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diff --git a/old/69415-0.txt b/old/69415-0.txt deleted file mode 100644 index 014df2c..0000000 --- a/old/69415-0.txt +++ /dev/null @@ -1,1171 +0,0 @@ -The Project Gutenberg eBook of "The spirit of '76", by Henry Kelsey -Devereux - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: "The spirit of '76" - Some recollections of the artist and the painting - -Author: Henry Kelsey Devereux - -Release Date: November 23, 2022 [eBook #69415] - -Language: English - -Produced by: Carla Foust and the Online Distributed Proofreading Team at - https://www.pgdp.net (This file was produced from images - generously made available by The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK "THE SPIRIT OF '76" *** - - - - - - “The Spirit of ’76” - - [Illustration] - - - - - “The Spirit of ’76” - - Some Recollections of the - Artist and the Painting - - by - - Henry Kelsey Devereux - - [Illustration] - - Cleveland - Privately Printed for the Author - 1926 - - - - - _Copyright 1926, by - Henry K. Devereux_ - - - - - To my father, JOHN HENRY DEVEREUX - I would dedicate this little volume--a - man whose loving-kindness so true; - whose godliness, faith, and - devotion--strengthened by firmness - always fair--has ever been - an inspiration - - - - - Contents - - - PREFACE 15 - - ARCHIBALD M. WILLARD, A BRIEF SKETCH 21 - - THE FIFER--HUGH MOSHER 39 - - THE DRUMMER BOY--HENRY KELSEY - DEVEREUX 47 - - AN EARLY ACCOUNT BY J. F. RYDER 61 - - THE PRELIMINARY SKETCHES AND REPLICAS 71 - - - - - Illustrations - - - THE SPIRIT OF ’76 _Frontispiece_ - - Reproduced from the original painting now - hanging in the Town Hall at Marblehead, - Massachusetts. This reproduction is accurate - as to details, and reproduces the original colors - as closely as possible. Some years ago, on account - of the demand for reproductions of this - painting and the danger of damage to the - valuable original, by a vote of the town of - Marblehead, action was taken that no further - reproductions from the original should be permitted; - hence, many of the reproductions now - available are not reproductions of the original - painting but of one or other of the later replicas. - These replicas differ in many respects from the - original, both as to details and coloring. - - ARCHIBALD M. WILLARD 23 - - “YANKEE DOODLE” 29 - - Willard’s original conception for the humorous - painting submitted to J. F. Ryder, as reproduced - by Willard in 1898 and presented to The Reverend - William E. Barton, in whose possession - it still remains. - - HUGH MOSHER 41 - - HENRY KELSEY DEVEREUX 49 - - THE REVEREND SAMUEL WILLARD 63 - - THE FINAL PRELIMINARY CRAYON STUDY - SKETCH 73 - - Showing one of the stages in the final evolution - of the finished painting. Believed to be the - only study sketch now in existence. Presented - by Willard to Doctor Barton and still in his possession. - - - - -Preface - - -Nearly fifty years have passed since Archibald M. Willard painted -“The Spirit of ’76.” Mr. Willard has passed, and so have all who were -intimately connected with its creation, except myself. Probably no -painting, the creation of an American artist, has received such wide -and continuous interest and attention as this patriotic painting. -Many times during the last quarter of a century, I have been urged -to record my recollections of Willard and my association with this -historical painting. Many times I have been asked for information which -did not come under my personal observation. As the years pass, this -demand for information has become more insistent and more urgent. This -little volume has been prepared partly to meet this demand, but more -especially to accede to the oft-repeated requests of my family and -friends. - -These requests for information have not always been confined to my own -experiences. Therefore, the more fully to meet the wishes of my family -and friends, to my own personal recollections I have added a brief -sketch of the artist, of Hugh Mosher the fifer, and Mr. Ryder’s own -account of the conception and purpose of the artist, written many years -ago and now difficult to find. I have also added a few words regarding -the extant original sketches and the Replica of 1912. - - H. K. D. - -January 1926 - - - - -Archibald M. Willard -a brief sketch - -[Illustration: ARCHIBALD M. WILLARD - -at the age of forty, when he painted the “Spirit of ’76”] - - - - -A brief sketch of Archibald M. Willard and the Spirit of ’76 - - -“The Spirit of ’76” is the best known painting produced by an American, -and at the same time one of the most inspiring works of art ever issued -in America. It may not conform to any orthodox school of painting or -possess the fine points of technique that some critics demand, but as -an inspiration of patriotism, I doubt if any painting has had as wide -and continuous influence as “The Spirit of ’76.” It has been reproduced -in one form and another millions of times, by almost every available -process--chromo-lithography, steel-engraving, half-tone, and the -various color processes. It is perhaps available in more homes than any -other American painting, either framed or in magazines, printed books, -school histories, calendars, posters, etc. Many a patriotic parade has -included the famous trio of this painting. - -Although the painting is so universally known, it is surprising that -so little authentic printed material is available either on the artist -himself or the story of the creation of this, his most celebrated work. - -Archibald M. Willard, the painter of “The Spirit of ’76” was born -in Bedford, Ohio, August 22, 1836. His father, the Reverend Samuel -Willard, was a Baptist minister and a Vermonter. In the home was -grandfather Willard, between whom and the young artist there grew to -be a strong bond of understanding and sympathy. The grandfather, a -relative of General Stark and a soldier of the Revolutionary War, was -one of the Green Mountain boys who was at the surrender of General -Burgoyne. Grandfather and grandson spent much time together in rambles -through the then picturesque Bedford glens. The rugged surroundings -appealed to young Willard’s artistic sense. The old man figured often -in the boy’s cartoons. Many a tree was stripped of its outer bark to -produce a smooth surface upon which with red chalk and charred embers -the young artist produced savages of hideous mien. As frequently -happens with young artists, young Willard, did not receive much -encouragement from the Willard family, perhaps because every smooth -surface of wall, barn-door, board fence, etc., bore evidence to the -budding genius. - -For varying periods, the family were located at Kent, Salem, Aurora, -Mantua, and La Grange. When Willard was a lad of seventeen, the -family moved to Wellington, Lorain county, Ohio. At the outbreak of -the Civil War, Willard enlisted in the Eighty-sixth Ohio Regiment. -While with his regiment at Cumberland Gap, he painted several pictures -of the surrounding country. These were photographed and many of the -photographs were sold to his comrades. - -With the close of the Civil War, Archibald M. Willard, then a sturdy -young man, returned to Wellington, together with his close companion, -Hugh Mosher. Both had served faithfully and well. Willard had become -a non-commissioned officer. He secured employment in the shop of E. -S. Tripp, a wheelwright and wagon-maker. The old shop still stands -at Wellington. Willard’s original job was to paint the wagons. From -the mere painting of the wagons he gradually passed to decorating the -wagons artistically, and finally to decorating, with woodland and -animal scenes, a number of gaudy circus chariots. He did this work -so artistically that “Tripp’s wagons” became known all over that -part of the country. There was coöperation between the two men, for -apart from the artistic painting, the wagons themselves were sturdily -and well-built. Willard’s artistic temperament carried him beyond -mere commercial painting. He began painting pictures on the wagon -boxes. These were so well executed that they created much comment. -He gradually became so elaborate in these, that his employer, Mr. -Tripp, had to restrain him. Undoubtedly the interest created by these -paintings sold many a wagon for their builder and advertised him in a -most unusual way. If any of these Willard-decorated-Tripp-wagons were -now available, they would bring a price far in excess of the cost of -the wagons themselves. - -While working at his trade as wagon painter, Willard devoted all his -spare time, energy, and what little money he could save to the study -of painting on canvas. He had a very decided sense of humor and nearly -all of his earlier subjects are of a humorous character. It was early -in the seventies that he painted the first two pictures from which -he received compensation. These were the outcome of a request by his -employer’s daughter asking him to paint a picture for her. “Pluck -number One” was the result. It depicts a dog hitched to a little wagon, -a boy driving, and his baby sister in the wagon with him. The dog takes -off the road in chase of a rabbit, and the little boy desperately -trying to stop him. A wreck follows where the rabbit jumps a log, but -the youthful occupant clinging to the lines, and the little sister, -escapes unhurt. - -[Illustration: “YANKEE DOODLE” - -Willard’s original conception for the humorous painting submitted to -J. F. Ryder. From this, the “Spirit of ’76,” with its far-reaching -inspiration, was finally evolved] - -In Cleveland at this time was a photographer and art dealer named J. F. -Ryder. This painting came to his attention with other early productions -by Willard. The astute Ryder quickly recognized the quaint humor -and natural ability displayed in these early pictures. Willard -thereupon painted a sequel to “Pluck” which he entitled “Pluck -number Two.” Mr. Ryder had these two paintings reproduced in color -by chromo-lithography. They became two of the most popular pictures -of their day. They sold at ten dollars the pair. Many thousands were -sold. This proved to be the beginning of a long and profitable business -acquaintance and lasting friendship between Willard and Ryder. The -proceeds from the sale of these pictures permitted Willard to take an -art course in the studio of J. D. Eaton, of New York. This was in 1873. - -Following this, Willard painted among other things a picture which he -called “Yankee Doodle.” It was an ordinary sized canvas and delineated -a Fourth of July celebration in a country village. An old man in the -center beating a drum, with a younger man on each side, the one with -a drum, the other with a fife. The surroundings and background were -rural. This painting was finished a few months prior to the opening of -the Centennial Exposition of 1876 at Philadelphia. When Mr. Ryder saw -the picture, he immediately conceived the idea of changing the subject -from humorous to patriotic, and Willard concurred in the idea. - -Contrary to a rather general belief, “The Spirit of ’76” was not -painted for exhibition at the Centennial. At that period there was -a general and widespread spirit of patriotism and the days of the -Revolutionary War were especially before the people of this country. -Mr. Ryder had this prominently in mind and for this reason he -suggested to Willard the painting of this picture that reproductions -therefrom might be made and a large number of these reproductions sold -generally throughout the country and particularly at the Centennial. -It was not sent to the Centennial until many of these colored -reproductions had been distributed, and a large popular interest in the -painting had arisen. It was then, on special request made by those in -charge of the Centennial that the original painting itself was sent to -the Exposition. - -Mr. Ryder suggested that the title be “Yankee Doodle” and under this -title “The Spirit of ’76” was at first known. He left the conception -and development of the painting to Willard’s imagination. - -At that early period after the Civil War, when the training days of the -militia system had practically gone to pieces, the various companies -were expected to go into camp for three days each year. These days -had become a neighborhood picnic. Uniforms were seldom in evidence. -There were few guns or swords. There were, however, always the flag, -the fife, and the drum. Willard had this idea prominently before him. -He slashed into outline various charcoal attempts, but the lines would -not fall or respond as he wanted them to. The real idea as to what -Yankee Doodle and the men who fifed it and drummed it, stood for, -eventually began to thrust itself persistently into the pencil points. -Willard daily became more enthused over the patriotic features to be -delineated. His early days of marching and fighting under the stars -and stripes helped greatly in stirring his patriotic enthusiasm, which -later was put upon and filled the completed canvas. - -While Willard was engaged in painting this picture, his father, who -was posing as his central figure, became critically ill. He did not -live to see the finished painting. When Willard was told that his -father was soon to pass away, all thoughts of a humorous picture faded -from his mind. He decided to paint his father as he really was. - -After Willard became acquainted with Mr. Ryder, at Ryder’s suggestion, -Willard moved to Cleveland. He used as a studio, a small room on the -fourth floor of what used to be the Union National Bank Building -located at Euclid Avenue and what was then Hickox Alley, Cleveland, -Ohio. From this time on Willard spent almost his entire life in -Cleveland. - -This little studio had a northern exposure, and he was artist enough, -even then, to realize the value of the northern light. His canvas when -stretched was taller than himself. His idea had become a big one and -nothing but life-size would do for the figures to be used. He followed -the general idea of his first picture, “Yankee Doodle or a Fourth of -July Celebration” but the spirit of the whole was changed. The old man -in the center was Willard’s own father, a tall, straight, powerful man, -with flowing white locks yet the figure of a man of thirty, without -coat, bare-headed, his white hair blowing in the breeze, his shirt -sleeves loose, marching forward with a step as firm and unhesitating -as the grim and determined look on his face. The face of the old man -shows features which could be kind, but now set like flint in the face -of the enemy--filled with the courage of a man who has put character, -and thought, and prayer into the music through which he utters his -patriotic purpose. Perhaps there is a bit of humor in the figure of the -fifer--it could not be otherwise--for it is a portrait of the fifer -of Wellington, Hugh Mosher. While depicting his humorous face with its -puckered mouth, there is the same air of determination in the figure, -the eyes, and the forward step, that so mark the picture of the old -man. In these characters one sees the spirit of men who will stand and -play until they die, or by their contagious heroism will turn the tide -of battle. - -As already stated, for the first few years the painting was known under -the title of “Yankee Doodle.” While the picture was on exhibition in -Boston, Mr. Brainerd, who had charge of the exhibition, suggested -changing the title to “Yankee Doodle, or the Spirit of ’76.” This -suggestion was made because at that time in Boston there was a public -character, a half-wit, who was commonly known about the city as “Yankee -Doodle.” In some curious way, the painting and this half-wit were -being confused in the public mind. This change of title was adopted. -Finally “Yankee Doodle” was dropped entirely and the painting has since -been known under the title of “The Spirit of ’76.” - - - - -The Fifer - -[Illustration: HUGH MOSHER - -who posed as the fifer. From an original photograph made by William F. -Sawtelle of Wellington, Ohio] - - - - -The Fifer--Hugh Mosher - - -When Archibald M. Willard returned home from service in the Civil War, -there came back with him to Wellington his comrade, Hugh Mosher. Mr. -Willard first became acquainted with Mosher after the family moved to -Wellington. They soon became close and lifelong friends. Their service -in the Civil War, in which they were comrades, more closely cemented -this friendship. - -Hugh Mosher was born at Perry, Lake county, Ohio, January twenty-ninth, -1819, and died at Brighton, Ohio, August fifteenth, 1892. His father -served in the War of 1812, and his grandfather had served in the -Revolutionary War. He himself enlisted for the Civil War, and became a -fifer in Company H, Forty-third Infantry Regiment, Ohio Volunteers. He -never fully recovered from the effects of his army hardships. - -He was a tall and well built man, over six feet in height. In -appearance he suggested a typical frontiersman of the Daniel Boone or -Simon Girty type. - -Hugh Mosher (or Mosier as it is sometimes wrongly spelled) who posed -as the fifer, spent most of his life in Wellington, Ohio. Returning -from the Civil War, he again took up his farmwork. He was a celebrated -performer on the fife, and his fame had spread throughout the -surrounding country. He was probably the best fifer in northern Ohio. -It is said of him that he would rather fife than eat. He carried this -little instrument with him wherever he went and delighted to play -whenever chance offered. No patriotic gathering in or near Wellington -was considered complete without Mosher and his fife. He was intensely -patriotic, and even in his last illness deeply regretted being unable -to attend the celebration of the Fourth of July in his home town of -Wellington. - -He spent considerable time posing for Mr. Willard, and many photographs -of him were taken by Mr. William F. Sawtelle, a photographer of -Wellington, for use in Willard’s painting. Willard, however, could not -get satisfactory photographs of Hugh Mosher. This was before the day of -the quick-acting shutter. The cap of the camera could not be operated -quickly enough to get satisfactory expression. For this reason, poor -Hugh Mosher had to go to Willard’s studio and pose. In order to get the -proper expression, Mosher not only had to pose, but had to continue -fifing all the time he was posing. Willard had a habit of calling -attention to the peculiar way in which Mosher held his fife--with the -thumb out. - -The rumor is that after Willard had made his many and individual -studies of Mosher, that Mosher was unable to get to Cleveland to see -the finished canvas of “The Spirit of ’76.” He did not see it until he -visited the Centennial. - -At the Centennial there was always a crowd around the painting. Mosher -joined the crowd. While he thus stood before the picture, someone in -the crowd recognized him, and he was immediately given an ovation. - -One of the original sketches for the fifer, I believe, still exists. -It was in existence and exhibited in Cleveland, November, 1912. At the -same time also was exhibited a marble figure of the old drummer, -Willard’s father. - - - - -The Drummer Boy - -[Illustration: HENRY KELSEY DEVEREUX - -who posed for the drummer boy. From an original portrait taken about -1878] - - - - -The Drummer Boy--H. K. D. - - -In the original sketches for “Yankee Doodle,” Willard depicted three -grown men. When the humorous aspect faded from his conception, and -he decided to depict his father seriously, he conceived the idea of -including for his third figure a young lad instead of a grown man. In -this way, the picture would present three generations of patriots, -the grandfather in the center, the father at his side, and on his -right, the grandson looking up into grandpa’s face with confidence and -admiration. - -In 1875, there was organized in Cleveland, Brooks School, a preparatory -school for boys from ten years upward. It was so named after its -inceptor, the Reverend John Brooks, who lost his life in a most -tragic manner while in Boston to secure a principal for the school. It -was a military school. In 1876, it was domiciled in its building on -Carnegie Avenue (then Sibley Street) near the present East Thirty-sixth -street. The spirit of the boys in the school was very military. They -had for instructor the late Captain F. A. Kendall, who served with -distinction during the Civil War. Three companies composed the Brooks -School Battalion. The first company composed of the older boys; the -second, of the intermediate; and the third, of the smaller boys in both -age and stature. For some reason the third company, in competitive -drills, always won over the other two. This was due undoubtedly to -the natural sympathy older people always have for the younger and -smaller when in competition. I was captain of the Third Company and it -was my observation that the little fellows usually got most of any -sympathy being given, yet, too, it was a noticeable fact that they -tried harder, paid closer attention, and usually drilled more perfectly -than the older boys. On the sixth of March, 1876, the Brooks School -Battalion gave a competitive drill at their armory, in compliment to -the Cleveland Grays, and as may be guessed every boy was on his toes -to show the hero soldiers in gray what could be done. Mr. Willard, -desiring a subject to use in his picture as a drummer boy, attended -this drill. Why he selected me never has been explained to me. Maybe -an incident in the drill of the Third Company had its effect. Anyway, -to this day, although nearly fifty years have passed, recalling the -happenings of that day brings to me a thrill for the earnest effort -and perfection of drill of those little fellows. The two companies -of larger boys had passed through their drill in a way to please -everybody. When it came time for the little fellows to march out, -every boy was keyed to the limit. They went through the set maneuvers -perfectly and when about finished, it popped into my head to try -something very difficult that the others had not tried. Marching down -the side of the hall in column of fours, and wheeling to the left, at -the end I gave the order “fours left into line and forward guide right -double-quick march.” So perfect was the spacing between the fours that -they wheeled into line in perfect alignment, broke into double quick as -one, and went charging down the hall toward the spectators amid a burst -of applause. That settled the day and the Third Company retained the -honor of being the color company. - -One thing that likely intensified this military spirit among us was the -fact that just at this time there was on exhibition at Cleveland, a -panorama of the Battle of Lookout Mountain. It was a splendid picture, -aroused much enthusiasm, and the proceeds--in part at least--went to -pay for the completion of the soldier’s monument at Dayton. A select -squad from the Brooks School Battalion gave an exhibition drill in -front of the picture to help the entertainment. - -Shortly after this competitive drill, my father told me he had given -permission to Mr. Willard to use me as a model for the drummer boy in -his picture. I recall a feeling of resentment on my part for that meant -giving up afternoon play, a thing not to be contemplated with a feeling -of joy by any boy. However, paternal edicts generally prevail, and a -beginning was made by going down to Mr. Ryder’s gallery and posing -for a number of photos. This was followed by a number of visits to -Willard’s studio where hours were passed in rather a trying way for -a boy. Willard was very kind and thoughtful. He entertained me with -stories of the war, told me what was in his mind for the creation of -this picture, and often would let me rest and walk in front of the -picture to see what he had done. I can recall the enthusiasm of the -man. He worked as if possessed of an idea that pleased him, but which -he might lose. With watching him work and the picture develop, I too -soon became enthusiastic. I forgot that it was tiresome to stand on -one leg, and that bent, the other advanced, and the foot resting on an -inverted box, with the head twisted to one side and the eyes raised and -arms outstretched, although it was really very exacting of one’s temper -and strength. However, things progressed rapidly, and by the thirtieth -of March the picture was about finished, and I took my mother, at -Willard’s request to see it. I am sure she experienced the feeling -that thousands of our mothers have when they have seen their beloved -son marching off to war. And then the momentous day came when it was -rolled up and sent to the Centennial. - -That fall I went to the Centennial with my parents. We spent about two -weeks there. Almost every day I went into the Art Gallery to stand -before “The Spirit of ’76.” Each time I felt something aroused in me -that did not diminish by the frequent visits. It also was curious to -mark the effect on others. Always there was a crowd in front of the -picture and many if not most of the people had perceptible tears rise -to their eyes as they stood and gazed. Many actually cried, yet came -again and again to look with reverence on that canvas that pulsed so -much of American spirit. - -Later in life I stood before the picture again, where it now hangs in -Abbot Hall, Marblehead, Mass., for which town my father, Colonel John -Henry Devereux, bought the picture and presented it thereto. Then, -as before, not only to me but to all in the room, arose a feeling -of sentiment, a feeling of reverence, a feeling almost of awe that -made one instinctively bare one’s head and swallow the lump that will -sometimes come in one’s throat. - -It may be that enthusiasm borne of an intimate knowledge of the -creation of this picture makes me over-enthusiastic, but then and -afterwards, even to this day, when I learn how it holds the interest -of all that look at it, the belief is strengthened that the picture -was an inspiration, though it might be judged crude in execution by -artistic standards. I know little or nothing of art, nor does the -ordinary individual looking at a picture, but any one picture that can -so universally move the onlooker must convey something deeper than the -pigments on the canvas. The determination and fight depicted by the -old man in face and figure, without uniform, in shirt sleeves, coat -off, sleeves loose, vest open and shirt open at throat without collar -or stock is symbolical of the patriot ready to fight without purchase -or thought of anything but the cause at heart. The fifer, a touch of -humor for his, a humorous face, his fringe of whiskers, but a bandage -about his head on which blood shows, a twinkle in his eye, but a set -look on the face and a decided poise in the figure marching to his own -fife music. The boy fresh from a loving mother’s care and carefully -uniformed, his eyes fixed upon his adored grandsire that he may do all -that this loved, brave, and loyal man is determined to do. The wounded -soldier in the foreground, his head pillowed on the shell-shattered -wheel of a cannon, with heart and strength enough left to raise his cap -in salute to “Old Glory.” Over them all the flag of freedom, the stars -and stripes, back of which come the first line of cheering patriotic -troops entering action. It tells the story of the old way, and of the -spirit and determination when men fought face to face, each individual -a fighting machine to fight for love of country and freedom. - -The flag is really an anachronism, as although it depicts the thirteen -stripes and the thirteen stars on a blue field, it was not until June, -1777, that the United State Congress really accepted this design, and -Betsy Ross made the first flag with these emblems. - -The painting created little or no stir among the art critics and -connoisseurs. It was not painted for such. The painting was a patriotic -human document that reached the hearts of millions and will for -centuries to come be an inspiration to further millions yet unborn. - -Archibald M. Willard has passed. He may not be classed as a great -artist but in the “Spirit of ’76” he painted himself into everlasting -fame. - - - - -An Early Account - -[Illustration: THE REVEREND SAMUEL WILLARD - -who posed for the central figure in the painting] - - - - -An Early Account by J. F. Ryder - - -The conception and purpose of the artist and his adviser cannot be -better interpreted than in Mr. Ryder’s own words, written many years -ago. - -“The idea of the artist in painting the picture was to concentrate all -the determination and enthusiasm possible in a few figures. No field -afforded a better subject than the Revolution, with its determined old -heroes and the air of ‘Yankee Doodle’ to rouse them to the highest -pitch of enthusiasm. - -“The three chief figures meet all the requirements of the situation and -are in true keeping with the surroundings. Over them lower the clouds -of smoke from a battle-field toward which they are marching. Behind -them a few brave Continentals struggle up the hill, while by the side -of a dismantled cannon lies a wounded soldier who raised himself on his -elbow to give a last cheer to the stirring strains of ‘Yankee Doodle.’ -The lines have evidently been forced back. The dying soldier and the -broken cannon show where the line has stood. The other soldiers have -been retreating. But the three musicians advance, and the sound of -their music thrills the retreating troops with new courage. Hats are in -the air; the flag has turned; the threatened defeat is about to become -a victory. The dying man raised himself to cheer. The trio of homespun -musicians are discoursing with all their might that music whose -shrill melody is so surcharged with patriotism. The old drummer in -the centre, bare-headed, grand in his fearlessness, without coat, one -sleeve rolled up as though he had turned from the plough to grasp the -drumsticks, his white hair blown in the air, his eyes set close and -defiant as though he saw the danger and feared it not, the sharp lines -about his mouth showing a fixed determination--all combine to make up -that wonderful figure in our history which no rags could degrade nor -splendor ennoble--the Continental soldier. - -“On the left of the brave old drummer is the fifer who seems to have -come to blow his fife, and he will do it as well here among the flying -bullets as in the porch of his cottage. His eyes are fixed toward the -sky as though reading the notes of his music on the clouds. Around his -brow is a blood-stained handkerchief, which tells of the bullet which -grazed yet spared him. His whole energy is poured into the reed at his -lips, and one can almost hear the shrill notes of ‘Yankee Doodle’ above -the noise of battle. - -“On the right of the old man marches a boy, hardly in his teens, -whose drum keeps time to the beat of the other. His face is upturned -to the old man, as though he were his grandfather, as if to question -perhaps the route or the danger ahead, but still with a look of rapt -inspiration. No shade of fear lurks in his calm eyes, while the -‘rub-a-dub’ of his little drum sounds as clear and distinct as the -heavier roll of the aged drummer. - -“The entire group is conceived with a fervid sympathy which makes -the observer concede sure victory to the combatants; victory also to -the artist. The man who had carried the stars and stripes, marching -under the same thrilling tune, put his heart into the picture. The -work was an inspiration. Mr. Willard had no thought of depicting three -generations of one family, but the inference is so natural that he has -cheerfully adopted it. - -“The canvas is large and figures are heroic in size. When finished, the -picture was placed in the show window of my art store in Cleveland. The -crowds which gathered about it blockaded the entrance to the gallery -and obstructed the sidewalk to such an extent that it was necessary -to remove it from the window to the rear of the store, where it was -on exhibition for several days, during which time all business in the -store was discontinued on account of the crowds which filled the place. -The interest and enthusiasm which it created were remarkable. The late -Right Reverend Bishop Bedell was a daily visitor and frequently spent -an entire half day, so deeply was he impressed. - -“The painting was finally sent to the Centennial Exposition at -Philadelphia and prominently placed in Memorial Hall, where it created -a notable interest throughout the Exposition. After which by earnest -request it was taken to Boston and exhibited for several weeks in the -Old South Meetinghouse. Thence it was taken to the Corcoran Gallery at -Washington, thence to Chicago, San Francisco, and other cities, always -by request--so great was the desire of the public to see the painting -which had aroused such enthusiasm in the hearts of a patriotic people. -At last it found a permanent home in Abbot Hall at Marblehead, Mass., -the gift to that old town of the late General J. H. Devereux, who -purchased it from Willard to present it to the town of his birth. It -stands in the old hall which breathes of historic patriotism. It is the -pride of the people of Marblehead and of all Americans who visit it. - -“Pictures have been painted by artists of great skill, possessing -qualities of technique of method, valuable beyond the works of other -artists; pictures which give pleasure to experts and connoisseurs. In -the midst of such works ‘The Spirit of ’76’ stands. The eye wanders -from these works of great technique, and is awed by the grandeur of the -old man, by the force of the fervid and devoted group, by the spirit -which invades the whole. Mr. Willard with his powerful but, perhaps, -less finished touch did more than please the eye of experts; he stirred -the heart of a nation.” - - - - -Preliminary Sketches -and Replicas - -[Illustration: THE FINAL PRELIMINARY CRAYON STUDY SKETCH - -Showing one of the stages in the evolution of the finished painting. -Believed to be the only study sketch now in existence] - - - - -The Preliminary Sketches and Replicas - - -A number of preliminary sketches were made. Of these, I believe, -only one is now in existence. It is owned by the Reverend William E. -Barton of Oak Park, Illinois, who was formerly pastor of the First -Congregational Church at Wellington, Ohio. It came into Doctor Barton’s -possession in the following manner. In the preparation of his early -sketches for the preliminary groupings, Mr. Willard was assisted by -Mr. William F. Sawtelle, a photographer of Wellington. Willard gave -this original crayon sketch to Mr. Sawtelle. Mr. Sawtelle preserved -it, expecting to pass it on to his son. His son died. Mr. Sawtelle was -a member of Doctor Barton’s church. Upon the death of his son, Mr. -Sawtelle gave this crayon sketch to Doctor Barton. This original rough -sketch embodies essentially the ideas wrought out in the oil painting, -but naturally it is rough and unfinished. The drummer boy is a head -shorter. His face is in the shadow. The dying man is much too prominent -in the foreground, a mistake which Willard later corrected. Apart from -these points, it lacks altogether the spirit and inspiration which -Willard worked into his finished painting. - -Apart from the preliminary sketch referred to in the preceding -paragraph, Doctor Barton possesses an original painting of “The Spirit -of ’76” made by Mr. Willard. This Willard executed in oils and in size -thirty-four by twenty-eight inches. This painting was made in 1916 and -really constitutes the third and last original painting of “The Spirit -of ’76” made by Mr. Willard. The original and the Cleveland replica -are full size. This third painting is really executed in miniature. -Willard did not attempt to make an exact copy; hence, in this small -painting there are many variations from the two larger paintings. -It was presented to Doctor Barton. It was painted by Mr. Willard to -replace a large photograph of “The Spirit of ’76” which was hanging -in Doctor Barton’s home during one of Mr. Willard’s visits. Doctor -Barton’s home then being in Oak Park, Illinois. The Reverend William -E. Barton was for many years a close personal friend of Mr. Willard, -and conducted his funeral services. Mr. Willard died at 4933 Holyoke -Avenue, Cleveland, October 11, 1918. The funeral services were held in -Cleveland, but the burial was in the Willard lot, among his old friends -at Wellington, Ohio. - -Doctor Barton also possesses probably the only original sketch made -to convey Willard’s original conception of what he intended to call -“Yankee Doodle,” the idea of which was entirely changed after he met -and talked with Ryder, and a patriotic instead of a humorous conception -was decided on. Doctor Barton had asked Willard if he had any of -his first sketches that were humorous, to which Willard had replied -that he had not preserved any of these. Doctor Barton then asked him -whether he had the original idea of the Fourth of July celebration -which he had intended to call “Yankee Doodle” sufficiently in mind to -make for Doctor Barton a sketch which would embody Willard’s original -conception for the painting. Willard replied that he had this original -idea well in mind and would be glad to make for Doctor Barton a crayon -sketch thereof. A little later Willard made this and in sending this -to Doctor Barton, with characteristic humor entitled it “The First -Sketch that was made Last.” This sketch does not typify “The Spirit of -’76.” It is merely the forerunner out of which “The Spirit of ’76” was -evolved. It is strictly a humorous sketch of Fourth of July musicians -marching. The wonderful inspiration developed in “The Spirit of ’76” is -entirely lacking. This Willard made for Doctor Barton in 1898. - -In 1912 a replica of “The Spirit of ’76” was made by Willard himself. -Willard was then 76 years of age. This replica was executed for the -City of Cleveland as a special Commission. This is located in a -prominent place in the new City Hall at Cleveland. It is fitting that -this replica should be available in Cleveland where “The Spirit of -’76” was conceived and executed by a Cleveland artist and painted -from Cleveland and northern Ohio subjects. This replica naturally is -not as well executed as the original. This would be almost impossible -at Willard’s then advanced age. In this replica Willard incorporated -a number of changes. The coloring is different. He changed the -arrangement of the stars from a circle of thirteen stars to a circle -of nine with four stars in the center. He moderated the stride of the -men. He changed the wounded soldier in the foreground to a more upright -position. He changed the drummer boy. The drummer boy who posed in -the Cleveland replica was Willard’s grandson, Williard Connelly, a -Cleveland Central High School boy. - -In 1917, another artist, James M. Flagg, painted a picture which -he entitled “The Spirit of 1917” for which he took Willard’s idea, -painting the men to look younger and putting them into modern -uniforms, making a few other changes and then taking credit for having -originated the picture. - - - - - Five hundred copies of this volume were privately - printed, on Alexandra handmade paper, by The - Arthur H. Clark Company at Cleveland - in the month of April, 1926 - - * * * * * - - - - - Transcriber’s note - - Obvious typographical errors have been corrected. 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