Part 31

This engine was a source of great expense to him, as well as the chief point in a fine scheme. He had made brass rails for it--sufficient to extend about the four sides of the studio--something like seventy feet. He had made most handsome passenger-cars with full equipment of brakes, vestibules, Pintsch gas, and so on, and had painted on their sides "The Great Pullman Line." One day, when we were quite friendly, he brought from his home all the rails, in a carpet-bag, and gave an exhibition of his engine's speed, attaching the cars and getting up sufficient steam to cause the engine to race about the room at a rate which was actually exciting. He had an arrangement by which it would pick up water and stop automatically. It was on this occasion that he confided what he called his great biograph scheme, the then forerunner of the latter day moving pictures. It was all so new then, almost a rumor, like that of the flying machine before it was invented.

"I propose to let the people see the photographic representation of an actual wreck--engine, cars, people, all tumbled down together after a collision, and no imitation, either--the actual thing."

"How do you propose to do it?" I asked.

"Well, that's the thing," he said, banteringly. "Now, how do you suppose I'd do it?"

"Hire a railroad to have a wreck and kill a few people," I suggested.

"Well, I've got a better thing than that. A railroad couldn't plan anything more real than mine will be."

I was intensely curious because of the novelty of the thing at that time. The "Biograph" was in its infancy.

"This is it," he exclaimed suddenly. "You see how realistic this engine is, don't you?"

I acknowledged that I did.

"Well," he confided, "I'm building another just like it. It's costing me three hundred dollars, and the passenger-cars will cost as much more. Now, I'm going to fix up some scenery on my roof--a gorge, a line of woods, a river, and a bridge. I'm going to make the water tumble over big rocks just above the bridge and run underneath it. Then I'm going to lay this track around these rocks, through the woods, across the bridge and off into the woods again.

"I'm going to put on the two trains and time them so they'll meet on the bridge. Just when they come into view where they can see each other, a post on the side of the track will strike the cabs in such a way as to throw the firemen out on the steps just as if they were going to jump. When the engines take the bridge they'll explode caps that will set fire to oil and powder under the cars and burn them up."

"Then what?" I asked.

"Well, I've got it planned automatically so that you will see people jumping out of the cars and tumbling down on the rocks, the flames springing up and taking to the cars, and all that. Don't you believe it?" he added, as I smiled at the idea. "Look here," and he produced a model of one of the occupants of the cars. He labored for an hour to show all the intricate details, until I was compelled to admit the practicability and novelty of the idea. Then he explained that instantaneous photography, as it was then called, was to be applied at such close range that the picture would appear life size. The actuality of the occurrence would do the rest.

Skepticism still lingered with me for a time, but when I saw the second train growing, the figures and apparatus gradually being modeled, and the correspondence and conferences going on between the artist and several companies which wished to gain control of the result, I was perfectly sure that his idea would some day be realized.

As I have said, when I first met S---- he had not realized any of his dreams. It was just at that moment that the tide was about to turn. He surprised me by the assurance, born of his wonderful virility, with which he went about all things.

"I've got an order from the _Ladies' Home Journal_," he said to me one day. "They came to me."

"Good," I said. "What is it?"

"Somebody's writing up the terminal facilities of New York."

He had before him an Academy board, on which was sketched, in wash, a midnight express striking out across the Jersey meadows with sparks blazing from the smoke stacks and dim lights burning in the sleepers. It was a vivid thing, strong with all the strength of an engine, and rich in the go and enthusiasm which adhere to such mechanisms.

"I want to make a good thing of this," he said. "It may do me some good."

A little later he received his first order from Harper's. He could not disguise that he was pleased, much as he tried to carry it off with an air. It was just before the Spanish war broke out, and the sketches he was to do related to the navy.

He labored at this order with the most tireless enthusiasm. Marine construction was his delight anyhow, and he spent hours and days making studies about the great vessels, getting not only the atmosphere but the mechanical detail. When he made the pictures they represented all that he felt.

"You know those drawings?" he said the day after he delivered them.

"Yes."

"I set a good stiff price on them and demanded my drawings back when they were through."

"Did you get them?"

"Yep. It will give them more respect for what I'm trying to do," he said.

Not long after he illustrated one of Kipling's stories.

He was in high feather at this, but grim and repressed withal. One could see by the nervous movements of his wiry body that he was delighted over it.

At this time Kipling came to his studio. It was by special arrangement, but S---- received him as if he were--well, as artists usually receive authors. They talked over the galley proofs, and the author went away.

"It's coming my way now," he said, when he could no longer conceal his feelings. "I want to do something good on this."

Through all this rise from obscurity to recognition he lived close to his friends--a crowd of them, apparently, always in his studio jesting, boxing, fencing--and interested himself in the mechanics I have described. His drawing, his engine-building, his literary studies and recreations were all mixed, jumbled, plunging him pell-mell, as it were, on to distinction. In the first six months of his studio life he had learned to fence, and often dropped his brush to put on the mask and assume the foils with one of his companions.

As our friendship increased I found how many were the man's accomplishments and how wide his range of sympathies. He was an expert bicyclist, as well as a trick rider, and used a camera in a way to make an amateur envious. He could sing, having a fine tenor voice, which I heard the very day I learned that he could sing. It so happened that it was my turn to buy the theater tickets, and I invited him to come with me that especial evening.

"Can't do it," he replied.

"All right," I said.

"I'm part of an entertainment tonight, or I would," he added apologetically.

"What do you do?" I inquired.

"Sing."

"Get out!" I said.

"So be it," he answered. "Come up this evening."

To this I finally agreed, and was surprised to observe the ease with which he rendered his solo. He had an exquisitely clear and powerful voice and received a long round of applause, which he refused to acknowledge by singing again.

The influence of success is easily observable in a man of so volatile a nature. It seems to me that I could have told by his manner, day by day, the inwash of the separate ripples of the inrolling tide of success. He was all alive, full of plans, and the tale of his coming conquests was told in his eye. Sometime in the second year of our acquaintance I called at his studio in response to a card which he had stuck under my office door. It was his habit to draw an outline head of himself, something almost bordering upon a caricature, writing underneath it "I called," together with any word he might have to say. This day he was in his usual good spirits, and rallied me upon having an office which was only a blind. He had a roundabout way of getting me to talk about his personal affairs with him, and I soon saw that he had something very interesting, to himself, to communicate. At last he said,--

"I'm going to Europe next summer."

"Is that so?" I replied. "For pleasure?"

"Well, partly."

"What's up outside of that?" I asked.

"I'm going to represent the American Architectural League at the international convention."

"I didn't know you were an architect," I said.

"Well, I'm not," he answered, "professionally. I've studied it pretty thoroughly."

"Well, you seem to be coming up, Louis," I remarked.

"I'm doing all right," he answered.

He went on working at his easel as if his fate depended upon what he was doing. He had the fortunate quality of being able to work and converse most entertainingly at the same time. He seemed to enjoy company under such circumstances.

"You didn't know I was a baron, did you?" he finally observed.

"No," I answered, thinking he was exercising his fancy for the moment. "Where do you keep your baronial lands, my lord?"

"In Germany, kind sir," he replied, banteringly.

Then in his customary excitable mood he dropped his brushes and stood up.

"You don't believe me, do you?" he exclaimed, looking over his drooping glasses.

"Why, certainly I believe you, if you are serious. Are you truly a baron?"

"It was this way," he said. "My grandfather was a baron. My father was the younger of two brothers. His brother got the title and what was left of the estate. That he managed to go through with, and then he died. Now, no one has bothered about the title--"

"And you're going back to claim it?"

"Exactly."

I took it all lightly at first, but in time I began to perceive that it was a serious ambition. He truly wanted to be Baron S---- and add to himself the luster of his ancestors.

With all this, the man was really not so much an aristocrat in his mood as a seeker after life and new experiences. Being a baron was merely a new experience, or promised to be. He had the liveliest sympathies for republican theories and institutions--only he considered his life a thing apart. He had a fine mind, philosophically and logically poised. He could reason upon all things, from the latest mathematical theorem to Christian Science. Naturally, being so much of an individualist, he was not drifting toward any belief in the latter, but was never weary of discussing the power of mind--a universal mind even--its wondrous ramifications and influences. Also he was a student of the English school of philosophy, and loved to get up mathematical and mechanical demonstrations of certain philosophic truths. Thus he worked out by means of a polygon, whose sides were of unequal lengths, a theory of friendship which is too intricate to explain here.

From now on I watched his career with the liveliest interest. He was a charming and a warm friend, and never neglected for a moment the obligations which such a relationship demands.

I heard from him frequently in many and various ways, dined with him regularly every second or third week, and rejoiced with him in his triumphs, now more and more frequent. One spring he went to Europe and spent the summer in tracing down his baronial claims, looking up various artists and scientists and attending several scientific meetings here and there at the same time. He did the illustrations for one of Kipling's fast express stories which one of the magazines published, and came back flushed and ready to try hard for a membership in the American Water-Color Society.

I shall never forget his anxiety to get into that mildly interesting body. He worked hard and long on several pictures which should not only be hung on the line but enlist sufficient interest among the artists to gain him a vote of admission. He mentioned it frequently and fixed me with his eyes to see what I thought of him.

"Go ahead," I said; "you have more right to membership perhaps than many another I know. Try hard."

He painted not one, but four, pictures, and sent them all. They were very interesting after their kind. Two were scenes from the great railroad terminal yards; the others, landscapes in mist or rain. Three of these pictures were passed and two of them hung on the line. The third was _skyed_, but he was admitted to membership.

I was delighted for his sake, for I could see, when he gave me the intelligence, that it was a matter which had keyed up his whole nervous system.

Not long after this we were walking on Broadway, one drizzly autumn evening, on our way to the theater. Life, ambition, and our future were the _small_ subjects under discussion. The street, as usual, was crowded. On every hand blazed the fire signs. The yellow lights were beautifully reflected in the wet sidewalks and gray wet cobblestones glistening with water.

When we reached Greeley Square (at that time a brilliant and almost sputtering spectacle of light and merriment), S---- took me by the arm.

"Come over here," he said. "I want you to look at it from here."

He took me to a point where, by the intersection of the lines of the converging streets, one could not only see Greeley Square but a large part of Herald Square, with its then huge theatrical sign of fire and its measure of store lights and lamps of vehicles. It was a kaleidoscopic and inspiring scene. The broad, converging walks were alive with people. A perfect jam of vehicles marked the spot where the horse and cable cars intersected. Overhead was the elevated station, its lights augmented every few minutes by long trains of brightly lighted cars filled with changing metropolitan crowds--crowds like shadows moving in a dream.

"Do you see the quality of that? Look at the blend of the lights and shadows in there under the L."

I looked and gazed in silent admiration.

"See, right here before us--that pool of water there--do you get that? Now, that isn't silver-colored, as it's usually represented. It's a prism. Don't you see the hundred points of light?"

I acknowledged the variety of color, which I had scarcely observed before.

"You may think one would skip that in viewing a great scene, but the artist mustn't. He must get all, whether you notice it or not. It gives feeling, even when you don't see it."

I acknowledged the value of this ideal.

"It's a great spectacle," he said. "It's got more flesh and blood in it than people usually think. It's easy to make it too mechanical and commonplace."

"Why don't you paint it?" I asked.

He turned on me as if he had been waiting for the suggestion.

"That's something I want to tell you," he said. "I am. I've sketched it a half-dozen times already. I haven't got it yet. But I'm going to."

I heard more of these dreams, intensifying all the while, until the Spanish-American war broke out. Then he was off in a great rush of war work. I scarcely saw him for six weeks, owing to some travels of my own, but I saw his name. One day in Broadway I stopped to see why a large crowd was gathered about a window in the Hoffman House. It was one of S----'s drawings of our harbor defenses, done as if the artist had been sitting at the bottom of the sea. The fishes, the green water, the hull of a massive war-ship--all were there--and about, the grim torpedoes. This put it into my head to go and see him. He was as tense and strenuous as ever. The glittering treasure at the end of the rainbow was more than ever in his eye. His body was almost sore from traveling.

"I am in now," he said, referring to the war movement. "I am going to Tampa."

"Be gone long?" I asked.

"Not this first time. I'll only be down there three weeks."

"I'll see you then."

"Supposing we make it certain," he said. "What do you say to dining together this coming Sunday three weeks?"

I went away, wishing him a fine trip and feeling that his dreams must now soon begin to come true. He was growing in reputation. Some war pictures, such as he could do, would set people talking. Then he would paint his prize pictures, finish his wreck scheme, become a baron, and be a great man.

Three weeks later I knocked at his studio door. It was a fine springlike day, though it was in February. I expected confidently to hear his quick aggressive step inside. Not a sound in reply. I knocked harder, but still received no answer. Then I went to the other doors about. He might be with his friends, but they were not in. I went away thinking that his war duties had interfered, that he had not returned.

Nevertheless there was something depressing about that portion of the building in which his studio was located. I felt as if it should not be, and decided to call again. Monday it was the same, and Tuesday.

That same evening I was sitting in the library of the Salmagundi Club, when a well-known artist addressed me.

"You knew S----, didn't you?" he said.

"Yes; what of it?"

"You knew he was dead, didn't you?"

"What!" I said.

"Yes, he died of fever, this morning."

I looked at him without speaking for a moment.

"Too bad," he said. "A clever boy, Louis. Awfully clever. I feel sorry for his father."

It did not take long to verify his statement. His name was in the perfunctory death lists of the papers the next morning. No other notice of any sort. Only a half-dozen seemed to know that he had ever lived.

And yet it seemed _to me_ that a great tragedy had happened--he was so ambitious, so full of plans. His dreams were so near fulfillment.

I saw the little grave afterward and the empty studio. His desks revealed several inventions and many plans of useful things, but these came to nothing. There was no one to continue the work.

My feeling at the time was as if I had been looking at a beautiful lamp, lighted, warm and irradiating a charming scene, and then suddenly that it had been puffed out before my eyes, as if a hundred bubbles of iridescent hues had been shattered by a breath. We toil so much, we dream so richly, we hasten so fast, and, lo! the green door is opened. We are through it, and its grassy surface has sealed us forever from all which apparently we so much crave--even as, breathlessly, we are still running.

[Transcriber's Note: Typos have been corrected in this document, but spelling and punctuation inconsistencies have been retained.]