F 127 .LaN49 CFIARLES J, listoricai Miscellanies Relating to T ^t-^rr IslanH '•«" 11 ittiiiiif ■ Ml Ifimiic till. Class ___! Book Copyiiglit]^". COPXRIGKT DEPOSIT. WILLIAM 5. MOUNT From a photograph made in 1855 and loaned by Mr. Orville B. Ackerly Historical Miscellanies Relating to Long Island BY CHARLES J. WERNER Member of Long Island Historical Society, Kings County Historical Society, Suffolk County Historical Society, Huntington Historical Society, New York Genealogical and Biographical Society. Huntington, Long Island Privately Printed 19J7 Fa 7 Copyright 1917 BY CHARLES J. WERNER JUL 30 191 7 ONE HUNDRED COPIES PRINTED OF WHICH THIS IS No. Mr. and Mrs. Luther M. Werner who have at all times offered every aid and encouragement in my historical endeavors This Book is Affectionately Dedicated BY the Author PREFACE The following historical sketches were written during odd moments between more serious tasks. They are published because of the author's belief that they will in some small measure help to perpetuate the in- teresting history of his native Island. The three shorter sketches describing the Schenck House, Car- penter's Tavern and Racing at Hempstead, are re- printed from issues of "The Hempstead Sentinel" in which they first appeared. Huntington, L. I. May 31st, 1917 CONTE.NTS ScHENCK Homestead at Mill Island, Flatlands; New York State's Oldest House, ... 9 Carpenter's Tavern at Jamaica, Scene of the Capture of General Nathaniel WoodhuU by the British 15 Horse- Racing at Hempstead in the Olden Days, 21 William S. Mount and His Art, ... 27 The Thompson Homestead at Setauket; Birth- place of Benjamin F. Thompson, Historian of Long Island — Also Some Account of those Mem- bers of the Thompson Family who lived there, . 45 THE SCHENCK HOMESTEAD AT MILL ISLAND, FLATLANDS The Schenck Homestead at Mill Island, Flatlands NEW YORK STATE'S OLDEST HOUSE T T is not generally known that the oldest houses in New York State are -*■ situated in the city of Brooklyn and are located in the Flatlands, Flat- bush, Gravesend and New Utrecht sections. Such, however, is the case and at least some one of these old landmarks should be bought and preserved either by the city or the historical societies, or even by a society formed for that specific purpose. The Art Commission of the City of New York has recently taken fifty photographs of early landmarks in all five boroughs of the city, in order that an image of them may be had for future generations in case of their destruction. That this fate is imminent may be judged from the fact that at least three in the collection have been torn down since they were photographed by the commission. A very good beginning along the line of purchase has also been made by the City, which has acquired and preserved the Van Courtlandt manor house at Van Courtlandt Park and lately by the purchase of the Dyckman dwelling on upper Broadway, which, besides being the oldest building in New York City proper, is also the only remaining example of the early Dutch farmhouse on Manhattan Island. In Brooklyn, however, we have several houses considerably older than the Dyckman place and besides the interest which attaches to them on account of their great age, there is also the added fact that several have been the site of interesting and stirring incidents in connection with our War of Independence. One in particular is the oldest building in the State and is known as the Schenck homestead. It is located on Mill Island just south of Bergen Beach and was included in the old town of Flatlands. Jan Martinse Schenck, one of the early settlers of Flatlands, came of a noble Dutch family which had long been prominent in the Low Countries now known as Holland. He emigrated with others of his family in 1650, Historical Miscellanies and six years later erected the house which now bears his name and which enjoys the distinction of being the oldest house in our State, with an age of 259 years. The property is in a good state of preservation in spite of its great age and at the time of my visit was occupied by a tenant. It is a very good exam- ple of the farmhouse erected by the Dutch founders of our city. Two stories in height, the windows of the second story on the front are of the dormer variety. Vines completely cover one side of the building and a very com- fortable porch looks out towards the surrounding country. Looking at the front of the house we are first attracted by the pleasant simplicity of the architecture, which is a characteristic of the early Dutch farmhouse. There is a door in the center leading into a hall which runs to the rear of the house. The door is flanked on either side by windows and the roof is continued out over the porch and makes a cover for it. The roof is supported by five pillars. Three dormer windows peer out from the •upper story and lend an eerie quaintness to the design. The high peaked roof is surmounted by a single chimney at the extreme end. The old tiles around the hearth are still in place and the sturdy ceiling beams do not show their great age. Some of the beams are held in position by ship's cradles, for it must be known that the Schencks were seafaring men and carried on a brisk trade with the old country. The vessels owned by the Schencks came in through Jamaica Bay and discharged their cargoes at the Schenck wharf on the island near the house The idea of using Jamaica Bay as a terminal for transatlantic commerce is, therefore, over 200 years old and one can scarcely realize that a considerable amount of trade existed there at such an early date. Flatlands lost that trade by indifference to its demands and a lack of foresight on the part of the early settlers. It is gratifying to know that the project of improving and deepening Jamaica Bay is to receive the attention it deserves and in the course of time the busy hum of commerce will again be heard over its silent waterways. Jan Martinse Schenck willed the property to his son, Martin Janse Schenck, whose son, Capt. John Schenck finally became the owner. His heirs sold the property to Joris Martense of Flatbush, who paid £2,300 for the house, mill, docks and about seventy-five acres of land. Martense was a wealthy man and a leading citizen of Flatbush. He secretly advanced $5,500 to the American cause, while ostensibly favoring the British. At this time the British troops were in complete control of Long Island, and their officers and men were quartered on the unwilling inhabitants. Major Moncrief occupied Joris Martense's home and was peacefully enjoying his slumbers on the night of June 13, 1778, when he was surprised and captured Long Island by Capt. William Marriner, who with a small band of Americans made a bold dash from Middletown Point, N. J., to Long Island without attracting the attention of the British, and successfully transported his prisoner, to- gether with others, back to Jersey before the break of dawn. The original intention of Captain Marriner was to capture Colonel Matthews, the Mayor of New York, and Colonel Axtell, his friend, who both resided in Flatbush at that time. Fortunately for these worthies, they had decided to spend that par- ticular evening at New York and so escaped an ignominious capture. How- ever, the Americans apprehended Major Sherwood, Captain Forrester and Theophylact Bache, a well-known Tory, in addition to Major Moncrief, and doubtless felt well satisfied with their raid. Joris Martense devised the property to his daughter, Susan, who married Patrick Caton. Caton Avenue in Flatbush is named in her honor. Mrs. Caton willed the propertj^ to her daughter, the wife of General Philip S. Crooke. After remaining in the Crooke family for some years, it was finally sold to Florence C. Smith, who in turn disposed of it to a real estate concern. The waterways surrounding the Island were dredged out and the property greatly improved by the Atlantic, Gulf and Pacific Company, who finally be- came the owners when the real estate company, having been affected by the financial panic of 1907, deeded it to them on January 14, 1909. The house is still owned by the Atlantic, Gulf and Pacific Company and is occupied, as has been stated before, by a tenant of the company. 13 CARPENTER'S TAVERN AT JAMAICA Carpenter's Tavern at Jamaica SCENE OF THE CAPTURE OF GEN. NATHANIEL WOODHULL BY THE BRITISH ON Fulton Street, east of Jamaica, stands a roadhouse which has been in continuous use for this purpose for a period of 206 years. Historians know of it as Carpenter's Tavern and it was built in 1710 by Increase Carpenter who was afterwards a Lieutenant in the American army during the Revolution. The old house is not famous for architectural merit or pleasing interior, but it claims celebrity as the scene of a very tragic occurrence — the capture and fatal wounding of General Nathaniel Woodhull by the British. By August 1st, 1776, the large English army and fleet which in the words of their commanders was "to drive the Rebels into the sea," anchored in the Lower Bay of New York and the army took up its quarters on Staten Island. Knowing that this move precursed an attack either upon New York or Brooklyn, General Washington divided his forces and sent a considerable number of men to defend the latter town, who took up their position south and southeast of the city and awaited the attack. They had not long to wait and on the 22nd day of August the British army landed at New Utrecht, south of Brooklyn, and during the interval between the 22nd and the 26th arrayed themselves opposite the Americans. The attack or "Battle of Long Island" as it is called, began in the early morning of August 27th and lasted all that day. On account of superior numbers and aided by a flanking movement from the east, which point had been insufficiently guarded by the Americans, the British were enabled to inflict a severe defeat upon our ancestors and drive them in towards Brooklyn where they made a stand the following day. On the 29th, Washington realized that the position was too weak to be held and during the night conducted his masterly retreat to New York, which gave possession of Long Island to the English. During the days preceding the battle. General Woodhull had presided over the Provincial Congress at White Plains and following this, had obtained 17 Historical Miscellanies leave of absence for a few days to attend to private business at his home at Mastic. While there he received orders to go to Jamaica and take charge of a number of MiHtia which he would meet at that place. With this force he was to proceed to the western part of Queens County contiguous to the British lines and collect all the cattle, grain and provisions he might find there and transport them eastward to the Hempstead Plains. With the small force at his disposal, he drove many of the cattle to the plains, and sent messengers to the provincial congress asking for reinforce- ments, both to finish his task and to render his position more secure against the British who were daily extending their lines closer to his field of activity. The disastrous battle of Long Island, however, delayed the sending of the much needed help and the General was finally put in the position where he could do no more with the small force at his command, now reduced to a scant 100 men by desertions and details to accompany the cattle going eastward. Still hoping for reinforcements or at least some intelligence from his superiors, on the morning of August 28th, he ordered his small detachment to fall back and take up a position about four miles east of Jamaica on the turnpike, remaining at the village himself in order to receive word of the expected help and to become acquainted with the outcome of the battle fought the day before which would in some measure, have an influence on his movements. The General remained at Jamaica until late in the afternoon of August 28th, when he slowly withdrew eastward along the turnpike with one or two companions intending to join his command and spend the night with them. Just as he reached the tavern, a severe thunder shower broke and the General determined to take temporary shelter within its walls, and sent his companions on to join the main body. A narrow lane adjacent to the house and at right angles to the turnpike ran up to the heavily wooded heights north of the property, and seemed to offer a quick means of escape, if a roving band of British should chance upon the scene. Woodhull dismounted and entered the public room, having tied his horse to a fence post in the rear of the tavern. Hardly had he seated himself when a detachment of dragoons and mounted infantry rode furiously up to the entrance in search of the General whose presence in Jamaica had been divulged to the British by Tories. The shouts of the troopers led on by their Tory guide gave the first intimation to the General that his enemies were upon him. Dashing from the room he sprang towards the rear door secured by a heavy latch. The i8 Long Island unfastening of this cost him many precious seconds and as he ran towards his horse, in the yard, the soldiers were close upon him. As he reached his steed the ruffians closed in and the General now at bay, tendered his sword in surrender to the nearest officer. The cowardly wretch not satisfied by this act of submission, demanded in an infuriated voice that his prisoner should pronounce the words "God save the King." The old General in a calm voice replied, "God save us all," whereupon the officer dashed towards him with drawn sabre and rained fierce blows upon his defenceless head and arms, until the old man sank to the ground, fearfully cut and slashed. The identity of the wretch who committed this wanton act of cruelty is not definitely known but it is admitted that Captain Oliver Delancey, a Tory, was in personal command of the detachment and on him rests the odium of the deed and the resultant death of the General. From the spot where he fell, he was carried to a maple tree growing near the rear door of the tavern, where he rested for some time, nearly bleeding to death. Finally his captors removed him to Jamaica where his wounds were dressed. On the following day along with other prisoners, he was carried to New Utrecht and put on board a filthy and loathsome prison-ship where he remained for two weeks without medical attendance of any kind. One of his captors, more humane than the rest, ordered his removal to a house in the village of New Utrecht where he was allowed some medical attention. His wife was sent for and brought with her, provisions and money to be used in caring for her husband. He lingered on for a day or so longer, and finally passed away on September 20th, 1776, from the effects of his terrible wounds. With his last breath he instructed his wife to distribute the money and provisions among the needy American prisoners. Thus Long Island's hero died — one who had sacrificed his life to duty and whose last thoughts were for other unfortunates. He is buried at Mastic, L. I. General Woodhull had served with distinction through the French and Indian War, and it has never been sufficiently explained why a man of his high military attainments was not given a more important post during the events which culminated in the Battle of Long Island. The old tavern is still much as it was during the Revolution and one can see the hall and heavy door and latch which hindered the General's flight. 19 Historical Miscellanies On May 23rd, 1912, the Sons of the Revolution erected a bronze tablet to his memorj', near the place of his capture. Aside from its importance as the scene of the capture, the old house sheltered many of the patriotic meetings held previous to the War of Independence and the first revolutionary gathering on Long Island took place there. The property is now known as Goetze's Hotel. HORSE-RACING AT HEMPSTEAD IN THE OLDEN DAYS Horse-Racing at Hempstead in the Olden Days /^LD Queens County, which included the territory now known as Nassau, ^^^ has been the home of horse-racing from the earliest times. The great extent of plain-land found within its borders no doubt was a strong incentive towards the building of race courses on the part of our ancestors. Also, good and abundant pasturage might be had for the asking and level turnpikes even at an early date, spread themselves out like a spider's web over the land. The neighborhood of Hempstead seems to have found favor very early for this purpose, for in 1665 Gov. Richard Nicoll ordered a race course to be laid out on the Hempstead Plain, south of Hyde Park or "Isle of Trees" as it was then known. The plains in those days were known as "Salisbury Plain," and the name has been fittingly perpetuated by the Salisbury Golf Club. The course known as New Market was quite an ambitious affair and was the meeting place of those who were sportingly inclined. It is interesting to note that the project was established, in the words of the Governor, "for encouraging the bettering of the breed of horses, which, through great neglect has been impaired," an argument which is still used to justify the practise of racing with its attendant evil of gambling. Governor Francis Lovelace succeeded Nicoll in 1668 and patronized the course in no uncertain manner. He proclaimed that trials of speed should take place in May of each year and "that subscriptions be taken up of all such as were disposed to run for a crown of silver or the value thereof in wheat." Daniel Denton in his "Brief Description of New York," published in 1670, and a very famous book by the way, says : "Toward the middle of Long Island lyeth a plain 16 miles long and 4 broad, where you will find neither stick nor stone to hinder the horses heels, or endanger them in their races, and once a year the best horses in the island are brought hither to try their swiftness, and the swiftest rewarded with a silver cup, two being annually procured for that purpose." He might have said the best horses in the province, for New Market was known and patronized from Boston to Philadelphia and its fame reached even to England. 23 Historical Miscellanies The book from which the above extract was taken is the first work on the colony of New York written in the English language. It is excessively rare and when a copy is offered for sale it generally fetches over $i,ooo. The author, a son of Rev. Richard Denton, Hempstead's first minister, came with his father from Stamford to this village in 1644. He was a prominent man in the colony and became a magistrate at Jamaica in later life. We do not know exactly how long the course was in existence, but Thompson in his "History of Long Island" states that it was in great favor for over a hundred years, but finally abandoned for one nearer to New York — probably at Beaver Pond, Jamaica, or the track at Newtown. Now comes a lapse in racing at Hempstead until about 1827 when the old Washington Course was established, northwest of the village. The loca- tion is plainly marked on Walling's Map of 1859; the track lying in a triangle formed by Cherry Valley Road, old Washington Avenue and an unnamed road. As far as can be ascertained from a comparison of old maps with modern surveys, the spot was a little east of the present Cathedral Avenue, near the boundary line of Hempstead and Garden City. The course was on the open plains, unfenced, and consequently no admission was charged, and the purses were made up by offerings from the crowd, dropped into a hat or glass passed around. Trotting races were very popular and the owners generally drove their own horses to the track, starting from home in the morning, arriving at Hempstead at noontime and trotting all afternoon. The judges' stand was a very crude affair with a bar occupying the ground floor where the en- thusiasts were wont to "take a little licker" after each heat. When the afternoon's sport was over a wild scurry to get home first took place and many a bet was laid on the horse and driver who would first reach Stephen Hewlett's hotel at Main and Front Streets. Two, three and four mile heats were the order of the day in those times and a horse's endurance and stamina were often put to a severe test. In 1841 took place the famous trot against time from Brooklyn to Montauk Point, the result of a wager between Isaac Willets of Hempstead and Gilbert B. Miller of Brooklyn ; that the former could drive a team over this distance in twenty-four hours. Mr. Willets drove a team belonging to the Curtis family of stage-line fame ; won his bet and accomplished the task in twenty-three hours and two minutes. This was considered "sport" in those days, but we are of the opinion that present day horsemen would call it something pretty close to cruelty. Racing in the "forties" and earlier, drew a pretty rough crowd from all accounts and was attended with a great deal of gambling and worse evils. 24 Long Island The "sport of kings" in spite of its great popularity did not seem to find much favor with the historians. Benjamin F. Thompson, speaking of the Washington Course in a letter written in 1827 to his father-in-law at Setauket, Rev. Zachariah Greene, the "fighting parson" of Revolutionary days, says : "Hempstead will encourage little else but horse-racing, and of this we are likely to have enough, as it is reported that Union Course is to be given up and a course for horse-racing established near this village. Hempstead will of course be thronged with that sort of gentry, persons more brutish than the horses they ride." The course was in existence for many years and served to make Hemp- stead quite a centre for the sport. For a further account of racing on Long Island we would refer the reader to Thomas Floyd-Jones' "Backward Glances," from which certain particulars of the Washington Course have been taken. 25 WILLIAM S. MOUNT AND HIS ART William 5. Mount and His Art AMONG the list of American artists the name of William Sidney Mount stands forth as the most successful depicter of the happy side of American country life. Almost all of his canvases tell a story of the rural life of the first half of the last century — of the "good old days" when the homely joys of the farm were experienced — when straw rides and hay frolics were the order of the day. Indeed, the mere titles of his paintings bring us back to the life and joys of our grandfathers. The scenes of most of his paintings are laid on Long Island, many of them near his home at Stony Brook. Thus they preserve to us an image of the landscape and customs of bygone days and, aside from their acknowledged artistic supremacy, are interesting to all lovers of our Island from a historical standpoint. He was, and is in truth, Long Island's artist. He was born on November 26th, 1807, at Setauket, where his father followed the occupation of farming and also kept an inn. He was one of five children and the youngest of four brothers. His father, Thomas Shepard Mount, was married at Setauket in 1801 and his name first appears on the town records during that year. It is likely that he came to the locality several years previous, but the family were not original settlers, nor is it known that any other individual of the name lived on the Island previous to his coming. A brother, John S. Mount, also lived at Setauket, and the two brothers married sisters, as will appear later. Thomas S. Mount, on December 23rd, 1801, married Julia, daughter of Major Jonas Hawkins, of Stony Brook, son of Eleazer 2nd, grandson of Eleazer 1st. and great-grandson of Zachariah Hawkins, who was one of the original proprietors of the town of Brookhaven, settled in 1655, of which Stony Brook and Setauket are villages. Zachariah lived at Setauket and so did his son Eleazer until 1757, when he removed to the neighbor- ing village of Stony Brook and built the large house which later became the home of the Mounts. Another daughter of Major Jonas, Dorothy, married John S. Mount, as before intimated. 29 Historical Miscellanies Thomas S. Mount and Julia Hawkins, his wife, had five children: 1st, Henry Smith, born October 9th, 1802; married Mary Ford, December 21st, 1826, and died January 10th, 1841. 2nd, Shepard Alonzo (who sometimes signed his name Alonzo S.), born July 17th, 1804; married Elizabeth H., sister of Charles L. Elliott, himself a noted artist, Octo- ber 5th, 1837, and died September 18th, 1868. 3rd, Robert Nelson, born February 10th, 1806; married Mary Brewster; died March 7th, 1883. 4th, Wil- liam Sidney, born November 26th, 1807, and died unmaaried November 19th, 1868. 5th, Ruth, born Decem.ber 25th, 1808; married Charles S. Seabury, December 25th, 1826. While William S. Mount was still in his childhood the family removed to the Hawkins homestead at Stony Brook, the home of his mother's family which has since been known as the Mount house. Many of his most famous paintings were executed in the old studio in the attic. The house itself is very interesting, but more of that later. In 1824 at the age of seventeen he went to New York and became associated with his brother, Henry S. Mount, as a sign-painter, but a capacity for a much higher order of art soon became evident. Mount was elected an asso- ciate of the National Academy in 1831 and an academician in 1832. His paintings soon made their appearance in the important galleries and exhi- bitions and his fame spread while yet a young man. After a few years in the city, he returned to Stony Brook and applied himself to his art for the rest of his life. Mount's art was appreciated during his life and since his death the full realization of his genius is apparent to us. The mature judgment of time points to the human note in his pictures, which seems to reach out and make us live among the people and scenes we are looking at. He injects a fine sense of humor and happiness in many of his canvases. His first picture, a portrait of himself, was painted in 1828 and was quickly followed by two compositions, "Christ Raising the Daughter of Jairus" and "Saul and the Witch of Endor," both exhibited the same year at the National Academy, where they were very favorably com- mented upon. It was an anxious time for the young artist and the waiting family in the country. Much depended on what reception the public would afiford his efforts, and when the "criticks" finally came to them and fastened their stamp of approval on his first efforts, young Mount felt that a great deal had been accomplished and that a good start had been 3° Long Island made in his chosen profession. Even before any paintings had been exhibited, no lurking doubt or suspicion that his work would not be appreciated ever entered the minds of his kin and an extract from a letter written by a brother, Robert Nelson Mount, then only twenty-two, is both interesting and prophetic: "You promised to give me an account of the reviews of the National Academy of Design, or rather tell me what was said about brother Henry's and William's paintings by the criticks, but you have not done it, and I fear it is because they did not compliment them very highly. Admitting that to be the case, I should hope that brother William would not be discouraged — Henry I know would not. I think that there is not a doubt that William will take a stand among the first of his profession (and I may add) a stand that will be unrivalled by those of his contem- poraries that now look upon him with seeming indifference. I do not say this to flatter brother Bill; the proof he has already given us of his ability as a designer is sufficient to make me think as I do. "Ambition (it is said) is the cause of eminence. He has that and is also persevering in whatever he undertakes; more so, brother Shep, I think, than you are. Excuse me for this remark, I was led to make it, fearing that for the want of perseverance you might give up a business that in a few years by diligent study you might almost be master of. He that would excel (says Sir Joshua Reynolds) must not lay his pencil aside when it ceases to amuse, but on the contrary must go to work willing or unwilling, morning, noon and night and will find it no play, but very hard work." In 1830 Mount painted and exhibited "The Country Dance," some- times called "The Rustic Dance," a bit of humorous rural life which instantly attracted universal attention. The quick success of the picture plainl}^ indicated to the young artist that the portrayal of the happy side of country life was the road along which fame beckoned. It was the outward and visible sign of the artist's humorously philosophical nature. He knew and loved the country folk and could portray with a master hand their homely joys and amusements. As is further evidenced by his correspondence and by those few friends of his who are still among us, the artist had a pronounced vein of humor and everyone of his paintings of this type tells a story. We append herewith a letter written to his brother, Robert Nelson Mount, shortly after the first appearance of his "Country Dance": 31 Historical Miscellanies N. York, May 29, 1830. Brother Nelson — I have a plenty of business. I am painting the portraits of the Rev. Mr. Onderdonk* and Mr. Thompson, the architect, etc. I shall be up home as soon as I paint three or four more and some landscapes from nature. My Country Dance attracts great attention; I will give you a copy of a criticism on the pictures, he blows them up like fun, we can't find him out — published in pamphlet form. I have sold my Cottage. f "Mount's little girl from Cottage comes; In nature's tints she lovely blooms. Whilst o'er her head the willow tree, Waves as it should, so droopingly. He leads us up a Rustic Dance, Such things are better done in France, But this shall keep no under station. It shows some scenes within the nation. "Take nature for a guide and she Will show what wants variety. Study good composition well. One day in this; thou may'st excel. In harmony more thy colours blend. I speak as't were to any friend Who leaves them now, in hopes to see Still better things next year from thee." Shepard is gone up Country. Aunt Hawkins is in town. Grand- mother will be up next trip. Wrote in a hurry, burn up my letter. Yours, etc., W. S. Mount. Luckily for the historian the last admonition was not followed out and this interesting letter has been preserved to us. "The Farmer's Nooning," executed in 1837, is one of Mount's best works; representing the noon hour of relaxation and refreshment among the farmer and his hands working in a distant field, too far away from • Bishop Benjamin T. Onderdonk, fourth Bishop of the Episcopal diocese of New York, elected 1830. t His painting, "Girl and Cottage." 32 Long Island the homestead to admit of their returning for the mid-day repast. It was purchased by Jonathan Sturges, a well-known merchant and art patron of the day, and is now owned by his son, Mr. Frederick Sturges. The scene is a somewhat lofty point on the Mount farm at Stony Brook, with vistas of the neighboring country. It can be readily recognized by one who will take the trouble to stand on the same spot today. In this connection many of Mount's most famous canvases depict scenes on his farm and especially is this true of the large barn which is still standing. "The Power of Music," the artist's best genre composi- tion, portrays an impromptu concert with eager listeners, staged in the wide main chamber, galleried with bulging hay and flanked by two huge doors. Mr. Henry C. Sturges, of New York City, another son of Jonathan, owns "Wringing the Pigs" and "Who'll Turn the Grindstone?" While on the subject of patrons we must not omit to mention Luman Reed, an opulent merchant who died in 1836, and the chief encourager of American art during his lifetime. He was a warm friend of Mount's and besides giving him several commissions, sought to interest himself in the artist and thus encourage him to greater efforts. Mr. Reed lived at 13 Greenwich Street, the third story of which building he used as a picture gallery and to which the public was admitted one day a week and his friends at all times. At his death the paintings were pur- chased by friends, with a view to keeping them intact, and thus originated The New York Gallery of Fine Arts, which finally went out of existence after a checkered career of twelve years. Eighty of the paintings belong- ing to the Gallery were acquired by the New York Historical Society in 1858 and among these are three examples by Mount: "Truant Gamblers," owned by Mr. Reed; "Bargaining for a Horse," presented by the elder Sturges, and "The Fortune Teller," presented by the artist. The figures in the last mentioned work are portraits of Mrs. Amelia Longbotham, as fortune teller, and Edna Bostwick, as a young girl. Mrs. Longbotham was a neighbor of the artist's on Long Island, and Miss Bostwick, evi- dently a friend. A sequel picture to "Bargaining for a Horse" is "Com- ing to the Point," in the New York Public Library, the two depicting an old-fashioned horse trade. The latter was presented to the Library by R. L. Stuart. Mr. Robert Gilmor, of Baltimore, a member of an illustrious and wealthy family of that vicinity, was another patron, and for him the artist painted two pictures that we know of, "Boy Getting Over a Fence" and the "Bar-room Oracle," the last, in spite of its title, being one of Mount's 33 Historical Miscellanies best works. We will let him describe it in his own words, as written to Mr. Gilmer: "The man puffing out his smoke is a regular built Long Island tavern and store keeper, who amongst us is often a General, or Judge, or Post- master, or what you may please as regards standing in society, and as you say, has quite the air of a Citizen. "The man standing wrapped in his cloak is a traveller as you sup- posed, and is in no way connected with the rest, only waiting the arrival of the stage. He appears to be listening to what the old man is saying. "I designed the picture as a conversation piece; the principal interest to be centered in the old invalid who certainly talks with much zeal. I have placed him in a particular chair which he is always supposed to claim by right of possession, being but seldom out of it from the 'rising to the going down of the sun.' A kind of Bar-room Oracle, chief umpire during all seasons of warm debate, whether religious, moral or political, and first taster of every new barrel of cider rolled in the cellar; a glass of which he now holds in his hand while he is entertaining his young landlord with the longest story he is ever supposed to tell, having fairly tired out every other frequenter of the establishment. "I agree with you in the opinion that it is my most finished performance." Mount was a close friend of Benjamin F. Thompson, the renowned historian of Long Island, as were, in fact, the entire Mount family. The artist and author had much in common and each appreciated the chosen profession of the other. A very good reproduction of the well-known portrait of Thompson by Mount may be found as a frontispiece in the third edition of "Thompson's History of Long Island," recently pub- lished under the editorial supervision of the author of this article. The artist visited Hempstead as the historian's guest in 1834, when the portrait was painted, and again in 1837. During these visits Mrs. Thompson's likeness was also portrayed, and also those of several other prominent Hempsteadites of that time, among whom may be mentioned Rev. Zachariah Greene, "the fighting parson" (Thompson's father-in- law); Rev. William M. Carmichael, rector of St. George's Church, and William H. Barroll, a prominent merchant. The Thompson and Greene portraits are owned by Miss Julia H. Thompson, of Hempstead, who is a grand-daughter of the historian. In the writer's opinion, the portraits of Thompson and his wife are done in the artist's most pleasing manner and he does not hesitate to pronounce them the best example of Mount's work as a portrait painter. Unfortunately, the engraving of Mr. Thomp- 34 Long Island son's likeness which was inserted in the second edition of his "History," published in 1843, is a rather poor copy and does this beautiful painting scant justice — indeed the engraver took upon himself the license to interject into his work a hand clasping a book, which serves very well to indicate the subject's literary proclivities, but which does not occur in the original. The head and face, most important in any portrait, are here the worst done part of the whole picture. It is therefore doubly for- tunate that a correct photographic reproduction of the portrait is now exhibited in the new edition. While on this subject we may say that William S. Mount executed many excellent portraits of well-known personages of his time and there are some who go as far as to say that his fame should chiefly rest on these. A likeness of General Jeremiah Johnson hangs in the Brooklyn City Hall and a portrayal of Bishop B. T. Onderdonk hung in the Chapel of Columbia College many years ago and is very probably still owned and exhibited by that institution. Mrs. M. B. L. Jergenson, of Setauket, is the fortunate possessor of three portraits by our artist, namely: General John R. Satterly, Mrs. John R. Satterly and one of her grandfather, Samuel L. Thompson, brother of Benjamin F., before mentioned. General Satterly was an officer of Militia and postmaster of his native village of Setauket. A likeness of Judge Selah B. Strong, of Setauket, is owned by his descendants residing on Strong's Neck, Setauket, as is also a landscape of the Neck by the same artist. Of this composition Shepard Mount, writing to Benjamin F. Thompson, says: "Mr. Strong is much pleased with William's portrayal of the Neck — wherein he can behold so many objects so familiar to his vision during the years of his childhood." For an enumeration of other accomplishments in the line of portrai- ture, we would refer the reader to the catalogue of the artist's work at the end of this article. Before leaving this topic we are going to append for the reader's edification a letter written by the artist to his brother Nelson, in which some interesting and humorous observations are mentioned. New York, 42 Chatham Street, March 6th, 1860. Brother Nelson — I have painted five portraits in South Brooklyn at the residence of Mrs. Becar.* I painted her late husband from memory (he left no 35 Historical Miscellanies likeness), he has been dead over three years. I am now painting a whole length of a girl aged two years, from a sketch which I took after death — daughter of Nathaniel Marsh on Staten Island. The parents think the likeness perfect. The sail to and from the Island is delightful. Steamers and sail vessels in constant motion adding beauty to the scene. We agree with you; we do not believe in the treating system. If you know of any habitual tippler, advise him to use New Orleans molasses as a substitute, and it will cure him in six weeks' time from a strong desire for liquor. I will pay for the first gallon! Shepard is painting the portrait of a lady in 27th Street New York. I have written this letter in great haste, Yours very truly, Wm. S. Mount. Several interesting stories are told of Mount, which serve to show his true artistic temperament. The following concerning him appeared in the New York Evening Post shortly after his death: "A lady spoke of his coming into a room while she was amusing her- self with a pet spaniel which had been taught to sit in an upright posi- tion. The attitude of the dog impressed the artist and he essayed to sketch him. Just as he had completed everything except the position of one leg, the animal dropped and could not be persuaded to assume the position again. Disappointedly, Mount closed his sketch book and announced the sketch to be spoiled. In vain the lady urged him to sup- ply the little required from memory. He would not risk falsehood in a single line or hair." As an instance of his neglect of pecuniary matters, a common trait of artists by the way, we may relate the following from the same source: "A young and prosperous merchant of New York wished Mount to paint his portrait. While they were engaged in conversation on the sub- ject the merchant remarked: 'After all, Mr. Mount, you must admit that Art would be nothing without money. Your motive for painting my picture is the price I pay you.' 'My friend,' said Mount, 'I am very sorry you said that — not that I am offended — I am not. But after such an observation I could not paint your picture.' Explanations were useless. The picture was never painted." Shepard Alonzo Mount, three years older than William S., was him- self a portrait painter of no mean ability. He executed a very good like- Mrs. Noel J. Becar, residing at Henry and Warren Streets, Brooklyn. 36 Long Island ness of his more famous brother, also one of Rear Admiral Theodorus Bailey and of J. D. Hewlett. Several very creditable examples of still life are also from his brush. Shepard Mount, though mostly self-taught, was a man of broad edu- cation and was possessed of those finer sensibilities of mind and nature which are generally attributed to the poet or divine. He had the rare power to adequately portray his thoughts either through brush and canvas or with the literary pen. As an example of the latter gift we shall exhibit to the reader his poem entitled "The Old Double Door," which door is still to be seen at the Mount Homestead at Stony Brook. The verses originally appeared in the "Independent Press," published at Stony Brook from 1865 to 1868: THE OLD DOUBLE DOOR By Shepard A. Mount. I am gray-haired now, but I still can see, This old hall door as it looked to me In early life — when a wild young boy, I o'er it bounded with mirthful joy. I often think with a dreamy eye Of those golden hours so long gone by; Of that sweet sleep I shall know no more At the sunny side of this old hall door; The Old Double Door, the broad panel door, And the long iron hinges it turned on of yore. The home of my childhood, is home to me still. Though shadows have passed o'er the time worn sill ; The faces have vanished that made it dear. And lights have gone out that once shone here. Yet, all is not darkness, while loved ones are nigh To look out with me on the deep solemn sky. And commune with the dead on that far oflF shore, Now gone forever from our old hall door. How kindly it swung at the beggar's call, When the tread of my Mother was heard in the hall ; How gently it closed when they chose to depart. By the same dear hand, and a trusting heart. 37 Historical Miscellanies Alas ! for the changes that meet our return ; Now, the tall grass bends to the willow and urn — And vainly we listen to hear once more, The voice that governed the old hall door. O'er the dark gray roof, and trailed to the ground, The wild trumpet creepers profusely abound, Studded all o'er with their waving flowers. Where the humming-birds sport in the scarlet bowers ; To this beautiful home of my infant life, When my heart grows tired of its toilsome strife. Then weary I come to see once more The forms of the past at our old hall door. Faithful old door, I no more may renew The joys of the past so familiar to you; The dearest of all, she returns here no more To brighten the shadows of clouds gone before. No elastic rubber, nor springs of steel. Ever force you against the stranger's heel ; And thus-and-ever — I trust you will be. Thrown open to all who may journey to thee. The Old Double Door, the broad panel door. And the long iron hinges it turned on of yore. The following letter written to his friend, Benjamin F. Thompson, is also interesting as depicting an old-fashioned Fourth of July Celebration. New York, Dec. 21, 1840. My highly respected Friend: I feel honored in the reception of your letter. As a family of Brothers we are fully sensible of, and I trust truly thankful for, the interest you evince in our welfare. We consider you not as an acquaintance of recent date but an early friend, and the friend of our Father, ever stimulating us to acts and acquirements which if obtained, would make us honorable and useful in this wicked world. The mention of my Father's name conveys me back to my boyhood when our national jubilee used to be celebrated with such joyous festivity in old Setauket when Doct. Franklin (as we boys then called you) was the Orator of the day and when Capt. Mount used to march in front of the Artillery and order out the big-gun to send forth 38 Long Island its notes o'er hill and vale reminding us with a voice of thunder the price of our liberty. Then stood pretty girls upon their tip-toes with hands pressed upon their ears, to avoid the shock gazing with wonder at the more daring boys who in defiance of Military authority cut up their capers even at the cannons mouth. Since then many years have passed and you have become the reputed historian of our own native Isle. As you desire it I will inform you I was born at Setauket on the 17th day of July, 1804. And in my 25th year commenced the art of painting. The notice you have been pleased to make of me in your first edition suits me with the exception that you have represented me as an artist too favorably.' In these Daguerreotype days the works of painters must be subjected to a closer scrutiny. The great will quickly rise the poor must fall. A portrait I have recently painted, might convince you of an improvement; my efforts here- after must be to merit what you have already said rather than intimate a desire for further praises. Of Uncle Micah Hawkins* I know nothing in particular that would aid you in a biographical sketch of his character or ability more than you are already acquainted with, both, from personal knowledge and familiar corres- pondence. Brother Henry as you have anticipated will not remain long with us, he continues failing. I should not at any moment be surprised to hear of his Death. Please give my respects to Mrs. Thompson. Yours truly S. A. Mount. P. S. Probably you will receive a letter from Brother William in a few days, whatever it may contain concerning me you can insert in your new volume, at your discretion. I shall immediately call upon some of Uncle Micah's old associates hoping they can communicate something to you, of him, that will be interesting. S. A. M. Shepard Mount's melancholy prediction in regard to his brother Henry was soon fulfilled and this estimable gentleman died January 10th, 1841, in the thirty-ninth year of his age. Henry Mount, when still a youth, journeyed to New York and apprenticed himself to Lewis Childs, as a sign-painter. He later set up for himself in this line and also executed many meritorious paintings which were exhibited at the National Acad- * Micah Hawkins was the author of "The Saw-Mill," the first American opera to be successfully produced. It enjoyed quite a lengthy run at Wallack's Chatham Theatre, New York, in 1824. Hawkins was born in the Mount house at Stony Brook, January 1st, 1777, and died in New York, July 29th, 1825. 39 Historical Miscellanies emy and at Clinton Hall. It was to him that William S. Mount first went to learn his trade as a sign-painter, and from his amiable brother the soon-to-be-famous artist first received the rudiments of design. Shepard Mount died on the 18th of September, 1868, in his sixty-fifth year, and was followed to the Great Beyond by his brother William, just thirty-one days afterwards. All three brothers are buried in the Presby- terian Church Yard at Setauket, a neighboring village. Now let us turn to the old Mount homestead at Stony Brook. It was built in 1757 and is surrounded by box-wood as old as the house. The dwelling, large even for today, is two and a half stories in height. As we approach the front door our attention is attracted by an ancient knocker in the form of a goddess's face, carefully tinted by the artist, and underneath it the family name is painted. Many examples of Mount's work hang on the walls, but the goal of our steps is the studio on the top floor; in practically the same state as when death called its occupant away forty-eight years ago. Many pictures fill the room. In one corner you will find the easel and in another a music stand, for it must be remembered that he was a musician also. A violin of curious design is carefully inscribed: "Invented by Wm. S. Mount, N. A.," and is still in its case as he left it. Speaking of music, it should be noted that quite a few of his paint- ings introduce some form of it as a central theme, such as "The Power of Music," which is considered his best genre composition. The old time negro is often brought in, too, and critics are agreed that Mount was the first American artist to make a serious study of negro physiognomy and character. The house is a very good example of colonial architecture and most of the hardware on doors, etc., is hand-wrought, such as hinges and latches. In the front hall is a saddle bin where occupants and visitors were wont to throw their saddles after dismounting at the doorstep; their steeds being led to the stable for refreshment and attention. A musket closet also exists and the observing visitor cannot fail to notice several smoke holes over the doors, through which that part of the smoke from open fireplaces which did not go up the chimneys could find an exit. Henry S. Mount painted a picture in oils of Stony Brook Harbor on a horizontal panel in one of the parlor doors. It is still in existence on the door and it was Mount's intention to paint other local scenes on similar panels in the remaining doors, but his untimely death prevented. 40 Long Island As it was, the picture was completed during his last winter on earth. The treatment of the panel is certainly unique and merits special mention. Passing into the kitchen we are at once struck by the enormous fire- place, over six feet broad and almost as deep. Within it is the usual crane from which are still suspended hooks, skewers, pots and other implements necessary for roasting or cooking — not omitting a curling iron for the ladies. As you face the fireplace, just to the right, is an ancient seat or bench which was the favorite resting place of a privileged slave known as Cain. Since then it has always been called Cain's seat and is one of the first objects pointed out to visitors. The old barn which is portrayed in several of William S. Mount's best pictures is still standing and its hand-hewn timbers are good for many years more. The estate now consists of sixty-three acres, but under the owner- ship of the Hawkins was considerably larger. It is said that twenty-two slaves were on the place when manumission was effected in New York State. The remains of a slave cemetery can be discerned on an eminence northeast from the barn. Stony Brook is only two hours from New York by motor and both the art-lover and historian will be well repaid by a visit to this historic house and home of Long Island's foremost artist. Appended herewith is a list of his paintings, both portraits and other- wise. It is not complete, but will give a good idea of the scope of his work and should be included in any attempt at writing a sketch of the artist: Bargaining for a Horse A Glimpse of Long Island Sound Cracking Nuts Flowers Old Family Burying Ground Cherries Primitive Times Setauket Harbor Old Kitchen Fireplace Strong's Neck (1846) Waiting for the Tide to Fall Old Homestead at Stony Brook A Truthful Bit of Long Island (1868) Scenery Resting on the Oars An Afternoon in Autumn Mill Dam at Madison, Greene Co. Waiting for the Packet Five O'clock in the Morning Eaton's Neck Early Spring Long Island Sound Coming from the Orchard On the Hudson Card Players Snowballing Swapping Hats 41 Historical Miscellanies Mill at Stony Brook Washington Crossing the Alle- ghany on a Raft Catching the Tune Dawn of Day (1868) Banjo Player (1858) Power of Music (1847) Music is Contagious The Mower Bouquet of Beauty Christ Raising Daughter of Jairus (1828) Saul and Witch of Endor (1828) The Country Dance (1830) The Raffle (1837) Raffling for a Goose The Courtship The Tough Story Farmers Husking Corn Farmers Nooning (1836) Undutiful Boys Fortune Teller Cider Making on Long Island (1840) Truant Gamblers Coming to the Point Walking the Crack Sportsman's Last Visit (1835) Wringing the Pigs Lucky Throw Boys Trapping (1839) Dance of the Haymakers (1845) Children with Bird's Nest (1844) Turn of the Leaf (1849) Who'll Turn the Grindstone (1851) California News Right and Left Just in Time (1860) Early Impressions are Lasting (1864) Mutual Respect (1868) The "Herald" in the Country Banjo Player in the Barn Bar-room Oracle Boy Getting Over the Fence (prior to 1836) Negro Asleep in the Harvest Place (prior to 1837) Boy Sitting with a Book in His Hands, Surrounded by Flowers (1840) Girl and Cottage (ca. 1830) Early Recollections of Fishing Blackberry Girls Disappointed Bachelor Boy Hoeing Corn Girl Asleep Boys Hustling Coppers The Ramblers The Novice Loss and Gain Farmer Whetting His Scythe Any Fish Today? Spring Bouquet The Tease Esquimaux Dog Male Head Portraits Mrs. Blydenburgh (1846) James Rivington Gen. Francis B. Spinola Gen. Jeremiah Johnson Gen. John R. Satterly Mrs. John R. Satterly Bishop B. T. Onderdonk (1830) Judge Selah B. Strong Daniel Webster Rev. Dr. William M. Carmichael (1837) 42 Long Island William H. Barroll (1837) Benjamin F. Thompson (1834) Mrs. Benjamin F. Thompson (1834) Rev. Zachariah Greene William S. Mount (1828) William S. Mount (1854) Samuel L. Thompson Nina Mount Noel J. Becar Infant daughter of Nathaniel Marsh Mrs. Julia Mount Henry S. Mount (1828) Shepard A. Mount (1838) Thomas S. Mount (1855) Architect Thompson (ca, 1830) William Wickham Mills Misses Russell Capt M. C. Perry, U. S. N. Edward H. Nicoll Mrs. Edward H. Nicoll Solomon Nicoll Rev. Zachariah Greene, with Bust of Washington W. A. Jones Dates where given indicate year in which picture was painted. 43 THE THOMPSON HOMESTEAD AT SETAUKET < uJ 1—