Saint Louis, June, 1846.

The River Queen, as Saint Louis is sometimes called, is looked upon as the threshold leading to the wild and romantic region of the Upper Mississippi. It was founded in the year seventeen hundred and sixty-four, by two Frenchmen, named Laclade and Chouteau, who were accompanied by about thirty Creoles. The first steamer which landed here came from New Orleans in the year eighteen hundred and nineteen; but the number now belonging here is rated at three hundred, many of which are unsurpassed in speed and splendor of accommodations. The population of this city amounts to forty thousand souls. It is elevated some eighty feet above the low-water mark of the Mississippi, and from the river presents a handsome appearance. The old part of the town is inhabited by a French population, and is in a dilapidated condition; but the more modern portion is distinguished for its handsome streets, and tastefully built mansions and public buildings. Fronting the levee or landing are several blocks of stone stores, which give one an idea of the extensive business transacted here. On one occasion I saw this wharfing ground so completely crowded with merchandise of every possible variety, that travellers were actually compelled to walk from the steamboats to the hotels. This city is the home market for all the natural productions of a wilderness country extending in different directions for thousands of miles, and watered by several of the largest rivers in the world. Its growth, however, has been somewhat retarded by the peculiar character of its original inhabitants. The acknowledged wealth of many of its leading men can only be equalled by their illiberality and want of enterprise. But time is committing sad ravages among these ancient citizens, for they are, from age and infirmities, almost daily dropping into the place of graves. Under the benign influence of true American enterprise, this city is rapidly becoming distinguished for its New England character, in spite of the retarding cause alluded to above, and the baneful institution of Slavery. In fine, it possesses, to an uncommon degree, all the worthy qualities which should belong to an enlightened and eminently prosperous city.

There is one unique feature connected with the River Queen, which gives it, at times, a most romantic appearance. It is the point whence must start all distant expeditions to the North and West, and where the treasures of the wilderness are prepared for re-shipment to the more distant markets of our own and foreign countries. Here, during the spring and summer months may often be seen caravans about to depart for California, Santa Fe, the Rocky Mountains, and Oregon, while the sprightly step and sparkling eye will speak to you of the hopes and anticipations which animate the various adventurers. At one time, perhaps, may be seen a company of toil-worn trappers entering the city, after an absence of months, far away on the head waters of the Mississippi and Missouri rivers, where they have hunted the beaver, the buffalo, the otter, the bear, and the deer; and as they steal away to their several homes, from the door of the Fur Company, where they have just rendered their account, it does the heart good to ponder on the joys which will be brought into existence by the happy return. And the Indians, from different nations, who often visit this place, also add greatly to the picturesque appearance of its streets. Summoned by curiosity, they congregate here in large numbers, and while their gaudy trappings and painted faces remind us of the strange wild life they lead, their prowling propensities and downcast eyes inform us of the melancholy fact, that they are the victims of a most heartless, though lawful oppression. This remark, by the way, reminds me of a living picture which I lately witnessed, and will briefly describe. It was the sunset hour, and I was returning from a ride on the eastern bank of the great river. The western sky was flooded with a saffron glow, in the midst of which floated unnumbered cloud-islands, tinged with deepest gold. Underneath lay the beautiful city, with its church-spires up-pointing to the Christian’s home; then passed the rushing tide of the Mississippi ploughed by many a proud keel; and in the foreground was a woody bluff, on the brow of which sat a solitary Indian, humming a strangely solemn song, as his white locks and eagle plumes waved in the evening breeze. I asked no question of the sorrowing dreamer, but pursued my way, pondering on the cruel destiny which has power to make man a stranger and an exile, on the very soil from which he sprang, and where repose the ashes of his forgotten kindred.

Lover as I am of genuine art, it will not do for me to leave this city, the sturdy child of a new and great empire, without alluding to its treasures in this particular. The bright particular star, who uses the pencil here, is Charles Deas. He is a young man who left New-York about eight years ago, for the purpose of studying his art in the wilds west of the Mississippi. He makes this city his head-quarters, but annually spends a few months among the Indian tribes, familiarizing himself with their manners and customs, and he is honorably identifying himself with the history and scenery of a most interesting portion of the continent. The great charm of his productions is found in the strongly marked national character which they bear. His collection of sketches is already very valuable. The following are a few of the pictures which I saw in his studio, and which pleased me exceedingly. One, called the Indian Guide, represents an aged Indian riding in the evening twilight on a piebald horse, apparently musing upon the times of old. The sentiment of such a painting is not to be described, and can only be felt by the beholder who has a passion for the wilderness. Another, Long Jake, is the literal portrait of a celebrated character of the Rocky Mountains. He looks like an untamed hawk, figures in a flaming red shirt, and is mounted on a black stallion. He is supposed to be on the ridge of a hill, and as the sky is blue, the figure stands out in the boldest relief. Artistically speaking, this is a most daring effort of the pencil, but the artist has decidedly triumphed. In a picture called Setting out for the Mountains, Mr. Deas has represented a species of American Cockney, who has made up his mind to visit the Rocky Mountains. He is mounted on a bob-tailed, saucy-looking pony, and completely loaded down with clothing, pistols, guns, and ammunition. He is accompanied by a few covered wagons, a jolly servant to be his right-hand man, and two dogs, which are frolicking on the prairie ahead, and while the man directs the attention of his master to some game, the latter shrugs his feeble shoulders, seems to think this mode of travelling exceedingly fatiguing, and personifies the latter end of a misspent life. You imagine that a few months have elapsed, and, turning to another picture, you behold our hero Returning from the Mountains. Exposure and hardships have transformed him into a superb looking fellow, and he is now full of life and buoyancy, and riding with the most perfect elegance and ease a famous steed of the prairies. The wagons, servant and dogs, are now in the rear of our adventurer, who, comically dressed with nothing but a cap, a calico shirt, and pair of buckskin pantaloons, is dashing ahead, fearless of every danger that may happen to cross his path. These pictures completely epitomize a personal revolution which is constantly taking place on the frontiers. One of our artist’s more ambitious productions, represents the daring feat of Captain Walker, during a recent memorable battle in Mexico. The story is that the Captain, who happened to be alone on a plain, had his horse killed from under him, and was himself wounded in the leg. Supposing, as was the case, that the Mexican savage would approach to take his scalp, he feigned himself dead, as he lay upon his horse, and as his enemy was about to butcher him, he fired and killed the rascal on the spot, and seizing the reins of his enemy’s horse, he mounted him and rode into his own camp. In the picture Walker is in the act of firing. But the picture upon which Mr. Deas’s fame will probably rest, contains a large number of figures, and represents the heroism of Captain James Clarke, who, when about to be murdered by a council of Indians at North-Bend, threw the war-belt in the midst of the savages, with a defying shout, and actually overwhelmed them with astonishment, thereby saving his own life and those of his companions. This picture is true to history in every particular, and full of expression.

But enough about these productions of art. I am bound to the fountain head of the Mississippi, and feel impatient to be with nature in the wilderness. Before concluding this chapter, however, I will describe a characteristic incident which I met with in Saint Louis.

I had been taking a lonely walk along the banks of the Mississippi, and, in fancy, revelling amid the charms of this great western world, as it existed centuries ago. My mind was in a dreamy mood, and as I re-entered the city the hum of business fell like discord on my ear. It was the hour of twilight and the last day of the week, and the citizens whom I saw seemed anxious to bring their labors to a close that they might be ready for the Sabbath.

While sauntering leisurely through a retired street, I was startled from a waking dream, by the sound of a deep-toned bell, and, on lifting my eyes, I found that I stood before the Catholic cathedral. I noticed a dim light through one of the windows, and as the gates were open, I remembered that it was the vesper hour, and entered the church. The inner door noiselessly swung to, and I found myself alone, the spectator of a most impressive scene. A single lamp, hanging before the altar, threw out a feeble light, and so feeble was it, that a solemn gloom brooded throughout the temple. While a dark shadow filled the aisles and remote corners, the capitals of the massive pillars on either side were lost in a still deeper shade. From the ceiling hung many a gorgeous chandelier, which were now content to be eclipsed by the humble solitary lamp. Scriptural paintings and pieces of statuary were on every side, but I could discern that Christ was the centre of attraction in all. Over, and around the altar too, were many works of art, together with a multitudinous array of sacred symbols. Just in front of these, and in the centre of the mystic throne, hung the lonely lamp, which seemed to be endowed with a thinking principle, as its feeble rays shot out into the surrounding darkness. That part of the cathedral where towered the stupendous organ, was in deep shadow, but I knew it to be there by the faint glistening of its golden pipes: as to the silence of the place, it was perfectly death-like and holy. I chanced to heave a sigh, and that very sigh was not without an echo. The distant hum of life, alone convinced me that I was in a living world.