While Willard was engaged in painting this picture, his father, who was posing as his central figure, became critically ill. He did not live to see the finished painting. When Willard was told that his father was soon to pass away, all thoughts of a humorous picture faded from his mind. He decided to paint his father as he really was.
After Willard became acquainted with Mr. Ryder, at Ryder’s suggestion, Willard moved to Cleveland. He used as a studio, a small room on the fourth floor of what used to be the Union National Bank Building located at Euclid Avenue and what was then Hickox Alley, Cleveland, Ohio. From this time on Willard spent almost his entire life in Cleveland.
This little studio had a northern exposure, and he was artist enough, even then, to realize the value of the northern light. His canvas when stretched was taller than himself. His idea had become a big one and nothing but life-size would do for the figures to be used. He followed the general idea of his first picture, “Yankee Doodle or a Fourth of July Celebration” but the spirit of the whole was changed. The old man in the center was Willard’s own father, a tall, straight, powerful man, with flowing white locks yet the figure of a man of thirty, without coat, bare-headed, his white hair blowing in the breeze, his shirt sleeves loose, marching forward with a step as firm and unhesitating as the grim and determined look on his face. The face of the old man shows features which could be kind, but now set like flint in the face of the enemy—filled with the courage of a man who has put character, and thought, and prayer into the music through which he utters his patriotic purpose. Perhaps there is a bit of humor in the figure of the fifer—it could not be otherwise—for it is a portrait of the fifer of Wellington, Hugh Mosher. While depicting his humorous face with its puckered mouth, there is the same air of determination in the figure, the eyes, and the forward step, that so mark the picture of the old man. In these characters one sees the spirit of men who will stand and play until they die, or by their contagious heroism will turn the tide of battle.
As already stated, for the first few years the painting was known under the title of “Yankee Doodle.” While the picture was on exhibition in Boston, Mr. Brainerd, who had charge of the exhibition, suggested changing the title to “Yankee Doodle, or the Spirit of ’76.” This suggestion was made because at that time in Boston there was a public character, a half-wit, who was commonly known about the city as “Yankee Doodle.” In some curious way, the painting and this half-wit were being confused in the public mind. This change of title was adopted. Finally “Yankee Doodle” was dropped entirely and the painting has since been known under the title of “The Spirit of ’76.”
The Fifer
Hugh Mosher
who posed as the fifer. From an original photograph made by William F. Sawtelle of Wellington, Ohio
The Fifer—Hugh Mosher
When Archibald M. Willard returned home from service in the Civil War, there came back with him to Wellington his comrade, Hugh Mosher. Mr. Willard first became acquainted with Mosher after the family moved to Wellington. They soon became close and lifelong friends. Their service in the Civil War, in which they were comrades, more closely cemented this friendship.