Snatch the relentless Villain from her Hand,
Keen Execrations on this Plate inscrib’d,
Shall reach a Judge who never can be brib’d.
The unhappy Sufferers were Messs Saml Gray, Saml Maverick, Jams Caldwell, Crispus Attucks & Patk Carr killed. Six wounded; two of them (Christr Monk & John Clark) Mortally.
Two hundred copies of the pamphlet were issued in the first edition, and for his work upon the plate the Revere papers tell us that the engraver received five pounds. A number of variants of the original plate appeared within a few months of its production. One was reduced in size to accompany an octavo edition of the pamphlet. This latter engraving was 4½ by 6⅝ inches. It had no inscription at the top but underneath bore the following words: “The Massacre perpetrated in King Street on March 5th 1770, in which Messrs Saml Gray, Saml Maverick, James Caldwell, Crispus Attucks Patrick Carr were Killed, six others Wounded two of them Mortally.” The different proportions of this plate give to the picture more sky and foreground than the one we have described above. The second
edition of the pamphlet with the smaller engraving was reprinted without change in London by E. & C. Dilly and J. Almon in the same year that the Short Narrative appeared in Boston.
Two other London editions of the pamphlet were issued the same year by the publishing firm of W. Bingley in Newgate Street. One of these has for its frontispiece an engraving 8½ by 12 inches in size, with the following inscription across the top: “The Fruits of Arbitrary Power; or the Bloody Massacre, Perpetrated in King Street, Boston by a Party of the XXIX Regt.” Underneath is printed Revere’s original poem, without the accompanying names of the victims. On the left of the poem the following verse is surmounted by a skull and crossbones within a wreath: “How long shall they utter and speak hard things? And all the workers of iniquity boast themselves? They break in pieces thy people, O Lord, and afflict thine heritage. Ps. XCIV, 4, 5.” On the right of the poem appears the design of a liberty cap in clouds from which issue forks of lightning and two broken swords. Underneath is printed, “They slay the widow and the stranger, and murder the fatherless. Yet they say, The Lord shall not see, neither shall the God of Jacob regard it. Ps. XCIV, 6, 7.” Some of these prints have been found with only the two devices and without the scriptural quotations.
Still one more print appeared in London in 1770 which shows marked variations from all those previously described. These were all variants of Revere’s original plate, and differ only in size, proportions, and inscriptions. The print which we now describe is so different in composition and so much better in execution that it would seem to be the work of another artist than Revere. Not only are the proportions of the picture changed, but the handling of the perspective is much better, the drawing of the figures, and the expression of the faces show the handiwork of a genuine artist. The
arrangement of the figures is the same, but the soldiers’ legs become quite possible members of their bodies, able to bear a man’s weight. The fallen figures lie in better and easier attitudes. The grouping of the crowd is less confused, and in the background appear the heads of two women wearing bonnets, that are not seen in the original Revere prints. Moreover, there is no dog in the foreground and no moon in the sky of this latter print. The question arises whether some other artist adapted Revere’s composition, materially improving it in so doing, or whether Revere himself secured his suggestions for his work from the author of this latter print. This is answered by a letter found some years since among the Pelham-Copley papers in the British Public Record Office and printed by the Massachusetts Historical Society in one of its recent volumes of Collections.
Henry Pelham was a young half brother of the famous colonial artist Copley, and the original of the latter’s lovely picture, “The Boy with a Squirrel.” Young Pelham lived in a family of artists and himself early displayed considerable talent. He learned engraving from his father Peter Pelham, one of Boston’s earliest engravers. The following letter was written by the younger Pelham to Paul Revere: