USA > Vermont > Windham County > Brattleboro > Brattleboro, Windham County, Vermont; early history, with biographical sketches of some of its citizens > Part 22
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He passed the summer of 1846 in America, then returned to Paris. Pre- ferring the French method in painting, Mr. Hunt entered the studio of Thomas Couture in the spring of 1848. Here for a year or more he worked in the scholar's room, when, at the suggestion of his mas- ter, he took a large studio with Couture in the " rue de la Tour des Dames," formerly occupied by Horace Vernet. While work- ing here he made his first exhibition in the French "salon," and his pictures of "The Prodigal Son" and "The Fortune Teller" received very favorable public notice. At the next annual exhibition he sent to the "salon," amongst others, his picture of the "Marguerite." This pic- ture was marked for purchase on the pri- vate list of Napoleon, but owing to political troubles no paintings were bought by him that year.
At this time he became acquainted with Jean Francois Millet, then living in the hamlet of Barbison in the forest of Fon- tainbleau. Between them a strong friend- ship was formed that resulted in Hunt's going to Barbison to study near his friend. Here or in Paris he continued to work for several years, purchasing, meanwhile, many of Millet's pictures long before the latter had acquired his pre-eminent Eu- ropean reputation. The genius of no living artist seems to have impressed Hunt so strongly as the grand simplicity of Millet.
To the first Universal Exposition, held in Paris in 1855, Mr. Hunt sent several pictures, "The Violet Girl" and " Girl at the Fountain," which were pronounced by Theophile Gautier the best in the American department.
Returning to America in 1855, he mar- ried Miss Perkins, of Boston, and passed a year in Brattleboro, Vt., and thence went to reside in Newport, R. I., spend- ing, however, a winter with friends in the Azores-1857-58.
A ludicrous incident occurred at this time, when several of his pictures, that had received praiseworthy comments from the Parisian press, were sent to our National Academy. These were mentioned by the art critics of New York, of that day, as
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decidedly the worst specimens of art in the exhibition, with the exception, per- haps, of a small painting by a Mrs. X * * ! Since 1861, Mr. Hunt has resided in Bos- ton, with the exception of two years in Europe, and two winters in Mexico and Florida.
In Boston his time has been devoted chiefly to portrait painting, and among the best known are those of Chief Justice Shaw, John Quincy Adams, William M. Evarts, Gov. John A. Dix, and one of himself. About 1868, he opened his studio to scholars for two or three years, and when some of his scholars formed classes of their own, he continued deeply inter- ested and has ever maintained over them a constant personal supervision. It is to his devotedness and untiring efforts in assist- ing the younger artists that the healthy impulse to art in New England is largely due and recognized.
It was during these lessons that one of his pupils wrote down daily a few of his remarks to the different scholars, which were later, (1875), published under the title of " Talks on Art." This little work had a great success in England as well as in this country. John Millais, the English artist, wrote the preface to the English edition, and the reviews in England, and the press generally, had very complimen- tary notices on the work, besides most flattering letters were written about it by distinguished persons, among others by the poet Browning.
But figure painting alone has by no means absorbed the whole of Mr. Hunt's time. While in Europe, he modeled, re- stored and put in marble the beautiful head of the Neapolitan Psyche. He also cut many fine heads in cameo, (1847), and lithographed and published, about 1859, a series of his own paintings. Besides, he has devoted considerable time to land- scapes, and among the most memorable are his views of Niagara, painted in the summer of 1878. His last great work was an order by the State of New York for two large allegorical pictures for the new capitol at Albany. The subjects of these paintings, each 45x16 feet, were "Anahi- ta," or "The Flight of Night," and " The Discoverer." These grand paintings, on stone, finished in 55 working days, in De- cember, 1878, were hailed by the artists as
making a new departure in art, and they have received unqualified approbation from the press, as the most important works of their kind in America.
In personal appearance, Mr. Hunt was about five feet 11 inches in height, slender; but sinewy. He had a compact head, aquiline nose, keen gray eyes, and long gray beard. He was of a very nervous temperament, a most serious worker, but off his work overflowing with vivacity. There was no brighter wit, and he could tell a humorous incident to the life. Very sensitive not to ruffle the feelings of others, yet he had, perhaps, the one fault of being over-absorbed in art, and we may add in fine horses.
Since the above was written it has be- come our sad task to record the death of Mr. Hunt, which occurred Sept. 9, 1879, at the Isle of Shoals, off Portsmouth, N. H. In compliance with an often expressed desire, he was buried in Brattleboro, Vt. A deep public as well as private interest was taken in Mr. Hunt's death.
In the fall of 1879, a loan exhibition of many of his paintings and charcoal draw- ings opened at the Boston Art Museum, and was visited by 60,000 persons.
In conclusion, a word may be added concerning the two great mural paintings at Albany. Although they were finally executed with great rapidity and by methods of unsurpassed durability, yet both the subjects, "The Discoverer " and " Anahita," or, "The Flight of Night," cover, in their conception, partial treat- ment at long intervals and final rendering, almost the whole of his artistic career.
Of "The Discoverer," a sketch exists made by Mr. Hunt many years ago; while the idea of "Anahita" as a pendant to Guido's " Aurora," was first suggested in 1847, by the writer of this notice in the following lines :
ANAHITA.
Enthroned upon her car of light, the moon Is circling down the lofty heights of Heaven ; Her well-trained courses wedge the blindest depths
With fearful plunge, yet heed the steady hand That guides their lonely way. So swift her course,
So bright her smile, she seems on silver wings, O'er-reaching space, to glide the airy main ;
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Behind, far-flowing, spreads her deep blue veil, Inwrought with stars that shimmer in its wave.
Before the car an owl, gloom sighted, flaps His weary way; with melancholy hoot Dispelling spectral shades that flee With bat-like rush, affrighted, back Within the blackest nooks of caverned Night. Still Hours of darkness wend around the car, By raven tresses half concealed ; but one, With fairer locks, seems lingering back for Day.
Yet all with even measured footsteps mark Her onward course. And floating in her train Repose lies nestled on the breast of Sleep, While soft Desires enclasp the waist of Dreams,
And light-winged Fancies flit around in troops. L. H.
From Boston Daily Advertiser, Jan. 4, 1879.
MURAL PAINTINGS .- Mr. Hunt's mural paintings in the assembly chamber at Albany, N. Y., could be approached, a week or two ago, by a scaffolding, which is now removed. These paintings were, of course, made with the intention of their being seen from the floor or galleries; but the view from the scaffolding was full of an interest of its own, as it was there possible either to examine the most deli- cate details of the artist's work, or to look at it across the great hall it completes. Some account of such a view may, there- fore interest even those friends of Mr. Hunt who mean to see his last and best work for themselves.
We are told, and it is easy to believe, that the assembly chamber is the largest and most beautiful room in this country. Its general effect is cheerful, but grave; it is built entirely of stone, much of it of a warm, yellow gray; the ceiling is vaulted, and some slight decorative use of deep red and deep blue relieves its carved work. Mr. Hunt's paintings, "The Flight of Night" and "The Discoverer," occupy arched compartments on the south and north walls, each 45 feet long by 16 high. The first glimpse which one caught of these pictures, in going upon the scaffold- ing, was Hope's extended arm, as she points the way across the sea for the Dis- coverer. He stands in his dark boat, his arms folded, a serious figure full of reso- lution; he, too, is looking forward, but there is no wild joy in his steady face; he
has not seen the country for which he is looking, and his voyage is a long one. He has no company but his own Fortune and Science and Faith and Hope. But he can want no better friends than these. The Fortune raises the sail behind him, and holds the rudder with a firm hand. She is young and strong, as the Fortune of a New World ought to be; she is wonderfully beautiful, and, though she has broad wings to fly away with, her face shows that she is not the Fortune to desert the man who has trusted her. Hope is leaning on the bow of the boat and pointing forward; her's is a strong maidenly figure, too, with a lovely, hopeful face. Beside her Science rises from the water, and holds out her charts to the Discoverer; her face is turned toward him, and her white shoulders and proud head and gliding motion are what impress you. And far to the left, before all, swims Faith, looking down away from the bright afternoon sky and all her sisters, but sure in her heart of the New World. This picture is bright, both in key of color and of light and shade, though not in the least gaudy. The sky is that of late afternoon, with the beginning of sunset in the west, to which Hope is pointing. The sea, as well as the sky, is full of soft, bright color. The Dis- coverer stands dark, not black, against the sky; the sail which Fortune holds is ruddy in the shadow, and her own figure, though fair and delicate flesh and blood, sends the distance behind it miles and miles away. The whole composition is full beyond description of the life and motion of the sea.
There is as much color, life and motion in the picture on the opposite wall, but of a far different kind. Any one who has seen just before sunrise the slender cres- cent moon pale in the eastern sky, with all the mists of the night flying away before the dawn, can form some idea of the gen- eral feeling and color of this picture. But it is not in every morning sky that one can see, as here we do, the Goddess of the Night herself against the crescent, rushing down with her three wild horses into the abyss of darkness. She does not try to restrain them, though she sees over her shoulders the coming day ; a dark spirit is laying his hand on one of them to keep them back, but there is no stopping such
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horses as these. Below the Moon-God- dess, and apparently under her protection, are a sleeping mother and her little child; the morning light might wake them too soon, fast though they are carried from it, and a flying boy is screening it away. The noble and beautiful figure of the goddess, seated on the clouds, her right hand ex- tended toward the darkness, is relieved upon bright light all about her. But her own crescent shines mysteriously brighter than all; her three wonderful horses, one white, one gray and white, one bay,- horses to whom rest seems impossible,- come plunging out of the faint mists on their way to darker places. The figure who is trying to restrain them holds an inverted torch; whether it be against his will or not, he is going as fast as they. The beauty of the two sleeping figures makes one wish they were never to be awakened. But behind all, down in the east, stretch the level lines of the irresistible sunrise.
Both of these pictures, admirable as are their composition and general effect, are equally admirable in grace and precision of detailed drawing and modeling. Every- thing is treated with the noble simplicity proper to decorative work and to all work, but it is the simplicity of deep knowledge; all is there, but nothing obtrudes itself. To the observer, within two feet of these paintings, there is nothing unfinished or sketchy about the drawing; the heads, the hands and feet, the wonderful outline and modeling of the figures, all are firm and decided and complete. The gods see everywhere; it is to be regretted that they should monopolize a near view, which would help so many young pain- ters and sculptors. Strongly individual as these pictures are, they fulfill exactly their leading part in the general deco- ration of the hall. That key of color and of light and shade was chosen by the artist which would best carry out the con- ception of the architect, however difficult that key might be, and this sacrifice, if it were one, has brought its own reward. Mr. Hunt's work has helped Mr. Eidlitz's hall, and this as well helps the painting.
Much as we may wish those paintings were in Boston, we cannot wish them elsewhere than in a place which so well
deserves them in every way. In fact, a visit to the unfinished assembly chamber gave one an impression of generous confi- dence between workers of different kinds, which cannot be easily forgotten. Very fortunate is the building committee which has such a head as Governor Dorsheimer. But next Tuesday, when the building is formally opened, will be a day of triumph to not one or two men only, but to many. Mr. Hunt's paintings are in the best sense historical, for the story they tell is not only true, but is going on now among us all, and every one has his part in it. He has brought to this work the thought and study of years, the experience of all his life, and his own high powers. Those who admired his work before, will find him a greater painter even than they thought. Those who disliked it before, cannot fail to change their minds in some degree before pictures so admirable. They form a new departure in American art, and a new departure worthy of the most serious recognition, thankfulness and con- gratulation.
HON. JACOB ESTEY,
Now universally known as one of the foremost business men of New England, was born in the town of Hinsdale, N. H., Sept. 30, 1814, but has been a resident of Brattleboro the last 42 years. Though de- prived of parental care and training at a very early age-thrown upon the mercies of the world when not quite five years old- his life has been remarkably successful. Shifting about from one place to another, meeting indifference, selfishness, neglect and ill treatment, from which there was no relief or escape but by flight, his after career seems so wonderful, and if not so exceptional, we should be inclined to doubt the propriety of Solomon's injunc- tion in Prov. 22: 5. Brattleboro abounds in instances of the strictest compliance with the instructions of the wise man, and the results may be seen and compared with the results of a course exactly opposite.
We know but little of his early wander- ings from place to place, to obtain fair treatment or desirable conditions where he could be free in the untramelled exercise of his native capacity, yet we cannot for a mo- ment doubt that the trials and difficulties he successfully encountered had much to
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do in shaping his future destiny. Another subjected to the same conditions as was Mr. Estey, might have become dissolute, improvident and wretched, but with his powerful vital organization, iron will, self control, and great variety of mental resources, opposing influences, perhaps, proved more beneficial than otherwise, like sprinkling water on a blacksmith's fire, to produce a greater desirable effect. From the time he first began to act in his business life, he manifested a sagacity in discovering ways and means, unthought of by others, to improve natural resources to the best advantage, not only for him- self, but to cause the world to be beneficial- ly affected by his action. Hisequal in ad- ministrative ability, power of organization and prudential management of a large business, cannot be found in this region.
In 1848, he erected a large building near the south bridge on Main street, where for many years stood the old wagon shop owned by Eleazor Farnsworth. The upper stories of this new building were devoted to the manufacture of melodeons, as the instruments were then called. This busi- ness had been carried on here in a small way several years previous to the time Mr. Estey engaged, with others, in the manu- facture of these instruments. The demand for instruments rendered more room need- ful, and another larger building was ereeted south of the bridge, in that locality known in early times as "Squabble Hol- low." The early names of some of our village localities are not very attractive. The neighborhood of the " Omnibus " was known as "Polecat," and at the north, where is the Park or Common, "Toad Hill." How the name of "Squabble Hol- low" originated we have not been in- formed, but we know there was a deadly squabble in one of the old low buildings of this locality in the summer of 1850. There and at that time, Peter Moore, in a quarrel with a French Canadian, received a fatal stab in the abdomen. By removing the old unsightly buildings and wiping out "Squabble Hollow," Messrs. Jacob Estey & Co. made an important improve- ment in this part of the village.
In the fall of 1857, the manufactories were burned down, but very soon rebuilt, to be again destroyed in 1864, and two firemen -- Messrs. Nichols and Kittredge-in
their labors upon this occasion lost their lives. The manufactories were again re- built, and also a much larger one was erected on Frost's meadows, bordered on the south by Whetstone Brook, where was ample room for the large amount of lumber required constantly on hand. The sudden rise of Whetstone Brook in 1869, drowned one of their workmen, carried off several thousand dollars worth of lumber, and so endangered the safety of the manufactory, other and higher grounds were obtained on Birge street, where the company erected eight organ shops, each of three stories, 100 feet in length, where the whole business is now carried on. Large reservoirs of water, constantly supplied, on grounds high above the buildings, render it possible, at a moment's notice, to deluge any part of the premises. They have also two steam fire engines, in readiness for emergencies in any part of the village, and on several occasions they have rendered highly impor- tant service in extinguishing and prevent ing fires from spreading over the village.
Several hundred men have been in con- stant employ a large share of the time, all through the general business depression. commencing in 1873, down to the present time.
The field upon which the financial re- sources of this company is gathered, reaches beyond the United States; there- fore, local conditions or circumstances, adverse or destructive to many other en- terprises, is not sufficient to stop the profitable operations of this company. It may be considered fortunate, not only for the town but for the world, that such im portant interests are controlled by men of high moral aims, publie spirit and liber- ality.
Mr. Estey was one of the first and principal actors in organizing the Baptist church and society in this place, in 1840. Benevolent, educational and Christian in- stitutions, in various parts of this country. have received pecuniary assistance from this company, which, in its beneficial effects, will be felt to the remotest time. The two junior members of this firm. Capt.J. J. Estey and Col. L. K. Fuller, have been mainly instrumental in organizing, equipping and sustaining the infantry and artillery of this place. Never, even in the most palmy days of old military times,
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have we seen, in this town, military com- panies so apparently efficient and warlike as the battery or flying artillery company under the command of Col. Fuller. We have often heard it said there is nothing of the kind superior, if equal, in the State of Vermont.
A large portion of a new department of this village has been built up and is sus- tained by this manufactory of cottage organs. Encountering so many difficul- ties-trials by fire, water, unpropitious times for business-this company has shown a courage, enterprise and persever- ance that compels the admiration of friends and enemies.
We make the following extract from "New England Manufacturers and Manu- factories," 1879.
"Prominent in the manufacture of par- lor organs is the firm of J. Estey & Co., of Brattleboro, Vt.
The families of the name of Estey, are descended from three brothers, who came from England and settled in Massachu- setts, early in the seventeenth century. The great-grandfather of Jacob Estey, founder and present head of the firm, also named Jacob, was a farmer in Sutton, Mass., but moved early in life to Royals- ton.
His son Jacob owned and managed a farm in that town, and also kept a public house.
Of his seven children, but two attained maturity. The eldest, Isaac, having mar- ried Patty Forbes, of Royalston, went with his brother Israel to Hinsdale, N. H., where they built a saw-mill and engaged in the manufacture of lumber. This en- terprise was a failure.
Israel Estey left the town and State, and went to Ann Arbor, Mich., where he en- gaged in farming.
His elder brother, Isaac, remaining with his family, was arrested for debt and thrown into the county jail. He remained there thirty days, at the end of which time he took the poor debtor's oath, and was released from his liabilities. He then en- gaged in farming.
Jacob Estey was one of eight children, seven of whom, five sons and two daugh- ters, still survive. He was born Septem- ber 30, 1814, and was, when four years of
age, adopted by a wealthy family in the neighborhood. After remaining with them seven years he ran away, and walked to Worcester, Mass., where a brother lived, and where he went to work on a farm. During the next four years he was em- ployed on farms in Rutland, Millbury and other places in that vicinity. At seven- teen he engaged with T. & J. Sutton, of Worcester, as an apprentice to learn the trade of a plumber, including the manu- facture of lead pipe, and remained with them four years.
In February, 1835, he went to Brattle- boro, Vt., with two hundred dollars, and there purchased the business, tools and real estate of a plumbing and lead pipe concern, and hired a shop on premises op- posite the present Brattleboro House. In 1850, the proprietors of a small organ fac- tory, which occupied a part of his build- ing, being unable to pay their rent, he ac- cepted in settlement an interest in the bus- iness, and two years later purchased the whole establishment, which then employed six hands, for $2700. Mr. Estey now turned his attention especially to the organ manufacture, and a few years after devot- ed himself exclusively to it. He continued in successful operation until 1866, when he received into partnership, Levi K.Fuller and his son, Julius J. Estey.
Mr. Estey was married in 1837, to Des- demona Wood, of Brattleboro. Their surviving children are Abby E., born Sept. 21, 1842, and married to Levi K. Fuller, and Julius J., born Jan. 8, 1845, and mar- ried to Florence Gray, of Cambridge, N. Y. Mr. Estey represented the town of Brat- tleboro in the Vermont Legislature in 1868 and 1869, and the district, including that town, in the Senate of 1872 and 1873. He is a director in the Central Vermont Rail- road. Mr. Estey is still in the prime of life and retains his business activity. He is a member of the Baptist Church, and has contributed freely to religious interests.
Levi K. Fuller was born in Westmore- land, N. H., Feb. 23, 1841, and at the age of about eighteen, engaged with Campbell Chubbuck, of Roxbury, Mass., in learning the trade of machinist. The next year he went to Brattleboro, and entered, on his own account, upon the manufacture of cylinder Planers and Mowing Machines.
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He was successful, and continued in this business until April 1, 1866, when he be- came a partner in the firm of J. Estey & Co. Since 1866 he has superintended the manufacturing department.
His inventions had reference to new de- vices and adjustments, and are protected by patents. He has also made improve- ments in machinery specially adapted to a variety of the processes of manufacture.
Julius J. Estey spent two years in the Military Academy at Norwich, Vt., and at nineteen entered his father's office, where he received his training for the position."
ADDISON BROWN
Died May 11, 1872, at his home in this vil- lage. He closed, in quietness and peace, "with eye undimmed and his natural in- tellectual force unabated," his earthly career, useful and honorable, at the age of 73 years. For the greater part of the past forty years he has made Brattleboro his home. Here he began his public service in the ministry of the gospel. And to the furtherance of the highest interests of this, his adopted home, and through it those of the State and the nation, he gave the de- voted effort of a long and laborious life.
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