PAINTINGS BY JOHN ‘PRUMBULL AT YALE. UNIVERSITY JOHN HILL MORGAN ag PAINTINGS BY JOHN TRUMBULL AT YALE UNIVERSITY Re ‘ei a. oe nh PAGS <4 (ea GENERAL GEORGE WASHINGTON AT THE BATTLE OF TRENTON. PAINTINGS BY medN TRUMBULL mel elt CUNY ER ST InyY OF HISTORIC SCENES AND PERSONAGES PROMINENT IN THE AMERICAN REVOLUTION BY JOHN HILL MORGAN B.A. 793, LL.B. ’96 AUTHOR OF “EARLY AMERICAN PAINTERS,” “AN OUTLINE OF THE LIFE OF GILBERT STUART, ETC. | NEW HAVEN PUBLISHED FOR THE ASSOCIATES IN FINE ARTS AT YALE UNIVERSITY BY THE YALE UNIVERSITY PRESS 1926 © Copyright 1926 by Yale University Pree Printed in the United States of America | an . ‘ \ ge >? re ai ~~ * ad i ” 4 | wil ? ve aa r ee Pos) bay if 7 - 4 xs Pe ‘ : ; or , erg. | j e ry - sa ad A a Pe aT 7 a J . A ~~ = - CONTENTS Sketch of the Life of John Trumbull and of His Histori- cal Paintings Description of and Notes on the Historical Paintings in the Trumbull Gallery The Trumbull Miniature Portraits . Notes or . } vr ; ILLUSTRATIONS General George Washington at the Battle of Trenton . frontispiece John Trumbull et. 25, - Gilbert Stuart . facing page 13 John Trumbull et. 76, by Waldo and Jewett 16 The Trumbull Gallery 20 The Battle of Bunker’s Hill Xl The Death of General Montgomery, in the Attack of Quebec 31 Original Composition for the Battle of Princeton 35 Declaration of Independence 227 Capture of the Hessians at Trenton 45 Death of General Mercer, at the Battle of Princeton AQ Surrender of General Burgoyne . oe Surrender of Lord Cornwallis i Sketch of Scene of the Surrender of Lord Cornwallis 60 Resignation of General Washington . 63 George Washington as President 66 Five Miniature Portraits . mil Five Miniature Portraits . 72 Five Miniature Portraits of Women 74 Major John André . 84 5 » » | ~e a | - v4) en ’ £ ry 7 — here ae) Dy Vas ee. oS ee v - = > ia ¥ y bet fee a" é 7 as ' 7 i oe n a) ~ ad " ‘aby i? j > f “7 : Ay, ae c p be a li 7 " : Pi h ; i ¥ 7 , 4 . f a. ‘ ! » + 4 . — ; * ¢ ; ye Pod : bin * = x Firsr of all, then, I have to tell you, as a fact of personal experience, that in all my poor Historical investigations it has been, and always is, one of the most primary wants to procure a bodily likeness of the personage in- quired after; a good Portratt if such exists; failing that, even an indifferent if sincere one. In short, avy representation, made by a faithful human crea- ture, of that Face and Figure, which he saw with his eyes, and which I can never see with mine, is now valuable to me, and much better than none at all... . . Often I have found a Portrait superior in real instruction to half a 2, dozen written ‘‘Biographies,”’ as Biographies are written. THomMas Car- 5) o LY LE. / FROM A LETTER DATED CHELSEA, 3D MAY 1854, TO DAVID LAING, ESQ. PRINTED IN THE Proceedings of the Society of Antiquaries of Scotland, vor. I, PART 3. JOHN TRUMBULL ALT. 25. FROM THE PORTRAIT BY GILBERT STUART IN PILGRIM HALL, PLYMOUTH, MASSACHUSETTS. (SEE NOTE C.) JOHN TRUMBULL AND HIS HISTORICAL PAINTINGS AT YALE UNIVERSITY. Joun TRUMBULL, the historical painter of the American Revolution, was born in Lebanon, Connecticut, on June 6, 1756, the son of Jonathan Trumbull and Faith Robinson. His father (Harvard, 1727) became fa- mous as “Brother Jonathan,” Revolutionary Governor of Connecticut. The painter was also a graduate of Harvard, entering the class of 1773 in the Junior year. Trumbull early in life evidenced an interest in painting and shortly after reaching Cambridge made the acquaintance of John Singleton Copley, then the leading portrait painter in the Colonies. His own account of his intro- duction is as follows: We found Mr. Copley dressed to receive a party of friends at dinner. I remember his dress and appearance—an elegant looking man, dressed in a fine maroon cloth, with gilt buttons—this was dazzling to my unpracticed eye!—but his paintings, the first I had ever seen deserving the name, riveted, absorbed my attention, and renewed all my desire to enter upon such a pursuit.* After graduation, Trumbull taught school for a winter in Lebanon, but continued his study of painting, and quite naturally following the lead of his father, became deeply interested in the dispute between Great Britain and her Colonies. At the outbreak of the Revolution, Trumbull marched to Boston under the command of Gen. Joseph Spencer, as Adjutant of the 1st Regiment of Connecticut troops. Stationed at Roxbury, he witnessed the Battle of Bunker’s Hill from that place. He came to the attention of General Wash- ington by drawing a plan of the enemies’ works in front of the position of the Revolutionary Army on Boston Neck, and was shortly thereafter ap- pointed his Aide-de-Camp.f In June of 1776 upon the assumption by Gen- eral Gates of the command of the Army in the Northern Department, Trumbull was appointed his Adjutant. After service at Crown Point and * Reminiscences of His Own Times from 1756 to 1841, by Col. J. Trumbull, New York, 1841, p. 11. + The General Order is dated July 27, 1775. i4. THE PAINTINGS OF JOAN TREMEU ee Ticonderoga, he resigned on February 22, 1777, because his commission was dated the 12th of September instead of the 28th of June, 1776, the date of his appointment by General Gates. Trumbull resumed his pencil and, moving to Boston, hired as a studio the painting room built by the Colonial artist, John Smibert. He found still there “several copies by him from celebrated pictures in Europe, which were very useful to me.”’* With the exception of a short term of service as volun- teer Aide-de-Camp to General Sullivan in Rhode Island, Trumbull re- mained in Boston until the autumn of 1779 when he determined to go to England for study under Benjamin West, then the leading historical painter in Europe. Trumbull reached London in July of 1780 and presented to West a letter of introduction from Benjamin Franklin. He began work immedi- ately, occupying a painting room with Gilbert Stuart, who was a student under West at the time. Trumbull was arrested on November 18, 1780, upon the arrival of news in London of the treason of Benedict Arnold, as a reprisal for the hanging of Major André. He was incarcerated in Tothill-fields, Bridewell, until June, 1781, when he was released upon condition that he leave the king- dom, West and Copley, the two famous American painters then living in London, acting as his sureties. Trumbull returned to London in 1784 to complete his studies under West, and his influence can be clearly seen, as Trumbull says that it was during this period that he began to meditate seriously the subjects of national history, of events of the Revolu- tion, which have since been the great objects of my professional life.f The desire to be an historical painter would naturally be stimulated by the example and success of West and Copley, and Trumbull’s ambition finally crystallized into a determination to become the painter of the American Revolution, and several of his historical paintings were begun and two finished in West’s studio. Meeting Thomas Jefferson in London in the summer of 1785, upon his invitation Trumbull later visited Paris, and there submitted to him his two * Reminiscences, op. Ccit., pp. 49, 50. Tal Cid DO pecteeeaIVNIINGS OR JOHN TRUMBULL 15 finished paintings, ‘““The Battle of Bunker’s Hill” and “The Death of Gen- eral Montgomery at Quebec,” and both Jefferson and John Adams, then Minister to Great Britain, advised with Trumbull and assisted him in selecting ten additional events to be painted.* all about the same size—and Of this number Trumbull completed eight these are now in the possession of Yale University. The sketch for ‘““The Declaration of Independence” was made at Jeffer- son’s house in the Grille de Chaillot in 1786 with the assistance of his ‘‘in- formation and advice.’ Returning to London, Trumbull completed the composition of “The Declaration of Independence,” “The Surrender of Lord Cornwallis,” “The Battle of Trenton,’ and ‘“The Battle of Prince- ton” while in West’s studio, leaving out the heads, however, which were to be filled in from life as the chance might be afforded. Thus, the head of John Adams was painted into “The Declaration of Independence” in Lon- don in the summer of 1787, Trumbull saying that just before Adams left the Court of St. James’s he had the powder combed out of his hair. Its color and natural curl were beautiful, and I took that opportunity to paint his portrait in the small Declaration of Independ- ence. In the autumn he again visited Jefferson and there painted his portrait into the same canvas, and the portraits of the French officers in “The Sur- render of Lord Cornwallis” “were painted from life in Mr. Jefferson’s house.’ Apparently he also left certain details in the backgrounds to be finished later from sketches made on the spot. As Congress was to assemble in New York in December of 1789, Trum- bull journeyed thither to pursue this work, and in that city he had sittings from Washington, and likewise painted the portraits of many distinguished characters into the canvases which had been begun, and later he traveled throughout the country on the same errand.§ In addition he painted many small portraits in oil on wood to be used in the scenes determined upon but not yet designed, and Yale possesses fifty-eight miniature portraits most of which were painted with this end in view. He also visited and sketched * Reminiscences, op. cit.. pp- 93-95. The list agreed upon is given in the Introduction to Trumbull’s Catalogue of 1841. + Ibid., p. 147. Pid aDd 5 le § Ibid., pp. 163-165. 16 THE PAINTINGS OF JOHN TRUMBULL historic places so that he might become familiar with the actual setting of the events he was depicting. During these years (1789-1794) Trumbull lived, for the most part, in New York City, supporting himself by painting portraits while seeking in vain to obtain the financial backing of the Government for his project. The portraits of this period, when Trumbull was fresh from six years’ study abroad, at least three of which were passed under the instruction of West, are his best work and will take rank equal with examples of any American painter of the time, Gilbert Stuart alone excepted. Failing to obtain Government support, Trumbull accompanied John Jay to London in May, 1794, and acted as his secretary while he was negotiat- ing the treaty with Great Britain, famous in our history as ‘‘Jay’s Treaty.” In 1796 he was appointed one of the commissioners to carry out Article Seventh of that Treaty and remained about eight years in London engaged in this important work. Trumbull resumed his residence in New York in 1804 and sought to re- gain his place as a portrait painter, but his ten years of foreign service, dur- ing which time he exercised his talent but seldom, seem to have robbed his hand of much of its cunning. A few of the portraits of this period (1804- 1808) evidence his capacity and early training.* Trumbull attributed his lack of success to the embargo placed by President Jefferson, in the autumn of 1808, on all commerce which accomplished its destruction and which he says threatened “the prosperity of those friends from whom I derived my subsistence,”’+ but it almost seems as if his genius had flared for a few brief years and then gone out forever, so marked is the division between the work of his youth and that of later life. In any event, he once more sailed abroad, landing at Falmouth January 9, 1809, and, caught in England at the outbreak of the War of 1812, he was forced to remain there until August of 1815. The Capitol at Washington having been partially destroyed by the Brit- ish in 1814, Trumbull saw the opportunity in its restoration of realizing his ambition and he applied for the commission to decorate the Rotunda with enlargements from his small originals. For this purpose several of the can- * See the portrait of Robert Benson in the N. Y. Historical Society signed “Trumbull Pinxit 1804.” + Reminiscences, op. ctt., p. 246. JOHN TRUMBULL ZT. 76. FROM THE PORTRAIT BY WALDO AND JEWETT IN THE YALE SCHOOL OF FINE ARTS. 18) SRE SPALNTING S(O Fey Over VeVi ene vases now owned by Yale University were exhibited in the House of Repre- sentatives in 1816 and as a result a resolution passed both houses of the Congress to employ Trumbull to execute four paintings Commemorative of the most important events of the American revolution, to be placed, when finished, in the Capitol of the United States.* The choice of the subjects, and the size of the paintings, were left to the President. Trumbull tells of his interview with Madison, in which the President first suggested the Battle of Bunker’s Hill as one subject, but as only four of his paintings had been ordered, he recommended “The Surrender of General Burgoyne,” ‘““The Surrender of Lord Cornwallis,” ‘““The Declara- tion of Independence,” and ‘“The Resignation of Washington.” These were finally selected by President Madison and Trumbull engaged for the sum of $36,000 to enlarge them to a size eighteen feet by twelve, with life-size figures. Trumbull first enlarged ‘““The Declaration of Independence” and, when finished, exhibited it during the years 1818-1820 in several cities of the United States with great success. Dunlap, in the first book on the subject of American art, says of this painting: Public expectation was perhaps never raised so high respecting a picture, as in this case; and although the painter had only to copy his own beautiful original of former days, a disappointment was felt and loudly expressed. Faults which escaped detection in the miniature, were glaring when magnified—the tone and the coloring were not there—attitudes which appeared constrained in the original, were awkward in the copy —many of the likenesses had vanished.t * Reminiscences, op. cit., p. 262. Trumbull wrote Jefferson on December 26, 1816: “The Decla- ration of Independence is finished—Trenton Princeton and York Town which were long since finished & engraved—I shall take them all with me to the Seat of Government, in a few days that I may not merely talk of what I will do but show what I have done.” + It was exhibited in New York from October 5 to November 7, 1818, to 6,375 visitors; in Boston from November 30 to December 19, 1818, to 6,395 visitors ; in Philadelphia from January 12 to January 23, 1819, to 5,198 visitors; and in Baltimore from February 2 to February 13, 1819, to 2,734 visitors. From Trumbull’s Account Books in the possession of The Fridenberg Galleries, New York. t History of the Rise and Progress of the Arts of Design in the United States, William Dun- lap, New York, 1834, Vol. I, p. 376. John Quincy Adams has left us also his unfavorable criticism of the enlargement. Under date of September 1, 1818, he wrote in his diary: “Called about eleven o’clock at Mr. Trumbull’s house, and saw his picture of the Declaration of Inde- Bote PALV TING SsOr JOHN TRUMBULL 19 “The Surrender of Cornwallis” was enlarged next and in turn was ex- hibited in New York, Boston and Baltimore in 1820. “The Surrender of General Burgoyne” and “The Resignation of Wash- ington” were enlarged from compositions painted at about this time, now owned by Yale, and the four enlargements installed in the Rotunda of the Capitol in Washington under Trumbull’s supervision in 1824. In considering Dunlap’s severe criticisms on the enlargements now in the Capitol, it must be borne in mind always that he was extremely hostile to Trumbull, and yet accuracy requires agreement with his conclusions. The truth is that Trumbull was a first class painter in miniature. His small por- traits are in oil on canvas or on wood, and his work in this field is excelled only by some of the miniatures by Malbone, and equaled only by the best work of Fraser and Trott. Some of his life-size portraits done before 1794 (when he left painting for diplomacy) will stand the severest test, but when, however, in 1816, at the age of sixty, he undertook to enlarge his small originals, twenty by thirty inches, toa size twelve by eighteen feet, the result bears silent witness to the fact that he had had no training in this branch of art and for twenty years before he had been at the most an un- successful painter. It must be borne in mind also that the criticisms of Dunlap and other writers are solely directed at the enlargements and all agree on the beauty and value of the small canvases.* The paintings in Washington cannot be used, therefore, as fair examples of the art of John Trumbull, but his reputation must stand upon the original compositions at Yale. The importance of the canvases and miniatures in the Trumbull Gallery lies in the fact that they are original portraits from life and are the work of Trumbull’s early and brilliant youth and in a field in which he excelled, while the enlargements therefrom are the work of his declining years. Trumbull attempted in vain to induce the Government to commission him to fill the remaining panels of the Rotunda, and failing this to sell his pendence, which is now nearly finished. I cannot say I was disappointed in the execution of it, because my expectations were very low; . . . I think the old small picture far superior to this large new one.” * Dunlap says: “The pictures of the Battle of Trenton and Princeton, are among the most admirable miniatures in oil that ever were painted. The same may be said of the portraits in the small picture of the ‘Surrender of Cornwallis,” op. czt., Vol. I, p. 361. 20 JHESPAINTINGS Ol Hig tia ie tee collection of Revolutionary portraits to the nation, but his impaired health and failing powers brought him into evil times, wherein at last he sought another way by which to use his early work to furnish support for his old age. Trumbull tells us, in his Remménéscences, the pathetic story of how when funds began to diminish he was forced to sell ‘‘scraps of furniture, frag- ments of plate, etc.,” and of how many pictures remained on his hands un- sold, and to all appearance unsaleable. It occurred to him that although “the hope of a sale to the nation, or to a state, became more and more desperate from day to day,” yet some private institution might be willing to possess the paintings, making payment therefor by a life annuity. He first considered his alma mater, Harvard, but finally chose Yale, as she was within his native state and poor, for Trumbull, throughout his life, ap- preciated the importance of his Revolutionary portraits and never wa- vered from the conviction that some day their great historic value would be recognized, and he believed that their exhibition would be a source of reve- nue to the College. The matter was suggested to the Trustees of Yale Col- lege by a friend, and a contract, dated December 19, 1831, signed, by which Trumbull, in consideration of an annuity of $1,000, in addition to the miniature portraits of persons distinguished during the Revolution, and certain copies of old masters, deeded to Yale the Eight original paintings of subjects from the American Revolution, v7z., 1. The Battle of Bunker’s Hill. The Death of General Montgomery at Quebec. The Declaration of Independence. The Battle of Trenton. The Battle of Princeton. . The Surrender of General Burgoyne, The Surrender of Lord Cornwallis. Washington resigning his Commission.* DAYAR HO p Yale College bound herself to erect a fireproof building for the reception of the paintings, of such form and dimensions as Trumbull should approve, and after the paintings were arranged that they should be exhibited and the profits first applied to the payment of the annuity, and all the profits after his death * Reminiscences, op. cit., pp. 289-293. ‘to6l NI GAHSITIOWAC ‘7&8t NI AOATION WIVA AM CALOANA AYHTIVO TINGNOWL AHL 22 “TH EaPAINGIN GSO fed Olli belgie ees perpetually appropriated towards defraying the expenses of educating poor scholars in Yale College, under such regulations as the said President and Fellows, and their suc- cessors, shall from time to time see fit to make.* Trumbull afterward superintended the building of the Trumbull Gal- lery, which stood upon the Yale Campus until the year 1901. He made, later, several additions, so that the Gallery in 1841, when he wrote his Reminiscences, contained, in addition to the miniatures, fifty-five pictures by my own hand, painted at various periods, from my earliest essay of the “Battle of Canne,” to my last composition, the “Deluge,” including the eight small original pictures of the American Revolution, which contain the portraits painted from life.f It is true that Trumbull chose to depict in ““The Battle of Bunker’s Hill,” and in ‘“The Death of General Montgomery at Quebec,” the success of our foes, and in regard to ““Bunker’s Hill” he is said to have adopted the British rather than the American account of the battle. At the same time, these can- vases contain portraits from life painted by one of the first painters of the age, aman who had served in the Revolution and who was familiar with the scenes of action. It is fair to state that the large majority of the people of the United States think of the Battle of Bunker’s Hill and the Declaration of Independence only in terms of Trumbull’s compositions, so universal has been their use to depict these events in our history. Nowhere else but at Yale can be found likenesses of many of the actors in these scenes, and nowhere else but at Yale can be found together so many original portraits of persons prominent in the Revolution. For the student of American history who seeks to learn what manner of men these were, the Trumbull canvases and miniatures, containing about two hundred and fifty portraits, are the most important source of original information that exists. * Reminiscences, op. cit., pp. 289-293. “The Receipts from the exhibition of the paintings for the year 1832 were $930, and for the year 1833, $847.” Report of the Treasurer to Trumbull. (Yale University Library.) + Reminiscences, p. 293. + Trumbull in writing to Jefferson of his qualifications to paint the scenes of the Revolution, quite rightly stated that “some superiority also arose from my having borne personally a humble part in the great events I was to describe. No one lives with me possessing this advantage, and no one can come after me to divide the honor of truth and authenticity, however easily I may hereafter be exceeded in elegance.” Letter to Jefferson, June 11, 1789. WneePAIVERINGS Oh JOHN TRUMBULE 22 In closing his Reménéscences Trumbull says, Thus I derive present subsistence principally from this source (7.e., the annuity from Yale) and have besides the happy reflection, that when I shall have gone to my rest, these works will remain a source of good to many a poor, perhaps meritorious and ex- cellent man. In considering the misfortunes of Trumbull’s latter years, it is at least a satisfaction to know that Yale made these years comfortable and in return received from him a great inheritance. Trumbull died in 1843, and was in- terred on the Yale Campus under the building which contained so much of the important work of his long life covering a span of eighty-eight years. There was an inscription over his tomb which read: Cot. JOHN TRUMBULL, Patriot and Artist, Friend and Aid OF WASHINGTON, Died in New-York, Nov. 10, 1843, LE. 88. He reposes in a Sepulchre Built by himself, beneath THIS MONUMENTAL GALLERY ; where in Sept. 1834, He deposited the remains of SARAH his WIFE, who died in N. Y. Apr. 12, 1824, AL. 51. To his Country he gave his SWORD and his PENCIL. In the passing of the years the ‘“‘monumental gallery” has vanished, but Trumbull’s fame rests on firm foundation in the work of his hand which Yale possesses. THE TRUMBULL GALLERY In 1841 Trumbull published a catalogue of his works then exhibited in the “Gallery of Yale College, New Haven,” and in the introduction ex- plained the purpose of their painting, a part of which is as follows: In submitting to the view of the public the series of paintings, commemorating impor- tant events of the American Revolution, the consideration, that an entire generation of men have passed away since the enterprise was commenced, and that very few are now living who were actors in the scenes represented, renders it proper to give some historical account of their origin, in order to establish their claim to authenticity in view of posterity. . Ardently anticipating the vast consequences of the Revolution, and the future great- ness of his country; and having a natural taste for drawing, in which he had already made some progress, . . . Colonel Trumbull resolved to cultivate that talent, with the hope of binding his name to the great events of the time, by becoming the graphic his- toriographer of them, and of his early comrades. With this in view, he devoted himself to the study of the art of painting, first in America, and afterwards in Europe; and in the year 1786, he produced in London his first considerable historical work, the death of General Warren at the battle of Bunker’s Hill. (No. 3 of this collection.) . . . Several of the compositions were immediately studied and prepared for the future in- troduction of the intended portraits, particularly the Declaration of Independence; so that, before the two great men above named (John Adams and Thomas Jefferson), re- turned to the United States, from their respective embassies, their portraits were painted in the work now submitted to view, (No. g)—the one in London, the other in Paris. The portraits of the French officers in the picture of the Surrender of Lord Cornwallis, (No. 29) were also painted from life, in Paris, in the house of Mr. Jefferson in the year 1787. After the present constitution of the United States had been adopted, the artist, in the autumn of 1789, returned to America, to pursue his work. He found Congress as- sembled in New York, then the seat of government; and, having procured the por- traits of General Washington, and of many other distinguished characters, in the several compositions for which they were intended, he afterwards travelled through various parts of the country, from New Hampshire to South Carolina, in search of others; and in 1794, had nearly completed the collection of portraits, views of places, and all the various materials necessary to the execution of his entire plan. During this period the work attracted much attention, and was generally approved. All saw the correctness of the portraits; many knew the accuracy of the circumstances recorded: and it was proposed to employ the artist to execute the entire series for the nation. This proposal failed to be carried into effect; not through any opposition from “SLL1 ‘Lt ANOS “TTIH SMANNOG AO ATLLVE AHL foeeiarV NGS OF JOHN TRUMBULL 27 any quarter to the propriety and fitness of the object, but because the nation then possessed no building proper to receive and preserve such works; and because doubts existed then, as they have since, in the minds of some gentlemen, whether Congress possessed the right of appropriating the public money to such purposes. In the meantime the French revolution had commenced, and its subsequent convul- sions diverted the attention of all mankind, during many years, from the fine arts, and from all the works and thoughts of peace; and the further prosecution of this object was suspended, until the government of the United States, in the year 1816, were pleased to pass a resolution, authorizing the artist to execute four of the subjects for the nation—just thirty years after he had painted the “Battle of Bunker’s Hill.” The following description of the scenes of Trumbull’s historical paintings are from his catalogue of 1841. His numbering has been continued and notes added: “No. 3.—THE BATTLE OF BUNKER’S HILL.—June 17, 1775.” Painted by Trumbull in the studio of Benjamin West, London. Finished March, 1786.* On canvas twenty-five by thirty-four inches. . . This painting represents the moment when (the Americans having expended their ammunition) the British troops became completely successful and masters of the field. At this last moment of the action, Gen. Warren was killed by a musket ball through the head. The principal group represents him expiring; a soldier on his knees supports him, and with one hand wards off the bayonet of a British grenadier, . . . Col. Small . . . is represented seizing the musket of the grenadier, to prevent the fatal blow, . . . Near this side of the painting is seen General Putnam, reluctantly ordering the retreat of these brave men; . . . Behind Col. Small is seen Col. Pitcairn, of the British marines, mortally wounded, and falling in the arms of his son, . . . Under the heel of Col. Small lies the dead body of Col. Abercrombie. Gen. Howe, who com- manded the British troops, and Gen. Clinton, . . . are seen behind the principal group. (From Trumbull’s Catalogue, 1841.) The following list is taken from the Key sold with the engraving by J. G. Miller. [Published March, 1798, by A. C. de Poggi, No. 91 New Bond St., London | : * Trumbull’s Account of Paintings in the Yale University Library. KEY TO THE BATTLE OF BUNKER’S HILL. (See p. 29.) meeeAIVIINGS OF JOHN TRUMBULL 29 AMERICANS BRITISH *1. Gen! Warren *11. Gen! Howe sso Putnam ma 9 Fe Clinton 3. Col’ Prescott Tee OleADerer Oi ilcmemes sos wen ate marhed wet) as tay G d > M ar Pi ; PES oe erick ST saree aes 4 i ar oued 14. ou itcairn randums of Men who were either ie Lieut Col! Parker ss Small distinguished or killed, or wounded ‘ in the Action; and of whom no ac- 6. Maj’ Knowlton *16, Lieut Pitcairn tual Portrait could be obtained. McCler 17. Ens? Lord Rawdon y 8 Moore (now Earl Moira) g. Lieu’ Grosvenor 10. Rever? M*® M°Clintock From what source Trumbull obtained the likeness of General Warren is not known. It is probable that he copied the portrait by Copley. The portrait of General Putnam resembles Trumbull’s pencil sketch of him sold at the Silliman sale (No. 37).* The portraits of the British officers, Howe, Clinton, and Small, were painted in London between 1784-1786 either from life or from portraits by others. The portrait of Major John Pitcairn was painted from “‘his son Dr. Pitcairn of London” in 1786 and Trumbull’s portrait in pencil of him was included in the Silliman sale (No. 47). The portrait of Lieutenant William Pitcairn was probably done from life. A sketch in sepia and wash, five and one-half by eight and one- eighth inches, endorsed “J. Trumbull. Death of Gen. Warren at Bunker’s Hill June 17, 1775. Painted 1785 & 6,” a pencil sketch and a sketch in de- tail in sepia wash and pencil, were Nos. 1, 2 and 3 in the Silliman sale. These were, no doubt, the preliminary studies made in West’s studio. Of this canvas Professor Weir has written: His picture [Battle of Bunker’s Hill] is the more remarkable, therefore, as a product of his imaginative genius working upon carefully collated facts gathered from various sources, from persons actually engaged in the fight, and from sketches made on the spot at a later day. That this picture has the character of an impression received by an eye witness is a triumph of art, and the historical accuracy of the work is matched by the technical skill with which it is executed. That Trumbull should have produced this masterpiece at the beginning of his career as an artist is only another evidence, often remarked of greater masters, that genius seems to require no preparation, that it is born with its powers already matured.t * On December 17, 1896, were dispersed at the Auction Rooms of Thos. Birch’s Sons, Phila- delphia, portraits, sketches and studies of John Trumbull. These were sold by order of Benjamin Silliman of Brooklyn, who had inherited them in direct descent from Trumbull’s estate. + John Trumbull and His Works, John F. Weir, p. 21. ‘SLL1 ‘IE WHAINAOAA ‘OAdTANOG AO MOV.LLV AHL NI ‘AWAINODLNOW IVHANYS JO HLVAC AHL PotehaVINGS OF JOHN TRUMBULL 21 “No. 5—THE DEATH OF GENERAL MONTGOMERY, IN THE ATTACK OF QUEBEC.—December 31, 1775.” Painted by Trumbull in the studio of Benjamin West, London. Finished June, 1786.* On canvas twenty-five by thirty-six inches. So early as 1775, in the very first moments of the contest, it was determined to attempt the reduction of Canada, and its annexation to the general confederacy. . . . The expedition, composed only of eleven hundred men, left Cambridge, the head- quarters of the grand army, before Boston, on the 13th of September, 1775, embarked at Newburyport, and arrived at the mouth of the Kennebec river on the 20th; as- cended that river, then very imperfectly known, through a thinly peopled country, following its course so long as it afforded any facilities of communication or trans- port; then entering upon a tract of mountainous country, utterly unexplored by civi- lized man, pursued a course through the wilderness, . . . until he struck upon the head waters of the Chaudiére, . . . and in sight of the City of Quebec, . . . on the sth of November. . . The term of service for which American troops has enlisted, generally expired on the 1st of January, 1776, and it was found that there existed great reluctance to enter into any further engagement. General Montgomery therefore resolved to make one last effort, and in defiance of frost, snow and tempest, a gallant but desperate attempt was made on the night of the 30th of December, to carry Quebec by storm. The attack was made in two columns; one under the immediate command of General Montgomery, at- tempted the lower town; the other, commanded by General Arnold, was directed against the upper. The discharge of a single cannon was fatal to General Montgomery and his two aids-du-camp, and this misfortune occasioned the retreat of his column. . That part of the scene is chosen where General Montgomery commanded in person ; and that moment, when by his unfortunate death, the plan of attack was entirely dis- concerted, and the consequent retreat of his column decided at once the fate of the place, and of such of the assailants as had already entered at another point. (From Trumbull’s Catalogue of 1841.) The following list is taken from the Key sold with the engraving by J. T. Clemens. [ London, Published March, 1798, by A. C. de Poggi No. 91, New Bond Street, London] : * From Trumbull’s Account of Paintings in the Yale University Library. ‘OAddNO AO MOV.LLY AHL NI ‘AYAINODLNOW TWYANAS JO HLVAC OL ATM THE PAINTINGS OF JOHN TRUMBULL 33 AMERICANS *1, General Montgomery, of New York. Uniform of the Staff Blue and Buff. *2, Major Cheesman. A.D.C. of Gen! Montgomery of Phil® *3. Major Macpherson Do Do f 4. Col’ Donald Campbell, Quarter Master Gen!, & second in Command—N. York. 5. Col’ Thompson, of Pennsylvania. 6. An Indian Chief known by the name of Col! Louis. 7. Major Meigs, of Connecticut. 8. Capt” Hendricks, Riflemen of Virginia. Bed neces Tks es se ere 9. Capt? Ward. Hietleedinedgyr Killed or ceeundediiaiehe AG 10. Lieut Humphries. On aries whom no Actual Portrait could ie Cooper. ihe Ogden. From what source Trumbull obtained the portraits of Major Cheesman and Major Macpherson is not known. Possibly that of General Montgomery was adapted from a print of his portrait by C. W. Peale which it resembles. Both this painting and ‘““The Battle of Bunker’s Hill” were left by Trum- bull in September, 1786, with M. de Poggi in Frankfort to be engraved, but three years later he complains that nothing had been done. This picture shows clearly the influence of West on Trumbull. Ca- nova’s criticism that ““West did not compose, he grouped models together” can be felt in part. One misses the rush of the victorious British column surging over the ridge, as in ““The Battle of Bunker’s Hill,” but Trumbull has partially avoided the division into three groups—that is, a main group which tells the story and a balancing group on each side—so often found in the historical works of West. (See ‘“The Death of Wolf.) The treatment of the hands in Trumbull’s main group is excellent while the hands in the figures of No. 5 and No. 7 are clearly reminiscent of the arrangement re- quired by the classic school. “No. 7—BATTLE OF PRINCETON,—original composition (partly finished) of No. 23.” Painted in West’s studio in 1786-1787. On canvas twenty-five by thirty- six inches. When the size of the intended copper-plates was determined, the artist resolved in his future pictures to adopt the size of those plates, as being more convenient to the engraver. This picture, which is the same size as the Bunker’s Hill and Quebec, and ORIGINAL COMPOSITION FOR THE BATTLE OF PRINCETON. PaveraivIINGS OF YOUN TRUMBULL 35 much larger than the copper-plates, is placed in the collection, to explain to future artists the manner of proceeding with the work: they will see that the ground was white on which the work was first merely sketched,—then faintly stained with posi- tive colors,—and finally, each head and figure carefully finished from nature. (From Trumbull’s Catalogue of 1841.) The size of this canvas indicates that this was the third of the series of historical compositions begun by Trumbull, as the remaining six (includ- ing the completed canvas of this scene, No. 23) are all twenty by thirty inches, 7.e., the size of the proposed engravings. Also its spirit and the vi- brant qualities displayed entitle it to rank with “The Death of Mont- gomery” and “The Battle of Bunker’s Hill,’ by far Trumbull’s greatest imaginative works. “No. 9 DECLARATION OF INDEPENDENCE. July 4, 1776.” Composed and commenced* by Trumbull in the studio of Benjamin West, London, 1786. On canvas twenty by thirty inches. To preserve the resemblance of the men who were the authors of this memorable act, was an essential object of this painting. Important difficulties presented themselves to the artist at the outset; for although only ten years had then elapsed since the date of the event, it was already difficult to ascertain who were the individuals to be repre- sented. Should he regard the fact of having been actually present in the room on the 4th of July, indispensable? Should he admit those only who were in favor of, and reject those who were opposed to the act? Where a person was dead, and no authentic portrait could be obtained, should he admit ideal heads? These were questions on which Mr. Adams and Mr. Jefferson were consulted, and they concurred in the advice, that with regard to the characters to be introduced, the signatures of the original act, (which is still preserved in the office of state,) ought to be the general guide. The artist . . . spared neither labor nor expense in obtaining his portraits from the living men... . The dresses are faithfully copied from the costume of the time, the present fashion of pantaloons and trowsers being then unknown among gentlemen. *In his Account of Paintings in the Yale University Library Trumbull states, “During this period [while under West] I composed and commenced in cloths 20 x 30 inches The Declaration of Independence The Surrender of Lord Cornwallis The Battle of Trenton and The Battle at Princeton these were intended for the Engraver and have been since far advanced, all the portraits having been painted from the Life.” ‘ofl ‘VY ATOLL “AONAGCNAdAAGNI AO NOLLVYVIOAG AONAANYdAANI AO NOILVYVIOUd OL ATM 38) THE PAINTINGS OF 0b Nahe Baia The room is copied from that in which Congress held their sessions at the time, such as it was before the spirit of innovation laid unhallowed hands upon it, and vio- lated its venerable walls by modern improvement, as it is called. (From Trumbull’s Catalogue of 1841.) At the Silliman sale there was a sketch (No. 6) entitled “The first idea of the Declaration of Independence, Paris Sept. 1786.” Also a sketch on the same sheet endorsed by Trumbull: “Done by Mr. Jefferson, Paris, 1786 to convey an idea of the room in which Congress sat at the Declara- tion of Independence, on the ground floor of the Old State House in Phila- delphia,—Left hand at entering.” It was during Trumbull’s visit to Jeffer- son that he began this composition, ‘“‘with the assistance of his information and advice” (Reminiscences, p. 96). Returning to London, Trumbull “com- posed and began” this canvas, leaving out the heads to be painted in as opportunity offered. The following list is taken from the Key sold with the engraving of this picture by Asher Brown Durand, published December 20, 1820. It differs materially in its numbering from the Key published in 1859 by R. & C. Metzeroth of the enlargements in the Capitol, which apparently was copied from a broadside containing Trumbull’s proposal to publish a print by subscription, and widely used in identifying the portraits in this canvas. As the Durand Key was the corrected publication, its numbering is au- thoritative and should be adopted. 1. George Wythe. 16. Charles Carroll. 2. William Whipple. 17. Robert Morris. 3. Joseph Bartlett. 18. Thomas Willing. 4. Thomas Lynch. 19. Benjamin Rush. 5. Benjamin Harrison. 20. Elbridge Gerry. 6. Richard Henry Lee. 21. Robert Treat Paine. 7. Samuel Adams. 22. William Hooper. 8. George Clinton. 23. Stephen Hopkins. g. William Paca. 24. William Ellery. 10. Samuel Chase. 25. George Clymer. 11. Rich. Stockton. 26. Joseph Hewes. 12. Lewis Morris. 27. George Walton. 13. William Floyd. 28. James Wilson. 14. Arthur Middleton. 29. Abraham Clark. 15. Thomas Heyward, Jr. 30. Francis Hopkinson. THE PAINTINGS OF JOHN TRUMBULL 239 31. John Adams. 40. William Williams. 32. Roger Sherman. 41. Oliver Wolcott. 33. Robert R. Livingston. 42. Charles Thomson. 34. Thomas Jefferson. 43. John Hancock. 35. Benjamin Franklin. 44. George Read. 36. Thomas Nelson, Jr. 45. John Dickinson. 37. Francis Lewis. 46. Edward Rutledge. 38. John Witherspoon. 47. Thomas McKean. 39. Samuel Huntington. 48. Philip Livingston. The portraits were painted directly into the canvas from life between 1789 and 1794, as Trumbull returned to New York upon the reassembling of the 1st Congress there in December of 1789 for that purpose. He is said also to have carried the canvas about the country with him to take advan- tage of any occasion which might offer. Possibly a few were done from pencil portraits, as at the Silliman sale were dispersed portrait sketches of George Wythe drawn at Williamsburg April 25, 1791 (No. 51); Samuel Chase (No. 59) ; and John Hancock endorsed ‘‘Governor Hancock, Boston, Noy. 25, 1790” (No. 48). Trumbull has given us the dates of painting in some of the portraits: Adams, in London during the summer of 1787; Jef- ferson, in Paris in September, 1787; Arthur Middleton, Thomas Heyward and Edward Rutledge, in Charleston, S. C., in February of 1790. Fifteen men who signed the Declaration are not represented, probably because they were not present at the actual vote or were dead at the time of Trumbull’s painting. The portraits of four who were present at its adoption but who did not sign the Declaration, George Clinton, Robert R. Livingston of New York, Thomas Willing of Philadelphia, and John Dickinson of Delaware, are included. Trumbull’s reason was that portraits of those who opposed should be given also, ‘‘particularly John Dickinson of Delaware, author of the Farmer’s Letters, who was the most eloquent and powerful opposer of the measure; not indeed of its principle, but of the fitness of the time, which he considered premature.” Of the four Yale Signers Trumbull painted the portraits of three: Philip Livingston, Lewis Morris, and Oliver Walcott. Trumbull twice alludes to the change in the architecture of the room in which the scene is laid. Once in his catalogue hereinbefore quoted and in a letter to John Adams he said: “I preserve faithfully the costume of the day, and the architecture of the Room, which I very much regret to find has 40 THE PAINTINGS OF JOHN TRUMBULL lately been destroyed by that restless spirit of Change, which so much pre- vails in this Country.”* We know that the room painted by Trumbull is quite different in detail from its appearance on July 4, 1776, from the fol- lowing: Robert Edge Pine, a well-known English historical painter, came to America in 1784 and on November 15 Ihe Pennsylvania Packet carries his advertisement that as he had been “‘honored with the use of a commodious apartment in the Statehouse, for the purpose of painting the most illustrious scenes in the late revolution” he invites the public to view his works. Pine died in Philadelphia November 19, 1788, and the inven- tory of his estate includes four unfinished historical paintings of the Ameri- can Revolution, one of which was entitled ‘““The American Congress Vot- ing Independence.” This painting afterwards came into the possession of Edward Savage and was finished and engraved by him. The detail of the architecture is totally different from that shown in Trumbull’s painting and accords with the period (1745) when the assembly room in the State House was finished. Pine was a talented and trained history painter and as in 1784 he was occupying “an apartment” in the very building, it cannot be doubted but that he accurately copied the details of the assembly or what is now known as the “Independence Chamber.’’+ Pine’s painting was used as a guide in the restoration of the Chamber in 1900. The interior of the room would appear to have been completely changed after 1784, when Pine painted it. We know that Trumbull possessed Jefterson’s sketch made in Paris in 1786 and that there was sold at the Silliman sale, among Trum- bull’s effects, “Joseph Sansom’s sketch of the room in which Congress sat at the Time of the Declaration of Independence”’ (No. 138). It is impossible to determine whether Trumbull adapted Jefferson’s sketch made from memory or made use of Sansom’s in his picture, as both have disappeared. Probably it was imaginary, as the general style would accord with the time of Trumbull’s painting (1786). The chair (of Chip- pendale design) and the desk (Sheraton) actually used by Hancock are preserved in Independence Hall and do not in the least resemble those painted by Trumbull. This painting has been somewhat unfairly criticised in a thoughtful * Letter dated December 26, 1817, in Trumbull’s Letter Book, Yale University Library. + The facts concerning Pine are taken from an article by Charles Henry Hart, The Pennsyl- vania Magazine of History and Biography, Vol. X XIX, p. 1. Geer AINiMINGS*OR JOHN TRUMBULL a1 analysis by John H. Hazleton based on what the writer believes to be a misconception of Trumbull’s idea. The legislative chronology of the Decla- ration is as follows: The initial resolution that the ‘Colonies are, and of right ought to be, free and independent States”’ (still preserved in the hand- writing of R. H. Lee) was introduced June 7th, debated on the 8th and 10th and further consideration postponed until July 1st. In the meantime a committee to draft a Declaration was appointed, consisting of Jefferson, John Adams, Franklin, R. R. Livingston and Sherman. A draft was re- ported June 28th, debated in committee of the whole on July ist and adopted. The draft was adopted by Congress on the 2d; debated again on 2d, 3d and 4th and finally adopted as amended on July 4, 1776. On July 19th it was ordered to be “engrossed on parchment” and “‘when engrossed be signed by every member of Congress.”’* The engrossed resolution was not ready for signature until August. Mr. Hazleton criticises the painting on each of two theories, that it should represent with historic accuracy the scene on June 28th when the Declaration was reported, or July 4th when it was adopted and he points out that Trumbull has included portraits of men who were not present on one or both of these occasions and excluded others who were. But Trumbull had no such conception in mind; he neither called his work “The Report of the Declaration” nor “The Congress Adopting the Declara- tion” nor “The Signing of the Declaration.” It is “Declaration of In- dependence” and was meant “‘to preserve the resemblance of the men who were the authors of this memorable act.”’ As a matter of fact it was on July 2d that the Congress declared the Colonies to be independent, and on July 4th the form only of that Declaration was determined.+ Trumbull himself pointed out the difficulties which confronted him and what he did was to use the original act as the ‘‘general guide” but preserved for posterity whatever likenesses he could obtain of those engaged in this momentous event. In this connection it may not be amiss to state the facts in regard to the collection of engraved portraits, ordinarily seen, of the Signers. But a wholesale deception of a serious character was perpetrated something over a generation ago, for the gratification of a very honorable gentleman residing in New * The Declaration of Independence: Its History, J. R. Hazelton, pp. 166, et seq. + See “The Historical value of Trumbull’s ‘Declaration of Independence,” John H. Hazle- ton. Pennsylvania Magazine of History and Biography, Vol. XXXI, pp. 38, 39. See also note D. 42 THE PAINTINGS OF JOAN TRUMBUGE York, who had no intention of imposing upon anyone, but who wanted effigies of all the signers of the Declaration of Independence, although of a number there were, in 1870, when they were made, no authentic portraits known. Notwithstanding, this ap- parently insurmountable difficulty was overcome and in due time there appeared etched portraits, by H. B. Hall, of Francis Lightfoot Lee, William Whipple, George Taylor, James Smith, Lyman Hall, John Hart, Caesar Rodney, Button Gwinnett, John Penn, Benjamin Harrison, and Carter Braxton, which to-day are looked upon by the uninitiated as genuine portraits. What is most deplorable in this connection is the un- fortunate circumstance that fake portraits of at least four of the signers of the Declara- tion of Independence have gained admission within the sacred portals of the room where the immortal document was adopted. On the walls hang effigies, recently ad- mitted, inscribed with the names of John Hart and of George Taylor, neither of which have the slightest warrant of authenticity as portraits of those worthies, while others of William Whipple and Benjamin Harrison have been there a longer time but without any better warrant.* Of the portraits in the canvas at Yale, we have Trumbull’s own record. In a letter to Jefferson reporting his progress in enlarging it for the Capitol, Trumbull says: you recollect the composition which you kindly assisted me to sketch at Chaillot. . . The picture will contain Portraits of at least Forty seven members :—for the faithful resemblance of at least Thirty six, I am responsible, as they were done by myself from the Life, being all who survived in the year 1791. Of the remainder, nine are from pic- tures done by others. One Gen’! Whipple of New Hampshire is from memory; and one Mr. Benj. Harrison of Virginia is from description aided by memory.7 Let us be duly thankful that Trumbull’s New England conscience would not permit him to fake his portraits and that we have the representation from life of thirty-six of these famous men. * “Frauds in Historical Portraiture, or Spurious Portraits of Historical Personages,’ Charles Henry Hart. Annual Report of the American Historical Association, 1913. Vol. I, p. 93. Hart does not state the facts regarding the faking of the Whipple portrait, but they are clear. The catalogue of works of art in Independence Hall states that the portrait of William Whipple is after St. Mémin. Whipple died in 1785 and St. Mémin was not born until 1770 and did not come to America until 1793. Research among the engraved portraits by St. Memin dis- closes the fact that the William Whipple of Independence Hall is in fact a portrait of Joseph Wipple (not even Whipple), a totally different person drawn and engraved by St. Memin in 1805. + From Trumbull’s copy of the letter dated December 28, 1817, in the Yale University Li- brary. Trumbull wrote General Harrison (February 10, 1815), that “Mr Peale . . . possesses no portrait of your Father in his Museum. My sole reliance must be on such description as you and his friend Colo. Meade of Kentucky can furnish me.” (Trumbull’s copy of the letter in Yale University Library.) meehAINIINGS