USA > Connecticut > New Haven County > New Haven > Historical sketches of New Haven > Part 7
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THOMAS MIFFLIN.
OLIVER ELLSWORTH.
In the Y'ale Art School.
Setting out on the famous frigate South Carolina, Commodore Gillon, August 12, Trumbull experienced adventures enough to fill a second Æneid. During the voyage of four months, they were tossed about from the Texel to the mouth of the Elbe, from the Orkneys to Spain, from the Bay of Biscay to Boston Harbor. Once Commodore Barney, who was returning from imprisonment in England, rushed on deck and saved them from imminent wreck ; and again, their last dollar was required to pay Spanish boatmen to overtake their retreating ship. Having escaped perils of fogs and gales, of loosened cannon, of lack of food, of British cruisers and Spanish detentions, of Cape Ann rocks, and of three days' Massachusetts snow-storms, the wanderer at last reached Lebanon alive, in January, 1782. It is not surprising that he was ill for months.
Nothing daunted his zeal for art ; and after recovery he had one more con- ference with his father on his life work. Painting won the day over law ; and, satisfying himself with the parting shot, "Connecticut is not Athens !" the old governor yielded. In December, 1783, John returned to London, and to West's studio. At this time Lawrence was often a fellow painter. This sojourn in
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John Trumbull, the Patriot Painter.
London was a very important one for Trumbull, for during it he really decided on his career as a historical painter. His first composition of that kind was done while visiting the Rev. Mr. Preston in Kent. It was on paper, in India ink,-"The Death of General Frazer." Both "Bunker's Hill " and the "Death of Montgomery " were painted in the studio of West, who urged him to devote himself to scenes of the American Revolution. It was then that Sir Joshua Reynolds, at a dinner given by West, admired the yet unfinished "Bunker's Hill," attributing it to the host and complimenting him on his improvement in color. It happened that some months before Trumbull had taken to Reynolds for advice some portraits of Colonel Wadsworth and his son, only to be snubbed
COLONEL JEREMIAH WADSWORTH AND HIS SON DANIEL. Painted in London by Trumbull.
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DANIEL WADSWORTH, Of Hartford. From the portrait by Trumbull.
by a snappish remark about "the coat looking like bent tin."* Sir Joshua's confusion on finding out who was being praised quite satisfied the young painter.
The best way of making these historical pictures pay was to seek sub- scribers for engravings of them; and the effort to procure the plates and the subscriptions involved much travel, delay, and expense. In the course of these journeys, the painter met both adventures and great men. A letter to Le Brun in Paris introduced him to the artistic world there, and notably to David and the English miniature painter, Cosway.
Jefferson was then in Paris as our minister to France. He was greatly inter- ested in the project of a revolutionary series, and invited Trumbull to visit him at his house, the Grille de Chaillot. Thus, with the advice and actually under
* The picture is now in the Wadsworth Atheneum, Hartford.
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John Trumbull, the Patriot Painter.
the roof of the writer of the immortal paper, the painting of the " Declaration of Independence " was begun. Trumbull took unbounded pains in making this a trustworthy memorial of the momentous scene, and years were spent in securing the portraits. Says he: "Mr. Hancock and Samuel Adams were painted in Boston ; Mr. Edward Rutledge, in Charleston, S. C .; Mr. Wythe, at Williamsburg, in Virginia ; Mr. Bartlett, at Exeter, in New Hampshire, etc." Of some of the signers, already dead, no portraits existed ; but no imaginary heads were introduced. What an achievement it was to fix on canvas the features and expression of forty-seven men who were in Congress assembled 011 that July day !
THE DECLARATION OF INDEPENDENCE. In the Rotunda of the Capitol, Washington.
When we enter that sacred room in old Independence Hall in Philadelphia, the present fades away; the assemblage conjured to life by Trumbull's wand rises as the reality. Every schoolboy knows it,-the colonial room, the dull red curtains, the flags taken at St. John's, the dignified dress and furniture, the groups of expectant members, the alert, attentive face of Hancock in the chair, the solemn hush over all, as the five men, grouped by the artist as they truly are in our thoughts, present the paper fraught with such consequences. There they are : John Adams in brown cloth, his broad, enlightened views showing plainly on his handsome face ; Roger Sherman, firm as a rock, with his tall form, and face full of common sense ; Livingston, looking at it as a wise business transaction ; the venerable Franklin, his eyes turned to heaven in philosophic contemplation of the results of their act ; in the middle, the fiery Jefferson, in plum-colored velvet coat, one step in advance, while presenting the document
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John Trumbull, the Patriot Painter.
for which his pen is responsible. You feel the silence which in one moment will be broken by irrevocable words; you know that soon one after another will come forward to sign away his safety with England,-that the Liberty Bell will peal forth above their leads,-that a nation will be born.
But it was long before Trumbull completed the work so auspiciously planned in company with Jefferson. In 1786, happy in the approbation given to his pictures in Paris, he left the brilliant society there, splendid even when within the shadow of coming events, and travelled to Stuttgart to attend to the engrav- ing of his two historical works. He had, as usual, a series of interesting experi-
THE SURRENDER OF CORNWALLIS.
In the Rotunda of the Capitol.
ences. He was alert for everything picturesque ; old castles and churches, peasant life, galleries and all. His pencil sketches made during the trip reflect the varied interest of what he saw. The Rhine smiled and frowned as is its wont ; and even now the painter's words sparkle with the fun of one day's voyage in a kind of row-boat, with a small mixed company of queerly assorted but really congenial people, who ate their cold chicken from pieces of paper, distributed the two wine glasses between the men and the women, and all chattered in their various lauguages. Then a fierce storm swept down on them, driving them to the bank and the shelter of osiers.
Through storm and sunshine, on her way home after two years in Lausanne, flits the lovely daughter of Gen. Gresnier de Breda with her pretty face and bewildering flutter of piquant headgear. The tale ends properly with a dinner invitation and addresses exchanged with the pretty girl's papa and mamma.
WASHINGTON. In the Vale Art School.
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John Trumbull, the Patriot Painter.
In London again, he gave careful study to the composition and preparation of those war scenes which were then his absorbing interest. Then he painted John Adams with "the powder combed out of his beautiful hair," and the "Sortie from Gibraltar," called by Horace Walpole "the finest picture he had seen painted north of the Alps." It made enough of a sensation to arouse the Marquis of Hastings to forbid British officers to patronize anything "done by a Trumbull." Trumbull refused six thousand dollars for it. The painting is now in the Boston Athenæum. It is not strange that one so constantly in the society of famous men in London and Paris should multiply the number of his portraits of American and English and French officers.
Trumbull witnessed the outbreak of the French Revolution in Paris in 1789, saw the Bastile fall, and attended Lafayette when he calmed a French mob. While they were breakfasting together, Lafayette spread before him the true object of his party, and uttered prophetic warnings as to the danger which would follow any ascendency of the Duke of Orleans-words printed on Trumbull's mind by succeeding events. Lafayette wrote to him in later years, expressing most lively appreciation of his works and asking him to paint the Battle of Mon- mouth, * as involving many portraits precious to himself.
The French Revolution in many ways was a decided blight to Trumbull's prosperity. Jefferson, still our minister in Paris, offered him the position of his private secretary. He declined this, as well as a mission to the Barbary States, mainly because he wished to devote himself to finishing his historical paintings and securing subscribers for engravings from them ; but he had the chagrin to find, on returning to the United States for that purpose, that the whole population was so absorbed in abusing or advocating the performances of the French as to leave small chance for interest in the portrayal of the struggle through which we had just passed. Still the subscription list was headed by the name of Washington (four copies), followed by Hamilton, Jay, Adams and all the leading men of the country.
When Jay went to England as envoy extraordinary to negotiate a treaty, Trumbull accepted an offer to be his secretary. After several busy months, the treaty was completed. Apparently, the memory which was strong at six, had not failed at thirty-eight ; for when Jay asked him to commit to memory, word by word, the whole treaty, in order to transmit it safely to Mr. Monroe in Paris, he did so.
Col. Trumbull had been arrested in London for high treason, and now found · himself under injurious suspicion in Paris. However, claiming immunity as an artist, he pursued his way to Stuttgart, to hasten the delayed engraving. But the way was beset by perils of contending armies ; and one night at Mühlhausen, he was barred from either bed or carriage by the presence of the French general who had his headquarters there. In the crowd he met the old general, who "looked at mne keenly and asked bluntly, 'Who are you-an Englishman ?' 'No, general, I am an American of the United States.' 'Ah ! do you know
* A painting of the Battle of Monmouth, by Trumbull, but not quite finished, is in the Young Men's Institute Library, in New Britain, Con1.
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John Trumbull, the Patriot Painter.
Connecticut ?' ' Yes, sire, it is my native state.' 'You know then, the good Governor Trumbull?' 'Yes, general, he is my father !' 'Oh, mon Dieu, que je suis charmé ! I am delighted to see a son of Governor Trumbull. Entrez, entrez,-you shall have supper, bed, everything in the house.' I soon learned that the old man had been in the legion of the Duke de Lauzun, who had been quartered in my native village during the winter which I passed in prison in London, and he had heard me much spoken of there. Of course I found myself in excellent quarters. The old general kept me up almost all night, inquiring of everything and everybody in America, especially of the people in Lebanon, and above all, the family of Huntington, with whom he had been quar- tered."
PRESIDENT DWIGHT. In the Y'ale Art School.
Again, in 1797, on Trum- bull's last visit to France, he was in still greater danger from the Terrorists. His favorite dress, gray cloth with black velvet cape, happened to be of the colors regarded by the revolutionists as a badge of hostility. He was suspected, watched, followed. With difficulty he procured a passport for a necessary trip to Stuttgart.
On his return to Paris the espionage was still closer, and he, in common with our envoys, felt that the worst might come at any moment. During his stay in America, Talleyrand had been treated with great hospitality by Trumbull's brother, then speaker of the house, as well as by King and Gore, friends of Trumbull ; but now he left his letter unanswered for weeks, and was unmoved by his appeals, even while inviting him to dine with Mme. de Staël and Lucien Bonaparte. At last, to his dismay, he found that his name was on the list of suspected. Was the guillotine to be the end ? Then, in despair, he bethought him of his former friend, the great painter, David.
David, who, although deeply infatuated by the carnage due to his party, could yet stop to do a friendly deed, greeted him cordially, told him to get the Bunker Hill picture, and to go with him to the police. What a change ! When he entered arm in arın with the "Citoyen " David, and bearing the memorial
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John Trumbull, the Patriot Painter.
of a fight for Freedom, the sneers of the Frenchmen became smiles, and the pass- port was readily given, with many apologies. We can understand how Trumbull lost no time in hastening from Paris, his route to Calais even then beset witlı adventures, and how he eagerly offered seventy guineas to be taken out to the Dover packet, then in the roads. Even when on English soil, he must have felt twice to be sure that his head was on his shoulders !
During this time, he had an opportunity to know Jay thorough- ly, and we can perceive that intimate knowl- edge in the portrait he has left of the stain- less judge. Various positions of trust were offered by govern- ment ; he accepted that of fiftlı commis- sioner on the board ap- pointed by the two nations to execute the seventh article in the " treaty of amity, com- merce and naviga- tion," just concluded. It was a position of great delicacy, involv- ing both impartiality and firm decision. He seems to have per- formed his duties ably and conscientiously. The other commis- sioners were John ALEXANDER HAMILTON. From the painting in the Essex Institute, Salem, Mass. Wickoff, John Anstey, Christopher Gore (his college friend) and William Pinckney. The work of the commission went on from 1796 to 1804. The report of the proceedings, sub- mitted to our government, perished in the flames of the war of 1812.
About 1800, Trumbull had married the beauty whose portrait is almost her only history. It has been said that "Her early name and lineage were never divulged." But we know that she was an English woman, Sarah, the daugliter of Sir John Hope ; and as we gaze on the exquisite portrait which is her hus- band's memorial of her in the Trumbull gallery, we feel that we do not need to know more. Daintiness is written all over her delicate features, her rose-leaf skin, her ruffles, her fluffy locks escaping from the coy cap, and that evanescent,
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John Trumbull, the Patriot Painter.
enchanting smile. Many stories are still told of her eccentricities, of her unfort- unate seasons of being overcome by something stronger than tea ; but Trum- bull's tribute was :-
"In April, 1824, I had the misfortune to lose my wife, who had been the faithful and beloved companion of all the vicissitudes of twenty-four years. She was the perfect personifi- cation of truth and sincerity,-wise to counsel, kind to console, by far the more important and better half of me, and with all, beautiful beyond the usual beauty of women."
After sixty-three days spent on the Atlantic, Trumbull landed once more in his own country. He found himself welcomed by his family and by the Cincinnati of New York, but under a political cloud as a Federalist and follower of Washington rather than of Jefferson. Shut out from painting in Boston by the fact that Stuart had just been invited to settle there, he selected New York for the practice of his profession. Then it was that he painted the portraits of Jay and Hamilton for the City Hall, and those of Stephen Van Rensselaer and the first President Dwight, now in the gallery of the Yale Art School. He met Hamilton and Burr at a dinner on the Fourth of July-the one brilliant, the other silent ; a few days later, the nation was in mourning over that fatal duel.
At various times Trumbull had tried business ventures, investing in valu- able paintings, or in wine and brandy, as opportunity offered ; but the winds and the waves were always destructive when his cargoes were on the sea.
London drew him once more across the water, in 1808 ; and the congenial atmosphere helped him to produce his best works there. The crudity of our own life then afforded little encouragement for the æsthetic. The war of 1812 prevented return from England, and involved him in debts which weighed him down for years. But after his return, in 1815, the cherished idea of a series of national pictures was presented to Congress, and was urged by Judge Nicholson and Mr. Timothy Pitkin. It met favor, and, in 1817, Congress formally com- missioned Trumbull to execute for the Capitol four commemorative paintings. He had hoped for eight ; but, in consultation with President Madison, who was empowered by Congress to assign the subjects, a satisfactory choice was made.
The Declaration, of course, stood foremost. The two surrenders of entire armies, Burgoyne's and Cornwallis's, extraordinary and momentous events, came next ; for the fourth, Trumbull suggested Washington resigning his commission, as of moral significance. After more than seven years these works were com- pleted and carefully placed in the Rotunda of the Capitol at Washington, where for generations the crowds of visitors have paused to gaze upon them. Trumbull had been collecting portraits for these works for years; he had studied the details of dress and weapons ; he had visited the scene of each event. He felt it to be the work of his life, and he spared no effort in the execution or in arrange- ments for the preservation of the pictures after they were placed on the wall.
In the two surrenders, the faces express most vividly the feelings of the hour. The Surrender of Cornwallis gave the painter more trouble in composition than any other ; for, as he says, the event was purely formal, and the landscape flat. But he had made the portraits of the French officers in Jefferson's Paris home, long ago, in 1786. He succeeded in grouping naturally the chiefs of the
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John Trumbull, the Patriot Painter.
three powers in the center. Irving and Trumbull, with pen and pencil, depict the scene alike : General Lincoln on his white horse, Rochambeau at the lead of the French troops, the British sullenly yielding to fate, Washington, in blue and buff, on his bay horse, in the calm dignity of success. If you go to that yet colonial city, Annapolis, they will show you with pride, in the fine old capitol, the room where Washington resigned his commission. You are allowed to stand on the "very spot " covered by Washington's feet then. All is carefully pre- served as Trumbull gave it, except the balcony, which the eye vainly seeks, expecting to behold Martha Washington and Eleanor Custis viewing the scene with eager attention.
Trumbull did not wish to " sink into premature imbecility" after finishing these works. Although then seventy-two, he began a series of small paintings of the striking events of the Revolution. Of these, in size between the Rotunda pictures and the originals in New Haven, the Hartford Atheneum possesses a num- ber-the Battles of Bunker Hill, Princeton, Trenton, Quebec, and the Declaration. The same gallery contains many other interesting pictures by Trumbull, and, particularly, one called his last portrait. It is a delightful specimen of his work, but sad to say, the name of the refined subject is lost. We know that he is an artist, by the book of sketches in his hand. Trumbull had a studio in New York at various places ; once, on Broadway, in a house afterward the Globe Hotel.
His merits as a painter are not due entirely to our imaginations investing him with a halo as a pioneer in art. War scenes and great people were Trumbull's subjects, and he felt the dignity of his profession. His portraits have the charm of vividness and expression of character. After a hundred years, the colors are still clear and harmonious ; and the painter seems to have struck a happy meal between the sallowness of Copley and the florid color of Stuart. We feel that we are looking at the real people when we see these faces, certainly one test of a good portrait.
Trumbull's works, although largely in New Haven, are scattered in differ- ent cities. New York has two in the Lenox Library and four in the City Hall- Jay, Hamilton, a full length of Washington with a background of Broadway in ruins and the British ships departing, and Gen. George Clinton with the British storming Fort Montgomery in the Highlands where he commanded. This background was considered his best by the artist. In the Historical Society's collection are six or seven portraits, among them good ones of the sturdy old divine, Dr. Smalley, of Asher B. Durand, as well as of Bryan Rossiter in mili- tary dress, and an excellent miniature of John Lawrance. The best of all his portraits is the very beautiful and well-preserved one of Hamilton, in the pos- session of the Metropolitan Museum.
At the National Museum, in Washington, are the portraits of President and Mrs. Washington, painted in 1794. In private families in Connecticut and Massachusetts, as well as in the Boston Athenæum and the Hartford Wadsworthi Atheneum, are other works. Norwich can boast of ten portraits and miniatures by him, almost a family gallery-the war governor, the father, Faith Trumbull, the mother, Sarah Hope, the wife, Faith Huntington, the sister of the painter,
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John Trumbull, the Patriot Painter.
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lost so early, among them. The four small historical paintings of Revolutionary scenes in the Yale gallery, which he did be- fore executing the large replicas in the Rotunda at Washington, are always regarded as far supe- rior to the latter in artistic merit.
Trumbull was deeply in- terested in the American Acad- emy of the Fine Arts, whichi was founded in 1812, in New York, with Edward Livingston as president and Peter Irving as secretary. Trumbull was the only artist on the board. Sometimes in a riding school in Greenwich street, near the Bat- tery, a very fashionable situa- tion, sometimes in the Custom House, and sometimes in the "old Almshouse," on the north side of the Park, fronting on Chambers street, it struggled to attract the public. In 1816, in the latter place, Trum- bull was president, and his pictures, now belonging to Yale, were there in one gal- lery.
Says Daniel Huntington : "Trumbull had a large studio at the building, and there the writer, when a child, saw him at work on his pictures, and can never forget his dignified appearance, his courte- ous manners of the old school."
The collection of casts owned by the Academy was rare and costly then, and students were restricted in using it to a few morning hours. On one eventful morning, two young men, Thomas S. Cummings, afterwards the historian of the National Academy of Design, and Frederick Styles Agate, were refused admittance by the janitor. Trumbull defended the janitor. A meeting of the disaffected was held in the rooms of S. F. B. Morse ; and, in 1825, the National Academy of Design was founded, with the purpose of securing greater freedom for practice. This revolt from oppression drew forth heavy newspaper can11011-
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John Trumbull, the Patriot Painter.
ading from both sides. All this hurt Trumbull, sensitive after the battering of life.
We hear of an evening when he walked into the room where the seceding students were at work, took the president's chair, and solemnly asked for signa- tures in the matriculation book. After waiting long, he liad to depart without the names. Yet we learn that these same students borrowed casts from the academy, so we infer that the hostility was not absolutely bloodthirsty.
Trumbull was never able to amass a fortune. War, which helped him to gain so rich an experience of the world, and was really the foundation of his fame, always blighted his finances. In 1837, he made an arrangement with the Corporation of Yale College, whereby the collection of his paintings, known as the Trumbull Gallery, became the property of the college, in return for an annu- ity of one thousand dollars, to be paid in quarterly instalments during his life. It was a bargain creditable and satisfactory to both parties concerned. The painter was happy in seeing his life work in tender, reverent hands, and in the knowledge that the revenue from admission was helping some needy student. From 1837 to 1841 he lived in New Haven, where he had friends, being con- nected by marriage with Professor Silliman, the elder.
Passing away in New York, his body was placed in a vault in New Haven prepared by himself on the Yale Campus, beneath the Trumbull Gallery, now the Treasury Building. When Mr. and Mrs. Street gave the building for the Yale Art School, the Trumbull paintings found an appropriate sanctuary in the main gallery, and under the building still rest the bones of the artist and his wife. It is pleasant to think that perhaps his spirit hovers around the spot, pleased to see his legacy cherished, and to beliold such privileges for art study as his youth never had. "Connecticut is not Athens" yet, dear old Governor Trumbull, but it is a wee bit nearer to it.
The importance of this acquisition to an educational center like Yale can- not be overestimated. As years passed, Trumbull added as many more to the number of paintings mentioned in the original agreement. There are fifty-five enumerated, besides many miniatures. Among them are copies of the old mas- ters and some large imaginative works, illustrating poetry, religion and history. The first independent work of the boy, "The Battle of Cannæ," is there, and the last effort of the old man, "The Deluge" ; but the most numerous, valu- able, and beautiful are those connected with the Revolution.
Here you are nshered into the presence of 110t one famous patriot, but an assembly of our illustrious ones. We speak to them, and they look upon us, with the cares of state, the despondency of defeat, the gladness of victory, in their faces. They welcome us to their midst, and ask us to live and think with them-Burgoyne and Rahl and Howe and Clinton and Riedesel, Lafayette, and Rochambeau, De Grasse and De Lauzun, Greene, Gates, Schuyler, Knox, Morgan, Glover, Mifflin, Wayne, Lincoln, Laurens, Rush, Monroe, Madison, Rutledge, the two Governors Trumbull, Wolcott, Morris-too many to tell.
And the famous beauties who curled their hair and rustled their silks for the balls and the assemblies are smiling from their miniatures ; Martha Washington,
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John Trumbull, the Patriot Painter.
and sweet little Eleanor Custis, and Harriet and Mary Chew, proud of their stately, battle-marked Germantown home, and sweet Faith Wadsworth, daughter of Gov. Jonathan Trumbull, Jr., Cornelia Schuyler Morton, "one of the worthiest of women," Mary Seymour Chenevard, the Hartford beauty, and Harriet Wads- worth, beloved by the painter and early lost.
Dominating all is Washington, in full uniform, his white horse at one side, one hand on his field-glass, the other on his sword, his figure drawn up to its full height, his features lit by "the high resolve to conquer or to perish." He is planning his most brilliant move, just on the night before marching to Prince- ton. The watch-fires which are to delude the enemy are already burning, and soldiers are defending the bridge behind. The design, most successfully carried out, was to show Washington in his heroic, military character. The portrait was painted in Philadelphia, in 1792, for the city of Charleston, and the general entered with spirit into Trumbull's idea. "Every minute article of the dress, down to the buttons and spurs, and every strap and buckle of the horse-furni- ture, were carefully painted from the several objects." But Charleston preferred the hero as president, and he patiently sat for another portrait, which is now in that city. So the artist kept this until the Society of the Cincinnati in Connecti- cut was dissolved, when he and others (his brother, Governor Trumbull, Gen. Jedediah Huntington, the Hon. John Davenport, the Hon. Jeremiah Wadsworth and the Hon. Benjamin Talmadge) presented it to the college. Many have painted the great inan, but no one else has so clearly portrayed his different phases of character in the varying and progressive scenes of his career, at Tren- ton, at Princeton, at New York after the evacuation, at Annapolis laying down his sword, and last as president.
Peace to the proud, sensitive soldier-artist, resting under the monument inade by his own hands ! Life tossed him like a ball between two continents, but gave to him more nearly than to mnost men the boon of accomplishing his heart's desire.
Tablet over the Grave under the Yale Art School :
COL. JOHN TRUMBULL PATRIOT AND ARTIST FRIEND AND AID OF WASHINGTON, LIES BESIDE HIS WIFE BENEATH THIS GALLERY OF ART. LEBANON, 1756-NEW YORK, 1843.
THIS BOOK IS DUE ON THE LAST DATE STAMPED BELOW
AN INITIAL FINE OF 25 CENTS WILL BE ASSESSED FOR FAILURE TO RETURN THIS BOOK ON THE DATE DUE. THE PENALTY WILL INCREASE TO 50 CENTS ON THE FOURTH DAY AND TO $1.00 ON THE SEVENTH DAY OVERDUE.
AUG 18 1940 AUG 1- 1940
5 0ct'55 JLI
OCT 1 19051
JAN 9 1960
DECOS 1070 ad
REC'D LD. JAN 13 71-3AM & 5
20
MAR 59-71-11 AM
RECO LO
LD 21-100m-7,'39 (402s)
267905
Fion . N 5 B 3
UNIVERSITY OF CALIFORNIA LIBRARY
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