Justus Miles Forman in Harper’s Monthly Magazine for March 1905. And then it went missing - until now. As far as I know, Pyle never exhibited this 24 x 16" oil on canvas. It’s a nicely painted piece: I particularly appreciate his handling of the tapestry (and wonder if he based it on something in particular) and the carpet - not to mention the paneling, the carved chair, and even the table’s claw-foot that peeks out from under the drooping table cloth. All so loosely painted, but dead on.

The monk (Brother Aurelius), by the way, bears an uncanny resemblance to Pyle’s student Harvey Dunn. This might be coincidental, however, since Dunn only arrived in Wilmington the previous fall - though he is known to have posed for Pyle not long after joining the school. For comparison, here’s Dunn as a much older man via Picture It: Observations, Inspiration and Lessons about Illustration Art.

Anniversary Song

I have no idea what this sounded like, but it was written and sung by Howard Pyle’s students at his 50th birthday banquet on March 5, 1903:

ANNIVERSARY SONG

Here's to the friend whom we all hold dear,
May he live long.
Give him a cheer for his golden year,
Sing him a song.
Here's to the friends who are his true friends,
Honest and firm and true.

Sing it again, boys, sing it again, boys,

Louder -

CHORUS: - Palms of victory, palms of glory,
Palms of victory he has won.
Palms of victory, palms of glory,
Palms of victory he has won.

Here's to the work of the future years,
Always the best.
Here's to the men he has gathered here
From east and west.
May the seed of his work remain,
Honest and firm and true.

Sing it again, boys, sing it again, boys,

Louder -

CHORUS: - Palms of victory, palms of glory,
Palms of victory he has won.
Palms of victory, palms of glory,
Palms of victory he has won.

Belated Birthday Wishes

A happy birthday to Howard Pyle, born 159 years ago today in Wilmington, Delaware. (And I still think it happened at 224 Market Street.)

“Can’t you see ’em twicet?”

“Macarooned” “Marooned” by Howard Pyle (1909)

The Delaware Art Museum’s lovely, landmark show, Howard Pyle: American Master Rediscovered, closes today. Fortunately, it will reappear this June at the Norman Rockwell Museum.

One hundred years ago this month, in March 1912, an exhibition featuring many of the same pictures was mounted by The Wilmington Society of the Fine Arts, which had been formed in direct response to Pyle’s death the previous November. That show, held in the ballroom of the Hotel du Pont on Market Street, stayed up for only a couple of days, but it was a tremendous hit. “GREAT CROWDS VIEW PICTURES,” said one newspaper. “About 10,000 Saw the Howard Pyle Art Collection During Yesterday. MANY COULD NOT GET IN.”

An article about the show later appeared in The Outlook for June 1, 1912. Although unsigned, rumor has it that Pyle’s student Ethel Pennewill Brown was the author (a.k.a. “The Spectator”). And I'm going to quote it in full, here, since it so well describes the universal enthusiasm that Pyle’s work could generate - and can still generate, when given the chance.

*****************

THE SPECTATOR

Both entrance halls of the big office building, running in from two streets, were jammed with people - every kind of people, from white-haired men to infants in arms. The three elevators were plying as fast as they could to the eleventh floor, but the crowd thronged in far too fast for them to handle. “And it’s only beginning,” said the attendant in charge. “You ought to have seen them yesterday evening at about nine o’clock! It's only a quarter of eight now, and it’ll get worse from now on.” The Spectator was glad he had arrived early. Also, he was glad to see that for once a prophet was honored in his own country; for the swift shuttles of the elevators were taking up all Wilmington to look at the collection of pictures by Howard Pyle, the artist who had lived all his life in the busy manufacturing city of the Diamond State.

----

Never was there a better citizen than Howard Pyle, or a better friend. Therefore a group of his friends had organized this exhibit of all the pictures that he had left, that the whole city might see them, and that, if possible, they might be secured as a nucleus for an art gallery for the town. It was thus not an ordinary picture show, but a peculiarly personal and popular one. The Spectator, who counts the remembrance of Howard Pyle’s friendship as one of the privileges of life, met at the very door of the big ball-room on the top floor, where the show was held, others of an intimate circle who were serving as ushers and explaining the pictures to those who asked for information. “I’ve been taking small boys around all day,” one woman said, smiling, “and it’s been such fun! They want to know all about! ‘The Taking of Cartagena,’ and ‘The Flying Dutchman,’ and ‘The Battle of Germantown,’ and ‘Bunker Hill,’ and ‘The Salem Wolf,’ and ‘The Triumph of War,’ and ‘Thomas Jefferson.’ History isn’t my strong point, and several of them have corrected me. Not one boy has been troublesome or mischievous, and yet some of them have been regular little street boys - colored ones, too, among them. I shall never again think that art doesn’t interest the masses. Why,” to a nine-year-old, ragged and tousled, who came marching in with two younger boys tagging on to him, “haven’t you been here to-day already?”

----

“Yes, lady,” said the boy, shyly. “But I'd like to see ’em again, and here’s Joe hasn’t seen ’em yet, nor his brother. Can't you see ’em twicet?”

“Of course you can,” said the usher. “Which one do you like the best, out of them all?”

The urchin hesitated not a second. “That feller on the ship in the storm,” he said, pointing to the Flying Dutchman staggering on the slanting, streaming, gale-swept deck. The crowd was already three deep before it, but the little fellows wormed their way in and stood hand in hand gazing at the canvas. “I don’t suppose they have ever had a chance to see a good painting before in their lives,” said the usher. “That’s the interesting thing - to see the people here that one would never think would care for pictures or come. But they do come; there were six thousand here yesterday, and we didn’t expect five hundred! We’ve had four infants in arms, and three pet dogs, and several people on crutches, and I wouldn’t be surprised to see some one come in on a stretcher rather than miss it!”

----

And still they came. A solid wave flowed into the wide door of the high-arched ball-room, so that soon the committee had to stand there and direct the people to “Keep to the left, and move on all the time, please.” White-haired men and women, young couples bringing the baby, high school girls and boys, fashionably dressed women, laboring men, city officials, Poles, Italians, Negroes, Russian Jews, sisters of charity, deaconesses, leading clergymen, shopgirls, saloon and sporting men, art students, and boys, and more boys - a whole community, in fact, was surging up from the street to see the work of a beloved citizen as well as a famous artist. It was what America’s greatest illustrator would have loved to see - the human impulse, the response of the people to an art that reached them. For they did not glance at the pictures and pass on. They did not stand, as at the usual cultivated “private view,” with their backs to the pictures and talk to each other. They moved along slowly, so slowly that they had to be fairly torn away from picture after picture by the hovering committee. The crowded line, five and six deep, all around the spacious hall wanted to see every picture, and stay a while before this and that especially appealing one.

----

It was a fine group of canvases - full of color and fire and imagination. Howard Pyle’s Quaker blood made him a mystic, and also, by a paradox, sent him headlong on the trail of adventure and romance. His last picture - brought back from Florence unfinished and unsigned - was here: a heaving sea of iridescent blue and green, a cold moon, and slippery rocks, from which a mermaid siren, glittering, mysterious, alluring, winding her white arms about the young fisher-lad, was dragging him down, down, into the deadly depths below the white lacing foam. Across the room, in all the glory of a mellow sunset, the marooned pirate, crouched on the island sands, his head sunk on his hands, sat desolate while the screaming sea-birds wheeled overhead. Revolutionary scenes, mediaeval legends, colonial lovers and witches and sailors, bearded pirates dividing the spoils of cities or grappling treasure galleons, drew the eye and stirred the imagination. Exquisite black-and-white filled panel after panel, bold, minute, fascinating to linger over. The variety, the vigor, and the charm of the work were amazing.

----

“We didn’t have a catalogue, or put a rope railing in, because it was only for two days, and we never dreamed the whole town would come,” explained one of the committee. “We thought a few hundred, especially interested, would come and see what was here, and that a sentiment could be created for buying the collection. There are ninety-nine oils here, and then the black-and-whites and a few water-colors. Outside of the large mural paintings done for various public buildings in other States, these fairly represent the artist’s best work, and they are all in the market. If the little Italian towns of long ago could hold on to the pictures of their local artists, and so come to have galleries that travelers visit in thousands every year, there is no reason why American towns to-day should not begin to do the same thing. We are trying for a new free library building for Wilmington, and we want an art gallery in connection with it, with these for a nucleus. This crowd looks as if public sentiment will be running strong our way.”

----

It did indeed look so. The ushers at the door were fairly overwhelmed, and at last the order was given for the elevators to cease running. It was reported from below that the crowd was standing out in the street. The crush was now pressing the people fairly against the pictures, so it seemed better to let them wait in the street than come up and endanger the canvases. “Oh, dear, look at that woman’s hat-pin!” cried a watchful usher. “Won’t you please, Mr. Brown, go over there and call to her either to take out her hat-pin or keep her head slanted away from the canvas?” Mr. Brown obligingly pushed over, and the colored girl, whose enormous hat was pierced by a steel skewer with some six projecting inches of bare steel, giggled and threw her head far on the required slant, thereby knocking a meek and inoffensive man out of his place, but saving the pictures.

----

“We had the name, on a typewritten slip, pasted on the frame of each picture,” the Spectator was told. “But the crowd got so close to read the names that, we were afraid some of the near-sighted people would injure the canvas, and we took them all off. So the public can call them what they please. That wonderful one of the pirate abandoned on the island of the Spanish Main - ‘Marooned’ - is a great favorite. But many have called it ‘Macarooned,’ and enjoyed it just as much. Several men have come up and asked, ‘Which is the most expensive picture, please?’ One girl wanted to know ‘if the artist had a right to sign a picture with ships in it and call it an original picture, when he had the ships right there to draw from?’ Half a dozen school-children are going to write compositions about their favorite pictures. It seems to me that I never have thought of art as a thing that is alive and means something to all kinds of people, as I have these two days.”

----

The Spectator felt that way that night, too. He stayed to the end - until the lights were turned low so as to get the people to leave. They tramped off to the descending elevators - tired-looking men and women with another day’s work ahead of them, sleepy boys who still wanted to take another look at “Bunker Hill,” or “Thomas Jefferson,” or “The Mermaid,” or “The Pilgrimage of Truth,” or “The Burning Galleon,” or “The Taking of Cartagena.” Ten thousand of them had seen the pictures that day, in addition to the six thousand the day before - about one-fifth of the entire population, young and old. And yet some people think there is no future for American art! The Spectator is sure, after seeing that demonstration, that Wilmington will get its art gallery, and that the pictures of Howard Pyle will be a proud and prized community possession for all time in the old city where the Quaker artist was so beloved a citizen.

Howard Pyle on Augustus Saint-Gaudens

As early as 1880, Augustus Saint-Gaudens sought the 27-year-old Howard Pyle’s advice on the proper costume for his statue of Robert Richard Randall...

Years later, in a letter of February 23, 1898, to Saint-Gaudens’ wife, Augusta, Pyle said:

Indeed, my dear madam, you greatly magnify my work by comparing it as you do with that of Mr Saint Gaudens. I do - I believe - the best that I am able, but I am very conscious that my best falls far, far short of his.

But I’ve always felt that that the Saimt-Gaudens’ work was, in many ways, the three-dimensional embodiment of Pyle’s. Apart from attention to historical details, etc., they share a certain “solidity of form”, for want of a better description.