Univers

1

'¦iMlH

YALE UNIVERSITY
LIBRARY

From the Library of
IRVING GOODWIN VANN, '63
Gift of his children
FLORENCE VANN FOWLER
IRVING DILLAYE VANN, '97

WASHINGTON AT THF AGE '¦' TWEMr,-!^IVE

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I

THE CHAEACTEE

AND

POETEAITS

OF

WASHINGTON.

Bt
HENRY T. TUCKERMAN.

I^EW YOEK:
G. P. PUTNAM, 115 NASSAU STREET.
1859.

Entered, according to Act of Congress, in the year 1859, by
HENET T. TUCKERMAN,
In the Clerk's Office of the District Court of the United States, for the Southern District of New Tork.

CONTENTS,

Publisher's Note,
The Character of Washington,
The Portraits of Washington, .
APPENDIX.
1. Trumbull's List,
2. G-reenough's Statue. Br A. H. Everett.
3. The Washington Coins,
4. Personal Appearance of Washington,

FAQZ 5 9
33

9797
101
104

ILLUSTRATIONS.
I. Portrait of Washington, at the age of 25,
II. " " " at the age of 40,
IIL " u u
IV. Bust of Washington,
V. " "
VI. Portrait of Washington,
VII. " II u
VIII. " " " (Boston AthencEum),
IX. " " " {Mr. Pierrepont s),
X. " " « _
XI. Equestrian Statue of Washington,
XII. Washington Monu.ment at Richmond,

[Copley ?]

Front.

C. W. Peale.

36

Pine.

40

Ceraochl

44

Houdon,

46

Rembrandt Peale.

48

Trumbull.

50

StuaRt.

54

((

60

Wertmullbr. .

66

H. K. Brown. .

80

Crawford.

82

PUBLISHER'S NOTE.

The Essay on the Character of Washington here republished, is from a volume
issued two years since ; * that on the Portraits was oi'iginally prepared for " Putnam's
Monthly," and a portion of it is included in the Appendix to the Fifth Yolume of
"Irving's Life of Washington ;" numerous corrections and important additions have
since been made, and the new interest in the subject awakened by the popular Bio
graphy just completed, and the national subscription for the purchase of Mount
Yernon, has induced the publisher, with the author's co-operation, to bring out this
complete and illustrated edition.
* Essays, Biographical and Critical, Boston : Phillips, Sampson & Co., 1857.

THE CHARACTER

OF

YY^SHING^TON

-T^he elements

So mixed in Mm, that Nature might stand up
And say to all the world — this was a man.''

THE

CHA.IIA-OTER OF ^v^A.sHiisraToisr,

The memory of Washington is the highest and most precious of national bless
ings, and, as such, cannot be approached by artist or author without reverence. To
pervert the traits or to mar the unity of such a character, is to wrong, not only his
sacred memory, but the dearest rights of his countrymen. A poet once conceived a
drama based on the fate of Andre ; and, after striving to embody Washington in the
piece, in a manner coincident with his own profound sense of his character, he found
that the only way of effecting this, without detriment to hisideal, was to keep that
august presence off the stage, and to hint its vicinity by the reverent manner in which
the name and views of Washington were treated by all the dramatis personce. This
instinct of dramatic propriety is a most striking proof of the native sacredness of the
subject. The more fertile it may be to the poet and philosopher, the less right has
the biographer to interfere with, overlay, or exaggerate, its primitive truth, and the
more careful should he be in adhering to the lucid and conscientious statement
of facts, in themselves, and for themselves, immeasurably precious.
" You have George the Surveyor," said Carlyle, in his quaint way, to an American,
when talking of heroes. Never had that vocation greater significance. It drew the
young Yirginian unconsciously into the best education possible, in a new country, for
a military life. He was thereby practised in topographical observation ; inured to
habits of keen local study ; made familiar with the fatigue, exposure, and expedients,
incident to journeys on foot and horseback, through streams and thickets, over moun-
2

10 THE CHARACTER OF WASHING-TON.
tains and marshes ; taught to accommodate himself to limited fare, strained muscles,
the bivouac, the woods, the seasons, self-dependence, and effort. This discipline
inevitably trained his perceptive faculties, and made him the accurate judge he subse
quently became of the capabilities of land, from its position, limits, and quality, for
agricultural aud warlike purposes. A love of field-sports, the chief amusement of
the gentry in the Old Dominion, and the oversight of a plantation, were favorable to
the same result. Life in the open air, skilful horsemanship, and the use of the rifle,
promoted habits of manly activity. To a youth thus bred in the freedom and salu
brity of a rural home, we are disposed to attribute, in no small degree, the noble
development of Washington. How naturally frank courage is fostered by such
influences, all history attests. The strongest ranks in the old Roman armies were
levies drawn from the agricultural laborers ; the names of Tell and Hofer breathe of
the mountains ; and the English yeomen decided the victory on the fields where their
kings encountered the French in the early wars. Political economists ascribe the
deterioration of modern nations, in those qualities which insure fortitude and martial
enterprise, to the encroachments of town life ; and the greatest cities of antiquity fell
through the insidious luxury of commercial success. Nor are these general truths
inapplicable to personal character. In crowded towns artifice prevails. In the
struggle for the prizes of traffic, nobility of the soul is apt to be lost in thrift. The
best hours of the day, passed under roofs and in streets, bring not the requisite ministry
to health, born of the fresh air. It enlarges the mind to gaze habitually upon the
horizon unimpeded by marts and edifices. It keeps fresh and generous impulses to
consort with hunters and gentlemen, instead of daily meeting " the hard-eyed lender
and the pale lendee." In a word, the interest in crops and herds, in woodland
and upland, the excitement of deer-shooting, the care of a rural domain, and the
tastes, occupations, duties, and pleasures, of an intelligent agriculturist, tend to
conserve and expand what is best in human nature, which the spirit of trade and
the competition of social pride are apt to dwarf and overlay. Auspicious, there
fore, were the influences around the childhood and youth of Washington, inas
much as they left his nature free, identified him with the least artificial of human
pursuits, and nursed his physical while they left unperverted his moral energies.
He became attached to the kind of life of which Burke and Webster were so
enamored, that they ever turned with alacrity from the cares of state to flocks
and grain, planting and reaping, the morning hunt, and the midsummer harvest.
There would seem to be a remarkable affinity between the charm of occupations

THE CHARACTER OP WASHINGTON. 11
like these and the comprehensive and beneficent mission of the patriotic states
man. To draw near the heart of Nature, to become a proficient in the applica
tion of her laws, to be, as it were, her active coadjutor, has in it a manliness of
aim and a refreshing contrast to the wearisome anxieties of political life, and the
sordid absorption of trade, which charm such noble minds, and afford their best
resource at once for pastime and utility.
There were, too, in that thinly-peopled region over which impends the Blue
Ridge, beside the healthful freedom of nature, positive social elements at work.
The aristocratic sentiment had a more emphatic recognition there than in any
other of the English Cisatlantic colonies ; the distinctions of landed property and
of gentle blood were deeply felt; the responsibility of a high caste, and of per
sonal authority and influence over a subject race, kept alive chivalric pride and
loyalty; and, with the duties of the agriculturist, the pleasures of the hunt
and of the table, and the rites of an established and. unlimited hospitality,
was mingled, in the thoughts and the conversation of the people, that interest
in political affairs whence arise public spirit and patriotic enthusiasm. Thus,
while estates carelessly cultivated, the absence of many conveniences, the rarity
of modern luxuries, the free and easy habits of men accustomed rather to over
see workers than to work themselves, the rough highways, the unsubstantial
dwellings and sparse settlements, might not impress the casual observer as
favorable to elegance and dignity, he soon discovered both among the families
who boasted of a Cavalier ancestry and transmitted noble blood. The Yirginia
of Sir Walter Raleigh — a country where the most extravagant of his golden
dreams were to be realized — had given place to a' nursery of men, cultivators
of the soil, and rangers of the woods, where free, genial, and brave character
found scope ; and the name of the distant colony that graced Spenser's dedica
tion of the Faerie Queene to his peerless sovereign, instead of being identifled
with a new El Dorado, was to become a shrine of Humanity, as the birth
place and home of her noblest exemplar.
These advantages, however, Washington shared with many planters of the
South, and manorial residents of the North, and they were' chiefly negative.
A broader range of experience and more direct influences were indispensable to
refine the manners and to test the abilities of one destined to lead men in
war, and to organize the scattered and discordant elements of a young republic.
This experience circumstances soon provided. His intimacy with Lord Fairfax,

12 THE CHARACTER OP WASHINGTON.
who, in the wilds of Yirginia, emulated the courteous splendor of baronial life
in England, the missions upon which he was sent by the governor of the State,
combining military, diplomatic, and surveying duties, and especially the acquaint
ance he gained with European tactics in the disastrous campaign of Braddock, —
all united to prepare him for the exigencies of his future career ; so that, in
early manhood, with the athletic frame of a hunter and surveyor, the ruddy
health of an enterprising agriculturist, the vigilant observation of a sportsman
and border soldier, familiar ahke with Indian ambush, the pathless forest,
freshets and fevers, he had acquired the tact of authority, the self-possession
that peril can alone teach, the dignified manners of a man of society, the firm
bearing of a soldier, aptitude for affairs, and cheerfulness in privation. To the keen
sense of honor, the earnest fidelity, the modesty of soul, and the strength of pur
pose, which belonged to his nature, the life of the youth in his native home, the
planter, the engineer, the ambassador, the representative, the gentleman, and the
military leader, had thus added a harmony and a scope, which already, to
discriminating observers, indicated his future genius for public life, and his compe
tency to render the greatest national services.
During these first years of public duty and private enterprise, it is remark
able that no brilliant achievement served to encourage those latent military
aspirations which lurked in his blood. Braddock scorned his advice ; Governor
Dinwiddle failed to recognise his superior judgment; and he reached Fort
Duquesne only to find it abandoned by the enemy. To clear a swamp, lay out
a road through the wilderness, guide to safety a band of fugitives, survey faith
fully the Shenandoah valley, treat effectively with Indians, and cheer a famished
garrison, were indeed services of eminent utility ; but it was only indirectly that
they were favorable to his renown, and prophetic of his superiority. His appar
ently miraculous escapes from bullets, drowning, and the ravages of illness, called
forth, indeed, the recognition of a providential care suggestive of future useful
ness; but the perplexities growing out of ill-defined relations between crown and
provincial officers, the want of discipline in troops, the lack of adequate provision
for the exigencies of public 'service, reverses, defeats, physical and moral emer
gencies, thus early so tried the patience of Washington, by the long endurance
of care, disappointment, and mortification, unredeemed by the glory wliich is
wont to attend even such martyrdom, that he cheerfully sought retirement,
and was lured again to the field only by the serious danger which threatened

THE CHARACTER OP WASHINGTON. 13
his neighbors, and the prompting of absolute duty. The retrospect of this era of
his hfe derives significance and interest from subsequent events. We cannot
look back, as he must often have done from the honorable retreat of his age,
without recognising the preparatory ordeal of his career in this youth and early
manhood, wherein he experienced, alternately, the solace of domestic comfort and
the deprivations of a border campaign, the tranquil respectability of private
station and the responsibility of anxious office, the practice of the camp and the
meditations of the council, the hunt with gentlemen and the fight with savages,
the safe and happy hospitality of a refined circle, and forest life in momentary
expectation of an ambush. Through all these scenes, and in each situation, we
see him preserving perfect self-control, loyal to every duty, as firm and cheerful
during the bitter ordeal at Fort Necessity as when riding over his domain on a
summer morning, or shooting game on the banks of the Potomac, ready
to risk health, to abandon ease, to forego private interests, with a public spirit
worthy of the greatest statesman, yet scrupulous, methodical, and considerate in
every detail of affairs and position, whether as a host, a master, a guardia ,
a son, or a husband, as a member of a household or a legislator, as a leader of
a regiment or agent of a survey; and so highly appreciated was he for this
signal fidelity within his then limited sphere, that his opinion in a social dis
cussion, his brand on tobacco, his sign-manual to a chart, his report to a superior,
and his word of advice or of censure to a dependent, bore at once and for ever
the sterling currency and absolute meaning which character alone bestows. In
this routine of duty and vicissitude, under these varied circumstances, in the
traits they elicited and the confidence they established, it is impossible not to
behold a school often severe, yet adequately instructive, and a gradual influence
upon the will, the habits, and disposition of Washington, which, laid the foun
dations, deep, broad, and firm, of his character, and confirmed the principles as
well as the aptitudes of his nature.
So intimately associated in our minds is the career of Washington with
lofty and unsullied renown, that it is difficult to recall him as divested of the
confidence which his fame insured. We are apt to forget that when he took
command of the army his person was unfamiliar, and his character inadequately
tested to the pubhc sense. Officers who shared his counsels, comrades in the
French war, neighbors at Mount Yernon, the leading men of his native State,
and a few statesmen who had carefully informed themselves of his antecedent

14 THE CHARACTER OP WASHINGTON.
life and private reputation, did, indeed, well appreciate his integrity, valor, and
self-respect; but to the majority who had enlisted in the imminent struggle,
and the large number who cautiously watched its prospects before committing
either their fortunes or their honor, the elected chief was a stranger. Nor
had he that natural facility of adaptation, or those conciliating manners, which
have made the fresh leader of troops an idol in a month, nor the diplomatic
courtesy that wins political allies. If we may borrow a metaphor from natural
philosophy, it was not by magnetism, so much as by gravitation, that his moral
authority was established. There was nothing in him to dazzle, as in Napoleon,
nothing to allure, as in Louis XI Y., when they sought to inspire their armies
with enthusiasm. The power of Washington as a guide, a chieftain, and a
representative of his country, was based on a less dramatic and more perma
nent law ; he gained the influence so essential to success, — the ability to control
others, — by virtue of a sublime self-government. It was, in the last analysis,
because personal interest, selfish ambition, safety, comfort, — all that human
instincts endear, — were cheerfully sacrificed, because passions naturally strong
were kept in abeyance by an energetic will, because disinterestedness was demon
strated as a normal fact of character, that gradually, but surely, and by a law
as inevitable as that which holds a planet to its orbit, public faith was irrevo
cably attached to him. But the process was slow, the delay hardly tolerable
to a noble heart, the ordeal wearisome to a brave spirit. In our view, no period
of his life is more affecting than the early months of his command, when his pru
dence was sneered at by the ambitious, his military capacity distrusted even by
his most intimate friends, and his " masterly inactivity " misinterpreted by those
who awaited his signal for action. The calm remonstrance, the inward grief, the
exalted magnanimity, which his letters breathe at this crisis, reveal a heroism of
soul not surpassed in any subsequent achievement. No man ever illustrated
more nobly the profound truth of Milton's sentiment, " They also serve who only
stand and wait.'' His was not simply the reticence of a soul eager for enter
prise, the endurance of a forced passivity, with vast peril and glorious possi
bilities, the spur of necessity, the thirst for glory, and the readiness for sacrifice
stirring every pulse and bracing every nerve ; but it was his part to " stand and
wait " in the midst of the gravest perplexities, in the face of an expectant multi
tude, with a knowledge of circumstances that justified the " hope delayed," and
without the sympathy which alleviates the restless pain of " hope deferred," — to

THB CHARACTER OP WASHINGTON. 15
^' stand and wait" before the ^^If-averted eye of the loyal, the gibes of a pow
erful enemy, the insinuations of factious comrades, — with only conscious rectitude
and trust in Heaven for support. How, in his official correspondence, did Wash
ington hush the cry of a wounded spirit ; how plaintively it half escapes in the
letter of friendship ; and how singly does he keep his gaze on the great cause,
and dash aside the promptings of self-love, in the large cares and impersonal
interests of a country, not yet sensible of its infinite need of him, and of its own
injustice !
The difficulties which military leadership involves are, to a certain extent,
similar in all cases, and inevitable. All great commanders have found the risks
of battle often the least of their trials. Disaffection among the soldiers, inade
quate food and equipment, lack of experience in the officers and of discipline in
the troops, jealousy, treason, cowardice, opposing counsels, and other nameless
dangers and perplexities, more or less complicate the solicitude of every brave
and loyal general. But in the case of Washington, at the opening of the Ame
rican war, these obstacles to success were increased by his own conscientiousness ;
and circumstances without a parallel in previous history, added to the vicissitudes
incident to all warfare, the hazards of a new .and vast political experiment.
That his practical knowledge of military affairs was too limited for him to cope
auspiciously with veteran officers, — that his camp was destitute of engineers, his
men of sufficient clothing and ammunition, — ^that the majority of them were
honest but inexpert yeomen, — that tory spies and lukewarm adherents were
thickly interspersed among them, — that zeal for liberty was, for the most part,
a spasmodic motive, not yet firmly coexistent with national sentiment, — that he
was obliged, month after month, to keep these incongruous and discontented
materials together, inactive, mistrustful, and vaguely apprehensive, — all this con
stitutes a crisis like that through which many have passed ; but the immense
extent of the country in behalf of which this intrepid leader drew his sword,
the diversity of occupations and character which it was indispensable to reconcile
with the order and discipline of an army, the habits of absolute independence
which marked the American colonists of every rank, the freedom of opinion,
the local jealousies, the brief period of enlistment, the obligation, ridiculed by
foreign officers but profoundly respected by Washington, to refer and defer to
Congress in every emergency, — this loose and undefined power over others in
the field, this dependence for authority on a distant assembly, for aid on a local

16 THE CHARACTER OP WASHINGTON.
legislature, and for cooperation on patriotic feehng alone, so thwarted the aims,
perplexed the action, and neutralized the personal efficiency of Washington, that
a man less impressed with the greatness of the object in view, less sustained
by solemn earnestness of purpose and trust in God, would have abandoned in
despair the post of duty, so isolated, ungracious, desperate, and forlorn.
Imagine how, in his pauses from active oversight, his few and casual hours
of repose and solitude, the full consciousness of his position — of the facts of the
moment, so clear to his practical eye — must have weighed upon his soul. The
man on whose professional skill he could best rely during the first months of
the war, he knew to be inspired by the reckless ambition of the adventurer,
rather than the wise ardor of the patriot. Among the Eastern citizens the
spirit of trade, with its conservative policy and evasive action, quenched the glow
of public . spirit. Where one merchant, hke Hancock, risked his all for the
good cause, and committed himself with a bold and emphatic signature to the
bond, and one trader, like Knox, closed his shop and journeyed in the depth
of winter to a far distant fort, to bring, through incredible obstacles, ammunition
and cannon to the American camp, hundreds passively guarded their hoards,
and awaited cautiously the tide of affairs. While Washington anxiously watched
the enemy's ships in the harbor of Boston, his ear no less anxiously listened
for tidings from Canada and the South. To-day, the cowardice of the militia ;
to-morrow, the death of the gallant Montgomery ; now, the capture of Lee, and
again, a foul calumny ; at one moment a threat of resignation from Schuyler,
and at another an Indian alhance of Sir Guy Johnson ; the cruelty of his
adversaries to a prisoner ; the delay of Congress to pass an order for supplies
or rehef ; desertions, insubordination, famine ; a trading Yankee's stratagem or
a New York tory's intrigue ; the insulting bugle-note which proclaimed his fugi
tives a hunted pack, and the more bitter whisper of distrust in his capacity or
impatience at his quiescence : these, and such as these, were the discouragements
which thickened around his gloomy path, and shrouded the dawn of the Revolu
tion in dismay. He was thus, by the force of circumstances, a pioneer; he was
obhged to create precedents, and has been justly commended as the master of
"a higher art than making war, the art to control and direct it," and as a pro
ficient in those victories of "peace no less renowned than war," which, as Fisher
Ames declared, " changed mankind's ideas of pohtical greatness."
What, we are continually impelled to ask, were the grounds of hope, the

THE CHARACTER OP WASHINGTON. 17
resources of trust and patience, which, at such crises, and more especially during
the early discouragements of the struggle, buoyed up and sustained that heroic
equanimity, which excited the wonder, and finally won the confidence, of the
people ? First of all, a settled conviction of the justice of his cause and the
favor of God ; then a belief, not carelessly adopted, that, if he avoided as long
as possible a general action, by well-arranged defences and retreats, opportunities
would occur when the enemy could be taken at disadvantage, and, by judicious
surprises, gradually worn out and vanquished. Proof was not wanting of a true
patriotic enthusiasm, — unorganized, indeed, and impulsive, yet real, and capable,
by the prestige of success or the magnetism of example, of being aroused and
consolidated into invincible vigor. Scattered among the lukewarm and the inex
perienced friends of the cause were a few magnanimous and self-devoted men,
pledged irretrievably to its support, and ready to sacrifice life, and all that
makes life dear, in its behalf Greene and Putnam, Knox and Schuyler, Robert
Morris and Alexander Hamilton, were names of good cheer, and reliable watch
words in the field and the council ; Franklin and Adams were representatives of
national sentiment rarely equalled in wisdom and intrepidity ; the legislative
body, whence his authority was derived, more and more strengthened his hands
and recognised his ability ; the undisciplined New Englanders hollowed a trench
and heaped a mound with marvellous celerity and good-will ; bushfighters from
the South handled the rifle with unequalled skill ; a remarkable inactivity on
the part of the enemy indicated their ignorance of the real condition of the
American army ; and last, though not least, experience soon proved that, how
ever superior in a pitched battle, the regular trooj)S were no match for militia
in retrieving defeat and disaster. The marvellous siege of Boston, the masterly
retreat from Brooklyn Heights, the success at Sulhvan's Island, and the capture
of the Hessians at Trenton, made it apparent that vigilant sagacity and well-
timed bravery are no inadequate compensation for the lack of material resources
and a disciplined force.
Everything combines, in the events of the war and the character of the
man, to deepen moral interest and extinguish dramatic effect. In the absence
of " the pomp and circumstance " of war, and the latent meaning and grand
results involved, the chronicle differs from all other military and civil annals.
The " lucky blows " and " levies of husbandmen," the poorly clad and grotesquely
armed patriots, were as deficient in brilliancy of tactics and picturesque scenes,

18 THE CHARACTER OP WASHINGTON.
as were the bearing and aspect of their leader in the dashing and showy attrac-
tions of soldiership. " His eyes have no fire," says the Hessian's letter. An
adept in the school of Frederic could find scarcely a trace of the perfect driU
and astute combinations which were, in his view, the only guarantees of success
in battle. The arrogant confidence of Marlborough, the inspired manoeuvres
of Napoleon, ordered with the rapidity of intuition beside a camp-fire and
between pinches of snuff, the theatrical charge of Murat, the cool bravery
of William of Orange, — all that is effective and romantic in our associations
with military heroism gives place in this record to the most stern and least
illusive realities. The actors are men temporarily drawn from their ordinary
pursuits by a patriotic enthusiasm which displays itself in a very matter-of-fact
way. The only sublimity that attends them is derived from the great interest
at stake, and the deliberate self-devotion exhibited. Patience far beyond action,
caution rather than enterprise, faith more than emulation, are the virtues de
manded. What of poetry lies hidden in the possibilities of achievement is
solemn rather than chivalric ; endurance is the test, perseverance the grand
requisite, indomitable spirit the one thing needful; and in these conditions, the
restless, ambitious, and mercenary, who form the staple of armies, can find
little scope or encouragement. It is neither the land nor the era for laurel
crowns and classic odes, for orders and patents of nobility. If the volunteer
falls, his only consolation is that he fills a patriot's grave, while some rude
ballad may commemorate the victim, and the next Thanksgiving sermon of the
pastor of his native hamlet may attest his worth. If he survives, a grant of
land, where land is almost worthless, and an approving resolution of Congress,
are the only prizes in store for him, — save that greatest of all, the consciousness
of having faithfully served his country.
The tableaux of Washington's life, however inadequately represented as yet
in art, are too familiar to afford room for novel delineation to his biographer;
and they differ from the prominent and dramatic events in other lives of
warriors and statesmen by a latent significance and a prophetic interest that
appeal to the heart more than to the eye. When we see the pyramids looming
in the background of Yernet's canvas, the imagination is kindled by the asso
ciation of Napoleon's victories with the mystical and far-away Egyptian land ;
but the idea of a successful hero, in the usual meaning of the term, of a dis
tant campaign, of the spread of dominion, is dwarfed before the more sublime

THE CHARACTER OP WASHINGTON. 19
idea of a nation's birth, a vindication of inahenable human rights, a consistent
assertion of civil freedom and the overthrow of tyranny, suggested by the suc
cessive portraits so dear to the American heart ; — first, the surveyor guiding
his fragile raft over the turbulent Alleghany ; then the intrepid aide-de-camp ,1
rallying the fugitive army of Braddock ; next the dignified commander, drawing
the sword of freedom under the majestic shadow of the Cambridge elm ; the
baffied but undismayed leader, erect in the boat which shivers amid the floating
ice of the Delaware, his calm eye fired with a bold and sagacious purpose ;
cheering his famished and ragged men in the wintry desolation of Yalley Forge ;
then receiving the final surrender of the enemies of his country ; in triumphal
progress through a redeemed and rejoicing land ; taking the oath as first Pre
sident of the Republic ; breathing his farewell blessings and monitions to his
countrymen ; dispensing, in peaceful retirement, the hospitalities of Mount Yernon ;
and at last followed to the tomb with the tearful benedictions of humanity !
It is the absolute meaning, the wide scope, the glorious issue, and not the mere
pictorial effect, that absorbs the mind intent on these historical pictures. They
foreshadow and retrace a limitless perspective, fraught with the welfare, not only
of our country, but of our race. In comparison with them, more dazzling and
gorgeous illustrations of the life of nations are as evanescent in effect as the
mirage that paints its dissolving views on the horizon, or as a pyrotechnic glare
beside the stars of the firmament.
As we ponder the latest record of his life,* its method and luminous order
excite a new conviction of the wonderful adaptation of the man to the exigency ;
and it is one of the great merits of the work that this impressive truth is more
distinctly revealed by its pages than ever before. Not a trait of character but
has especial reference to some emergency. The very faults of manner, as crude
observers designate them, contribute to the influence, and thereby to the success,
of the commander-in-chief. A man. of sterner ambition would have risked all on
some desperate encounter ; a man of less self-respect would have perilled his
authority, where military discipline was so imperfect, in attempts at conciliation ;
a man of less solid and more speculative mind would have compromised his pros
pects by inconsiderate arrangements ; one less disinterested would have abandoned
the cause from wounded self-love, and one less firm, from impatience and dismay;
one whose hfe and motives could not bear the strictest scrutiny, would soon have
* Irving's Life of Washington.

20 THB CHARACTER OP WASHINGTON.
forfeited confidence; and moral consistency and elevation could alone have fused
the discordant elements and concentrated the divided spirit of the people. Above
all, the felicitous balance of quahties, through a moderation almost superhuman,
and never before so essential to the welfare of a cause, stamjDed the man for the
mission. Not more obviously was the character of Moses adapted to the office
of primeval lawgiver for the chosen people, — not more clearly do the endowments
of Dante signahze him as the poet ordained to bridge with undying song the
chasm which separates the Middle Age from modern civilization, than the mind,
the manner, the disposition, the physical and spiritual gifts, and the principles of
Washington proclaimed him the Heaven-appointed chief, magistrate, man of
America. In the very calmness and good sense, the practical tone and moderate
views, which make him such a contrast to the world's heroes, do we behold the
evidence of this. What does he proclaim as the reward of victory ? " The
opportunity to become a respectable nation." Upon what is based his expectation
of success? "I believe, or at least I hope, that there is public virtue enough
left among us to deny ourselves everything but the bare necessaries of life to
accomplish this end." What are his private resources ? " As I have found no
better guide hitherto than upright intentions and close investigations, I shall
adhere to those maxims while I keep the watch." This moderation has been fitly
called persuasive., and this well-regulated mind justly declared "born for com
mand." His reserve, too, was essential in such an anomalous condition of social
affairs. Self-respect is the keystone of the arch of character ; and it kept his
character before the army and the people, his brother officers and his secret foes,
the country and the enemy, firm, lofty, unassailable, free, authoritative, — like a
planet, a mountain, a rock, one of the immutable facts of nature, — a Pharos to
guide, a sublimity to awe, and an object of unsullied beauty to win by the force
of spontaneous attraction. It is his distinction among national leaders, as has
been well said by our foremost ethical writer, to have been "the centre of an
enlightened people's confidence." The nature of the feeling he inspired among
the troops may be inferred from the expression in a letter from the camp at
White Plains, preserved in a gazette of the times : " Everything looks very
favorable ; a fine army of at least twenty thousand men in remarkably good
health and spirits, consummate wisdom., centred in a WasMngton., to direct them,
and a determined spirit with the ivhole hod-y to die or carry our purpose into
effect." His relation was obviously representative ; he incarnated the highest

THE CHARACTER OF WASHINGTON. 21
existent patriotism. His wisdom, not his genius, is thus recognised as the grand
quahfication. His own remark concerning Hamilton is singularly applicable to
himself, — "His judgment was intuitively great;" and this was the intellectual
endowment which justified to the good sense of the people the confidence which
his integrity confirmed.
Another secret cause of this I'emarkable personal influence was self-restraint.
There is no law of nature more subtle and profound than that whereby latent
power is generated. The silent weight of the distant lake sends up the lofty jet
of the fountain ; and the clouds are fed by innumerable particles of aeriform
moisture. The electric force generated amid the balmy quietude of the summer
noon, the avalanche slowly conglomerated from the downy snow-flakes, the uni
versal process of vegetation, the vast equilibrium of gravity, the irresistible
encroachment of the tide, and all broad and grand effects in the universe, are
the reverse of violent, ostentatious, and fitful. By gradual development, harmo
nized activity, regular and progressive transitions, are enacted the most compre
hensive functions of the physical world. A similar law obtains in character. The
most expressive phrases in literature are the least rhetorical ; the noblest acts
in history are performed with the least mystery ; true greatness is unconscious ;
" Hfe," says the wise German, " begins with renunciation ;" silence is often more
significant than speech ; the eye of affection utters more with a glance than
the most eloquent tongue ; passion, curbed, becomes a motive force of incal
culable energy ; and feeling, subdued, penetrates the soul with a calm authority
and the manner with an irresistible magnetism. Our instinct divines what is
thus kept in abeyance by will with a profounder insight than the most
emphatic exhibition could bring home through the senses. The true artist is
conscious of this principle, and ever strives to hint to the imagination rather
than to display before the eye. The poet, aware by intuition of this law, gives
the clew, the composer the key-note, the philosopher the germinal idea, rather
than a full and palpable exposition. In the moral world latent agencies are the
most vital. If Washington had been the cold, impassive man those whom he
treated objectively declared him to be, he could not have exercised the personal
infiuence which, both in degree and in kiud, has never been paralleled by merely
human qualities. It was not to the correct and faithful yet insensible hero that
men thus gave their veneration, but to one whose heart was as large and tender
as his mind was sagacious and his will firm ; the study of whose life it was to

22 THE CHARACTER OF WASHINGTON.
control emotion; to whom reserve was the habit inspired by a sublime prudence;
whose career was one of action, and ovef whose conscience brooded an ever-pre
sent sense of responsibility to God and man, to his country and his race, which
encircled his anxious brow with the halo of a prophet rather than the laurel of
a victor. He who knelt in tears by the death-bed of his step-daughter, who
wrung his hands in anguish to behold the vain sacrifice of his soldiers, who
threw his hat on the ground iu mortification at their cowardly retreat, whose
face was mantled with blushes when he attempted to reply to a vote of thanks,
whose lips quivered when obliged to say farewell to his companions in arms, who
embraced a brother officer in the transports of victory, and trembled with indig
nation when he rallied the troops of a faithless subaltern, — he could hav^e pre
served outward calmness only by inward conflict, and only by the self-imposed
restraint of passion have exercised the authority of principle. When the cares of
public duty were over, and the claims of official dignity satisfied, the affability
of Washington was as conspicuous as his self-respect, his common sense and
humane sentiments as obvious as his modesty and his heroism. The visitors at
Mount Yernon, many of whom have recorded their impressions, included a sin
gular variety of characters, from the courtier of Yersailles to the farmer of New
England, from the English officer to the Italian artist ; and it is remarkable,
that, various as are the terms in which they describe the illustrious host, a per
fect identity in the portrait is obvious. They all correspond with the description
of Chief Justice Marshall: —
" His exterior created in the beholder the idea of strength, united with
manly gracefulness. His person and whole deportment exhibited an unaffected
and indescribable dignity, mingled with haughtiness, of which all who approached
him were sensible ; and the attachment of those who possessed his friendship
and enjoyed his intimacy was ardent, but always respectful. His temper was
humane, benevolent, and conciliatory ; but there was a quickness in his sensi
bility to anything apparently offensive, which experience had taught him to
correct." To a reflective mind there is something pathetic in the gravity so often
noticed as a defect in Washington. It foreshadowed, in his youth, the great
work before him, and it testified, in his manhood, to his deep sense of its obhga-
tions. It betokened that earnestness of purpose wherein alone rested the cer
tainty of eventual success. It was the solemnity of thought and of conscience.

THE CHARACTER OF WASHINGTON. ' 23
and assured the people that, aware of being the central point of their faith, the
expositor of their noblest and best desires, the high-priest of national duty, it
was not Avith the complacency of a proud, or the excitement of a vain, but with
the awe of a thoroughly wise and honest man, that he felt the mighty trust and
the perilous distinction. Let it never be forgotten that it was his task to esta
blish a grand precedent, untried, unheralded, unforeseen in the world. Such
exiieriments, in all spheres of labor and of study, lead the most vivacious men
to think. In science, in art, and in philosophy, they breed pale and serious
votaries. Such an ordeal chastened the ardent temper of Luther, knit the brow
of Michael Angelo with furrows, and unnerved the frame of the starry Galileo.
It is but a pledge of reality, of self-devotion, of intrepid wUl, therefore, that,
with a long and arduous struggle for national life to guide and inspire, and the
foundations of a new constitutional republic to lay, the chief and the statesman
should cease even to smile, and grow pensive and stern in the face of so vast an
enterprise, and under the weight of such measureless responsibilities.
The world has yet to understand the intellectual efficiency derived from moral
quahties, — ^how the candor of an honest and the clearness of an unperverted
mind attain results beyond the reach of mere intelligence and adroitness, — how
conscious integrity gives both insight and directness to mental operations, and
elevation above the plane of selfish motives affords a more comprehensive, and
therefore a more available view of affairs, than the keenest examination based
exclusively on personal ability. It becomes apparent, when illustrated by a life
and its results, that the cunning of a Talleju-and, the military genius of a Napo
leon, the fascinating qualities of a Fox, and other similar endowments of states
men and soldiers, are essentially limited and temporary in their influence ; whereas
a good average intellect, sublimated by self-forgetting intrepidity, allies itself for
ever to the central and permanent interests of humanity. The mind of Washing
ton was eminently practical ; his perceptive faculties were strongly developed ;
the sense of beauty and the power of expression, those endowments so large in the
scholar and the poet, were the least active in his nature ; but the observant
powers whereby space is measured at a glance, and the physical qualities noted
correctly, — the reflective instincts through which just ideas of facts and circum
stances are realized, — the sentiment of order which regulates the most chaotic ele
ments of duty and work, thus securing despatch and precision, — the openness to
right impressions characteristic of an intellect, over which the visionary tendencies

24: THE CHARACTER OF WASHINGTON.
of imagination cast no delusion, and whose chief affinity is for absolute truth, —
these noble and efficient qualities eminently distinguished his mental organization,
and were exhibited as its normal traits from childhood to age. To them we
refer his prescience in regard to the agricultural promise of wild tracts, the future
growth of localities, the improvement of estates, the facilities of communication,
the adaptation of soils, and other branches of economics. By means of them he
read character with extraordinary success. They led him to methodize his life
and labors, to plan with wisdom and execute with judgment, to use the most
appropriate terms in conversation and writing, to keep the most exact accounts,
to seek useful information from every source, to weigh prudently and decide
firmly, to measure his words and manner with singular adaptation to the com
pany and the occasion, to keep tranquil within his own brain perj)lexities, doubts,
projects, anxieties, cares, and hopes enough to bewilder the most capacious intel
lect and to sink the boldest heart. His mental features beam through his cor
respondence. We say this advisedly, notwithstanding the formal and apparently
cold tenor of many of his letters ; for so grand is the sincerity of purpose, so
magnanimous the spirit, so patient, reverent, and devoted the sentiment underly
ing these brief and unadorned epistles, whether of business or courtesy, that a
moral glow interfuses their plain and direct language, often noble enough to
awaken a thrill of admiration, together with a latent pathos that starts tears in
the reader of true sensibility. The unconsciousness of self, the consideration for
others, the moderation in success, the calmness in disaster, the singleness of pur
pose, the heroic self-reliance, the immaculate patriotism, the sense of God and
humanity, the wise, fearless, truthful soul that is thus revealed, iu self-j)os3essed
energy in the midst of the heaviest responsibilities that ever pressed on mortal
heart, with the highest earthly good in view, and the most comphcated obstacles
around, — serene, baffled, yet never overcome, and never obhvious of self-respect or
neglectful of the minutest details of official and personal duty, — is manifest to our
consciousness as we read, and we seem to behold the benign and dignified coun
tenance of the writer through the transparent medium of his unpretending letters.
Compare, as illustrations of character, the authenticity of which is beyond dispute
the correspondence of Washington and that between Napoleon and his brother
Joseph, recently pubhshed at Paris. All the romance of spurious memoirs, all
the dazzling prestige of military genius, fails to obviate the impression the empe
ror's own pen conveys, in the honest utterance of fraternal correspondence, of his

THE CHARACTER OF WASHINGTON.'] 25
obtuse egotism, arrogant self-will, and heartless ambition. In Washington's letters,
whether expostulating, in the name of our common humanity, with Gage, striving
to reconcile Schuyler to the mortifications of a service he threatened to quit in
disgust, freely describing his own trials to Reed, pleading with Congress for
supplies, dii-ecting the management of his estate from amid the gloomy cares
of the camp, acknowledging a gift from sQme foreign nobleman, or a copy of
verses from poor Phillis Wheatly, the same perspicuity and propriety, wisdom
and kindliness, self-respect and remembrance of every personal obligation, are
obvious. The eloquent biographer of Goethe has aptly compared the agency of strong
passions to the torrents which leave ribs of granite to mark their impetuous
course, and significantly adds: "There are no whirlpools in shallows." Flow
much nobler the sustaining and concentrative result of these turbulent elements
becomes when they are governed and guided by will and conscience, the cha
racter of Washington singularly illustrates ; and " passion, when in a state of
solemn and omnipotent vehemence, always appears to be calmness." These con
siderations enable us to reconcile what is apparently incongruous in the reports
of different observers who have attempted to describe Washington's manner,
aspect, and disposition. Thus we are told by one of his intimate companions,
that he was "more free and open in his behavior at levee than in private, and
in the company of ladies than when solely with men ;" and by another, that
"hard, important, and laborious service had given a kind of austerity to his
countenance and reserve to his manner, yet he was the kindest of husbands, the
most humane of masters, the steadiest of friends." One speaks of his large
hand, in token of practical efficiency ; one, of his personal attention to an invited
guest ; one, of his sagacious observations, in travelling, upon the facilities for
internal communication or agriculture, suggested by the face of the country; and
another of his avoidance of personal subjects in conversation. But in our view,
some of the most striking tributes to the gradual but absolute recognition of his
character are to be found in the contemporary public journals. Thus a London
paper of February, 1784, says: "His circular letter to the army was read at a
coffee-house not very distant from the Royal Exchange; every hearer was full of
the writer's praises ; in composition it was said to be equal to anything of
ancient or modern date." Subsequently, another popular English journal holds
this language: "Whenever the shock of accident shall have so far operated on

26 THB CHARACTER OP WASHINGTON.
the policy of America as to have systematized and settled her government, it is
obvious that the dictator, protector, stadtholder, or by whatever name the chief
magistrate so appointed shall be called, will be General Washington." His
retirement established the purity of his motives; and a Dublin print, dated the
same year with our first extract, said : —
" There are few so blinded by prejudice, as to deny such a degree of merit
to the American general, as to place him in a very distinguished point of view;
but even those who have been accustomed to view him as the most illustrious
character of this or any other age, will be astonished by the following instance
of his integrity, which we give from the most unquestionable authority. When
General Washington accepted the command of the American army, he rejected
all pecuniary reward or pay whatever, and only stipulated for the reimburse
ment of such sums as he might expend in the public service. Accordingly, at
the conclusion of the war, he gave in to Congress the whole of his seven years'
expenditure, which only amounted to sixteen thousand pounds Pennsylvania cur
rency, or ten thousand pounds sterling. In the eyes of our modern British
generals the above circumstance will appear totally incredible; at least, they will
deem Mr. Washington little better than a fool; for, if we judge from certain
accounts, ten" thousand pounds would scarcely have answered the demands of a
commander-in-chief at New York a single month."
These items, taken at random from the newspapers of his day, serve to make
us understand how the man whose cautious generalship provoked the ridicule of
Lord Howe's soldiers at the opening of the war, and whose firmness in resisting
the French alliance awoke a storm of detraction from the Jeffersonian democracy
at a later period, lived down aspersion, and became, by the evidence of facts, the
acknowledged exemplar of human worth and wisdom described by his last and
best biographer.
His moral serenity, keeping reflection intact and forethought vigilant, is nobly
manifest in the deliberate process through which, by gradual and therefore ear
nest conviction, he came to a decision when the difficulties between the mother
country and her colonies were pending. Not one of the leading patriots of the
Revolution ranged himself under its banner with more conscientious and rational
motives. The same disposition is evident in his hesitation to accept the command,
from that self-distrust which invariably marks a great and therefore modest soul;
in his subsequent calmness in defeat and sobriety in victory; in the unexaggerated

THE CHARACTER OP WASHINGTON. 27
view he took of the means and his disinterested view of the ends of the momen
tous struggle; in the humility of spirit with Avhich he assumed the reins of
Government when called to do so by the popular suftrage ; in his uniform defer
ence to the authority of all representative assemblies; in the prescient warnings
of his parting address; in the unostentatious and simple habits that followed him
into retirement, aud in the unfaltering trust Avhich gave dignity to his last hour.
This normal characteristic of his nature, this being ever "nobler than his mood,"
is what preeminently distinguishes him from the galaxy of patriots, statesmen, and
warriors, whose names are blazoned in history ; for the copious rhetoric of modern
republicans, the fiery and yet often compromised pride of Paoli, the selfish
instincts of Marlborough, the heartless ambition of Napoleon, weve never long con
cealed, even from the eye kindled with admiration at their prowess. Washington
seems not for a moment to have forgotten his responsibility to God aud his fel
low-creatures ; and this deep sentiment permeated his whole nature, — proof against
all excitement, illusion, aud circumstance. When he overheard a little boy
exclaim, as the procession in his honor passed through the streets, "Why, father.
General Washington is only a man !" fhe illustrious guest paused in his triumphal
march, looked with thoughtful interest on the child, and, patting him on the
head, replied, "That's all, my little fellow, that's all." He was, indeed, one of
the few heroes who never forgot his humanity, its relations, obhgations, depen
dence, and destiny; and herein was at once his safeguard and his glory.
These facts of character were viewed by distant and illustrious men in relation
to their own experience ; yet, diverse as may be the inference of each, a like
feeling of admiration, and a testimony equally sincere and emphatic, signalize
every tribute to the unparalleled and inestimable worth o^ Washington in the
annals of humanity. The popular statesman, who had become familiar with the
deadly aspersions of party hatred, wondered that so many inimical eyes intent
upon a career exposed to the keenest personal criticism, failed to discover and fix
one stain upon the reputation of the man, the statesman, or the soldier. This
"excites astonishment," said Fox. The splendid advocate, who knew how the
spell of official dignity was broken to the vision of those near the sceptre and
the ermine, recorded, as au isolated fact in his knowledge of mankind, that
Washington alone inspired him with the unmodified sentiment of veneration.
"For you only," writes Erskine, "do I feel an awful reverence." The incident of
his career which impressed the most renowned soldier of the age was characteris-

28 THE CHARACTER OF WASHINGTON.
tic at once of the limited scope and the enthusiasm of military genius. The bold
and successful passage of the Delaware, and the surprise of the Hessians, awakened
in Frederic of Prussia the sympathy and high appreciation which he manifested
by the gift of a sword, with an inscription exclusively in praise of W^ashington's
generalship. The moderation of his nature, the heroic balance of soul, whereby
elation was kept in abeyance in the hour of success, not less nobly than despair
in the day of misfortune, attracted the French philosopher, habituated as he was,
in the history of his own nation, to the association of w^arlike and civic fame
with the extremes of zeal and indifference, of violence and caprice. In his esti
mation, the good sense and moral consistency of Washington and his compatriots
naturally offered the most remarkable problem. Accordingly, Guizot bears wit
ness chiefly to this unprecedented union of comprehensive designs and jorudential
habits, of aspiration and patience, in the character of Washington, and, doubtless
through the contrast with the restless ambition which marks the lives of his own
illustrious countrymen, is mainly struck with the fact, that, while " capable of
rising to the level of the highest destiny, he might have lived in ignorance of
his real power without suffering from it." The Italian patriot, obliged to vent
his love of country in terse dramatic colloquies and through the lips of dead
heroes, is thrilled with the grand possibilities of action, through the realization of his
sentiments by achievement, opened to Washington. ^'¦Felice voi" exclaims Alfieri,
in his dedication of his " Bruto Primo " to the republican chief, — '¦'•felice -vol die
alia tanta gloria avete potuto dare hase sxiblime ed eterna., — Vamor della patria
dimostrato coi fattV Even the poor Indians, so often cajoled out of their rights
as to be thoroughly incredulous of good faith among the pale-faces, made him an
exception to their rooted distrust. "The white men are bad," said an aboriginal
chief in his council speech, "and cannot dwell in the region of the Great Spirit,
except Washington^ And Lord Brougham, in a series of analytical biograjohies
of the renowned men of the last and present century, which indicate a deep
study and philosophical estimate of human greatness, closes his sketch of Wash
ington by the emphatic assertion, that the test of the progress of mankind will
be their appreciation of his character.
Is not the absence of brilliant mental qualities one of the chief benefactions
to man of Washington's example ? He conspicuously illustrated a truth in the
philosophy of life, often appreciated in the domestic circle and the intimacies of
private society, but rarely in history, — the genius of character, the absolute

THE CHARACTER OF WASHINGTON. 29
efficiency of the will and the sentiments independently of extraordinary intel
lectual gifts. Not that these were not superior also in the man ; but it was
through their alliance with moral energy, and not by virtue of any transcendent
and intrinsic force in themselves, that he was great. It requires no analytical
insight to distinguish between the traits which insured success and renown to
Washington, and those whereby Alexander, Csesar, and Napoleon, achieved their
triumphs ; and it is precisely because the popular heart so clearly and universally
beholds in the American hero the simple majesty of truth, the power of moral
consistency, the beauty and grandeur of disinterestedness and magnanimity, that
his name and fame are inexpressibly dear to humanity. Never before nor since
has it been so memorably demonstrated that unselfish devotion and patient self-
respect are the great reconciling principles of civic as well as of social and
domestic life ; that they are the nucleus around which all the elements of
national integrity, however scattered and perverted, inevitably crystallize ; that
men thus severely true to themselves and duty, become, not dazzling meteors to
Im^e armies to victory, nor triumphant leaders to dazzle and win mankind to the
superstitious abrogation of their rights, but oracles of public faith, representatives
of what is highest in our common nature, and therefore an authority which it is
noble and ennobling to recognise. The appellative so heartily, and by common
instinct, bestowed upon Washington, is a striking proof of this, and gives a deep
significance to the beautiful idea, that " Providence left him childless, that his
country might call him — Father."

PORTRAITS

OF

YY^SHING^TON

" A comhination and a form indeed
Where every god did seem to set his seal
To give the world assurance of a man."

FORTHA-ITS OF A^^^SITI^S^G^TON^.

In how many shapes and with what extreme degrees of truth and skill has
the familiar countenance of Washington been presented in Art ; — as a Yirginia
colonial officer by Peale, a venerable statesman by Stuart, a military hero by
Trumbull ; in Roman and American equestrian statues by Canova, Crawford,
Mills and Brown ; upright in classic drapery by Chantrey ; half nude, seated
with uplifted hand and sheathed sword, by Greenough ; in crayon profile by
Sharpless ; in severe repose, with laurelled brow, in the heroic bust of Ceracchi,
and the medallion drawing by Madame de Brehen ; in a dramatic and adven
turous phase, by Leutze ; on a graceful and spirited horse, by Sully ; as a noble
boy, in a fine cabinet picture, by Inman ; as an American gentleman by Pine ;
and in exquisite miniatures by several artists ; add to these and other notable
portraitures, the countless inferior and less original effigies of Washington, and it
is obvious that whatever is left to desire in regard to quality, there is no want
in point of number. All over the land, at the close of the war, his beloved
image was substituted on banner, seal, parlor wall, journal, and bank note, for
royal physiognomies ; and Rip Yan Winkle was not the only conservative absen
tee, who incredulously rubbed his eyes at the appearance of our i'epublican chief
on the tavern sign so long radiant with a kingly visage. In every museum in
America, his majestic figure stood prominent among the wax groups on which
children gazed with delight, solemn in black velvet, ruffles, and hair-powder ;
grotesque transparencies on festal nights, Liverpool ware, primitive magazines, the
figure-heads of ships, the panels of coaches, and engraved buttons, rude cotton
prints, and melancholy samplers, — every object in the economy of trade and
domestic life, was decorated, more or less truthfully, with that endeared and hal-

31 PORTRAITS OF WASHINGTON.
lowed countenance now appropriately formiug the postage stamp of the nation,
which thus coming hourly before the American vision, ought to reform, by its
silent monition, political varlets and degenerate citizens. I examined recently a
fan, the faded hues of which dimly reflected many a vanished gala, the heirloom
in a family, one of whose departed belles sported it at the first Inauguration
ball ; between the hinges and paper covering, is a little medallion head of Wash
ington. This curious memorial was one of the agreeable surprises which the
committee of management, on that celebrated occasion, prepared for the guests ;
the fans were manufactured in Paris and one given to each lady, by an usher,
as she entered the ball-room.
It is one of the penalties of distinction to be misrepresented not only by the
tongue and the press, but in art ; all modern heroes must go through the ordeal
of caricature ; and when the Duke of Wellington died it was truly said a serious
loss to the capital of Punch occurred in being deprived of his nose. The artistic
maltreatment, however, that Washington received was involuntary and intended
to do him honor. The sentiment of reverence was never more universal towards
a living man.
With his love of order, his habits of activity and command, and the incessant
demands upon his time, sitting for his portrait was wearisome and inconvenient ;
he had cheerfully accorded the favor to Peale, Trumbull, and Stuart ; but, at
length, grew impatient at an infliction which often originated not less in selflsh
motives than a complimentary design. This feeling is manifested in a letter to
Lee, Governor of Yirginia, dated at Philadelphia, in Julj^, 1792 : " Your letter,"
he says, " of the 20th ult. was presented to me by Mr. Williams, who, as a pro
fessional man, may or may not be, for aught I know, a luminary of the first
magnitude. But to be frank, and I hope you will not be displeased wath me
for being so, I am so heartily tired of the attendance which, from one cause or
another, has been given to these people, that it is now more than two years
since I have resolved to sit no more for any of them, and have adhered to it,
except in instances when it has been requested by public bodies, or for a par
ticular purpose (not of the painter), and could not without offence be refused.
I have been led to make this resolution for another reason besides the irksome-
ness of sitting, which is, that these productions have, in my estimation, been
made use of as a sort of tax on individuals by being engraved, and that badly,
and hawked about, or advertised for sale." The latter objection is attested by

PORTRAITS OF WASHINGTON. 35
the wretched cuts affixed to early American periodicals and other works, with
the name of Washington beneath.*
More emphatically but in a vein of humor rare with him, the same dislike
of this ordeal is expressed in his well-known letter to Francis Hopkinson in reply
to the latter's application for a p( irtrait liy Pine : " At first I was im j)atient at
the request, and as I'estive under the operation as a colt is under the saddle.
The next time I submitted very reluctantly, but Avith less flouncing. Now no
dray horse moves more readily to the thill than I to the painter's chair."
Artists sketched him Avhen attending worship at Trinity Church, New York ;
reviewing troops ; or holding levees in Philadelphia. When the iicavs of his
death thrilled the land with grief, a faneral badge w^as universally worn,
stamped with his lineaments ; and they were associated Avith those of Lafayette
on escutcheon, scarf, and flag, during the memoralde visit of that noble A^olunteer
in the cause of American freedom. When we have ranged the crowded galleries
of Yersailles, and traced on ^^ernet's interminable cauA'-as, the victories of France,
wdth what fresh majesty beam those well-known features amid the melodramatic
panorama of wars that yielded no freedom and heroes whose fame either ambi
tion or cruelty sullied ! Near the Humber, on one of the fine estates of the
English nobility, his portrait is to be seen among family memorials, Avhere he
* One of the Largest collections of these Washingtonian prints is in the possession of Mr. J.
B. Morean, of New York. So diverse are they from each other in expression, feature, and
costume, that it is difficult to believe they were intended to represent the same individual ; the
dates, inscriptions, style of execution, etc., hoAvever, make them curious and valuable as current
historical illustrations. There is one after a professed original by a French artist, and which,
although executed " on account of remarks by Lavater," would not be recognised as intended
for Washington. In a composition portrait by another, made for Lafayette — the negro and horse,
documents and trees are quite melodramatic ; and the face of the hero of the scene is so elongated
and indicative of a lymphatic temperament, that Peale's portrait — ^from whicli it was doubtless
borroAved — is M'ith difficulty traced. Other engravings are from medallions of Madame de
Brehen, after Houdon and Stuart's variously caricatured ; one by a German of Darmstadt, has
the hair ilying and a wildness in the eye ; one has a palm-tree as an accessory ; Trumbull is
followed somewhat ; of some it is impossible to conjecture the originals ; many of the French
are wholly imaginary ; here Ave recognise the Sharpless profile, there the Stuart mouth ; proba
bly many of the German are from sketches by officers drawn from recollection ; the best, as an
engraving and a likeness, is the proof impression from the engraA'ing of Stuart's Athenseum por
trait, by Andrews.

36 PORTRAITS OF WASHINGTON.
OAvns an ancestral place : and an old officer of Napoleon in Italy, assured me
that he could find but two Inists for his villa-garden that awoke sentiments of
unmingled pleasure, and these he ever contemj)lated with delight and awe — they
were Michael Angelo and George Washington.
It is therefore impossible to enumerate and describe all the portraits of
Washington which, for A^arious reasons, artistic, historical, and incidental, have a
A^alue and interest. Almost every American painter at all skilled in portraiture,
has tried his hand Avith more or less success, in rej)roducing the features of the
matchless chief; in almost every city in America there are representations of him
claimed to be original. We can but note some of the more important facts
relating to the subject, and refer more particularly to those efforts, both original
and copied, Avhich have obtained a good degree of popularity or importance.
The earliest portraits of Washington are more interesting, perhaps, as memo
rials than as Avorks of art ; and Ave can easily imagine that associations endeared
them to his old comrades. The dress (blue coat, scarlet facings, and under
clothes) of the first portrait by Peale, and the youthful face, make it suggestiA'e
of the first experience of the future commander, when, exchanging the surveyor's
implements for the colonel's commission, he bivouacked in the wdlderness of
Ohio, the leader of a motley band of hunters, provincials, and savages, to con
front Avily Frenchmen, cut forest roads, and encounter all the perils of Indian
ambush, inclement skies, undisciplined followers, famine, and woodland skirmish.
It recalls his calm authority and providential escape amid the dismay of Brad
dock's defeat, aud his pleasant sensation at the first Avhistling of bullets in the
Aveary march to Fort Necessity. To Chaeles Wilson Peale, we owe this pre
cious relic of the chieftain's youth. His own career partook of the Adcissitudes
and Avas impressed with the spirit of the revolutionary era; a captain of a-oIuu-
teers at the battles of Trenton and Germantown, and a State representative of
Pennsylvania, a favorite pupil of West, an ingenious mechanician and a Avarrior,
he always cherished the instinct and the facult}^ for art ; and eA-en amid the
Inistlc and duties of the camp, never failed to seize auspicious interA'als of lei
sure, to depict his brother officers. This portrait Avas executed in 1772, and is
now at Ailingtou House. The oiiginal study for this portrait is now in the
possession of Charles Ogden, Esq., of Philadelphia.*
* "Washington was then a colonel m the Alexandria militia, and the picture in the Mt. Vernon
collection represents him in the English uniform, blue :nid red. T am under the impression that

PORTRAITS OF AVASHINGTON, 37
The resolution of Congress liy which a portrait by this artist Avas ordered,
Avas passed before the occupation of Philadelphia. Its progress marks the vicissi
tudes of the revolutionary struggle ; commenced in the gloomy winter and half-
famished encampment at Yalley Forge, in 1778, the battles of Trenton, Prince
ton, and ]\Ionmoutli intervened before its completion. The picture was finished
at Princeton, and Nassau Hall is a prominent object in the background ; but
Congress adjourned -without maldng an appropriation, aud it remained in the
artist's hands. Lafayette desired a copy for the King of France ; and Peale
executed one in 1779, w^hicli was sent to Paris; but the misfortunes of the royal
family occasioned its sale, and it became the property of the Count de Menou,
AA'ho brought it again to this country and presented it to the National Insti
tute, Avhere it is now preserved. Of the first portrait Chapman made two copies
at a thousand dollars each ; and Dr. Craik, one of the earliest and warmest
personal friends of Y^ashington, their commissions as officers in the French war
having been signed on the same day (1751), declared the second a most faith
ful likeness of him as he aj)peared in the prime of his life.*
There is a tradition in the Peale family, honorably represented through
several generations, by public spirit and artistic gifts, that intelligence of one of
the most important triumphs of the American arms Avas received by Washington
in a despatch he opened while sitting to Wilson Peale for a miniature intended
for his wife, Avho was also present. The scene occurred one fine summer after-
your picture was the first study for the larger one — now at Arlington, which was finished at
Mt. "S'ernon, and that my father subsequently (during the war of Ladependence), changed the
dress to the Continent.al costume, notwithstanding that in our catalogues of the Museum Gal
lery, this portrait has always been called Col. G. Washington." — Letter of Eembrandt Peale to
Chas. S. Ogden, Esq.
* Philadelphia, Feb. 4. — His Excellency General Washington set off from this city to join
the army in New Jersey. During the course of his short stay, the only relief he has enjoyed
fi-om service since he first entered it, he has been honored with every mark of esteem, etc.
The Council of this State being desirous of having his picture in full length, requested his sit
ting for that purpose, which he politely complied with, and a strikmg likeness was taken by Mr.
Peale of this city. The portrait is to be placed in the council chamber. Don Juan Marrailcs,
the Minister of France, has ordered five copies, four of which, we hear, are to be sent abroad.
— Fenn. Packet, Feb. 11, 1779. Peale's first portrait was executed for Col. Alexander; his last
is now in the Bryan Gallery, New York. He painted one in 1776 for John Hancock, and
besides that for New Jersey, others for Pennsylvania and Maryland.

38 PORTRAITS OF WASHINGTON.
noon ; and there is something attractive to the fancy in the association of this
group quietly occupied in one of the most beautiful of the arts of peace, and in
a commemorative act destined to gratify conjugal love and a nation's pride, with
the progress of a war and the announcement of a victory fraught with that
nation's liberty and. that leader's eternal renown.
The characteristic traits of Peale's portraits of Washington now at the
National Institute and Arlington House, and the era of our history and of
Washington's hfe they embalm, make them doubly valuable in a series of pic
torial illustrations, each of which, independent of the degree of professional skill
exhibited, is essential to our Washingtonian gallery. Before Trumbull and Stuart
had caught from the living man his aspect in maturity and age — the form knit
to athletic proportions by self-denial and activity, and clad in the garb of rank
and war, and the countenance open with truth and grave with thought, yet
rounded with the contour and ruddy with the glow of early manhood — it was thus
genially delineated by the hand of a comrade, and in the infancy of native art.
Of the fourteen portraits by Peale, that exhibiting Washington as a Yirginia colo
nel in the militia of Alexandria, is the only entire portrait before the revolution
extant.* One was painted for the college of New Jersey, at Princeton, in 1780,
to occupy a frame in which a portrait of George the Third, had been destroyed
by a cannon ball during the battle at that place on the 3d of January, 1777.
It still remains in the possession of the College, and was saved fortunately from
the fire which a few years ago consumed Nassau Hall. Peale's last portrait of
Washington, executed in 1796, he retained until his death, and two years since,
it was sold Avith the rest of the collection knoAvn as the "Peale Gallery," at
Philadelphia. There is a pencil sketch also by this artist, framed with the wood
of the tree in front of the famous Chew's house, around which centred the
battle of Germantown.f
A few octogenarians in the city of brotherly love, used to speak, not many
years since, of a diminutive family, the head of which manifested the sensitive
temperament, if not the highest capabilities of artistic genius. This was Robert
* A miniature, said to have been painted in 1757, at the age of 25, is noticed elsewhere.
f " The Editor of the Cincinnati Enquirer Avas lately shown a pencil sketch of General Wash
ington, taken from life by Charles Wilson Peale, in the year 1777. It was framed from a part
of the elm-tree then standing in front of Chew's house, on the GermantoAvn battle-ground, and
the frame was made by a son of Dr. Craley, of Revolutionary fame."

PORTRAITS OP WASHINGTON. 39
Edge Pine. He brought to America the earliest cast of the Yenus de' Medici,
which was privately exhibited to the select few — the manners and morals of the
Quaker city forbidding its exposure to the common eye. He was considered a
superior colorist, and Avas favorably introduced into society in Philadelphia by
his acknoAvledged sympathy for the American cause, and by a grand project
such as was afterwards partially realized by Trumbull ; that of a seiies of his
torical paintings, illustrative of the American Revolution, to embrace original
portraits of the leaders, both civil and mihtary, in that achievement, including
the statesmen who Avere chiefly instrumental in framing the Constitution and
organizing the GoA^ernment. He brought a letter of introduction to the father
of the late Judge Hopkinson, whose portrait he executed, and its vivid tints and
correct resemblance still attest to his descendants the ability of the painter. He
left behind him in London, creditable portraits of George the Second, Garrick,
and the Duke of Northumberland. In the intervals of his business as a teacher
of drawing and a votary of portraiture in general, he collected, from time to
time, a large number of " distmguished heads," although, as in the case of Ce
racchi, the epoch and country were unfavorable to his ambitious project ; of
these portraits the heads of General Gates, Charles Carrol, Baron Steuben, and
Washington, are the best known and most highly prized. Pine remained three
Aveeks at Mount Yernon, and his portrait bequeathes some features with great
accuracy ; artists find in it certain merits not discoA^erable in those of a later
date ; it has the permanent interest of a representation from life, by a painter of
established reputation ; yet its tone is cold and its effect unimpressive, beside the
more bold and glowing pencil of Stuart. It has repose and dignity. The late
venerable Avidow of Alexander Hamilton declared that it revived to her mind
the image of Washington more satisfactorily than any other portrait. In his letter
to Washington, asking his cooperation in the design he meditated. Pine says, " I
have been some time at Annapolis painting the portraits of patriots, legislators,
heroes, and beauties, in order to adorn my large picture;" and he seems to haA-e
commenced his enterprise with sanguine hopes of one day accomphshing his
object, which, however, it was reserved for a native artist eventuaUy to complete.
That his appeal to Washington was not neglected, however, is CA^dent from an
encouraging allusion to Pine and his scheme, in the correspondence of the former.
"Mr. Pine," he says, "has met a favorable reception in this country, and may, I
conceive, command as much business as he pleases. He is now preparing mate-

•±0 PORTRAITS OF WASHINGTON.
rials for historical representations of the most important events of the war."*
Pine's picture is in the possession of the Hopkinson family at Philadelj)hia. The
fac-simile of Washington's letter proves that it was taken in 1786. A large copyf
was purchased at Montreal, in 1817, by the late Henry Brevoort, of New York,
and is now in the possession of his son, J. Carson Brevoort, at Bedford, L. I.
The reader of Haydon's autobiography will remember the awkward predica
ment in which that egotistic but impassioned devotee of "high art," found him
self, when attempting to* take a cast in plaster, from the person of a Herculean
model, whom he nearly suffocated by the experiment. To the same crude pro
cess was the head of our august chief submitted in 1783. Frankhn introduced
to him, by letter, a Bordentown gentleman — Joseph Wright, who painted both
his wife and himself at Rocky Hill, near Princeton, in that year, and afterwards
etched a profile of the latter from his own drawing. Both portraits were
thought successful ; and Congress, then sitting in Philadelphia, with the intention
of securing a statue, employed this artist to take a mould, in plaster of Paris, of
Washington's face. We have heard a young sculptor, employed to perform the
same operation upon the spiritual countenance of Allston, after his decease, de
scribe the awe which made him shrink and tremble, as in the lonely chamber of
death, he approached the cold form of him he had revered in life, and endea
vored gently, and with pious care, to fulfil the task. The solemn beauty of the
features, which the destroyer had only sculptured into more ethereal lines,
seemed to reproach his touch as profanation, and it was long before he could
summon the needful self-control to go through with his melancholy duty. Not
less disconcerted was Wright, notwithstanding the free consent of Washington,
when he covered his face with wet plaster ; indeed, the trepidation of the opera
tor, caused him, in removing the mould, to let it fall, and although utterly
ruined, the President declined subjecting himself again to the unpleasant ordeal.
A letter to this artist, in reference to a portrait he executed for the Count de
Solms, illustrates the desire for military fame which was an instinctive and an
hereditary trait of Washington's character, apparent in his eagerness to take
part, when quite young, in frontier warfare, and subsequently in Braddock's
expedition, notwithstanding his mother's remonstrances, to which, in all other
interests, he was ever obedient. After directing the painter to forward his biU
* Sparks's Writings of Washington. f Believed to be the original.

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PORTRAITS OP WASHINGTON. 11
he adds: "You Avill not he deficient in execution, as the Count designs this for
his gallery of military characters."
But the most interesting Avork of this artist is a portrait of Washington,
executed for Mrs. Elizabeth PoAvell 7iee Willing, of Philadelphia. This lady was
an intimate friend of the first President, as his familiar letters to her on sub
jects of general aud personal concern, and to her husband on agricultural mat
ters, evidence. To her he sold his carriage-horses, upon leaving Philadelphia for
Mount Yernon ; and a characteristic note from his hand, points out their merits,
breed, and training; while another, excusing himself for not accompanying her
to the circus, is one among the many indications of the charm he always found
in observing this noble animal, of Avhich his mastery was complete, and his
knowledge remarkable. This j^icture came by direct inheritance into the posses
sion of John Hare PoAvell, the nephew of Mrs. Powell, aud is now owned by
that gentleman's sou, at whose house in NewjDort, I lately had the pleasure of
examining it. It bears date, Philadelphia, 1784. There is something at once
inelegant and truthful in the impression it conveys ; no attempt is A'isible to
modify the somewhat unsymmetrical torso, or to give artificial ease to the atti
tude ; it strikes the beholder as a most honest but AvhoUy unembellished
portrait, one of those bold, faithful imitations of nature, whose very lack of
ideal finish, yields p>rlma facie proof of authenticity. The attitude is erect, the
lips closed Avith determination, the eye clear and unfaltering, the hair shorter
than in any otlier portrait, and the nose so distinctly outlined and decided in
its form, as to claim special notice. Perhaps no portrait of Washington bears
such convincing marks of genuine individuality, without a particle of artistic flat
tery. There is something honest in the mere look of the right hand ; resolution
and great calmness are the predominant traits; the fastidious spectator might call
it a daub, while the discriminating would feel it must be a likeness. Such, it
appears, Avas the general verdict of Washington's contemporaries, many of the
most distinguished of whom were constant visitors of Mrs. Powell, in whose
draAving-room this highly-A-alued picture of their revered friend, occupied a conspi
cuous place. Bushrod Washington, in particular, always spoke of it as the most
literal similitude of his great kinsman.
During Crawford's last Adsit to America, we induced him to examine this por
trait. It boasted, indeed, no elegance, arrangement, or refinement of execution.
At a glance it Avas evident that the artist had but a limited sense of beauty.

42 PORTRAITS OF AVASHINGTON.
and lacked imagination; but, on the other hand, he possessed what, for a sculp
tor's object— facts of form and feature— is more important— conscience. Crawford
declared this Avas the only portrait of Washington which hterally represented his
costume ; having recently examined the uniform, sword, etc., he was enabled to
identify the strands of the epaulette, the number of buttons, and even the peculiar
seal aud w-atch-key. An artist so faithful to details, so devoted to authenticity,
Crawford argued, was to be relied on in more essential things. He remarked
that one of his own greatest difficulties, in the equestrian statue, had been to
reconcile the shortness of the neck in Stuart's portrait and Houdon's statue (the
body of Avhich was not taken from life) Avith the stature of Washington — there
being an anatomical incongruity therein. " I had determined," he continued, " to
follow what the laAvs of Nature and all precedent indicate as the right propor
tion — otherwise it would be impossible to make a graceful and impressive statue;
but ill this picture, bearing such remarkable evidence of authenticity, I find the
correct distance between chin and breast."
In 1772, an Italian sculptor, of low stature, trim figure, very blue beard, and
piercing black eyes, was kindly received in London by Sir Joshua Reynolds,
whose bust he executed. He had been employed by the Pope in conjunction
with Canova in designing sculpture for the Pantheon, and noAV sought occupation
in England, but found a too limited demand therefor ; he however sculptured
the two figures at the end of the Strand front of Somerset House, and made
a full length statue of Mrs. Seymour Damer, so praised by Walpole as the
Muse of Sculpture. Guiseppe Ceracchi was born in Corsica.* When quite a
youth he went to Rome to become a sculptor, and in 1800 had attained a rank
equal to C'anoAa's, with whom he had studied as well as worked. When his
great countryman became master of Ital}^, Ceracchi, fired Avith republican enthu
siasm, hastened to Milan and offered to execute his statue. The arrano-ement
was made, but never realized ; for on his return to Rome the artist was
absorbed in political interests, and became an active friend of the transitory
Roman Republic- of 1798. On the return of the French, he Avas compelled to
seek refuge in Paris.
A native of that island in the Mediterranean with which the vendetta is his-
* So stated in tlie latest French Biographical Dictionary,-tliougl, according to contemporary
authorities a native of Eome.

PORTRAITS OF WASHINGTON. 43
torically identitied, he Avas by birth and temperament a melancholy enthusiast, whose
thirst for the ideal was deepened by a morbid tenacity of purpose and sensitive
ness of heart ; — a form of character peculiar to Italy ; in its voluptuous phase
illustrated by Petrarch, in its stoical by Alfieri, and in its combination of
patriotic aud tender sentiments by Foscolo's " Letters of Jacopo (Jitis." The
political confusion that reigned in Europe, for a time seriously interfered Avith
the pursuit of art ; and this w-as doubtless a great motive Avith him for visiting
America ; but not less inciting was the triumph of freedom, of which that land
had recently become the scene — a triumph that so enlisted the sympathies and
fired the imagination of the republican sculptor, that he designed a grand national
monument, commemorative of American Independence, and sought the patronage of
the iiewdy organized government in its behalf Washington, individually, favored
his design, and the model of the proposed work I'eceived the warm approval of
competent judges ; but taste for art, especially for grand monumental statuary,
was quite undeveloped on this side of the Atlantic, and the recipient of Papal
orders found little encouragement in a young republic, too busy in laying the foun
dation of her civil polity, to give much thought to any memorials of her nascent
glory. It was, however, but a question of time. His purpose is even now in
the process of achicA'^ement. Washington's uative State A-oluutarily undertook the
enterprise for which the general government, in its youth, was inadequate ; and
it Avas auspiciously reserved for a native artist, and a single member of the
original confederacy, to embody, in a style worthy of more than Italian genius,
the grand conception of a representative monument, Avith Washington in a colos
sal equestrian statue as the centre, and the Yirginia j)atriots and orators of
the Revolution, grouped around his majestic figure. Ceracchi, however, in aid of
his elaborate project, executed the only series of marble j)ortraitures from life of
the renowned founders of the national government : his busts of Hamilton, Jay,
Trumbull, and Governor George Clinton, Avere long the prominent ornaments of
the Academy of Fine Arts, in New York ; the latter, especially, was remarkable,
both in regard to its resemblance to the original, and as a Avork of art. His most
important achievement, hoAvever, was a bust of Washington, generally consi
dered the most perfect representation of the man and the hero combined, after
Stuart's and Houdon's master-pieces. It is in the heroic style, with a fillet. The
fate of this valuable effigy was singular. It Avas purchased by the Spanish
Ambassador, as a gift to the Prince of the Peace, then at the height t^f his

44 PORTRAITS OP AVASHINGTON.
power at Madrid ; before the bust reached Spain, Godoy was exiled, and the
minister recalled, who, on his arrival, transferred it, unpacked, to Richard Meade,
Esq., of Philadelphia, in Avhose family it remained until tAVO years ago, when, at the
administrator's sale of that gentleman's fine collection of paintings, it was pur
chased by GoA'erneur Kemble, and can now be seen at his hospitable mansion, on
the banks of the Hudson. Another of Ceracchis busts of Washington is in the
possession of Williams Middleton, Esq., of Middleton Place, S. Carolina.
The zeal of Ceracchi in his cherished purpose, is indicated by the assurance
he gaA^e Dr. Hugh Williamson — the historian of North Clarolina, aud author of
the earliest work on the American climate, and one of the first advocates of the
canal policy — Avhen inviting him to sit for his bust — that he did not pay him the
compliment in order to secure his A-ote for the national monument, but only to
perpetuate " the features of the American Cato." With characteristic emphasis,
the honest Doctor declined on the ground that posterity would not care for his
lineaments ; adding that " if he Avere capable of being lured into the su2:)port of
any scheme whatever, against his conAdction of right, Avood, and not stone, ought
to be the material of his image."*
Ceracchi imbibed the free ideas brought by the French army to Italy, and
baffled, as he ultimately Avas, in the realization of hopes inspired alike by his
ambition as a sculptor and his love of republican institutions, he carried to Europe
the proud distinction of having taken the initiative in giving an enduring shape
to the revered and then unfamiliar features of Y^ashingtou. He executed two
busts, one colossal, a cast of which was long in the New York Academy of Fine
Arts. ImpoA^erished, the darling scheme of his life frustrated in America, and
his own patriotic hopes crushed by the victories of Bonaparte in Italy, and his
rapid advances towards imperial sway, the enthusiastic artist brooded, with intense
disappointment, over the contrast between the fresh and exuberant national life,
of Avhich he had partaken here, and the vassalage to AA''hich Europe Avas again
reduced. Napoleon and Washington stood revealed, as it were, side by side — the
selfish aggrandizement of the one, who trampled on humanity under the prestige
of military fame, and the magnanimity of the other, content to be the immaculate
agent of a free people, after sacrificing all for their Avelfare. Imbued Avith the
principles and a witness of the self-control which consummated our revolutionary
triumph, Ceracchi l^eheld, with an impatience that caution only restrained, the
* Dr. Hosack's Essays.

WASHINGTON.

"r

-;;..»„.,

ENGRAVED FOR IRVING^ WASHaGTON

PORTRAITS OF AVASHINGTON. 45
steady and unscrupulous encroachment of Bonaparte on all that is sacred in nation
ality and freedom. Somewhat of the deep indignation and the sacrificial will that
nerved the hand of Charlotte Corday, somewhat of the fanaticism that moved
the student-assassin of Kotzebue, and, perhaps, a little of the vengeful ire of
Ravaillac, at length kindled the Itahan blood of the sculptor. He became one of
the most determined secret conspirators against the now established usurper. His
brother artists, Topino Le Brun, Arena, Diana, and Demerville, were his coadjutors.
The memoirs of the time speak of his " exaggerated notions," his disdain of life,
of the profound gloom that often clouded his soul, of the tears he alternately
shed of admiration at the brilliant exploits of the conqueror, and of grief at the
wrongs inflicted on the beautiful land of his nativity. "This man," says one fair
chronicler of those exciting times, " has a soul of fire." A plot, Avhich is stigma
tized as nefarious, and, according to rumor, Avas of the Fieschi stamp, aimed at
the life of Bonaparte, when First Consul, was finally discovered, and Ceracchi
became legally compromised as one of those pledged to its execution. He, with
his companions, were arrested at the opera, where it was declared they intended
to attack the First Consul, on the 12th of October, 1801, and found to be armed
with poignards ; they were all condemned to death, except Diana, and AA'-ere exe
cuted at the Place de Greve, Jan. 30, 1802. Details of the plot (known as the
Arena conspiracy), as viewed by a zealous partizan of Bonaparte, are given in the
memoirs of the Duchess d' Abrantes. Ceracchi boldly acknowledged his murderous
intention, and the earnest liberal, the AdndictiA^e patriot, the gifted artist, and
sculptor of Washington, ended his career on the scaffold.
His bust glA^es Y^ashington a Roman look, but has been declared to exhibit
more truly the expression of the mouth than any other work. Those of Hamil
ton and Governor Clinton, by this artist, are deemed, by their respective families,
as correct as portraits, as they are superior as pieces of statuary. And this is
presumptive evidence in faA^'or of the belief that Ceracchi's attachment to the
heroic style did not seriously interfere wdth the general truth of his portraiture.
The design of a statue was, therefore, only realized on the arrival of Houdon.
The history of this sculptor is a striking contrast to that of Ceracchi. A uative
of Yersailles, he flourished at an epoch remarkably prolific of original characters
in all departments of letters and art. Many of these, especially his own coun
trymen, have been represented by his chisel. He enjoyed a long and prosperous
existence, having suiwived the taste he initiated, and the friends of his youth, but

46 PORTRAITS OF WASHINGTON.
maintaining a most creditable reputation to his death, Avhich occurred in his
eighty-eighth year. He rose to distinction by a new style, which appears to
have exhibited, according to the subject, a remarkable simphcity on the one hand,
and elaboration on the other. An over-estimate of the effect of details marred
his more labored creations ; but he had a faculty of catching the air, and a taste
in generalizing the conception, both of a real and fanciful subject, which manifested
unusual genius. There was an individuality about his best Avorks that won atten
tion and established his fame. Of the ideal kind, two Avere the subjects of much
critical remark, though for different reasons. One of them was intended to exhi
bit the eff'ect of cold — an idea almost too melodramatic and physical for sculpture,
but quite in character for a Frenchman, aiming, even in his severe and limited
art, at theatrical effect. The other was a statue of Diana — the object of nume
rous hon mots., first, because it was ordered by Catherine of Russia, who, it was
generally thought, had no special affinity with the chaste goddess ; and, secondly,
on account of the voluptuous character given it by the artist, which j)rocured for
his Diana the name of Yenus. Houdon's bust of Yoltaire gained him renown at
once in this department of his pursuit, and is a memorable example of his success.
Hoav various the characters whose similitudes are perpetuated by his chisel —
Gluck and Buftbn, Rousseau and D'Alembert, Mirabeau and Washington! Jeffer
son, in behalf of the State of Yirginia, arranged with Houdon at Paris, to under
take the latter commission; and he accompanied Dr. Franklin to the LTnited
States. He remained at Mount Yernon long enough to execute a model of
Washington's head, and familiarize himself with every detail of his features and
the traits of his natural language ; but that implicit fidelity, now evident in the
busts of our OAvn leading sculptors, was not then in vogue, and the artists of the
day were rather adepts in idealizing than in precise imitation oi nature ; therefore,
the result of Houdon's labors, though, in general, satisfactory, cannot be used
with the mathematical exactitude, as a guide, Avhich greater attention to minutia'
Avould have secured. There is a sketch by Stuart indicating some minute errors
in the outline of Houdon's bust. On leaving, he presented Washington Avith the
bas-relief which used to hang over his chair in the library at Mount Yei-non.*
He completed 'the statue after his return to Paris, and in the diary of Gouver
neur Morris, is an entry noting his attendance at the artist's studio, to stand for
* A most absurd story has been recently circulated, by gubernatorial authority, that Houdon's
statue was the result of a cast made from the entire person of Washino-ton.

¦""ai HoTld.0318 ITIBI-

PORTRAITS OP WASHINGTON. 47
the figure of his illustrious friend, Avhom, before he became corpulent, he is said
to have resembled. He alludes to the circumstance as "being the humble
employment of a mannikin ; " and adds, " This is literally taking the advice of St-
Paul, to be all things to all men." The original cast of the head of this statue
is still at Mount Yernon, and the statue itself is the cherished ornament of the
Capitol at Richmond, and has been declared, by one of Washington's biographers,
to 1 le " as perfect a resemblance, in face and figure, as the art admits ; " while, on
the other hand, a critic of large and studious observation, Avho Avas Avell acquainted
with the appearance of the original, says that, as a likeness, the head is inferior
to Ceracchi's bust. The costume is authentic, that Washington wore as comman
der-in-chief; it has been assailed with the usual arguments — its want of classical
effect, and its undiguified style ; but less conservative reasoners applaud the truth
of the drapery, and the work is endeared as a faithful and unique representation
of the man — the only one from life bequeathed by the art of the sculptor. " Judge
Marshall," says Dr. Sj)arks in a letter to us, " once told me that the head of
Houdon's statue at Richmond, seen at a point somewhat removed towards the
side, from the front, presented as perfect a resemblance of the liAdng man as he
could conceive possible iu marble."
Rembrandt Peale, when quite young, Ijecame the companion of his father's
artistic labors. In compliment to the latter, Washington sat for a likeness to
the novice of eighteen, who says the honor agitated more than it inspired him,
and he solicited his father's intercession and countenance on the memorable occa
sion. Of the precise A^alue of his original sketch it is difficult to form an accu
rate opinion, but the mature result of his efforts to produce a portrait of Wash
ington has attained a high and permanent fame. He availed himself of the best
remembered points, and always worked with Houdon's bust before him. This
celebrated picture is the faA^orite portrait of a large number of amateurs. It is
more dark and mellowed in tint, more elaborately worked up, and, in some
respects, more effectively arranged, than any of its predecessors. Sometimes
inclosed in an OA^al of well-imitated stone fretwork, sometimes in military and at
others in civic dress, vigorous in execution, rich in color, the brow, eyes, and
mouth, full of character — altogether it is a striking and impressive delineation.
That it was thus originally regarded we may infer from the unanimous resolution
of the U. S. Senate, in 1832, appropriating two thousand dollars for its purchase,
and from the numerous copies of the original, in military costume, belonging to

48 PORTRAITS OP WASHINGTON.
the artist, which have been and are still ordered. Rembrandt Peale is said to
be the only living artist who ever saw Washington. In the pamphlet Avhich he
issued to authenticate the work, we find the cordial testimony to its fidelity and
other merits, of Lawrence Lewis, the eldest nephew of Washington : of the late
venerable John Yaughan, of Bishop White, Rufus King, Charles Carroll, Edward
Livingston, General Smith, Dr. James Thatcher, and Judge Cranch. Chief Justice
Marshall says of it : " It is more Washington himself than any portrait I have
ever seen ; " and Judge Peters explains his apj)roval by declaring, " I judge from
its eftects on my heart."
This venerable artist has delivered a lecture in our principal cities, and before
our Historical Societies, in w^hich he claims almost exclusive authenticity for his
portrait of Washington, and cites an imposing array of witnesses thereto. Y^ith-
out intending in the least degree to disparage either the intrinsic value of his
portrait, or dispute the testimony in its behalf — we cannot but invite the reader's
attention to the fact that equally honorable and emj)hatic attestation to the accu
racy of other portraits has been cited. The truth is, that the mere imj)ression of
survivors — not educated to observe features and expressions like artists, is of little
Avorth. Something familiar in the pictured face strikes the eye of friendship, and
instantly, by the force of association, the imagination fills np the outline. We
doubt not that in some detail, shade of expression, significance of feature, each
artist — worthy of the name — succeeded in representing truly the great subject upon
Avhich their pencils were employed; and can readily believe that one famihar
Avith Y^ashington's appearance in the field discovered superior merit in Trumbull's
portrait, one best acquainted with him in domestic life thought Sharpless had
best caught his grave sweetness of look— that a veteran comrade preferred Yllson
Peale's first picture, and the youth who contemplated him with awe in the ho-ht
of his mature character and form, found only in Stuart an adequate representation.
No artist enjoyed the opportunities of Colonel Teumbull as the portray er of
Washington. As aide-de-camp he was familiar with his appearance in the prime
of his life and its most exciting era. At the commencement of the Revolutionary
struggle, this officer Avas among the most active, and essentially promoted the
secure retreat of the American forces, under General Sullivan, from Rhode Island •
he, therefore, largely partook of the spirit of those days, came freely under the
influence of Washington's character as it pervaded the camp, and had ample time
and occasion to observe the Commander-in-Chief in his military aspect, and in

^-

¦if' ¦ i-^

PORTRAITS OF WASHINGTON. 49
social intercourse, on horseback, in the field, and at the hospitable board, in the
councils of war, Avhen silently meditating his great work, when oppressed with
anxiety, animated by hope, or under the influence of those quick and strong
feelings he so early learned to subdue. After Trumbull's resignation, and when
far away from the scene of Y^ashington's glory, he painted his head from recol
lection, so distinctly was every feature and expression impressed upon his mind.
In the autumn of 1789 he returned from Europe, and began his sketches of the
chiefs and statesmen of the Revolution, afterwards embodied in the pictures that
adorn the Rotunda of the Capitol, and the originals of Avhich, invaluable for their
authenticity, may now be seen in the gallery at New Haven. Here is preserved
the most spirited portrait of Washington that exists — the only reflection of him
as a soldier of freedom worthy of the name, drawn from life. The artist's own
account of this work is given in his memoirs: "In 1792 I was again in Philadel
phia, and there painted the portrait of General W^ashington, now placed in the
gallery at NeAV Haven, the best, certainly, of those that I painted, and the best,
in my estimation, which exists in his heroic and military character. The city of
Charleston, S. C, instructed Mr. W. R. Smith, one of the representatives of South
Carolina, to employ me to paint for them a portrait of the great man, and I
undertook it co^i amore., as the commission was unlimited, meaning to give his
military character at the most sublime moment of its exertion — the evening pre
vious to the battle of Trenton, when, viewing the vast superiority of his approach
ing enemy, the impossibility of again crossing the Delaware or retreating down
the river, he conceives the plan of returning, by a night march, into the country
from which he had been driven, thus cutting off the enemy's communication and
destroying the depot of stores at Brunswick." There is a singular felicity in
this choice of the moment to represent Washington, for it combines all the most
desirable elements of expression characteristic of the man. It is a moment, not
of brilliant achievement, but of intrepid conception, when the dignity of thought
is united with the sternness of resolve, and the enthusiasm of a daring experiment
kindles the habitual mood of self-control into an unwonted glow. As the artist
unfolded his design to Washington, the memory of that eventful night thrilled
him anew ; he rehearsed the circumstances, described the scene, and his face Avas
lighted up as the memorable crisis in his country's fate and his own career was
renewed before him. He spoke of the desperate chance, the wild hope, and the
hazardous but fixed determination of that hour ; and, as the gratified painter

50 PORTRAITS OF WASHINGTON.
declares, "looked the scene." "The result," he says, "was, in my own opinion,
eminentiy successful, and the General was satisfied." Whether the observer of
the present day accedes to the opinion, that he "happily transferred to the can
vass the lofty expression of his animated countenance, the resolve to conquer or
perish ; " Avhether the picture comes up to his preconceived ideal of the heroic
view of Washington or not, he must admit that it combines great apparent
fidelity, with more spirit and the genius of action, than all other portraits.
Although not so familiar as Stuart's, numerous good copies of Trumbull's
Y-'ashington, some from his own, and others by later pencils, have rendered it
almost as well known in this country. Contemporaries gave it a decided preference ;
it recalled the leader of the American armies, the man who was "first in the
hearts of his countrymen," ere age relaxed the facial muscles and modified the
decislA^e lines of the mouth; it was associated in their minds Avith the indignant
rebuke at Monmouth, the brilliant surprise at Trenton, and the heroic patience
at Valley Forge ; it was the Washington of their youth Avho led the armies of
freedom, the modest, the brave, the vigilant and triumphant chief Ask an
elderly Knickerbocker what picture will give you a good idea of Washington,
and he Avill confidently refer you, as the testimony his father has taught him, to
Trumbull's portrait in the City Hall. When Lafayette first beheld a copy of this
picture, in a gentleman's house in New Jersey, on his visit to this country, a fcAV
years before his death, he uttered an exclamation of delight at its resemblance.
This work was executed before the loss of his teeth changed the expression of
Y^ashington's mouth ; and like Peale's portrait at Nassau Hall and Stuart's in^
the Presidential mansion, has narrowly escaped destruction by fire. The air of
the figure is as manly and elegant, the look as dignified and commanding, and
the brow as practical in its moulding, as in Stuart's representation of him at a
more adA'anced period ; but the face is less round, the profile more aquiline, the
complexion has none of the fresh and ruddy hue, and the hair is not so blanched.
It is, altogether, a keener, more active, less thoughtful, but equally graceful and
dignified man. He stands in an easy attitude, in full uniform, Avith his hand on
his horse's neck ; and the most careless observer, though ignorant of the subject,
Avould recognise at a glance, the image of a brave man, an intelligent officer, and
an honorable gentleman. The excellent engraving of Durand has widelj^ dissemi
nated Trumbull's spirited head of Washington.
Although the concurrent testimony of those best fitted to judge, glA^e the

I "En (^ aved lay tiie _AiiaHta,tic ^roceaa 1

N-BWYDEK GrrHlTJs|J\MS.CO

PORTRAITS OF WASHINGTON. 51
palm to Trumbull's portrait now in the gallery at New Haven, as the most faith
ful likeness of Washington in his prime, this praise seems to refer rather to the
general expression and aii-, than to the details of the face. Trumbull often failed
in giving a satisfactory likeness ; he never succeeded in rendering the complex
ion, as is obvious by compariDg that of his picture in the New York City Hall
Avitli any or all of Stuart's heads ; the former is yellow, and gives the idea of a
bilious temperament, Avhile the latter, in every instance, have the florid, ruddy
tint, which, Ave are assured, was characteristic of Y^ashington, and indicative
of his active habits, constant exposure to the elements, and Saxon blood. The
best efforts of Trumbull were his first, careful sketches ; he never could
elaborate with equal effect ; the collection of small, original heads, from which
his historical pictures were drawn, is invaluable, as the most authentic resem
blances in existence of our rcA^olutionary heroes. They have a genuine look and
a spirited air, seldom discoverable in the enlarged copies.
" Washington," says Trumbull, in describing the picture which he considered
his best, " is represented standing on elevated ground, on the south side of the
creek at Trenton, a little beloAV the stone-bridge and mill. He has a recon
noitring glass in his hand, with which he is supposed to have been examining
the strength of the hostile army, pouring into and occuj)ying Trenton, which he
has just abandoned at their appearance ; and, having ascertained their great supe
riority, as AA'ell in numbers as discipline, he is supposed to have been meditating
how to avoid the apparently impending ruin, and to have just formed the plan
which he executed during the night. This led to the splendid success at Prince
ton on the following morning ; and, in the estimation of the great Frederic,
placed his military character on a level with that of the greatest commanders
of ancient or modern times. Behind, and near, an attendant holds his horse. Every
minute article of dress, down to the buttons and spurs, and the buckles and straps
of the horse furniture, were carefully painted from the different objects."
The gentleman who was the medium of this commission to Trumbull, praised
his work ; but aware of the popular sentiment, declared it not calm and peace
ful enough to satisfy those for whom it was intended. With reluctance, the
painter asked Washington, overwhelmed as he was with official duty, to sit for
another portrait, which represents him in his every-day aspect, and, therefore,
better pleased the citizens of Charleston. "Keep this picture," said Washington
to the artist, speaking of the first experiment, " and finish it to your own taste."

52 PORTRAITS OF WASHINGTON.
When the Connecticut State Society of Cincinnati dissolved, a few of the mem
bers purchased it as a gift to Yale College.
Gilbert Stuart's most cherished anticipation, when he left England for
America, was that of executing a portrait of Washington. A consummate artist
in a branch Avhich his own triumphs had proved could be rendered of the high
est interest, he eagerly sought illustrious subjects for his pencil. This enthusiasm
was increased in the present case, by the unsullied fame and the exalted Euroi^ean
reputation of the American hero, by the greatest personal admiration of his
character, and by the fact that no satisfactory representation existed abroad of a
man whose name was identical Avith more than Roman patriotism and magnanimity.
Stuart, by a series of masterly portraits, had established his renown in London ;
he had mingled in the best society ; his A'igorous mind was cognizant of all the
charms that Avit and acumen lend to human intercourse, and he knew tbe power
which genius and Avill may so readily command. His own nature was more
remarkable for strength than refinement ; he Avas eminently fitted to appreciate
practical talents and moral energy ; the braA^e truth of nature rather than her
more delicate effects, were grasped and reproduced by his skill ; he might not
have done justice to the ideal contour of Shelley, or the gentle features of Mary
of Scotland, but could have perfectly reflected the dormant thunder of Mirabeau's
countenance, and the argumentative abstraction that knit the broAvs of Samuel
Johnson. He was a votary of truth in her boldest manifestations, and a deline
ator of character in its normal and sustained elements. The robust, the A'enera-
ble, the moral picturesque, the mentally characteristic, he seized by intuition ;
those lines of physiognomy, which, channelled by Avill, are the map of inward
life, by years of consistent thought and action, traced upon the countenance ; — ¦ the
hue that, to an observant eye, indicates almost the daily vocation, the air suggestive
of authority or obedience, firmness or vacillation, the glance of the eye, which
is the measure of natural intelhgence and the temper of the soul, the expres
sion of the mouth that infallibly betrays the disposition, the tint of hair and
mould of features, not only attesting the period of life but revealing what that
life has l^een, whether toilsome or inert, self-indulgent or adventurous, care-
Avorn or pleasurable — these, and such as these records of humanity, Stuart trans
ferred, in vivid colors and most trustAvorthy outlines, to the canvass. Instinct
ive, therefore, was his zeal to dehneate Washington; a man, avIio, of all the
sons of fame, most clearly and emphatically Avrote his character in deeds upon

PORTRAITS OF AVASHINGTON. 53
the Avorld's heart, Avhose traits required no imagination to give them effect
and no metaphysical insight to unravel their perplexity, but were brought out
by the exigencies of the time, in distinct relief, as bold, fresh, and true- as
the verdure of spring and the lights of the firmament, equally recognised by
the humblest peasant and the most gifted philosopher.
To trace the history of each of Stuart's portraits of Y'ashington would prove
of curious interest. One of his letters to a relative, dated the second of
November, 1794, enables us to fix the period of the earliest experiment. "The
object of my journey," he says, "is only to secure a portrait of the Presi
dent and finish yours." One of the succeeding pictures was bought from the
artist's sudio by Mr. Tayloe, of Y^ashington, and is, at present, owned
by his son B. Ogle Tayloe, Esq. ; another was long iu the possession of
Madison, and is now in that of Gov. E. Coles, of Philadelphia. The full-length
in the Presidential mansion, at the seat of Government, was saved through the
foresight and care of the late Mrs. Madison, when the city was taken by the
British in the last Avar. Stuart, however, ahvays denied that this copy was
by him. Another portrait of undoubted authenticity Avas offered to and
declined by Congress, a few years ago, and is owned by a Boston gentleman ;
and one graced the hosjiitable dwelling of Samuel Williams, the London banker.
For a long period artistic productions on this side of the Avater Avere subjects
of ridicule. Tudor not inaptly called the Ncav England country meeting-houses
" wooden lanterns ; " almost every^town boasted an architectural monstrosity, popu
larly known as somebody's "folly;" the rows of legs in Trumbull's picture of
the Signing of the Declaration, obtained for it the sarcastic name, generally
ascribed to John Randolph, of " the shin piece ; " aud Stuart's full-length, originally
painted for Lord Lansdowne, with one arm resting on his sword hilt, and the
other extended, was distinguished among artists by the title of the "tea-pot
portrait," from the resemblance of the outline to the handle and spout of that
domestic utensil. The feature, usually exaggerated in poor copies, and the least
agreeable in the original, is the mouth, resulting from the Avant of support
of those muscles consequent on the loss of teeth, a defect which Stuart vainly
attempted to remedy by inserting cotton between the jaAV and the lips; and
Wilson Peale more permanently, but not less ineffectually, sought to relieve
by a set of artificial teeth.
We have seen in Western New York a cabinet head of Washington which

54 PORTRAITS OF WASHINGTON.
bears strong evidence of Stuart's pencil, and is traced directly by its present
owner to his hand, which was purchased of the artist and presented to Mr.
Gilbert, a member of Congress from Columbia County, New York, a gentleman
who held the original in such veneration that he requested, on his death-bed, to
have the picture exhibited to his fading gaze, as it was the last object he desired
to behold on earth. The remarks of Gilbert Stuart indicate what a study he
made of his illustrious sitter : " There were," he said, " features in his face totally
different from what he had observed in any other human being; the sockets of
the eyes, for instance, were larger than what he ever met with before, and the
upper part of the nose broader. All his features were indicative of the strongest
passions ; yet, like Socrates, his judgment and great self-command made him
appear a man of a different cast in the eyes of the world." The color of his
eyes was a light greyish blue, but according to Mr. Custis, Stuart painted them
of a deeper blue, saying, "In a hundred years they will have faded to the right
color." While Congress Avas iu session at Philadelphia, in 1794, Stuart went thither
with a letter of introduction to Washington, from John Jay. He first met his
illustrious subject on a reception evening, and was spontaneously accosted by him
with a greeting of dignified urbanity. Famihar as was the painter with eminent
men, he afterwards declared that no human being ever awakened in him the
sentiment of reverence to such a degree. For a moment, he lost his self-posses
sion — with him an experience quite unprecedented — and it was not until several
interviews that he felt himself enough at home with his sitter to give the requi
site concentration of mind to his work. This was owing not less to the personal
impressiveness of Washington — Avhich all who came in contact with him felt and
acknowledged — than to the profound respect and deep interest which the high
anticipations of the artist had fostered in his own mind. He failed, probably
from this cause, in his first experiment. No portrait-painter has left such a repu
tation for the faculty of eliciting expression by his social tact, as Stuart. He
would even defer his task upon any pretext until he succeeded in making the
sitter, as he said, "look like himself." To induce a natural, unconscious, and cha
racteristic mood, was his initiative step in the execution of a portrait. Innumera
ble are the anecdotes of his ingenuity and persistence in carrying out this habit.
More or less conversant with every topic of general interest, and endo\ied with
rare conversational ability and knowledge of character, he seldom failed to excite

yt^rn--' aT-cs^ t/u-,^.^

'¦s.'rux.u.'rn^.

EUGTLAVJBIJ FOR IRVIJ^ G-'S JjII"!] OF TZ^ SHIArGTON

GP pL..taaru & C° IT, York

PORTRAITS OF WASHINGTON. 55
the ruling passion, magnetize the prominent idiosyncrasy, or awaken the profes
sional interest of the occupant of his throne, whether statesman, farmer, actor,
judge, or merchant; and his fund of good stories, narrated with dramatic effect,
by enchaining the attention or enlisting the sympathies, usually made the
delighted listener self-oblivious and demonstrative, when, Avith an alertness and
precision like magic, the watchful limner transferred the vital identity of his
pre-occupied and fascinated subject, with almost breathing similitude. In Wash
ington, howcA^ei-, he found a less flexible character upon which to scintillate his
wit and open his anecdotical battery. Facility of adaptation seldom accompanies
great individuality ; and a man whose entire life has been oppressed with
responsibility, and in whom the prevalent qualities are conscience and good
sense, can scarcely be expected to possess humor and geniality, in the same pro
portion as self-control and reflection. Ou the professional themes of agriculture
and military science, Washington was always ready to converse, if not with
enthusiasm, at least in an attentive and intelligent strain ; but the artillery of
repartee, and the sallies of fancy, made but a slight impression upon his grave
and reserA'ed nature. He was deficient in language — far more a man of action
than of words — and had been obliged to think too much ou vast interests, to
" carry America in his brain," as one of his eulogists has aptly said, to readily
unbend in colloquial diversion. By degrees, however, the desirable relation was
established between himself and the artist, who, of several portraits, justly gave
the preference to the Lansdowne picture and the unfinished one now possessed
by the Boston Athenfeum. They, doubtless, are the most perfect representations
of Washington, as he looked at the time they Avere executed, and will CA'er be
the standards and resource of subsequent delineators. The latter, supj)osed by
many to have been his original "study," engaged his attention for months. The
freshness of color, the studious modelling of the brow, the mingling of clear pur
pose and benevolence in the eye, and a thorough nobleness and dignity in the
whole head, realize all the most intelhgent admirer of the original has imagined
— not, indeed, when thinking of him as the intrepid leader of armies, but in the
last analysis and complete image of the hero in retirement, in all the consciousness
of a sublime career, unimpeachable fidelity to a national trust, and the eternal
gratitude of a free people. Stuart resided in Germantown, Pa., in 1794-5; his
studio Avas a barn in the rear of the house he occupied, and here, according to
Watson, Avas painted this celebrated head. It is this master-piece of Stuart that

56 PORTRAITS OF WASHINGTON.
has not only perpetuated, but distributed over the globe the resemblance of
Washington. It has been sometimes lamented, that so popular a work does not
represent him in the aspect of a successful warrior, or in the flush of youth; but
there seems to be a singular harmony between this venerable image — so majestic,
benignant, and serene — and the absolute character and peculiar example of Wash
ington, separated from what Avas purely incidental and contingent in his life.
Self-control, endurance, dauntless courage, loyalty to a just but sometimes despe
rate cause, hope through the most hopeless crises, and a tone of feeling the most
exalted, united to habits of candid simplicity, are better embodied in such a
calm, magnanimous, mature image, full of dignity and sweetness, than if por
trayed in battle array or melodramatic attitude. Let such pictures as David's
Napoleon — with prancing steed, flashing eye, and waving sword — represent the
mere victor and military genius; but he who spurned a crown, knew no watch
word but duty, no goal but freedom and justice, and no reward but the appro
val of conscience and the gratitude of a country, lives more appropriately, both
to memory and in art, under the aspect of a finished life, crowned with the
harvest of honor and peace, and serene in the consummation of disinterested
purpose. A letter of Stuart's, which appeared in the New York Evening Post., in
1853,* attested by three gentlemen of Boston, with one from Washington mak-
* ExTEACT from article in Evening Post, JSf. Y., March 15th, 1853 : —
" It may set this question at rest to state, that Stuart liimself has given an account of all
the portraits of Washington that he painted.
" A gentleman of Philadelphia has in his possession the originals of the following documents.
[Edit. Post?[
' Sir : — I am under promise to Mrs. Bingham, to sit for you to-morrow at nine o'clock, and wishing
to know if it be convenient to you that I should do so, and whether it shall be at your own house
(as she talked of the State-House), I send this note to you to ask information. — I am. Sir, your obedient
serv't, ' Geo. Washington.
'Monday Evening, llih April, 1796.'
" This letter was endorsed in Washington's handwriting,—' Mr. Stuart, Chestnut Street.' At
the foot of the manuscript are the following certificates: —
' In looking over my papers to find one that had the signature of George Washington, I found this,
askino- me when he should sit for his portrait, which is now owned by Samuel WiUiams, of London. I

PORTRAITS OF WASHIN(iTt)N. 67
ing the appointment for a sitting, proves the error long current in regard both
to the dates and the number of this artist's original portraits. He there dis
tinctly states that he never executed but three from life, the first of which was
so unsatisfactory that he destroyed it ; the second was the picture for Lord
Lansdowne ; and the third, the one now belonging to the Boston Athenaeum.
Of these originals he made twenty-six copies. The finishing touches were put
to the one in September, 1795, and to the other, at Philadelphia, in the spring
of 1796. This last, it appears by a letter of Mr. Custis, was undertaken against
the desire of Washington, and at the earnest solicitation of his wife, who wished
a portrait from life of her illustrious husband, to be placed among the other
family pictures at Mount Yernon. For this express purpose, and to gratify her,
the artist commenced the work, and Washington agreed to sit once more. It
was left, intentionally, unfinished, and when subsequently claimed by Mr. Custis,
who offered a premium upon the original price, Stuart excused himself, much
to the former's dissatisfaction, on the j)lea that it was a requisite legacy for
his children. Simultaneously with the Lansdowne portrait the artist executed
for William Constable that now in the possession of his grandson, Henry E.
have thought it proper it should be his, especially as he owns the only original painting I ever made of
Washington, except one I own myself. I painted a third, but rubbed it out. I now present this to his
brother, Timo. WiUiams, for said Samuel. ' Gt. Stuaet.
' Boston, 9ft day of March, 1823.
' Attest — J. P. Davis.
W. Button.
L. Baldwin.
' N.B.  Mr. Stuart painted in ye ic'tnier season his first portrait of Washington, but destroyed it. The
next painting was ye one owned by S. AVilliams ; the third Mr. S. now has — two only rem.iin, as above
stated. T. W.'
" The picture alluded to in the above note of the late Timo. WiUiams, as being then in
Mr. Stuart's possession, is the one now in the Boston Athenteum ; and that which belonged
to the late Samuel WiUiams, Esq., aUuded to in Mr. Stuart's note above quoted, is yet extant,
and owned by the son of an American gentleman {John D. Zewis, Esq.), who died in Lon
don some years since, where it stiU remains. Mr. WiUiams had paid for it at the sale of the
personal effects of the Marquis of Lansdowne — to whom it was originally presented by Mr.
Bingham, of PhUadelphia— two thousand guineas.
" It is this portrait, full length and life-size, from which the bad engraving was made by
Heath, so many copies of which are still to be seen in this country."

58 PORTRAITS OF WASHINGTON.
Pierrepont, Esq., of Brooklyn, L. I. MotiA-es of personal friendship induced the
artist to exert his best skill in this instance ; it is a fac-simile of its prototype,
and the expression has been thought CA^en more noble and of higher significance,
more in accordance with the traditional character of the subject, than the
Athenaeum picture. It has the eyes looking off, and not at the spectator, as
ia the latter. Mr. Constable, the original proprietor, was aid to General Wash
ington ; aud Avhen Lafayette Adsited this country in 1824, upon entering the
drawing-room at Brooklyn Heights, A^'here the picture hangs, he exclaimed,
" That is my old friend, indeed !" Colonel Nicholas Fish, and General Yan
Rensselaer, joined in attesting the sujoerior correctness of the likeness.'"'
The only adequate engraving of the Athenaeum picture is the exquisite and
faithful one by Joseph Andrews. Mr. Sparks has noted a curious anecdote in
relation to Stuart and Washington, which preserves one of the few authentic
instances where the chief's i'emarkable self-control lapsed into temporary excite
ment : — ^" One morning," he says, " as the artist approached the house, the street-
door and inner-door Avere oj^en, so that his eye was led directly into the parlor,
and, just as he was about to ascend the steps, he saw Y^ashington seize a man
hj the collar, and thrust him violently across the room. This being an awk-
Avard moment to enter the house, he passed on a short distance, but imme
diately returned and found the President sitting very composedly in a chair.
After the usual salutation, his first Avords were, ' Mr. Stuart, Avhen you went
away, you turned the face of j^our picture to the Avail, and gave directions
that it should remain so, to prevent it receiving an)- injury, but, when I came
into the room this morning, the face Avas turned outward as you now see it,
the doors were open, and liere Avas a felloAv raising a dust Avith a broom, and
I know not but the j)icture is ruined.' It so happened, hoAvever, that no
essential harm was done, and the artist proceeded with his task." To obtain
the last sitting, the painter is said to have promised, if successful, to present
the portrait both of the General and JMrs. AVashington to him irlwn finished ;
and the result was so satisfactory that the artist determined ]io\-er to complete
* Some of the best copies of Stuart's Washington have been made by his daughter. Miss
Jane Stuart ; Mi-. I^'rothingham, of Charlestown, Mass. ; and the late Mrs. Iloyt, of Boston ;
an excellent copy of the head was made Ijy Vanderlyn for the U. S. House of Representa
tives ; and a highly respectable citizen of New York, Geo. 15. Rapalye, Esq., stoo.l for the
figure.

PORTRAITS OF WASHINGTON. 59
the pictures, and thus secure them for a legacy to his family. They remained
in the identical state in which they left his easel, the Anvid tints unimpaired,
the details of each head faithfully worked out, but the shoulders and bust
only sketched, and the rest of the large canvas blank except a few random
strokes of the brush. Yet no finished trophies of American art have been
pondered Avith a more critical and fond gaze by the artists who have subse
quently depicted Washington, or with more reverent admiration by the gene
rations of his countrymen who know their peerless benefactor only through
history and this faithful resemblance. This master-piece is, hoAvcA^er, said to
have been rejected when offered to the gOA^ernment ; and it long hung on the
door of Stuart's painting-room on Fort Hill, in Boston. Stuart first painted the
full length for Lord Lansdowne. He always declared, that, although he made
twenty-two copies of the original, he could never reproduce it perfectly. The
history and comparative merits of these portraits form a curious S23eculation.
If all the facts were known, and all the traits critically noted, the record
would prove quite a suggestive artistic chapter. In the opinion of many not
incompetent judges, the full length in Faneuil Hall is the best, after those
owned by Messrs. Williams and Pierrepont, aud the Boston Athenaeum. This
picture was secured by a mere accident. A mediocre English painter, Winstaley,
had the audacity to propose to Stuart at Germantown, to Adsit his studio iu Phi
ladelphia, and give a stroke or two of his riding-whip to some copies he had
painted of the famous portrait, in order that it could be said they received the
last touches from Stuart's OAvn hand, he to share in the profits as well as the
imposture. The indignant painter threatened to throw his impertinent visitor
out of the window ; but the latter, not a whit discouraged, afterwards drove a
thriving trade with his spurious collection. Among his victims was a Federalist
merchant of Boston, better versed in politics and commerce than the fine arts,
who purchased and gave one of these literally ^'¦counterfeit presentments" to the
Town-Hall ; the deception once known, the wits of the democratic party so
OA^erwhelmed the unlucky donor with their merciless gibes, that, in mere self-
defense, he paid Stuart six hundred dollars for the painting which now orna-
manents the old cradle of liberty. In relating this anecdote, the artist, between
his pinches of snuff, used to complain of his involuntary patron for having paid
him in uncurrent notes on which there was a large discount.
Mr. Bingham, of Philadelphia, earnestly pleaded with Stuart to allow him to

60 PORTRAITS OF WASHINGTON.
pay for Lord Lansdowne's commission, that he might enjoy the honor and grati
fication of presenting it to that nobleman. This request was acceded to, but the
artist was subsequently much annoyed by discovering several engraved copies of
this Avork, of inferior execution, on a bookseller's counter in Philadelphia, to
whom they had been sent, with a pompous advertisement, by a printseller in
England. The President of the Pennsylvania Academy previously refused Win
staley permission to copy the portrait belonging to that institution, without
the artist's consent ; but the law of copyright, especially in regard to works
of art, Avas then unsettled, and Stuart was doomed to suffer incalculable wrong,
both in his purse and reputation, by the unauthorized ¦ aud inadequate repro
duction of his great work. The copy by the painter himself, in the possession
of Mr. Pierrepont, of Brooklyn, is remarkable for its animated expression;
that in the State-House at NcA^qoort, Rhode Island, is admired l^y critics for
the apt and careful moulding of the broAV and the purity of the coloring ;
the drooping angle of the eyelids is also a noticeable peculiarity. As a work
of art, it offers a great contrast to two portraits from the same hand, in the
neighboring Redwood Library, executed in boyhood. Of these two invaluable
copies, the first, as before stated, was painted for Mr. Constable, and the second
purchased of the artist for the favorite town of his natlA^e State. The usual
objection to Stuart's Washington is a certain feebleness about the lines of the
mouth, Avhich does not correspond with the distinct outline of the frontal region,
the benign yet resolved eye, and the harmonious dignity of the entire head •
but this defect Avas, as Ave have seen, an inevitable result of the loss of teeth.
In vicAV of the state of the arts in this country at the period, and the ao-e
of Washington, we cannot but congratulate ourselves that Ave have so pleasino-
and satisfactory a portrait, and exclaim, Avith Leslie, " How fortunate it AA-as
that a painter existed in the time of Washington, who could hand him down
looking like a gentleman !" Dr. Marshall, brother of the Chief Justice, said
that Y''ashington did not resemble Pine's portrait, Avhen he knew him, and
that WertmiiUer's had too French a look, but that Stuart's Avas "prodigiously
like." A more decided and magnetic expression is, indeed, desirable ; a more
emotional phase would reveal the heroic fire that lay beneath that calm look •
but it Avas no fault of the painter that this was not attained. After scAeral
attempts to bring that noble but restrained soul to the surface, to make that
calm eye flash, and those patient features light ny Avith excitement, Stuart

PORTRAITS OF WASHINGTON. 61
one day, after making every preparation for his sitter, left his studio a few
moments before the time of appointment ; knowing Washington's scrupulous punc
tuality and exaction of it in all with whom he had to do, the artist Avaited in
an adjoining room until he heard a loud exclamation and the rapid steps that
told of a chafed mood. Then he entered, respectfully greeted Washington (Avho
sternly resumed his seat), seized his palette, and, after a few touches, apologized
by confessing he had practiced the nose to call up a look of moral indignation,
Avhich would give spirit to his delineation.
The possible effect of art illustrated by eloquence AA'as memorably exhibited
on the occasion of an Eulogy, on Lafayette, delivered by EdAvard Everett, in
Faneuil Hall ; after a vivid sketch of the life of that noble champion of Ame
rican freedom, Avhen the feelings of the audience were excited to the highest
sympathy, the orator apostrophized the bust of Lafayette beside him on the
stage, and then turned to Stuart's Washington, exclaiming : " Speak, glorious
Washington, break the long silence of that votive canvas !" — So complete Avas
the spell that eyes moistened with a thrilling hope, and lijis parted with
expectancy !
In 1798 tliere arrived for the second time, in New York, an artist of less
aspiring genius than practical views. Although of an English Roman Catholic
family, and educated in France, the look aud bearing of James Sharpless were
those of a courteous quaker. To his pencil we owe, in numerous instances,
the only correct portraits of our revolutionary statesmen, and leading members
of the CouA^ention who framed the Constitution ; his sketches of Gouverneur
Morris and Rufus King, are memorable ; and his graceful pastels may yet be
seen in some of our old-fashioned mansions. Compared to elaborate oil portraits
they are ineffective, but with a good subject for outline, this modest and assi
duous painter executed a more pleasing and authentic head than any contem
porary in America ; he Avas long esteemed the best resident artist, and enjoyed
the highest local fame before Jarvis. After his death his collection was sold to
great advantage ; two of his sons followed his profession, though Avith less repu
tation, and his widoAv and younger children lived, for many years at Bath, in
England, upon the competence secured by his labor in America. His urbane
and modest demeanor, and habits of cheerful industry, Avere precisely agreeable
to the standard of the country and the times ; and he soon became a favorite in
the metropolis, and Avon the esteem of the many distinguished men with Avhoin

62 PORTRAITS OF WASHINGTON.
his vocation brought him in frequent contact. The style of portraiture he
usually adopted, contributed to his success ; it was unostentatious and inexpen
sive, yet skilful and in good taste. He made cabinet heads with colored pig
ments of his own manufacture, those in profile invariably the best, at the rate
of fifteen dollars each. Among the earliest specimens of his ability in England,
are likenesses of Dr. Darwin's family. Sharpless, soon after his arrival, manfully
adapted himself to the exigences of a new country. He possessed mechanical
talent, as is evidenced by an ingenious paper on steam carriages from his pen,
that appeared in an American journal of the day; and, therefore, easily con
trived a vehicle that could be drawn with facility hj one large horse, over the
roads of the new settlements, which contained his family, wardrobe, and appa
ratus. In this primitive style he traversed the land, and, besides innumerable
private sitters, obtained for his own portfolio the carefully outlined features of
nearly all the eminent men of the day, returning to New York to pass many
years in a lucrative and popular career.
The memory of Sharpless and his career in America were pleasantly revived,
within a short time, by the visit to our shores of an English gentleman, having
in his possession an oil portrait of Washington by this artist, which for many
years Avas the cherished ornament of a London dwelling — the residence of one
of the firm that acted, for a considerable period, as agents of the illustrious
Yirginia planter, and subsequently of the great Republican chief The owner of
this precious relic was one of the many victims of the railway speculations that
not long since, brought such financial disasters upon Great Britain. An enthu
siastic lover of art, when he sought to retrieve his broken fortunes in the United
States, he brought with him the gems of a collection of pictures, chiefly of the
English school, the result of patient accumulation and careful research. It was
our good fortune to dine with him at the house of a mutual friend, soon after
his arrival ; and we remember the rare beauty of many of his pictures, especially
a head purchased at the Beckford sale, a farm-yard scene by Moreland and
several exquisite works of living English painters. His account of the Sharpless
portrait traces its history with authentic minuteness. It was well known by the
habitues of Mr. Cary's dwelling, where it hung over the fire-place — the object of
frequent discussion — at a time when good likenesses^ of Washington were rare in
England. The artist was a relative of the merchant, and it is probable that the
latter commissioned Sharpless to execute the work, or obtained it by direct pur-

PORTRAITS OF WASHINGTON. 63
chase. It fell into the hands of a confidential employee of the house, from whose
son the more recent owner bought it, having learned the A^alue which, in this
country, at least, would attach to an original portrait of Washington ; and
through his own cultivated taste and liberal principles, thoroughly appreciating
such an acquisition. It was exhibited at a meeting of the New York Histo
rical Society, and elicited the most satisfactory proofs of its resemblance to
the original. One A'^enerable member, especially, attested its correctness. In a
letter to the owner he described the sentiments of love and awe towards
Washington, that filled his heart in boyhood, and the viAdd emotions with
AA'hich he first beheld him. " I got by the side of him," he says, " taking the
buttons of his military coat between my fingers, and intent on looking- at him,
he putting his own arm around my neck. I observed distinctly the features
of his face, his bland, dignified, majestic countenance, his erect, tall, toAvering
person, his graceful movements and amiable demeanor." The declaration of such
a witness that this portrait is " faithful, excellent, lifedike," suggests its A^alue. It
resembles Stuart's head, but has " a latent fire iu the eye," a character, vigor,
and breadth Avhich indicate an original. Its Avorth and interest are also increased
by the painter's high reputation and attractive qualities. He originally came tti
this country amply supplied with means, and commissioned to execute portraits
of members of English families resident in America. His admirable head of
Priestley doubtless extended his renoAvn more than any other Avork on this side
of the w^ater. He Avas partial to the institutions, and an enthusiastic admirer of
the statesmen of the land. For Y^ashington his letters breathe a profound
respect and aftectiou ; and he strove to represent him not less from delight in the
subject than in order to possess himself of a memorial of one in Avhose praises
he was singularly eloquent. No artist more completely felt the difficulties of the
task • none was ever inspired with more reverence for the man. " It is not in
the grasp of any painter," he writes to his family, "to hold the dignity and
mightiness of the great subject ;" and elsewhere he expatiates upon the uniform
kindness and the noble condescension of Washington. One remark is Avorthy
of notice as an indirect but striking tribute to that habitual self-control, the
cost of which in disciphne and iuAvard struggle, Ave have yet thoroughly to
realize. " There was," says Sharpless, " a concealed, though not unconquered
passion Avorking within him, which rendered him a somewhat painful sitter.
On this account," he adds, "I felt the necessity of making a dash at him

64 PORTRAITS OF WASHINGTON.
before any ennui could be engendered;" and to this we may fairly attribute
the superior animation of the portrait. The first outline by this ingenious man
was made in 1796, by the pentograph, and is, therefore, mathematically correct.
Of his two colored crayons, one is the profile before described, and the other a
neat front view. Of his American collection, so endeared to him that he
refused to part Avith a single specimen, using to importunate applicants, Stuart's
old excuse — that they Avere not quite finished — there noAv exist in England, two
portraits of Washington, one a profile, another of Mrs. Washington, one of John
Adams, and one of Jefferson and Madison — invaluable, both as authentic repre
sentations and trophies of art. Sharpless was introduced to the eminent circle,
in Avhich he long moved an honored guest, and whose brightest ornaments his
pencil bequeathed, by William Jackson, the British Minister. The estimation in
which he was held is indicated by the fact that he accompanied the New York
Commissioners on their celebrated exploration tour to define the route of the
Erie CanaL One of his letters is dated under the hospitable roof of Yan Rens
selaer, the Albany Patroon, in which he speaks of Morris, Clinton, Porter, Eddy,
and other active friends of the great internal improvement enterprise, as among
the company assembled there.
The profile likeness of Washington by Sharpless, is a valuable item of the
legacy which Art has bequeathed of those noble and benign features ; he e\i-
dently bestowed upon it his greatest skill, and there is no more correct facial
outline of the immortal subject in existence ; a disciple of Lavater would pro
bably find it the most available side-view for physiognomical inference ; it is
remarkably adapted to the burine, and has been once, at least, adequately en
graved ; it also has the melancholy attraction of being the last portrait of Wash
ington taken from life.
On embarking the second time for America, Sharpless confessed a presenti
ment that he should die there. He continued, however, for many years, to
mingle in the best society of New York, where his polished manners, high integ
rity, artistic skill, and partiality for republican character, made him a genial and
respected companion. In this city of his adoption he died, after a brief illness,
February 6, 1811, and was buried from St. Peter's Church, Barclay Street.
Among his pall-bearers we find names that evince the place he held in public
regard, such as Bleecker, Dunlap, Catlin, and Wilkes.
A letter of Washington's, dated at New York, in 1789, courteously acknow-

PORTRAITS OF WASHINGTON. 65
ledges an introduction brought him from Cambridge by Edward Savage, in
which he is respectfully solicited to sit to that painter, who had offered to
execute his portrait as a gift to Harvard College. It is probable that the
opportunity Avas gained, by this very mediocre painter, entirely on account of
the institution whence the request emanated ; for the work of Mr. Savage, still
in the collection of the university, compares quite unfavorably with the heads of
the old worthies, portrayed not only by Copley, but his very inferior successors
in New England. It has the attraction, indeed, Avhich belongs to every rejDresen-
tation from the life of an illustrious character, whose efiigy can never be seen
with indifterence by American eyes. It bears an obAaous resemblance to the
Wertmiiller portrait. But is a hard and heavy production, deficient in genuine _
expression and skilful finish. This picture dates soon after Washington's inaugu
ration, and was tolerably engraved by Young Edwin, from whose burin pro
ceeded that formal but once favorite print, called The Washington Family, the
original of which was by Savage, and long preserved at the Museum in New
York. He was originally a print publisher, and chiefly engraved portraits exe
cuted by himself He owes the distinction he enjoyed to the low state of the
arts and the paucity of artists in his day, and is now remembered only as hav
ing been the first teacher of Jarvis, and the painter of a medium likeness of the
first American President.
According to a family tradition, in 1795, when Washington Avas sixty-two
years old, a Swedish artist — Wertmidler, who had executed a portrait of him at
Philadelphia, presented it to Mr. Cazenove, by whom it was. taken to SAvitzer-
land ; a few years since it was purchased of his descendants by an American,
and engraved for Irving's life of Y^ashington.
A counterpart of this Wertmidler portrait was, however, offered for sale by a
well-known house in New York, two or three years before the one in question
was engraved — " Judging from the engraving," Avrites Dr. Sj)arks, " I agree en
tirely with all you have said of the picture. I remember no one which appears
to me to represent Washington's features and character more imperfectly. It
looks twenty years younger than Stuart's — though painted nearly at the same time
or a little later. The compressed lips, which Washington certainly possessed, as
well before as after his false teeth, are idealized into an unmeaning fulness ; and
the whole expression is wanting in the force and individuality which appear in
the other portraits." Another similar porti-ait by the same artist was presented

66 PORTRAITS OP AVASHINGTON.
by Monsieur Le Grand to Mr. Cornelius Bogert, and is now in possession of Dr.
Bogert of New York.
Opinions are quite diverse in regard to the WertmVller portrait. There are
many points of executive merit in the original not completely rendered in the
engraving; the air of the head, the grave and refined look, well-arranged hair,
neat ruifles, and old-fashioned coat, sprinkled at the shoulders with powder, at
once give the somewhat vague yet unmistakable impression of " the portrait of a
gentleman." There is an expression of firmness and clear-sightedness, and an
erect, brave attitude Avhich reveals the soldier ; and there is more animation than
we are accustomed to see in portraits of Washington. The latter trait is proba
bly that which led to the selection of this picture as an illustration to Irving's
Biography. Adolph Ulric Wertmiiller was a devoted student of art, but his taste and
style were chiefly formed under the influence of the old French Academy — and
long before the dehcate adherence to nature which now redeems the best modern
pictures of French artists, had taken the place of a certain artificial excellence
and dcA^otion to mere effect. The career of this accomplished painter was inarked
by singular vicissitudes ; — a native of Stockholm, after preparatory studies there,
he went to Paris, and remained several years acquiring both fame and fortune by
his pencil ; the latter, however, Avas nearly all lost by the financial disasters
at the outbreak of the Revolution, and Wertmiiller embarked for America, and
arrived in Philadelphia in 1794. He was well received and highly estimated ;
Washington sat to him f' in 1796 he returned to Europe, but, after a brief period,
the failure of a commercial house at Stockholm, in AA'hose care he had placed his
funds, so A^exed him, that he returned to Philadelphia in 1800, where he soon
after exhibited his large and beautiful picture of " Danae " — which, Avhile greatly
admired for the executive talent it displayed, Avas too exceptionable a subject to
meet with the approbation of the sober citizens, whose sense of propriety was so
much more vivid than their enthusiasm for art. Wertmiiller soon after married
a lady of Swedish descent, purchased a farm at Marcus Hook, in Delaware Coun
ty, Penn., — and resided there in much comfort and tranquillity, until his death in
1812. His pictures were sold at auction; and a small copy of the "Danas"
brought $500 ; the original, some years after, being purchased in NeAv York for
* See notice of WertmiiUer in Analectic Magazine, 1k15.

'<m/.f/.

Friywed hy WPms

From the OxigiTial Pic^uz-e m thy posswasion of
CHAS . ATT G, DAVIS .ESQ N "OR'ii:
NEA/V YORK. G.P PUTNAM Jt C°

PORTRAITS OF WASHINGTON. 67
three times that sum. In an appreciative notice of him, which appeared soon
after his death in a leading literary journal, there is the following just reference
to his portrait of Washington : " It has been much praised and frequently copied
on the continent of Europe ; but it has a forced and foreign air, into which the
painter seems to have fallen by losing sight of the noble presence before him, in
an attempt after ideal dignity."''^"
Wertmiiller was eminent in his day for miniatures and oil portraits. Our first
knowledge of him Avas derived from the superb picture of Danae, which, for some
time, occupied a nook, curtained from observation, in the studio of the late Henry
Inman, of New York, and it was exhibited in Washington City, thirty years ago.
There was fine drawing and rich color in this voluptuous creation — enough to con
vey a high idea of the skill and grace of the artist. With this picture vlAddly
in the mind, it is difficult to realize that the chaste, subdued portrait of Wash
ington was from the same hand.
It was confidently asserted, that Washington invariably noted in his diary his
sittings to portrait-painters, and that no entry appears in reference to this picture.
Its claim to originality was, therefore, questioned, and even positively denied by
Mr. Custis ; there is, however, no reason to doubt the fact that Washington sat
to Wertmiiller, according to the received belief and cotemporary record. With
the impatience of the whole subject, that Washington confessed at last, he
may have ceased to record what became a penance ; and were the picture satis
factory in other respects, we should not be disposed to complain that it was skil
fully combined from other portraits. But, in our view, the engraving, at least,
has intrinsic faults. It is neither the Washington famihar to observation as por
trayed, nor to fancy as idealized. There is a self-conscious expression about the
mouth, not visible in Stuart's or Trumbull's heads, and out of character in itself;
the eyebrows are raised so as to indicate either a supercilious or a surprised mood,
both alien to Y'^ashington's habitual state of mind ; it is impossible for the brows
to be knit between the eyes, and arched over them at the same time, as in this
engraving ; the eyes themselves have a staring look ; the animation so much
wanted is here obtained at the expense of that serenity which was a normal
characteristic of the man ; we miss the modesty, the latent power, the placid
strength, so intimately associated with the looks as well as the nature of Wash-
* Analectic Magazine.

68 PORTRAITS OP WASHINGTON.
ington ; the visage is too elongated ; compared with the Athenaeum portrait this
picture has a common-place expression ; it does not approach it in moral elevation ;
we should pass it by in a gallery as the likeness of a gentleman and a brave
officer, but not linger over it as the incarnation of disinterested, magnanimous,
loyal courage, such as lent a certain unconscious, impressive, and superior aspect
to Washington, and divided him, by an infinite distance, from the mob of Amlgar
heroes. In 1847, Mr. Charles Fox proclaimed the discovery of an original portrait of
Washington, in the possession of a respectable family of Boston, claimed to be
the work of a relative. The name of this artist was Fullerton, who, with his
brother, ranked high among the juvenile patriots of his native town, was a visi
tor to Gage's camp, and traced the features of his country's hero as he appeared
reviewing the troops on Boston Common ; after a voyage to India for his health,
he came home only to die, and was buried in the old graveyard of King's Chapel.
Mr. Fox had this portrait engraved by G. G. Smith, and obtained a certificate
of its A^alue, as a correct resemblance, from H. G. Otis, John Wells, David Ellis,
and other Avell known and venerable citizens of Boston. There are, indeed, cer
tain familiar lines in the profile, and a general, though vague similitude to the
acknowledged likeness ; but as a work of art it is stiff and hard : the eye is
larger in proportion, the muscles of the lower jaw less firm, and the nose more
straight, than in the majority of previous and subsequent representations. It
may, however, be justly regarded as a curious relic.
Another limner, a Genevan by birth, who came to the same city in 1780,
Du Cimitiere, made a portrait which the family thought good, and which for a
while had some circulation abroad, through engraved copies executed in Paris.
Eccleston, a Yu-ginian, modeled his head in 1796. Robert Fulton, iu that transi
tion period of his enterprising life, when art disputed the empire of his mind
Avith science, full of patriotic enthusiasm for so illustrious a subject, painted
Washington in 1782 ; but his ineffectlA^e labors as an artist were soon forgotten
in the signal triumphs of his mechanical genius. In the following year, Wilham
Dunlap, then a youthful tyro, performed the same office with limited success, at-
Rocky Hill, Noav Jersey. Although what may be termed the incidental labors
of the artists of the day, many of them deficient in the higher qualities for
portraiture, to embody and transmit the countenance of Washington, have ceased
to have any value except to the antiquarian and the virtuoso, an exception

PORTRAITS OP AVASHINGTON. 69
should be made in favor of the felicitous pencil of Samuel Folwell, a miniature-
painter, who, availing himself of the President's appearance on a public occasion,
in Philadelphia, Avatched his opportunity, and caught so true a profile from the
unconscious subject at a moment Avhen his features were most expressive, that a
leading journal of the day declared it the most spirited and correct likeness
ever taken. A fac-simile from the original of this profile was engraved for
" Y'atson's Annals."
Nicholas Cruger, the original patron of Alexander Hamilton, embarked for
Europe with a portrait of Washington, and was brought back to port by a Bri
tish cruiser — the picture of the "arch rebel" being the official justification of the
act. The quarto edition of Lavater has a fine engraving from Stuart's portrait
as one of its most significant illustrations. To exhibit the degree of perfection to
which silk manufacture has attained in France, the same famous original was
woA'en by the Jacquard loom at Lyons into a marvellous copy at a cost of many
thousand dollars, and employed several artistes the greater part of two years.
" In a small room," writes a late visitor* to Mount Yernon, " adjoining the
large hall in which Washington entertained his friends, is one of the celebrated
'Pitcher Portraits' of the first President, in a deep gilt frame. These portraits,
printed upon china pitchers, are now extremely rare. This one has been care
fully cut from the pitcher and framed ; and upon the paper that covers the
back, some appreciating pen, supposed to be that of an English gentleman, has
written the following admirable eulogium, in the epitaphic form : ' Washington :
the Defender of liis Coiintry — the Founder of Liherty — the Friend of Man.
History and Tradition are explored in A^ain for a parallel to his character. In
the annals of modern Greatness he stands alone ; and tlie noblest naones of Anti
quity lose their lustre in his Presence. Born the Benefactor of Mankind ; he
united all the qualities necessary to an illustrious career. Nature made him
great ; he made himself Aortuous. Called by his Country to the defence of her
liberties, he triumphantly vindicated the rights of Humanity ; and on the pillar
of National Independence laid the foundation of a Great Republic. Twice
iuA^ested with Supreme magistracy, by the unanimous A^oice of a free people, he
surpassed in the Cabinet the glories of the Field, and voluntarily resigning the
Sceptre and the Sword, retired to the shades of private life. A spectacle so
new and sublime was contemplated with the profoundest admiration, and the
* B. J. Lossing.

70 PORTRAITS OP WASHINGTON.
name of Washington, adding new lustre to Humanity, resounded to the remotest
regions of the earth. Magnanimous in Youth, glorious through Life, great in
Death ; his highest ambition the Happiness of Mankind ; his noblest victory, the
conquest of himseE Bequeathing to posterity the inheritance of his fame and
building his monument in the hearts of his countrymen, he lived the ornament
of the 18th century ; he died regretted by a mourning world.' "
Archibald Robertson, born on the 8th of May, 1765, the eldest son of Wil
liam R. Robertson of Aberdeen, was highly esteemed both as an oil, and minia
ture painter; and his studio in Liberty Street, New York, was familiar to her
leading citizens at the period when many of our revolutionary statesmen yet
survived; he is now kept in the memory of their descendants by several large
engravings from his portraits of distinguished men — all of which, though crudely
executed, bear the impress of character and skill. This artist was commissioned
by the Earl of Buchan to paint a portrait of Washington, who, in his corre
spondence, manifests a strong desire to meet the wishes of this nobleman, who
paid him a significant compliment by sending the letter asking the favor, and
introducing the painter, in a box made from the identical oak which sheltered
Wallace after the battle of Falkirk. "The manner of the execution," he writes
to the Earl, in transmitting the picture, " does no discredit to the artist of whose
skill favorable mention has been made to me." Robertson first painted Wash
ington and his wife in miniature; these originals at present belong to a grand-
dauo-hter of the artist who resides in New York ; they were photographed
recently, and, although the effect of time and exposure on the coloring is evi
dent, there is much in the miniature of the General (which was long used as a
brooch) that makes it especially valuable and interesting. In the opinion of
several well-qualified judges, Robertson succeeded best with the eyes, as did
Stuart Avith the head, Sharpless with the expression, and Trumbull with the
form. Like other limners of the illustrious subject, this accomplished artist
recorded the circumstances and impressions under which his task Avas fulfilled.
From a copy of one of his manuscripts in the possession of Mr. T. C. W. Moore,
it appears he experienced the same discomposure as Stuart and Sharpless
acknowledge, in the attempt to come into an easy relation with their sitter — a
process essential to success both to secure a familiar expression in the subject
and a freedom of execution in the artist. With his accustomed kindliness, Wash
ington did all in his power to make the reverential painter feel at home.

PORTRAITS OP WASHINGTON. 71
"The General," writes Robertson, "not finding his efforts altogether successful,
introduced me to Mrs. Washington, Avhose easy, polished, and familiar gaiety and
ceaseless cheerfulness almost accomplished a cure." Another effort of the Presi
dent to compose his guest Avas at a family dinner-party, at which the General,
contrary to his usual habits, engrossed most of the conversation, and so delighted
the company wdth humorous anecdotes, that he completely set the table in a
roar. And to this suggestive anecdote, Robertson adds the following facts : —
"The first sittings for the original miniature of General and Mrs. Washington
were in Philadelphia toward the end of December, 1791, and finished in January,
1792. In the succeeding month of April, the portrait (in oil) of Washington for
Lord Buchan Avas dispatched by Col. Lear, then ou a mission to Europe. His
Lordship afterwards expressed his high satisfaction in a letter of thanks to the
artist. The original miniatures he (the artist) retains in his own possession, and
intends them to remain in his family an heirloom and memorial of his vene
ration for the great and successful champion of American Liberty."
In some of the reminiscences of the American stage, the name of a Dane —
Christian Giillager, a scene-painter, occurs ; Dunlap speaks of him as a great dun
of Cooper's ; he was one of those adventurous limners who bring the palette and
pencil to account in any manner which will afford subsistence. Born in Copen
hagen in 1762, he came to America in 1784 and landed at Boston. He exe
cuted portraits when he could find a subject, but also relied -upon theatrical sce
nery and sign-boards. He flourished some years in Philadelphia, afterwards in
New York, designed the present coat-of-arms of the State of Pennsylvania, and
as a flag and sign-painter was quite distinguished. During Washington's visit to
Boston, in 1789, Giillager; from a ^pew behind the pulpit, made a sketch of
him, as he listened in church to an oratorio performed in his honor. This was
considered so promising that, armed with courteous introductions, the artist fol
lowed the President to Portsmouth, N. H., where he obtained a sitting, to com
plete his work, as appears by the following entry in a diary of Washington's
recently printed: "Tuesday, 3d (November, 1789, at Portsmouth, N. H.), sat
two hours in the forenoon to Mr.  , painter, of Boston, at the request of
Mr. Brick [probably Samuel Breck, Esq.] of that place, Avho wrote Major Jack
son, that it was an earnest desire of many inhabitants of that town, that he
might be indulged." The portrait was disposed of by raffle for the benefit of

72 PORTRAITS OF WASHINGTON.
the artist, and fell to the lot of Daniel Sargant, Jr., who presented it to Rev.
Dr. Jeremy Belknap, in the possession of whose grandson it now remains. It is
one of the most unpleasant attempts at a likeness imaginable ; the aspect is that
of more advanced age than any other representation, and the whole visage is
contracted, and inharmonious, and unexpressive. It has been engraved for the
Massachusetts Historical Society, and is included in their published proceedings.*
Giillager was tall and thin, active and courteous ; he died in Philadelphia in
1826, leaving nine children. His son, Capt. Giillager, was many years in the
employ of Stephen Girard. Among this artist's portraits are one of Rca^ Dr.
Ashbel Green, of Princeton College, several of the late Dr. Woodhull's family,
and one of the late Rev. J. Janeway.
During the war of the Revolution Louis XYI. sent his celebrated painter,
Lebarbier, for the double purpose of presenting Washington with the order of
San Esprit, and painting his portrait ; the latter was sold Avith the painter's
other effects during the French Revolution ; it was purchased by a citizen of
New Orleans — C. Duhamel, and not long since was exhibited in that city ; large
and unsymmetrical like Wright's, it yet has much grace of attitude, and is strik
ing from its reflection of the illustrious subject in his prime, and with characte
ristic benevolence and repose of expression. There is a good silhoutte by Miss
De Hart, of Elizabethtown, N. J., cut in 1783, and presented by Mrs. Wash
ington to Mrs. Duer. A beautiful miniature painted on enamel by Birch, is in
the possession of a grandson of Washington's friend, McHenry, of Baltimore. A
miniature taken at the age of twenty-five (and engraved for this work) was pre
sented by Washington to his niece Harriet, afterwards wife of Mr. Parks of
Western Yirginia, in whose daughter's possession it still remains. A portrait
belonging to Count d'Estaing hung in the cabin of the Languedoc on the occa
sion of an entertainment on board, while the French fleet were oft' NcAvport
R. I.f Mr. Boudinot, of Burhngton, N. J., has what is claimed to be an ori-
* 1855-58.
t "Boston, Oct. 11, 17'78.— [Extract of a letter from a gent, on R. Island, dated Oct. 11,
1TY8.]— 'Monday se'night, a large company of gentlemen .and ladies dined on board the Lan
guedoc, at the invitation of Count d'Estaing. The entertamment was highly elegant. A pic
ture of General Washington, at full length, lately presented to the Count by Gov. Hancock,
was placed in the centre of the upper side of the room, the frame of Avhich was covered Avith
laurels."' — Penn. Packet, Nov. 10, 1778.

PORTRAITS OF AVASHINGTON. 73
ginal portrait ; and the one in miniature taken at the age of twenty-five, on
a bracelet formerly belonging to Washington's niece, is still OAvned in Yirginia.
General Yan Renssellaer of Albany, has an effective bust in heroic style by
David d' Angers ; and in the possession of Mr. Walker of London, are still both
a profile and a full-face likeness by Sharpless ; one of the former is also in the
family of the late Hon. James Hillhouse, of Ncav Haven.
Among the secondary effigies of Washington may be mentioned, also, tAVO
portraits by James Peale, and a bas-relief in wax by Mrs. Wright, now in the
possession of H. P. Beck, Esq., of Philadelphia.
A curious medal w:as cast by Jacob Perkins, the celebrated inventor, on the
occasion of the funeral ceremonies at the death of Washington, observed at New-
buryport, Mass. It was about the size of a two-shilling piece, and bore the
motto, "He is in glory and the world in tears."''^ — "A medal" (says the Penn
sylvania Packet of July 16, 1778) "has been lately struck at Paris, by direction
of Mr. Yoltaire, in honor of General Washington : on one side is the bust of the
General wdth this inscription : ' George Washington, Esq., Commander of the Con
tinental Army in America ;' the reverse is decorated with the emblems of war,
and the foUoAving inscription : ' Washington re-unit par un rare assemblage les
talens du guerrier et les vertus du sage.'"
A singular chapter in the history of Washington's portraits is suggested by
the following paragraph from the " American Apollo :"f
" In the late debate in Congress on the Mint BUl, the motion for striking the President's
head ujDon the coin Avas warmly opposed by a certain gentleman, 'in a very lengthy speech, as
favoring monarchical principles. A gentleman from this State rose, and said, he perceived the
same objection might be made to the Eagle on the reverse of the coin, and he thought it would
best to substitute a more harmless and less monarchical bird, and begged leave to recommend
a GoosB."J A favorite engraving in France during our Revolutionary era and at the
commencement of theirs, represented the profile likenesses, well executed and in a
line with each other, of Washington, Lafayette, and Rochambeau. By the follow
ing note, in one of his diaries, it appears another miniature besides those already
mentioned, was taken of him expressly for Mrs. Washington : — " Saturday, the
* Hist. Mag., vol. ii. p. 213. t 'V'ol. i. p. 218.
t Washington Coins, &c. For a descriptive list of the Washington Coins, see Appendix.
10

74 PORTRAITS OF WASHINGTON.
3rd [of October, 1789], sat for Mr. Rammage near two hours to-day, who was
drawing a miniature picture of me for Mrs. Washington."
This painter was of Irish parentage, and quite a beau in his day ; he left
Boston, where he had been a fashionable miniature painter, with the British
troops in 1777, and opened a studio in William Street, New York, much fre
quented by military officers and the belles of the time. He appears to have
excelled in his special branch, which he occasionally varied by a pastel sketch or
a life-size portrait ; in miniature he practised, to the admiration of his patrons,
what was called the line in distinction to the dotted style. Rammage was a
fine-looking man, of medium height, and with a vivacious eye and intelligent
expression. His faA^orite dress, according to Dunlap, was a scarlet coat with
mother-of-pearl buttons, white silk vest embroidered with colored flowers, black
satin breeches and paste knee-buckles, white silk stockings, and large silver
buckles in his shoes ; a small cocked hat covered only the upper portion of his
well-powdered locks, so that the curls were displayed at the ears ; the invariable
accessories to this costume were a gold snuff-box and gold-headed cane.
One of the few accomplished foreign ladies who graced the republican court,
during Washington's administration, was Madame de Brehan, sister of the French
minister. Count de Moustier, who possessed considerable talent for drawing. She
made two profile heads of Washington, one of which he gave to Mrs. Bingham,
and the other was taken to France by the artist and handsomely engraved. In
a letter to her brother, from Mount Yernon, in 1790, Washington expresses his
gratification at the receipt of several proof impressions of this Avork. As thus
exhibited, it has quite the look of an etching from a Roman medallion ; the out
line is serene and noble, but the wreath round the brow gives it a half classical
and half French air, not easily associated with the head of an American hero. It
is, however, a graceful tribute from a countrywoman of Lafayette. This portrait
however, agreeably symbolizes the days Avhen Washington held councils of war
with Rochambeau and D'Estaing, corresponded with Gouverneur Morris on the
events of the French Revolution, and became the courteous sitter to a fair
Parisian limner.
From a note in his diary dated Oct. .'3, 1789, his oavu estimation of this like
ness is apparent : " Walked in the afternoon and sat about tAVO o'clock for Madame
de Brehan, to complete a miniature profile of me which she had begun from
memory, and which she had made exceedingly hke the original." A curious pro-

PORTRAITS OF WASHINGTON. 75
file, which his friend Powell traced from the shadow on the wall, of his august
countenance, is in the possession of the Pennsylvania Historical Society andj has
recently been engraved.'*
Several statues, based partly on authentic memorials and somewhat drawn from
an imaginary conception of Washington's appearance, have been executed within
the last fifty years. In that which Canova made for the state of North Carolina,
almost AvhoUy destroyed in the conflagration of the Capitol at Raleigh, he seems
to have followed his own idea of an heroic figure rather than any actual data;
the work, however, justly obtained applause as a noble and graceful piece of sta
tuary. A private subscription gained for Massachusetts the effective statue from
the chisel of Chantrey which now stands iu the lower hall of the State House in
Boston. With less freedom of design than Canova the English sculptor yet sought
mainly for an impressive result, and in this his success is undeniable. The figure
is draped in a military cloak whose ample folds are disposed with the grace of a
Roman toga. So elaborate is this costume that soon after the statue was placed
upon its pedestal, two countrymen who gazed upon it in the tAvilight, proposed
to repeat their visit in the morning, under the idea that it was " covered for the
night."f It is noAV conceded in Europe, that Hiram Powers is one of the great-
* For J. J. Smith's American Antiquities.
f "This celebrated AVork of art, by Sir Francis Chantrey, was placed in its present situation
during the month of October, 1827. It is constructed of white Italian marble, from the quarries
of Carrara, and was completed at an expense of some fifteen thousand dollars. Chantrey, one of
the most eminent of British sculptors, Avas long employed upon this noble specimen of art, which,
in the opinion of competent judges, is ranked among the best productions of his chisel. That
part of the edifice in which it stands was built expressly for the reception of the statue, and is
attached to the rear of the State House, ascending as high as the second story of that structure.
The interior is an oblong square, thirty feet long by thirteen broad, Avith a dome at the top, throw
ing its light into the vaulted recess, where the statue is placed. The whole edifice appears
like a recess in the large and lofty haU of the State House, with which it communicates by
means of three arched entrances.
"As we ascend the successive flights of steps which give access from Beacon Street to the
portal of the State House, we perceive the figure of Washington, in the long vista betAveen the
pUlars of the HaU. Even at that distance, its aspect of calm and thoughtful dignity impresses
the beholder, and causes him to advance with some faint semblance of the feeling with which
he would have approached the presence of the iUustrious original. The statue, which is seven
feet in height, stands on a pedestal, Avith the left foot somcAvhat advanced, and the weight of the

76 PORTRAITS OF WASHINGTON.
est living masters of the art of executing busts from life. The astonishing preci
sion of his eye and touch in the detail both of feature and expression, added to a
rare power of generalization, and the unique finish he bestows upon his works by
means of tools and a process of his own invention, renders a bust from his hand,
especially if the subject is favorable, not less perfect as a resemblance than invalu
able as a trophy of art. It is remarkable that the first practical hint in the form
of a specimen, which this artist ever beheld, was a plaster cast of Houdon's head
of Washington brought by an itinerant vender to his Western home. He has
made this the basis of a head sent from Florence as a gift to one of his friends.*
The moulding of the frontal region so significant of extraordinary perceptive
organs, would delight a phrenologist ; there is an expansive candor in the open
look, a sublime dignity in the air, an ingenuous and benign intrepidity in the
whole aspect, that corresponds intimately with our exalted impression of Wash
ington's character. The mouth here, as in all the later portraits, presents the
great difficulty ; that elusive feature, always the most baffling to the artist, in
this case is peculiarly so — from the circumstance that its firm and characteristic
expression has never been satisfactorily delineated. This model bust is frequently
copied to meet orders.
When the time arrived for the United States Government to commission
a native sculptor, of approved genius, to execute a statue of Washington for
the Capitol, the merits and defects of Greenough's work were fully discussed
by tyros and critics, by backwoods representatives and New England scholars, by
foreign artists and domestic journalists. Eloquent tributes from writers of the first
class as regards experience and taste, have been spontaneously offered ; and the
most vulgar diatribes were uttered at the seat of government, where it was first
exposed to view, by men whose ignorance of art was only equalled by their brutal
want of respect both to the subject, the artist, and the just claims of criticism.
The best explanation of the design, and the most candid appreciation of the achieve
ment itself, is the paper on the subject by the late A. H. Everett. A description of
Greenough's statue is needless, familiar as it has now become to the country : but
body resting chiefly on the right. The head is slightly turned towards the left. The right hand
grasps a roU of manuscript, and the left supports the heavy folds of the ample cloak, which forms
the drapery of the statue." — Mount Vernon Becord.
* Sidney Brooks, Esq.

PORTRAITS OF WASHINGTON. 77
those who remember the assurance with which certain members of Congress, wholly
unacquainted Avith what Goethe calls " the law of a production," berated this work,
cannot but recognise one of the most prominent traits of American character — that
indomitable self-confidence which leads each citizen of " the greatest country on
earth," especially when possessed of legislative functions, to deem himself an ade
quate judge of all subjects from a system of medicine to a principle in mechanics,
and from a degree in theology to a work of art ; the right of private judgment is
thus found to trench materially upon the authority of professional knoAvledge iu
all departments ; but iu none is this charlatanism of universal self-esteem more
grotesque in its display than when the higher branches of art, letters, and phi
losophy, are thus made the subjects of complacent and superficial comment. In
the case of Greenough's statue of Washington, without deprecating criticism, to
the need of which none Avas more sensible than the artist himself, now that
death has silenced his eloquent voice and time hushed that of his unauthorized
detractors, it may be a lesson to those who have never studied the limits of the
art, and the inherent obstacles of the task, to note how the young sculptor
thought and felt about his arduous undertaking, and expressed himself on the
subject in the confidence of friendly correspondence :
In reference to the proposed transfer of the statue, from the Rotunda to the
eastern front of the Capitol, he writes :
" Had I been ordered to make a statue for any square or similar situation at the metro
polis, I should have represented Washington on horseback, and in his actual dress. I would
have made my work purely an historical one. I have treated the subject poetically, and confess
I should feel pain at seeing it placed in direct and flagrant contrast Avith every-day life. More
over I modeUed the figure without reference to an exposure to rain and frost, so that there are
many parts of the statue Avhere the Avater would collect and soon disintegrate and rot the stone,
if it did not, by freezing, split off large fragments of the drapery."
And in another letter alluding to the difficulties of the Avork :
"A colossal statue of a man Avhose career makes an epoch in the AA'orld's history, is an
immense undertaking. To fail in it is only to prove that one is not as great in art as the hero
himself Avas in life. Had my Avork shoAvn a presumptuous opinion that I had .an easy task
before me, had it betrayed a yearning rather after the wages of art than the honest fame of it,
I should have deserved the bitterest things that have been said of it and of me. Even Canova
and Chantrey never passed the line of mediocrity in their images of Washington.''
And again in reference to the expense :

78 PORTRAITS OF WASHINGTON.
"I beg you to ascertain the amount expended by the government in colonnades, mere dis
plays of material luxury, Avithout one object to justify the outlay beyond the pomp of straight
Shafts of stone. Compare the sums with those voted for the monument to Washington, and you
wiU see how far we are from economy on one side, and from true architectural beauty on the
other." * * * *
Speaking of its reception, he remarks :
"Allow me to exult a little that, during the months I spent at Washington, while my statue
was the butt of wiseacres and witlings, I never, in word or thought, swerved from my prin
ciple — that the general mind is alone a quorum to judge a great work. When, in future time,
the true sculptors of America have filled the metropolis with beauty and grandeur, wiU it not be
worth $30,000 to be able to point to that figure and say — ' there was the first struggle of our
infant art.' "*
In a letter to the Secretary of State, written when his statue was embarked,
and published among the Congressional documents relating to the work, Green
ough apologizes thus eloquently for not having shipped it on board the frigate
Constitution, as directed by the government, where it would have been exposed
on deck :
" I may be found to have acted without due consideration for the opinion of Commodore
Hull, but I beg leave to represent that, although I have been paid for this statue — I have
StUl an interest in it — the interest of a father in his child. It is the birth of my thought.
I have sacrificed to it the flower of my days and the freshness of my strength ; its every
lineament has been moistened by the sweat of my toil, and the tears of my exile. I would
not barter aAvay its association with my name for the proudest fortune that avarice ever dreamed.
In giving it up to the nation that has done me the honor to order it at my hand, I
respectfuUy claim for it that protection which it is the boast of civilization to aSbrd to Art,
and which a generous enemy has more than once been seen to extend even to the monu
ments of its own defeat."
Familiar with these noble sentiments of the artist, and aware of his enthu
siastic self devotion, when we first beheld this statue the feelings awakened found
expression in the following lines :
WASHINGTON'S STATUE.
The quarry whence thy form majestic sprung
Has j)eopled earth Avith grace,
* Letter to Hon. R. C. Winthrop.

PORTRAITS OF AVASHINGTON. 79
Heroes and gods that elder bards have sung,
A bright and peerless race ;
But from its sleeping veins ne'er rose before
A shape of loftier name
Than his, Avho Glory's wreath with meekness wore.
The noblest son ot Fame.
Sheathed is the sword that Passion never stained ;
His gaze around is cast,
As if the joys of Freedom, ncAvly gained,
Before his vision passed ;
As if a nation's shout of love and pride
With music fiUed the air.
And his calm soul was lifted on the tide
Of deep and grateful prayer ;
As if the crystal mirror of his life
To fancy sweetly came,
With scenes of patient toil and noble strife,
Undimmed by doubt or shame ;
As if the lofty purpose of his soul
Expression would betray —
The high resolve Ambition to control.
And thrust her croAvn away !
O, it was Avell in marble firm and white
To carve our hero's form,
Whose angel guidance was our strength in fight.
Our star amid the storm !
Whose matchless truth has made his name divine.
And human freedom sure.
His country great, his tomb earth's dearest shrine.
While man and time endure !
And it is Avell to place his image there,
Upon the soil he blest ;
Let meaner spirits, who its councils share.
Revere that silent guest !
Let us go up Avith high and sacred love
To look on his pure broAV,
And as, with solemn grace, he points above.
Renew the patriot's vow !
James Lee, Esq., of New York, upon returning from Europe, several years

80 PORTRAITS OP WASHINGTON.
since, earnestly advocated the erection of a statue of Washington in the city of
New York. Like many of his travelled countrymen he was impressed with the
appropriateness and beauty of statuary monuments as the ornaments and trophies
of a great city, and deeply felt our national inferiority in this regard. It was
only by degrees that he succeeded in enlisting the sympathy and "material aid"
of his fellow-citizens in his laudable project. Amobg other instances of discou
ragement is one related by Dr. Francis:* "The equestrian statue of Washington,
executed with artistic ability by Brown and erected in Union Square through
the patriotic efforts of Col. Lee, aided by our liberal merchants, adds grace to
the beauty of that open thoroughfare of the city. There is a story on this sub
ject which, I hope, will find embodiment in some future edition of Joe Miller.
Col. Lee had assiduously collected a subscription for this successful statue ; among
others, towards the close of his labors, he honored an affluent citizen of the
neighborhood, by an application for aid in the goodly design. 'There is no need
of the statue,' exclaimed the votary of wealth ; ' Washington lives in the hearts of
his countrymen ; that is his statue.' ' Ah ! indeed,' replied the Colonel, ' does he
live in yours?' 'Truly he does.' 'Then,' was the reply, 'I am sorry, very sorry
he occupies so mean a tenement.'"
We Avere first informed of this projected work by the late accomplished
sculptor, Horatio Greenough, Avho entered into it with characteristic zeal and
intelligence, advocating the subscription with the merchants and discussing the
design artistically ; he was to have executed the statue in conjunction with H. K.
Brown, and made some preliminary studies, but CA^entually abandoned the enter
prise owing to some difference of opinion with those financially interested. The
statue was begun in February, 1853, and stood completed and inaugurated on the
Eightieth Anniversary of American Independence, July 4, 1856. To the energy
and tact of Col. Lee we are indebted for_this ornament and memorial. It repre
sents Washington on horseback in the act of recalling his troops to repose ; the
figure is bareheaded, the hat resting on his bridle arm, sword sheathed ; right
hand extended as if commanding quiet ; the drapery is the simple continental
uniform ; the face is slightly upturned ; the pedestal is fourteen feet by sixteen,
figure fourteen feet, and its extreme height twenty ; it is the largest casting yet
made in the country, and was done at Chicopee, Mass. ; the subscriptions were
* " Old New York," p. 27.

J»MUI> Jl— f— BHW^MMaJ

fctoiil— tfiiW^ IW^ftifc^

STATUE OF WASHINCTO-N BY H K BROWN,
iliiioxi Sqixaxe. !Nevv- "lort

:^irM^ ^£0~R'K. G F j^ttnam:

.ri-.Ti.tc-,lV'W"7'-:i.ie

PORTRAITS OF WASHINGTON. 81
chiefly derived from the merchants of NeAv York in sums of five hundred dollars
each. The character of the work is heroic; and while open to criticism has been
declared on high authority to have the peculiar merit of being technically good
and effective from many points of view. Measures have recently been taken to
secure an equestrian statue of Washington for the city of Boston.*
The latest and most triumphant attempt to embody and illustrate the fea
tures, form, and character of Washington in statuarj^, was made by the late
American sculptor — Thomas Crawford. How well he studied, and how ade
quately he reproduced the head of his illustrious subject, may be realized by
a careftd examination of the noble and expressive marble bust of Washington
from his chisel, now in the possession of John Ward, Esq., of New York.
Commissions for duplicates of this bust, with different drapery, are constantly
sent from the still active studio of the lamented artist, and executed under the
faithful direction of his former pupil and head-workman. Essentially, and as
far as contour and proportions aro concerned, based upon the model of Houdon,
this beautiful and majestic effigy is instinct with the character of its subject, so
that while satisfactory in detail as a resemblance caught from nature, it, at the
same time, is executed in a spirit perfectly accordant with the traditional impres
sions and the instinctive ideas whence we derive our ideal of the man, the chief
tain, and the patriot ; the moulding -of the brow, the pose of the head, and espe
cially the expression of the mouth, are not less authentic than effective. But
the crowning achievement of this artist is his equestrian statue executed for the
State of Yirginia, and now the grand trophy and ornament of her Capital.
* At a meeting of the Artists of Boston, held April 9th, 1859, the foUowing resolutions were
unanimously adopted :
Resolved — First — That it is deskable to adorn the metropolis of New England with an eques
trian statue of Washington, to be erected m some suitable pubUc place.
Second— Tsi'aX the statue should be the work of a resident artist, and should be cast in Massa
chusetts. Third— That the model for an equestrian statue of Washington by Thomas BaU is a work of
great artistic exceUence which, enlarged to colossal proportions and cast in bronze, would be an
enduring honor to the city.
Fourth — That a committee of ten be chosen for the purpose of procurmg such a statue, to be
executed by Thomas BaU, and placed by them on some appropriate site,
Mfth — Tbat we wUl heartily aid the committee in any method which they may devise to raise
funds for this object. 11

82 PORTRAITS OF WASHINGTON.
" When on the evening of his arrival, Crawford went to see, for the first time,
his Washington in bronze at the Munich foundry, he was surprised at the dusky
precincts of the vast area ; suddenly torches flashed illumination on the magnifi
cent horse and rider, and simultaneously burst forth from a hundred voices a
song of triumph and jubilee ; thus the delighted Germans congratulated their
gifted brother and hailed the sublime work — typical to them of American free
dom, patriotism, and genius. The Bavarian king warmly recognised its original
merits and consummate eff'ect ; the artists would suffer no inferior hands to pack
and despatch it to the sea-side ; peasants greeted its triumphal progress ; the peo
ple of Richmond were emulous to share the task of conveying it from the quay
to Capitol Hill ; mute admiration followed by ecstatic cheers, hailed its unveiling,
and the most gracious native eloquence inaugurated its erection. We might
descant upon the union of majesty and spirit in the figure of Washington, and
the vital truth of action in the horse, the air of command and of rectitude, the
martial vigor aud grace, so instantly felt by the popular heart, and so critically
praised by the adept in sculpture cognizant of the difficulties to overcome, and
the impression to be absolutely conveyed by such a work in order to make it
at once true to nature and to character ; we might repeat the declaration that
no figure, ancient or modern, so entirely illustrates the classical definition of ora
tory, as consisting in action, as the statue 6f Patrick rler.ry, one of the grand
accessories of the Avork, — which seems instinct with that memorable utterance.
' Give me liberty, or give me death !' By a singular and affecting coincidence,
the news of CraAvford's death reached the United States simultaneously with the
arrival of the ship containing this colossal bronze statue of Washington — his
crowning achievement." Crawford studied the animal he j^roposed to portray
with singular zeal ; Franconi exercised a noble horse privately for his benefit,
especially bringing him into the very relation with his rider the sculptor desired
to i-ealize. In this work, the first merit is naturalness ; although full of equine
ardor, the graceful and noble animal is evidently subdued by his rider ; calm
power is obvious in the man ; restrained eagerness in the horse ; Washington's
left hand is on the snaffle bridle, which is draAvn back ; he sits Avith perfect
ease and dignity, the head and face a little turned to the left, as if his atten
tion had just been called in that direction, either in expectancy, or to give an
order ; he points forward and a little upwards ; the figure is erect, the chest
thrown forward, the knees pressed to the saddle, the heel nearly beneath the

6.R"KaTI" —
THE WASHINGTON MONUMENT. RICHMOND, VA ,
THOMAS CEAWfOED, SCUiPTOTl

i'Vomi, l^ntuijraph ,'iLl

fliie hw rj-Mii,..v WFi.'!i-uiik;l"ii, bv .1 W ii.\,n\ii-^< i. >I.T

NLJWYOHli

PORTRAITS OF WASHINGTON. 83
shoulder, and the sole of the foot almost horizontal. The seat is a military and
not a hunting seat ; the horse is recognised by one acquainted with breeds, as
a charger of Arab blood.
In this connection we should mention an effective life-size marble statue of
Washington, executed for a Avealthy citizen of Baltimore, by the late Mr. Bar
tholomew, of Hartford, Conn.
One of the most successful attempts to depict with historical truth and dra
matic expressiveness the achievements of Washington, is the picture by Emanuel
Leutze of the Passage of the Delaware, when the peerless chief struck the blow
which won him the admiration of the great Frederic, and revived the sinking hopes
of his country. With foot on the thwart of the boat, lips compressed, each muscle
strained with energetic purpose, and eyes intently fixed on the opposite shore,
dimly visible through the descending flakes, stands Washington, while athletic men
in the rustic garb of the yeomen soldiery, thrust aside from the prow masses of ice ;
the work is vigorous, alive, effective, and executed in a masterly style. Yet so
unaccustomed are we to see Washington represented otherwise than in repose, so
intimately is he associated with endurance, reflection, and dignity, that it was long
before the countless admirers of the picture were reconciled to this dramatic and
adventurous view. It is sufficient answer to the critics who professed to doubt
the possibility of so grouping the occupants of a boat, that they were originally
sketched from hfe, several of the Dusseldorf painters haAdng thus disposed them
selves in a similar craft as models for the artist.
Besides this highly successful picture, Leutze has made Washington the subject
of three other historical pictures. In one of these, " The Battle of Monmouth,"
although there are some admirable points, the central figure is highly objection
able. Washington looks more like a dumpy and irate farmer clad in regimentals,
than the tall and indignant commander-in-chief. Another painting, representing
him in early youth on a surveying or hunting expedition, is more felicitous. The
handsome adolescent face is taken from a miniature belonging to Mr. Custis, and
regarded as a genuine hkeness made when Washington was about eighteen. He
is depicted in the act of stepping over a fallen tree, with his gun resting on his
shoulder and a negro following him. A more elaborate work is " Washington on
Dorchester Heights," a better era of his career for pictorial art than might at
first be imagined. He w^as then in the prime of life, had just assumed the com
mand of the American forces, and fairly embarked on the momentous experiment

84 PORTRAITS OP WASHINGTON.
of the Revolution ; it Avas the initiative crisis, and one which can be appreciated
by recurrence to the eloquent description of Edward Everett, in an oration deli
vered near the scene itself on a late anniversary of our national independence.
Had the orator's preceded the artist's picture, the latter wonld have doubtless
gained from it both in beauty and truth :
" It has been stated, in one or two well authenticated cases of persons
restored after drowning, where life has been temporarily extinguished in the full
glow of health, with the faculties unimpaired by disease, in perfect action, that
in the last fcAv minutes of conscious existence, the whole series of the events of
the entire life comes rushing back to the mind distinctly, but with inconceivable
rapidity ; that the whole life is hved over again in a moment. Such a narrative,
by a person of high official position and perfect credibility, I have read. We
may well suppose that at this most critical moment of Washington's life, a simi
lar concentration of thought would take place, and that the events of his past
existence as they had prepared him for it — his training while yet a boy in the
wilderness — his escape from drowning and the rifle of the savage on his perilous
mission to Yenango — the shower of iron hail through which he rode unharmed
on Braddock's field, would now crowd through his memory ; that much more also
the past life of his country, the early stages of the great conflict now brought to
its crisis — and still more solemnly the possibilities of the future for himself and
for America would press upon him ; the ruin of the patriotic cause if he failed
at the outset — the triumphant consohdation of the revolution if he prevailed —
with higher visions of the hopeful family of rising States — their auspicious growth
and prosperous fortunes — hovering like a dream of angels in the remoter pros
pect ; — all this attended Avith the immense desire of honest fame (for we cannot
think even Washington's mind too noble to want the last infirmity) — the intense
inward glow of manly heroism about to act its great part on a sublime theatre
— the softness of the man chastening the severity of the chieftain, and deeply
touched at the sufierings and bereavements about to be caused by the confiict
of the morroAv ; the still tenderer emotions that breathed their sanctity over
all the rest; — the thought of the faithful and beloved wife Avho had followed
him from Mount Yernon, and of the aged mother Avhose heart Avas aching in
her Yirginia home for glad tidings of 'George, Avho Avas always a good boy'—
all these pictures — visions — feelings— pangs ;— too vast for Avords — too deep for
tears — but swelhng no doubt in one unuttered prayer to Heaven, we may well

PORTRAITS OF WASHINGTON. 85
imagine to have filled the soul of Washington at that decisirve hour, as he stood
upon the heights of Dorchester, with the holy stars for his camp-fire, and the
deep-folding shadows of night, looped by the hand of God to the four quarters
of the sky, for the curtains of his tent."
Leutze represents Washington on this memorable occasion, standing before a
cannon with one hand resting upon it; the ground is white with snow; troops
are busy in making entrenchments ; in the distance are the bay and . harbor of
Boston ; on the left General Putnam is overseeing"^ and directing the works. The
face of Washington in this picture is a study in itself; it beams with intelligence
and manly beauty ; the tone of coloring has been recognised as singularly true to
the temperature of the season and the hour, in their natural effect upon the
complexion ; the ruddy tint has a frosty look. The lower part of the figure
was censured when the Avork was originally exhibited ; the body lacks, perhaps,
solid poise ; but the head is fine, the air effective ; the military cloak, secured at
the neck, is blown apart by the wind ; there is a good wintry tint to the sun
shine, and the more the face is contemplated the more expressive it appears.
We heard Leutze discourse fluently of the capabilities for artistic treatment in
Washington's life, the day he embarked on his last return to Europe, as we drank
his health out of the silver camp-flagon of his immortal subject, appropriately
presented to the artist by Mr. Custis. His zeal and dramatic perception, as well
as what he has already achieved, lead us to hope for yet nobler illustrations of
this patriotic theme from his vigorous pencil.
The earliest event of Washington's public career has been depicted with much
spirit and grace by Huntington. Among his various escapes from death, including
the Indian's rifle in the lonely wood and the shower of bullets at Braddock's defeat,
his own description of the hazard he incurred iu crossing the Alleghany river,
when on a mission from the Governor of Yirginia to the French commander
on the Ohio, is memorable ; and this scene forms the subject of this picture
as well as a popular engraving.
As the contemporaries (and their immediate descendants) of the matchless
chief passed aAvay, the comparative authenticity of portraits and busts began
to be discussed with new interest; and those familiar Avith him "as he lived"
were continually questioned as to the degree of resemblance in the various pro
fessed likenesses ; the testimony thus elicited as a matter of course Avas not
harmonious; for the proverb that people "see with different eyes" is never more

86 PORTRAITS OF WASHINGTON.
emphatically illustrated than when the portrait of a friend or relative is under
discussion. How much greater must be this discrepancy where the subject of
portraiture is illustrious, and his very name associated with so many and such
earnest impressions ! If, however, there is any satisfactory evidence, in such a
case, it doubtless may be found in the opinions of one who enjoyed frequent and
intimate intercourse, various opportunities of observation, and to that keen insight
which comes from admiration and sympathy, unites the habit and faculty of
artistic scrutiny. Accordingly we attach no small value to a statement, the
essential points of which undoubtedly came from Col. Trumbull. In a commu
nication to a prominent literary journal, this gentleman observes that much of
the diversity of opinion in regard to the original portraits of Washington grew
out of the changes which time made in his appearance. He declares that who
ever would see Washington as he appeared when President of the United States,
should contemplate Stuart's portrait ; in his prime, and earlier, his aspect was
quite different ; he asserts that all the original portraits, as well as the busts of
Ceracchi and Houdon, are more or less absolutely like. " We are cursed," he
adds, " as a nation, in the common, miserable representations of our great hero,
and with shocking counterfeits of his likeness by every pitiful bungler. This
evil has risen to such a height that it is necessary for something to be done to
certify the public sentiment on this point, now so warmly agitated, so as to
undeceive posterity. For these reasons we have drawn up this list of artists,
who have painted or sculptured him from life. If we would behold the coun
tenance of Washington in his best days, we must seek it in Houdon's bust ; if
we would see the graceful play of the lips in the act of speaking, and the
peculiar expression of the mouth and chin, at the same moment, we must
examine Ceracchi's colossal bust ; if we desire to know his aspect when he began
to wane and had lost his teeth, Robertson's portrait is the best ; he and Stuart
only make him looking at the sj)ectator ; his likeness as President, by the first
portrait painter of the age, from life, may be found in the head painted by
Gilbert Stuart, in 1796, and now belonging to the Boston Athenaeum ; the
difference between this and previous ones created all this discussion ; no doubt
each is correct as he then loohed ; it is absurd to compare three different ori
ginals taken at as many different periods. Trumbull's was executed while he
had his teeth ; Robertson's after he had lost them ; and Stuart's when he wore
artificial ones." This paper bears date " American Academy of Fine Arts, Sept,

PORTRAITS OP WASHINGTON. 87
20, 1824;" and is curious and valuable as the testimony of a venerable artist
and patriot, evidently containing all the information he could command ; it
concludes with a request to the public to furnish other facts in regard to
supposed original portraits of Washington, and the circumstances under which
they were painted.*
External honors to the memory of Washington multiply with time ; yet
while cities, streets, ships, and institutions are sanctioned by the adoption of
his venerated name ; while daily tolls the bell of each boat that glides by
his tomb, the two most permanent and special tributes to his national fame
are the Washington Monument and the purchase of Mount Yernon as a
sacred trust of the country — to become to her children through all genera-
tions, more than Westminster is to England, the Escurial to Spain, or the Thor
waldsen mausoleum to Denmark, the shrine, the hallowed ground, the "Mecca
of- the mind," of this continent and of the world. WTiatever artistic
criticism may find in the unfinished monument at the Capital, to praise
or condemn, the project and the manner of its proposed realization, corre
spond with the dignity and universal claims of him whose place in human
estimation is thus to be illustrated. Its site on the banks of the Potomac is
most appropriate ; the range of contributions is as broad as his renown ; and
there is . something truly sublime in the idea of a commemorative pile on which,
as in the days of Scottish patriotism, every clan of the earth reverently casts
its stone: already these fragments, from the quarries of both hemispheres, have
come from Greece and Turkey, Germany and Italy, China and Japan. When
completed, it will rise as much above the other monuments of the globe, as
his character rises above the mass of statesmen and victors recoi'ded in history.
Meantime, however, political faction has interfered with a Avork eminently na
tional; like the obelisk on Bunker's Hill, for years after its base was completed,
and the monument to the martyrs of the prison-ships, in Trinity churchyard.
New York, at this moment, this great enterprise, to which every race has lent
a willing hand, over whose initiation Chief Justice Marshall and Madison pre
sided whose foundation was celebrated by Senatoiial eloquence, Avhich is de
signed to testify a nation's gratitude and the world's recognition of a repre
sentative man in war and peace, and his country's love — remains unfinished :
* See Appendix.

88 PORTRAITS OF WASHINGTON.
and the United States have raised no monument to the Father of his Country.
Until these two objects are accomplished we cannot dwell with unmingled
complacency upon the trophies of his glory which the enterprise of states and
individuals has secured; the Union owes him a tribute, and when laid on the
altar of a nation's faith, who can estimate its effect in conciliating what is
discordant and renewing the holy sentiment of civic brotherhood ?
In view of the capabilities of the art of portrait-painting, we have cause for
deep regret that no series of entirely satisfactory works exist as representations
of Washington at all periods of his life ; in view of the state of the country and
of the arts when he lived, we have reason for congratulation that so much of
the breathing man was rescued from oblivion and transferred to marble and
canvas. He who has basked in the warm hues of Titian, or pondered the
expressive outline of Yandyke or Yelasquez ; met the eyes of Raphael's Fornarina
in the Florence Gallery, or feasted his perception on the hands of Leonardo's
Gioconde ; who has been magnetized by the olive face of John de' Medici, so
vitally impressive after centuries of picturesque silence ; he who has recognised
all the traits of Burke and Goldsmith in the limning of Sir Joshua, and felt,
through observation, that Sir Peter Lely was born to depict Charles the Second's
frail beauties, and Sir Thomas Lawrence the English nobleman of the nineteenth
century, has ever in his mind's eye an ideal of success in portraiture which he
fain would see realized for every object of his love and hero of his imagination.
We were never more conscious of the relation between artistic and mental por
traits than when, after having examined the features of the great Italian tragic poet,
we read his own description of himself — drawn from consciousness, and inscribed
on the back of the jDicture. The comparison suggested between the man and his
similitude, was like applying a metaphysical test to the artist's Avork ; and this
is a legitimate process ; we all form a picture in our own minds of remarkable
characters ; the recorded impressions of their associates transrnit a definite image,
and any violation of the truth of this universal conception justly accuses the
painter's integrity in the treatment of his subject. In the case of one so grand
and simple, so prominent in action, and so familiar iu his moral traits as Wash
ington, this instinctive portrait which exists in the popular heart, has a clear
and bold relief, and it cannot be disappointed Avith impunity : the testimony is
too coincident, the impression too uniform to be evaded by any trick of art,
or license of genius. We know the history of the man, and the impression he

PORTRAITS OP WASHINGTON. 89
made upon contemporaries, and are prepared to authenticate his likeness, though
we have never seen his living face. The hardihood of the frontier soldier and
the grace of the polished gentleman ; the costume of one studious of the pro
prieties of station ; the dignity of command ; the open look of native candor ;
the intrepidity of heroism ; the serene gaze of approving conscience ; the intel
ligence of an alert, observant mind ; the self-possession of a methodical life ; the
latent fire of controlled emotion ; the benignity of a true and kindly heart ; the
noble air generated by comprehensive duties ; and the seriousness of limitless
responsibility, with the modest expression that ever accompanies true greatness —
these, and such as these, inevitably belong to a genuine portrait of Washington.
Even the details of his appearance have been attested with remarkable una
nimity. The identical terms occur in almost every description : one calls his air
majestic, another serene. " His brow," says a French nobleman, " is sometimes
marked with thought, but never with inquietude ; his smile was always the
smile of bencA^olence." " He is," observes another of his foreign visitors, " of a
tall and noble stature, well proportioned, with a fine, cheerful, open countenance,
a simple and modest carriage." His was a physiognomy that inspired confidence
and excited reverence, and this peculiarity is recognised equally by curious stran
gers and intimate friends — by such diverse observers as Count Dumas and Chief
Justice Marshall, the Marquis de Chastellux, and the Abb6 Robin. Indepen
dent of such personal cAddence, his expression of form and feature could have
been inferred from his character, in regard to which a like harmony of opinion,
whether drawn from actual knowledge, or the study of his acts and letters, pre
vails. Writers of the most opposite taste and convictions here unite ; they may
dwell more or less on special attributes, but there is no incongruity in their
mental portraits of Washington. AMeri and Guizot, Channing and Fox, Erskine
and Mirabeau, John Adams and Frederick the Great, coalesce on this exalted
theme. Antagonist views will never cease in the estimate of Robespierre, Napo
leon and Marlborough ; but the character of Washington is for ever and pal
pably revealed in the clear light of immortal truth.
In this regard it is interesting and suggestive to note other and special
impressions of contemporaries as to the personal appearance of Washington ;
these agree so essentially that we know what prominent traits to look for in
an authentic portrait, and can almost infer the expression from the character
istics so uniformly asserted. The architect of the Capitol, B. H. Latrobe, who
12

90 PORTRAITS OF WASHINGTON.
visited Mount Yernon in 1797, writes : " Washington has something uncommonly
majestic and commanding in his w^alk, his address, his figure, and his countenance."
" Major Lawrence LcAvis asked his uncle," writes Mr. Custis, " Avhat was his height in
the prime of life? He replied, 'in my best days, Lawrence, I stood six feet and two inches
in ordinary shoes.' We know that he measured by a standard precisely six feet when laid
out in death. Of his weight we are an evidence, having heard him say to Crawford, Governor
of Canada, in 1779, 'My weight in my best days, sir, never exceeded from two hundred and
ten to twenty.' His form Avas unique, unhke most athletic frames that expand at the shoulders
and then gather at the hips.
"The form of Washington deviated from the general rule, since it descended from the
shoulders"_to the hips in perpendicular lines, the breadth of the trunk being nearly as great
at one as the other. His Umbs were long, large, and sinewy ; in his lower limbs he was
what is usuaUy caUed straight-limbed. His joints, feet, and hands were large, and could a cast
have been made of his right hand, so far did its dimensions exceed nature's model that it
would have been preserved in museums for ages, as the anatomical wonder of the eighteenth
century. La Fayette remembered this remarkable hand, when, during his last visit to America,
he said to us in the portico at Mount Vernon, 'It was here, in 1784, I was first introduced
to you by the good General ; it was a long whUe ago ; you were den a very little gentleman,
rigged out in cap and feather, and held by one finger of the General's mighty hand. It was
aU you could do at dat time, my dear sir.'
" The eyes of the Chief were a light grayish blue, deep sunken in their sockets, giAdng the
expression of gravity and thought. Stuart painted those eyes a deeper blue, saying in a hun
dred years they wUl have faded to their right color. His hair was of a hazel brown, and
very thin in his latter days. In his movements he preserved m a remarkable degree, and to
advantage, the elastic step that he had acquired in service on the frontier."
"He stood," says a Philadelphia lady, who witnessed the opening of the ses
sion of Congress by the first President, "in his own dignity and moral grandeur —
erect., serene., and ¦majestic ; his costume was a full suit of black velvet ; his hair
blanched by time and powdered to snowy whiteness ; a dress sword at his side
and his hat in his hand." " The President seemed very thoughtful" obserA-es a
traveller of that day ; " and was slow in delivering himself, which induced some
to believe him reserved; but it was rather, I apprehend, the result of much re
flection, for he had to me the appearance of affability and condescension. He was
at this time in his sixty-third year, but had little the appearance of age, having
been all his life exceedingly temperate ; there was a certain anxiety visible in his
countenance with marlcs of extreme sensibility,"'''
* Travels by Henry Wansey, F.S.A., 1794.

PORTRAITS OP WASHINGTON. 9l
"Though reserved at times," Avrites Irving, "his reserve had nothing repulsive
in it ; and in social intercourse, where he was no longer under the eye of critical
supervision, soon gave way to soldierdike frankness and cordiality." One of the
latest personal reminiscences -is that of his favorite nephew, recorded the winter
he died, " It was a bright frosty morning ; he had taken his usual ride, and the
clear, healthy flush on his cheek and his sprightly manner, brought the remark
from both of us that Ave had never seen the General look so well. I have some
times thought him decidedly the handsomest man I ever saw; and when in a
lively mood, so full of pleasantry, so agreeable to all with whom he associated, I
could hardly realize he was the same Washington whose dignity awed all who
approached him."
" Over six feet in stature," writes Mr. Sullivan in his " Public Characters," " of
strong, bony, muscular frame — without fulness of covermg — well-formed and
straight. When walking in the street, his movement was not the soldierly air
that might be expected. His habitual motion had been formed long before he
took command of the American army — in the wars of the interior, and in the
surveying of the wilderness land. At the age of sixty-five, time had done
nothing towards bending him from his natural erectness ; his deportment was
invariably grave; it was sobriety that stopped short of sadness and a feeling of
atoe rarely experienced in the presence of any man." Within the present year a
venerable German writing from Bremen to his friends in New York, after allud
ing with much sympathy to the project of purchasing Mount Yernon as national
property, adds : " The proudest day of my life I passed on the beautiful banks
of the Potomac. It was in May, 1798, now nearly sixty-one years ago. I was
seated at his right hand at dinner, and I recollect as distinctly his majestic bear
ing as if it were yesterday ; though of mortality, he inspired an impression that
he belonged to immortality. His stateliness, his serene face., the perfect simphcity
of his manners, and his modest demeanor," are then noted, and the writer adds,
" I imagine I am the only person in Europe since the death of La Fayette who
was so privileged." " Modesty onarTcs every line and feature of his face" wrote
Mrs. Adams to her husband, after seeing him for the first time when taking
command of the army at Cambridge.
Yet this unity of impression is unfavorable to picturesque and dramatic effect ;
it shows a typical excellence in which salient points are lost, and this is equally
true of the mental and artistic portraits of Washington ; his appearance and his

92 PORTRAITS_OF WASHINGTON.
character left an impression harmonious rather than original ; like all that is truly
grand in nature, in life, and in humanity, it was the balance of all and not the
predominance of a few qualities that rendered him illustrious. In vain the
observer sought to carry from his presence a single extraordinary feature whereby
to identify the man ; in vain the painter watched for effective attitudes, melo
dramatic situations, or a characteristic phase of dress, manner, or look ; Washing
ton was too complete, too accordant, too humanly representative, too evenly as
well as largely gifted with the elements of our commoner nature, to serve a
theatrical purpose either for the historian, the dramatist, or the limner. Hence
the difficulty of representing him in the way heroic characters are usually
revealed. " In quitting him you have only the recollection of a fine face," says
Chastellux. " His exterior," observes Marshall, " created in the beholder the idea
of strength united with manly gracefulness ;" and it is in such general terms that
he is invariably described. No kindhng glance, or dazzling passage of the Alps,
Fontainbleau crisis of baffled ambition, or St. Helena attitude of exile and
reverie, hint a panorama to the artist who cons his biography ; his disconcerted
air when a vote of thanks was offered him in the Yu'ginia Legislature, though it
bring tears to those capable of feeling moral beauty, offers no scene to the imagi
nation like those in which the pencils of David and Yernet expatiated Renun
ciation of authority, magnanimous self-denial which yields life's glittering prize
without a sigh, though full of moral sublimity, lacks the materials for artistic
display furnished by a victor's harangue in the shadow of the pyramids and
the ceremonies of an imperial fete. Portraits of Charles I. are recognised by the
beard, of Napoleon by the contour of an ohve face and brow, of Yoltaire by the
anatomy of a sneering visage, of Byron by fair temples, rounded chin, and Avav-
ing hair ; we know them and other celebrated heads, by such tokens, when
most imperfectly copied ; but the portrait of Washington, hke his character, boasts
no speciahty to catch the eye, is without an extraordinary single feature, and is
known and honored through its indescribable dignity, an unassuming yet majestic
dignity, a candid, graceful look, as of one habitually true to the loftiest motives
which actuate human conduct, immaculate in honor, ignorant of fear conscious
of right, submissive to God, devoted to humanity, and, by virtue of these traits
endowed with authority— an immortal and generic type of all that is exalted in
patriotism and glorious in manhood.
His hands were large, as became one inured to practical achievement ; his

PORTRAITS OF WASHINGTON. 93
forehead was of that square mould that accompanies an executive mind, not
SAVelling at the temples, as in the more ideal conformation of poetical men ; a
calm and benevolent hght usually gleamed from his eyes, and they flashed, at
times, with valorous purpose or stern indignation ; but they were not remarkably
large as in persons of more fluency, and foretold Washington's natural deficiency
in language, proclaiming the man of deeds, not words; neither had they the
liquid hue of extreme sensibility, nor the varying light of an unsubdued tem
perament; their habitual expression was self-possessed, serene, and thoughtful.
There was a singular breadth to the face, invariably preserved by Stuart, but
not always by Trumbull, who often gives an aquihne and somewhat elongated
visage: no good physiognomist can fail to see in his nose that dilation of the
nostril and prominence of the ridge which belong to resolute and spirited cha
racters ; the distance between the eyes marks a capacity to measure distances
and appreciate form and the relation of space; but these special traits are se
condary to the carriage of the body, and the expression of the whole face, in
which appears to have blended an unparalleled force of impression. When fully
possessed of the details of his remarkable countenance, and inspired, by the
record of his career, we turn from the description of those who beheld the man,
on horseback, at the head of an army, presiding oA^er the national councils, or
seated in the drawing-room, — to any of the portraits, Ave feel that no artist ever
caught his best look, or transmitted his features when kindled by that match
less soul. If we compare any selection of engravings with each other, so inferior
are the greater part extant, we find such glaring discrepancies that doubts mul
tiply ; and we realize that art never did entire justice to the idea, the latent
significance, and the absolute character of Washington. There is dignity m Hou
don's bust, an effective facial angle in the crayon of Sharpless, and elegance,
wisdom, and benignity in Stuart's head; but what are they, each and all, in
contrast with the vision we behold in fancy, and revere in heart? It has been
ingeniously remarked, that the letters_received by an individual indicate his cha
racter better than those he writes, because they suggest what he elicits from
others, and thereby furnish the best key to his scope of mind and temper of
soul; on the same principle the likeness drawn, not from the minute descriptions,
but the vivid impressions of those brought into immediate contact Avith an illus
trious character, are the most authentic materials for his portrait ; they refiect the
man in the broad mirror of humanity, and are the faithful daguerreotypes which
the vital radiance of his nature leaves on the consciousness of mankind.

APPENDIX.

APPENDIX

I.
TRUMBULL'S LIST.
The only originals recognised in Trumbull's hst, -which is annexed to his observations aheady quoted, are the
following :
C. W. Peale — AVho painted fourteen originals from the life between 1772 and 1795; that of 1772 is in the
possession of G. W. Custis of Arhngton ; that of 1781 is in the Baltimore Museum ; those of 1783, '86, and '95, in
the Philadelphia Museum ; one of 1783 in Annapolis State House ; others unknown.
Houdon modelled a cast from hfe at Mount Vernon, 1783.
J. Wright painted portrait at Headquarters at Rocky Hill, N. J., 1783, in possession of Mr. Powel.
Williain Dunlap also painted one at the same time and place, in possession of Mr. Van Horner, at Rooky Hill.
Pine— 1778.
Trumbull — AVhole length, 1790, now in the City Hall, New York.
Ceracchi modelled tAvo busts, one colossal and one life-size.
Rohertson, 1792 — painted one, in his own possession, 79 Liberty Street, New York.
Savage painted and engraved the AVashington family, 1794— the original for twenty years in the New York
Museum. James Peale, brother of C. AV., painted two originals — the second in 1795.
R. Peak, son of 0. W., painted one when eighteen years of age.
Sharpless painted two small portraits in crayon, one in profile — the other more front view, in 1796 ; one of them
is in possession of Judge Peters of Philadelphia.

II.
(from the MEMOEIAL OF HOE.4.TI0 GREENOUGH.)
G-REENOUG-H'S STATUE OE "V^ASHHSTG-TON.
BY THE LATE HON. ALEXANDER H. EVERETT.
Greenough's great work has surpassed my expectations, high as they were. It is truly sublime. The statue is
of colossal grandeur ; about twice the size of hfe. The hero is represented in a sitting posture. A loose drapery
covers the lower part of the figure, and is carried up over the right arm, which is extended, with the elbow bent, and
13

98 APPENDIX.
the forefinger of the hand pointed upwards. The left arm is stretched out a little above the thigh ; and the hand
holds a Roman sword reversed. The design of the artist was, of course, to indicate the ascendency of the civic and
humane over the mihtary virtues, which distinguished the whole career of Washington, and which form the great
glory of his character. It was not intended to bring before the eye the precise circumstance under which he resigned
his commission as commander-in-chief This would have required a standing posture and a modern mihtary costume ;
and, without an accompanying group of members of Congress, would have been an incomplete work. The sword
reversed, and the finger pointed upwards, indicate the moral sentiment, of which the resignation of his commission as
commander-in-chief was the strongest evidence, without the details, which were inconsistent with the general plan.
The face is that of Stuart's portraits modified so as to exhibit the highest point of manly vigor and maturity.
Though not corresponding exactly with any of the existing portraits, it is one of the aspects which the countenance
of AVashington must necessarily have worn in the course of his progress through life, and is obviously the proper
one for the purpose. In expression, the countenance is admirably adjusted to the character of the subject and the
intention of the work. It is stamped with dignity, and radiant with benevolence and moral beauty. The execution
is finished to the extreme point of perfection, as well in the accessories as in the statue itself The seat is a massy
arm-chair, of antique form and large dimensions, the sides of which are covered with exquisitely wrought bas-reliefs.
The subject of one is the infant Hercules stranghng the serpent in his cradle ; that of the other, Apollo guiding the
four steeds that draw the chariot of the sun. The back of the chair is of open work. At the left corner is placed a
small statue of Columbus, holding in his hand a sphere, which he is examining with fixed attention : at the right
corner is a similar small statue of an Indian chief. Tlie effect of these comparatively diminutive images is to heighten
by contrast the impression of grandeur which is made by the principal figure. The work stands upon a square
block of granite, which bears upon its front and two sides, as an inscription, the well known language of the
resolution adopted in Congress upon the receipt of the intelligence of Wasliington's death : " First in war : first in
peace: first in the hearts of his countrymen." On the back of the statue, just above the top of the chair, is placed
another inscription in Latin, which is as follows : Simulacrum istud
Ad magnum Libertatis exemplum
Nee sine ipsa duraturum
Horatius Greenough
-Faciebat.
This inscription is not very felicitous. Independently of the objections that have been made to the grammar ot
the faciebat, which, though defended on classical authority, does not strike me as the natural form, the ideas are
hardly expressed with sufiicient distinctness, and, so far as they can be gathered, are not particularly appropriate. It
is not easy to see in what precise or correct understanding of the terms Washington can be called an "example of
liberty ;" and admitting that, by a rather latitudinous construction, this phrase may be supposed to mean that his
conduct is a proper example for the imitation of the friends of liberty, it is still more difficult to imagine why a
statue of Washington may not be preserved though liberty should perish. Two thousand years have elapsed since
the fall of Grecian and Roman hberty, but Demosthenes and Cicero still survive in their "all but hving busts," as
well as in their " thoughts that breathe and words that burn." The precise object of this description would, perhaps,
have been sufficiently provided for by a simple indication of the name of the sculptor and of the circumstances under
which the work was ordered and executed. The statue was originally placed in the Rotunda of the Capitol; but
the light being found unfavorable, it was removed to a temporary building in the garden where it now stands. The
light is better than before, but the meanness of the building forms an unpleasant contrast with the grandeur of the
work, and it is much to be desired that a more suitable place of deposit may soon be found for a monument so
worthy of the great subject, and so honorable to the artist and the country.
This magnificent product of genius does not seem to be appreciated at its full value in this metropolis of " the
freest and most enlightened people on the globe." I have met with few persons here who have spoken of it in
terms of strong or even moderate satisfaction. Every one has some fault to point out, that appears to withdraw his
attention entirely from the grandeur and beauty of the whole, which, when they are pressed upon him, he is
compelled to acknowledge. One is dissatisfied that the figure is colossal; another, that the face is not an exact copy
of Stuart's portrait ; a third, that the posture is sitting and not standing ; a fourth, that there is a want of repose in
the general expression ; a fifth, that one of the ankles is incorrectly modelled ; and so of the rest. Most of these
objections proceed, as I have heard them stated, from persons who would think themselves wronged if their
sensibility to the grand and beautiful in nature and art were called in question. But how feeble must this quality be
in one who can see nothing in so splendid a monument but some trifling real or imaginary fault I I should not

GREENOUGH'S STATUE OF AVASHINGTON. 99
blame any one for indicating and insisting on what he might consider as blemishes, if he were also to exhibit a
proper feeling for the acknowledged merits of the work : but I almost lose patience when I hear a person, not
without some pretensions to good taste, after a visit of an hour to the statue, making no other remark than that one
of the ankles is incorrectly modelled ; an error which, after a careful examination for the express purpose, I have been
wholly unable to discover. This remark is nearly a repetition of the one made by the Athenian cobbler, upon the
first exhibition of one of the celebrated Venuses of antiquity — that there was a wrong stitch in one of her sandals.
It affords a curious, though not very agreeable proof, how exactly human nature repeats itself under similar
circumstances, even to the shghtest and apparently most accidental particulars.
The most satisfactory expression of feeling that I have met with here, in regard to the statue, was prompted by
the finer and truer sensibility inherent in the heart of woman. It proceeded from a company of ladies whom I hap
pened to encounter on my flrst visit to the building that contains this great national monument. They were strangers
to me, and had not the air of persons belonging to the fashionable coteries of our large cities ; but they evidently
possessed — what was much more important — cultivated minds, and a keen susceptibility to the influence of natural
and moral beauty. They appeared to have been travelling extensively, and one of them had under her arm a large
sketch-book. They expressed in various forms the highest admiration of the statue, and one of them flnally remarked,
as a sort of summary of the whole, that it produced upon her mind a stronger impression of sublimity and grandeur
than she had received from the cataract of Niagara.
The objections above mentioned to the size, attitude, and costume of the statue, and to the character of the features,
proceed upon the supposition, that it was the interest of the artist to make the nearest possible approach to the
person and countenance of Washington, as represented in the most authentic portraits and statues ; and in costume,
to the dress that he actually wore. This supposition is obviously an erroneous one. These are matters which have
their importance as points of historical information — especially in connexion with a character of so much interest.
But the object of the artist, in a work of this kind, is much older than that of satisfying curiosity upon these
particulars. It was, as it should have been, his purpose to call forth, in the highest possible degree, the sentiment of
the moral sublime, which the contemplation of the character of AVashington is fitted to excite. This purpose
required such a representation of his person, for instance, as, consistently with truth to nature, would tend most
strongly to produce this result. A servile adherence to the existing portraits is not essential to the accomphshment
of such a purpose, and might even be directly opposed to it ; as, for example, if these had been executed in the early
youth or extreme old age of the subject. Still less would it be necessary to preserve the costume of the period,
which is already out of fashion, and for every subject, except the satisfaction of antiquarian curiosity, entirely
unsuitable for eff'ect in sculpture. The colossal size— the antique costume— the more youthful air of the face— are
circumstances which, without materially impairing the truth to nature, increase very much the moral impression, and,
instead of furnishing grounds for objection, are positive merits of high importance.
The question between a sitting and a standing posture is substantially the same as whether the subject was to be
presented under a civil or a mihtary aspect. In the latter case, a standing posture would undoubtedly have been pre
ferable. But if the ascendency given by Washington through his whole career to the virtues of the patriot citizen
over the talents of the mihtary chieftain, was the noblest trait in his character, and if it was the duty of the artist to
exhibit him, on this occasion, under the circumstances in which he appeared, in real life, to the greatest advantage,
then the civil aspect of the subject, and with it the sitting posture, hke the other particulars that have been men
tioned, instead of being a ground of objection, is a high positive merit.
It has been mentioned in private, as an objection made by a person whose judgment in some respects would be
considered as entitled to respect, that there is a want of repose in the attitude. The arms are extended in a way in
which they could not be placed for any length of time without producing fatigue ; and we feel, it is said, the same
sort of uneasiness on witnessing this attitude in a statue that we should if it were maintained permanently by a
living person in our presence.
It is rather difficult to comprehend the precise meaning of this objection as applied^ to the statue of Washington.
When it is the intention of the artist to express repose, the indications of activity of any kind are, of course, out of
place. Where it is intended to express activity, the indications of repose would, for the same reason, be incongruous
with the subject. It is no more an objection to the statue of Washington that the arms are placed in an attitude
which, after a short time, would become fatiguing to a, living person, than it is an objection to the antique group of
Laocoon that the muscles of a living man could not remain more than a few minutes in the state of extreme tension
indicated in that celebrated work, without convulsions, or to the Apollo Belvidere, that he stands, with foot drawn
back and arm extended, in the position of an archer who has just discharged an arrow from his bow. In the famous
equestrian statue of Peter the Great, at St. Petersburg, the horse is rearing on his hinder legs, while the fore legs

100 APPENDIX.
remain suspended in the air at some distance from the ground. This is an attitude which could not he maintained by
a hving horse for more than two or three seconds ; but, far from being made a ground of objection to the work, it has
been regarded as its greatest merit, and as the precise quality which has given it the character of being the finest
equestrian statue in Europe.
It was not the design of the artist to represent his subject in a state of repose. On the contrary, the obvious
intention is to exhibit the noblest trait in his intellectual and moral character. I mean his habitual control over all
the irregular propensities of his nature, at the point of time when it reached its fuUest active development In his
practical career, this point was indicated by the resignation of his commission, as commander-in-chief, into the hands
of the President of Congress. But that was a scene which comes within the province of painting rather than
sculpture. A group so vast is beyond the reach of the chisel. It was the difficult duty of the artist to embody the
sentiment which governed the conduct of Washington on that occasion, in a single figure. His success in conquer
ing this difficulty, and producing, by a single figure, a moral emotion, superior, probably, to any that could be called
forth by the finest painting of the scene before Congress, is one of the noblest triumphs of his noble art. To say
that the work indicates activity and not repose, is only saying, in other words, that it was executed in conformity to
the leading point in a plan, which was suggested, or rather imperiously dictated, by the nature of the subject.
It is rather unpleasant to be compelled, in commenting on this splendid effort of genius, to meet such objections
as these, instead of joining in the general expression of mingled admiration and delight which it ought to elicit from
the whole public. I make no pretensions to connoisseurship in the art of sculpture, and judge of the merit of the
work merely by the impression which it makes upon my own mind ; but I can say for myself, that after seeing the
most celebrated specimens of ancient and modern sculpture to be found in Europe, including the Laocoon and the
ApoUo Belvidere, with the finest productions of Canova, Thorwaldsen, Sergell, and Chantry, I consider the AVash
ington of Greenough as superior to any of them, and as the master-piece of the art. The hint seems to have been
taken from the Olympian Jupiter of Phidias, who said himself that he had caught the inspiration under which he
conceived the plan of that great glory of ancient sculpture, from a passage in the Iliad. In this way the noble work
of Greenough connects itself, by the legitimate filiation of kindred genius, transmitting its magnetic impulses through
the long fines of intervening centuries, with the poetry of Homer. The vast dimensions of the Jupiter of Phidias
may have made it to the eye a more imposing and majestic monument; but if the voluntary submission of trans
cendent power to the moral law of duty be, as it certainly is, a more sublime spectacle than any positive exercise of
the same power over inferior natures, then the subject of the American sculptor is more truly divine than that of his
illustrious prototype in Greece. When Jupiter shakes Olympus with his nod, the imagination is affected by a grand
display of energy, but the heart remains untouched. When Washington, jvith an empire in his grasp, resigns his
sword to the President of Congress, admiration of his great intellectual power is mingled with the deepest emotions
of delightful sympathy, and we involuntarily exclaim with one of the characters in a scene of much less importance, as
depicted by an elegant female writer : " There spoke the true thing ; now my own heart is satisfied."
The present location of the statue is, of course, merely provisional. It is much to be regretted that the light in the
Rotunda was found to be unfavorable, as there is no other haU in any of the buildings belonging to the Union suffi
ciently lofty and extensive to become a suitable, permanent place of deposit for this monument. How, when, and
where, such a one shall be provided is a problem of rather difficult solution. If, as has sometimes been suggested,
the patrimonial estate of Washington, at Mount Vernon, should ever be purchased by the country, and a public
building erected there to serve as a sort of National Mausoleum, or Western Westminster Abbey, the statue would
become, of course, its principal ornament But the execution of this plan, should it ever be realized, is probably
reserved for the good taste and liberahty of some future generation. In the meanwhile, the noblest achievement of
the art of sculpture, dedicated to the memory of the greatest man that ever lived in the tide of time, will be permitted
by a country which received from his hands gifts no less precious than Independence and Liberty, to take up its abode
in a paltry barrack.

WASHINGTON COINS. 101

III.
(from the boston transcript.)
THE ^WASHHSTG-TOJSr COINS.
Di-RiNG the period extending from the AA^ar of Independence to the year 1805, a number of coins and medals
were struck, bearing the head of AVashington. They are but little known to the community at large, and some of
them are of great rarity even among collectors.
I subjoin a hst of these pieces, adding from the source mentioned, a number which I have not in my own
coUection. I trust some of your readers may not find it uninteresting to glance at a description of these relics of the
preceding half century, showing us, as they do, the gratitude felt by the contemporaries of AVashington. for the great
services rendered his country, as well as the veneration in which his name was held, both at home and abroad.
No. 1 — 1776. Bronze, from the same die as the gold medal presented by Congress. Undraped bust, head to the
right; legend, "Georgio Washington supremo duel exercitum adsertori Libertatis;" exergue "Comitia Americana.''
Reverse — AA^ashington and Staff on Dorchester Heights ; in the distance the British evacuating Boston ; legend,
" Hostibus primo fugatis," exergue " Bostonium recuperatum XVII Martii MDCCLXXVI."
2 — 1783. Cent size, laureated head, Roman costume; legend, "AVashington and Independence," date below.
Reverse — legend, " United States of America," " one cent," inclosed in a wreath.
3 — 1783. Obverse resembling the last Reverse— Liberty seated, in right hand staff and liberty cap; in left a
laurel branch ; legend, " United States."
4 — 1783. Another variety of the last, with smaller letters and initials of die-sinker and designer, under the figure.
5 — 1783. Smaller bust, in military costume, legend like last, with initials under the figure.
6—1783. Another variety of the last.
7 — No date. Of the same size and style as the foregoing, is what is called the " double-headed AVashington," bust
in mihtary costume ; legend, " Washington," below the head a star, edge beaded. Reverse — the same, with " one
cent " in place of name.
8 — 1786. Bust in Continental uniform; legend, "Non A"i Virtute Vici;" head to observer's right Reverse —
Liberty, or Justice, seated; in right hand staff and hberty cap, in left a pair of scales; legend, "Neo Eboracencis,"
date below. Struck in New York, and very rare.
9 — 1791. The celebrated Washington cent Finely executed head and bust, looking to observer's left ; military
costume, hair dressed in style of the time, drawn back to a queue; legend, "Washington President," below date.
Reverse — large spread eagle, holding in its beak a scroU, with " Unum e pluribus," in one claw an ohve branch with
thirteen leaves, in the other thirteen arrows ; on its breast a shield with thirteen bars and spaces ; above the head
"one cent;'' around the edge, "United States of America.''
10 — 1791. Obverse similar to last, without the date. Reverse — a small eagle with upraised wings ; stars and
clouds about the head ; " one cent " above ; six arrows in one claw, and olive branch in the other ; date below.
11 — 1791. Obverse like No. 9. Reverse — a ship under sail; legend, "Liverpool Halfpenny;" below, two olive
branches crossed ; around the edge, " Payable in Anglesey, London, or Liverpool."
12 — 1792. A piece in size midway between a dollar and half-dollar. Head and bust ; military costume, as
above, but sharper in the features ; legend, " G. Washington, President I. ;" date below ; milled rim, and
ornamented edge. Reverse — a large eagle with upraised wings, shield on its breast, fifteen stars about the head, six
arrows in one claw, and an ohve branch in the other ; legend, " United States of America.'' This piece and the
one fohowing are of great rarity.
13  1792. Smaller size, bust in the same dress, somewhat heavier in the features ; legend, " AVashington,

102 APPENDIX.
President," date below. Reverse — a spread eagle like No. 9, but in place of one cent over the head, are twelve stars
in line, and one on bird's crest.
14 — 1792. Obverse hke last. Reverse inscribed in parallel lines, " General of the American Armies, 1775 ;
resigned, 1783 ; President of the United States, 1789."
15 — No date. Like the last, except that around the obverse is the legend, " Geo. AA''ashington, born Virginia, Feb.
11, 1732."
15-i — Same as No. 15, but struck in silver.
16 — 1793. Obverse like No. 10. Reverse — a ship under sail, with word " Halfpenny " above, and date below.
17 — 1795. Head to right ; similar dress, forehead more prominent; legend, " George Washington." Reverse —
a shield with stripes and stars, surmounted by an eagle, holding arrows and an olive branch, and wings raised ; legend,
" Liberty and Security,'' date below. Around the edge, " Payable at London, Liverpool, or Bristol."
18 — 1795. Penny size. Head similar to No. 9 ; legend, " George AVashington.'' Reverse like last, date omitted.
Around the edge, "An Asylum for the oppressed of all Nations."
19 — 1795. The same piece struck in brass.
20 — 1796. In citizen's dress, hair somewhat more wavy ; head to right ; date below. Reverse inscribed in
concentric circles, " Gen'l of the American Armies, 1775. Resigned the commission 1783. Elec'd President of the
United States, 1789. Resigned the Presidency, 1796." Enclosed in a beaded circle a cannon and bundle of fasces
crossed on a caduceus, and a scroU with "Repub. Ameri."
21 — Another, Uke the foregoing, but thinner, and in place of date, legend, " Born Feb. 11, 1732, died Dec. 21, 1799."
22 — 1797. In citizen's dress, head to right; legend, " G. AVashington, Pres. Unit Sta." Reverse — pedestal with
shield, draped, supporting the sword, fasces, and olive branch; legend, " Commiss. resigned. Presidency relinq. ;"
date below.
23^1800. SmaU silver medal, head to left, — surrounded by a wreath, military costume ; legend, " He is in glory,
the world in tears.'' Reverse — a draped cinereal urn, with G. W. around it; the legend, " B. P. XXII. 1732. G. A.
Arm. '75. R. '83. P. U. S. A. '89. R. '96. G. Arm. U. S. '98. Obd. D. 14, 1799." This piece was also struck in
white metal and in gold.
24 — 1800. The reverse was a skull and cross bones instead of the urn.
25 — 1803. Head to the right, in very plain dress, and marks of age in the features ; legend, above, AA'ashington,
on either side of bust ; dates of birth and death. Reverse — a beautifuUy executed figure of Fame flying across
the sea, on which a ship is sailing, and the sun in the horizon; legend, " AVisdom, A'irtue, and Patriotism," date in
exergue. 26 — 1805. A large medal bust in armor, very finely executed, looking to left ; legend, " General AVashington.
Inscribed to his Memory by D. Eccleston, Lancaster, MDCCCV." Reverse — in concentric circles, " He laid the
foundation of American Liberty in the XVIII Century. Innumerable MUlions, yet unborn, will venerate the Memory
of the man, who obtained their Country's freedom." In the centre an American Indian leaning on his bow an
arrow in his right hand, and legend, " The land was ours.'' Struck in England.
27 — A halfpenny bust in uniform, to the left; legend, "Georgius AVashington." Reverse — a harp; legend, "North
AVales." 28— Piece known as the Manly or Blacksmith's Medal, very aged features; legend on obverse and reverse, same
as No. 15.
29 — In citizen's dress, poor likeness ; legend, " Gen'l George AVashington." Reverse — legend, inclosed in a wreath
of two branches crossed, " Born Feb. 22d, 1732, died Dec. 14, 1799."
30 — Head to right, citizen's dress, poor likeness ; legend, George Washington, Esq., late President of the United
States of America." Reverse — a wreath with thirteen stars pierced by a bunch of thirteen arrows ; legend, " Made
commander-in-chief of the American forces the 15th June, 1775. With courage and fidelit}' he defended the rights
of a free people. Died Dec. 14, 1799, aged 68."
31 — A small brass piece, size of a quarter of a doUar; head to right, mUitary dress; legend, " George AA'ashing-
ton." Reverse— an eye with diverging rays, and thirteen stars; legend, " Success to the United States."
32 — The same, half size.
33 — Washington button, size of half a dollar; around the edge "Long live the Piesident;" in centre, "G. AV."
34 — Another button. A circle of thirteen rings, containing the initials of the thirteen States. Around the centre,
"Long Uve the President;'' in centre, " G. W."
35 — A large brass badge, or button ; bust to left, in uniform; legend, " General AVashington ;" 2.1 inches.
36 — A small piece of silver, struck from AVashington's private buUion on the first establishment of the mint,

A\^ ASHINGTON COINS. 103
1792. Obverse — head of Mrs. AA" ashington, dato below ; legend, " Industry Lib. Par. of Science." Reverse — flying
eagle; legend, " Half disme." United States of America.
The foUowing pieces are in the collection of Rev. J. M. Finotti, of Brookline :
37 — 1792. The AVashington half doUar, so caUed; die same as No. 12, but struck in sUver.
38 — Another AA"ashington half doUar. Obverse same as last Reverse — large spread eagle, with very large shield on
its breast; one claw holding thirteen arrows, one with laurel branch and thirteen leaves; legend, "United States of
America." This piece has a flaw passing diagonally through the centre, occasioned by the breaking of the die.
89 — Very large medal, head similar to No. 1, but facing left; legend, " George Washington." Reverse — signing
of the Declaration of Independence; legend, "Declaration of Independence, July 4, 1776."
40—1797. Larger medal, like No. 22.
41 — Head to right, short hair; legend, " G. AVashington el. General of the Contin'l Army in America." Reverse
— trophy of cannon and implements of war, — surrounded by legend, " AA"asli. reunit par un rare assemblage, les talens
du guerrier, et les vertus du sage."
42 — SmaU medal, with hair in style of George IV., poor likeness, looking to right; legend, " George Washing
ton.'' Reverse — in paraUel Unes, " Natus A'irginia in America Pasderata An. MDCOXXXII. Obiit An. MDCCXCIX.
Series numismatica universalis virorum illustrium, MDCCCXIX."
The foUowing pieces are in the coUection of J. Colburn, Esq., of Boston.
43 — Head with close hair, marks of age, looking to the right ; legend, " George AVashington ob. 14 Dec'r, 1799.
M. 68." Reverse — oak and laurel wreath, with arrows; legend, "The hero of freedom, the pride of his country, and
ornament of human nature, 1800. Late President of the United States of America.''
44 — Head in Roman style, hair bound up with a flUet, weU executed piece, but poor likeness ; legend, " A\'"ashing-
ton. President," date 1792, below. Reverse — a taU, singular-looking eagle, with upraised wings, thirteen arrows in
one claw, ohve branch in the other, six stars about the head, above " Cent" Very rare piece.
The description of several medals, which I have never met with, I copy from C. B. Norton's " Literary Letter,"
No. 3, as foUows :
45 — Obverse — bust in citizen's dress, straight face, bad likeness ; legend, " George Washington." Reverse — inscrip
tion in parallel lines, " General of the American armies 1775. Resigned command 1783. Elected President of the
United States 1789. Re-elected 1793. Resigned 1797."
46 — Death of Washington. Diameter about three inches. Obverse — head of Washington crowned with a wreath ,
legend, " George Washington." Reverse — tomb and urn, over which a child is weeping, and at its side an armed
female with United States shield, also weeping. On tomb, " A^iotor sine clade," arms, &c., behind ; legend, " He is
in glory, the world is in tears." Exergue— " Born February 11, 1732; died December 14, 1799." (Issued at New-
buryport, Mass., at faneral celebration. Designed by Dudley A. Tyng ; executed by Jacob Perkins.)
47— Bust on a pedestal, on which is depicted a ship saUing, a man ploughing, mUitary trophies, &o. On right
of pedestal. Liberty; on left, an Indian chief; legend, "Gen. Geo. AVashington, Presi: ofthe Unit: Sta." Exergue
—"Born Feb., 1732; died Dec, 1799."
48  SmaU piece. Bust — in regimentals, hkeness not good; legend and reverse same as Boston medal.
49_Washington- and Franklin. Obverse— busts side by side, the former in regimentals. Reverse— an eagle
descending with an ohve branch and thunderbolts towards the globe, on which are the outUnes and inscription of
United States, 1783. Designed by J. Sansom, of Philadelphia ; engraved by Reich.
A. S.
Brookline, Mass., Feb. 10, 1859.
A miniature, painted on ivory by James Peale in 1788, was purchased in 1843, from his son, by the ArtiUery
Corps AVashington Grays, of Philadelphia, and is now in their possession. It was originally set in a snuff'-box, but
is now framedln a gold case ; it is in profile, looking to the right and in uniform. There is no doubt of its authenticity,
the Corps having documentary evidence thereof— from the Peale family. Two of the best copies extant of C. AV.
Peale's first, and of Stuart's AtheuKum portrait, are in the possession of Governeur Kemble of Cold-Spring, N. Y.
They were painted by J. C. Chapman.
The first of the Washington medals was apparently struck in France, early in the Revolution, one of which, in
the coUection of C. J. BushneU, Esq., of New York, is one and a half inch in diameter; 05«ersc— head after the
Roman model, with cropt hair, having no likeness to Washington; legends" &. AA^ashington, Er. General of the
Continental Army in America." Reverse— dmnon, mortars, trumpets, standards, &c., in the rear the beams of the
rising sun ; legend, " Washington reunit, par une rare assemblage, IV. les talens du guerrier, les vertus du sage."
—Mass. Hist. Col. III. vi. 236.

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104 APPENDIX. IV.
(from the national intelligencer.)
THE FERSOISTAL APPEARANCE OF ^V\^ASHI]Sr&TO]Sr.
I SAW this remarkable man four times. It was in the month of November, 1798, I first beheld the Father of his
Country. It was very cold, the north-west wind blowing down the Potomac, at Georgetown, D.C. A troop of light
horse from Alexandria escorted him to the western bank of the river. The waves ran high, and the boat which
brought him over seemed to labor considerably. Several thousand people greeted his arrival with swelling hearts
and joyful countenances ; the military were drawn up in a long Une to receive him ; the officers, dressed in
regimentals, did him homage. I was so fortunate as to walk by his side, and had a full view of him. Although
only about ten years of age, the impression his person and manner made on me is now perfectly revived. He was
six feet and one inch high, broad and athletic, with very large limbs, entirely erect, and without the slightest
tendency to stooping; his hair was white, and tied with a silk string; his countenance lofty, mascuUne, and
contemplative ; his eye Ught gray. He was dressed in the clothes of a citizen, and over these a blue surtout, of the
finest cloth. His weight must have been 230 lbs., with no superfluous flesh ; all was hone and sinew, and he walked
hke a soldier. Whoever has seen, in the Patent Office at Washington, the dress he wore when resigning his
commission as commander-in-chief, in December, 1783, at once perceives how large and magnificent was his frame.
During the parade, something at a distance suddenly attracted his attention. His eye was instantaneously lighted
up, as with a hghtning's flash. At this moment, I see its marvellous animation, its glowing fire, exhibiting strong
passion, controlled by deliberate reason.
In the summer of 1799, I again saw the chief He rode a purely white horse, seventeen hands high, well
proportioned, of high spirit ; he almost seemed conscious that he bore on his back the Father of his Country. He
reminded me of the horse whose neck is clothed with thunder. I have seen some highly-accomplished riders, but
none of them approached AVashington ; he was perfect in this respect. Behind him, at the distance of perhaps forty
yards, came BiUy Lee, his body servant, who had periUed his life in many a field, beginning on the heights of Boston,
in 1775, and ending in 1781, when CornwaUis surrendered, and the captive army, with inexpressible chagrin, laid
down their arms at Yorktown. BUly rode a cream-colored horse of the finest form, and his old revolutionary cocked
hat indicated that its owner had often heard the roar of cannon and small arms, and encountered many trying scenes.
Billy was a dark mulatto. His master speaks highly of him in his will, and provides for his support.
A few months before his death, I beheld this extraordinary man for the last time. He stopped at the tavern
opposite the Presbyterian church in Bridge street, Georgetown. At that time, a regiment of soldiers was stationed
in their tents on the banks of Rock Creek, and frequently attended Dr. Balch's church, dressed in their costume, and
powdered after the revolutionary fashion. I attended their parade almost every day, and on one of these occasions I
recognised Washington riding on horseback, unaccompanied by any one. He was going out to see his houses on
Capitol HiU, as I supposed. They were burnt by the British, in 1814. My youthful eye was riveted on him until he
disappeared, and that for ever. I was surprised that he did not once look at the parade ; so far as I could discover,
on the contrary, he appeared indifferent to the whole scene. It has been my privUege to see the best hkenesses of the
Chief The one, of all others most resembling him, is that prefixed to the first volume of Irving's "Life of
Washington."* AU the rest wanted the animation which I perceived in his features.
* Wertmiiller'a.

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