W Hamilton Gibson

EYE SPY

AFIELD WITH NATURE
AMONG FLOWERS AND ANIMATE THINGS

BY

WILLIAM HAMILTON GIBSON

ILLUSTRATED BY THE AUTHOR

NEW YORK AND LONDON
HARPER & BROTHERS PUBLISHERS
1899

Copyright, 1897, by Harper & Brothers.
All rights reserved.

CONTENTS

List of Designs

EYE SPY

A Naturalist's Boyhood

I AM enjoying a book, a picture, a statue, or, say, a piece of music. I know these to be the finished works of the man or the woman, but I invariably hark back to the boy or the girl.

What I want to discover is the precise time, in the lives of certain boys and girls, when the steel first struck the flint, the spark flew, and out streamed that jet of fire which never afterwards was extinguished.

I was reading an article entitled "Professor Wriggler," written by Mr. William Hamilton Gibson, which appeared in "Harper's Young People," in the number of October 31, 1893. I need not tell you that both old and young, at home and abroad, delight in reading what Mr. Hamilton Gibson has written, because he was not alone the most observant of naturalists, but a distinguished artist and a sympathetic author.

He thus filled a peculiar position in the literary and artistic world which is seldom given to any one man to fill. Besides being a naturalist from his boyhood, he was able to write better than most people what he wished to write, and to illustrate his articles in a way that was unique. Mr. Gibson's death a few days ago, therefore, has closed the career of a man who had the ability to interest a large number of people not only in natural history, but in art and literature.

The news of Mr. Gibson's death came to me suddenly, and as I was reading it I recalled an interesting talk I had with him less than a year ago about his work early in life and the way he got his start. I had been reading one of his articles to a lady, who, when she heard the name of the author, said:

"Why, I knew Mr. Hamilton Gibson long ago. When he was a lad he painted a lovely drop-curtain for us. He could not have been more than fifteen or sixteen then."

The next time I met Mr. Hamilton Gibson I asked him about this drop-curtain. "Do you remember it?"

"Certainly I do. We had a temperance society at Sandy Hook, Connecticut, and we gave a grand entertainment. I made the drop-curtain. It represented a wood. There was a rock in the foreground, and a Virginia-creeper was climbing over it."

"Was it an original composition?" I asked.

"I made many studies of the rock and the Virginia-creeper from nature. On the other side of the curtain I painted a drawing-room. There were a marble mantelpiece, a clock, and lace curtains. I don't think I enjoyed painting the clock as much as the Virginia-creeper."

"To paint a drop-curtain at fifteen or sixteen means that you had then a certain facility. But that could not have been your beginning. When did you break your shell? What chipped or cracked your egg so that your particular bird emerged, chirped, and finally took flight? That was what I wanted to know."

"Is that what you are after?" asked Mr. Hamilton Gibson. "From my baby days I was curious about flowers and insects. The two were always united in my mind. What could not have been more than a childish guess was confirmed in my later days." Then Mr. Hamilton Gibson paused. I could see he was recalling, not without emotion, some memories of the long past.

"I was very young, and playing in the woods. I tossed over the fallen leaves, when I came across a chrysalis. There was nothing remarkable in that, for I knew what it was. But, wonderful to relate—providentially I deem it—as I held the object in my hand a butterfly slowly emerged, then fluttered in my fingers."

"You were pleased with its beauty," I said.

"Oh! It was more than that. I do not know whether I was or was not a youngster with an imagination, but suddenly the spiritual view of a new or of another life struck me. I saw in this jewel born from an unadorned casket some inkling of immortality. Yes, that butterfly breaking from its chrysalis in my hand shaped my future career."

"But some young people may feel passing impulses, but how account for your artistic skill and literary powers?"

"As to the art side, at least deftness of hand came early. I had the most methodical of grandmothers. Every day I had a certain task. I made a square of patch-work for a quilt. I learned how to sew, and I can sew neatly to-day. I knew how to use my fingers."

"Did you like patch-work?" I inquired.

"I simply despised it. Sewing must have helped me, for it was eye-training, and when I went to work with a pencil and a paint-brush I really had no trouble. I read a great deal. I devoured Cooper's novels and the Rollo series: but there was one special volume, 'Harris on Insects,' I never tired of. I studied that over and over again. It was the illustrations of Marsh which fascinated me. I never found a bug, caterpillar, or butterfly that I did not compare my specimens with the Marsh pictures. I learned this way much which I have never forgotten."

"Had you any particular advantages?"

"Yes; my brother was a doctor, and he let me use his microscope, and so I acquired a knowledge of the details of flowers and insects that escape the naked eye. I pulled flowers to pieces, but not in the spirit of destruction, but so that I might better understand their structure. When I was ten I had a long illness. When I was getting better I was permitted to take an hour's or so turn in the garden. That hour I devoted to collecting insects and flowers. On my return to my room, what I had collected amused me until I could get out again next day or the day after."

"It was pleasure and study combined," I said.

"I was not conscious that I was studying. Then in my sick-room I began to draw and paint the insects. I think I was conscientious about it, and careful—perhaps minutely so. I tried to put on paper exactly what I saw, and nothing else. You say you like 'Professor Wriggler.' I drew him when I was ten or eleven, and I could not make him any more accurate to-day than I did thirty years ago."

"Were you encouraged at your work?" I inquired.

"Yes; once I was much pleased. I came across a curious insect. I could not find it in the books. I made a drawing of it and sent it to a professor of the Smithsonian, asking him to give me its scientific name. Back came by return mail my sketch, and under it the Latin name. The professor wrote me that if the people who were always annoying him with pictures of impossible bugs would only send him as accurate a picture as was mine, he never would have any more bother."

"Did you have any setbacks?"

"Yes; and I haven't forgotten it up to to-day. I was always collecting, and I had brought together every insect I had found in my neighborhood. As I took them home I pinned them in the drawers of an old-fashioned bureau. In time the whole of the drawers, bottom and sides, were full of pinned specimens, and there was room for no more. I had saved enough money to buy a cabinet, and I went to New York and purchased one. When I returned home the first thing I did was to look at my precious collection. When I opened a drawer there was a confused mass of wings only. One single wretch of a black ant had got in, and had passed the word to 10,000 other black ants. They had eaten the bodies of my insects in all the drawers. That quite broke my heart."

"But your writing. How did that come about?" I asked.

"I don't think that you can develop in one direction only. You must unbosom yourself. You are forced to tell or to write about the things you have most at heart. When I was a small boy I wrote a book for myself, and called it 'Botany on the Half-shell.' The first thing I ever wrote which was printed was an article for one of Messrs. Harper's publications, and I made the pictures for it. That was my début."

"Then your work went hand in hand?"

"Certainly. The one was the stimulant of the other. We all grew up together. The days spent in my room when I was ill helped me. I think I studied flowers then, so that their forms and colors were indelibly impressed on my mind. When I was older I made a small bunch of flowers in wax. Not a detail escaped me. I made moulds of all kinds of leaves. Once I put together a rose, some sprigs of mignonette and heliotrope in wax, and gave them to my dear old friend, Henry Ward Beecher. He was delighted with my flowers, and put them on his study table. Presently Mrs. Beecher came in. She ran to the flowers and broke the rose all to pieces."

"How could she have done that?" I asked.

"It must have been with her nose. She wanted to smell the rose."

Then Mr. Hamilton Gibson showed me some monster drawings of flowers—Brobdingnagian ones. The flowers opened and closed when you pulled a string, showing their interior structure. Here were bees or other insects, and they flew into the flowers, collected the honey, and, above all, the pollen, and buzzed out again. He explained to me how plant life would perish if it were not for certain insects, which bring a new existence to flowers; for without these winged helpers there would be no longer any varieties of flowers or seeds.

You will see, then, that in tracing the beginning of Mr. Hamilton Gibson's career what I mean by harking backward.

I am certain, too, that in every boy and girl there is something good and excellent. Like the flower visited by the bee, all it wants is impulse. Then, as Mr. Hamilton Gibson explained it to me, will come the blossoming, and lastly perfect fruitage.

Barnet Phillips.

The Story of The Floundering Beetle

What are the lazy blue insects doing down there in the grass, for there are usually a small family of them. With the exception of their tinselled indigo-blue coat, there is certainly very little to admire in them. But what they lack in beauty they make up for in other ways. There are many of their handsomer cousins whose history is not half as interesting as that of this poor beetle that we tread upon in the grass. His neighbor insect, the tiger-beetle, running hither and thither with legs of wonderful speed, and with the agility of a fly on the wing, readily escapes our approach; but this clumsy, helpless blue beetle must needs plead for mercy by his color alone, because he has no means to avert our crushing step. A little girl who met me on the country road recently summed up the characteristics of the blue beetle pretty well. The portrait was unmistakable. "I've got a funny blue bug at home in a box that I want to show you," said she; "he's blue and awful fat, and hasn't got any wings, but when you touch him, he just turns over on his back, and trembles his toes and leaks big yellow drops out of his elbows." I have shown her beetle—three views of him, in fact—about the natural size, one of them on his back and "leaking" at his elbows, for such is the infallible habit of the insect when disturbed—a trick which has also given him the name of the "oil beetle." He is also known as the indigo beetle.

But of what use can such a queer beetle be to himself or any one else—a beetle that is not only without wings, but is so fat and floundering that he can hardly lift his unwieldy body from the ground, and which, upon being surprised, can only "play possum," and exude great drops of oil (?) upon our palm as we examine him?

But as he pours the vials of his wrath upon us he would doubtless fain have us understand that he was not always thus unable to take care of himself, that he was not always the clumsy, crawling creature that he now is. As he lies there on his back, the yellow, oily globules of surplus "elbow grease" swelling larger and larger at his leaky elbows, and one by one falling on the paper beneath him, we may almost fancy the monologue which might be going on in that blue head of his.