Author Title Class . £..3/a. Book ..r.W 2.5. \ Washington Imprint 6PO 10—7464 ^ HISTORICAL DESCRIPTION OP THE OIL PAINTINGS of MARY PHILLIPSE (Washington's Esrly Love) Also, THE SHARPLES PAINTINGS OF AND OF ROBERT FULTON and his WIFE AND OF PRIESTLEY and CHIEF-JUSTICE MARSHALL Together with numerous beautiful American women of the Revolutionary period PamUli fig Sfjarpks between the years 1794 and 1800 ermission. His first appli- cation was made in 1854, and was followed up by frequent com- munications during the succeeding ten years. He tried every means to get over the legal difficulty, but eventually admitted that the hoped i:)ermission to engrave the portraits could not be given. Emerson, the great Essayist, thus wrote of these portraits: — "I would have willingly crossed the Atlantic, if only to look on these portraits, so priceless to our people. Future ages will glory in their existence. There are those who assert that 'ven- eration ' is quitting in our national character, fickleness taking its place. If so, it is difficult of explanation, save through the freqvient changes of government. Of this we may be certain, that whatever occasional aberrations may be manifested, the loyal and good of our peojile will never swerve in their devotion to him who must ever lie the corner-stone of our fabric, and whose star will burn more and more resplendent as ages devcloi^. "It has not fallen to my lot to get a look at the portrait of Washington's mother, and Avhich I believe is a fine pictuie. I 13 bad always been under tbe belief tbat it was painted by Sbarples, and owned by tbe same family as possess tbe portraits of our first President and bis wife. Sucb is not tbe case. Tbe portrait of tbe motber of Wasbington, tbougli some eigbty years ago owned by tbe same brancb of tbe Gary family as possessed tbe Sbarples portraits, bas since passed away to a younger brancb, and I bave been l^nable to trace it. Tbere is, bowever, no doubt as to its existence. Many of our people wlio know tbe owning family get access to its abode, wbicb I bear is in Nortbamptonsbire. Wasbington' s motber' s portrait, painted by an Englisb officer named Middleton, must not be mixed up witb tbe American female beauties outlined by Sbarples, and, so far as four or five are concerned, finisbed by tbe eminent Englisb painter Mac- lise, and wbicb are in tbe family bere owning tbe Sbarples Wasbington portraits. " Tbese portraits must some day return to us. Well will it be for our women to see and know Martba Wasbington in tbe faitbfulness sbe is rendered by Sbarples, to realize tbat bouse- wifery is a great duty, and tbat in ber day it was deemed as creditable for women to spin and weave as it was in tbe days of King Solomon, wbo in tbe Book of Proverbs describes an bouor- able woman : ' Sbe layetb ber bands to tbe spindle, and ber bands bold tbe distaff. Sbe lookctb well to tbe ways of ber bousebold, and eatetli not tbe bread of idleness.' Or in tbe days of Homer, made tbe use of tbe distaff and loom tbe em- ployment of royal women : — '" Alcandra, consort of his high command, A golden distalTgave to Helen's hand; And that rich vase, with living sculpture wrought, Which, heaped witii wool, the beauteous Philo brought. The sillien fleece, impurpled for the loom, Recalled the hyacinth in vernal bloom.' " DANIEL WEBSTER ON THE POETRAITS. No bigber bomage can be rendered tbese paintings tban tbat bestowed by tbe statesman wbose greatness is so interwoven witb tbe nation's dignity, tbat tbe occasion of bis deatb seemed as if some grand governing member of a system was stricken from its orbit. Speaking at a public dinner in England, in 1839, Daniel Webster said : — "It bas been my privilege to visit a peaceful home wbere lives in canvas delineation tbe man wbose purity and greatness must fill tbe universe until tbe world sball be no more. Wasbington is tbere — and to tbe life — tbi'ougb tbe power of tbe painter Sbarples." 14 ROBERT CART, THE ORIGINAL OWNER OF THE SHARPLES PORTRAITS. Robert Gary, from whom all the portraits forming this priceless collection appear to have come down to his descend- ants of the present time, was a highly esteemed merchant of London. Through a long series of years, and until his death, he held more than intimate intercourse with Washington. He was a most devoted adherent and rendered loyal service to the Great Chief on many occasions in Europe, wlien wily enemies endeavored to undermine him. He is known to have been intrusted with the management of important and most delicate political matters, and to have been the medium of intercourse between Washington, Burke, and Lord Erskine during moment- ous times. John .Jay, when Minister to England, was almost a daily visitor to Gary, whose devotion to the Great Patriot will some day form a theme for the world's admiration. From knowledge of Washington's nobility of character, and great services to his country, and through confidential relations, he had personally become greatly endeared to Robert Gary; so much so that " I greatly covet the illustrious general, my loved friend's portrait, by a competent painter who shall do justice to tlie noble subject." So wrote Gary at the time. His whole heart, as his purse, was in the matter, and we accordingly find Sharpies sent over the seas to compass his yearning; "having satisfied myself," as he added, "by several interviews with my friend, George Romney, that Mr. Sharpies, whom he recom- mends for the purjiose, will produce such a work as will meet my wish, and be worthy of the greatest of all men." Romney had become advanced in years. Sharpies was his pupil, and we may be assured he would select one he deemed best as an artist to do justice to the subject; Washington being then the admired of the whole world, and Robert Gary an old friend he was desirous to serve. Romney came out of Lanca- shire, so did Sharpies; there were thus birth ties as well as pro- fessional associations between the master and his disciple; and although there is nothing to show that the latter was a man of great note among artists, yet it must be borne in mind "there were giants in those days" in England's portrait world, and no pretence is made that Sharpies ranked among them. To have sent out either of the stars then shining in portraiture, who would have needed at least eight months' absence — seven and 15 eight weeks being in those days no uncommon length of the voyage either way — was out of the question; for, altliough Millais' two thousand guineas fee for a single head had not yet cropped up, yet very respectable prices were earned; Sharpies himself, as a junior unblessed by fame, charging fifty guineas, and getting it — this at a time when men of means were few and far between. His passage outward was paid, and even on his first visit he walked on shore in anything but an impecuni- ous condition, as his wife states that he, on landing, went and made a deposit of over two hundred pounds in a New York bank, as a nest-egg. It is by no means certain that this comfortable start was to his advantage. Instead of setting to work, and knocking off his commissions, he would appear to have taken things easy. There remains nothing to show the precise date at which he commenced or finished his two portraits of Wash- ington, one a full-face in military uniform, the other a profile, and one of Martha, Washington's wife, a profile. All that is certain regarding his work at the time, is that the portraits reached England during 1797. Three years and more had thus expired in the interval of his landing ar.d the pictures arrival. There was no holding on to them for exhibition pur- poses after their completion. Washington and his wife each gave their first sittings at Mount Vernon; the General after- ward gave him two final sittings in Philadelphia, but Lady Washington sat to him only at Mount Vernon. The portrait of Martha was a present from her to Mr. Gary, and the profile was a gift from Washington. The full-face is the portrait com- missioned by Mr. Gary, and for tlie production of which Sharpies came out to America. All three pictures were taken to Kew York, and finished there by Sharpies in his own house in Greenwich Street, and were at once sent off to England. Mrs. Sharpies, in a letter to Mr. Gary, dwells on the advantage her husband would have derived from an exhibition of the por- traits, and which she said had been "seen by nobody but General Hamilton, Governor Morris, General IS'orth, Mr. Van Rensselaer, De Witt Glinton, Ghief Justice Marshall, Judge Hobart, the Barclays, Chancellor Livingston, Judge Kent, the Jays, and intimate friends of the family visiting at Mount Ver- non; whereas, if we could have been permitted the opportunity to exhibit them in Philadelphia, and here in New York, it would have benefited my husband greatly." The portraits have, through unbroken continuity, been since generally known of, and seen by, such public men of America as, through occasions of going to England, were enabled to avail 16 themselves of such to visit Mr. Gary, vrho up to the time of his deatli always felt a pleasure in showing the three portraits to any persons desirous, as he was wont to term it, of "paying court to my distinguished guests." Use of the word "guest" would indicate some design on his part to be the instrument of their return to America; and yet he possibly felt that he could hardly present that which had been given to himself. Gary was a bachelor, full of chivalry, and there was nobody to inherit these heirlooms excepting a younger unmarried brother and one sister. She had become Mrs. Edwardes, and will be seen to hold a trust of deep interest to every American heart, inas- much as it fell to her lot to inherit the priceless treasure, the portrait of Mary, mother of George Washington, painted by an artist named Middleton. At her death the painting passed into the possession of her unmarried daughter, Eleanor Edwardes. The origin and growth of the more than friendship between Gary and AVashington has been shown; how, when Washington was serving as an English officer, Gary became his agent in Lon- don, his lirni holding, from many officers and their families, com- missions of like kind. It is in no way strange that, out of busi- ness transactions of mutual dependence, friendships sprang up between the parties, having the ultimate effect of merging the mere mercantile agency duties with ties of closest family asso- ciation and confidence. Sharing the lot of other illustrious men, the world's great patriot had secret enemies, puny as they were. Gary, as the friend of Burke, and enjoying the confidence of pub- lic men in Europe, laid bare their machinations. Old Gustom House records show that Gary & Go. received produce from over twenty families, many of them English offi- cers who had relinquished their military callings, and in numer- ous instances had laid hold of the plough instead. Others had adopted mercantile pursuits, as in the case of Bar- clay & Go., of New York, one of the oldest firms thus originally springing out of soldier origin. Mr. Barclay had held an officer's commission, and at the time there was quite a number of gentle- men sitting at the desk in " counting-houses " — offices had not then obtained admission into the vernacular of New York,— and who, from varying causes, and under specially occurring oppor- tunities, had with honor melted down their swords. The Eng- lish War Office regulations did not then allow any donning of military uniform at the bidding good-bye to the service. There could be no dressing up with gold lace, or "buckling of a rapier," after the relinquishment fiat had gone forth. Soldiering meant fi ghtiug with designated instruments of warfare, not with the 17 goose-quill. In New Orleans there were half-a-dozen "old sol- dier firms,"' as they were characteristically nicknamed, and in Charleston several. Richmond, in Virginia, boasted of several of the new order; and it is an evidence of Washington's steadfast- ness of character and adherence to uninterrupted friendship, that through life he stuck to Gary & Co., in London, and to Barclay & Co., of New York; the one for the conversion of his tobaccos into hard dollars, and their due and safe transmission to his clutch, the latter for their transport over the seas in "good and safe bottoms." Good Robert Gary was one of the old-fashioned type. He man- aged all correspondence with clients in America in proper form and good style, and never huckstered in the matter of commis- sions. Copying-books had not in those days been evoluted. Fine thick water-lined laid foolscap was the medium of communica- tion. None of your miserable modern paper from straw, but manufactured of linen rags and none other; free of slippery gloss, tempting the pen into tautologous meandering; each sheet bearing the maker's "water-mark" duly recorded thereon, as evidence of its worth in durability and toughness. "Whatman & Co.," of Kentish renown, led the van of "true foolscap." Robert Gary & Co., and their ilk, would have no other, and each recurring spring, as a good ship was "entered out" for New •York, a ream of this coveted papyrus was sent to Colonel Wash- ington, with a supply of quill-pens, and two pounds of sealing- wax of no other brand than Walkden & Go. Ink, too, there went, of famed fabricate, and three bundles of pink tape wherewith to tie the Colonel's bundles of documents. The list shows that a packet of "pounce" was included in the annual requirement. It will puzzle hurried men of to-day to translate "pounce." It was an article of finely granvilated sand, for dusting on manuscript to prevent blotting : blotting-paper had not then sprung into life, and the head of the new nation was a man of almost unique care and neatness in all appertaining to his caligraphy. Robert Gary, to supply svich wants, did not go into the next street to a station- er's shop; he opened direct communication with this notable J. Whatman, who, after specifying the weight per ream, sent it " up to London" by the weekly carrier. But there were divers other things to be assembled for these annually recurring shipments. Home gastronomic comforts had to be thought of. Like Meg and Trotty Veck in Dickens' goblin story of "The Chimes." the General has a penchant for tripe. So important was the delicacy in his Lady Washington's eyes, that Robert Gary was specially charged to ship him on one 18 occasion no less a bulk than four huge earthen vessels, each of which is ordered to be "wicker-bound," and recased in a cask, to guard against fracture and spilling the precious contents. Gary, it is seen from Washington's warm acknowledgment, had been in the habit of sending him presents of the coveted Bristol pickled article. Two such jars had recently made safe travel to Mount Vernon, and, as the Duke of Wellington would have done in like position of long distance from the provisioning base, the wary warrior looked ahead, backed by an admission, made in explana- tion of the large consumption, that his molars were out of gear, three other such jars are requisitioned. The taste for i^ickled tripe of Bristol cure had been intoduced fi'ora the West India Islands into New Orleans and other places. Quite a commerce had grown up in it, and among the sugar planters it was a stand- ing dish. The largest stone jars held about two gallons; there was a special pottery at Bristol for their make, and each jar had the curer's name burnt in on the frontal, in order to make sure of the contents being genuine. There were several favorite bi-ands largely consumed in the West Indies; that of "Hamlin," brought to Barbadoes by the ships of Thomas Daniel & Sons, was the quality and brand preferred of Washington. Gradually, as there arose a fondness for this tripe, direct imports occuiTed, and other English tripe-makers tried their hands; but for a century or more "Bristol tripe" held its way against all comers and home fabricators. New York and Massachusetts men went into the curing, but the over-sea article defied them until cruel customs duties stepped in and ruthlessly swept away the monopoly. WASHINGTON ON THE PORTRAITS. The following highly characteristic letter of Washington, thanking his friend for a present of two huge jars of tripe, order- ing, as matter of business, a further supply of the succulent dainty, declining, on behalf of his wife and himself, any med- dling with duplicates of his or her portraits, and expressing their united opinions that the Sharpies portraits are the best ever executed, is of deepest interest: — "Dear Gary: Mrs. Washington joins me in warm thanks to you for your considerate present of two large jars of pickled tripe, which reached Mount Vernon in perfect condition. I must ask you to arrange for four similar jars in wicker-basket casing, packed in outer cask, to be shipped for my account direct from the curers in Bristol early in the season, when a vessel will be 19 leaving that port for New York. If consigned to Messrs. Barclay, those gentlemen will give the little matter their unvarying care. Dental infirmity impels my caring for this necessary item in our domestic commissariat. " I have been solicited by ^olonel Trumbull and others to re- quest your permission for Mr. Sharpies to execute copies in oils, size of the originals, of the two portraits of myself and that of Mrs. Washington, and to name that if Mr. Shari^les thinks of re- turning to this country, a good opportunity would thus be found to bring them out. I cannot encourage any hope of commis- sions for expensive portraits in oils, such as these were. Our people cannot afford to pay the price. I shall ever value highly the friendship prompting the great outlay on your part. " It is agreed on all hands that his two portraits of myself are, so far as likeness goes, by far the best of the many made; hence the desire that the copies should be from the hand of the artist himself who painted the originals. In the instances of his fre- quent small pastel reproductions there is great inferiority. The copies I gave Judge Marshall are, perhaps, the best, but all are said to be very weak. My wife declines to join in asking your consent — I have undertaken simply to name it; — to go beyond the mention would, it seems to me, be a clear impertinence. "In judging Mrs. Washington's seeming disinclination, it should be remembered that my having sat to Stuart has resulted in the country abounding in so-called ' originals.' "If it be your Avish for the desired copies to be made, Mr. Sharpies should be required to enter into an undertaking they shall be i^ainted in best manner of his capability; and in your in- terest he should be strictly confined to the execution of one copy only of each, and bound not to paint more ; so also he should undertake not to remove the pictures from your residence. Faithfully yours, George Washington. "To KoBEET Cart, Esq., Merchant in London." A very general opinion has always existed that the First Presi- dent did not personally favor the having copies of the Gary por- traits made, and a good deal of remark, not always favorable to Lady Washington, has been vented, charging her with being op- posed to the country getting permission for the execution of cop- ies. All this is pretty much set at rest by the publication of the letter from the General, which, though treating of private family matters, conclusively shows that he would have nothing whatever to do in it beyond laying the request before Mr. Gary. 20 Lady Washington is made to avow her refusal to join in the request; she evidently desired that the English portraits should be real, and that no tricks should be played with them. The artist had been, in her estimate, liberally paid for his work, it had given satisfaction, and there should be an end of it. No blame can reasonably attach to her in the business. She doubt- less had even stronger views on the matter than her husband. Stuart and others had been multiplying their presentments of her husband whenever the opportunity offered from a good-pay- ing customer. Nothing may have been said as to actual "origi- nality," but the inference conveyed with each such at time of sale was, that the General sat for it; in other words, that they were painted from the life, whereas only one of Stuart's many productions was original in the true sense. Martha stepped in here to hedge round and protect the Sharpies portraits. She really wished that real worth should attach to them, and that they should be handed down to posterity unduplicated, and England for awhile would be their safest home. It was during a first stay in Philadelphia that Sharpies' letter from the English Secretary of State, introducing him to Wash- ington, was formally presented through the resident Minister, Mr. Hammond. There could not have been any need of this formality,, as Mr. Gary's letter to Washington was more than sufficient to obtain the desired object. In common, however, with the routine style of the old merchant of those days, Mr. Gary did everything en regie ; hence the formal dociiment as ad- vance-guard. No time was lost in Sharpies' being honored with access to the illustrious chief, the object of his mission. The General did not formally wait the painter's appearing at Mount Vernon; he very considerately sought him out in Philadelphia, and expressed much gratification at his being domiciled in the house of "my friend, Mr. Franklin." He and Franklin were honored by dining with " His Excellency " the following day, in the quarters he retained for occupation on occasion of his visits to -Philadelphia, which were not infrequent. At this family party, arrangements were made for his visits to Mount Vernon. As proof of Washington's liberality, and the nice delicacy prompt- ing and attending his carrying out such acts, when Sharpies came to settle with Franklin for a month's board — and it included that of his wife and two children, for a like jieriod — he was, in tones of whisper, informed that " everytliing has been settled by the General." The intimation was accompanied with hints ad- vising calm submission, and with assurance that the liberal allow- ance of port wine had been included in the score, not omitting 21 sundry bottles of archaic whiskey. Sharpies' noble portrait of Priestley was a product of like happy circumstances, attending the perpetviation of the godlike lineaments of Washington. But for Gary and Benjamin Franklin, the world would have been without either. TRUMBULL AND SHARPLES GREAT FRIENDS.— LETTER FROM TRUMBULL REGARDING THE PORTRAITS OF WASHINGTON. Benjamin West's home in London was a home to Sharpies, Fulton, and Trumbull. All were friends, and when in London, were in habit of continually meeting here, as they also did at Robert Gary's residence. It would appear that Trumbull first saw the portraits as finished works in London, and at once con- cluded how desirable it was that Sharpies should execute copies for America, and thus urgently pressed him in the following letter to Mrs. Sharpies, found among her papers at her decease. The artist's wife is selected as a medium of communication, being deemed more likely of successful intercession with Mr. Gary, Mrs. Washington being adverse to the suit. In his earnest anxiety that America should possess copies of the Washington portraits executed by the artist himself, Trum- bull addressed the following imploring letter to Mrs. Sharpies urging her to use infiuence with Mr. Gary. Sharpies and his wife were at the time in England, having returned thither after executing the portraits. It will readily be seen that Martha Washington was the obstruction to any copies being made. "It is much to be hoped you will induce Mr. Gary to change his determination, so as to allow your husband to duplicate his portraits of the General and Mrs. Washington. The small pastels are but poor ideas of the original oils, and we are unable to see why Mr. Gary should have permitted their reproduction after this manner, and yet disallow the original oils, which all here re- member with such satisfaction. It is a pity consent had not been given before the three portraits left for England. Mrs. Washington, as you know, was really the cause of the difficulty; why she raised it is passing strange. Had she solicited Mr. Gary he would have felt flattered. Her reply to all endeavors of in- ducement was, that it would lessen the value of the portraits in Mr. Gary's estimate. All blame her. Many will never forgive her desire for English exclusive possession. Martha's blue blood often crops out. 22 "Mr. Sharpies is aware I was in Europe when his oils of the Washingtons were finished. I saw them first in company with the Hon. John Jay at Mr. Gary's, in London. It was a revelation to us both I shall never forget, they being his first canvas work seen by me. We both told Mr. Gary of their national import, but dared not then intimate to him the imj^ortance of duplicates being painted for America. The matter of Sharpies' chai'ge need not be considered. Mr. Jay is ready with the cost, to which several more are willing to join. Even if you had made a special return visit to America — and I trust you will return — there would have been no chance of getting the General to go throvigh any sitting ordeal repetition, so we are quite satisfied to put up with duplicates, and trust Mr. Gary will loan him the pictures for the purpose. The General, after so numerous occasions of torment by artists, many of them utterly unworthy of the great subject, and incapable of appreciating the honor conferred, became a most unwilling sitter, and vowed to Gilbert Stuart he would never again go through the penance process. His portrait is much admired, but to my eye it is not the General; and I regret to say he is making numerous others, for none of which the General accorded a sitting. We must not, however, be hard on Stuart; the inducement is such as few of us could withstand. The General felt in durance with Stuart, who told me he knew not what to say or do to get the desired expression; and if he had, the chances are that nervousness would have prevented him seizing it. Only fancy using a model to get Washington's majesty of form ; and yet this was resorted to, although none approaching him could be found. The General admitted to Stuart that ' although your husband had been accorded many long sittings, and that he yielded to sit for two portraits, although only one had been arranged for, yet the occasions had been rendered convenient,' and that ' Sharj^les' rapidity of work and master-hand had interested him throughout.' He added; ' Sharpies had the advantage of entertaining me with amusing newly-imported anecdotes of public men in England, and es- pecially of the King, so that I never felt his sittings tedious or encroaching on my time; indeed, I looked forward pleasurably to our daily meetings at Mount Vernon and his interesting con- versation kept up during the whole time of work. Sharpies was a clever man outside his art occui^ation, and had some novel ideas on the svibject of artillery; at the same time his brain worked with his lips, and he was evidently a good mechanic. He talked well and worked well at the same time, — no common endowments.' 23 " For myself, I had long despaired of his giving me another sitting. Had such been afforded I slionld have devoted it to studies for future hoped-for work, rather than any formal j^or- trait. This clear determination toward all artists make us doubly anxious that the country should possess your husband's portraits of him. "We cannot get the life-originals, but we may, through Mr. Gary's assent, get the next best thing — copies by the hand that produced them from the life. The country has more than enough so-called ' portraits of Washington,' four fifths of them destitute of the faintest resemblance. Many of those for which he so humanely sat come under this category: the workers were so dazed in his presence they knew not what they were about. How greatly, under these circumstances, all future painters will be thrown back on the Houdon bust — and entirety, as it were — that nothing else carries, and it is certainly re- markable that deftness in clay-modeling has, in "Washington's case, achieved that which the brush has yet failed to produce. "When Jefferson, in Paris, presented, in 1785, Charles Willson Peale's portrait of "Washington to Houdon, and which had been exj)ressly painted for the pui'pose of conveying to him the form and features of his subject, he at once declined it, and, at great personal sacrifices, came out to Mount Vernon to see the great original himself. Our gratitude to Franklin for having brought him out is great. In looking at the Houdon, how few of our people know the fact that Houdon actually took a cast of the face, and worked out a model of the face from this. So also he eschewed all resort to other forms of men for retaining the maj- esty of the original. He took the closest measurements of every limb, and, being from the heart impressed with the world's future estimate of the man, has left it a work worthy of the sub- ject and the artist. Had he followed our people's wish we should have had something very secondary. It is no mere indi- vidual opinion that the Houdon bust is our best Washington, and I am expressing the feeling of all who have seen your hus- band's renderings of the great subject, that they are by far the ablest canvas attempts. They are both inspired by lifelike and with individual grandeur and dignity beyond any other represen- tations. They are far away from home, but the day will come for their rule in the world's heart as true presentments of Wash- ington. "The Pine, Stuart, Savage, and Willson Peale portraits, and, as I trust, some of my own humble productions, will be subjects for reference to future generations of artists, for their designed work, illustrative of the military achievements and struggles of 24 our people's great master-mind in the country's early infancy. But we need more, or future painters will be deficient in realistic work of reference. It is in hope of this supply we turn to Mr. Gary. Sharpies, in beinjif welcomed and quartered at Mt. Ver- non, was, out of respect to his sponsor, placed in like position, and had extended to him all the advantages enjoyed by Houdon, Stuart, myself, and others, and we all admit his diligent avail- ing of the great opportunity and privilege. I am thus particu- lar, in order that Mr. Gary may know why duplicates of the Washington i^ortraits are desired by us. Personally I am much interested, as they would afford authentic material to fall back upon for public work I have in contemplation, and there exists little else I could avail myself of with satisfaction. I do not believe the General will ever again sit to any one; it cannot be expected of him. Stuart will hardly produce anything more of real value, and I fear the General will not seek to influence Mr. Gary to give the needed permission. He has promised to name the matter, but we fear he will not go beyond a slight allusion, as any referring to portraits of himself he regards as savoring of vanity, and is most distasteful. Apart from any other feeling, the continued multiplying of copies by men in whom confidence has been reposed has disgusted him, and it is to be feared he looks on the whole fraternity of artists as birds of a feather. Lady Washington does not favor the duplicating of Mr. Gary's portraits; she will discourage rather than help it. Both she and the General desire the existence of authentic portraits that have not been multiplied, and she favors England as their suitable resting-place. Having herself defrayed the cost of her own por- trait, she holds to have a voice in the matter. She knows how the President has, throughout his public life, been harassed and bored in sitting for portraits, the great majority of them worth- less. One of the Peale family had proved a very vampire on his time, and it says much for his amiability and patience that he so enduringly submitted to tyros palmed upon him by injudi- cious friends. In so new a country it was not probable artists should have been so soon raised up equal to the great call; we ought, therefore, to have brought out from England a Lawrence or a Gainsborough for this especial emergency. Mr. Gary, in sending Sharpies out, did a great national service, and it is hoped he may see public good in granting the favor sought. I have gone into the matter thus minutely, feeling no one else will take it up on right grounds, and also with the knowledge that Lady Washington will oppose copies of the portraits being made. I address myself to you, knowing Mr. Sharpies will not 25 urge it with the force needed to induce Mr. Gary's consent'; and, being yourself an artist, you will synipatliize in our wish to have the duplicates. Stuart had not painted Washington prior to the time of Shar- pies' first visit, or he would certainly have seen it, and it would have been referred to by the sitter himself in their many conver- sations. The only mention of Stuart traceable in papers left by Mrs. Sharpies, is Colonel Trumbull's remarks on his portraits, and the annoyance felt both by Washington and his wife that these should have been so indefinitely multii^lied, and a letter from General Gates' wife, which contains this remarkable state- ment: — "Mrs. Washington, it is well known, does not like Stuart's portrait of her husband; he has made him too fierce, and then the nose is altogether what the artists deem 'out of drawing;' the distension of the nostrils, if I may so express it, is most unnatural. Then there is what Mrs. Washington, I hear, calls ' a spongiuess in the nose ' he has given him, and which nobody but the man who painted it ever saw. I do not think the Gen- eral will ever sit to him again. And why should he endure more sittings ? Mrs. Washington does not want any more por- traits of him, and will not have any other than your husband's in the house. The subject of sitting for another portrait will never be named to him." A wide margin must be given to this evident bit of woman's spite on the part of General Gates' better half. Her husband had proved himself a secret enemy of the great patriot, and had been, more or less, concerned in the plots to undermine the public estimate of his military capacity; nor had he rested here. Letters from him to public men in England and France had been unearthed by Robert Gary, and his more than complicity clearly established. Washington's nobility of heart stayed all exposure of the traitorous hypocrisy, and even went the length of forgiving, if not altogether forgetting it. It was not so with Mr. Gary or Sharpies, who, knowing his Judas hypocrisy, ever afterward despised him according to his deserts. Mrs. Gates would speak disijaragingly of Stuart's portrait, but she would hardly be the depositary of Martha Washington's feelings in regard to it. The nose, as the mouth, were then, as now, in all probability objective features. 26 THE PROFILES OF GEORGE AND MARTHA WASH- INGTON. These came out from England in 1886, coupled with tlie fol- lowing announcement from the most eminent painters and sculptors : — "In order for these portraits being exhibited to the American nation in becoming form, the eminent portrait-painters and sculptors whose names are appended (than whom none higher could be cited) speak authoritatively as to the originality and authenticity of these historical works : — " New York, April 12, 1882. " The Sharpies portraits of Washington, a full-face picture and a profile, and that of Lady Washington, all three painted in oils, and exhibited for several months in New York during 1882, bear every evidence of having been painted from the life. The full- face portrait was exhibited before the Historical Society of New York in 1854. The authenticity of these paintings has never been questioned by artists or others competent to form correct judgment. (Signed) D. Huntington, President of the National Academy of Design. Eastman Johnson. J. G. A. Ward. Launt Thompson." THE FULL-FACE PORTRAIT OF WASHINGTON. The full-face portrait, as also the profile and that of Martha were all three commenced in the drawing-room at Mount Ver- non, as is presumed, in 1795. It is generally understood the works were finished in Philadeliihi'a, where he resided with the younger Franklin, and where Washington, according to the Sharpies memoranda, made frequent visits to him. It was first brought back to America in 1854. Its exhibit before the Histoi'i- cal Society of New York was thus officially recorded in the transactions of that body : — " Historical Rooms, University of the City of New^ York, April 5, 1854. "The portrait of Washington, kindly permitted to be ex- hibited at a meeting of the Historical Society last evening, at- ti-acted much attention, and was much admired by the members, 27 who expressed great satisfaction in being afforded the oppor- tunity of seeing this valuable picture. "I thought it might be interesting to the possessors of this valuable picture to extract from the minutes the remarks of Mr. Wetmore and the Rev. Dr. Van Pelt in alluding to the portrait. I am, very respectfully yours, Andrew Warner." "At a stated meeting of the New York Historical Society, held in the Chapel of the University of the City of New York, on Tues- day evening, April 4, 1854, Mr. Wetmore called attention to a portrait of Washington hanging over the President's chair, stat- ing that it possessed intrinsic evidence of being an original paint- ing, and had been pronounced as such by our most distinguished artists, familiar with all the well-known portraits of Washington. It was said to be superior to the world-renowned portrait by Stuart, and that until within a short time all knowledge of the Sharpies portraits of Washington in oils was confined to such American tourists to England as carried letters to the owners. " The venerable Rev. Dr. Van Pelt, who Avas present at this meeting of the New York Historical Society, said he had in his childhood the good fortune to spend some hours in the society of Washington, and after giving a detail of his appearance, he pronounced the portrait to be an excellent likeness of Washing- ton as he remembered him. "(Extract from the minutes.) Andrew Warner, Becording Secretary." The Rev. Dr. Van Pelt recorded as follows : — "Hammond Street, New York City, April 22, 1854. " In compliance with request, I have the honor now to trans- mit my opinion of the portrait of Washington, which was ex- hibited in our New York Historical Society, at a regular ineeting held in the University, on the evening of the 4th of April last. "It gives me pleasure to state that I had the satisfaction — I would add, the honor and happiness — in my youthful school- going days, after the war of the Revolution, and previous to his inauguration as the first President of the United States, of see- ing and spending part of a day in company with General George Washington, justly styled ' the Great and Good Man.' " He was indeed eminently so, in the various relations of domestic and public life, as also in his death. " Taught from my earliest childhood to cherish and estimate highly the patriotism, principles, virtues, and character of Wash- 28 ington, in common with my countrymen, and having the privi- lege, I approached near to him, got by the side of him : he put- ting his arm around my neck, embraced me close to him, and talked to me. Taking the buttons of his military coat between my fingers, and intent in looking at him, I observed distinctly the features of his face — his bland, dignified, majestic counte- nance; his erect, tall, towering x^erson; his graceful movements and amiable demeanor — so as even at present, in my advanced age, to perpetuate the knowledge, and leave in my mind and memory the impress of the contour of his face, his grave look, and stately appearance. Accordingly, in beholding the portrait as suspended in view of the members of the New York Histori- cal Society, I pronounced it then, as I do now, an interesting picture of our immortal Washington, who, we are pleased to say, was ' first in war, first in peace, and first in the hearts of his countrymen ' ; and that it is, according to my remembrance, a faithful, excellent, lifelike likeness of the Great Living Origi- nal, worthy to be carefully preserved, and highly valued. With best wishes, respectfully yours, P. J. Van Pelt, D.D." After seeing the portrait, Washington Irving thus wrote of it: " SUNNYSIDE, April 13, 1854. " I have seen the portrait of Washington by Sharpies. There is much more of life and animation than in that by Stuart, but the latter has more calm dignity. I should think it was taken several years previously, probably during the war, when Wash- ington was leading a life of personal activity and mental excite- ment. "The mouth is different from that by Stuart, and approaches more to the natural shape of that taken of him when he was forty years of age, by Peale. A set of artificial teeth, which I believe he did not wear until after the Revolutionary War, altered the shape of his mouth, — drew it down at the corners, and lengthened the upper lip. " The Sharpies portrait gives a better idea of the innate energy of his character; which, after he laid by the sword and assumed the toga, may have been somewhat veiled by the sober decorums and restraint of official station. " I think the portrait a very valuable one, and should like very much to have the privilege of having it engraved for the ' Life of Washington,' should I ever complete and publish that work, which the booksellers have so often announced without my an- 29 tliority, and even before the plan of it had been turned in my mind. I am, dear sir, with high respect, Your obliged and humble servant, Washington Ikving." The poet Bryant also bore testimony thus :— "New Yokk, April 26, 1854. "I have seen the picture of Washington by Sharpies. It is a fine picture and most interesting, inasmuch as it represents Wash- ington in the vigor of manhood, some years before Stuart's por- trait of him was taken. The countenance expresses thought, res- olution, sensibility, and a high degree of physical energy. " I regard the discovery of the picture as an event of great im- portance. W. C. Bryant," Two years later, Longfellow wrote appreciatively thus : — "Cambkidge, September 22, 1856. " I have just returned from a long visit to the seaside, and find your friendly letter and the Sharpies portraits (small photos had been sent to Mr. Longfellow), and hasten to thank you for them, and to explain why I have not done so sooner. "These portraits are very beautiful and very valuable. They are treasures which I highly prize, and which I shall guard with jealous care; and, as you request, will ever respect your intei"- ests, and on no pretence allow them to go out of my house. "If there was an artist here equal to the one who took the copies of the Sharpies pictures, you should have one of me in the same style. But, alas ! that is not the case, and I shrink from subjecting myself to the process of Daguerre. With greatest regard, yours, faithfully, Henry W. Longfellow." Efforts were about this time made to purchase this portrait and hold it in America, but a sale could not then be made. The Gary family had been advised to put the portraits in settle- ment, which tied them up for a time. Dickens, who had enlisted Maclise to complete the female heads, wrote : — " I have had much pleasure in securing the good offices of Maclise, though the being successful is more due to Stanfiekl 30 than my efforts. Certainly lie has made pictures out of Shar- pies' sketches of American women of Washington's time re- markable for their beauty and grace. Maclise has been inter- ested in these charming subjects, and he certainly has done wonders with them. I did not see them until months after he had taken them in hand. He calls them his 'American blazing beauties.' As to the Sharpies portraits of Washington and his wife: When in Boston I saw the portraits by Stuart, so also others most in favor with American friends. None, how- ever, excepting the Sharpies, convey to my mind his capacity, benignity, dignity, or grace. These portraits ai-e unknown in America, but when the people see them, and are left to judge for themselves, they are safe to accept the Sharpies as their national portrait. They care not as to the nationality of the artist; what they want is reality. When Washington was in the flesh, his country had just secured its national independence. Art was comparatively unknown, and it is fortunate there are existing such presentments of the nation's founder; equally satisfactory is it they have until now remained in England, They would have been kiln-dried by ' furnace ' power had they re-crossed the Atlantic. In good time the Americans will learn that the unnat- ural dry heat of their stoves in winter is as wholly destructive of all paintings as of the fair countenances of their lovely women. Such portraits as those Washingtons are the charge of the whole human race, and should be cared for as the heritage of future ages. They should be placed out of the power of injury by fire or heat. A few winter seasons in an American private house would finish them, and render them the utter wrecks others have already become. Charles Dickens." Thackeray also expressed himself: — "I have only seen engravings of the Stuart portrait. It can never rank with the Sharpies. It has too much austerity, and is wanting in life. W. M. Thackeray." THE PORTEAITS OF FULTON AND HIS WIFE. ^YJt\\ reference to the portrait of Robert Fulton, the man who shares very largely the fame of first adapting the steam-engine to purposes of navigation. General Grant was not alone in his desire to get access to it. Like all others of Sharpies' oil-por- traits, excepting the Washingtons, Fulton and his wife's por- traits, they were left unfinished. They were purchased from • 31 Mrs. Shai-ples in that state. Romney or Bird finished the portrait of Fulton, Maclise that of his wife. Since their sale by Mrs. Sharpies, two individuals only have owned them; both more than eccentric, the present possessor leading a secluded life, and declining to allow any visitors to his costly collection of paintings, mostly portraits of distinguished persons. Fulton was an attached friend of Sharpies. In his early years, as is well known, he worked and maintained himself as an artist. There are several portraits of his execution known in England. When in London he was one of Benjamin West's family hovisehold; he and Sharpies being sympathizing friends, the latter desired to paint his portrait, seeing he was a very rising man in his newly adopted profession as an engineer. It is understood in England that Benjamin West, during the period of his residence with him in London, painted a por- trait of Fulton; its existence in England has so far not been ti'aced. The hope is that Fulton's family in America may pos- sess it. Sharpies himself was a skilled mechanic, and speaks of Fulton as having greatly served him when in America. It is not a little remarkable that Fulton succeeded in building a steamer capable of propulsion under water. He accomplished this and much more, and he was the father of torpedoes. America has allowed the name of Fulton to drop, in a degree, through the gridiron by wliich she usually tests her greatest sons. Undoubtedly he was the pioneer in the application of steam-power to purposes of navigation, and therefore ranks among the highest of the world's discoverers. He was a man of the greatest practical genius, and despite that a hundred years have passed into the abyss since he made his discoveries, yet in the matter of torpedoes the nations of the world are only just waking up to the knowledge that he lived. In the most important feature, that of a submarine vessel for war purposes, he was entirely successful; and it is a matter of history that he produced a torpedo which destroyed a vessel anchqred in the Bay of New York. The French and English Governments, in common witli that of his native country, failed in realizing the true nature and power of his inventions, though they were none the less important, through their obtusity. At the time, his torpedo was looked upon, not as a substitute for the ordinary modes of warfare, but as a useful and powerful addition to the means of ordinary defense. He managed, even in his time, to keep the British fleet in a continued state of consternation while on the American coast; for although no actual injury was done to any vessel, yet the motions of the squadron in Long 32 • Island Sound were paralyzed, although commanded by Nelson's favorite captain, and the crews kept in a continual state of alarm, throuoli fear of his inventions. His experiments in the matter of submarine artillery, though arrested by his early death, were, it is knoAvn, in a vei-y advanced state of practical application. The great discovery with which Fulton's name is inseparably connected, as the principal agent in its creation, is that of navigation by steam. Fulton was acquainted in Bir- mingham with Watt, who had just then succeeded in giving to his steam-engine the form fitting it for universal application as a prime mover. Fulton worked with Watt, and was a great adept in making his models, and superintended for him the construction of an engine, at a time when few suitable mechanics could be found for such work. This engine reached New York in 1806. He returned to America with it, and immediately constructed a vessel for its application, and in the following year at once succeeded in his bold experiment of running by steam no less than one hundred and fifty miles at a stretch, from New York to Albany. Sailing-craft Avere ofttimes a week in the voyage ; Fulton did the voyage in thirty hours. Sharpies and Fulton held frequent corresiiondence on artistic and mechanical subjects, when distance separated them from each other. Both were firm believers in the torpedo: had their letters not been lost, we should have seen ere this an astound- ing development of this destructive engine. A letter from Shari^les to Robert Gary expresses a firm conviction that Fulton had it in his power to destroy any fleet; " the mighty invention," he adds, "will some day or another put an end to all naval warfare." Sharpies died in New York, February 26, 1811, and was buried in the Roman Catholic burial-ground of St. Peter's Church, Barclay Street. A large number of the chief residents were present at tlie funeral. Mr. Moses Rogers, Mr. Hopkins, Mr. Dunlap, Mr. Elmendorf, Mr. Charles Wilkes, Mr. Catlin, Mr. Bleecker, and Dr. Kemp, prominent citizens, were the pall- bearers. THE PRIESTLEY AND OTHER PORTRAITS. At his death. Sharpies' widow owned a number of her hus- band's unfinished portraits in oils; among them ex-Presidents Jefferson, Adams, Madison and his wife, General Hamilton and his wife, Robert Fulton and his wife, who was niece of Chan- cellor Livingston, and one of the greatest beauties of that day; 33 Dr. Priestley, and General Hamilton's wife, who also was an especially beautiful woman. All had sat to him; none, how- ever, had been finished when his death occurred. In addition to these, other public men of America had been " rubbed in," but their names could not be traced. President J. J. Hill, of St. Paul, than whom no truer patriot exists in America, is in pos- session of Jefferson, Adams, Madison and his wife, and General Hamilton. The portrait of Chief Justice Marshall is a fine presentation of the distinguished jurist, and it is asserted was availed of by more than one artist in executing other paintings of him. This painting is owned by a gentleman in England, who, though as- senting to its exhibition in America, would not allow its auto- type reproduction in M*ajor "Waltei-'s "Memorials of the Wash- ingtons." There is a fine portrait of De Witt Clinton by Sharpies exist- ent in England, but the owner will not consent to its coming to America. At her husband's death, Mrs. Sharpies retui'ned to England, and had a sale of her husband's effects at Bath. With the excep- tion of the unfinished portraits named, and a number of out- lined female heads, decribed by her as " American beauties," referred to by Macready and others, everything was sold at auction. After the sale occurrence many inquiries were re- ceived from persons in America, seeking to get possession of their "likenesses," but, alas! the auctioneer had made away with them. Among the clamorers was Dunlap, the American historian, who wrote: "I want to get hold of my portrait un- finished as my friend Sharpies left it, and am willing to pay the price same as if he had completed it." Like others, Dunlap could not be accommodated. Some of the series of female heads were little more than "indications," and consequent on black-beetle ravages had to be transferred to new canvases. All evidenced unmistakably lovely women, mostly quite young, and as having been outlined on the canvases for purpose of after completion. The opportunity of finishing never came; and at his death his wife bore them away to England. THE FEMALE PORTRAITS. Altogether there were ten of these canvases. Seven were left in a more advanced stage than the remainder, and the fair subjects of these seven were Miss Peale, Mrs. Van Rensselaer, Hamilton, Fulton, Field, Jay, and a daughter of Patrick Henry, 34 the great Southern orator. At this distance of time, with the very slight information there exists for guidance, tlie names of the others cannot be ascertained. All were recognized charmers of tlieir several localities. At the period of the sketches being made, balls took place in New York, Philadelphia, Baltimore, Richmond, and Alexandria: the leading families being generally known to each other, tliey all met as friends. Only very meager memoranda existed among Mr. Gary's papers as to these sketches, beyond the fact of their purchase from the widow Sharpies, together with the other portraits, at the time of realizing her husband's effects after her return to England. He had l^een woi-king on some of them during the winter of his death, having had offers of considerable sums for them by families in New York. It is clear, therefore, that he intended to finish them. How it came that they were not completed during the period of his first visit, there exists no record. Probably their commission was a private arrangement among the gentry attending the balls graced by the special aspirants, for whose hands in the graceful waltz there would be no lack of gay cavaliers, — whether of North or South need not now be asked, — though future genera- tions of men and women, gentle and simple, will be ever fond of looking at the Sharpies delineations of these lovely ones, and through them read what manner were they who held sway in the Court of Washington. If it be not heresy to suggest, may it not be through jealousies of rival charms that Sharpies' com- pletion of the beauties was never carried out ? This has been given as an explanation of their being in the artist's possession in an unfinished state at the time of his death, and their trans- mission to England as part of the deceased's belongings. He attended some of the balls, and was by no means indifferent to the charms of lovely women. The Sharpies' portraits, so far as the general public goes, were until recently unknown in America, excepting to the few leading poets and public men traveling abroad, who knew of their whereabouts, and sought them out. The pictures them- selves were packed off to England instantly after production, and all that remained to the country were some pastel draw- ings, made, in the first instance, from sketches executed with the original paintings before his eyes, but which, through multiplication, and in absence of the originals to guide him, grew weaker and weaker, until, like Stuart's portraits, they became mere results of recollection. The evidences of rapid change in the national feeling need no seeking. Boston, the city rightly priding itself in its possession of a genuine Stuart, 3n has admitted, in free and honorable manner, that the Sharpies portraits are "more real," "more hnman," than the Stuarts. New York, from the first moment of seeinse," with whom Washington was in love in his younger days, and whose beauty does credit to his taste in svrch matters. Less brilliant in complexion than Washington's mother. Miss Phil- lipse is of another type of the Colonial beauties of the Old Dominion. Her dark hair is brushed back and powdered over her forehead, curls of the natural color falling over her shoul- der. Her gown is also of slate-color, and a white lace kerchief caught at the corsage, with a bow of a deep golden shade, sets off a neck of rare loveliness. One notices the curious circum- stances that all of these chaiuners had unusually long and well- rounded necks. Miss Jay's portrait is a full-face front, the heads of most of the others being turned slightly to the right. And what a bright, intelligent, wide-awake girl she must have been, fascinating the New York, Albany, and Philadelphia beaux, we may well believe, with her si^arkling blue eyes and her nimble wit. She was called "il/iss Impudence^' by her fam- ily, and (Sharpies, who painted this and the portraits that I shall describe later, evidently caught with rare skill the salient features of her character, and succeeded in depicting her vivac- ity and sprightliness in every lineament of her face. Here is her apoearance: ahead smaller than most of the others, hair, 41 brownish-red, brushed off a low forehead and piled high on her head, a bit of blue ribbon in its coils; a deep-red gown, cut low, with lace over the shoulders, and a full-blown rose in the cor- sage; regular features full of animation, and a long, rather slender neck — withal a charming portrait, excellent in drawing and full of color. One sees a bit of Venetian blue landscape in the baclcground of the portrait of Mrs. Van liensselaer, which justifies tlie artist in placing a broad-brimmed, dark-straw hat, trimmed with bits of blue ribbon, on tlie pretty head of the lady, whose wine-colored gown is cut low in the neck, the lace kerchief over her shoulders being tied at the bodice with a blue ribbon. Sharpies was not so successful with his portrait of Patrick Henry's black-haired daughter. Nor was she dressed as becomingly as the Knickerbocker maidens. Robert Fulton's wife, a niece of Chancellor Livingston, wears a jacket of old gold color, with two folds of lace crossing her bosom. The pic- ture is not so well composed, nor is the lady as pretty as some of the others. Modesty or some other reason compelled the wife of General Hamilton, who was Miss Schuyler, to fill the neck of her frock with lace, and even to wear a ruff. Loveliest of all is the portrait of Angelica Peale, a daughter of the artist, Charles Willson Peale, who studied under Copley in Boston, and West in England, and who commanded a com- pany at several battles in the Revolutionary war. Miss Peale' s beauty must have been the reason why she was selected to place the laurel wreath on the head of Washington when he entered New York to assume the office of President. Sharpies has cer- tainly painted a portrait of an extraordinarily lovely girl, and in a free, Titianesque style that accords perfectly with the sub- ject. It is romantic treatment as compared with that of the others, but it suits the charms of face and figure that this daughter of the soldier-painter possessed. Her dark-brown hair is parted and waved back, a fillet of jewels binding it over her brow. Her gown is of rather loose white stuff, cut very low, and somewhat squarer in the neck than those of the others, a spray of lily of the valley at the center. Over each shoulder falls the end of what seems to be a scarf of pale blue. Imagine, now, this girl in an easy, unconventional, or, to be more exact, a dreamy and slightly languid attitude, beautiful in every feat- ure, and of a rich, full-moulded type of beauty, and you may get an idea of how the Knickerbocker youths' heads must have been turned a hundred years ago by the presence of this fair maid. The charms of this galaxy of Colonial and Revolutionary belles have furnished such a fascinating theme we have only 42 space to refer to the portraits of Robert Fulton, said to be the only one in existence, Chief Justice Marshall, and Priestley, all by Sharpies, and all of exceeding interest. The whole collection ought to find a permanent home in the Capitol at Washington, for it is of inestimable historical value to the American people, and is worthy of the most serious attention by our portrait- painters. Mrs. Schuyler Van Rensselaer, one of the ablest art writers in America, an admitted authority, has thus recorded of the portraits, in the N^ew York Independent : — •' The series of portraits should not fail of a visit from any one who ventures to call himself a "' good American.' And apart from their high historic interest, four or five of the pictures are well worth the attention of all who love good art. These include the famous Sharpies portraits of Washington and his wife— a profile of Mrs. Washington and a profile and a full-face of her husband. "Sharpies was an English artist who was sent to America by Robert Gary, Washington's personal friend and London agent, for the express purpose of painting these pictures. Romney, the best portraitist of his time in England, had been Sharpies' teacher, and had recommended him to Cary. The portraits were begun at Mount Vernon, and Mrs. Washington's was finished there, though the General gave Sharpies final sittings in Phila- delphia. All three were sent at once to England, and there re- mained in the possession of Gary's collateral descendants, until 1854, when they were loaned for exhibition to the New York Historical Society. The greatest interest in them was then excited, and through the exertions of Washington Irving and other prominent citizens they would have been purchased, but that business complications in the Cary family rendered their sale impossible. Some four years ago they were again sent over the water, doubtless in the hope that the Government would buy them for the nation. But though they were shown in many cities East and West; though their authenticity has never been disputed; though their artistic value is very evident, and though Washington is portrayed in a way far more in accordance with our innate ideas of probability than upon any other canvas ex- tant — not excepting those by Gilbert Stuart — they were again allowed to return to foreign keeiiing. Once more they are on American soil. Should their present exhibition, unfortunately, but unavoidably, a very short one, prove the slightest vitality of interest on the public's part, tliej' will immediately bo re- turned to their owners, who are unwilling to incur the great ex- pense and risk of transportation and long exhibition in the face of utter public apathy. There is only one thing to be said about them — they ought to be purchased for the nation. It is a duty Congress owes to tlie people, to the memory of Washington, and to its own reputation for patriotism and good sense. It does not need Washington's assertion, in a letter to Gary, "It is agreed all hands that his (Sharpies') two portraits of myself are, so far as likeness goes, by far the best of the many made" ; it does not need the strong preference expressed by Irving and many others in New York; it does not need Emerson's words from England, saying, "I would willingly have crossed the Atlantic if only to have looked on these portraits, so priceless to our people" ; it does not need General Grant's decision when he saw them not many years ago in England, "They are the likenesses of the man; . . and anybody can see in that face all that we know him to have been," — it does not need any of this to con- vince us, if we have eyes to see the canvases, or a heart to im- agine their originals, that they are treasures of incompai-able value. Stuart's version of the great man's face has, for want of a better, imposed itself upon iis as the likeness to be respected. In the Sharpies portrait we see him a little earlier in life, and the mouth has much more the aspect it wears in the Peale por- trait, painted at about the age of forty. The picture is life size, and somewhat less than half-length, the hands not being visi- ble. The right shoulder is turned a little toward the spectator, and the head turned a little over it, showing the face nearly though not quite full, with the eyes meeting ours. The pose is instinct with vitality, vigor, and dignity — the bearing at once that of the soldier and that of the statesman. The dress is military — a blue coat with gold buttons and epaulettes, a white stock and ruffle, the hair powdered, of course. The vivid blue of the deeply set, not large, bvit potent and expressive eyes, is familiar to us from the Stuart pictures ; Init the strong modeling of the cheeks and chin, revealing the bony structure beneath, the fine, though slightly depressed, line of the nose, and, above all, the beautiful expression of the vigcn-ous, yet sympathetic and almost pathetic mouth — these are traits we find for the first time, and traits which for the first time convince us, to our entire satisfaction, that thus and so Washington must indeed have looked. Our eyes assist us a good deal toward forming our impressions of a man's character ; and quite as much wlien they are turned on painted records as when they rest on living 44 faces. I cannot but believe tbat if this portrait and not the unsympatlietic, somewhat cold — may I venture to say a trifle pompous and pedantic looking — face which Stuart left, had been known to us and believed in by us from childhood, our feeling toward Washington wovdd have been different from that which many of us have to-day ; not more admiring, perhaps, but more afEectionate, more reverent — altogether more human. Must it be that future generations shall be deprived of so unique ;in aid to sympathetic understanding? Moreover, as I have said, the work is delightful, simply con- sidered as a work of art — a picture which, even if it had no name at all, we would gladly hang upon our walls to " live with." The handling is bold and clever, and though the shadows are a trifle dark — the result perhaps of age — the color and the tone of the canvas are quite admirable. The whites are treated on a very yellowish key, harmonizing beau- tifully with the deep brown background, the dark blue coat, and virile complexion, which, I may add, shows none of that un- natural pinkishness which is so disturbing in the Boston original from Stuart's brush. The pi'ofile of Mrs. Washington stands next in artistic as well as in historic interest. Here the white kerchief and cap and the blue-and-white-striped ribbon which encircles the latter, are grayish, not yellowish, in tone ; and as the background is very dark and the dress black, the general effect is rather somber. But it is very harmonious and artistic, none the less, and this, too, is a picture precious even apart from the personality it shows. The profile of the General is in civilian's dress — black, with but little of the white collar and ruflBe showing ; and, though interesting too, has by no means the beauty or the charm of the full face. Together with these three pictures hangs the only known portrait of Washington's mother, Mary, which, from extant letters of his own, is known to have hung, in a mutilated condi- tion, in her son's bedroom at the time of Sharpies' visit ; that permission to have it repaired was refused, because the General disliked to part with it, and feared repairing might mean altera- tion ; that it disappeared after his death ; that its existence in England was always believed in ; that Emerson tried in vain to find it ; and that now it Jias been found, and its history satis- factorily traced. It was painted by an English ofiicer named Middleton, a few months before the birth of Washington ; when sent to England was restored by an R. A. named Bird ; and has since been owned by members of the Gary family. Its purely 45 artistic value is by no means so great as that of the Sharpies three. But this value in high potency we may do without in pres- ence of the only existing likeness of such a woman. A beautiful young woman she is too, with large, full, yet sweet, and refined features and majestic bearing, quite the sort of mother such a son should have had, and quite the sort that contemporary accounts of her beauty would lead us to expect. Her com- plexion is fair, and her hair light brown, rolled back over a low cushion in front, falling in a single large curl over the bare left shoulder, which is turned toward the spectator, and tied with a bit of pink ribbon. Her low-cut dress is of a lilac shade, and a bertha of muslin and lace is tucked in around her neck, and tied in front. These four pictures, I repeat, will be sold, but will not be separated in the sale. Surely some one will be found to purchase them either for himself or for the nation, if the nation's representatives refuse the privilege. When Sharpies returned for the second time to this country he began a great number of portraits of men and women well known in the "upper circles" of the day. In many cases he made but outline sketches, to be completed when oppoi-tunity should allow, and he died in his home in Greenwich Street, New York, while a number were still incomplete. These were taken by his wife to England, and there finished by other hands. Now they are on exhibition here, together with the originals just named. A comparison is interesting, as proving the decadence of English art in the generation which came after Sharpies. He was not well known as a painter, but his work is such that it charms the most critical eye. His unfinished canvases were completed by men of higher place in the world's esteem than he — some of them by the famous Maclise — but are each and all inferior in every way to his own results. Among them hangs a portrait of Robert Fulton, better painted than most of the others; which is, I believe, the only likeness of him in existence. And still better painted is that of the great chemist and theologian, Priestley, whom Sharpies went to Philadephia to portray. The drawing is good and the expres- sion lifelike and satisfying; and though the scheme of color and tone is entirely different from that of either of the Washingtons, the handling makes one feel that Sharpies himself had a greater share in it than in its companions. It is a good and interesting picture, as well as a pleasing likeness of a notable man. I may add that, in spite of the entire difference in the coloring of the two men, the growth of the hair, the shape of the forehead, and 46 the line of the eyebrows in the Priestley reminded me very strongly of the same features in his great-grandson, the late H. H. Eichardson. The Boston Transcript, of 4tli November, in its Art Notes, dealt critically with the j^aintings as follows : — There is a tendency at present to forget Washington. His character and principles are unpopular; the conviction is wide- spread that he would characterize present political methods with a degree of Western democratic severity. Times have changed since 1776. In fact, the spirit of Washington and his times has fallen into nrarvelous discredit. There are some, however, who still hold to the ])rinciples that drove Washington and his circle in their task of making a nation; some who find in the men of the Revolution mental qualities, traits of charac- ter, details of life, that seem somehow wanting in the incum- bents of similar positions nowadays. To them, the ucav Wash- ington will be an unusual source of pleasure. On the whole, however, it is hardly exact to call the Sharpies porti-ait a "new Washington"; for to those who have studied the character of the man with admiration and wonder, it will seem a very old Ijortrait indeed, very old and familiar, and the chances are that the old Stuart portiait will give place to the comparatively unknown Sharpies; for there has always been in the former a something inharmonious with the character of George Wash- ington as it develops under study. It is one-sided, giving little of the religious element, little of the manly humility, little of the grave thoughtfulness and calm determination that are so marked in this most honorable man. It is an ideal picture, notable for its beauty and its majestic dignity. But the Sharpies portrait is very different. . Here one sees painted those qualities of thought — philosophical, yet in a measure ideal — of following resolution, of kindliness and be- nignity, of religious reverence, and withal of physical energy — all those qualities which one knows were Washington's, but are unexpressed in other portraits. The picture has personality, friendliness. One is drawn toward it as all were drawn to the great original in life. Most certainly this is the Washington his admirers most will love. The profile portrait is also intei-esting in the same way. Here, however, it is impossible to read in the eyes and the mouth the qualities shown so well in the first-named portrait. It shows well the strong modeling of the face, and those elements of 47 physical sti-ength, resolution, and execution, that added the final roundness to this remarkable personality. It is a fascinat- ing;- picture, but rather of Washington the civilian at rest in his own home, than Washington the statesman, patriot, and warrioi-. The talent of Stuart was wholly at home in creating tlie beautiful Martha Washington at the Art Museum. The Shar- pies portrait cannot conflict with this. Of course the deepest interest centers in the two portraits of Washington ; the interest, that is, of all true Americans, of those who know no way of guiding the future but by the past, of all patriots, students, and hero-worshipers. Still, the unique por- trait of Mary Washington, painted only a few months before the birth of her son, is full of unusual interest — a really beautiful woman, as Washington reverently said, strikingly like her son. One can easily trace, even in aiR\'ork which is rather wanting in individuality and character, evidences of those religious and thoughtful and ideal qualities which were deeply characteristic of Washington himself. Middleton, the painter, was evidently only an amateur, and failed to catch clearly those characteris- tics his subject must have possessed. But the picture is valu- able in the extreme, being the only one in the world. The remaining portraits are chiefly of American beauties of the time of the Revolution; and very beautiful they were, many of them, particularly Washington's first love, and Mrs. Jay. These female portraits, however, were only sketched by Shar- pies, being finished by men perhaps more celebrated, but cer- tainly less truly artists. For artistically the Shai'ples portraits are admirable. Although a pupil of Romney, the painter seems to copy his master not at all; his excellence is aliuost equal, but very different. Through- out, the work is vigorous, earnest, and simple, without a hint of the triviality and falsity wliicli pretty soon characterized English art. The military i^ortrait of Washington is singularly strong in almost every w^ay — artistically and technically strong and pure in color, fine in tone, and frank and direct in execution. The rest of the Sharpies portraits are wretched, so far as art is con- cerned, being often characterless and falsely pink and white. But, after all, the value of the pictures lie wholly in their pricelessness as memorials, and the full-front Washington can only be looked on as a work which should be, and eventually must be, one of the most precious treasures of the nation. We have no opportunity here to advocate the purchase of these pictures by the country; probably such counsel would be thrown away. Our Government has proclaimed its plan with regard to 48 art. and it is hopeless to expect anything but determined antag- onism in that quarter to tliose questions which in civilized coun- tries receive strongest support. The Government will not buy these portraits, for very manifest reasons, but eventually they will become the property of the nation; and it may be just as well in the meantime they remain in private hands; but that they should never go back to England is of course a foregone conclusion. Immediately on the Sharpies collection arriving in Boston, Sydney Dickinson, well known as an accomplished and com- petent critical writer, addressed himself to the Portraits in terms as follows in the Boston Journal of 6th November: — This collection of portraits may fairly be said to be the most valuable and interesting to Americans of any that have ever been exhibited in this country. It includes the Sharpies paint- ings of George Washington, and Martha his wife, of Robert Fulton and his wife, of Dr. Priestley, and Chief Justice Marshall, and the Middleton portraits of Mary, the mother of Washington, and of Mary Phillipse, for whom, in early life, Washington is said to have had an attachment. The chief interest of the exhibition centers naturally in the portraits of Washington himself. Of these there are two — one full face, the other a profile ; the former in military garb, the latter in the evening dress of a well-to-do civilian. These works describe Washington at an earlier age than that presented in the well-known Stuart portraits ; and although they are inferior to the best of Stuart's canvases as works of art, they have every indication of being equally good likenesses, if not better. To us they have a stronger interest than the Stuart portraits, as showing us more truly the appearance of the first great Ameri- can at the time when he achieved liberty and superintended the building of a new nation. There is remarkable sincerity in these works, and evidence of accurate observation and sympa- thetic workmanship, which give them a value far above any other portraits upon this subject. The profile portrait of Martha Washington is no less interesting and valuable, showing a woman of cool, self-reliant spirit, homely virtues, and intelligent mind, — the Avorthy helpmeet of the Father of his Country. There is in the descriptions of both these personages a modest, unostentatious character, which gives a better revelation than scores of written volumes could do of the quiet, courageous, patient spirit of the generation which achieved independence for us. Superior to these pictures as works of art, if possessing 49 less vital interest for the general public, are the Sharpies por- traits of Robert Fulton, Dr. Priestley, and Chief Justice Marshall ; all of which are beautifully painted, and have few rivals in works of the present day in expression of vitality and intelligence. In works of historical interest, high, artistic qualities are of secondary importance ; and it is in consideration of this fact that we regard the most interesting picture in the collection to be that of Washington's mother. This was painted by a man of mediocre ability. Captain Middleton, an oflBcer attached to the Colonial force, who studied under able masters of his day, and, as the portrait shows, had absorbed some of their manner and skill in giving delicate and idealistic expression to descriptions of his sitters. How much of the handiwork of the original artist remains to the present day it would be difficult to say. It bears evidence of considerable improvement since it left its author's hand, and is exijlained in the statement that the picture was so badly damaged while in Washington's posses- sion during his campaigns, that it was found necessary to transfer it to a new canvas and otherwise restore it — a work in which Mr. Sharpies himself had some interest, even if he did not actually participate in it. Letters of Washington himself remove all doubt about the authenticity of the portrait, and it stands as an unique and priceless memorial of a woman whose personal appearance is otherwise unknown. We have other portraits of Washington himself, but none of his mother; and it should in some way be retained ujjon the soil which saw her birtji and that of her illustrious son. It is probable, indeed, that this portrait, as well as the two of Washington himself, and that of Martha, his wife, will be purchased for eternal preservation in America. Such should be their disposition by every rule of reason and patriotism. Meanwhile, lest this plan may fail, no one should miss seeing these most valuable works. THE HISTORICAL SOCIETY. The AUeged Sharpies Portraits of Wash, ington— Significant Report of a Commit tee, Publlslied by Vote o f the Society. The Massachusetts Historical Society heU its stated meeting yesterday afternoon. Dr. George E, Ellis occupying the chair. Amon| the gifts to the library reported by th< librarian was "Rambles in Old Boston, Ne\i England, by the Rev, Edward G. Porter," a work of considerable original research, con- taining descriptions of the quaint buildings in the oldest part of the city, a map of the North End, and neaily a hundred illustra- tions. A beautiful and life-like por- trait of the late Charles C. Perkins was presented to the cabinet by his brother, Mr. Edward N. Perkins, and a relic from theHan- cock House was given by the Rev. W. C. Winslow. Mr. Charles G. Loring of the Museum of Fine Arts was elected a resident member of the society, and Professor Mandell Creighton of Cambridge, Eng., was chosen a coiTesponding member. The committee ap- pointed to consider the subject of asking Con- gress to take measures for the preparation of an index of all documents relating to Ameri- can history which are in foreign arehivea reported, through Mr. Parkman, that the memorial dra\yn up by certain gentlemen in j New York meets the approval of this society, and that the president be authorized to cooper- ' site with the memorialists and to sign, in his official capacity, a memorial in aid thereof. The committee appointed to investigate the historical value of the so called Sharples's portraits of Washington, recently exhibited in j this city, and which it was hoped would ba I purchased by the government, made the fol- lowing report, which is published by vote of I the society : REPORT ON THE HISTORICAL POKTBAIM EXHIBITED BY MAJOR WALTER. The interest of the collection centres in the three Washington portraits— the profile and w i^^® °^ the general and the profiJe of Lady VVashington. The origin of these portraits, aa ^8t forth by Major Walter, is briefly as fol- ^'"'s: Robert Gary, a London merchant, ageni >r Washington, and also his admiring and de' voted friend, sent an artist named Sharpies tfl America for the express purpose of painting his portrait. Sharpies did so, in 1796, a« Mapr Walter says in one place, or at some period not precisely known, as he says in another. The evidence that such pictures were painted by Sharplts is contained mainly in a letter bearing Washington's signature, in ex- tracts from letters ascribed to Sharpies himself and m a letter signed by Robert Cary, All *rL ®®TT?^®, printed in Major Walter's book. Ihe Washington letter has no date. Its style bears no resemblance to the well-known style of the alleged writer. It bears, however, a strikmg resemblance to the verv peculiar style of Major Walter, which is marked by frequent and CQ.Tispicuous solpcismp. One of these Is his ,of ten repeated use oi tne verb to name in the 'sense of to mention. Washington also is made to say, "I have been solicited to name that, if' Mr. Sharpies thinks of retui-ning to this conn- try, a good opportunity would be offered to bring them (the pictures) out." And again, a few lines below, *'My wife declines to join in asking your consent, — I have undertaken simply to name it." The letter begins with thanks for two jars of piclded tripe, sent as a present by Gary, and the illustrious writer adds, "Dental infirmity impels my caring for this necessary item in our domestic conmiis- sariat," — a sentence eminently Walterian, aa is also the injunction that Sharpies shall be re- quired to paint copies of liis portraits "in the best manner of his capability." As this letter not only testifies thac Sharpies painted the portrats, but also that, in Wash- ington's opinion, they were "by far iJie best of any made," the committee thouerht it necessary to learn if possible where th« original was to be found; and an inquiry to this eifeet was written to Major Walter. His answer, though long, failed to give the least information, and the question was there- fore repeated in still more explicit terms. This | drew from him a letter stating that Washing- ton's letters to Cary had been destroyed at the writer's I'equest, for political reasons, and that, in his own words, "the tripe letter to | Mr. Cary seems to have met the designed fate i of all such." Why in this deploraole holo- caust so devoted an admirer should bava thought it necessary to include the perfectly innocent letter in question, which must have been of interest to him as a striking memento of friendship from his distinguished cor- resDondeut, is a problem which we are unable to solve. Nor has a somewhat pressing inter- rogatory enabled us to say how, if the letter was destroyed in Washington's time, Major Walter has been able to print it today. Lajor Walter gives extracts from certain letters alleged to be written by the ai-tist Sharpies, from which it appears that he was on intimate terms with Washingrton, Lee, Hamilton, and many other eminent men. All these extracts bear the unmistakable stamp of the Walterian style. As in the alleged Washingfton letter, the word name is used in the sense of mention. Major Walter, when writing in his own person, also makes frequent use of the word evideitce as a verb, and Sharpie." is made to blunder in the same modem journal- istic manner, as thus: "General Hamilton evidences more what painters would call 'back- ground knowledge' " (p. 72). Again, Major Walter often speaks of Washington as "tha chief" ; for example, "Hamilton is credited with an earnest desire to possess a portrait of the chief" ; "The chief's profoimd knowledge of English history" ; "His cliief highly valued his counsel": "The great chief was suffering deeply" ; "The great cliief's integiity" ; "The chief said." etc., etc. (pp. 53, 83, 102, 174, 185, 190). It is soraethmg more than a coin cidence that Sharpies uses the same ex pression, and this no less than^ sis. times in one letter, thus, "Franklin is not alone in this feeling as to the chief" ; "The great chief removed my embarrass- ment" ; "The chief was conversing"; "Afte the chief's visit to me I seemed lost" : "Whift the chief and bis generals called" ; "Ihe chik again brought back my attention." (pp. 6S' 71, 72, 7.3, 74). 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