Part 71

The fascination which the revolution of France spread over a large portion of Europe and America, for some time after its commencement, and during the time it yet bore the semblance of a virtuous cause,—while it seemed to enchant the true friends of freedom every where; and the oft-resounded and captivating name of “Liberty,” produced in men of ardent tempers, and speculative notions, ideas of its reality of the most extravagant nature, and in numerous instances of very mischievous tendency.

Among those of the latter description was Joseph Ceracchi, an Italian artist of celebrity. Mr. Ceracchi was a statuary, of great eminence in his profession; and to the manners and accomplishments of a gentleman, he united much genius and taste. Though born and bred in the dominions of the papal see, he fostered the principles of a republican. Conceiving that the genius of a free government comported with these alone, he became an enthusiastic admirer of the French republic. Finding the turbulent state of France, at the beginning of her troubles, unfavourable to the exercise of his art, in that country; and believing as he did, that the tranquil and prosperous condition of the United States would afford full employment for his talents, in a manner congenial to his inclinations, as well as beneficial to his private interest; he arrived, with his wife—a German lady of some distinction—at Philadelphia, then the seat of the national government, sometime (it is supposed) in the year 1793.

The great equestrian statue, which congress had, ten years before, decreed to be erected in honour of General Washington, had not yet been executed; and Mr. Ceracchi imagined that the gratitude of the American republic would furnish, besides this primary work, ample scope for the exercise of his talents, in erecting honorary memorials of some of the more illustrious characters, which the American revolution had produced. The aptitude, beauty and magnificence, which the artist designed to display in some great public monuments of this kind, were exhibited in models which he executed, for the purpose of testifying his abilities in the art he professed: these were universally admired, as the productions of superior genius, taste and skill. Yet Mr. Ceracchi remained unemployed: the national council did not, even at that late day, avail themselves of so favourable an opportunity of engaging him to erect the statue decreed to WASHINGTON,—a work which continues unexecuted at the present moment! and the talents of that eminent artist were, not long afterwards, for ever lost to the country.

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Footnote 283:

“If the example of all the republics that have preceded us did not authorize the hope, that history will not find us guilty of ingratitude, but only of delay, the national neglect of the memory of Washington would be sufficient to repress every sentiment of patriotism and public spirit. Of this neglect, aggravated by the solemn steps taken by congress to obtain a right to remove the body of the Founder of our Liberties to a place of public and honourable sepulture, and the abandonment of that right when obtained, it is painful to speak—nor is it necessary. There is not wanting a general sentiment of the disgrace which the nation suffers, while the body of Washington rests upon a trussle, crouded into a damp and narrow vault, in which the rapid decay of the wooden support must in a few years mingle his ashes with those of his worthy but unknown relations. Exertions not altogether worthy of the object, but such as the present fashion of finance authorizes, are made, to give to his memory that honour in other cities, which is denied him in the metropolis of the Union.” [See the Ann. Oration delivered before the Society of Artists, in Philadelphia, in May, 1811, by B. H. Latrobe, Esq.]

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Among the gentlemen with whom Mr. Ceracchi became acquainted, in Philadelphia, were some members of the Philosophical Society in that city; and, on their recommendation of him, he was, himself, soon associated with this institution.

In this body, as the Writer believes, Dr. Rittenhouse acquired a knowledge of Mr. Ceracchi’s person and character. Both Dr. and Mrs. Rittenhouse, from their kind and unceasing attentions to this gentleman and his wife, appear to have considered them as persons of merit: the Doctor, particularly, by his friendly deportment towards the husband, during the time he continued his residence in this country, testified the esteem he had conceived for this ingenious foreigner; heightened too, perhaps, by a delicate sensibility towards him, on account of the disappointment in his expectations of public patronage in his profession, which he experienced while here. For it is known to the Memorialist, that when, in consequence of such disappointment, Mr. Ceracchi became embarrassed in his pecuniary affairs, Dr. Rittenhouse contributed liberally to his relief.

Some time in the summer of the year 1794 (if the Writer’s recollection be correct,) our benevolent philosopher having occasion to view the canal, intended to form a communication between the waters of the Delaware and the Schuylkill, invited Mr. Ceracchi to accompany him, for the purpose of examining the quality of the marble in the great quarries of that material, situated near the margin of the latter river, in the vicinity of the western end of the canal. The Memorialist joined in this little excursion, during which, Dr. Rittenhouse was, as usual, communicative, cheerful and instructive.

On inspecting the quarries just mentioned—so far as time then permitted an examination of them,—Mr. Ceracchi seemed to think they contained only laminated strata of stone; not massy blocks, without fissures or veins, like the marbles of Carrara, and those in some other parts of Europe: that, although this Schuylkill marble was generally of a good quality and of a whiteness sufficiently pure, it could not be obtained in masses thick enough for the larger subjects of fine statuary. Yet this artist observed, that a large proportion of the slabs appeared to be of dimensions suitable for various subjects of sculpture; and more especially, that they furnished an excellent material for many purposes, ornamental as well as useful, in public edifices and other structures. No other quarries of marble were viewed, on this excursion: but it is probable Mr. Ceracchi would have found the marbles of Hitner’s and Henderson’s quarries—which are at nearly the same distance from Philadelphia, though not situated very near the river Schuylkill—much better adapted in every respect, to the uses he contemplated. This unfortunate man appeared to have possessed, in addition to genius and fine professional talents, the exalted virtue of gratitude. Dr. Rittenhouse was his benefactor; and the Philosophical Society had elected him a member of their body: a fine bust of the Philosopher in the antique style, was executed by Ceracchi in white marble, and by him presented to the Society, on the 6th of February, 1795. It is supposed that he left America about twelve months after this date; and it is said, that he afterwards perished on a scaffold, in Paris, in consequence of its being alleged, that he was engaged in a conspiracy against the life of Bonaparte.

Footnote 284:

Mr. B. H. Latrobe, in speaking of the great improvement in architecture recently manifested in Philadelphia, notices the peculiar advantages derived to that city, from the valuable marbles in its vicinity. “The beautiful marble,” says he, “with which this neighbourhood abounds, and the excellence of all other building materials, give to Philadelphia great advantages in this branch of the fine arts.” (See Mr. Latrobe’s Annual Oration, delivered before the Society of Artists, in Philadelphia, May 8th, 1811.) The correct taste and superior skill of this gentleman, as an Architect and Civil Engineer, are well known in the United States. In Philadelphia, the Bank of Pennsylvania will, more especially, remain a lasting monument of his talents in architectural science, as well as of the excellent quality of the marble (for such purposes) of which that edifice is constructed.

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In the spring of the year 1794, the Earl of Buchan, P. S. S. A. and James Anderson, LL. D. both distinguished characters in Scotland, were elected members of the American Philosophical Society, at Philadelphia: and it appears probable, from a note addressed to Dr. Rittenhouse by President Washington, that they had been put in nomination, or, at least, that their election had been advocated by the former, at the instance of the latter; the note is in these words—

“The President presents his compliments to Mr. Rittenhouse, and thanks him for the attention he has given to the case of Mr. Anderson and the Earl of Buchan.

“Sunday afternoon, 20th April, 1794.”

At the commencement of the following year, Lord Buchan wrote to Dr. Rittenhouse the following letter:

“Dryburgh Abbey, Jan. 12, 1795.

“Sir,

“My worthy friend, Mr. John Miller, son of the eminent professor, John Miller, of Glasgow, whom I recommend to your attention, has charged himself with this letter, and will deliver to you a Writing-Box, which I dedicate to your use, as President of the Philosophical Society at Philadelphia, and to your successors in office, as a testimony of my high esteem for your literary character and for that of the Society over which you preside.

“This Box is made of Yew, of Black Cherry tree, and Acacia and Barberry, and veneered with Holly; all the growth of my garden at this place, and joined, fitted and finished, by my own joiner, in this house.

“On the lid is an authentic picture of Copernicus, and in the inside thereof is a similar one of Napier. That of Copernicus is from the accurate copy of the Chancellor Hupazzuoski’s original picture, which was sent by the learned Dr. Wolf, of Dantzic, to the Royal Society of London; and this limning of mine is most faithfully delineated and shaded, from a drawing made by Mr. Thomas Parke, of Picadilly, formerly a pupil of Valentine Green, engraver at London, from the picture in the Royal Society, on a scale proportional in all parts and with great fidelity; so that I can assure you of my limning being a fac simile, as to the features and countenance. That of Napier is indeed a most exquisitely beautiful piece, by John Brown, of Edinburgh, executed with the black-lead pencil, from an original portrait in the possession of Lord Napier; and, as a drawing with black-lead, excels, I believe, every thing of the kind now extant: Mr. Brown having by drawing, during twelve years in Italy, from statues, obtained a super-eminent accuracy and beauty of design.

“I consecrate this interesting piece of furniture to American Science, and to the Philosophical Society of Philadelphia: willing, however, that in consideration of the high esteem I bear to you personally, you should have the custody and use of it in your own house, during your life; producing it only to the Society for the use of the Secretary, when you think proper. I have subjoined by way of postscript to this letter, some particulars relating to the Residence of Copernicus, and his Tomb; which I wish you to communicate to our Society.

“Permit me to repeat my earnest request, that you should be kind and attentive to the Bearer (and his Family,) who I hope will have the happiness to obtain a literary establishment in the United States, and prove of much utility to the public. I am, Sir, with esteem, your obliged humble servant—

BUCHAN.”

“DR. RITTENHOUSE, Pres. of the Am. Phil. Society.”

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