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diff --git a/old/51890-0.txt b/old/51890-0.txt deleted file mode 100644 index 8e0e6a3..0000000 --- a/old/51890-0.txt +++ /dev/null @@ -1,4078 +0,0 @@ -The Project Gutenberg EBook of Browere's Life Masks of Great Americans, by -Charles Henry Hart - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Browere's Life Masks of Great Americans - -Author: Charles Henry Hart - -Release Date: April 29, 2016 [EBook #51890] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK BROWERE'S LIFE MASKS *** - - - - -Produced by Chris Curnow, Chuck Greif and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - The De Vinne Press certifies that fifty copies of this book were - printed on Dickinson antique hand-made paper, of which this is No. - ____ - - - - - BROWERE’S LIFE - MASKS OF GREAT - AMERICANS - -[Illustration: THOMAS JEFFERSON - -Age 82] - - - - - BROWERE’S LIFE - MASKS OF GREAT - AMERICANS BY - CHARLES HENRY HART - - [Illustration] - - PRINTED AT THE DE VINNE - PRESS FOR DOUBLEDAY AND - McCLURE COMPANY 1899 - - Copyright, 1897, 1898, by S. S. MCCLURE CO. - - Copyright, 1899, by DOUBLEDAY & MCCLURE CO. - - TO THE MEMORY OF - - JAMES P. SMITH - MINIATURE PAINTER - - WHO FIRST DEVELOPED MY TASTE FOR ART - - I INSCRIBE THIS VOLUME AS A - - TOKEN OF GRATITUDE - - - - -Proem_ - - -“Great oaks from little acorns grow.” How big results may flow from -small beginnings is typically illustrated by the possibilities of the -present volume. It began with the bare knowledge that there was, once -upon a time, a man by the name of Browere, who had some facility in -making masks from the living face. This was the seed that was destined -to expand into the present publication. To tell how this germ grew, -would be to anticipate the recital in the following pages; but the -lively interest shown by the wide public and by the narrow public, the -people and the artistic circle, in the articles upon Browere’s Life -Masks of Great Americans, contributed by the writer to “McClure’s -Magazine,” has called for a more expanded history of the artist and his -work, for which fortunately there is ample material. - -To the grandchildren of Browere, who have reverently preserved the works -of their ingenious ancestor and generously placed them at my disposal -for reproduction, are due the heartiest thanks; and in view of the -possibility of the dispersal of the collection, it should be secured, -_en bloc_, by the Government of the United States, and the most -important of the life masks cast in imperishable bronze. - -CHARLES HENRY HART. - -Philadelphia, October 1, 1898. - - - - -Contents_ - - - PAGE - -Proem ix - -I The Plastic Art 1 - -II The Plastic Art in America 4 - -III John Henri Isaac Browere 12 - -IV The Captors of André 28 - -V Discovery of the Life Mask of Jefferson 36 - -VI Three Generations of Adamses 50 - -VII Mr. and Mrs. Madison 56 - -VIII Charles Carroll of Carrollton 60 - -IX The Nation’s Guest, La Fayette 63 - -X De Witt Clinton 70 - -XI Henry Clay 73 - -XII America’s Master Painter, Gilbert Stuart 76 - -XIII David Porter, United States Navy 93 - -XIV Richard Rush 98 - -XV Edwin Forrest 102 - -XVI Martin Van Buren 104 - -XVII Death Mask of James Monroe 109 - -Addendum to Chapter VIII 115 - - - - -_List of Plates_ - - -Thomas Jefferson, Profile _Frontispiece_ - - FACING PAGE - -John H. I. Browere 12 - -John Paulding 28 - -Isaac Van Wart 32 - -David Williams 34 - -Thomas Jefferson 40 - -John Adams 50 - -John Quincy Adams 52 - -Charles Francis Adams 54 - -James Madison 56 - -“Dolly” Madison 58 - -Charles Carroll 60 - -Marquis de La Fayette 66 - -De Witt Clinton 70 - -Henry Clay 74 - -Gilbert Stuart 78 - -David Porter 94 - -Richard Rush 98 - -Edwin Forrest 102 - -Martin Van Buren 104 - -James Monroe’s Death Mask 112 - - - - -LIFE MASKS - - - - -I - -_The Plastic Art_ - - -The plastic art, which is the art of modelling in the round with a -pliable material, was with little doubt the earliest development of the -imitative arts. To an untrained mind it is a more obvious method, of -copying or delineating an object, than by lines on a flat surface. Its -origin is so early and so involved in myths and legends, that any -attempt to ascribe its invention, to a particular nation or to a -particular individual, is impossible. Its earliest form was doubtless -monumental. Frequent passages in the Scriptures show this, and that the -Hebrews practised it, as did also their neighbors the Phœnicians; -while excavations have revealed the early plastic monuments of the -Assyrians. For more than two thousand years the Egyptians are known to -have associated the plastic arts with their religious worship, but, -being bound within priestly rules, made no perceptible progress from -its beginning; yet these crude monuments of ancient Egypt are now the -records of the world’s history of their time. - -Associated with architecture from its earliest development, it has, in -its narrower form of sculpture, been called, not inaptly, “the daughter -of architecture.” Indeed, in the remains of ancient monuments, the two -arts are so intimately combined, that architecture is frequently -subordinated to sculpture, particularly in the buildings of the middle -ages, where they appear as very twin sisters, sculpture often supplying -structural parts of the erection. - -Among the Greeks the plastic art existed from time immemorial, and among -them attained its highest proficiency and skill. That they exceeded all -others in this art goes without saying; their familiarity with the human -form enabling them to portray corporal beauty with a delicacy and -perfection, that no society, reared in any other situation or surrounded -by other influences, could ever attain. With them beauty was the chief -aim, it having in their eyes so great a value that everything was -subservient to it. As has been said, “It was above law, morality, -modesty, and justice.” Greek art, as we know it, began about 600 B.C.; -but it did not arrive at its perfection until the time of Pericles, a -century and a half later, in the person of Pheidias, who consummately -illustrates its most striking characteristics--the simplicity with which -great efforts are attained, and the perfect harmony which obtains -between the desire and the conception, the realization and the -execution. The frieze of the Parthenon, which easily holds the supreme -place among known works of sculpture, is ample proof of this. - -It was a Greek of the time of Alexander the Great, in the century -following that of Pheidias, who invented the art of taking casts from -the human form. This honor, according to Pliny, belongs to Lysistratus, -a near relative of the famous sculptor Lysippus, who made life casts -with such infinite skill as to produce strikingly accurate resemblances. -The art of making life casts did not, however, come into general use -until the middle of the fifteenth century, when Andrea Verocchio, the -most noted pupil of Donatello, and the instructor of Perugini and of -Leonardo da Vinci, followed it with such success as to lead Vasari, -Bottari, and others to ascribe to him its invention. It was this art of -taking casts from the human form, so successfully followed in this -country, nearly four hundred years later, by John Henri Isaac Browere, -that has afforded the occasion for the present work. - - - - -II - -_The Plastic Art in America_ - - -Before entering upon the subject of Browere and his life masks, it seems -proper, if not actually necessary, to take a survey of the development -of the plastic art in that part of America now embraced within the -limits of the United States, prior to the time of Browere, so as to -understand what influences may have been exerted upon him in the -direction of his career. This becomes the more important from the fact -that while there have appeared in print, from time to time, numerous -references to this subject, not a single consideration of the topic, -known to the writer, has presented the facts with that accuracy without -which all deductions must be in vain. From the present consideration the -plastic work of the aborigines is necessarily excluded, as it belongs to -another and very different department of study; this having to do with a -branch of the fine arts, and that with a phase of archæology. - -Prior to the war of the Revolution, while there were among us several -painters exercising their art, both those of foreign and those of native -birth, no note has come down of any modeller or sculptor in our midst, -save one--a very remarkable woman named Patience Wright. It may be that -we had no need for the sculptor’s art. We were mere colonies without -call for statues or for monuments. It is true there was the leaden -figure of King George, on the Bowling Green, in New York; but it came -from the mother country, and soon furnished bullets for her rebellious -sons. Likewise came from across the ocean the odd bits of decoration -intended as architectural aids in the building of old Christ Church, in -Philadelphia, and of a few other noted buildings. But our first -practitioner of the plastic art was, as has been said, a woman. - -Patience Lovell was born in Bordentown, New Jersey, of Quaker parentage, -in 1725, and died in London, March 23, 1786. When twenty-three she -married Joseph Wright, who, twenty-one years later, left her a widow -with three children. She had early shown her aptitude for modelling, -using dough, putty, or any other material that came in her way; and, -being left by her husband unprovided for, she made herself known by her -small portraits in wax, chiefly profile bas-reliefs. In 1772, she sought -a wider field for her abilities by removing to London, where for many -years she was the rage, not only for her plastic work, but for her -extraordinary conversational powers, which drew to her all the political -and social leaders of the day. By this means she was kept fully advised -as to the momentous events transpiring relative to the colonies; and -being on terms of familiar intercourse with Doctor Franklin (whose -profile she admirably modelled, it being afterward reproduced by -Wedgwood), she communicated her information regularly to him, as shown -by her numerous letters preserved in his manuscript correspondence. - -Mrs. Wright had a piercing eye, which seems to have penetrated to the -very soul of her sitters, and enabled her to read their inner-selves and -fix their characters in their features. Of her three children, one -daughter married John Hoppner, the eminent portrait-painter; another, -Elizabeth Pratt, followed her mother’s profession of modelling small -portraits in wax; and the son, Joseph, we shall have occasion to mention -on a subsequent page. Some idea may be gathered of the meritorious -quality of Mrs. Wright’s work from the fact that she modelled in wax a -whole-length statue of the great Chatham, which, protected in a glass -case, was honored with a place in Westminster Abbey. Although Patience -Wright never aspired to what is recognized as high art, still her -abilities were of a high order, and her career is a most interesting one -to follow and reflect upon, as she was the first native American, of -American parentage, to follow the art of modelling as a profession. Her -knowledge must have been wholly self-acquired, and in an environment not -conducive to the development of an artistic temperament. - -Mrs. Wright is not known to have essayed sculpture, or to have worked in -any resisting material, so that the first native American sculptor was -William Rush. He was born in Philadelphia, July 4, 1756, being fourth in -direct descent from John Rush, who commanded a troop of horse in -Cromwell’s army, and, having embraced the principles of the Quakers, -came to Pennsylvania the year following the landing of William Penn. -From the emigrant John Rush was also descended, in the fifth generation, -the celebrated Benjamin Rush, physician and politician, and one of the -signers of the Declaration of Independence. The father of William was -Joseph Rush, who married, at Christ Church, Philadelphia, September 19, -1750, Rebecca Lincoln, daughter of Abraham Lincoln, of Springfield -Township, now in Delaware County, Pennsylvania. She was of the same -family as Abraham Lincoln, the martyr President of the United States. I -am thus minute in tracing the ancestry of William Rush, in order to -establish and place upon record, beyond a question or doubt, that he was -the first American sculptor by birth and parentage, and thus set at -rest, the claim, so frequently made, that this honor belongs to John -Frazee,[1] a man not born until 1790. - -Rush served in the army of the Revolution, and it was not until after -peace had settled on the land that he seems to have turned his attention -to art. He soon became noted for the life-like qualities he put into the -figureheads, for the prows of ships, he was called upon to carve, and so -noted did these works become, that many orders came to him from Britain, -for figureheads for English ships. The story is told that when a famous -East Indiaman, the _Ganges_, sailed up that river, to Calcutta, with a -figure of a river-god, carved by Rush, at its prow, the natives -clambered about it as an object of adoration and of worship. Benjamin H. -Latrobe, the noted architect, in a discourse before the Society of -Artists of the United States, in 1811, says, speaking of Rush: “His -figures, forming the head or prow of a vessel, place him, in the -excellence of his attitudes and actions, among the best sculptors that -have existed; and in the proportion and drawing of his figures he is -often far above mediocrity and seldom below it. There is a motion in his -figures that is inconceivable. They seem rather to draw the ship after -them than to be impelled by the vessel. Many are of exquisite beauty. I -have not seen one on which there is not the stamp of genius.” - -Rush was a man of warm imagination and of a lively ideality. These are -shown by his figures symbolical of Strength, Wisdom, Beauty, Faith, -Hope, and Charity, carved by him for the Masonic Temple; by his figures -of “Praise” and “Exaltation,” two cherubim encircled by glory, in St. -Paul’s Episcopal Church; and by his “Christ on the Cross,” carved for -St. Augustine’s Roman Catholic Church. His best-known work is his -whole-length statue of Washington, carved in 1815, from recollection, by -the aid of Houdon’s bust, which it closely resembles, now in the old -State-house, or Independence Hall, Philadelphia. Another noted work of -his, from Miss Vanuxem, a celebrated Quaker City belle, having posed for -the model, is the graceful figure of a nymph, with a swan, located upon -a rocky perch opposite the wheel-house at Fairmount water-works, -Philadelphia. - -Beside carving in wood, Rush modelled in clay, and his portrait-busts -have always been recognized as truthful and satisfactory likenesses. The -bust most commonly seen of Lafayette is his work. William Rush died in -the city of his birth on the seventeenth day of January, 1833; and -considering the era in which he lived and its uncongenial atmosphere, -his achievement is most noteworthy and commendable. - -Twelve days after the birth of Rush, Joseph Wright came into the world, -inheriting from his mother her artistic temperament. At sixteen he -accompanied the family to England, and received instruction from -Benjamin West and from his brother-in-law, Hoppner. He returned to -America late in 1782, bringing a letter of commendation from Franklin to -Washington. In 1783, he painted a portrait of Washington from life, at -Rocky Hill, New Jersey, and the next year was permitted to make a cast -of Washington’s face, which is said to have been broken irreparably in -removing from the skin,--a story the veracity of which may be akin to -that in regard to Browere’s mask of Jefferson, hereafter to be told. -However this may be, Wright made a bust of Washington, for which -Congress paid him “233⅓ dollars,” and also modelled in wax a -laureated profile portrait of Washington, which is of both artistic and -historical value. Wright died in Philadelphia, during the yellow fever -epidemic of December, 1793, and his bust, by his friend Rush, whom he is -said to have instructed in clay modelling, belongs to the Academy of the -Fine Arts, at Philadelphia. - -Patience Wright, her son Joseph, and William Rush are the only native -Americans that we know to have worked at the plastic art during the -period we have limited for this review; and thus John Frazee, who -claimed to be, and therefore is commonly credited with being, the first -native American sculptor of American parentage, need not be considered; -for he was only two years old when Browere was born, and therefore can -have had no part in influencing Browere’s career. - -There were, however, two foreigners who certainly did exercise a decided -influence upon art in America, and cannot properly be omitted from any -consideration of the causes that helped the plastic art onward in these -United States. Both of them were men of commanding ability and -importance in sculpture. One was the eminent French statuary Houdon, who -visited this country in 1785, to prepare himself to produce his famous -statue of Washington; and the other, the not much less able Italian, -Giuseppe Ceracchi, who came here, in 1791, for love of freedom, and -lived among us about four years. Ceracchi’s plan for an elaborate -monument to commemorate the American Revolution, which was warmly taken -up by Washington and members of the cabinet, and received the -consideration of Congress, made his artistic proclivities better known, -and gave the subject a wider range than the limited scope of Houdon’s -work. Yet the influence of both these eminent devotees of the plastic -art left, without doubt, a strong impression upon the minds of the -people--an impression constantly refreshed by the sight of their works, -which helped to create a healthy atmosphere for the development of a -taste among us for the plastic art. - - NOTE. John Dixey, an Irishman about whom little is known, and John - Eckstein, a German by birth and an Englishman by adoption and - education, settled here toward the close of the last century, and - both did some work in modelling and in stone-cutting; but they were - of mediocre ability, and left no impression upon the artistic - instinct of the people. - - - - -III - -_John Henri Isaac Browere_ - - -What one generation fails to appreciate, and therefore decries and -sneers at, a subsequent one comprehends and applauds. It is -conspicuously so in discovery, in science, in poetry, and in art; so -much depends upon the point of view and the environment of the observed -and of the observer. Were these remarks not true, the very remarkable -collection of busts from life masks, taken at the beginning of the -second quarter of the present century, by John Henri Isaac Browere, -almost an unknown name a year ago, would not have been hidden away until -their recent unearthing. The circumstances that led to their discovery -are as curious as that the busts should have been neglected and -forgotten for so long. - -John Henri Isaac Browere, the son of Jacob Browere and Ann Catharine -Gendon, was born at No. 55, Warren Street, - -[Illustration: JOHN HENRI ISAAC BROWERE] - -New York city, November 18, 1792, and died at his house opposite the old -mile-stone, in the Bowery, in the city of his birth, September 10, 1834, -and was buried in the Carmine Street Churchyard. He was of Dutch -descent, one of those innumerable claimants of heirship to Anneke Jans, -through Adam Brouwer, of Ceulen, who came to this country and settled on -Long Island, in 1642. Adam Brouwer’s name was really Berkhoven, but the -name of his business, Brouwer or Brewer, became attached to him, so that -his descendants have been transmitted by his trade-name, and thus, as is -often the case, a new surname introduced. His second son, Jacob Adam -Brouwer, or Jacob son of Adam the Brewer, married Annetje Bogardus, -granddaughter of Reverend Edward Bogardus and Anneke Jansen (corrupted -to Jans); and among the most persistent pursuers of the intangible -fortune of Anneke Jans has been the family of Browere. - -John Browere was entered as a student at Columbia College, but did not -remain to be graduated, owing doubtless to his early marriage, on April -30, 1811, to Eliza Derrick, of London, England. He turned his attention -to art and became a pupil of Archibald Robertson, the miniature-painter, -who came to this country from Scotland, in 1791, with a commission from -David Stuart, Earl of Buchan, to paint, for his gallery at Aberdeen, a -portrait of Washington. Later on, Archibald Robertson, with his brother -Alexander, opened at No. 79, Liberty Street, New York, the well-known -Columbian Academy, where, for thirty years, these Scotchmen maintained a -school, for the instruction of both sexes in drawing and in painting, -and where Vanderlyn, Inman, Cummings, and other of the early New York -artists, profited by their training. At the present time, when -miniature-painting is again coming into vogue, it is interesting to -reflect that the letters which passed between Archibald Robertson in -this country, and his brother Andrew in Scotland, form the best treatise -that can be found upon the charming art of painting in little. These -letters, after having remained in manuscript for the better part of a -century, have recently been given to the public, in a charming volume of -“Letters and Papers of Andrew Robertson,” edited by his daughter, Miss -Emily Robertson, of Lansdowne Terrace, Hampton Wick, England. - -Determined to improve himself still further, Browere accepted the offer -of his brother, who was captain of a trading-vessel to Italy, to -accompany him abroad; and for nearly two years the young man travelled -on foot through Italy, Austria, Greece, Switzerland, France, and -England, diligently studying art and more especially sculpture. -Returning to New York, he began modelling, and soon produced a bust of -Alexander Hamilton, from Archibald Robertson’s well-known miniature of -the Federal martyr, which was pronounced a meritorious attempt to -produce a model in the round from a flat surface. Being of an inventive -turn, he began experimenting to obtain casts from the living face in a -manner and with a composition different from those commonly employed by -sculptors. After many trials and failures, he perfected his process, -with the superior results shown in his work. - -Browere’s first satisfactory achievement was a mask of his friend and -preceptor, Robertson, and his second was that of Judge Pierrepont -Edwards, of Connecticut. But the most important of his very early works -was the mask of John Paulding, the first to die of the captors of André; -and this mask, made in 1817, was followed later by masks of Paulding’s -coadjutors, Williams and Van Wart; so that we owe to Browere’s nimble -fingers the only authentic likenesses we have of these conspicuous -patriots of the Revolution. - -Browere wrote verse and painted pictures in addition to his modelling, -and, in the spring of 1821, made an exhibition at the old gallery of the -American Academy of the Fine Arts, in Chambers Street, New York, which -called forth the following card from his early instructor, Robertson, -who was one of the directors of the Academy. It is interesting, -notwithstanding the unconscious partiality one is apt to have for a -former pupil, and is addressed: - - _To the American Public._ - - Having for many years been intimately acquainted with John H. I. - Browere, of the City of New York, I deem it a duty which I owe to - him as an artist, and to the public as judges, to say that from my - own observation of his works both as a painter, poet, and sculptor, - I think him endowed with a great genius by nature and first talents - by industry. This my opinion, his works lately exhibited in the - Gallery of the American Academy of Fine Arts, New York, fully - justify and is amply corroborated by all, who with unprejudiced - eye, view the works of his hand. - -ARCHIBALD ROBERTSON. - - NEW YORK, May 21, 1821. - -It was left, however, for “The Nation’s Guest” to lift Browere’s art -into prominence. At the request of the New York city authorities, -Lafayette permitted Browere, in July of 1825, to make a cast of his -face. This was so successful that from this time on, Browere was devoted -to making casts of the most noted characters in the country’s history, -who were then living, with the purpose of forming a national gallery of -the busts of famous Americans. He intended to have them reproduced in -bronze, and devoted years of labor and the expenditure of much money to -the furtherance of his scheme. He wrote to Madison: “Pecuniary emolument -never has been my aim. The honor of being favored by my country biases -sordid views.” In 1828 he wrote to the same: “I have expended $12,087 in -the procuration of the specimens I now have.” These included masks of -Presidents John and John Quincy Adams, Jefferson, and Madison, and later -was added that of Van Buren; Charles Carroll of Carrollton; Lafayette; -De Witt Clinton; Generals Philip Van Cortlandt, Alexander Macomb and -Jacob Brown; Commodore David Porter; Secretary of the Navy Samuel L. -Southard of New Jersey; and Secretary of the Treasury Richard Rush of -Pennsylvania; Justice of the United States Supreme Court Philip -Pendleton Barbour; and the great commoner, Henry Clay; Doctors Samuel -Latham Mitchill, Valentine Mott, and David Hosack; Edwin Forrest and Tom -Hilson, the actors; Charles Francis Adams and Philip Hone; Thomas Addis -Emmet and Doctor Cooper of South Carolina; Colonel Stone and Major Noah, -of newspaper notoriety; Dolly Madison and Francis Wright; Gilbert -Stuart, Paulding, Williams, and Van Wart; and other personages favorably -known in their day, but who have slipped out of the niche of worldly -immortality, so that even their names fail to awaken a recollection of -themselves. Such is the mutability of fame. - -The time, however, was not ripe for the public patronage of the Fine -Arts. There was, too, a feeling abroad that it savored of monarchy and -favored classes, to perpetuate men and deeds by statues and monuments. -Another cause that hampered Browere was the lack of protection accorded -to such works. He complains to Madison: “I regret to say that as yet no -law has been passed to protect modelling and sculpture, and therefore I -have been hindered from completing the gallery, fearful of having the -collection pirated.” So disheartened did he become with the little -interest shown in his project and the work he had accomplished for it, -that at one time he contemplated visiting Panama, and presenting the -busts of the more prominent subjects to the republics of South America, -in order to incite them to further efforts for freedom. Finally he was -forced to abandon his scheme of a national gallery, owing to want of -support, and the direct opposition--“jealous enmity,” Browere calls -it--of his brother artists, the old American Academy faction led by -Colonel Trumbull, and the new National Academy followers led by William -Dunlap. - -They maligned his pretensions because he was honest enough to call his -method for accomplishing what he attempted “_a process_.” Surely, -judging from results, it was superior to any other known method of -obtaining a life mask, and it seems most unfortunate that his “process” -has to be counted among “the lost arts”; for neither he nor his son, who -was acquainted with both the composition and the method of applying it, -has left a word of information on the subject. When the public press -attacked Browere and his method for the rumored maltreatment of -President Jefferson, he replied: “Mr. Browere never has followed and -never will follow the usual course, knowing it to be fallacious and -absolutely bad. The manner in which he executes portrait-busts from -life is unknown to all but himself, and the invention is his own, for -which he claims exclusive rights, but it is infinitely milder than the -usual course.” That his method of taking the mask was accomplished -without discomfort to the subject is fully attested by the number of -persons who submitted to it, as also by the many certificates given by -Jefferson, Adams, Madison, Lafayette, Gilbert Stuart, and others to that -effect. - -In the following letter from Browere to Trumbull it will be seen the -writer does not attempt to conceal his feelings of resentment: - -NEW YORK, 12 July, 1826. - -_Sir_: - - The very illiberal and ungentleman-like manner in which Col. - Trumbull treated the execution, &c., of my portrait-busts of - Ex-President Adams and Honorable Charles Carroll with the statue of - Ex-President Jefferson, late displayed in the banquetting hall of - the Hon. Common Council of New York, has evidenced a personal - ill-will and hostility to me that I shall not pass over in silence. - The envy and jealousy inherent in your nature and expressed in - common conversations intimate to me a man of a perverse and - depraved mind. - - Rest assured, Sir, I fear not competition with you as a portrait or - historic painter; I know your fort, and your failings. To convince - you that I know somewhat of the Arts of Design, I shall - immediately commence an analysis of your four pictures painted for - Congress, and shall endeavor therein to refer to each and every - figure plagiarized from English and other prints. Your assertion to - me that you made your portraits therein to correspond with their - characters, will assuredly go for as much as they deserve. In my - opinion, ideal likenesses ought not to be palmed on a generous - public for real ones. - - Remember what was said on the floor of Congress in reference to - your four celebrated pictures: “Instead of being worth $32,000 they - were not worth 32 cents.” In remembering this remember that “nemo - me impune lacessit.” And by attending to your own concerns you will - retain a reputation or name of being an able artist and not a - slanderer. - -BROWERE, _Sculptor_. - - - -Colonel Trumbull has endorsed this letter: “_Browere. Poor man! too much -vanity hath made him mad._” - -However, from a letter written three years later to the Directors of the -American Academy of the Fine Arts, and “_Favored by Col. Trumbull_,” it -would appear that the two artists had healed their differences; but -Browere’s feeling of resentment toward the National Academy of Design -knew no abatement. He was kept out of the National Academy by Dunlap, -who also ignored him in his malevolent and unreliable “History of the -Arts of Design in the United States.” The cause for this, as stated by -Browere’s son, was that before Browere had ever met Dunlap he was asked -his opinion of Dunlap’s painting of “Death on the Pale Horse,” then on -public exhibition. He replied: “It’s a strong work, but looks as if it -were painted by a man with but one eye.” This remark was reported to -Dunlap, who actually had but one eye. He was mortally offended at the -sculptor’s insight, and became his undying enemy. Browere wrote to the -Academy as follows: - -NEW YORK, 31 July, 1829. - -_Gentlemen_: - - For several years past I have strictly devoted myself to the - profession of the liberal arts and flatter myself that my efforts - have not been detrimental to their interests. The reason why or - wherefore I, an American artist, bearing with me an unblemished - moral reputation, should have been selected for exclusion by both - the American Academy of Fine Arts, as well as the self-denominated - Academy of Design, appears mysterious and illiberal, and not in - accordance with the principles of religion or democracy. Had not an - enthusiastic love of and devotion to the Fine Arts guided my - reason, at this day I should have become one of the most inveterate - enemies to both institutions. Philosophy has made me what I now am, - viz., the sincere friend of man and admirer of the works of his - hands. As such I have,--written injuries as sand--favors on the - tablet of memory. - - As one of the great body of artists of America I deem it an - incumbent duty to advance the beauteous arts by all honorable - means, and to chastise arrogance, presumption, ignorance, and - wilful malevolence. With chagrin I have viewed the sinister and - aristocratical proceedings of the National Academy, and the ill - results that must eventually follow its longer continuance, and - therefore have publicly deprecated its wickedness. As one of the - regenerators of the old or American Academy of Fine Arts, I now - make bold in saying to its directors a few things, which if duly - weighed and followed must result favorably to its vitality and best - interests, and be the medium of establishing the reputation of - artists on firm and lasting basis, viz.: by collecting around the - American Academy and with it all the genius and talent in the arts - of design which our country possesses and creating a fund - sufficient to all its wants and expenditures. - - Already, twenty-five artists of respectability of this city await - one effort of the American Academy to reëstablish its original - standing and reputation, and they will join heart and hand to - oppose the Academy of Design (truly so called) by every work of - their hands done and to be done. The one effort alluded to is to - procure at a reasonable rent say from 800 to 1000 dollars per annum - the second story of the large and splendid building now erecting - corner of Anthony Street and Broadway. The undersigned is perfectly - well assured that from $1000 to $1500 per annum can be realized - (exclusive of rent) from daily exhibitions of the works of living - artists not in connection with the National Academy. He is fully - satisfied from late observations that twenty-five new pieces or - paintings can be procured monthly, all of which may be procured on - loan for one month at least. This being the case the Academy must - eventually and in a very short time supplant the puny efforts of a - few National Esquires, a majority of whom are scarce entering their - teens. - - The subscribing artist respectfully informs you that the exhibition - of the rough specimens of his art, viz., “The Inquisition of - Spain,” at No. 315 Broadway, did positively realize to him, in - eighteen months, _Seven thousand and sixty-nine dollars_. If, then, - such an exhibition could realize such a sum, what would an - exhibition of splendid historic and allegoric subjects, with - portraits, miniatures, and landscapes by our native artists, not - realize under the guidance of such a respectable board of directors - as is that of the American Academy of Fine Arts? - - The names of Trumbull, Vanderlyn, Frothingham, etc., alone would - act as magic on a discriminating public, provided fair specimens of - their talents be judiciously arranged for public inspection. Boston - has done wonders this year in her Athenæum. Why, then, should we, - equally blessed with native talent, despair, and sit down in - sack-cloth and ashes, when a single effort can make us her equal - and rival? Gentlemen, I am enthusiastic, and yet have maturely - weighed each and every reason against your regeneration, and boldly - assert more is for you than against you. The three preceding - mentioned gentlemen are equal to, if not superior in talent to, any - Boston can produce. Our portrait-painters generally bid fair to - excel. All that is wanted is your help as a body corporate, your - co-operation as lovers of the Fine Arts. Where, if you become - extinct, shall we go to study the models of antiquity? Alas! we - know of no other place wherein the experience of ages is collected, - en masse, no place wherein to receive that instruction so essential - to a knowledge of our profession. Mr. Bowen, the proprietor, has - offered to you through Colonel Trumbull, the room alluded to at a - fair compensation; it now rests with you to say for once and for - all, “We will,” or, “we will not continue the patrons of art.” - Wishing to yourselves individually, and collectively as a body - corporate, health and peace, I remain, - - Gentlemen, truly your Friend in the Fine Arts, - -JOHN H. I. BROWERE. - - - -No formal action is known to have been taken upon this communication; -but the antagonism plainly evident as existing between the new Academy -of Design and the old Academy of the Fine Arts, forms a lively chapter -in the history of American art. Full particulars of the strife are given -in Dunlap’s book and in Cummings’s “Historic Annals of the National -Academy of Design.” But these accounts are from biased adherents of the -new institution and bitter opponents of the old, so that, for a brief -but philosophical and judicial consideration of the subject, one must -turn to John Durand’s sketch of Colonel Trumbull in the “American Art -Review” for 1880. - -Browere died, after only a few hours’ illness, of cholera; and it is -pathetic to picture the disappointed sculptor, on his deathbed, -directing, as he did, that the heads should be sawed off the most -important busts, and boxed up for forty years, at the end of which -period he hoped their exhibition would elicit recognition for their -merit and value as historical portraits from life. This directed -mutilation was not made; but the busts never saw the light of day until -the Centennial year, when a few of them were placed on exhibition in -Philadelphia. But not being connected with the national celebration, -they were a mere side-show, and were not in a position to attract -attention. Indeed, the fact of their exhibition was unheralded, and has -only recently become known. - -Call Browere’s work what one will,--process, art, or mechanical,--the -result gives the most faithful portrait possible, down to the minutest -detail, the very living features of the breathing man, a likeness of -the greatest historical significance and importance. A single glance -will show the marked difference between Browere’s work and the ordinary -life cast by the sculptor or modeller, no matter how skilful he may be. -Browere’s work is real, human, lifelike, inspiring in its truthfulness, -while other life masks, even the celebrated ones by Clark Mills, who -made so many, are dead and heavy, almost repulsive in their -lifelessness. It seems next to marvelous how he was able to preserve so -wonderfully the naturalness of expression. His busts are imbued with -animation; the individual character is there, so simple and direct that, -next to the living man, he has preserved for us the best that we can -have--a perfect _facsimile_. One experiences a satisfaction in -contemplating these busts similar to that afforded by the reflected -image of the daguerreotype. Both may be “inartistic” in the sense that -the artist’s conception is wanting; but for historical human documents -they outweigh all the portraits ever limned or modelled. - -Browere left a wife and eight children, his second child and eldest son, -Alburtis D. O. Browere, inheriting the artistic temperament of the -father. He was born at Tarrytown, March 17, 1814, and died at Catskill, -February 17, 1887. After his father’s death, he entered the schools of -the National Academy of Design, and, in 1841, gained the first prize of -$100, in competition with twenty-four others, for his picture of -“Canonicus Treating with the English,” as detailed in Thatcher’s “Lives -of the Indians.” Previous to this, when only eighteen years old, he was -awarded a silver medal, by the American Institute in New York, “for the -best original oil painting,” the title of which has been forgotten. He -painted several pictures with Rip Van Winkle as the subject, and among -his contemporaries and friends was highly appreciated as an artist and -as a man. He went to California soon after the opening to the east of -that El Dorado, where he remained several years, painting many pictures -of mining scenes. It was he who added the draperies to the busts made -from his father’s life masks--an addition much to be regretted; but, on -the other hand, it was his filial reverence that preserved these -invaluable human documents, and has permitted us to see and know how -many of the great characters who have gone before really appeared in the -flesh, how they actually looked when they lived and moved and had their -being. - -[Illustration] - - - - -IV - -_The Captors of André_ - - -“While Arnold is handed down with execration to future times, posterity -will repeat with reverence the names of Van Wart, Paulding, and -Williams.” These words of Alexander Hamilton, written to John Laurens -shortly after the taking of André, form a fitting text for the chapter -introducing Browere’s busts of those patriots. It is fitting, because of -the varying winds that have blown over the subject, swaying public -opinion first one way and then the other; until finally the full -prophecy of Hamilton is accepted as the right judgment of posterity. Of -course, my comments refer only to the captors of André; there never has -been but one judgment as to the execrated Arnold. - -It required more than a generation for any voice to let itself be heard -questioning the sincerity and patriotism of the three - -[Illustration: JOHN PAULDING Age 59] - -lads who brought André to justice. And then it was the voice of only one -man, Colonel Tallmadge, who had come under André’s winsome fascinations, -while acting as officer of the guard over the unfortunate spy from his -capture to his execution. The occasion for the unworthy onslaught of -Tallmadge, was a resolution offered in the House of Representatives, at -Washington, to increase the beggarly pension of $200 per annum, awarded, -with a silver medal, by the Continental Congress, to each of the -three,--Paulding, Williams, and Van Wart. Tallmadge opposed it, not upon -the ground that these men had not done the deed history accords to them -and thereby possibly saved the new nation, but because André, the -captured spy, while in captivity, had told his keeper that they deceived -him into believing they were British soldiers, and when he found they -were not, but were American militiamen and he their prisoner, he could -have bought his freedom if he had been weighted down with gold. Suppose -this story of André, as retailed by Tallmadge, thirty-seven years after -the happening of the event, is accepted at its fullest value--what does -it signify? At best it is a mere surmise, hardly even the expression of -an opinion; and that it was baseless is shown most emphatically by the -express denial of each one of the captors, under oath, when Tallmadge -made his ill-judged and unpatriotic charge. British gold was ever -present during the Revolution to debauch patriots and make them -traitors, acting upon the doctrine of Sir Robert Walpole, that every -man has his price; therefore André surmised that three ragged, unpaid, -militiamen would easily have yielded could they have seen the yellow -glitter; but subsequent events clearly disprove that the prisoner could -have bought his freedom. - -The fact is, such a halo of romance and supposed chivalry has garlanded -itself over André, owing to his youth and charming personality, that the -best judgments are warped and influenced, in his favor, when they take -up a consideration of his unhappy fate. Yet his case was an aggravated -one. He entered upon the errand of a spy with his eyes wide open to its -dangers and its consequences. He was taken red-handed, and suffered the -penalty of his daring, after a trial, not by his peers, but by his -superiors. His suppliant plea that he was unwittingly betrayed within -our lines by the very man with whom he knew he was holding unlawful -communication, and that he should be protected by the word and passes of -the traitor Arnold, are pathetic in their puerility; yet his cause has -not failed of advocates upon this plea. After all, it is merely the -settling of a sentimental point in history, and the consensus of opinion -is that André suffered justly and that posterity should “repeat with -reverence the names of Van Wart, Paulding, and Williams.” - -The truth is, there is too much unnecessary iconoclasm abroad in regard -to historic characters. Where false reputations have been built upon -foundations laid by others, or impinge upon the honor due to another, it -is meet and right that they should be exposed and honor be given to whom -honor is due. But there is no such condition here; it is a mere attempt -to tarnish one of the most important acts of the American Revolution in -its far-reaching consequences, so that it shall be deprived of some of -its brilliancy. On the present question we can do no better than accept -the judgment of Washington--a man never carried away by his feelings, -but always calm, judicial, and just. He wrote to Congress: “I do not -know the party that took Major André, but it is said that it consisted -only of a few militia, who acted in such a manner upon the occasion as -does them the highest honor and _proves them to be men of great virtue_. -As soon as I know their names I shall take pleasure in transmitting them -to Congress.” And later, in forwarding the proceedings of the Board of -War, to Congress, he writes: “I have now the pleasure to communicate the -names of the three persons who captured Major André and _who refused to -release him notwithstanding the most earnest importunities and -assurances of a liberal reward on his part_. Their names are John -Paulding, David Williams, and Isaac Van Wart.” - -The master spirit of the three captors seems to have been John Paulding, -who was the first of them to die, as also the first to have his mask -taken by Browere. Indeed, his bust is from the earliest mask we have -that Browere made, and is inscribed by the sculptor: “Made 1821 from the -mould made in 1817.” The latter was the year of the Tallmadge episode, -and Paulding, when in New York in connection with that affair, was -taken, by Alderman Percy Van Wyck, to Browere’s house at No. 315 -Broadway, where the life mask was made. - -The attempt has also been made to throw discredit upon the service of -the captors of André by underestimating their social position in the -community in which they lived. This absurd but too common practice in a -democracy like ours, where all men are supposed to be equal, can cut no -figure here; for whatever may have been the station in life of Williams -and Van Wart, who were kinsmen (the latter’s mother and the former’s -father having been brother and sister), Paulding belonged to a family of -consideration in his native State. - -John Paulding was born in New York city in 1758, and died in Staatsburg, -Dutchess county, New York, February 18, 1818. His brother, William -Paulding, represented Suffolk county in the first provincial congress -that met in New York city, May 23, 1775; was a member of the New York -Committee of Safety, and commissary-general of the State troops. He, -himself, served throughout the war of the Revolution, and was three -times taken prisoner by the British, having escaped from his second -capture only a few days before the adventure with André. His unswerving -patriotism is therefore - -[Illustration: ISAAC VAN WART - -Age 66] - -established by his personal service. Paulding was the one who actually -made the arrest by seizing the bridle of André’s horse, and he was the -leader and spokesman on the occasion. Nearly a decade after his death, -the corporation of the city of New York caused a monument to be erected -over his grave, at Peekskill, when his nephew, William Paulding, then -Mayor of New York, made the dedicatory address. Rear-Admiral Hiram -Paulding--who, at the time of his death, October 20, 1878, was senior -officer in the United States navy--was his son, and Commander Leonard -Paulding, who commanded the _St. Louis_, the first ironclad vessel in -the United States navy, in the war of the rebellion, was his grandson; -while James Kirke Paulding, the collaborateur of Washington Irving, in -the Salmagundi papers, and Secretary of the Navy under President Van -Buren, was his nephew. Surely this brief family history is sufficient to -set at rest any ridiculous squabbling as to his respectability and -position in the community. He very possibly wore the stigma of poverty, -in which case his refusal to release André, “notwithstanding the most -earnest importunities _and assurances of a liberal reward_,” only -emphasizes him to have been, in the words of Washington, a man of “great -virtue.” - -Isaac Van Wart, who next followed Paulding to the grave, died at Mount -Pleasant, New York, on May 23, 1828, having been born, in Greenburg, -sixty-eight years before. He was the youngest of the three captors. Van -Wart was a West Chester farmer, and a staunch adherent to the cause of -his country; and there is no more reason to throw doubt upon the purity -of his motives in the great affair of his life than upon the motives of -Paulding, which are beyond questioning. His social position also seems -to be established by the fact, that he was a brother of Abraham Van -Wart, Adjutant in the Continental line, whose son Henry married the -youngest sister of Washington Irving. Van Wart’s mask was made by -Browere at Tarrytown in 1826, and until its discovery by the writer -there was no likeness of him known to be in existence. - -David Williams, the eldest and the last survivor of the three, was born -in Tarrytown, October 21, 1754, dying near Livingstonville, August 2, -1831. He served under Montgomery in the expedition to Canada, and -remained actively in the service until disabled by frozen feet. Many of -the details of the capture of André that we have, are from Williams’s -sworn statement, made on the day following, when everything was -perfectly fresh in his mind. He passed the closing years of his life on -a farm in the Catskills, that had belonged to the leader of Shays’s -rebellion, and it is still in the occupancy of Williams’s descendants. A -monument has been erected to his memory, by the State of New York, near -Schoharie Court House. - -Browere had great trouble in securing Williams’s mask. - -[Illustration: DAVID WILLIAMS - -Age 75] - -Twice he went by sloop and on foot for this purpose to the latter’s home -at Schoharie, only to find the veteran absent. Finally, in 1829, -Williams visited General Delavan, at Peekskill, and sent Browere word, -whereupon the artist went thither and took the mask, the only portrait -extant of the sturdy patriot. - -Therefore to Browere’s art,--or “process,” whichever one pleases,--we -owe, among other causes for congratulation, the possession of the only -authenticated likenesses of Paulding, Williams and Van Wart, the three -pure and unyielding patriots who captured the unfortunate André, and -who, “leaning only on their virtue and an honest sense of their duty, -could not be tempted by gold.” Thereby they saved Washington and his -army from capture, and possibly preserved the infant nation from a -return to servitude. Each one of them received the thanks of Congress, -and from the State of New York a two-hundred-acre farm. “Vincit amor -patriæ.” - -[Illustration] - - - - -V - -_Discovery of the Life Mask of Jefferson_ - - -I had been familiar, for years, with the tragic story told by Henry S. -Randall, in his ponderous life of President Jefferson,[2] of how the -venerated sage of Monticello, within a year of his decease, was nearly -suffocated, by “an artist from New York,” by name Browere, who had -attempted to take a mask of his living features; and how, in fear of -bodily harm from the ex-President’s irate black body-servant, “the -artist shattered his cast in an instant,” and was glad to depart quickly -with the fragments which he was permitted to pick up. - -This unvarnished tale, copied word for word, was put into the mouth of -Clark Mills, the sculptor, by Ben Perley Poore, and published by him, -some years later, under the caption of “Jefferson’s Danger.” With these -statements fixed in my mind, I came across, while searching for -information anent my article on the “Life Portraits of Thomas -Jefferson,”[3] a letter from James Madison to Henry D. Gilpin, written -October 25, 1827, in which Madison writes, respecting Jefferson’s -appearance, “Browere’s bust in plaster, from his mode of taking it, will -probably show a perfect likeness.”[4] - -I was struck by the utter inconsistency of Randall’s circumstantial -account of the shattered cast, picked up in fragments, with Madison’s -pointed observations upon “Browere’s bust,” as being in existence -fifteen months after Jefferson’s death. - -The latter directly negatived the former. - -This made it both interesting and important to ascertain the exact -status of the subject, by tracing it to and from the fountain source, a -task I found comparatively easy through the calendars of Jefferson and -Madison Papers, in the State Department, at Washington. From an -examination of these manuscripts, together with the newspapers of the -time, it was clearly to be seen that Mr. Randall’s method of writing -history, was to accept and repeat irresponsible country gossip, rather -than to turn to documents at his hand, that would explain and refute the -gossip. - -The existence at one time of the bust of Jefferson, from Browere’s life -mask, being thus established, the next and more difficult quest was to -discover its whereabouts, if still extant. I instituted a systematic -search, that gained for me among my friends the sobriquet of Sherlock -Holmes, and my persistency was finally rewarded not only by the -discovery of this bust of Jefferson, but also of all the other busts -that had remained in Browere’s possession at the time of his death. They -were in the custody of a granddaughter of the artist, on a farm near -Rome, New York. - -The positive statement of Randall, frequently repeated by others, the -last time unequivocally by Mr. Laurence Hutton, in his “Portraits in -Plaster,” that Browere’s mask from Jefferson’s face was _destroyed_, and -the indisputable fact that the bust from the perfect mask _exists_ and -is here reproduced, cause the incidents connected with the taking of -this original life mask, to have an importance that justifies recording -them at length, so that there may remain no possibility for further -question or doubt on the subject. My authorities are Jefferson, Madison -and Browere, as preserved in their own autographs, in the State -Department, at Washington. - -Thomas Jefferson was born in 1743 and died in 1826, on the -semi-centennial of the adoption of the immortal instrument of which he -is the recognized father. Through the intercession of President Madison, -his friend, neighbor and successor in the chair of state, Jefferson -consented, in Browere’s words, “to submit to the ordeal of my new and -perfect mode of taking the human features and form.” For this purpose -Browere visited Monticello, on the fifteenth of October, 1825. At this -time Jefferson was eighty-two years of age and was suffering the -infirmities incident to his advanced years. During the operation, he was -attended by his faithful man-servant Burwell, who prepared him for “the -ordeal,” by removing all of his clothing to the waist, excepting his -undershirt, from which the sleeves were cut. He was then placed on his -back, and the material applied down to the waist, including both arms -folded across the body. The entire procedure lasted ninety minutes, with -rests every ten or fifteen minutes, during which rests Jefferson got up -and walked about. The material was on Jefferson’s face for eighteen -minutes, and the whole of the mould of his features was removed -therefrom in three minutes. This was accomplished before the alarmed -entrance of his granddaughters, the Misses Randolph, into the room. They -were brought there by their brother, who had been peeping in at the -window, and begging for admission, which was denied him. It was the -exaggerated report of what young Randolph thought he saw, that induced -the sudden entrance of his sisters, and this report found its way -subsequently into the local newspapers of Virginia, with the remarkable -result indicated. - -The intrusion of the Randolphs into the room caused delay in removing -other parts of the mould, and this did cause the venerable subject to -feel a little faint and to experience some other discomforts. But -Browere remained at Monticello overnight, dining with Jefferson and the -Randolphs, and chatting with his host through the evening until -bed-time, which would scarcely have been the case had the artist nearly -suffocated and otherwise maltreated his subject, so that for his safety, -the cast had to be shattered to pieces. But we do not have to speculate -and surmise. We have direct and unimpeachable proof to the contrary. - -The very day on which, according to Randall and his followers, the -“suffocation” and “shattering” took place, Jefferson wrote: - - At the request of the Honorable James Madison and Mr. Browere of - the city of New York, I hereby certify that Mr. Browere has this - day made a mould in plaster composition from my person for the - purpose of making a portrait bust and statue for his contemplated - National Gallery. Given under my hand at Monticello, in Virginia, - this 15th day of October, 1825. - -TH: JEFFERSON. - - - -Four days later President Madison, who, with his wife, was Browere’s -next subject, writes: “A bust of Mr. Jefferson, taken by Mr. Browere -from the person of Mr. Jefferson, has been submitted to our inspection -and appears to be a faithful likeness.” That Jefferson did suffer some -inconvenience, from the application of the wet material, is undeniable. -Three - -[Illustration: THOMAS JEFFERSON - -Age 82] - -days after the taking of the mould he wrote to Madison: “I was taken in -by Mr. Browere. He said his operation would be of about twenty minutes -and less unpleasant than Houdon’s method. I submitted without enquiry. -But it was a bold experiment, on his part, on the health of an -octogenary worn down by sickness as well as age. Successive coats of -thin grout plastered on the naked head and kept there an hour, would -have been a severe trial of a young and hale man.” - -But the newspapers had gotten hold of the “suffocation” and “shattering” -story, and any one familiar with the newspapers of that day knows what a -scarcity of news there was. Therefore the press over the land laid the -Virginia papers tribute for this bit of sensationalism. Richmond, Boston -and New York vied with each other in keeping the ball moving. But “those -teachers of disjointed thinking,” as Dr. Rush called the public press, -were getting too rabid for Browere, so he published, in the Boston -“Daily Advertiser” of November 30, 1825, a two-column letter, in which -he calls the attack by the “Richmond Enquirer,” the most virulent of his -assailants, “a libel false in almost all its parts and which I am now -determined to prove so by laying before the public every circumstance -relating to that operation on our revered ex-president, Thomas -Jefferson.” - -A copy of this published letter Browere sent to Jefferson under cover of -the following important but effusive epistle: - -NEW YORK, May 20, 1826. - -_Most Esteemed and venerable Sir_: - - As the poet says “there are strings in the human heart which once - touched will sometimes utter dreadful discord.” Per the public - vehicles of information, the ex-President has perceived the very - illiberal manner in which my character and feelings have been - treated, and that of those of his honor have been unintentionally - wounded. Mine have been publickly assaulted, upbraided and - lacerated. And why? Because through the error of youth, I - unwittingly, in a confidential letter to M. M. Noah, Esq., editor - of the New York National Advocate, had written in a style either - too familiar or that the whole of said letter (instead of extracts - therefrom) had been made public. In my address to the Boston - public, the ex-president will perceive I set down naught but facts. - That I intended not to wound your feelings or those of the ladies - at Monticello, I acknowledged the urbanity of Mr. Jefferson and the - hospitality of his family. Possibly the ex-president is not aware - that a young gentleman, one of his family, did, previous to my - departure from Monticello, (the very afternoon of the day on which - I took the bust) go to Charlottesville, and publickly declare I had - almost killed Mr. Jefferson, first almost separating the ears, - cutting the skull and suffocating him. What were my feelings? What! - would not any man of spirit and enterprise resent such assertions - and rebut them? I was in this state of feeling when I indited the - letter to M. M. Noah, which letter I fear has forfeited me your - confidence and regard. But a letter confidential and therefore not - to be attributed as malign or censorious. - - Your character I have always esteemed, and I now intend evidencing - that regard by making a full-length statue of the “Author of the - Declaration of American Independence,” which (if the president be - not in New York on the 4th of July next) I intend presenting for - that day to the Honorable the Corporation of New York, to be - publickly exhibited to all who desire to view the beloved features - of the friend of science and of liberty. - - The attitude of your statue will be standing erect; the left hand - resting on the hip; the right hand extended and holding the - unfolded scroll, whereon is written the Declaration of American - Independence. If possible, History, Painting, Sculpture, Poetry and - Fame will be attendant. The portrait busts of Washington, John - Adams, Franklin, Madison, John Q. Adams, Lafayette, Clinton and - Jay, will be on shields, hung on the column of Independence, - surmounted with the figure of Victory. May you enjoy health, peace - and competence. May the God of nature continue to shower down his - choicest blessings on your head and finally receive you to himself - is the prayer of your sincere friend, - -J. H. I. BROWERE. - - - -This communication Jefferson acknowledged, within a month of his -decease, in a letter of such ruling importance in this connection, as it -_settles the question forever_, that I am glad of the opportunity to -publish it in full. - -MONTICELLO, June 6, ’26. - -_Sir_: - - The subject of your letter of May 20, has attracted more notice - certainly than it merited. That the operé to which it refers was - painful to a certain degree I admit. But it was short lived and - there would have ended as to myself. My age and the state of my - health at that time gave an alarm to my family which I neither felt - nor expressed. What may have been said in newspapers I know not, - reading only a single one and that giving little room to things of - that kind. I thought no more of it until your letter brot. it again - to mind, but can assure you it has left not a trace of - dissatisfaction as to yourself and that with me it is placed among - the things which have never happened. Accept this assurance with my - friendly salutes. - -TH: JEFFERSON. - - - -Notwithstanding this “very kind and consolatory letter,” as Browere had -good reason to call it, the report that the venerable Jefferson had been -nearly suffocated and otherwise maltreated by the artist, was so widely -circulated that Browere’s career was seriously affected by it; and so -much easier is it to disseminate error than truth, that his hopes were -not fulfilled that the publication of Jefferson’s letter would, as he -wrote to Madison, “in some manner turn the current of popular prejudice, -which at present is great against my _modus operandi_.” - -In acknowledging Jefferson’s letter of the 6th, Browere writes -concerning the statue: “On the very day of the receipt of yours, the -13th inst., I had completed your full length statue (nudity) and -to-morrow I intend, if spared, to commence dressing it in the costume -you wore at the time of your delivery of the Declaration of American -Independence. Understanding that your dress corresponded with that of -Mr. Laurens, President of Congress in 1778, I have commenced the suit. -But if Mr. Jefferson would condescend to give a full and explicit -account of the form and colour of his dress, at that very interesting -period, he will be conferring a particular favor on me and on the whole -American Nation. Dispatch in forwarding the same will be pleasing to the -Honorable the Common Council of New York, for whom I am preparing your -statue for the 4th of July, 1826.” - -An examination of such of the New York newspapers of the period as could -be found, fails to reveal any mention of this remarkable, colored and -habited, statue of Jefferson, our whole knowledge of which is derived -from the letters of the artist. It would seem to have belonged to the -Eden Musée variety of freaks, from Browere’s own description of it. Here -is what he writes to Madison from New York, July 17, 1826: “You are -aware that two months ago I tendered to the Common Council of New York, -my services and those of my son to complete a full length figure or -statue of Jefferson. The memorial was unanimously accepted and referred -to the Committee on Arts and Sciences, who would superintend its being -placed in the Banqueting Room of the Common Council, on the approaching -anniversary or jubilee. Without money and without power I was enabled in -five weeks of unremitting exertions, to finish and place it in the Hall, -exactly at the hour of the dissolution of Mr. Jefferson.” It may not be -unamusing to read a description of his statue in the City Hall -banqueting-room. - -“His lofty and majestic figure standing erect; his mild blue and -expressive eyes beaming with intelligence and good will to his fellow -men. The scroll of the Declaration, which gave freedom to millions, -clutched in his extended right hand, strongly contrasted with the -decrepitude of his elder associate, the venerable John Adams, gave an -effect to the whole which will not ever be forgotten here. His left hand -resting on the hip, gave a carelessness yet dignified ease that pleased -thousands. On his right hand was the portrait bust of the venerable -Charles Carroll of Carrollton, like that of Adams, clothed with white -drapery. Beside and behind these figures were placed various flowers and -shrubbery. Immediately over the head of the author of the Declaration of -American Independence hovered the American Eagle; a civic crown -suspending from his beak was ready to drop on the temples and crown with -immortal honors the wisest and best of men. His likeness is perfect. If -the congratulations of Governor De Witt Clinton, His Honor the Mayor, -the City authorities of New York and the general mass of reputable -lives, can affix the seal of truth in likeness, rest assured the beloved -features will not soon be forgotten. - -“Now should the University of Virginia desire to erect in marble or -bronze a statue to the memory of its founder be pleased, Sir, to note -that I will be ready at all times to complete such a work. Moreover -that, should appropriate funds at this period be lacking, it matters -not: I will furnish one and await the pleasure of the institution for -pecuniary emolument. All that would be required at first, would be a -sufficiency to defray actual expenditures for materials and the -indispensable requisites to the support of my young family. Should this -proposition meet the approval of the visitors of the Virginia University -and the citizens at large, a satisfactory answer will meet with my -cordial thanks.” - -Evidently the University of Virginia did not accept Browere’s -proposition, as the only statue of its founder and architect, now to be -seen there is an extremely bad one by a sculptor named Galt; and no -trace of Browere’s curious work has up to the present time been found. -Save for the truth of history, silence concerning it would seem to have -been most expedient for Browere’s reputation as a serious artist. - -Surely this story is as interesting as a romance, and but for fiction it -might never have been told. How dare any man assume to write history and -set down on his pages such statements, as did Randall about Browere’s -mask of the living Jefferson, without first exhausting every channel of -inquiry and every means of search and research to ascertain the truth? -The material that I have drawn from was as accessible to Mr. Randall as -it has been to me; in fact, he claims to have used the Jefferson papers -in his compilation. It is true we have acquired more exact and -scientific methods of writing history than were in vogue when Randall -wrote, a generation or more ago. Yet this will not excuse his positive -misstatements and false assumptions. The existence of an opportunity for -such severe criticism only serves to emphasize the great necessity of -observing the inflexible rule: take nothing for granted and nothing at -second hand, without the most careful investigation and scrutiny. If the -standard of life’s ordinary action should be the precept “Whatever is -worth doing is worth doing well,” with what intensified force does it -apply to the writing of history! Pains, infinite pains, are the -requisites for good work. Nothing meritorious is ever accomplished -without hard labor. Toil conquers everything; without it, the result is -at best uncertain. While it is some gratification to have set wrong -right and done tardy justice to Browere’s reputation, it is a far -greater satisfaction to have rescued from oblivion and presented to the -world his magnificent facsimile of the face and form of Thomas -Jefferson. - -[Illustration] - - - - -VI - -_Three Generations of Adamses_ - - -The allied families of Adams and Quincy are the only instances in this -country, that present themselves to my mind, of hereditary ability -manifesting itself and being recognized in the public service, for three -and more generations. The Quincy family has done its work in local and -more narrow spheres than the Adamses; yet Josiah Quincy, Jr., of Boston -Port Bill fame, and his son, bearing the same name, who for so many -years was at the head of Harvard University, have had a wide field for -the spread of their influence. But the Adams family is the only one that -has given father and son to the Presidential chair, and father, son and -grandson to the English mission. The series of double coincidences in -the Adams family connected with missions to England and treaties with -that power, is most curious. John Adams, just - -[Illustration: JOHN ADAMS - -Age 90] - -after having served as a commissioner to arrange the treaty of peace -that concluded the Revolutionary War, was made minister to the court of -St. James; his son John Quincy Adams, immediately after signing the -treaty of Ghent, that concluded the war of 1812-15, was appointed -minister to the same court; and his grandson, Charles Francis Adams, -minister to England during the entire Civil War, took part in the treaty -that disposed of the Alabama question. - -John Adams was born in 1735 and died in 1826. The coincidences in his -career, parallel with events in the career of Jefferson, are very -remarkable. They were both on the committee of five to draft the -Declaration of Independence; they both signed that American _Magna -Charta_; they both represented this country in France; they both became -successively Vice-President and then President of these United States, -being the only signers of the Declaration of Independence thus elevated -to the chair of state; and they both died, within a few hours of each -other, on the fiftieth anniversary of the adoption of the Declaration of -Independence. Is it possible that more curious historical parallels can -be found in the lives of any two men? - -From Monticello, the home of Jefferson, Browere journeyed to Quincy, the -home of Adams, in order to secure a mask of the face of the -distinguished nonagenarian. But the Virginian story of the maltreatment -of Jefferson had gotten there before him, and it was with difficulty -that Browere could persuade Mr. Adams to submit. However, the old -Spartan finally yielded, and submitted not only once but twice, as -appears by his certificate: - -QUINCY, MASS., Nov. 23, 1825. - - This certifies that John H. I. Browere of the city of New York, has - yesterday and to-day made two Portrait bust moulds on my person and - made a cast of the first which has been approved of by friends. - - -JOHN ADAMS. - - - -To this certificate, his son, Judge Thomas B. Adams, added a postscript: - - “I am authorized by the ex-President to say that the moulds were - made on his person without injury, pain or inconvenience.” - -The bust from the mask of old John Adams is, next to that of Jefferson, -the most interesting of Browere’s works. I do not mean for the subject, -but for its truthful realism. There is an unhesitating feeling of real -presence conveyed by Browere’s busts that is given by no other likeness. -They present living qualities and characteristics wanting in the painted -and sculptured portraits of the same persons. Such a comparison is -easily made in the instance of John Adams, for the same - -[Illustration: JOHN QUINCY ADAMS - -Age 58] - -year as that in which Browere made his life masks, Gilbert Stuart -painted his famous portrait of “John Adams at the age of ninety”; and -Browere’s bust will bear comparison with Stuart’s portrait. I must tell -a story connected with the painting of this portrait by Stuart, which, -while a little out of place, especially as we have a chapter devoted to -Gilbert Stuart, comes in better here than there. Stuart had painted a -portrait of John Adams as a younger man. It is the familiar portrait of -the great statesman by that artist. John Quincy Adams was desirous that -Stuart should paint another of his father at the advanced age of ninety, -and applied to the artist for the purpose. But Stuart was too old to go -down to Quincy, and John Adams was too old to come up to Boston. -Finally, Stuart agreed that he would go down to Quincy, for the purpose, -if he were paid half of the price of the picture before he went. To this -John Quincy Adams gladly assented, and Stuart went to Quincy and had the -first sitting. Then John Quincy Adams could not get Stuart to go down -for a second sitting, and, as his father was past ninety, he feared he -might die before the picture was finished. He at last succeeded in -getting Stuart to go down for a second sitting by paying him the balance -of the price of the picture. Then the artist would not go down to finish -it, and the only way John Quincy Adams got him to complete the portrait -was by promising him, if he would make the journey and do the work, he -would pay him the agreed price over again. This is only one of many -illustrations of the character of the greatest portrait-painter this -country has produced, and the peer of any portrait-painter who has ever -lived. - -Browere broke his journey from Virginia to Massachusetts by a rest at -the country’s capital, and while there he took a mask of the ruling -President, John Quincy Adams, and one of his young son, Charles Francis -Adams. It was this young man who wrote to Browere as follows: - -WASHINGTON CITY, October [28], 1825. - - The president requests me to state to Mr. Browere that he will be - able to give him two hours tomorrow morning at seven o’clock at his - (Mr. Browere’s) rooms on Pennsylvania Avenue. He is so much engaged - at present that this is the only time he can conveniently spare for - the purpose of your executing his portrait bust from life. - -C. F. ADAMS. - - - -John Quincy Adams, the sixth President of the United States, was born in -Braintree, Massachusetts, July 11, 1767, and died in the Speaker’s room -of the House of Representatives at Washington, February 28, 1848. He has -been called the most cultivated occupant that the Presidential chair has -ever had; but his administration was unimportant, and he - -[Illustration: CHARLES FRANCIS ADAMS - -Age 18] - -personally was the most unpopular man who has yet achieved the high -office. He seems to have anticipated Whistler in the “gentle art of -making enemies.” - -Not the least interesting of Browere’s busts is the youthful head of -Charles Francis Adams, made when Mr. Adams had just passed his -eighteenth birthday, he having been born August 18, 1807, in Boston, -where he died November 21, 1886. The services of Mr. Adams to his -country, as minister to England from 1861 to 1868, covering the entire -period of the war between the States, can never be forgotten or -overestimated, and will remain among the foremost triumphs of American -diplomacy. - -It is certainly of curious interest to have busts of three generations, -in one family, made by the same hand and within a few days of each -other, as is the case with Browere’s casts of John, John Quincy, and -Charles Francis Adams. - -[Illustration] - - - - -VII - -_Mr. and Mrs. Madison_ - - -“Jimmy” Madison and his wife “Dolly” were prominent characters in social -as well as in public life. He early made a name for himself by his -knowledge of constitutional law, and acquired fame by the practical use -he made of his knowledge, in the creation of the Constitution of the -United States, and in its interpretation in the celebrated letters of -the “Federalist.” With the close of Washington’s administration Madison -determined to retire to private life, but shortly before this he met the -coy North Carolina Quakeress, Dorothea Payn. She was at the time the -young widow of John Todd, to whom she had been married not quite a year, -and Madison made her his wife. - -James Madison was born in 1751 and Dorothea Payn in 1772, but the score -and one years’ difference in their ages did - -[Illustration: JAMES MADISON - -Age 74] - -not prevent them from enjoying a married life of two score and two years -of unclouded happiness. Madison died in 1836, and was survived by Mrs. -Madison for thirteen years. - -Madison’s temperament, like that of his young bride, was tuned to too -high a pitch to be contented with quietness after the excitement -incident to his earlier career. Therefore his retirement, like stage -farewells, was only temporary, and he became afterward the fourth -President of the United States. As we have seen, it was Madison who -brought Browere to the notice of Jefferson, and Browere was commended to -Madison in the following letter from General Jacob Brown, the land hero -of the war of 1812, and later Commander-in-chief of the Army of the -United States: - -WASHINGTON CITY, Oct. 1st, 1825. - -_My Dear Sir_: - - Mr. Browere waits on you and Mrs. Madison with the expectation of - being permitted to take your portrait busts from the life. As I - have a sincere regard for him as a gentleman and a scholar, and - great confidence in his skill as an artist (he having made two - busts of myself), in the art which he is cultivating, I name him to - you with much pleasure as being worthy of your encouragement and - patronage. I am interested in having Mr. Browere take your - likeness, for I have long been desirous to obtain a perfect one of - you. From what I have seen and heard of Mr. Browere’s efforts to - copy nature, I hope to receive from his hands that desideratum in a - faithful facsimile of my esteemed friend ex-President Madison. Be - pleased to present my most respectful regards to Mrs. Madison, and - believe me always - - Your most devoted friend, - -JACOB BROWN. - - - -From this introduction Browere seems to have gained the friendship of -Mr. and Mrs. Madison, who took more than an ordinary interest in the -artist and his family. They were on terms of familiar intercourse, and -an infant, born to Mrs. Browere, July 3, 1826, was, by Mrs. Madison’s -permission, named for her. Some years later this child accompanied her -parents on an extended visit to Montpelier. - -That Madison was satisfied with the result of Browere’s skill is shown -by the following: - - Per request of Mr. Browere, busts of myself and of my wife, - regarded as exact likenesses, have been executed by him in - plaister, being casts made from the moulds formed on our persons, - of which this certificate is given under my hand at Montpelier, 19, - October, 1825. - -JAMES MADISON. - - - -[Illustration: “DOLLY” MADISON - -Age 53] - -Mr. and Mrs. Madison each submitted to Browere’s process a second time, -which is sufficient evidence that the ordeal was not severe and -hazardous. The bust of Madison is very fine in character and expression, -but that of Mrs. Madison is of particular interest, as being the only -woman’s face handed down to us by Browere. Her great beauty has been -heralded by more than one voice and one pen, but not one of the many -portraits that we have of her, from that painted by Gilbert Stuart, aged -about thirty, to the one drawn by Mr. Eastman Johnson, shortly before -her death, sustains the verbal verdict of her admirers; and now the life -mask by Browere would seem to settle the question of her beauty in the -negative. - -“Dolly” Madison was in her fifty and third year when Browere made his -mask of her face, and she lived on for a quarter century. She has always -been surrounded by an atmosphere of personal interest, not so much for -what she was as for what she was supposed to be. She doubtless possessed -a charm of manner that made her a most attractive hostess at the White -House during her reign of eight years, in which particular she shares -the laurels with the winsome wife of Mr. Cleveland. - - - - -VIII - -_Charles Carroll of Carrollton_ - - -The last of the signers of the Declaration of Independence, to be -gathered to his fathers, was the distinguished Marylander, Charles -Carroll of Carrollton, who so signed his name to distinguish himself -from a younger kinsman of the same name, his object being merely -purposes of convenience, and not the patriotic purpose of identifying -himself to the British, as is commonly stated. Charles Carroll was not a -member of the Continental Congress when the Declaration of Independence -was adopted, but took his seat a fortnight afterward, in time to sign -the instrument with the rest of the sitting delegates, when it was -placed before them on August 2, 1776. - -Mr. Carroll died November 14, 1832, in his ninety-sixth - -[Illustration: CHARLES CARROLL OF CARROLLTON - -Age 88] - -year, and his last public act was to lay the corner-stone of the -Baltimore and Ohio Railroad on July 4, 1828. From the description of his -personal appearance at this time, as given by Hon. John H. B. Latrobe, -it would seem as if it had been written of Browere’s bust, so true is -Browere’s work to the life. Mr. Latrobe says: “In my mind’s eye I see -Mr. Carroll now--a small, attenuated old man, with a prominent nose and -receding chin, [and] small eyes that sparkled when he was interested in -conversation. His head was small and his hair white, rather long and -silky, while his face and forehead were seamed with wrinkles.” - -At the present time, when foreign matrimonial alliances of high degree, -with American women, are of almost daily occurrence, it is interesting -to note that among the first American women to marry into the nobility -of England were three granddaughters of the “signer,” Charles Carroll of -Carrollton. They were the children of his daughter, Mrs. Caton, and -became respectively the Marchioness of Wellesley, the Duchess of Leeds, -and Lady Stafford. - -Browere, when he presented himself to Mr. Carroll for the purpose of -making his mask, was armed with the following letter from the eminent -scientist, Doctor Samuel Latham Mitchill, which contains the super-added -endorsements of Archibald Robertson, Richard Riker and M. M. Noah: - -NEW YORK, July 8, 1825. - -_My dear Sir_: - - I approve your design of executing a likeness in statuary of the - Honorable Charles Carroll of Carrollton. When you shall present - yourself to him within a few days, I authorize you to employ my - testimony in favor of your skill, having submitted more than once - to your plastic operation. I know that you can perform it - successfully without pain and within a reasonable time. The - likenesses you have made are remarkably exact, so much so that they - may be truly called facsimile imitations of the life. Your gallery - contains so many specimens of correct casts that not only common - observers, but even critical judges bear witness to your industry, - genius and talents. I foresee that your collection of busts already - well advanced and rapidly enlarging, will, if your labors continue, - become a depositary of peculiar and intrinsic value. Without - instituting any invidious comparison between sister arts, the - professional branch under which you address Mr. Carroll, possesses, - in my humble opinion, all the superiority that sculpture exercises - over music and painting. - - Yours, with kind feelings and fervent wishes for success, - -SAMUEL L. MITCHILL. - - - - - - -IX - -_The Nation’s Guest_ - -_La Fayette_ - - -Gilbert Motier de La Fayette, who had fought side by side with -Washington at Brandywine and at Yorktown, made his third and last visit -to the United States in 1824. Landing at Castle Garden, in New York, on -August 15th of that year, he set sail thirteen months later, on -September 7th, 1825, to return to France, in the frigate _Brandywine_. -He came as the invited guest of the nation, and during his sojourn here -travelled over the whole country, visiting each one of the twenty-four -States and receiving one continuous ovation. - -At the request of the Common Council of the city of New York, La Fayette -permitted Browere to make a cast of his head, neck and shoulders on -July 11, 1825. For this purpose La Fayette visited Browere’s workshop, -in the rear of No. 315 Broadway, New York, accompanied by Richard Riker, -Elisha W. King and Henry I. Wyckoff, a committee of the Common Council. -The composition had been applied and had set, and Browere was about -taking it off, when the clock struck, and one of the committee remarked -that the hour for the corporation dinner in honor of La Fayette, and -which he was to attend, had arrived. “_Sacré bleu!_” said La Fayette, -starting up, “Take it off! Take it off!” which caused a piece to fall -out from under one of the eyes. This accident, which necessitated a -second sitting, led to some interesting correspondence. - -NEW YORK, Tuesday 12 o’clock, -July 12, 1825. - -_Dear General_: - - We have just been to see your bust by Mr. Browere and have pleasure - in saying it is vastly superior to any other likeness of General La - Fayette, which as yet has fallen under our inspection. Indeed it is - a faithful resemblance in every part of your features and form, - from the head to the breast, with the exception of a slight defect - about the left eye, caused by a loss of the material of which the - mould was made. This defect or deficiency Mr. Browere assures us, - and we have confidence in his assertion, that he can correct in a - few minutes and without giving you any pain, provided you will - again condescend to his operations, for a limited time. We should - much regret that this slight blemish should not be corrected, which - if not done will cause to us and to the Nation a continued source - of chagrin and disappointment. - -Most truly your Friends - -RICHARD RIKER -ELISHA W. KING -HENRY I. WYCKOFF. - - - -This letter was followed two days later by the following to Browere: - -NEW YORK 14th July 1825. - -_Dear Sir_: - - Every exertion has been made to get General La Fayette to spend - half an hour with you, so the eye of his portrait bust be - completed, but in vain. He has not had more than four hours each - night to sleep, but has consented that you may take his mask in - Philadelphia. He left New York this morning at eight o’clock and - will be in Philadelphia on Monday next, where he will remain three - days. It you can be present there on Monday or Tuesday at furthest, - you can complete the matter. He has pledged his word. This - arrangement was all that could be effected by - -Your friend - -ELISHA W. KING. - - P. S. Previous to going get a line from the Recorder or Committee. - -Upon this letter Browere has endorsed: - - NOTE.--The subscribing artist met the General on Monday, in the - Hall of Independence, Philadelphia, and Tuesday morning [July 19, - 1825] from seven to eight o’clock was busy in making another - likeness from the face and head of the General. At 4 P.M. of that - day he finished the bust under the eye of the General and his - attendant, and had the satisfaction then of receiving from the - General the assurance that it was the only good bust ever made of - him. - -JOHN H. I. BROWERE. - - - -The result of the second trial was a likeness so admirable and of such -remarkable fidelity, that General Jacob Morton, Rembrandt Peale, De Witt -Clinton, S. F. B. Morse, John A. Graham, Thomas Addis Emmet and others, -came forward and enthusiastically bore witness to its being “a perfect -facsimile” of the distinguished Frenchman. The written commendations - -[Illustration: THE MARQUIS DE LA FAYETTE - -Age 67] - -of Peale and Morse are notably interesting as the views of two brother -artists, each of whom had painted a portrait of La Fayette. Rembrandt -Peale, widely known by his composite portrait of Washington, writes: - -NEW YORK August 10th 1825. - - The singular excellence shown by Mr. Browere in his new method of - executing Portrait busts from the life deserves the applause and - patronage of his countrymen. The bust of La Fayette, which he has - just finished, is an admirable demonstration of his talent in this - department of the Fine Arts. The accuracy with which he has moulded - the entire head, neck and shoulders from the life and his skill in - finishing, render this bust greatly superior to any we have seen. - It is in truth a “faithful and a living likeness.” Of this I may - judge having twice painted the General’s portrait from the life, - once at Paris and recently at Washington. - -REMBRANDT PEALE. - - - -Samuel Finley Breese Morse was, at the period of which we write, an -artist of some reputation as a portrait-painter, and he was under -commission, from the corporation of New York, to paint a whole-length -portrait of La Fayette for the City Hall, where it now hangs. Its chief -interest is as a study of costume; for if Browere’s bust is “a perfect -facsimile” of La Fayette’s form and features, true to life, Morse’s -portrait is a caricature. That Morse was destined to greater ends than -painting mediocre portraits, was shown, a decade later, by his invention -of the magnetic electric telegraph, a discovery of such importance that -while millions of human beings know Morse the inventor, not a dozen -perhaps ever heard of Morse the painter. He damns his own portrait of La -Fayette by the following commendation of Browere’s bust: - -NEW YORK August 15, 1825. - - Being requested by Mr. Browere to give my opinion of his bust or - cast from the person of General La Fayette, I feel no hesitation in - saying it appears to me to be a perfect facsimile of the General’s - face. - -SAML. F. B. MORSE. - - - -These are certainly strong words coming from a rival artist and a man of -Mr. Morse’s character. - -John A. Graham, who published a volume to prove that Horne Tooke was the -author of the Letters of Junius, was one of the leading lawyers of New -York. His closing words of eulogy upon the bust of La Fayette should -have been, but unfortunately were not, prophetic. He wrote: “I have no -doubt that the name of Browere, in virtue of this bust, will live as -long as the memory of La Fayette shall be beloved and respected in -America.” On the contrary, the name of Browere was wholly and entirely -forgotten and unknown, until brought to light, and publicly proclaimed, -by the present writer, in the fall of 1897. So much for the stability of -man’s reputation! - -[Illustration] - - - - -X - -_De Witt Clinton_ - - -When Samuel Woodworth, the author of the well-known lines to the “Old -Oaken Bucket,” who was a close friend of Browere, entered the artist’s -workshop and caught a glimpse of the bust of De Witt Clinton, he made a -gesture, as of restraint, and pronounced these impromptu lines: - - “Stay! the bust that graces yonder shelf claims our regard. - It is the front of Jove himself; - The Majesty of Virtue and of Power, - Before which guilt and meanness only cower. - Who can behold that bust and not exclaim, - Let everlasting honor claim our Clinton’s name!” - -[Illustration: DE WITT CLINTON - -Age 56] - -De Witt Clinton, who was born in 1769 and died in 1828, was the first -recognized practical politician of this country. Apart from his immense -service in pushing to completion the Erie canal, he was essentially a -politician for what politics would yield. Consequently, he was always -looked upon with distrust, and even his high private station was -powerless to overcome this feeling. He posed as a connoisseur of the -fine arts, was at one time President of the American Academy of Arts, -and seems to have had a lofty appreciation of Browere’s work. He wrote: -“I have seen and examined with attention several specimens of busts -executed by Mr. Browere in plaster, and have no hesitation in saying -that their accuracy is equally surprising and gratifying. I feel -pleasure in recommending the fidelity of his likenesses, and the skill -with which they are executed, particularly the portrait bust of General -La Fayette.” - -Of Clinton’s own bust the eminent Irish patriot and American advocate, -Thomas Addis Emmet, wrote to Browere: - -NEW YORK July 6th 1826. - -_Sir_: - - If my opinion as to the merits of the portrait busts I have seen of - your workmanship, can be of any advantage to you, it is entirely at - your service. I really think them all entitled to great praise for - fidelity of expression and accuracy of resemblance. Those of - General La Fayette and Governor Clinton are, as far as I can judge, - the most perfect likenesses of the originals that have as yet been - presented to the public. - - I am, Dear Sir, your obt Servt - -THOMAS ADDIS EMMET. - - - -[Illustration] - - - - -XI - -_Henry Clay_ - - -Henry Clay, who wore the appellation, conferred upon Pitt, of “the Great -Commoner,” long before it was given to Mr. Gladstone, has left behind -him perhaps the most distinct personality of any of the statesmen of his -era. Where Daniel Webster counted his admirers by hundreds, Henry Clay -was idolized by thousands; the one appealing to the head and the other -to the heart. His strongly marked features are familiar to every one, -from the scores of portraits of him to be found here, there, and -everywhere; while there are, living to-day, a large number of people who -knew Clay in the flesh; so that Browere’s bust of him needs no -perfunctory certificate to assure of its truthfulness. It is certainly -human to a wonderful degree, and there could scarcely be any truer -portraiture than this, wherein we have the very features of the living -man down to the minutest detail. - -Clay was of striking physique. He was quite tall, nearly six feet two -inches, rather sparsely built, with a crane-like neck that he endeavored -to conceal by his collar and stock. He had an immense mouth, phenomenal -for size as well as shape, and kindly blue eyes which were electrical -when kindled. Yet he was so magnetic in his power over men that when he -was defeated for the Presidency, thousands of his Whig followers wept as -they heard the news. - -Henry Clay was born in Hanover county, Virginia, April 12, 1777, and -died at Washington, June 29, 1852, preceding his compeer Webster to the -grave by only a few months. On reaching his majority, he removed to -Lexington, Kentucky, which became his future home, although he was so -rarely out of public life that he was comparatively little there. Having -chosen the law for his profession, he was admitted to the bar, and -before attaining his thirtieth year, was sent to the Senate of the -United States. He was strenuous in his support of home industries, and -endeavored by legislation to enforce upon legislators the wearing of -homespun cloths. So ardent was he in this, that his course led to a duel -with Humphrey Marshall, in which both were slightly wounded. - -At the close of the war of 1812, Clay was one of the commissioners -appointed to negotiate the treaty of peace with - -[Illustration: HENRY CLAY - -Age 48] - -Great Britain, and as such signed the Treaty of Ghent. He was known as -“the great Pacificator,” from his course in the events that led to the -Missouri Compromise and later averted Southern “nullification.” He was -an active and bitter opponent of Andrew Jackson, and supported John -Quincy Adams against him for the Presidency, his reward being the -portfolio of State; but there was no bargain and corruption about this -business as his enemies claimed and which haunted Clay’s political -career throughout the rest of his life. He was an ambitious man, and his -failure to reach the goal of his ambition--the presidential chair--was a -fatal blow. - -Clay was undoubtedly one of the greatest orators this country has -produced, and a man with much natural ability, but little study and -cultivation. His name is one to conjure with in old Kentucky, and it is -with a moist eye that personal reminiscences of Clay are related out -there in the blue grass State, even at this day, nearly half a century -after his decease. - -[Illustration] - - - - -XII - -_America’s Master Painter_ - -_Gilbert Stuart_ - - -One artist, and he easily the first of American painters, did not deny -to Browere and his works the merit that was their due. On the contrary, -he saw the fidelity and great value of these life masks, and gave -practical encouragement to the maker of them by submitting to his -process and by giving a certificate of approval. He did this, not so -much that his living face might be transmitted to posterity, as to test -the truth of the newspaper reports of the suffering and danger -experienced by the venerable and venerated Jefferson, and thus by his -example encourage others to go and do likewise. The result was the -superb head of Gilbert Stuart, herewith reproduced from the original -bust, in the Redwood Library, at Newport, Rhode Island. This noble -action of Stuart must have been as light out of darkness to Browere. - -Upon the completion of the mask, from which this bust was made, Stuart -gave to Browere the following emphatic certificate: - -BOSTON November 29th 1825. - - Mr. Browere, of the city of New York, has this day made a portrait - bust of me from life, with which I am perfectly satisfied and which - I hope will remove any illiberal misrepresentations that may - deprive the nation from possessing like records of more important - men. - -G. STUART. - - - -The “illiberal misrepresentations” referred to were of course the -reported inconveniences that Jefferson had suffered; and praise such as -this, from Stuart, is, as approbation from Sir Hubert Stanley, praise -indeed. - -A few days afterward the Boston “Daily Advertiser” announced: “The -portrait bust of Gilbert Stewart, Esq., lately executed by Mr. Browere, -will be exhibited by him at the Hubard Gallery, this evening. This -exhibition is made by him for the purpose of showing that he can present -a perfect likeness, and he will prove at the same time, by the -certificate of Mr. Stewart, that the operation is without pain.” Two -days later the local press fairly teemed with laudatory notices of -Browere’s work. The Boston “American” said: “This bust has been adjudged -by all who have examined it and are acquainted with the original to be a -striking and perfect resemblance.” The “Commercial Gazette” said: “It is -a fine likeness, in truth we think the best we ever saw of any one. We -particularly enquired of Mr. Stuart’s family if he suffered by any -difficulty of breathing or if the process was in any degree painful, and -were assured that there was nothing of an unpleasant or painful nature -in it.” - -Considering Stuart’s eminence in art, a position fully recognized in his -lifetime, and his irascible temper and unyielding character, such action -as his toward Browere, not only in submitting to have the mask taken, -but in certifying to it and permitting it to be publicly exhibited for -the benefit of Browere’s reputation, speaks volumes of the highest -authority in support of the workman and his work. - -Stuart’s daughter, Jane, who died at Newport, in 1888, at a very -advanced age, and was as “impossible” in some respects as was her -distinguished father, remembered well the incident of the mask being -taken, and testified to its marvellous life-speaking qualities. Having -lost all knowledge of its whereabouts, she searched for years in the -hope of finding it, since she looked upon it as the next thing to having -her father before her. Finally, in the Centennial year, it was -discovered - -[Illustration: GILBERT STUART - -Age 70] - -in the possession of Browere’s son, and was purchased by Mr. David King, -of Newport, as a present for Miss Stuart. But Miss Stuart felt that her -little cottage, so well remembered by many visitors to Newport, was no -place for so big a work, and desired that it might be placed in a public -gallery, which wish Mr. King complied with, by presenting it to the -Redwood Library, at Newport, where it may be seen by all interested in -Stuart or in Browere’s life masks. Jane Stuart is the subject of Colonel -Wentworth Higginson’s charming paper, “One of Thackeray’s Women,” in his -volume of Essays entitled “Concerning All of Us.” - -Gilbert Stuart was born in what was called the Narragansett country, on -December 3, 1755. The actual place of his birth is now called Hammond -Mills, near North Kingston, Rhode Island, about nine miles from -Narragansett Pier; and the old-fashioned gambrel-roofed, low-portalled -house, in which the future artist first saw light, still stands at the -head of Petaquamscott Pond. The snuff-mill set up by Gilbert Stewart, -the father of the painter, who had come over from Perth, in Scotland, at -the suggestion of a fellow Scotchman, Doctor Thomas Moffatt, to -introduce the manufacture of snuff into the colonies, was located, by -the race, immediately under the room in which Stuart was born, both -being part of the same building, so that Stuart’s excuse for taking -snuff, that he was born in a snuff-mill, is literally true. - -When four months old, the third and youngest child of the snuff-grinder -and his beautiful wife, Elizabeth Anthony, was carried, on Palm Sunday, -to the Episcopal church and baptized “Gilbert Stewart.” The significance -of this record is found in the orthography of the surname and in the -limitation of the baptismal name. Stuart’s name will be found in print -quite frequently as “Gilbert Charles Stuart,” and I have seen it as -“Charles Gilbert Stuart”; and the Jacobin leaning of his Scotch sire, is -commonly supported by the naming of the child for the last of the Royal -Stuarts, the romantic Prince Charlie. This pretty legend, built to -support unreliable tradition, is blown to the winds by the prosaic -church record, which shows that the artist’s orthography was an -assumption, and his name simply Gilbert Stewart. That this plebeian -spelling of the royal name, was not an error or accident of the scribe -who made it, is proved by signatures of the snuff-grinder which have -come down to us. - -Stuart’s parents early removed to Newport, where the son had the -advantage of tuition in English and Latin, from the assistant minister -of venerable Trinity parish; but in his boyhood Stuart seems to have -shown none of those dominant characteristics which later were so -strongly developed both in the artist and in the man, unless it may be -the predilection for pranks and practical jokes that early manifested -itself. - -The earliest picture that can be recognized as from the brush of Gilbert -Stuart, is a pair of Spanish dogs belonging to the famous Dr. William -Hunter, of Newport, which Stuart is said to have painted when in his -fourteenth year; and what are claimed to be his first portraits, those -of Mr. and Mrs. Bannister, have been so nearly destroyed by -“restoration,” that nothing of the original work remains to show any -merit the pictures may have possessed. - -Stuart’s first instruction in art was received from Cosmo Alexander, a -Scotchman, who passed a few years in the colonies painting a number of -interesting portraits in the affected, perfunctory manner of the period. -Of Alexander nothing was known until recent investigations by the writer -discovered him to be a great-grandson of George Jamesone, whom Walpole -calls “the Vandyke of Scotland.” Alexander took Stuart, then in his -eighteenth year, back with him to Scotland, to acquire a greater -knowledge of art than was possible in the colonies at that time; and -Stuart is claimed to have been at this period a student at the -University of Glasgow. But this tradition, like that previously -mentioned, is shattered, as tradition almost always is shattered, by the -cold, unimaginative record, which fails to show his name on the -matriculation register. - -Alexander died not long after reaching Edinburgh, and Stuart was left, -according to his biographers, in the care of Alexander’s friend, “Sir -George Chambers,” who “quickly followed Alexander to the grave,” leaving -Stuart without protection. But this story is manifestly without -foundation, as there _was_ no “Sir George Chambers” at the period -considered. There was, however, a Scotch painter of some repute, Sir -George Chalmers, of Cults, who had married either a sister or a daughter -of Cosmo Alexander; and this Sir George Chalmers is doubtless the person -intended, although he lived on until 1791, so that it could not have -been his demise that threw Stuart upon his own resources, which, being -few, necessitated his working his way home, on a collier, after a few -months’ absence. - -Stuart returned to America from Scotland at a period of intense -excitement. The Boston Port bill had just been received, assuring what -the Stamp Act had initiated, and the tories and the patriots were being -marshalled according to their particular bias. It was not a time for the -peaceful arts. It was the time for action and for town meetings. Before -the echoes of Lexington and Concord had died away, “Gilbert Stewart the -snuff-grinder” hied himself away to Nova Scotia, leaving his wife and -family behind. At this epoch Gilbert Stuart, the future painter, was in -his twentieth year, and apparently had inherited from his father -sentiments of loyalty to the Crown, so that instead of going forth to -battle for his native land, as many no older than he did, he embarked -for England, the day before the action at Bunker Hill, with the -ostensible object of seeking the Mecca of all of our early artists, the -studio of Benjamin West. - -Once in London, Stuart’s object to seek instruction in painting from -West, seems to have weakened, and he remained in the great metropolis -nearly two years before he knocked at the Newman-street door of the -kindly Pennsylvanian. These months were occupied chiefly with a sister -art in which Stuart was most proficient. He loved music more than he -loved painting--a taste that never forsook him. He played upon several -instruments, but his favorites were the organ and the flute; indeed the -story has come down that his last night in Newport, before sailing, was -spent in playing the flute under the window of one of its fair denizens. - -This knowledge of music stood Stuart in good stead when an unknown youth -in an unknown land. A few days after his arrival in London, hungry and -penniless, he passed the open door of a church, through which there came -to his ear the strains of a feebly played organ. He ventured in and -found the vestry sitting in judgment upon several applicants for the -position of organist. Receiving permission to enter the competition, he -was selected for the position at a salary of thirty pounds, after having -satisfied the officials of his character, by reference to Mr. William -Grant, whose whole-length portrait Stuart afterward painted. - -Having some kind of subsistence assured him by the position of organist -he thus secured, Stuart began that desultory dallying with art which -later often left him without a dry crust for his daily bread. While his -work was always serious, his temperament never was, and he seems to have -played cruel jokes upon himself, as carelessly as he did upon others. -For two years his career is almost lost to art; only once in a while did -he gather himself together to work at his painting. He had, however, to -a marked degree, that odd resource of genius which enabled him to work -best and catch up with lost time when under the spur of necessity. In -later days, with sitters besieging his door, he would turn them away, -one by one, until the larder was empty and there was not a penny left in -the purse; then he would go to work and in an incredibly short time -produce one of his masterpieces. - -Such was the character, in outline, of the man who went to London to -study under West, and, after reaching the metropolis, let two years slip -by him without seeking his chosen master. Finally he went to the famous -American and was received as a pupil and as a member of the painter’s -family, in true apprentice style. Just what Stuart learned from West it -is difficult to imagine;--unless it was how not to paint. For, without -desiring or meaning to join in the hue and cry of to-day against the art -of West, but on the contrary, protesting against the clamor which fails -to consider the conditions that existed in his time and therefore fails -to do him the justice that is his due, there is surely nothing in the -work of the one to suggest anything in the work of the other. - -For five long and doubtless weary years Stuart plodded under the -guidance of his gentle master until, tired of doing some of the most -important parts of West’s royal commissions, for which his remuneration -was probably only his keep and tuition, without even the chance of -glory, he broke away and opened a studio for himself in New Burlington -Street. If Stuart did gain little in art from West, he gained much of -the invaluable benefit of familiar intercourse with persons of the first -distinction, who were frequenters of the studio of the King’s painter. -This was of great advantage to the young artist when he set up his own -easel, and many of these men became his early sitters. - -Stuart, while domiciled with West, drew in the schools of the Royal -Academy, attended the lectures of the distinguished William Cruikshank -on anatomy, and listened to the discourses delivered by Sir Joshua -Reynolds on painting. Later on he painted the portraits of each of these -celebrated men, and did enough individual work to indicate the quality -of the artistic stuff that was in him, awaiting an opportunity to -manifest itself. In 1777, the year Stuart went to West, he made his -first exhibition at the Royal Academy. His one contribution is entered -in the catalogue of that year merely as “A Portrait.” It is not -improbable that this was a portrait of his fellow countryman and early -friend, Benjamin Waterhouse, of Cambridge, Massachusetts, who preceded -Stuart to London only a short time, and who seems to have remained the -artist’s chum during their sojourn in the English capital. A portrait of -Doctor Waterhouse, by Stuart, was given by the Doctor’s widow, to the -Redwood library, at Newport, together with Stuart’s self-portrait, -wearing a large hat, and dated on the back, 1778. These two portraits -are evidently of a contemporaneous period. - -In 1779 Stuart exhibited, at the Royal Academy, three pictures: “A Young -Gentleman,” “A Little Girl,” and “A Head.” In 1781 he showed “A Portrait -from Recollection since Death,” and in 1782 made his last exhibition -there, sending a “Portrait of an Artist,” and “A Portrait of a Gentleman -Skating.” This last picture, although painted so early in his career, -has been considered Stuart’s _chef-d’œuvre_. It is a whole-length -portrait of Mr. William Grant, of Congalton, skating in St. James Park. -Mr. Grant was the early friend who bore testimony to Stuart’s character, -whereby Stuart gained the organist’s position soon after his arrival in -London; and the story has come down that Mr. Grant, desiring to help -Stuart, determined to sit for his portrait, and went to Stuart’s room -for a sitting. The day was crisp and cold, and the conversation, not -unnaturally, turned upon skating, a sport much enjoyed by both painter -and sitter, each being rarely skilful at it. Finally paints and brushes -were put away, and the two friends started forth to skate. Stuart was so -struck with the beauty and rhythm of his companion’s motion that he -determined to essay a picture of him thus engaged. The original canvas -was abandoned and a new one begun, showing Mr. Grant not merely upon -skates, but actually skating; and the latent force of the graceful -undulating motion has been rendered with a skill and ability that at -once put Stuart in the front rank of the great portrait-painters of his -day. - -The remarkable merit of this picture and the wilful unreasonableness of -painters in not signing their works, were curiously shown at the -exhibition of “Pictures by the Old Masters,” held at Burlington House, -in January of 1878. In the printed catalogue of the collection this -picture was attributed to Gainsborough, and attracted and received -marked attention. A writer in the “Saturday Review,” speaking of the -exhibition, remarks: “Turning to the English school, we may observe a -most striking portrait in number 128, in Gallery III. This is set down -as ‘Portrait of W. Grant, Esq., of Congalton, skating in St. James Park. -Thomas Gainsborough, R. A. (?)’ The query is certainly pertinent, for, -while it is difficult to believe that we do not recognize Gainsborough’s -hand in the graceful and silvery look of the landscape in the -background, it is not easy to reconcile the flesh tones of the portrait -itself with any preconceived notion of Gainsborough’s workmanship. The -face has a peculiar firmness and decision in drawing, which reminds one -rather of Raeburn than of Gainsborough, though we do not mean by this to -suggest in any way that Gainsborough wanted decision in either painting -or drawing when he chose to exercise it.” - -The discussion as to the authorship of this picture waxed warm, the -champions of Raeburn, of Romney, and of Shee, contending with those of -Gainsborough for the prize, which contention was only set at rest by a -grandson of the subject coming out with a card that the picture was by -“the great portrait-painter of America, Gilbert Stuart.” And to Stuart -it did justly belong. - -With the success of this portrait of Mr. Grant, Stuart was launched upon -the sea of prosperity, and to himself alone, and not to want of -patronage or lack of opportunity, is due his failure to provide against -old age or a rainy day. For a while he lived like a lord, in reckless -extravagance. Money rolled in upon him, and he spent it lavishly, -without a thought for the morrow. His rooms were thronged with sitters, -and he received prices for his work second only to those of Reynolds and -of Gainsborough. He was on the best footing with his brethren of the -brush, and with Gainsborough, his senior by more than a quarter of a -century, he painted a whole-length portrait of Henry, Earl of Carnarvon, -in his robes, which has been engraved in mezzotinto by William Ward, -with the names of the two painters inscribed upon the plate. This alone -shows the estimation in which Stuart was held by his contemporaries, and -it would be most interesting to know which parts were the work of -Stuart and which were due to his famous collaborator. - -About this period Boydell was in the midst of the publication of his -great Shakespeare gallery, to which the first artists of the day -contributed, and Stuart was commissioned by the Alderman, to paint, for -the gallery, portraits of the leading painters and engravers who were -engaged upon the work. Thus, for Boydell, he painted the superb -half-length portraits of his master West, and of the engravers Woollett -and Hall, now in the National Portrait Gallery, St. Martin’s Place, -London. He painted, also for Boydell, his own portrait, and portraits of -Reynolds, Copley, Gainsborough, Ozias Humphrey, Earlom, Facius, Heath, -William Sharp, Boydell himself, and several others. Stuart was an -intimate friend of John Philip Kemble, and painted his portrait several -times; one picture is in the National Portrait Gallery, and another, as -_Richard III._, which has been engraved by Keating, did belong to Sir -Henry Halford. - -Other prominent sitters to Stuart in London were Hugh, Duke of -Northumberland, the Lord Percy of the Battle of Bunker Hill; Admiral Sir -John Jervis, afterward Earl St. Vincent; Isaac Barré; Dr. Fothergill, -and the Dukes of Manchester and of Leinster. From these names alone it -can be seen that Stuart was in touch with persons of the highest -consideration, and they were not only his patrons, but his friends. He -kept open house, dispensing a princely hospitality. The story has been -handed down that he led off with a dinner of forty-two, composed of the -choice spirits of the metropolis. He was so charming as a host, and had -gathered together such delightful guests, that it was suggested the same -party should meet frequently, which proposition Stuart accepted, by -arranging that six of them should dine with him each day of the week, -without special invitation, the six first arriving to be the guests of -the day, until the entire forty-two had again warmed their legs under -his mahogany. Such prodigality as this, for a young artist, shows what -Stuart’s temperament was, and points as surely to the pauper’s grave as -though it was there yawning open before him. - -Stuart was five feet ten inches in height, with fine physique, brown -hair, a ruddy complexion, and strongly marked features. He dressed with -elegance, which was possible at that period, and notwithstanding his -biting sarcasm, keen wit, and searching eye, was a great favorite with -the fair sex. In his thirty-first year he selected Miss Charlotte -Coates, the daughter of a Berkshire physician, for his partner through -life, and on May 10, 1786, they were married. - -Stuart remained in London until 1788, when he was induced to visit -Ireland and open a studio in Dublin. Here he kept up the same style of -living he had indulged in before he left London and was in high favor -with the Irish, painting some of his most elaborate portraits at this -time; but, although fully employed and receiving the highest prices for -his pictures, he was always without money. So poor was he, indeed, that -when he returned to this country, in 1792, he had not the means to pay -for his passage and engaged to paint the portrait of the owner of the -ship as its equivalent. He landed in New York towards the close of the -year; and although the tradition has been handed down that the cause of -his returning to America, was his desire to paint the portrait of -Washington, it seems, considering that he waited two years before -visiting Philadelphia for the purpose, that the remark of Sir Thomas -Lawrence may not have been without foundation. The latter, upon hearing -this reason assigned, is related by Leslie to have said: “I knew Stuart -well and I believe the real cause of his leaving England was his having -become tired of the inside of our prisons.” Whatever the real cause was -that brought the artist home, we may congratulate ourselves that he came -to live among us at the period that he did, for he was then in the -fulness of his powers, and the pictures that he painted between this -time and his removal to Boston, in 1805, are the finest productions of -his brush on this side of the water. - -Gilbert Stuart went to reside in Philadelphia about New Year, 1795. -There he painted his famous life portraits of Washington, three in -number, but I have written so often and so much on this subject that I -shall content myself with this bare mention.[5] There also he painted -the portraits of the famous men and of the beautiful women that have -helped most to place his name so high up on the pillar of fame. That -Stuart was a master in the art of portrait-painting it needs no -argument to prove; his works are the only evidence needed, and they -establish it beyond appeal. In his portraits the men and women of the -past live again. Each individual is here, and it was Stuart’s ability to -portray the individual that was his greatest power. Each face looks at -you and fain would speak, while the brilliant and animated coloring -makes one forgetful of the past. The “Encyclopædia Britannica,” a forum -beyond dispute, says: “Stuart was pre-eminent as a colourist, and his -place, judged by the highest canons in art, is unquestionably among the -few recognized masters of portraiture.” - -Stuart had two distinct artistic periods. His English work shows plainly -the influence of his English contemporaries, and might easily be -mistaken, as it has been, for the best work of Romney or of -Gainsborough. But his American work, almost the very first he did after -his return to his native soil, proclaims aloud the virility and -robustness of his independence. The rich, juicy coloring so marked in -his fine portraits painted here, replaces the tender pearly grays so -predominant in his pictures painted there. The delicate precision of his -early brush gives way to the masterful freedom of his later one. His -English portraits might have been limned by Romney or by Gainsborough, -but his American ones could have been painted only by Gilbert Stuart. -This greatest of American painters died in Boston, July 27, 1828, and -was interred in an unmarked grave in the Potter’s Field. - - - - -XIII - -_David Porter_ - -_United States Navy_ - - -While this country and the world are yet enthralled by the magical -victories won by the American navy over the fleets of Spain, it is -instructive to recall how the exploits of Uncle Sam’s boys, on the seas, -have always bordered on the marvellous. The doings of Paul Jones in the -Revolutionary War, and of Truxtun in the war with France; of Decatur and -of Preble in the war with Tripoli; of Bainbridge and of Stewart, and of -Hull and of Perry, in the second war with England; and of Farragut and -of Jouett and of Cushing in the war between the States, seem, each one, -too incredible to have a like successor, yet nothing heretofore in naval -warfare has approached the victories of Dewey and of Sampson. With all -these glittering names, we have still another name the peer of the best, -possessing in addition the spur of naval heredity--the name of Porter. - -There have been three officers of high rank in the United States navy -bearing the name of David Porter. The first served the Continental -Congress; his son, born in 1780, gave the best years of his life to his -country on the sea; and his grandson, after having four times received -the thanks of Congress for his services during the Civil War, died at -the head of the navy, with the rank of Admiral, in 1891. David Porter, -second of the name, began his naval career in action, having been, at -the age of eighteen, appointed a midshipman on board the frigate -_Constellation_, and with her, soon after, participated in the fight -where the French frigate _L’Insurgente_ was captured by Truxtun with the -loss of one man killed and two men wounded. Porter subsequently -distinguished himself in the war with Tripoli, was promoted to a -captaincy, and early in the war of 1812 sailed from New York, in command -of the _Essex_, on one of the most eventful cruises ever had by a -man-of-war. His first feat was to capture the _Alert_, in an engagement -of eight minutes, without any loss or damage to his ship; and so well -directed was the fire of the _Essex_, that the _Alert_ had seven feet of -water in her hold when she surrendered. This was the first British war -vessel taken in the conflict. Porter then turned his attention to the -destruction of the - -[Illustration: COMMODORE DAVID PORTER - -Age 45] - -English whale-fishery in the Pacific Ocean, and sailed on this errand, -around the Horn, for Valparaiso. He made such havoc with the British -shipping that the loss footed up to two million and a half of dollars -and four hundred men prisoners. - -The British sent two vessels, with picked crews of five hundred men and -a combined armament of eighty-one guns, to search for the _Essex_ -(mounting only thirty-two guns and with a crew of two hundred and -fifty-five men), with instructions that neither ship should engage her -singly. They found her in the neutral harbor of Valparaiso, where she -was attacked, in defiance of all neutrality laws; and after one of the -most desperate engagements in naval history, lasting two hours and a -half, the _Essex_ was forced to surrender. Upon his return home, Captain -Porter was received with distinction and given the thanks of Congress -and of several of the States. He retired from the navy, in 1826, to take -command of the Mexican navy, from which he withdrew three years later, -was subsequently appointed consul-general to the Barbary States, then -_chargé d’affaires_ at Constantinople, and later minister resident, -which office he held at the time of his death. - -It was but a short time before Porter’s retirement from the navy that -Browere took his life mask, and the toss of the head and the determined -mouth show the qualities that made up David Porter’s character. The -spirited pose of this bust is quite remarkable in a life mask, and would -seem to indicate that Browere’s material must have been, at least in -some degree, flexible. Porter was very enthusiastic over Browere’s work, -as may be seen from the following letter to Major Noah: - -MERIDIAN HILL, 18th Sept. 1825. - -_Dear Sir_: - - By means of epistolary introduction I have had the pleasure of - becoming acquainted with John H. I. Browere, Esq., a young and - deserving artist of your city. Agreeably to your and my friends’ - requests, I consented to sit for my portrait bust, which has been - executed by him according to his novel and perfect mode. Mr. - Browere has succeeded to admiration. Nothing can be more accurate - and expressive; in fact, it was impossible that it could be - otherwise than a perfect facsimile of my person, owing to the - peculiar neatness and dexterity which guide his scientific - operation. The knowledge and dexterity of Mr. Browere in this - branch of the Fine Arts is surprising, and were I to express my - opinion on the subject, I should recommend every one who wished to - possess a perfect likeness of himself or friends to resort to Mr. - Browere in preference to any other man. His portrait busts are - _chef d’œuvres_ in the plastic art, unequalled for beauty and - correct delineation of the human form. To those to whom a saving of - time is important, Mr. Browere’s method must receive the - preference, were it solely on that ground. As to the effect of the - operation, none need apprehend the least danger or inconvenience; - it is perfectly safe and not disagreeable, for while the plastic - material is applying to the skin, a sensation both harmless and - agreeable produces a pleasant glow or heat somewhat similar to that - which is felt on entering a warm bath; neither does the composition - affect the eyes, which are covered with it. Too much commendation - of Mr. Browere’s rare and invaluable invention cannot be made. May - he derive benefits from his art equal to his merit. Hoping to have - the pleasure of seeing my friends in New York during the course of - a few weeks, I remain, Dear Sir, - -Your obt. servant -DAVID PORTER. - - - -[Illustration] - - - - -XIV - -_Richard Rush_ - - -The clean-cut features of Richard Rush recall a statesman and a scholar -of “ye olden tyme.” Born in Philadelphia, the eldest son of that signer -of the Declaration of Independence who, both politician and physician, -has been termed the Sydenham of America,--Doctor Benjamin Rush,--and a -kinsman of William Rush, the first American sculptor, mentioned in the -second chapter of this book,--Richard Rush was bred to the bar, and -gained distinction, soon after attaining his majority, by his defence of -William Duane, the editor of the “Aurora” newspaper, accused of -libelling Governor McKean. When only thirty he entered public life by -becoming Attorney-General of Pennsylvania, and at thirty-four was a -member of the cabinet of President Madison, as Attorney-General of the -United States. Three years later, he was for a brief period - -[Illustration: RICHARD RUSH - -Age 45] - -Secretary of State, and then minister from the United States to Great -Britain, being recalled, in 1825, to become Secretary of the Treasury -under John Quincy Adams. It was at this period that Browere made his -mask. Rush was subsequently candidate for Vice-President on the ticket -with John Quincy Adams when Mr. Adams sought a second term. - -The career of Richard Rush was not only public, but it was important, -and not the least of his wide-spread benefits were his successful -efforts in securing for this government the munificent legacy of James -Smithson; this was the foundation upon which has been reared the -Smithsonian Institution, which has done so much for scientific pursuits -in this country. James Smithson was a natural son of Hugh Smithson, Duke -of Northumberland, and died in Genoa, June 27, 1829, aged about -seventy-five years. He was a graduate of Oxford, and took up the study -of natural philosophy, for his expertness in several branches of which -he was made a member of the Royal Society and of the French Institute. -He travelled extensively, and formed a very valuable cabinet of minerals -which came into possession of the Institute founded by his liberality, -but which was unfortunately destroyed in the Smithsonian fire of 1865. - -Smithson’s illegitimate birth seems to have engendered a desire for -posthumous fame, as he wrote: “The best blood of England flows in my -veins; on my father’s side I am a Northumberland, on my mother’s I am -related to kings; but it avails me not. My name shall live in the -memory of man when the titles of the Northumberlands and the Percys are -extinct and forgotten.” To carry out this desire he bequeathed his whole -property, after the expiration of a life estate, “to the United States -for the purpose of founding an institution at Washington, to be called -the Smithsonian Institution, for the increase and diffusion of knowledge -among men.” - -Although Smithson died in 1829, the United States Government was not -advised of the gift until six years afterward, when the life estate fell -in, and the will was thrown into chancery. It was then that Richard Rush -was appointed, by President Jackson, special representative of the -government to pursue and secure the property. He was successful, and -returned to this country, in August of 1838, with the legacy, amounting -to upwards of half a million of dollars. Nothing was done for quite -eight years toward carrying into effect the bequest of Smithson, except -to ask advice, from eminent scholars and educators, as to the best means -of fulfilling the testator’s intention. The consensus of opinion was in -favor of a university or school for higher education, but Mr. Rush -objected to a school of any kind, and proposed a plan which more nearly -corresponded, than any other of the early ones, with that which was -finally adopted. Thus, both in securing the legacy, and directing the -curriculum of the institution, Richard Rush took a most important part. - -Mr. Rush’s last official service was as minister to France, during the -eventful years of 1847 to 1851 and he was the first representative of a -foreign power to recognize the new republic. He had a fine literary -sense, which he did not fail to cultivate, and his “Narrative of a -Residence at the Court of London,” and “Washington in Domestic Life,” -from the papers of Tobias Lear, are standard works. It may not be -without interest to add that Mr. Rush was the author of the famous game -“Twenty Questions,” which has been thought worthy of the consideration -of some of the brightest minds in Europe and in America. - -[Illustration] - - - - -XV - -_Edwin Forrest_ - - -For many years Edwin Forrest was regarded as the greatest of American -tragedians, his nearest rival being his namesake Edwin Booth. Now that -the great leveller, death, has claimed them both, it may be questioned -if Forrest’s supremacy is maintained. The animal was so uppermost in -Forrest’s nature and person that he was unsuited to the delineation of -the finer types of character, and therefore his greatest achievements -were in robust parts requiring physical power, where he could rant and -rage at will. In youth he must have had a singularly handsome face, and -he was but twenty-one, in 1827, when Browere made his life mask. It was -during an engagement at the old Bowery theatre, New York, when Forrest -was playing “William Tell.” It will be observed that the head, which is -finely classical, of the Roman type, appears to be bald, while Forrest -took great pride in his - -[Illustration: EDWIN FORREST - -Age 21] - -luxurious locks. This effect happened in this wise. Forrest was a novice -on the stage and had just made his first appearance as _William Tell_. -Browere saw the performance, and was so struck with the personality of -the young actor that he asked permission to take his mask. Forrest -consented, but was so afraid the material of the mould might cling to -his hair, that he insisted upon wearing a skull-cap during the -operation. Some faces change so much from youth to age that it is -difficult, if not impossible, to trace any resemblance of the beginning -in the end. But the characteristics of feature and expression in -Browere’s bust of Forrest are also to be found in his latest -photographs. - -The tragedian was born in old Southwark, Philadelphia, March 9, 1806, -and was “stage struck” almost from infancy, playing girl’s parts when -only twelve years old. In his fifteenth year he made his début at the -Walnut Street theatre, Philadelphia, as young _Norval_ in the tragedy of -“Douglas”; and before he was twenty-one had gained considerable -reputation and had played Othello before a New York audience. From this -time he enjoyed a vacillating reputation, but was always the stage idol -of the masses, while his intense personality kept him from appealing to -the refinements of intellect. He died at Philadelphia, December 12, -1872, leaving his fortune, books and paintings to a home for aged actors -to be called the Forrest Home; but his estate was largely crippled by -claims for unpaid alimony due to his divorced wife, so the home is not -exactly what Forrest intended that it should be. - - - - -XVI - -_Martin Van Buren_ - - -The latest work that we have from the hand of Browere, is the bust from -the life mask of “the Little Magician,” as Martin Van Buren was called, -made in 1833, the year before Browere’s death. Van Buren was then in his -fifty-first year, and he lived until July 24, 1862. His life covered a -longer era and his career witnessed greater changes in national life -than those of any other man who has occupied the presidential chair. He -was born and died in Kinderhook, Columbia county, New York; studied law -with William P. Van Ness, the friend of Burr; and was admitted to the -bar on attaining his majority. He was fitted by taste and temperament -for politics, and politics were fitted for him. - -As early as his eighteenth year, before he had a vote, Van Buren was -chosen to take part in a local nominating - -[Illustration: MARTIN VAN BUREN - -Age 51] - -convention; and as soon as he could act, as well as speak, he became an -ardent adherent of the Jeffersonian democracy. His first office was -surrogate of his native county, which place he held for five years; and -when, in 1811, the proposed recharter of the United States Bank was the -leading question of Federal politics, Van Buren took an active part -against the measure. The following year he was elected to the Senate of -New York, and supported President Madison and the War with England, -drawing up the resolution of thanks, voted by the legislature, to -General Jackson for his victory at New Orleans. - -In 1815, Van Buren became Attorney-General of New York, from which -office he was removed four years later, owing to his refusal to adhere -to De Witt Clinton, whose policy, excepting as regarded the canal, he -did not approve. The politics of New York were in a most feverish and -topsy-turvy state, and the many factions could not combine to elect a -United States senator in 1818-19, until Van Buren, by his moderation and -his genius for political organization, brought about order and harmony, -and Rufus King, a political opponent of Van Buren, was chosen to the -high office. Two years later Van Buren was rewarded by being also sent -to the Senate, and about the same time was chosen delegate to the -convention which reviewed the Constitution of New York. In this body he -sought to limit the elective franchise to householders, that this -invaluable right of citizenship might not be cheapened and the rural -districts overborne by the cities. Unfortunately he was in the minority, -or such a beneficent provision might have spread over the length and -breadth of the land, so that the elective franchise would have retained -the value of its high prerogative, and not become the valueless and -unwieldy burden that it now is. Van Buren also opposed an elective -judiciary, in both of which positions he was in opposition to his own -party. - -In the United States Senate he was for many years chairman of the -Judiciary Committee, and, on the Florida territorial bill voted against -the increase of slavery. He was a strict constructionist of the -Constitution, recognizing that as the only safe canon of interpretation -for a fundamental law; and he had pronounced views in favor of State -rights and against the power of the United States Supreme Court, to -overthrow State laws, believing this contrary to the provision of the -Constitution insuring the inviolability of contracts. - -In 1828 he was called from the Senate to the gubernatorial chair of New -York, and, supporting Jackson for the Presidency, was made by him -Secretary of State, which office he resigned to accept the English -mission; but, by the opposition of John C. Calhoun, he was not -confirmed. This discreditable action increased Van Buren’s popularity, -and he succeeded Calhoun as Vice-President for Jackson’s second term, -soon being regarded as the lineal successor to the Presidency. He was -elected, over Harrison and over Webster, pledged to oppose any -interference with slavery in the slave States. The ruling act of his -administration was one for the lasting benefit of the nation, which -never should be forgotten. In his first message to Congress he -deprecated the deposit of public moneys in private banks, which had -followed Jackson’s removal of the deposits from the United States Bank, -and urged an independent treasury for the safe-keeping and disbursements -of the public money; but it was not until near the close of his -administration that he secured congressional assent to the measure. This -has been far-reaching in its beneficial effects, and too much honor -cannot be accorded Van Buren, for his action in the matter, which has -saved the treasury from great financial disruptions. Notwithstanding -this, his administration went down in a cloud, and he was overwhelmingly -defeated for a second term. - -Van Buren was opposed to the extension of slavery, but on all other -points was an uncompromising Democrat. On this platform he was again -nominated for the Presidency, in 1848, with Charles Francis Adams as -Vice-President. The result of his candidature was the defeat of General -Cass, the regular Democratic nominee, and the election of General -Taylor. After this he retired from public life and devoted his time to -the writing of his “Inquiry into the Origin and Course of Political -Parties in the United States,” a work which has been called more an -apology than a history. When the Civil War came upon the nation, Van -Buren gave zealous support to the National Government. He was an intense -partisan, masterful in leadership, reducing politics to a fine art. It -has been well said that, “combining the statesman’s foresight with the -politician’s tact, he showed his sagacity, rather by seeking a majority -for his views than by following the views of a majority.” He was far -from being a demagogue, and he was frequently found fighting on the -unpopular side. His convictions were strong, and he adhered to them with -tenacity. While from peculiar circumstances his public career has been -the subject of much partisan denunciation, he is entitled, both for -activity and ability, to a higher niche in the temple of fame than is -commonly accorded him. Van Buren was small in stature and of blond -coloring. The physiognomist would accord to him penetration, quickness -of apprehension and benevolence of disposition, while the phrenologist -would add unusual reflective faculties, firmness and caution. - -[Illustration] - - - - -XVII - -_Death Mask of James Monroe_ - - -The masks that Browere made from the subject in full life, must not be -confused in any sense with the more common mask made after death. This -confusion could not occur with any one who has had an opportunity to -observe Browere’s work or to make comparison with the reproductions in -this book; but persons not familiar with these portrait busts, and -having only some knowledge of masks made after death, or of such life -masks as Clark Mills made,--which are thoroughly death-like in their -character,--might easily fall into such an error, and, looking upon the -latter as repulsive and worthless as portraiture, give no heed to the -different character and true value of Browere’s living likenesses. - -Mr. Laurence Hutton, in his very curious and interesting volume entitled -“Portraits in Plaster,” says: “The value of a plaster cast as a -portrait of the dead or living face cannot for a moment be questioned. -It must of necessity be absolutely true to nature. It cannot flatter; it -cannot caricature. It shows the subject as he was, not only as others -saw him in the actual flesh, but as he saw himself. And in the case of a -death mask particularly, it shows the subject often as he permitted no -one but himself to see himself. He does not pose; he does not ‘try to -look pleasant.’ In his mask he is seen, as it were, with his mask off.” - -I do not quote these words, of my accomplished friend Mr. Hutton, simply -for the purpose of combating them, but to show how differently two, -perfectly sincere, honest delvers after historic truth, can see the same -thing. Having made portraiture my study for many years, and thus having -in my mind’s eye, indelibly fixed, the faces of legions of public men, I -have yet to see a death mask that I could recognize at sight; many I -could recall when told whose masks they were, but more yet have, to my -vision, no resemblance whatever to the living man. Mr. Story, the -eminent American sculptor but recently deceased, recognized how -untrustworthy even life masks are as portraits. In speaking of what is -claimed to be Houdon’s original mask of Washington, which Mr. Story -owned, he wrote: “Indeed, a mask from the living face, though it repeats -exactly the true forms of the original, lacks the spirit and expression -of the real person.” So true is this, that when Mr. St. Gaudens first -saw Clark Mills’s life mask of President Lincoln, he insisted that it -was a death mask; for, without “the spirit and expression,” where can -the likeness be? As Sir Joshua Reynolds says in one of his Discourses: -“In portraits, the grace and, we may add, the likeness consists more in -taking the general air than in observing the exact similitude of every -feature.” In photography we have “the exact similitude of every -feature,” yet how often are photographs bad likenesses, because they -lack “the spirit and expression”! - -While it is possible to preserve “the spirit and expression” as well as -to give “the exact similitude of every feature” in a life mask, as -exemplified in the marvellous work of Browere, it is impossible in a -death mask, for these evanescent qualities are then gone. I am not quite -certain that even “the exact similitude of every feature” is preserved -in a death mask; certainly the natural relation of one feature to -another is not. The death mask may, to a degree, be a correct -reproduction of the bony structure, but only to a limited degree as it -was in nature, for the obvious reason that the ligaments, holding the -sections of bone together in their proper places, become relaxed with -dissolution, and the bones lose their exact positions, which condition -even the slight weight of the plaster increases. - -Masks, too, will sometimes approach caricature, if they will not -flatter, for they will reproduce peculiarities of formation which may -not be observable superficially. This view is emphasized by Lavater in -his “Physiognomy,” as quoted by Mr. Hutton. Lavater writes: “The dead -and the impressions of the dead, taken in plaster, are not less worthy -of observation [than the living faces]. The settled features _are much -more prominent_ than in the living and in the sleeping. What life makes -fugitive, death arrests. What was undefinable, is defined. All is -reduced to its proper level; each trait is in its exact proportion, -unless excruciating disease or accident have preceded death.” This is -undoubtedly true from the point of view of the physiognomist, and it is -his much desired vantage-ground, for his only object is to read the -features laid bare. - -From Browere’s hand we have but one death mask, and although it is open -to much of the objection urged against death masks generally, it is -superior to any other death mask I have ever seen. It is difficult to -believe it was made after life was gone, so vibrant with life it seems. -It possesses more living, breathing qualities than the life masks made -by other men. If any proof were needed of the inestimable value of -Browere’s lost process for making masks, it can be found in the quality -of this death mask of James Monroe. - -Monroe’s name is perhaps more familiarly known to the public than that -of any other President, save Washington and Lincoln, owing to its -association with the doctrine, which he - -[Illustration: DEATH MASK OF JAMES MONROE] - -promulgated, of non-interference on the western hemisphere by European -nations, known as the “Monroe Doctrine.” He was the fourth of the seven -Virginian Presidents, and left William and Mary College, when only -eighteen, as a lieutenant in Hugh Mercer’s regiment, to join -Washington’s army. He served throughout the Revolutionary War, having -been wounded at Trenton, and was present at Monmouth, Brandywine, and -Germantown. In 1782 he took his seat in the Assembly of Virginia, and -later was a delegate to Congress. Monroe took an active part in the -controversy relative to the settlement of the Northwest Territory, which -was quieted only by the Ordinance of 1787; and although he had a hand in -originating the convention to frame a constitution for the General -Government, he was not a member of it, and opposed the ratification of -its work. - -He was elected to the Senate of the United States in 1790, and held the -office until he was sent as minister to France, four years later. He was -a bitter anti-Federalist and opponent of the administration of -Washington, so that his appointment to France came as a great surprise; -and his action in recognizing the Republic, was an even greater surprise -to his home government. For this he was reprimanded, and on his return -published a defence of his conduct. He was Governor of Virginia, from -1797 to 1802, and returned to France as special envoy to negotiate with -Napoleon the purchase of Louisiana. He was again Governor of Virginia, -but resigned to accept the portfolio of state in Madison’s cabinet, -which was the stepping-stone to the succession in the Presidency. This -high office he held for two terms, and for the last term there was only -one electoral vote cast against him. It was in the second year of his -second term, 1823, that he enunciated the famous Monroe Doctrine of -“Hands off!” contained in two brief paragraphs in his annual message, -which doctrine is logically nullified by the present foreign policy of -the country. - -Monroe’s administration has been designated “the Era of Good Feeling,” -and he should always be remembered as an upright and honest politician. -As is too often the case with men who give their best years to the -public service, his latter days were burdened by intense poverty, and he -died in New York, July 4, 1831, almost in want. - -In person Monroe was tall, well formed, and with a fair complexion and -blue eyes. The well-known portraits of him, by Stuart and by Vanderlyn, -tail to bestow any signs of recognition upon Browere’s death mask; but -it is true these two portraits were painted a score and more years -before Monroe’s death. While, as has been said, it is far more life-like -than many life casts, its reproduction only serves to emphasize my views -as to the little value of death masks as portraits. - - - - -Addendum to Chapter VIII_ - - -Since this chapter went to press there has been published Roland’s “Life -of Charles Carroll of Carrollton,” and upon page 342, of Volume II, -there appears the following letter from Charles Carroll, upon his bust, -by Browere, which is too important not to be given a place here: - -DOUGHOREGAN MANOR, July 29, 1826. - -_Sir_: - - Mr. Browere has produced and read to me several letters from sundry - most respectable personages; on their recommendation and at his - request I sat to him to take my bust. He has taken it, and in my - opinion and that of my family, and of all who have seen it, the - resemblance is most striking. The operation from its commencement - to its completion was performed in two hours, with very little - inconvenience and no pain to myself. This bust Mr. Browere - contemplates placing, with many others, in a national gallery of - busts. That his efforts may be crowned with success is my earnest - wish. That his talents and genius deserve it I have no hesitation - in pronouncing. I remain, with great respect, Sir, your most humble - servant - -CH. CARROLL OF CARROLLTON. - - TO ARCHIBALD ROBERTSON, ESQ. - -In “Niles’s Register” for August 12, 1826, (Volume XXX, page 411,) is -given an account of this bust and its public exhibition at the Exchange -in Baltimore. - -[Illustration] - - - - -Index_ - - -Adams Family, 50 - - C. F. Mask by Browere, 17 - Minister to England, 51, 55 - Letter to Browere, 54 - Birth and death, 55 - Services to his country, 55 - Nominated for Vice-President, 107 - - John. Mask by Browere, 17 - Minister to England, 51 - Birth and death, 51 - Browere visits him, 51 - Makes mask, 52 - Certificate to Browere, 52 - Stuart’s portrait of, 52 - Mentioned, 19, 43, 46 - - J. Q. Mask by Browere, 17, 54 - Minister to England, 51 - And Gilbert Stuart, 53 - Birth and death, 54 - Unpopular, 55 - Supported by Clay, 75 - - T. B., certificate to Browere, 52 - -Alexander, Cosmo. Instructed Stuart, 81 - Who he was, 81 - Took Stuart to Scotland, 81 - Death of, 81 - -Alexander the Great, 3 - -André, John. Masks of captors of, 15 - Personality, 30 - Case an aggravated one, 30 - Puerile plea, 30 - Suffered justly, 30 - Mentioned, 28, 29, 31, 32, 33 - -Antagonism between art factions, 25 - -Anthony, Elizabeth, mother of Gilbert Stuart, 80 - -Architecture subordinate to Sculpture, 2 - -Arnold, B., mentioned, 28, 30 - -Art in America influenced by foreigners, 10 - Public patronage of, 17 - Protection of works of, 17 - - -Bainbridge, W., exploits in war of 1812, 93 - -Barbour, P. P., mask by Browere, 17 - -Barré, Isaac, portrait of, by Stuart, 89 - -Beauty, the Greek idea of, 2 - -Berkhoven, Adam, ancestor of Browere, 13 - -Bogardus, Annetje, ancestor of Browere, 13 - Edward, ancestor of Browere, 13 - -Booth, Edwin, rival of Forrest, 102 - -Bottari, G., authority, 3 - -Boydell, J., portrait of, by Stuart, 89 - Shakespeare Gallery, 89 - -Brouwer, Adam, ancestor of Browere, 13 - Jacob Adam, ancestor of Browere, 13 - -Browere, Jacob, father of J. H. I. Browere, 12 - A. D. O. Birth and death, 26 - Gains prizes, 26, 27 - His paintings, 27 - Visits California, 27 - Added draperies to busts, 27 - Preserved busts, 27 - J. H. I., 3, 4, 10 - Birth, parentage, and death, 12, 13 - Ancestry, 13 - At Columbia College, 13 - Marriage, 13 - Pupil of A. Robertson, 13 - Travels abroad, 14 - Bust of A. Hamilton, 14 - Experiments making masks, 15 - First life mask, 15 - Mask of Pierrepont Edwards, 15 - Masks of the captors of André, 15 - Exhibits at Academy of Fine Arts, 15 - Mask of La Fayette, 16 - Writes to Madison, 16, 17 - Costs of making masks, 16 - List of masks by, 17 - Disheartened, 18 - His process, 18 - Opposition to his work, 18 - Treatment of Jefferson, 18 - Method without discomfort, 19 - Letter to Trumbull, 19 - Kept out of Academy of Design, 20 - Remark on Dunlap, 21 - Letter to American Academy, 21 - Death-bed directions, 25 - Exhibition of busts, 25 - Nature of work, 25 - Compared with Clark Mills, 26 - Mask of John Paulding, 32 - Isaac Van Wart, 34 - David Williams, 35 - Suffocation of Jefferson by, 36 - Discovery of busts, 38 - Visits Monticello, 39 - Mask of Jefferson, 39 - Certificate from Jefferson to, 40 - Newspaper attack on, 41 - Letters to Jefferson, 42, 45 - M. M. Noah, 42 - Whole-length statue of Jefferson, 43, 45, 46 - Letter from Jefferson, 44 - De Witt Clinton congratulates, 47 - Visits John Adams, 51 - Mask of John Adams, 52 - Certificate from John Adams, 52 - Mask of J. Q. Adams, 54 - C. F. Adams, 55 - Introduced to Madison, 57 - Masks of the Madisons, 59 - Mask of Charles Carroll, 61, 115 - Letter from S. L. Mitchill, 62 - His workshop, Broadway, 64 - Mask of La Fayette, 66 - Letter from E. W. King, 66 - Mask of Clinton, 71 - Letter from T. A. Emmet, 71 - Mask of H. Clay, 73 - Encouraged by Stuart, 76 - Certificate from Stuart, 77 - Mask of D. Porter, 95 - Material used, 96 - Mask of R. Rush, 99 - E. Forrest, 103 - M. Van Buren, 104 - Death mask of J. Monroe, 112 - -Brown, J. Mask by Browere, 17 - Letter to Madison, 57 - -Buchan, Earl of (David Stuart), 13 - - -Calhoun, J. C., opposes Van Buren, 106 - -Captors of André. Characters attacked, 29 - Vindicated, 30, 31 - -Carroll, C. Mask by Browere, 17 - Reason of his signature, 60 - Personal description, 61 - Granddaughters marry noblemen, 61 - Letter on Browere’s bust, 115 - Mentioned, 19, 46 - -Cass, L., defeated for President, 107 - -Casts, invention of making life, 3 - -Caton, Mrs., daughter of C. Carroll, 61 - -Ceracchi, G., influence on American art, 11 - -Chalmers, G., a Scotch painter, 82 - -Chambers, G., meant for Chalmers, 82 - -Christ Church, Philadelphia, 5 - -Clay, H. Mask by Browere, 17, 73 - Personal appearance, 74 - Birth and death, 74 - Duel with H. Marshall, 74 - His ambition, 75 - -Cleveland, Mrs. Grover, her attractiveness, 59 - -Clinton, De W. Mask by Browere, 17 - Certifies to Browere’s busts, 66, 71 - Woodworth’s lines on bust of, 70 - A politician, 71 - Opposed by Van Buren, 105 - -Columbian Academy, New York, 14 - -Cooper, T., mask by Browere, 17 - -Copley, J. S., portrait of, by Stuart, 89 - -Cromwell, O., 7 - -Cruikshank, W., lectures on anatomy, 85 - -Cummings, T. S., 14, 25 - -Cushing, W. B., exploit in the Civil War, 93 - - -Decatur, S., exploit in war with Tripoli, 93 - -Delavan, General, 35 - -Derrick, Eliza, marries Browere, 13 - -Dewey, G., exploits in war with Spain, 93 - -Dixey, J., sculptor, 11 - -Donatello, 3 - -Duane, W., libel on Governor McKean, 98 - -Dunlap, W., unreliability of, 20 - -Durand, J., memoir of Trumbull, 25 - - -Earlom, R., portrait of, by Stuart, 89 - -Eckstein, J., sculptor, 11 - -Edwards, P., mask by Browere, 15 - -Emmet, T. A. Mask by Browere, 17 - Letter to Browere, 71, 72 - -Encyclopædia Britannica on Stuart, 92 - - -Facius, J. G., portrait of, by Stuart, 89 - -Farragut, D. G., exploits in the Civil War, 93 - -Forrest, E. Mask by Browere, 17, 102 - As _William Tell_, 102 - Birth and death, 103 - -Fothergill, A., portrait of, by Stuart, 89 - -Franklin, B. Friend of P. Wright, 6 - Profile by P. Wright, 6 - -Frazee, J., not first American sculptor, 7, 10 - -Frothingham, J., artist, 23 - - -Gainsborough, T., credited with Stuart’s work, 87 - Paints portrait with Stuart, 88 - Portrait of, by Stuart, 89 - -Galt’s statue of T. Jefferson, 48 - -Gendon, Ann C., mother of Browere, 12 - -George III, leaden statue of, 5 - -Gilpin, H. D., letter from Madison, 37 - -Gladstone, W. E., the Great Commoner, 73 - -Graham, J. A., certifies to La Fayette’s bust, 68 - -Grant, W., portrait of, by Stuart, 86 - Exhibited, 87 - -Greek Art. Beginnings of, 2 - Perfection of, 2 - Characteristics of, 2 - - -Hall, J., portrait of, by Stuart, 89 - -Hamilton, A. Bust by Browere, 14 - Miniature by Robertson, 14 - On captors of André, 30 - -Heath, J., portrait of, by Stuart, 89 - -Higginson, T. W., paper on Jane Stuart, 79 - -Hilson, T., mask by Browere, 17 - -History, method of writing, 48 - -Hone, P., mask by Browere, 17 - -Hoppner, J., marries daughter of P. Wright, 6 - Instructs J. Wright, 9 - -Hosack, D., mask by Browere, 17 - -Houdon, J. A. Influence on American art, 11 - Method of making mask, 41 - Mask of Washington, 110 - -Hubard Gallery, Stuart’s bust at, 77 - -Hull, I., exploits in war of 1812, 93 - -Humphrey, O., portrait of, by Stuart, 89 - -Hutton, L. Portraits in plaster, 38 - Estimate of masks, 109 - Views discussed, 110 - - -Iconoclasm regarding historic characters, 30 - -Inman, H., painter, 14 - -Irving, W., 33, 34 - - -Jackson, A., opposed by Clay, 75 - -Jamesone, G., ancestor of Alexander, 81 - -Jans, Anneke, ancestress of Browere, 13 - -Jefferson, T. Mask by Browere, 17 - Treatment by Browere, 18 - Randall’s story of suffocation, 36 - Personal appearance, 37 - Bust by Browere, 37 - Its existence and discovery, 37, 38 - Consents to have bust made, 38 - Browere makes mask, 39 - Certificate to making of mask, 40 - Letter to Madison, 41 - From Browere, 42 - Whole-length statue by Browere, 43 - Letter to Browere, 44 - Galt’s statue of, 48 - Coincidences in life of, 51 - -Jervis, Sir John, portrait of, by Stuart, 89 - -Johnson, E., portrait of “Dolly” Madison, 59 - -Jones, J. P., exploits in Revolutionary War, 93 - -Jouett, J. H., exploits in Civil War, 93 - - -King, D., buys Browere’s bust of Stuart, 79 - E. W., letter to Browere, 66 - R., elected senator, 105 - - -La Fayette. Bust of, by Rush, 9 - Mask of, by Browere, 16, 64, 66 - Last visit to United States, 63 - Browere’s mask injured, 64 - Second mask made, 66 - -Latrobe, B. H., on William Rush, 8 - J. H. B., appearance of C. Carroll, 61 - -Laurens, H., dress of, 45 - J., letter to, 28 - -Lavater, J. C., on death masks, 112 - -Lawrence, T., Stuart’s reason for leaving England, 91 - -Leeds, Duchess of, granddaughter of C. Carroll, 61 - -Leinster, Duke of, portrait of, by Stuart, 89 - -Leonardo da Vinci, pupil of Verocchio, 3 - -Lincoln, A., President of the United States, 7 - R., mother of W. Rush, 7 - -Lovell, P., marries J. Wright, 5 - -Lysippus, sculptor, 3 - -Lysistratus invents making life casts, 3 - - -Macomb, A., mask of, by Browere, 17 - -McKean, T., libelled by Duane, 98 - -Madison, D. Mask of, by Browere, 17, 59 - Widow of J. Todd, 56 - Browere’s child named for, 58 - Beauty overestimated, 59 - Painted by Stuart, 59 - Drawn by Johnson, 59 - Attractiveness, 59 - J. Mask by Browere, 17, 59 - Letter to H. D. Gilpin, 37 - Papers in State Department, 37 - Intercedes for Browere, 38 - Certifies to Jefferson’s bust, 40 - Letter to, from Jefferson, 41 - Browere, 46 - Character, 56 - Browere introduced to, 57 - Letter to, from J. Brown, 57 - Certifies to his bust, 58 - -Manchester, Duke of, portrait of, by Stuart, 89 - -Marshall, H., duel with H. Clay, 74 - -Mills, C. Mentioned, 26, 36 - His masks, 109, 111 - -Miniature-painting, treatise on, 14 - -Mitchill, S. L. Mask of, by Browere, 17 - Letter to Browere, 62 - -Monroe, J. In Washington’s army, 113 - Wounded at Trenton, 113 - Delegate to Congress, 113 - Elected to Senate, 113 - Minister to France, 113 - Opposed Washington, 113 - Governor of Virginia, 113, 114 - President, 114 - His doctrine, 114 - His administration, 114 - Personal appearance, 114 - Dies poor, 114 - -Morse, S. F. B. Portrait of La Fayette by, 67 - Inventor of telegraph, 68 - Certifies to bust of La Fayette, 68 - -Morton, J. Certifies to bust of La Fayette, 66 - -Mott, V., mask by Browere, 17 - - -Newspapers’ attack on Browere, 41 - -Noah, M. M. Mask of, by Browere, 17 - Mentioned, 42, 61, 96 - -Northumberland, Duke of, portrait of, by Stuart, 89 - - -Parthenon, frieze of the, 3 - -Paulding, H., son of John Paulding, 33 - J. K., nephew of John Paulding, 33 - J. Mask by Browere, 15, 17, 32 - Captor of André, 28, 31 - Social position, 32 - Monument, 33 - L., grandson of John Paulding, 33 - W., brother of John Paulding, 32 - W., Nephew of John Paulding, 33 - Mayor of New York, 33 - -Peale, R. Portraits of La Fayette, 67 - Portraits of Washington, 67 - Certifies to La Fayette’s bust, 67 - -Pericles, age of, 2 - -Perry, O. H., exploits in war of 1812, 93 - -Perugini, pupil of Verocchio, 3 - -Pheidias, sculptor, 2, 3 - -Pitt, W., the Great Commoner, 73 - -Plastic Art. What it is, 1 - Its origin, 1 - Its earliest form, 1 - Associated with worship, 1 - Architecture, 2 - Among the Greeks, 2 - Development in United States, 4 - -Pliny, on Inventor of Masks, 3 - -Poore, B. P., plagiarizes Randall, 36 - -Porter, D. Mask of, by Browere, 17, 95 - Three with same name, 94 - Distinguished in navy, 94 - Commands _Essex_, 94 - Captures _Alert_, 94 - Sails around Cape Horn, 95 - Surrenders the _Essex_, 95 - Retires from navy, 95 - Letter to Noah, 96 - -Pratt, E. Daughter of P. Wright, 6 - Models profiles in wax, 6 - -Preble, E., exploits in war with Tripoli, 93 - - -Quincy Family, 50 - Josiah, Jr., 50 - J., President of Harvard, 50 - - -Randall, H. S. Story of Jefferson’s suffocation, 36 - Method of writing history, 37 - Statement refuted, 38 - Criticized, 48 - -Raeburn, H., credited with picture by Stuart, 87 - -Randolph, Misses, alarmed, 39 - Master, peeping, 39 - -Redwood Library. Stuart’s bust at, 76 - Stuart’s self-portrait at, 86 - -Reynolds, J. Discourses on Painting, 85 - Stuart paints portrait, 85, 89 - On portraits, 111 - -Riker, R., member Com. of Councils, 64 - -Robertson, Alexander, 13 - Andrew, 14 - Archibald, instructor of Browere, 13 - Treatise on miniature-painting, 14 - Card from, 15 - Emily, life of A. Robertson, 14 - -Romney, G., credited with picture by Stuart, 88 - -Royal Academy. Stuart pupil at, 85 - Stuart exhibits at, 85, 86 - -Rush, B., father of R. Rush, 94 - J., screed on newspapers, 41 - Joseph, father of W. Rush, 7 - Married R. Lincoln, 7 - R. Mask of, by Browere, 17, 99 - Attorney-General, 98 - Secretary of State, 99 - Minister to England, 99 - Secretary of Treasury, 99 - Plan for Smithsonian Institution, 100 - Fine literary sense, 102 - W. First American Sculptor, 7 - Ancestry, 7 - Career, 8 - Figureheads for ships, 8 - Statue of Washington, 9 - Bust of La Fayette, 9 - Kinsman of R. Rush, 98 - - -St. Gaudens, A., estimate of masks, 111 - -Sampson, W. T., exploits in war with Spain, 94 - -Sculpture, the daughter of Architecture, 2 - -Sharp, W., portrait of, by Stuart, 89 - -Shee, M. A., credited with picture by Stuart, 88 - -Smithson, J. Legacy to United States, 99 - Who he was, 99 - -Southard, S. L., mask of, by Browere, 17 - -Stafford, Lady, granddaughter of C. Carroll, 61 - -Stewart, C. Exploits in war of 1812, 93 - G. Father of the painter, 79 - Importance of name, 80 - Goes to Nova Scotia, 82 - -Stone, W. L., mask of, by Browere, 17 - -Story, W. W., estimate of masks, 110 - -Stuart, G. Mask of, by Browere, 17, 76 - Portrait of John Adams, 53 - “Dolly” Madison, 59 - Encourages Browere, 76 - Bust in Redwood Library, 76, 79 - Certificate to Browere, 77 - Newspapers on bust of, 77, 78 - Eminence in art, 78 - Place of birth, 79 - Naming of, 80 - Education, 80, 81 - Earliest pictures, 80, 81 - Goes to Scotland, 81 - Not at University of Glasgow, 81 - Returns to America, 82, 91 - Goes to England, 82 - Becomes organist, 83 - Apprenticed to West, 84, 85 - Exhibits at Royal Academy, 85, 86 - Paints many portraits, 85, 86, 89 - Portrait of W. Grant, 87 - Prices for portraits, 88 - Prodigality and poverty, 90, 91 - Personal appearance, 90 - Marries Miss Coates, 90 - Desire to paint Washington, 91 - Lawrence’s opinion, 91 - Paints portraits of Washington, 91 - Master in portraiture, 92 - Encyclopædia Britannica upon, 92 - Two art periods, 92 - Buried in Potter’s Field, 92 - J. Daughter of G. Stuart, 78 - Appreciates Browere’s work, 78 - “One of Thackeray’s Women,” 79 - - -Tallmadge, B., attacks character of André’s captors, 29 - -Taylor, Z., elected President, 107 - -Traditions, no historical value, 81 - -Trumbull, J. Endorsement on Browere’s letter, 20 - Mentioned, 18, 23 - -Truxtun, T. Exploits in war with France, 93 - Captures _L’Insurgente_, 94 - - -Van Buren, M. Mask of, by Browere, 17, 104 - Birth and death, 104 - Attorney-General, 105 - Governor of New York, 106 - Vice-President, 106 - Elected President, 107 - Advocates National Treasury, 107 - Opposes extension of slavery, 107 - Personal appearance, 108 - -Van Cortland, P., mask of, by Browere, 17 - -Vanderlyn, J., mentioned, 14, 23 - -Van Ness, W. P., mentioned, 104 - -Vanuxem, L., posed for W. Rush, 9 - -Van Wart, A., brother of I. Van Wart, 34 - H., marries Irving’s sister, 34 - I. Mask of, by Browere, 17, 34 - Birth and death, 33 - Youngest of captors, 34 - Social position, 34 - -Vasari, G., authority, 3 - -Verocchio, A., made life masks, 3 - -Virginia, University of, 47 - - -Walpole, R., his doctrine, 30 - -Ward, W., mezzotint portrait by, 88 - -Washington, G. Statue of, by W. Rush, 9 - Portrait of, by J. Wright, 9 - Cast of, by J. Wright, 10 - Portrait of, by Robertson, 13 - Judgment on captors of André, 31 - Portraits of, by Stuart, 91 - Mask of, by Houdon, 110 - -Waterhouse, B., chum of G. Stuart, 85 - -Webster, D., admired, 73 - -Wellesley, Marchioness of, granddaughter of C. Carroll, 61 - -West, B. Stuart apprenticed to, 84 - His art, 84 - Portrait of, by Stuart, 89 - -Williams, D., mask of, by Browere, 17, 35 - Birth and death, 34 - Sworn statement of capture, 34 - Monument to, 34 - -Woodworth, S., lines on Clinton’s bust, 70 - -Woollett, W., portrait of, by Stuart, 89 - -Wright, F., mask of, by Browere, 17 - J. Son of Patience, 9 - Studies under West, 9 - Paints portrait of Washington, 9 - Makes cast of Washington, 10 - Bust of, by W. Rush, 10 - P. First American modeller, 5 - Conversational powers, 6 - Modelled Franklin’s profile, 6 - Daughter of, marries J. Hoppner, 6 - Modelled statue of Chatham, 6 - -Wyckoff, H. I., councilman, 64 - - -FOOTNOTES: - - [1] “Schools and Masters of Sculpture,” by A. G. Radcliffe, 1894. - - [2] Randall’s “Life of Jefferson,” 1858, Vol. III, p. 540. - - [3] “McClure’s Magazine,” May, 1898. - - [4] “Madison Papers,” Vol. III, p. 594. - - [5] _Vide_ “Stuart’s Lansdowne Portrait of Washington,” in Harper’s - Magazine, Aug., 1896. - - - - - - - - -End of the Project Gutenberg EBook of Browere's Life Masks of Great Americans, by -Charles Henry Hart - -*** END OF THIS PROJECT GUTENBERG EBOOK BROWERE'S LIFE MASKS *** - -***** This file should be named 51890-0.txt or 51890-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/8/9/51890/ - -Produced by Chris Curnow, Chuck Greif and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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