The
The Joseph Downs Collection of Manuscripts and
Printed Ephemera
Henry Francis du Pont Winterthur
Museum, Winterthur, DE 19735
302-888-4600 or 800-448-3883
OVERVIEW OF
THE COLLECTION
Creator: Cogdell, John S. (John
Stevens) 1778-1847
Title: Diaries and letters books
Dates: 1808-1841
Call No.:
Acc. No.: 64x8.1-.6
Quantity: 6 volumes
Location: 15 K 4
BIOGRAPHICAL
STATEMENT
Known during his lifetime as a painter and sculptor,
John S. Cogdell was a lawyer by profession.
Born near
Throughout his career, Cogdell managed to find time
to be active in painting and modeling with clay. He made frequent trips to
SCOPE AND
CONTENT
The collection
consists of six volumes that document Cogdell's travels and artistic endeavors
in 1808, 1816, 1825, and from 1829 to 1841.
The first volume opens with Cogdell's expenses for a trip from
The second volume is a letterbook containing a
series of letters addressed to "Dear Friend" that describe a trip to
The third volume is also from 1816 and was also kept
in the form of letters to a friend. In
it, Cogdell describes a trip up the
The next volume begins in 1825 with another trip
north from
The final two volumes (1829-1841) are labeled
"Modelling and Sculpture" and contain long descriptions of Cogdell's
methods of modeling, sculpting, and painting.
The first opens with correspondence relating to the creation of a bust
to memorialize the recently deceased bishop Right Reverend Theodore Dehon and
its success with the public. Other
correspondence pertains to sculptures and paintings commissioned and advice
from Washington Allston. Drawings of sculpting
instruments are also featured.
ORGANIZATION
The volumes are in chronological order.
LANGUAGE OF
MATERIALS
The materials are in English.
RESTRICTIONS
ON ACCESS
Collection is open to the public. Copyright restrictions may apply.
PROVENANCE
Purchased from Robert L. Simms.
ACCESS POINTS
People:
Adams, John, 1735-1826.
Adams, John
Quincy, 1767-1848.
Birch, William
Russell, 1755-1834.
Mason, Jonathan,
Jr., 1795-1884.
Peale, Charles
Willson, 1741-1827.
Stuart, Gilbert,
1755-1828.
Sully, Thomas, 1783-1872.
Trumbull, John, 1756-1843.
West, Benjamin, 1772-1848.
Topics:
Art criticism.
Artists - Diaries.
Artists' tools.
Artists' materials - Formulae.
Artists, American.
Artists –
Busts.
Sculpture, American -
Modeling.
Models (Clay, plaster, etc.)
Painting, American -
Diaries.
Sketchbooks.
Correspondence.
Letterbooks.
Artists.
Sculptors.
Travelers.
DETAILED
DESCRIPTION OF THE COLLECTION
Location: 15 K
4
64x8.1 Diary of trip to
(typescript of diary available
at this repository)
64x8.2 Volume of letters to a friend about
a trip to
(partial typescript of
volume is appended to this finding aid)
64x8.3 Volume of letters to a friend about
a trip taken in 1816: up the Hudson River, on to Lake George, to Boston, New
Haven, Trenton, Baltimore, and ending in Raleigh, North Carolina; includes many
sketches of scenery along the Hudson.
Part of diary written in pencil.
Name John S. Cogdell is stamped in gilt on front cover.
(partial transcription of
diary, including passages dealing with Gilbert Stuart, is appended to this
finding aid)
64x8.4 Diary of a trip to
(partial transcription
of diary, including passages dealing with Gilbert Stuart, is appended to this
finding aid)
64x8.5 Volume labeled “Modelling &
Sculpture” (spine label), includes notes on those subjects, plus copies of
letters written by Cogdell, 1829-1833.
Some pages are loose.
Front cover of volume stamped
with Cogdell’s name and the date 1829; inside the front cover is found a small
label for John C. Walker, Jr., stationer and book binder in
64x8.6 Volume labeled “Modelling &
Sculpture” (spine label), mostly copies of letters written by Cogdell,
1833-1841, but also with some notes.
Many pages are loose. Front cover stamped with Cogdell’s name and the
date 1834.
acc. 64x8.2-4: partial transcription of these
three volumes (two volumes of letters to a friend and one volume of a diary) describing trips to
Note:
page numbers have been added to the original volumes, written in pencil at
bottom of odd numbered pages. For the
most part, punctuation in transcription follows the original, but some has been
added to facilitate reading.
Acc. 64x8.2
[mid-July? Difficult to read]
[p.8. begins on eleventh line
down]
We were attended by Mr. D [later
in the passage, Mr. Dallas or Dulles is mentioned] to visit the Room of Mr.
Sully—however in going thro’ the State House yard—we discovered it was near 2
o’clock - & Mr. D & Mrs. C. walked on while I delivered a letter from
Mr. Middleton Smith to his brother Mr. Sully. He did not at first remember me
but as soon as I spoke he gave me – such evidences of a positive[?] nobleness of
heart as gratified me extremely. He pressed me to go in & stay to dinner,
but I then excused myself and I left him.
[p. 11: Talks a lot about the
Peale museum, difficult to read.]
[p. 17]
Mr.
Sully’s Room
Mr. Sully at this time
occupies a house opposite the library belonging to the public & situated
near the State House—for which he at present pays an easy rent. This however is
threatened to be increased. Sully is our artist of great promise[,] in fact at
the head of the Arts here & I think next to Stewart [i.e. Gilbert Stuart].
He is a man of great application devoted to his art—and to his family—very
numerous. His style of colouring is of the first order bold and
transparent—faithfully painted in all his pictures of consequence & the
manner—discovers much [illegible] & Labor—and his last picture is an
improvement [p.18] on that which had gone before his Room in which are
exhibited his pictures free of charge has an eastern light interposed[?] in a
frame & linen or thin canvas which makes the light tolerable. The shape of
the Room is octagon. In this room are seen Sully’s fine portrait of Col.
Williams late commander & Director at West Point—the posture[?] sitting
right and resting, On a Table with papers[?], Hat & Sword—this is as great
a resemblance as I have ever seen on canvas--& the best painting I have as
yet met with of Sully—the Portrait full-length of Capt. Stewart is also
admirably executed—resting his hand on a map the left holding his sword by his
side—the attitude…
[p.19: more description of
several portraits, then discussion of Sully’s painting methods—preparation of
canvas, ground, coloring, sketching preferences prior to painting, washing of
brushes, etc.]
[p.22, about half way down
the page]
I have borne in mind your
penchant for the Arts & therefore apology at writing you so much & so
minutely may be dispensed with. — This Gentleman has seven children of his own
& there are three or four of his Brothers—so that his family calls for that
constant & unceasing attention to his art—which fortunately is the result
of a growing [p.23] appetite—for what his mind feeds on—his ambition never
leads to wealth, but to fame & the comfort for his family—this is truly
laudable. Yr. friend.---
Dear friend,
The
Considering the great Wealth
of the City of
[Lots more description of
Allston’s Dead Man Revived—several pages, then brief mention of West’s King
Lear & Ophelia [p.28], and discussion of Sully’s Portrait of Cooke as
Richard III, which [p.29] “claims as much of admiration as any painting in the
Room. The head –expression of face, attitude—character & the style of
coloring—all give this artist great claim to the public approbation &
support; our country should be proud he is Located in
[p.31 – not quite halfway
down page] “As you leave this room to
return to that in which is seen the statuary, you have a fine view of Mr.
Morse’s –Dying Hercules from the poisoned Mantle. This is the production of a
Very young Gentleman of Boston—a son of the Rev. Dr. Morse—his model in plaster
gained in England the prize— & indeed it was justly entitled to it, &
had his painting been equal to the model—this would have gained as certainly
the prize also the Body is thrown on its back….”
[more detailed description of
Hercules, then mention of other statuary. Next letter talks about visiting a
ship, lots of detail, industry, development of the steam engine as an example
of American industry and national spirit.)
[p.40] “The Steam Engine is the best proof of this
position--& the wonderful improvements daily making in all Labor saving
Machinery give the most infallible proofs—how truly great are the resources of
genious [sic, i.e. genius] —Industry & National spirit in our Country. I know your soul glows at these
reflections—with a warmth truly patriotic. I would to Heaven all who lay claim
to the American Character so loved his Country—the Governments of Europe would treat
with more sincere respect & more hesitatingly wound us—then instead [or indeed] a proper spirit would prevail
& our Country from Maine to Mississippi be united as but one family. Adieu,
Your friend.”
(Next letter describes a
steam boat, ride, route, details, etc. from Phila to
(Many pages later, back to
Phila again, discussion of visit to
[p. 79, about a third of the
way down the page]
There is at this moment
preparing a building on one side of the large Establishment on the main street
and nearly in the Street—after a plan of Mr. West for the reception of his
celebrated picture of Christ healing the Sick, a liberal gift by this great Man
the
There are public
Institutions—for the reception of orphans & for the poor. It cannot be
however necessary for public schools tho’ I heard there are free schools &
I presume under the protection of the Legislature. Each sect [p.81] [page torn – word of may be missing] Worship in Phila vies
with the others in the improvement of the mind & morals of their children or
those of their poor[.] how honorable is
this how glorious a theme for the Historian how bright a Laurel in the
imperishable wreath which adorns the Constitution of our beloved Country. The
bridges of this place are works of Public Interest--and certainly should[?]
realize every hope - they are works of considerable Art—beautiful and adorn the
City & are indispensable utility—the fare is very moderate. ….
64x8.3
[p. 3]
Dear Friend,
Col. Trumbull
This worthy man & most
excellent artist I have not yet seen—tho I once called with Genl. Swift—one of
his particular friends. [description of how Turnbull had been away, renting out
farm land to tenants,] … a more profitable plan in this Country of spending
time. The Arts altho’ better encouraged
compared with any other City in the Union do not still obtain that generous and
signified attention they deserve or could receive here were the citizens well
disposed.
If taste grew with wealth
than might the Arts flourish in any City—but alas! The reverse is within the
observation of those even who feel no solicitude or concern for the fate of the
Arts or Sciences. Go seek the House[?] of the Painter who knows not the Luxury
of the loaded [p.4] table of the Rich,
who scarce enjoy the common comforts of life - & these you see in his
selection[?] the true flame of genious [sic, i.e. genius] and of real taste….
[More about poor appreciating things more than the idle rich. Talks about how
I entered and placed myself
in the Room below—where the originals of the
[p. 8 – about a quarter of
the way down the page:]
The much spoken of Painting
representing the Congress Hall & the Committee reporting the Declaration of
Independence was the next object of my attention & certainly nothing could
be more finely grouped[.] The object of
the Artist is to give strong likenesses of each character—in that assembly this
he has done in a wonderfully fine manner—I recognized even at this day the
likeness of Mr. Jefferson very strong, Gov. Edw. Rutledge & some others.
These heads are painted in miniature size- and Col. Trumbull’s peculiarly happy
manner [p.9] of doing these small heads--with heads on this scale he has indeed
been very fortunate—I believe I hope the Col. contemplates interesting Congress
on this subject[.] What subject should
more promptly animate them to the Encouragement of Native Genious [i.e. Genius] thro’ national subjects—what
more interesting to the nation than the Declaration of Independence. What
crisis in our History so pregnant with importance—admiration—wonder—doubt—exultation
and zeal. I would feel more proud in giving
my voice for the Execution of this design upon a proper scale for
[The passages from pages 87-119 deal with Gilbert Stuart and were
transcribed by a different researcher from those passages above. Note that Cogdell persistently spelled Stuart as Stewart.]
[p. 87-94]
[Sunday, September 8, 1816: wrote that he arrived late last night in
Boston—mentions portraits of Stewart and Jarvis towards the end of this entry
which is in letter form, but I cannot make out the context even with a
magnifying glass because the pencil is so faint; the next entry is in ink.]
[p.95]
Stewart the great artist
Dr Friend
The truly great and justly celebrated Mr Gilbert Stewart I
have at length been introduced to by
letters from his Daughter Mrs Stebbins now of N. York. —Mr Stewart is now an
old man, more so from want of that attention to his living which has
characterised [sic] the life of his
master Mr West -this makes him appear more advanced & perhaps may give the tremor to the hand which—begins to shew
itself—Mr Stewart is a man of middle stature—thick
set—& has had one of the best Constitutions—his Eye is one of the most intelligent
& searching – nose aquiline, mouth always pleasant—ready for a smile or for
the pleasant conversation with which he
constantly entertains his friend or his sitter -he takes snuff—rather too
frequently & in large quantities -when painting -he answers & laughs
with the company as tho he were over a bottle of wine[.] Tis by this mode he succeeds so happily in striking the true character of his sitters—he
made some
[p. 96]
remarks to me respecting his Art, all with a View to give me as many
hints as he could in the very limited time we had to be together—he
recommended me to exercise with chalk on canvas drawing the bones placed in every
direction & view—the muscles & as they are drawn write their
names on them respectively—disregarding shadow[.] As to shadow or the true appearance of
objects—his remarks were made on the billiard ball— chosen for the simplicity of its form & colour—the
three principles are light, shadow & reflection & these cause the round
appearance & these principles are to be constantly in mind when drawing and painting the human head. & the
human form, fingers & so forth— required more of study than any
other created thing because they presented- more variety in arms, fingers, legs & toes—all by different
movements giving so many evidences of mind and intelligence. I fortunately procured his consent to see him
paint but did not arrive time enough to see
him commence from the chalk I saw him a little more advanced—still however
nothing
[p.97]
defined—mere blocking out the head & feeling for the general
character of the features— with coarse touches forming angles[.] With rather a blunt small brush he forms his
head by
this brush—not depending at any time in any picture on outline— his lines are
made out
by his effort to come at the masses of light & shadow—he does not confine
himself to painting his heads from the forehead down—but just as it happens
& occurs to him—a favorable
touch can be made[.] His manner of
laying on his colour can not I think be described
& I fear cannot be imitated or the Gentlemen of the Art—Sully—Otis—Jarvis—Waldo & others— who have had the best
opportunity might have obtained the Art[.]
Tis peculiar to Stewart—& he
calls it playing with one tint over the other—his every touch with the brush tells & seems as placed where
only it should have been laid—he does not paint very fast but then this
certainty of touch executes faster— than any other I know. I saw him at work in a very low stool & upright
easel the light directly (almost) behind him about 5 feet from
the floor he sat about 3 feet from the window
[p.98 – in
pencil]
the sitter in a chair raised on a box—about twelve inches high; and near to him on his right or left as the case required say about 5 feet distant— that is the head of the sitter—Mr
Stewart however told me if he could have a
Room to his own desire[?
design?] his light should be [illegible] & be given 8 feet from the floor—that he
would sit 8 feet from the windows & his sitter 8 feet from him. I saw him
prepare his palette for the face of a young Lady — white & yellow ochre: made the brightest
light— a scarf on her fore head rose & white & vermillion the
tint[?] where the scarf was not thick yellow ochre white & vermillion the tint[?] where the scarf was thick vermillion
& white— for the higher tones of flesh on the cheeks & lips vermillion & lake—for deeper
tones under nostrils & lips & [illegible] - black & vermillion his deepest shade & warmth— for eyebrows and eyelids
nostrils & dark tones in the face this[?] gradualed[?] with the other tints made all his pearl[?]
tints. The
[p. 99]
tis evident in every head the oil to grind
with or mix up very pure linseed
[illegible] with a mixture of boiled oil & mastic varnish which looks like magilp[?] & is a jelly. His dark colours he grinds up with sugar of
lead. He glazes the dark tints with asphaltum.
What the motive or the cause producing it I cannot say but I saw no finished pictures
in
said to be more industrious now than he had been some time since. The day I called on him —by 11 Oclock he had
dead coloured two heads (Ladies). He was
once very capricious— bending[?] to no one nor to the wants of his family[?] - tis singular he is
poor & yet possesses a [illegible] a
Talent, such great powers. His ordinary movement is slow &
[illegible] as tho’ very little bodily
exercise fatigued him— his face particularly sometimes with his nose shows of
the snuff he uses in such plenty his dress is not the most neat but why do I mention these little things— shall they be taken
by the man of Liberal Taste [illegible]
[p. 100]
as feathers in the opposite scale to his great excellence & Talents. No. Tell me the man of true greatness who is totally free from peculiarity[.] No one exists—it seems new[?] that
peculiarities
are the inescapable attendants on real and distinguished talents
[p. 101 – starts on third line down]
Mr Stewart
told me the following anecdote of Mr. West in order to convince me how much I should depend on nature & practice: he
had painted an excellent head of Mr West which gained him great honour.
When the students were assembled to attend the usual exercises Mr West made his
appearance & said to Mr Stewart you have done yourself great credit in the painting of that head—it
proves so much talent that I think you may now be entrusted with the great
secret, I think you are discreet enough not to abuse it[.] The young men got around, anxious to
hear the great secret which in a few words could be imparted - when Mr West
with great gravity told him to get another canvas & see if he could not paint a better head. In this was contained the great
secret—practice makes perfect— &
nature shd [should] always be the great mistress—follow her alone & never
be found in the haven[?] of any one else. Tis then is the great secret in almost all
pursuits particularly in all pursuits when
the genious [i.e. genius] is to be
relied on. - I found Mr.
[p. 102]
Stewart
very friendly and communicative he imparted all he could in the time I spent with him, & with all the good will
imaginable—there was no fear of embarrassment in looking over him, as to
describing to me however the manner in which he laid on his colours & effected so much—this he said was
impossible the Eloquence of Cicero would not enable him to do it—nor would I
gain or retain anything from seeing him—for nature was so very capricious—he was obliged to catch her as
he cd [could] & therefore any fixed established mode was not in his power—the first sitting did little more
than block out the head & show
something of the face—that is the eye brows nose mouth & ear, the broad lights
& shadows and as he finishes he fixes the attention by conversation as to
find the true natural expression—then as
quick as possible the striking points of the face circle of the nostril- curve or angle of the lines of the
Eyes—the curve of the lips the corner of the mouth, the dimple in the
chin the speaking [illegible] of the Eye & the
[p.103]
bewitching
curl of the locks, the person & Dress with the great man are minor points really for he seldom puts a Body to
his head[.]
I saw with
great delight his painting of
[p.104 – picks up on seventh line down]
This great master Stewart [illegible] as he is still retains his keenness for punctuality and
orders respect to himself & his time—if a sitter does not attend at
the hour—he will not receive
him when they do attend.
Who now
shall presume to turn from the instructions of this master? none - & yet he
is so humble in his manner so perfectly the Gentleman, in his conversation so
fine I had every opportunity of judging and would suppose he knew nothing of the art—I was really sorry my friend
my money & my time are so scant I am not able to spend some weeks here in Mr Stewarts society - I am sorry I
had not a better opportunity of making myself known
[p. 105]
to him. - I think we wd [would] have been near friends—he would have
tried my sincerity—my candour & would have found out my humility - these
wd [would] have been rewarded I know by his communicative genius he certainly is a great man.
Monday 15th 1816
[At Harvard with Mr. Coolidge looking at portraits, including Savage's
[p. 106 – about halfway down page]
...The finest head I have seen of Stewarts for some time is that of Mr.
Ames in this Room: Washington & Adams – copies - painted by Savage....
[p. 110 - sketch of Stuart's portrait of Dr. Kirkland along with a
description]
...all in Stewart's finest style—this reminds me that I went this morng
[morning] with Mr Coolidge to Mr Newtons Room in
[p.111]
enough to see any paintings of this great master. - Tis said the young
gentleman possesses considerable talent [continues with his opinion of G.S.
Newton]
[p.102 – towards
bottom]
Roxbury
Dorchester &
18 Sept 1816
[describes visit to Masonic Lodge in
[p.115 – bottom of page]
I stopped
at Mr Stewarts by his request - when I perceived
[p.116]
the old
gentleman had conceived a friendship for
me—he was kind in his remarks and gave me some new hints in the art which if I
return will certainly be useful—Mr Stewart told me that he when younger
used to play pretty much on the piano or harpsichord that he had formed in his
mind a plan of associating sound & painting he took C as the centre of the
Instrument as sound. There are
8 sounds & no more so there are but 8 colours for these he took the prism hues.
C Sound: Red colour & use the order they were associated
C D E F G A B C
Red orange yellow green blue purple crimson red
So that C
above was but a lighter shade of red as the sound was familiar and C octave below would be a deeper red, a red more in shade as
the tone would be lower —that as the notes
would be arranged so the several tints wd [would] also harmonize—with his skill
in the [illegible words] of the
theory perhaps much might be made of the Idea-as he gave it you have it & with your
[p.117]
ready
genius I doubt not you will like Mr Stewart make a valuable result from this apparently simple theory.
His lecture upon the hand shewed me what I had received since or studied before— the human hand
is really simple when well understood -and when duly imitated always graceful he strongly recommended all study from
nature. -So sensible is this great
artist and so perfectly agreeable to those whom he so that you are won insensibly to him in the moment when he expresses
the pleasures of his [illegible] &
in his most pleasant & kindest
manner - he seated in the sitters chair - while I at one moment on his painting
stool below him examining a nearly done head at another laying on the floor
examining [illegible] the play of the brush [illegible] I asked if he
concurred with those who thought[?] [illegible] to interest him [illegible lines]
[p.118]
[illegible
words]
I told him
it was such a generous reward for his friendship but surely a mark of respect
for his superior talent & facility of expressing himself well—he said he had acquired a habit of saying much in a few
words and this perhaps had attracted
the notice of those to whom he had written[?] but this exposure had disgusted him!
-but he added a letter from me would be well rec'd I give him great pleasure
& to see me again if I did not leave
64x8.4
[p. 2: sketch of religious
history painting, appears to be Benjamin West’s “Christ Healing the Sick in the
[p.8]
Friday 16 Sept. 1825
After a delightful ride in a most delightful day we arrived here from
[Description of events of
next few days includes comments on bad weather, social visits, church going,
visit to prison, discussion of poor & indigent, and visit to new hospital.]
[p. 12]
Monday 19 Sept 1825
[p.14, fifth line down]
In going out with Mr Parker I called to see Stewart [i.e. Stuart] —&
I put a letter in his hand to prepare him for meetings with him. He came forth better looking than I had any
idea of considering
ye [the] reports about his life—why sir I would not have known you again but
for your
Eyes—I then took off my hat ah! sir now you stand before me, but / placing his
fingers to
his cheeks "Sir John, thats all-you have grown so fat & look younger,
I asked when I could see him
alone—"every afternoon & be happy to see you always. [p.15]
I saw Alston with W. [or Mr.] P.
Parker just at the moment when he was having his stable in which he is painting
his pictures—he rec'd my hand with
great warmth.
Tuesday 20th Sept. 1825
[p. 16]
[mentions Francis Alexander charges $40 a portrait; picks up at bottom
of page]
On returning home with
Dr. Jarvis I met Mr Stewart at his door
[p. 17]
took him by the
art & walked as far as Change &
promised to be with him in the afternoon….
[p.19]
Wednesday 21st Sept. 1825
[p. 21, about ¾ way down page]
Mr Alston conducted us to the House of Mr Sears where we saw his Merriam [i.e. Miriam,
sister of Moses] -in the act of singing a song of triumph....
[p. 25, about ¾ way down page]
We spent the evening very delightfully at Mrs. Parkers only a friend or two present Mr.
Alexander the Artist.
I saw Stewart this
afternoon but for a moment - am to see him tomorrow afternoon.
[p.19] 21st. meeting with Washington Allston,
description of his collection (& sketches of some paintings), & visits
to some private collections (with Mrs. Parker).
[p. 26] Thursday 22d Sept.
1825
[describes day in the
countryside with Mr. & Mrs. Parker, then visit to Stuart’s again. Includes a
sketch of painting of a man and a scribe (probably “Jeremiah Dictating his
Prophecy… to Baruch the Scribe”) by Allston.]
[p. 27, sixth line
down]
This afternoon was
spent on a visit to the Female Asylum & Mr. Stewarts….
[picks up towards bottom of the page 27]
I saw Stewarts room for the first time this afternoon
[p. 28]
& I am as much nay more delighted with his work now than before-& his touch is so fine
delicate & natural that I am more
enraptured with his work than I ever was before. [several illegible words] calls in the afternoon just to see his pictures
in their unfinished state. The old
Gentleman does not paint as fast as his wants[?] requires—he is very fond of conversation has a peculiar facility &
felicity of expression his
selection of expression & his aptitude in applying similes, that he will open a Volume to your understanding when he wd
would] explain much-he speaks mostly[?] of the Anecdotes[?] of England when he was [p.29] there—his society is much
courted by a few who thank Heaven for the sake of the arts—are kind to him—his
daughter called one of his Visitors—her
We spent this
Evening by invitation at Mr & Mrs Sears a pretty large party...
[p.31]
Friday
morning 23d
[p.33]
We returned to the
City & drank tea with Mr & Mrs Dwight & while there Alston [i.e.
Allston] & Mason [Jonathan Mason, Jr.] called
to see me; by appointment Mr Alston was in a very pleasant humor for Mason is
very deaf but apparently a very pleasant young man he has been two years in London
pursuing his studies as an artist, they prevailed on me to remain on Monday to see Dowse's Collection &
Many of the paintings in this city & I was gratified.
Saturday
24 Sept. 1825
[describes visit to Athenaeum]
“…where we saw some splendid works & Ceres[?] giving the heads of many of
Bonapartes family [p.34] & those of the present King of France—there is a
painting by Murillo. - Rebecca at the Well—also a copy by Leslie[?] of Mr. Lawrence’s
pictures of Mr. West, a number of books and very superb engravings.
I went with Mr Mason to his room but he wants a vast deal of practice & more of the study of flesh and
drawing ere he will do[?] to cope with artists already well established....
[p. 35, under
sketch, which is faint and difficult to see]
I went this day to
Stewarts at his offering to be[?] to him [illegible words] to visit
[p. 37]
Monday 26
Sept. 1825
[p. 38]
I then accompanied
young Mr Mason to see the paintings in his
[picks up a bit more than halfway down page]
We then returned to the City & visited the House of Mr Crufts to
see Stewarts heads of the new
President Adams & that of his venerable
[p. 39]
the head retains its size and its clearness and floridness. Mr Mason who took me out today to see the aforesaid paintings is a son
of Mr Jn. Mason of this City, he has been 2
years in London to study his art—his determinations are to practice in the taking
of Portraits-so as to be enabled to get along without depending on his
[p. 39-40: Tuesday 27th - visits with Allston]
[p. 41]
Wednesday
28 Sept. 1825
This day was pretty much
spent in viewing paintings in company with Mr. Alexander.” [Sees Frothingham's portrait of Gov. Brooks in
[p. 42] Thursday 29 Sept.
“This has indeed been a day of Interest—first Mr. Alexander called to show me
some paintings about the City—a painting—Portraits by Angelica Kauffman—an Infant
Christ. Painter not known but very beautifully done. Mr. Darby’s(? or
The
Mall was at this time filled with the Troops of the Brigade—it being a great
day in Boston—there was a good Camera Obscura on[?] the[?] ground[?] and I prevailed
on Mr. Alexander to go in with me & the beauty[?] & Novelty of the
Exhibition charmed him by new Ideas & facilities[?] [illegible] [p.44] [hard
to read, skipped most of this page, wrote about more visiting, picked up at
last paragraph] Mr. Alexander & Dr. Dixwell called—Dr. Dixwell wished me on
tomorrow to go and see the Grand Lodge Room & obtained also permission for
us to see the original [p. 45] Capuchin Chapel by Granet belonging to Mr.
Wiggins----
Mr. Alston came as he had
promised—as usual his conversation was very interesting—we conversed a little
on colour –he says he paints now boldly(?) not as before—glazing in all his
Pictures—but boldly I think & glazes afterward as he wishes it. For want of
a Private Room I have lost a vast deal of this gentleman’s delightful society
and instruction….
[p. 47] Friday 30 Sept. 1825
This morng [morning] after breakfast we all visited
We then visited Mr. Browns Academy for Young Ladies [p.48] and
Gentlemen in
The Ladies went to ride… [more
visiting, some areas hard to read, another visit with Stuart]
[p.49; transcription starts on sixth line down]
In the eveng. [evening] I visited Mr Stewart in company with Mr Alexander &
there we found him in the very best of humors—& sat with us for one hour at
least full of spirits & anecdotes—he requested me to see him on Sunday
at 12 o’clock after service at my church to join him he said at his [illegible]
own
house[?], -
He sd [said] he could not promise me to paint his own likeness &
Alstons but he wd [would] if he could.
[p. 50]
Saturday
1st Oct. 1825
This morng [morning] Mr. John Parker Senr. called in
his Chair to take me out to
[p.51] He introduced me to
his father –after asking me if I should like to see his father.—
The old Gentleman was seated
in his Easy Chair in his Chamber--with his cane near him- dressed in black
except his Coat & that was a Dove colored silk morning gown lined with a
lighter colored stuff.—His hands have a tremulous motion constantly. He is
cheerful[.] Professor Everett, Mr.
Webster & Mr. Perkins were in the Room. They jested[?] with the old
Gentleman –about [p. 52] some writer who wrote on the Am. Corres.[?] in
We
returned to the City for dinner—
This
morning had been appointed to see Mr. Wiggins’ Capuchin Chapel—but Mr. W
ultimately declined saying the Room was just painted & the Picture was
still in the Case.
[p. 56]
Wednesday morning 5 October
1825
Arrived in NY from N Haven
& spent all day in answering about 13 letters and in [passage is not
finished]
Thursday 6 Oct.
Engaged pretty much in same
way—spent the Evening at Mr. Warrens in a party given to Three Brides. They danced on the Carpets- more gentlemen
than Ladies.
Friday 7 Oct.1825.
All day indisposed.
Sat. 8 Oct.
….visited Penitentiary about
2 miles from
Sunday, 19th
Twice at Grace Church: heard
Rev. Wainwright in the morning & Rev. Lauer(?) in the afternoon—no
improvement in the latter.
Monday 11 [socializing—long
list of names at dinner party]
[p. 61]
Wednesday 13
Spent this morning at the
Asylum for Deaf & Dumb—I am not able in mere memoranda like these –to give
any idea of what I there saw or what I there enjoyed.
The time spent in the school
was too short to enable me to understand sufficiently –the mode by which the
very intelligent & [illegible] teacher interprets his intelligences but to
the higher class—he communicated by signs and spelling with his fingers—quicker
than we could by spelling the words –to the Eye & Ear of any one. [extended
description of various students, methods—several pages. This is fascinating!]
[p. 66]
Friday 15
Phila received us once more today
at about 10 o’clock a.m. [sees Sully, Nancy Fox]
Saturday 16
It had been my design to
leave Phila. for
The keeper complains of the
want of support.—
There has been presented to
the Academy a splendid Painting by Raeburn of ”Dugal[?] Stewart”—presented to
this Academy by Dr. Tidyman. I then got information from [p. 68] Mr. Vaughn
that Sully had made a copy for Dr. Tidyman as a present to the Academy at
Charleston & that it was boxed up [a sign meaning with?] some instructions to me. But in a few moments after, say
about ½ 11 o’clock I took the boat to
[p.70 - in
Monday 18 October 1825. An important day.
[Visiting in morning. Transcription picks up at bottom of
page.] I then with Mr. Tucker visited
the Capitol –‘tis the most [p.71] magnificent building since
We returned to visit Mr.
Audo[illegible] the Comp. of the Treasury & found him very agreeable &
cheerful –he took down my name to have it presented for reappointment at the
next session –when I returned down to Mr. Tucker’s office, he was engaged &
I therefore did not wait –for him to visit Mr. Clay.
[p.72]
Tuesday
This morning at 5 o’clock
while snow was falling we left
[p. 73]
Wednesday
… After breakfast visited the
Academy & Mr. West’s great Painting—the Academy has a pretty entrance. The
print[? The word might be first] room
is circular, lighted from above—the paintings are very well exhibited and the [p.
74] collection very neat. The large room
is still distinguished by Mr. Alston’s splendid picture which I found more to
be admired than 9 years ago.
[more description, similar to
that of previous trip. The transcription
picks up at the top of p.75.]
Mr. West’s painting Christ
Healing the Sick is placed in a building erected for it—in the lab[?] of the
Hospital –you enter—& a staircase ascends on either side and when on the
floor leads into the Room containing the great picture—you see two Paintings by
Sully—Mr. Coates on one side & Dr. Rush on the other—done with great taste.
The painting of Mr. West’s is lighted from above—but the Spectator does not see
the light.
The Subject is one of vast
and imposing grandeur –the Savior is the Chief object in the painting & yet
you are immediately drawn to the various miracles he is working upon the
Sick—the lame—the blind and the Maniac. [p. 76] The head of Christ is deficient in what I
expected & perhaps as it ought to be deficient in what each beholder might
expect. –‘tis a face no mortal has ever, or ever can portray. John’s head
expresses a perfect confidence in the power of the Savior to perform all asked
of him—James also looks at the female, who seems to ask- whether Jesus can heal
the maniac Boy –a satisfactory reply.—‘tis in the whole a great Picture-- in
its details it has many faults but where is the subject great as is this
Executed by the hand of 80 years- [p.
77] where the faults of his tremulous age may not be discovered. Mr. West was
assisted by the most learned among his friends in all the historic pictures
painted by him. He was most blessed with the best Education of his Art—so
engrossed his whole time & all his thoughts; that application to those
studies –which would have altered(?) his mind—with poetic—historic or general
learning –was not to be given to or spared upon them—he studied human nature
very much thro’ his Art –this study of Anatomy surely made him fear God and
reverence more devoutly all his works & hence the greater fondness for Religious
Subjects than any others. [p.78] All
shd. [should] behold this painting first because ‘tis the design &
Execution at best in all more important parts of the Painting of a great
Master [this added in pencil] & next because ‘twas intended as a Charity
from him to the Hospital.
Thursday –
Twas this day introduced to
Mr. C.B. Lawrence –Mr. Neagle, Mr. Thomas Doughty—Mr. Childs, Col.
[p.81]
Saturday
[did errands]… Also a letter
& 30 Dollars to pay for 2 landscapes to be painted by Mr. Thomas Doughty –
frames to be made by Earle. [p. 82] To send money from
Sunday
[detailed description of
Episcopalian church & service, led by Dr. Wilson]
[p.85]
Monday 24th Oct. 1825
This morning at 6 o’clock we
left Phila. to return to N.Y. in the day ….
[p.93]
Friday 4 Nov. 1825
A day of Splendid Events for
this City – [The completion of the Erie Canal was celebrated in
We left the dock at near 7
o’c having waited for a Band of Music, a dense fog being over the river. We had scarcely passed from 4 ships before
the fleet were observed—[2 pages of description of boats, decorations, people
etc.]
[p.95 – about two-thirds of
the way down the page] By this time the
land procession had commenced to form on the
[more description, ceremonies,
pomp etc.]
[p.97 – about halfway down
page] The Evening was [illegible] by a
display of Brilliant fireworks from the top of the City Hall—as well as from
[p.99]
Tuesday 8th Nov. 1825
Last night attended our friends
….Theatre….circus, [description of a dance].