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hood, 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 Virginia colonel in the colonial force of Great Britain, 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 Coliege, and was saved fortunately from the fire which a few years ago consumed Nassau Hall. Peale's last portrait of Washington, executed in 1783, he retained until his death, and two years since it was sold, with the rest of the collection known 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 German

town.*

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 tempera

*"The editor of the Cincinnati Enquirer was lately shown a pencil sketch of General Washington, taken from life by Charles Wilson Peale, in the year 1777. It was framed from part of the elm-tree then standing in front of Chew's house, on t'ie Germantown battle-ground, and the frame was made by a son of Dr. Craley, of revolutionary fame."

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ment, if not the highest capabilities of artistic genius. This was ROBERT EDGE PINE. He brought to America the earliest cast of the Venus 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 was favorably introduced into society in Philadelphia by his acknowledged sympathy for the American cause, and by a grand project such as was afterwards partially realized by Trumbull; that of a series of historical paintings, illustrative of the American Revolution, to embrace original portraits of the leaders, both civil and military, in that achievement, including the statesmen who were chiefly instrumental in framing the Constitution and organizing the government. 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 " distinguished heads," although, as in the case of Ceracchi, the epoch and country were unfavorable to his ambitious project; of these portraits the heads of General es,

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Charles Carroll, Baron Steuben, and Washington are the best known and most highly prized. Pine remained three weeks at Mount Vernon, and his portrait bequeathes some features with great accuracy ; artists find in it certain merits not discoverable 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 uninipressive, beside the more bold and glowing pencil of Stuart. It has repose and dignity. In his letter to Washington, asking his co-operation 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 have commenced his enterprise with sanguine hope of one day accomplishing his object, which, however, it was reserved for a native artist eventually to complete. That his appeal to Washington was not neglected, however, is evident 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 busivess as he pleases. He is now preparing material for historical representations of the most important events of the war. Pine's picture is in the possession of the Hopkinson family at Philadelphia. The fac-simile

* Sparks's Writings of Washington.

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of Washington's letter proves that it was taken in 1785. A large copy 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 profile likeness of Washington by SHARPLESS, is a valuable item of the legacy which Art has bequeathed of those noble and benign features ; he evidently 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 probably find it the most available side-view for physiognomical inference; it is remarkably adapted to the burin, and has been once, at least, adequately engraved ; it also has the melancholy attraction of being the last portrait of Washington taken from life.

One of Canova's fellow-workmen in the first years of his artistic life, was a melancholy enthusiast, whose thirst for the ideal was deepened by a morbid tenacity of purpose and sensitiveness 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 and tender sentiments by Foscolo's Letters of Jacopo Ortis. The political confusion that reigned in Europe for a time, seriously interfered with the pursuit of art; and this was doubtless a great motive with GIUSEPPE CERACCHI 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 newly organized government in its behalf. Washington, individually, favored his design, and the model of the proposed work received 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 foundation 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 achievement. Washington's native State voluntarily undertook the enterprise for which the general goverument, in its youth, was inadequate ; and it was 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 monum

ment, with Washington in a colossal equestrian statue as the centre, and the Virginia patriots and orators of the Revolution, grouped around his majestic figure.

Ceracchi, however, in aid of his elaborate

a

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