That event was now nearly impending. It may be remembered, that the duty act of 1767, in which the ministerial scheme of taxing the colonies had been revived, had been subsequently repealed, except as to the article of tea, on which the duty had been retained, "by way, it has been remarked, of pepper-corn rent, to denote the tenure of colonial rights." A new stratagem of the ministry in this matter was followed, it is also known, by "the burning of the tea in Boston," and by the retaliatory measure of the Boston-Port Bill; acts, respectively, which may be said to have made up the issue between the conflicting parties. The convention in 1774, assembled at Annapolis, in June of that year. In the October following, the tea-burning at Boston was re-enacted in Maryland, with circumstances of deliberation and defiance that show what a flame was abroad. On the 14th of that month, the brig Peggy Stewart arrived at Annapolis, having, as a part of her cargo, seventeen packages of tea. The non-importation agreement, to which the act of 1767 had given rise, was understood to be retained as to this article, which still bore the badge of usurpation in the obnoxious duty. The consignees did not venture to incur the public indignation by landing the teas, without at least consulting the Non-Importation Committee; but in the meantime, the vessel was entered, and the duties paid by Anthony Stewart, a part owner of the vessel. The people, highly incensed, determined, in a public meeting, at Annapolis, that the tea should not be landed. It was proposed, in a subsequent one, to burn it; and at a county meeting which followed, it was decided, that this should be accompanied also by a most humiliating apology from Stewart and the consignees. As the people now threatened to burn the vessel itself, the former, by the advice of Carroll of Carrollton, proposed to destroy her with his own hands. Crowds repaired to the water-side to witness the atonement; the vessel was run ashore at Windmill Point, where Stewart set fire to his own vessel, with the tea on board.
All was now preparation for open hostilities. Military associations were formed, military exercises eagerly engaged in, and subscriptions set afoot for purchasing arms and ammunition. The planters were requested to cultivate flax, hemp, and cotton, and to enlarge their flocks with a view to the manufacture of woollens. At this point we must leave Mr. M'Mahon. On the appearance of his second volume, we may resume his narrative from this period, and take the same occasion to notice some other matters in his work, for the discussion of which we have not room at present.
[10] New Travels by the Abbé Robin, one of the Chaplains to the French Army in N. America.]
Art. X.—Notes on Italy. By Rembrandt Peale. 1 vol 8 vo. Carey & Lea: Philadelphia: 1831.
To review a new volume of travels in Italy, may seem to many readers an unprofitable task. Since its shores were first hailed by the faithful Achates, it has been the goal of travellers and the theme of authors. Every age has sent its children to visit that favoured soil; and the barbarians who rudely invaded it from beyond its Alpine barriers, have been followed by successive generations of men, less rude indeed from the progress of time, but not less ardent to explore and overrun it. Peace and war have alike urged them on. Its mountains, its valleys, its defiles, its broad and sunny plains, have resounded for hundreds of years with the clash of arms, and glittered with innumerable warriors; bands scarcely less numerous have penetrated every corner, led by spirits inquisitive for knowledge or fond of dwelling on beauties of nature, perhaps unrivalled, and on the certain charms of refined and exquisite art, with which no other land, however favoured, has yet dared to offer a comparison. Nor is there wanting the ample, the reiterated record of all this. Historians, and poets, and antiquarians, and novelists, and travellers, have made familiar every incident of every age—every allusion that can give fresh and delightful associations to every spot. What ruin is there that they have not made eloquent? What mountain, what grove, can eager curiosity, urged on by the enthusiasm of taste and genius, discover, which is not already hallowed—that has not "murmured forth a solemn sound."
Yet, still, we read over the oft-repeated tale; we can bear to hear again and again the history of Roman grandeur; we delight to trace the footsteps of warriors, of statesmen, of heroes, philosophers, and poets, whom we have learnt to regard rather as old friends, as household deities, as companions who have enchanted our youth, and beguiled our later years,—who have given us at once rules and lessons of human conduct, and pleasing visions to delight our fancies and our hearts, than as merely individuals in the great family of mankind. We can bear to dwell again and again on the graphic page which imparts to us the knowledge of those triumphant efforts of taste, of genius, and of art, whose charm time cannot injure, and which become to us the more dear, because they remain after centuries have passed away, with scarcely a single rival.
We were impressed with these feelings when we took up the unpretending volume before us; we can scarcely doubt, that they will be common to many at least of our readers, when they find our page headed with "Notes on Italy." To these sentiments will be justly added a favourable impression from the character of the writer, and the circumstances which have led to his tour and to the publication of the present volume.
As early as the year 1786, Charles Wilson Peale, the father of the author, and a gentleman whose name is well known as connected with the infant arts and sciences of America, was the first person to build an exhibition room in the city of Philadelphia. There he displayed to a public, perhaps but little prepared to appreciate them, the first collection of Italian paintings, and there his son acquired in his earliest youth, not only an enthusiastic admiration for the art itself, which he has since successfully cultivated, but an ardent desire to visit the region where he could behold the productions of artists whose genius he had learned to venerate.
Having commenced his studies as a painter under the direction of his father, he went to England, during the peace of 1802, with the design of visiting France and Italy. The renewal of hostilities, however, prevented this, and after availing himself for a short time of the benefits London offered, he returned home. In 1807, he again crossed the Atlantic; the disturbed situation of the continent obliged him to confine himself to France; but in the gallery of the Louvre he could admire, study, and emulate the noblest productions of the pencil and the chisel, collected by that wonderful man, who loved to blend in the triumphs of warlike ambition, the trophies dear to philanthropy, to science, and to art. Mr. Peale returned to his own country, not satisfied however, because Italy itself was yet unseen. It was in vain that an increasing patronage and attention to the fine arts in his own country offered him renewed reasons to remain there; he was as restless as before, and in 1810 we again find him in Paris, and again obliged, by the unsettled state of Europe, to forego his long cherished visit. He returned to his own country; but the fever that still burned as in the ardour of youth, was not allayed, and the idea that his dreams of Italy were never to be realized, seemed, as he tells us, to darken the cloud which hung over the prospect of death itself. For a number of years the duties required by a large family forbade his separation from them; but these at length permitted the gratification of his wishes, and patronised by the liberality of several gentlemen of New-York, at the age of fifty-one he was able to gratify a desire which had not failed to increase with his years. The narrative of his tour, which occupied nearly two years, is embraced in this volume. His main object was to examine the celebrated works of Italian art, and to select, for the employment of his pencil, some of the most excellent pictures of the great masters which are preserved in Rome and Florence; the copies of these carefully made cannot fail to advance, among the artists and amateurs of his own country, a correct knowledge of the fine arts.