No. 44
To guide the sailor in his wandering way, See Godfrey's glass reverse the beams of day.
Book VIII. Line 681.
It is less from national vanity than from a regard to truth and a desire of rendering personal justice, that the author wishes to rectify the history of science in the circumstance here alluded to. The instrument known by the name of Hartley's Quadrant, now universally in use and generally attributed to Dr. Hartley, was invented by Thomas Godfrey of Philadelphia. See Jefferson's Notes on Virginia; likewise Miller's Retrospect of the Eighteenth Century, in which the original documents relative to Godfrey's invention are fully detailed.
No. 45
West with his own great soul the canvass warms, Creates, inspires, impassions human forms.
Book VIII. Line 587.
Benjamin West, president of the Royal Academy in London, was born and educated in Pennsylvania. At the age of twenty-three he went to Italy to perfect his taste in the art to which his genius irresistibly impelled him; in which he was destined to cast a splendor upon the age in which he lives, and probably to excel all his cotemporaries, so far at least as we can judge from the present state of their works. After passing two years in that country of models, where canvass and marble seem to contribute their full proportion of the population, he went to London.
Here he soon rendered himself conspicuous for the boldness of his designs, in daring to shake off the trammels of the art so far as to paint modern history in modern dress. He had already staggered the connoisseurs in Italy while he was there, by his picture of The Savage Chief taking leave of his family on going to war. This extraordinary effort of the American pencil on an American subject excited great admiration at Venice. The picture was engraved in that city by Bartolozzi, before either he or West went to England. The artists were surprised to find that the expression of the passions of men did not depend on the robes they wore. And his early works in London, The Death of Wolfe, The Battles of the Boyne, Lahogue, &c., engraved by Woollett and others, not only established his reputation, but produced a revolution in the Art. So that modern dress has now become as familiar in fictitious as in real life; it being justly considered essential in painting modern history.
The engraving from his Wolfe has been often copied in France, Italy and Germany; and it may be said that in this picture the revolution in painting really originated. It would now be reckoned as preposterous in an artist to dress modern personages in Grecian or Roman habits, as it was before to give them the garb of the age and country to which they belonged.