About fifty splendid original works of art, ranging in value from $50 to $500 each, have thus been placed absolutely at the disposal of the Board of Managers, and have been by them specifically pledged to the subscribers at the next distribution.
Besides this, Mr. Rothermel has just finished for the Art-Union a great historical painting of Patrick Henry making his celebrated revolutionary speech before the Virginia House of Burgesses. This picture is undoubtedly Mr. Rothermel’s master-piece. He has thrown into it all the fire of his genius, all the ardor of his patriotism, all the accumulations of his knowledge and skill as one of the practiced and leading historical painters of the day.
The historical scene which Mr. Rothermel has commemorated in this painting is the passage of Patrick Henry’s resolutions on the Stamp Act in the House of Burgesses, in the year 1765. The passage of these resolutions was the first bold note of defiance that was uttered on this side of the Atlantic. The manner in which they were carried through the House is thus described by his biographer:
“It was, indeed, the measure which raised him [Mr. Henry] to the zenith of his glory. He had never before had a subject which entirely matched his genius, and was capable of drawing out all the powers of his mind. It was remarked of him, throughout his life, that his talents never failed to rise with the occasion, and in proportion with the resistance which he had to encounter. The nicety of the vote, on the last resolution, proves that this was not a time to hold in reserve any part of his forces. It was, indeed, an Alpine passage, under circumstances even more unpropitious than those of Hannibal; for he had not only to fight, hand to hand, the powerful party who were already in possession of the heights, but at the same instant to cheer and animate the timid band of followers, that were trembling, and fainting, and drawing back below him. It was an occasion that called upon him to put forth all his strength; and he did put it forth, in such a manner as man never did before. The cords of argument with which his adversaries frequently flattered themselves that they had bound him fast, became packthreads in his hands. He burst them with as much ease as the unshorn Samson did the bands of the Philistines. He seized the pillars of the temple, shook them terribly, and seemed to threaten his opponents with ruin. It was an incessant storm of lightning and thunder, which struck them aghast. The faint-hearted gathered courage from his countenance, and cowards became heroes while they gazed upon his exploits. It was in the midst of this magnificent debate, while he was descanting on the tyranny of the obnoxious act, that he exclaimed in a voice of thunder, and with the look of a god, ‘Cæsar had his Brutus—Charles the First his Cromwell—and George the Third—’ ‘Treason!’ cried the Speaker. ‘Treason! treason!’ echoed from every part of the house. It was one of those trying moments which is decisive of character. Henry faltered not for an instant; but rising to a loftier attitude, and fixing on the Speaker an eye of the most determined fire, he finished his sentence with the firmest emphasis—‘may profit by their example. If this be treason—make the most of it!’ ”
The exact moment of time which Mr. Rothermel has seized for his painting, is when the last words which we have quoted, (“If this be treason—make the most of it!”) are dying away upon the ear. The impassioned orator stands erect and self-possessed, his open hand aloft, as though a thunder-bolt had just passed from his fingers, and his eye were quietly awaiting the issue, in the conscious strength of a Jupiter Tonans.
Foremost in the foregoing is Richard Henry Lee. Lee sees, by a sort of prophetic intuition, the full import of this inspired oratory. His very face, under the magic of Mr. Rothermel’s genius, is a long perspective of war, desolation, heroic deeds, and the thick-coming glories of ultimate civic and religious liberty.
Peyton Randolph, also in the foreground, is a most striking figure. So is Pendleton, so is Wythe, so is Speaker Robinson. Indeed, every inch of canvas tells its story. The spectator, who knew nothing of the scene or of its actors, would instantly and involuntarily become conscious that he was present at some great world-renowned action.
But in dwelling upon this fascinating topic, we have been unconsciously carried away from our main point. This great painting, which was executed by Mr. Rothermel for the Art-Union, at the price of one thousand dollars, but which, by its extraordinary excellence, has already acquired a market value far beyond that sum, is to be drawn for among the other prizes at the next annual distribution.
Every subscriber, moreover, secures for himself a copy of the engraving of this great picture, which the Managers have contracted for in a style of surpassing beauty. The picture itself, and the engraving of it, will form an era in the history of American art, as the subject itself did in the history of American Independence.
Besides this, all the money obtained from the subscribers, after paying for the engraving and other incidental expenses, is to be distributed, as heretofore, in money-prizes for the purchase of other works of art, at the option of the prize-holders.