Elizabeth Butler - An Autobiography

THE memoirs of a great artist must inevitably evoke the interest and appreciation of the initiated. But this book makes a wider appeal, written as it is by a woman whose career, apart from her art, has been varied and adventurous, who has travelled widely and associated, not only with the masters of her own craft, but with the great and eminent in many fields. It is, moreover, the revelation of a personality apart, at once feminine and virile, endued with the force engendered by unswerving adherence to lofty aims.

In this age of insistent ugliness, when the term “realism” is used to cloak every form of grossness and degeneracy, it is a privilege to commune with one who speaks of her “experiences of the world’s loveliness” and describes herself as “full of interest in mankind.” These two phrases, taken at random from the opening pages of “From Sketch Book and Diary,” seem to me eminently characteristic of Lady Butler and her work. She is a worshipper of Beauty in its spiritual as well as its concrete form, and all her life she has envisaged mankind in its nobler aspect.

At seven years old little Elizabeth Thompson was already drawing miniature battles, at seventeen she was lamenting that as yet she had achieved nothing great, and a very few years later the world was ringing with the fame of the painter of “The Roll Call.”

Through the accumulated interests of changeful years, charged for her with intense joy and sorrow, she has kept her valiant standard flying, in her art as in her life remaining faithful to her belief in humanity, using her power and insight for its uplifting. Not only has she depicted for us great events and strenuous action, with a sureness all her own, she has caught and materialised the qualities which inspire heroic deeds – courage, endurance, fidelity to a life’s ideal even in the moment of death. And all without shirking the dreadful details of the battlefield; amid blood and grime and misery, in loneliness and neglect, in the desperate steadfastness of a lost cause, her figures stand out true to themselves and to the highest traditions of their country.

During the recent world-upheaval Lady Butler devoted herself in characteristic fashion to the pursuance of her aims. Many of the subjects painted and exhibited during those terrible years still preached her gospel. She worked, moreover, with a twofold motive. Widow of a great soldier, she devoted the proceeds of her labours to her less fortunate sisters left impoverished, and even destitute, by the War.

“ L’artiste donne de soi ,” said M. Paderewski once.

Lady Butler has always given generously of her best, and perhaps this book of memories, intimate and characteristic, this record of wide interests and high endeavour, full of picturesque incident and touched with delicate humour, is as valuable a gift as any that she has yet bestowed.

My Friends: You must write your memoirs.

I: Every one writes his or her memoirs nowadays. Rather a plethora, don’t you think? An exceedingly difficult thing to do without too much of the Ego.

My Friends: Oh! but yours has been such an interesting life, so varied, and you can bring in much outside yourself. Besides, you have kept a diary, you say, ever since you were twelve, and you have such an unusually long memory. A pity to waste all that. You simply must !

I: Very well, but remember that I am writing while the world is still knocked off its balance by the Great War, and few minds will care to attune themselves to the Victorian and Edwardian stability of my time.

My Friends: There will come a reaction.

I WAS born at the pretty “Villa Claremont,” just outside Lausanne and overlooking Lake Leman. I made a good start with the parents Providence gave me. My father, cultured, good, patient, after he left Cambridge set out on the “Grand Tour,” and after his unsuccessful attempt to enter Parliament devoted his leisure to my and my younger sister’s education. Yes, he began with our first strokes, our “pot-hooks and hangers,” our two-and-two make four; nor did his tuition really cease till, entering on matrimony, we left the paternal roof. He adopted, in giving us our lessons, the principle of “a little and often,” so that we had two hours in the morning and no lessons in the afternoon, only bits of history, poetry, the collect for the Sunday and dialogues in divers languages to learn overnight by heart to be repeated to him next morning. We had no regular holidays: a day off occasionally, especially when travelling; and we travelled much. He believed that intelligent travel was a great educator. He brought us up tremendous English patriots, but our deepest contentment lay in our Italian life, because we loved the sun – all of us.

So we oscillated between our Ligurian Riviera and the home counties of Kent and Surrey, but were never long at a time in any resting place. Our father’s daughter by his first wife had married, at seventeen, an Italian officer whose family we met at Nervi, and she settled in Italy, becoming one of our attractions to the beloved Land. That officer later on joined Garibaldi, and was killed at the Battle of the Volturno. She never left the country of her adoption, and that bright lure for us remained.

Although we were very strictly ruled during lessons, we ran rather wild after, and, looking back, I only wonder that no illness or accident ever befell us. Our dear Swiss nurse was often scandalised at our escapades, but our mother, bright and beautiful, loving music and landscape painting, and practising both with an amateur’s enthusiasm, allowed us what she considered very salutary freedom after study. Still, I don’t think she would have liked some of our wild doings and our consortings with Genoese peasant children and Surrey ploughboys, had she known of them. But, careful as she was of our physical and spiritual health, she trusted us and thought us unique.

My memory goes back to the time when I was just able to walk and we dwelt in a typically English village near Cheltenham. I see myself pretending to mind two big cart-horses during hay-making, while the fun of the rake and the pitchfork was engaging others not so interested in horses as I already was myself. Then I see the Albergo , with vine-covered porch, at Ruta, on the “saddle” of Porto Fino, that promontory which has been called the “Queen of the Mediterranean,” where we began our lessons, and, I may say, our worship of Italy.

Then comes Villa de’ Franchi for two exquisite years, a little nearer Genoa, at Sori, a palazzo of rose-coloured plaster and white stucco, with flights of stone steps through the vineyards right down to the sea. That sea was a joy to me in all its moods. We had our lessons in the balcony in the summer, and our mother’s piano sent bright melody out of the open windows of the drawing-room when she wasn’t painting the mountains, the sea, the flowers. She had the “semi-grand” piano brought out into the balcony one fullmoon night and played Beethoven’s “Moonlight Sonata” under those silver beams, while the sea, her audience, in its reflected glory, murmured its applause.

Often, after the babes were in bed, I cried my heart out when, through the open windows, I could hear my mother’s light soprano drowned by the strong tenor of some Italian friend in a duet, during those musical evenings so dear to the music-loving children of the South. It seemed typical of her extinction, and I felt a rage against that tenor. Our dear nurse, Amélie, would come to me with lemonade, and mamma, when apprised of the state of things, would also come to the rescue, her face, still bright from the singing, becoming sad and puckered.