Image unavailable: COMMODORE DAVID PORTER Age 45COMMODORE DAVID PORTERAge 45
English whale-fishery in the Pacific Ocean, and sailed on this errand, around the Horn, for Valparaiso. He made such havoc with the British shipping that the loss footed up to two million and a half of dollars and four hundred men prisoners.
The British sent two vessels, with picked crews of five hundred men and a combined armament of eighty-one guns, to search for theEssex(mounting only thirty-two guns and with a crew of two hundred and fifty-five men), with instructions that neither ship should engage her singly. They found her in the neutral harbor of Valparaiso, where she was attacked, in defiance of all neutrality laws; and after one of the most desperate engagements in naval history, lasting two hours and a half, theEssexwas forced to surrender. Upon his return home, Captain Porter was received with distinction and given the thanks of Congress and of several of the States. He retired from the navy, in 1826, to take command of the Mexican navy, from which he withdrew three years later, was subsequently appointed consul-general to the Barbary States, thenchargé d’affairesat Constantinople, and later minister resident, which office he held at the time of his death.
It was but a short time before Porter’s retirement from the navy that Browere took his life mask, and the toss of the head and the determined mouth show the qualities that made up David Porter’s character. The spirited pose of this bust is quite remarkable in a life mask, and would seem to indicatethat Browere’s material must have been, at least in some degree, flexible. Porter was very enthusiastic over Browere’s work, as may be seen from the following letter to Major Noah:
Meridian Hill, 18th Sept. 1825.Dear Sir:By means of epistolary introduction I have had the pleasure of becoming acquainted with John H. I. Browere, Esq., a young and deserving artist of your city. Agreeably to your and my friends’ requests, I consented to sit for my portrait bust, which has been executed by him according to his novel and perfect mode. Mr. Browere has succeeded to admiration. Nothing can be more accurate and expressive; in fact, it was impossible that it could be otherwise than a perfect facsimile of my person, owing to the peculiar neatness and dexterity which guide his scientific operation. The knowledge and dexterity of Mr. Browere in this branch of the Fine Arts is surprising, and were I to express my opinion on the subject, I should recommend every one who wished to possess a perfect likeness of himself or friends to resort to Mr. Browere in preference to any other man. His portrait busts arechef d’œuvresin the plastic art, unequalled for beauty and correct delineation of the human form. To those to whom a saving of time is important, Mr. Browere’s method must receive the preference, were it solely on that ground. As to the effect ofthe operation, none need apprehend the least danger or inconvenience; it is perfectly safe and not disagreeable, for while the plastic material is applying to the skin, a sensation both harmless and agreeable produces a pleasant glow or heat somewhat similar to that which is felt on entering a warm bath; neither does the composition affect the eyes, which are covered with it. Too much commendation of Mr. Browere’s rare and invaluable invention cannot be made. May he derive benefits from his art equal to his merit. Hoping to have the pleasure of seeing my friends in New York during the course of a few weeks, I remain, Dear Sir,Your obt. servantDavid Porter.
Meridian Hill, 18th Sept. 1825.
Dear Sir:
By means of epistolary introduction I have had the pleasure of becoming acquainted with John H. I. Browere, Esq., a young and deserving artist of your city. Agreeably to your and my friends’ requests, I consented to sit for my portrait bust, which has been executed by him according to his novel and perfect mode. Mr. Browere has succeeded to admiration. Nothing can be more accurate and expressive; in fact, it was impossible that it could be otherwise than a perfect facsimile of my person, owing to the peculiar neatness and dexterity which guide his scientific operation. The knowledge and dexterity of Mr. Browere in this branch of the Fine Arts is surprising, and were I to express my opinion on the subject, I should recommend every one who wished to possess a perfect likeness of himself or friends to resort to Mr. Browere in preference to any other man. His portrait busts arechef d’œuvresin the plastic art, unequalled for beauty and correct delineation of the human form. To those to whom a saving of time is important, Mr. Browere’s method must receive the preference, were it solely on that ground. As to the effect ofthe operation, none need apprehend the least danger or inconvenience; it is perfectly safe and not disagreeable, for while the plastic material is applying to the skin, a sensation both harmless and agreeable produces a pleasant glow or heat somewhat similar to that which is felt on entering a warm bath; neither does the composition affect the eyes, which are covered with it. Too much commendation of Mr. Browere’s rare and invaluable invention cannot be made. May he derive benefits from his art equal to his merit. Hoping to have the pleasure of seeing my friends in New York during the course of a few weeks, I remain, Dear Sir,
Your obt. servantDavid Porter.
THE clean-cut features of Richard Rush recall a statesman and a scholar of “ye olden tyme.” Born in Philadelphia, the eldest son of that signer of the Declaration of Independence who, both politician and physician, has been termed the Sydenham of America,—Doctor Benjamin Rush,—and a kinsman of William Rush, the first American sculptor, mentioned in the second chapter of this book,—Richard Rush was bred to the bar, and gained distinction, soon after attaining his majority, by his defence of William Duane, the editor of the “Aurora” newspaper, accused of libelling Governor McKean. When only thirty he entered public life by becoming Attorney-General of Pennsylvania, and at thirty-four was a member of the cabinet of President Madison, as Attorney-General of the United States. Three years later, he was for a brief period
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Secretary of State, and then minister from the United States to Great Britain, being recalled, in 1825, to become Secretary of the Treasury under John Quincy Adams. It was at this period that Browere made his mask. Rush was subsequently candidate for Vice-President on the ticket with John Quincy Adams when Mr. Adams sought a second term.
The career of Richard Rush was not only public, but it was important, and not the least of his wide-spread benefits were his successful efforts in securing for this government the munificent legacy of James Smithson; this was the foundation upon which has been reared the Smithsonian Institution, which has done so much for scientific pursuits in this country. James Smithson was a natural son of Hugh Smithson, Duke of Northumberland, and died in Genoa, June 27, 1829, aged about seventy-five years. He was a graduate of Oxford, and took up the study of natural philosophy, for his expertness in several branches of which he was made a member of the Royal Society and of the French Institute. He travelled extensively, and formed a very valuable cabinet of minerals which came into possession of the Institute founded by his liberality, but which was unfortunately destroyed in the Smithsonian fire of 1865.
Smithson’s illegitimate birth seems to have engendered a desire for posthumous fame, as he wrote: “The best blood of England flows in my veins; on my father’s side I am a Northumberland, on my mother’s I am related to kings; but it availsme not. My name shall live in the memory of man when the titles of the Northumberlands and the Percys are extinct and forgotten.” To carry out this desire he bequeathed his whole property, after the expiration of a life estate, “to the United States for the purpose of founding an institution at Washington, to be called the Smithsonian Institution, for the increase and diffusion of knowledge among men.”
Although Smithson died in 1829, the United States Government was not advised of the gift until six years afterward, when the life estate fell in, and the will was thrown into chancery. It was then that Richard Rush was appointed, by President Jackson, special representative of the government to pursue and secure the property. He was successful, and returned to this country, in August of 1838, with the legacy, amounting to upwards of half a million of dollars. Nothing was done for quite eight years toward carrying into effect the bequest of Smithson, except to ask advice, from eminent scholars and educators, as to the best means of fulfilling the testator’s intention. The consensus of opinion was in favor of a university or school for higher education, but Mr. Rush objected to a school of any kind, and proposed a plan which more nearly corresponded, than any other of the early ones, with that which was finally adopted. Thus, both in securing the legacy, and directing the curriculum of the institution, Richard Rush took a most important part.
Mr. Rush’s last official service was as minister to France, during the eventful years of 1847 to 1851 and he was the first representative of a foreign power to recognize the new republic. He had a fine literary sense, which he did not fail to cultivate, and his “Narrative of a Residence at the Court of London,” and “Washington in Domestic Life,” from the papers of Tobias Lear, are standard works. It may not be without interest to add that Mr. Rush was the author of the famous game “Twenty Questions,” which has been thought worthy of the consideration of some of the brightest minds in Europe and in America.
FOR many years Edwin Forrest was regarded as the greatest of American tragedians, his nearest rival being his namesake Edwin Booth. Now that the great leveller, death, has claimed them both, it may be questioned if Forrest’s supremacy is maintained. The animal was so uppermost in Forrest’s nature and person that he was unsuited to the delineation of the finer types of character, and therefore his greatest achievements were in robust parts requiring physical power, where he could rant and rage at will. In youth he must have had a singularly handsome face, and he was but twenty-one, in 1827, when Browere made his life mask. It was during an engagement at the old Bowery theatre, New York, when Forrest was playing “William Tell.” It will be observed that the head, which is finely classical, of the Roman type, appears to be bald, while Forrest took great pride in his
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luxurious locks. This effect happened in this wise. Forrest was a novice on the stage and had just made his first appearance asWilliam Tell. Browere saw the performance, and was so struck with the personality of the young actor that he asked permission to take his mask. Forrest consented, but was so afraid the material of the mould might cling to his hair, that he insisted upon wearing a skull-cap during the operation. Some faces change so much from youth to age that it is difficult, if not impossible, to trace any resemblance of the beginning in the end. But the characteristics of feature and expression in Browere’s bust of Forrest are also to be found in his latest photographs.
The tragedian was born in old Southwark, Philadelphia, March 9, 1806, and was “stage struck” almost from infancy, playing girl’s parts when only twelve years old. In his fifteenth year he made his début at the Walnut Street theatre, Philadelphia, as youngNorvalin the tragedy of “Douglas”; and before he was twenty-one had gained considerable reputation and had played Othello before a New York audience. From this time he enjoyed a vacillating reputation, but was always the stage idol of the masses, while his intense personality kept him from appealing to the refinements of intellect. He died at Philadelphia, December 12, 1872, leaving his fortune, books and paintings to a home for aged actors to be called the Forrest Home; but his estate was largely crippled by claims for unpaid alimony due to his divorced wife, so the home is not exactly what Forrest intended that it should be.
THE latest work that we have from the hand of Browere, is the bust from the life mask of “the Little Magician,” as Martin Van Buren was called, made in 1833, the year before Browere’s death. Van Buren was then in his fifty-first year, and he lived until July 24, 1862. His life covered a longer era and his career witnessed greater changes in national life than those of any other man who has occupied the presidential chair. He was born and died in Kinderhook, Columbia county, New York; studied law with William P. Van Ness, the friend of Burr; and was admitted to the bar on attaining his majority. He was fitted by taste and temperament for politics, and politics were fitted for him.
As early as his eighteenth year, before he had a vote, Van Buren was chosen to take part in a local nominating
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convention; and as soon as he could act, as well as speak, he became an ardent adherent of the Jeffersonian democracy. His first office was surrogate of his native county, which place he held for five years; and when, in 1811, the proposed recharter of the United States Bank was the leading question of Federal politics, Van Buren took an active part against the measure. The following year he was elected to the Senate of New York, and supported President Madison and the War with England, drawing up the resolution of thanks, voted by the legislature, to General Jackson for his victory at New Orleans.
In 1815, Van Buren became Attorney-General of New York, from which office he was removed four years later, owing to his refusal to adhere to De Witt Clinton, whose policy, excepting as regarded the canal, he did not approve. The politics of New York were in a most feverish and topsy-turvy state, and the many factions could not combine to elect a United States senator in 1818-19, until Van Buren, by his moderation and his genius for political organization, brought about order and harmony, and Rufus King, a political opponent of Van Buren, was chosen to the high office. Two years later Van Buren was rewarded by being also sent to the Senate, and about the same time was chosen delegate to the convention which reviewed the Constitution of New York. In this body he sought to limit the elective franchise to householders, that this invaluable right of citizenship mightnot be cheapened and the rural districts overborne by the cities. Unfortunately he was in the minority, or such a beneficent provision might have spread over the length and breadth of the land, so that the elective franchise would have retained the value of its high prerogative, and not become the valueless and unwieldy burden that it now is. Van Buren also opposed an elective judiciary, in both of which positions he was in opposition to his own party.
In the United States Senate he was for many years chairman of the Judiciary Committee, and, on the Florida territorial bill voted against the increase of slavery. He was a strict constructionist of the Constitution, recognizing that as the only safe canon of interpretation for a fundamental law; and he had pronounced views in favor of State rights and against the power of the United States Supreme Court, to overthrow State laws, believing this contrary to the provision of the Constitution insuring the inviolability of contracts.
In 1828 he was called from the Senate to the gubernatorial chair of New York, and, supporting Jackson for the Presidency, was made by him Secretary of State, which office he resigned to accept the English mission; but, by the opposition of John C. Calhoun, he was not confirmed. This discreditable action increased Van Buren’s popularity, and he succeeded Calhoun as Vice-President for Jackson’s second term, soon being regarded as the lineal successor to the Presidency. He waselected, over Harrison and over Webster, pledged to oppose any interference with slavery in the slave States. The ruling act of his administration was one for the lasting benefit of the nation, which never should be forgotten. In his first message to Congress he deprecated the deposit of public moneys in private banks, which had followed Jackson’s removal of the deposits from the United States Bank, and urged an independent treasury for the safe-keeping and disbursements of the public money; but it was not until near the close of his administration that he secured congressional assent to the measure. This has been far-reaching in its beneficial effects, and too much honor cannot be accorded Van Buren, for his action in the matter, which has saved the treasury from great financial disruptions. Notwithstanding this, his administration went down in a cloud, and he was overwhelmingly defeated for a second term.
Van Buren was opposed to the extension of slavery, but on all other points was an uncompromising Democrat. On this platform he was again nominated for the Presidency, in 1848, with Charles Francis Adams as Vice-President. The result of his candidature was the defeat of General Cass, the regular Democratic nominee, and the election of General Taylor. After this he retired from public life and devoted his time to the writing of his “Inquiry into the Origin and Course of Political Parties in the United States,” a work which has beencalled more an apology than a history. When the Civil War came upon the nation, Van Buren gave zealous support to the National Government. He was an intense partisan, masterful in leadership, reducing politics to a fine art. It has been well said that, “combining the statesman’s foresight with the politician’s tact, he showed his sagacity, rather by seeking a majority for his views than by following the views of a majority.” He was far from being a demagogue, and he was frequently found fighting on the unpopular side. His convictions were strong, and he adhered to them with tenacity. While from peculiar circumstances his public career has been the subject of much partisan denunciation, he is entitled, both for activity and ability, to a higher niche in the temple of fame than is commonly accorded him. Van Buren was small in stature and of blond coloring. The physiognomist would accord to him penetration, quickness of apprehension and benevolence of disposition, while the phrenologist would add unusual reflective faculties, firmness and caution.
THE masks that Browere made from the subject in full life, must not be confused in any sense with the more common mask made after death. This confusion could not occur with any one who has had an opportunity to observe Browere’s work or to make comparison with the reproductions in this book; but persons not familiar with these portrait busts, and having only some knowledge of masks made after death, or of such life masks as Clark Mills made,—which are thoroughly death-like in their character,—might easily fall into such an error, and, looking upon the latter as repulsive and worthless as portraiture, give no heed to the different character and true value of Browere’s living likenesses.
Mr. Laurence Hutton, in his very curious and interesting volume entitled “Portraits in Plaster,” says: “The value of aplaster cast as a portrait of the dead or living face cannot for a moment be questioned. It must of necessity be absolutely true to nature. It cannot flatter; it cannot caricature. It shows the subject as he was, not only as others saw him in the actual flesh, but as he saw himself. And in the case of a death mask particularly, it shows the subject often as he permitted no one but himself to see himself. He does not pose; he does not ‘try to look pleasant.’ In his mask he is seen, as it were, with his mask off.”
I do not quote these words, of my accomplished friend Mr. Hutton, simply for the purpose of combating them, but to show how differently two, perfectly sincere, honest delvers after historic truth, can see the same thing. Having made portraiture my study for many years, and thus having in my mind’s eye, indelibly fixed, the faces of legions of public men, I have yet to see a death mask that I could recognize at sight; many I could recall when told whose masks they were, but more yet have, to my vision, no resemblance whatever to the living man. Mr. Story, the eminent American sculptor but recently deceased, recognized how untrustworthy even life masks are as portraits. In speaking of what is claimed to be Houdon’s original mask of Washington, which Mr. Story owned, he wrote: “Indeed, a mask from the living face, though it repeats exactly the true forms of the original, lacks the spirit and expression of the real person.” So true is this,that when Mr. St. Gaudens first saw Clark Mills’s life mask of President Lincoln, he insisted that it was a death mask; for, without “the spirit and expression,” where can the likeness be? As Sir Joshua Reynolds says in one of his Discourses: “In portraits, the grace and, we may add, the likeness consists more in taking the general air than in observing the exact similitude of every feature.” In photography we have “the exact similitude of every feature,” yet how often are photographs bad likenesses, because they lack “the spirit and expression”!
While it is possible to preserve “the spirit and expression” as well as to give “the exact similitude of every feature” in a life mask, as exemplified in the marvellous work of Browere, it is impossible in a death mask, for these evanescent qualities are then gone. I am not quite certain that even “the exact similitude of every feature” is preserved in a death mask; certainly the natural relation of one feature to another is not. The death mask may, to a degree, be a correct reproduction of the bony structure, but only to a limited degree as it was in nature, for the obvious reason that the ligaments, holding the sections of bone together in their proper places, become relaxed with dissolution, and the bones lose their exact positions, which condition even the slight weight of the plaster increases.
Masks, too, will sometimes approach caricature, if they willnot flatter, for they will reproduce peculiarities of formation which may not be observable superficially. This view is emphasized by Lavater in his “Physiognomy,” as quoted by Mr. Hutton. Lavater writes: “The dead and the impressions of the dead, taken in plaster, are not less worthy of observation [than the living faces]. The settled featuresare much more prominentthan in the living and in the sleeping. What life makes fugitive, death arrests. What was undefinable, is defined. All is reduced to its proper level; each trait is in its exact proportion, unless excruciating disease or accident have preceded death.” This is undoubtedly true from the point of view of the physiognomist, and it is his much desired vantage-ground, for his only object is to read the features laid bare.
From Browere’s hand we have but one death mask, and although it is open to much of the objection urged against death masks generally, it is superior to any other death mask I have ever seen. It is difficult to believe it was made after life was gone, so vibrant with life it seems. It possesses more living, breathing qualities than the life masks made by other men. If any proof were needed of the inestimable value of Browere’s lost process for making masks, it can be found in the quality of this death mask of James Monroe.
Monroe’s name is perhaps more familiarly known to the public than that of any other President, save Washington and Lincoln, owing to its association with the doctrine, which he
Image unavailable: DEATH MASK OF JAMES MONROEDEATH MASK OF JAMES MONROE
promulgated, of non-interference on the western hemisphere by European nations, known as the “Monroe Doctrine.” He was the fourth of the seven Virginian Presidents, and left William and Mary College, when only eighteen, as a lieutenant in Hugh Mercer’s regiment, to join Washington’s army. He served throughout the Revolutionary War, having been wounded at Trenton, and was present at Monmouth, Brandywine, and Germantown. In 1782 he took his seat in the Assembly of Virginia, and later was a delegate to Congress. Monroe took an active part in the controversy relative to the settlement of the Northwest Territory, which was quieted only by the Ordinance of 1787; and although he had a hand in originating the convention to frame a constitution for the General Government, he was not a member of it, and opposed the ratification of its work.
He was elected to the Senate of the United States in 1790, and held the office until he was sent as minister to France, four years later. He was a bitter anti-Federalist and opponent of the administration of Washington, so that his appointment to France came as a great surprise; and his action in recognizing the Republic, was an even greater surprise to his home government. For this he was reprimanded, and on his return published a defence of his conduct. He was Governor of Virginia, from 1797 to 1802, and returned to France as special envoy to negotiate with Napoleon the purchase ofLouisiana. He was again Governor of Virginia, but resigned to accept the portfolio of state in Madison’s cabinet, which was the stepping-stone to the succession in the Presidency. This high office he held for two terms, and for the last term there was only one electoral vote cast against him. It was in the second year of his second term, 1823, that he enunciated the famous Monroe Doctrine of “Hands off!” contained in two brief paragraphs in his annual message, which doctrine is logically nullified by the present foreign policy of the country.
Monroe’s administration has been designated “the Era of Good Feeling,” and he should always be remembered as an upright and honest politician. As is too often the case with men who give their best years to the public service, his latter days were burdened by intense poverty, and he died in New York, July 4, 1831, almost in want.
In person Monroe was tall, well formed, and with a fair complexion and blue eyes. The well-known portraits of him, by Stuart and by Vanderlyn, tail to bestow any signs of recognition upon Browere’s death mask; but it is true these two portraits were painted a score and more years before Monroe’s death. While, as has been said, it is far more life-like than many life casts, its reproduction only serves to emphasize my views as to the little value of death masks as portraits.
Since this chapter went to press there has been published Roland’s “Life of Charles Carroll of Carrollton,” and upon page 342, of Volume II, there appears the following letter from Charles Carroll, upon his bust, by Browere, which is too important not to be given a place here:
Doughoregan Manor, July 29, 1826.Sir:Mr. Browere has produced and read to me several letters from sundry most respectable personages; on their recommendation and at his request I sat to him to take my bust. He has taken it, and in my opinion and that of my family, and of all who have seen it, the resemblance is most striking. The operation from its commencement to its completion was performed in two hours, with very little inconvenience and no pain to myself. This bust Mr. Browere contemplates placing, with many others, in a national gallery of busts. That hisefforts may be crowned with success is my earnest wish. That his talents and genius deserve it I have no hesitation in pronouncing. I remain, with great respect, Sir, your most humble servantCh. Carroll of Carrollton.To Archibald Robertson, Esq.
Doughoregan Manor, July 29, 1826.
Sir:
Mr. Browere has produced and read to me several letters from sundry most respectable personages; on their recommendation and at his request I sat to him to take my bust. He has taken it, and in my opinion and that of my family, and of all who have seen it, the resemblance is most striking. The operation from its commencement to its completion was performed in two hours, with very little inconvenience and no pain to myself. This bust Mr. Browere contemplates placing, with many others, in a national gallery of busts. That hisefforts may be crowned with success is my earnest wish. That his talents and genius deserve it I have no hesitation in pronouncing. I remain, with great respect, Sir, your most humble servant
Ch. Carroll of Carrollton.
To Archibald Robertson, Esq.
In “Niles’s Register” for August 12, 1826, (Volume XXX, page 411,) is given an account of this bust and its public exhibition at the Exchange in Baltimore.
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