to give him at Christmas. William happened upon the bill for it in advance, and was hardly able to contain his excitement until Christmas day, so portentous seemed the impending event. Apparently no similar experience ever equalled the intensity of this one. He doubtless made as good use of the instrument as an unguided boy could. But though his proclivities were generously indulged, they were never trained. At Geneva he began to study anatomy, but there was no regular instruction in osteology; so he borrowed a copy of Sappey's "Anatomie" and got permission to visit the Museum and there examine the human skeleton by himself.
Clearly, there was profit for him also in the restlessness which governed his father's movements and which threw the boy into quickening collision with places, people, and ideas at a rate at which such contacts are not vouchsafed to many schoolboys. From so far back as his nineteenth year (there is no evidence to go by before that) William was blessed with an effortless and confirmed cosmopolitanism of consciousness; and he had attained to an acquaintance with English and French reviews, books, paintings, and public affairs which was remarkable not only for its happy ease, but, in one so young, for its wide range. The letters which follow show clearly with what expert observation he responded, all his life, to changes of scene and to the differences between peoples and environments. The fascination of these differences never failed for him when he traveled, and his letters from abroad give such voluminous proof of his own addiction to what he somewhat harshly called "the most barren of exercises, the making of international comparisons," that the problem of the editor is to control rather than to emphasize the evidence. He began young to be a wide reader; soon he became a wide reader in three languages. Above all, he was encouraged early to trust his own impulse and pursue his own bent. Probably his active and inquiring intelligence could not have been permanently cribbed and confined by any schooling, no matter how narrow and rigorous. But, as nothing was to be more remarkable about him in his maturity than the easy assurance with which he passed from one field of inquiry to another, ignoring conventional bounds and precincts, never losing his freshness of tone, shedding new light and encouragement everywhere, so it is impossible not to believe that the influences and circumstances which combined in his youth fostered and corroborated his native mobility and detachment of mind.
Meanwhile he had one occupation to which no reference has yet been made, but to which he thought, for a while, of devoting himself wholly, namely, painting. He began to draw before he had reached his 'teens. Henry James said: "As I catch W. J.'s image, from far back, at its most characteristic, he sits drawing and drawing, always drawing, especially under the lamp-light of the Fourteenth Street back parlor; and not as with a plodding patience, which I think would less have affected me, but easily, freely, and, as who should say, infallibly: always at the stage of finishing off, his head dropped from side to side and his tongue rubbing his lower lip. I recover a period during which to see him at all was so to see him—the other flights and faculties removed him from my view."16 What was an idle amusement in New York became, when the boy was transferred to foreign places and cut off from other amusements, a sharpener of observation and a resource for otherwise vacant hours. For when the family of young Americans reached St. John's Wood, London, and then moved to the Continent, the two elder boys found little to do at first except to wander about "in a state of the direst propriety," staring at street scenes, shop-windows, and such "sights" as they were old enough to enjoy, and then to buy "water-colors and brushes with which to bedaub eternal drawing blocks." In Paris William had better lessons in drawing than he had ever had elsewhere, and it seems fair to say that he made good use of his opportunity to educate his eye; saw good pictures; sketched and copied with zest; and began to show great aptitude in his own "daubings." From Bonn, later still, he wrote to his Genevese fellow student Charles Ritter: "Je me suis pleinement décidé à éssayer le métier de peintre. En un an ou deux je saurais si j'y suis propre ou non. Si c'est non, il sera facile de reculer. Il n'y a pas sur la terre un objet plus déplorable qu'un méchant artiste."[18]
He applied himself with energy to art for the following year at Newport, working daily in the studio of William Hunt, along with his stimulating young friend, John La Farge. To what good purpose he had drawn and painted from boyhood, and to what point he trained his gift that winter, cannot now be measured and defined in words. Paper and canvas are the proof of such things, which must be seen rather than described; and unfortunately only one canvas and very few drawings have been preserved. In the "Notes of a Son and Brother," several random sketches are reproduced which will say much to the discerning critic. The one canvas that at all indicates the climax of his artistic effort, the beautiful and simple portrait of his cousin Katharine Temple, is also reproduced in the "Notes"; but a small half-tone gives, alas! only an inadequate impression of the quality of the painting. The sketches which are included in the following pages will give an idea of the felicity of his hand, and of his talent for seeing the living line whenever he made sketches or notes from life. He threw these scraps off so easily, valuing them not at all, that few were kept. Then, before a year had passed (that is to say, in 1861), he had decided not to be a painter after all. Thereafter what was remarkable was just that he let so genuine a talent remain completely neglected. Except to record an observation in the laboratory, to explain the object under discussion to a student, or to amuse his children, he soon left pencil and brush quite untouched.
The photographs of James reproduced in this book are all excellent "likenesses," and one, with his colleague, Royce, caught an attitude which suggests the alertness that marked his bearing. He was of medium height (about five feet eight and one-half inches), and though he was muscular and compact, his frame was slight and he appeared to be slender in youth, spare in his last years. His carriage was erect and his tread was firm to the end. Until he was over fifty he used to take the stairs of his own house two, or even three, steps at a bound. He moved rapidly, not to say impatiently, but with an assurance that invested his figure with an informal sort of dignity. After he strained his heart in the Adirondacks in 1899 he had to habituate himself to a moderate pace in walking, but he never learned to make short movements and movements of unpremeditated response in a deliberate way. When he drove about the hilly roads of the Adirondacks or New Hampshire, he was forever springing in and out of the carriage to ease the horses where the way was steep. (Indeed it was so intolerable to him to sit in a carriage while straining beasts pulled it up grade, that he lost much of his enjoyment of driving when he could no longer walk up the hills.) Great was his brother Henry's astonishment at Chocorua, in 1904, to see that he still got out of a "democrat wagon" by springing lightly from the top of the wheel. His doctors had cautioned him against such sudden exertions; but he usually jumped without thinking.
In talking he gesticulated very little, but his face and voice were unusually expressive. His eyes were of that not very dark shade whose depth and color changes with alterations of mood. Mrs. Henry Whitman, who knew him well and painted his portrait, called them "irascible blue eyes." He talked in a voice that was low-pitched rather than deep—an unforgettably agreeable voice, that was admirable for conversation or a small lecture-room, although in a very large hall it vibrated and lacked resonance. His speech was full of earnest, humorous and tender cadences.
James was always as informal in his dress as the occasion permitted. The Norfolk jacket in which he used to lecture to his classes invariably figured in college caricatures—as did also his festive neckties. But there was nothing that disgusted him more than a "loutish" carelessness about appearances. A friend of old days, describing a first meeting with him in the late sixties ejaculated, "He was the cleanest-looking chap!" There seemed to be no flabby or unvitalized fibre in him.
People and conversation excited him—if too many, or too long-continued, to the point of irritation and exhaustion. If, as was sometimes the case, he was moody and silent in a small company, it was a sign that he was overworked and tired out. But when he was roused to vivacity and floated on the current of congenial discussion, his enunciation was rapid, with occasional pauses while he searched for the right word or figure and pursed his lips as though helping the word to come. Then he talked spontaneously, humorously, and often extravagantly, just as he will appear to have written to his correspondents. Sometimes he was vehement, but never ponderous; and he never made anyone, no matter how humble, feel that he was trying to "impress." Men and women of all sorts felt at ease with him, and
