During the reign of George III, in the town of Boston, with only eighteen thousand inhabitants, there hung in the library of Harvard University a copy of "A Cardinal" by Van Dycke. The New England states were opposed to art as a principle, but showed signs of literary and artistic activity at this time. Exhibitions were unknown, the painters were "traveling artists" who went over the country painting portraits on sign boards, stage coaches, and fire engines, for practice and also a living. John Singleton Copeley, in Boston, was the only American artist who did meritorious work. Before he came under foreign influences, he wielded his brush with great dexterity, "The Death of the Earl of Chatham" in the National Gallery in London, being one of his famous pictures. The grouping of the portrait figures is skillfully arranged. To our art, the portraits he painted in Boston are of importance. The lesson thus taught led us into the interior of the royalist era, with carved furniture, showy curtains, peopled with well-to-do men and women, lavishly robed, that suggests the customs as well as the people of the Revolutionary period. Benjamin West, a contemporary of Copely, had nothing in common with the development of American art. He left at an early age for England, where he climbed the pinnacle of social, if not artistic success. He was a personal friend of the king, was employed as his historical painter, succeeding Sir Joshua Reynolds as president of the royal academy. One of his pictures quite noted was "Christ Rejected." "Death on the Pale Horse," the size of the canvas he used was 200 by 264 feet. His daring innovation of dressing the characters showed the costumes of the time and country in which they lived. It was his picturesque personality more than his art that attracts us to-day. In his native town, Philadelphia, it is said the Cherokee Indians taught him the secret of preparing color. This was the first city in the Union where opportunities for art growth and a moderate patronage presented themselves. Charles Wilson Peale, a man rather versatile, also a painter of some merit, established the first "Art Gallery," a museum of historical portraits, in his residence in Philadelphia.

John Trumbull was a different type, was not so richly endowed by natural gifts. Every accomplishment meant strenuous study, yet he is dear to us for his glorification of revolutionary history. "The Battle of Bunker Hill," "The Death of Montgomery" and "the Declaration of Independence," are familiar. The growth of art was handicapped, more than benefited—America was now an independent nation. The Royalists who could afford the luxury of art left this country. Now three men stepped forth who bore upon their brush tips the honor and progress of American art, Thomas Sully, John Vanderlyn and Washington Allston. The first mentioned became rapidly the most fashionable portrait painter of the day. His sweet faces, with robes draped gracefully, show great progress and execution. Sully was represented at the Philadelphia Academy by one hundred and sixteen pictures. It is said he painted a full length portrait of Queen Victoria.

Vanderlyn lived in Rome painting. Washington Allston painted on his enormous canvas "Belchazzer's Feast." "The Angel Liberating St. Peter from Prison" is one of decided merit. Gilbert Stuart was not a follower of the others, had a distinct and forceful individuality, the striking details of his work being brilliance in coloring and the natural life-like posing. He was the first American master of painting. His early sketches were lost. At the age of thirteen he received commission to paint two portraits. Two years later he went to Scotland. His stay there was short, he pined for home, secured passage and returned, later going to London in 1775, suffering privation. Afterwards a pupil under West for five years, his success was immediate; people of wit and fashion thronged his studio. He tasked himself to six sitters a day. Then devoted himself to society, living in great splendor. During this period he painted Louis the Sixteenth, George III, and Prince of Wales. Now his position was assured, he indulged himself in refusing many sitters, money failed to tempt him, only those who appealed to his artistic taste or afforded the best opportunity for a good picture. He was willing to give up all the golden opportunities Europe presented that he might have the privilege and satisfaction of painting the one man, whose heroic qualities fascinated him most. In 1792 he returned to the City of Brotherly Love, establishing his studio here, painted three portraits of Washington, unlike Peale, who made in all fourteen of Washington from life, painting him in the prime of his vigour. Stuart depicts the late autumn of his life, a face in which the lines of character are softened, a face chastened by responsibilities, it is the face, who has conquered himself as well as others; he represents him indeed as "The Father of His Country." He said, "I copy the works of God, leave clothes to the tailor, and mantua maker."

In Washington he found sentiments, grace and character. In the story of art, Gilbert Stuart holds a unique, and dignified position. "The Course of Nature is but the Art of God." Thomas Cole was a landscape painter. The sketches he painted in the Catskills—the banks, woods, rocks and the Cascades—gained recognition. He was an ardent student of English literature, influenced by Sir Walter Scott. In truth, was more of a poet than painter. His noted pictures were "The Voyage of Childhood," "The Course of Empire," consisting of five canvasses, first representing "A Nation's Rise, Progress, Decline and Fall." These are at the Historical Society of New York. The last picture of the serial, entitled "Desolation," has rarely been surpassed in solemn majesty, and depth of thought.—Miss Emily G. Morrow, American Monthly Magazine.