[Illustration: DEATH OF MONTGOMERY.--[JOHN TRUMBULL.]]
Cabinet in size, they combine breadth and detail to an unusual degree. The faces are in miniature, in many cases portraits from life. They could be cut out and framed as portraits; each also is stamped with the individual passions of that terrible hour--hate, exultation, pain, courage, sorrow, despair. And yet with all this truth of detail the general spirit and effort of the scene is preserved. The onward movement, the rush, the onset of war, the harmony of lines, the massing of _chiaro-oscuro_, the brilliance and truth of color, are all there. One first gazes astonished at the skill of the artist, and ends by feeling his heart stirred and his emotions shaken as the leaves of the forest are blown by the winds of October, and his sympathies carried away by the grandeur and the terror of battle. Yes, when John Trumbull painted those two pictures, he was inspired by the fires of genius for once in his life. His later historical works are so inferior in all respects as scarcely to seem to be by the same hand.
Trumbull lived to see a taste for the arts growing up among his fellow-countrymen, and the awakening of the first feeble attempts to furnish art instruction in his native land to the artists of the future. He was President of the Academy of Fine Arts, of which he was one of the founders.
In the same year with Trumbull was born the greatest colorist and portrait-painter we have seen on this side of the Atlantic, Gilbert Stuart. The town of Narragansett, in the little State of Rhode Island, was the birth-place of this painter, who came of Scotch and Welsh descent, an alliance of blood whose individual traits were well illustrated in the life and character of the painter.
Fortune was becoming a little kinder to our artists. Stuart's dawning genius was directed at Newport by Cosmo Alexander, a Scotch portrait-painter of some merit, who took his pupil to Scotland and placed him in charge of Sir George Chambers. After various vicissitudes, comprising, as with so many of our early painters, an art apprenticeship in the studio of West, the young American artist settled for awhile abroad, and acquired such repute that he rivalled Sir Joshua Reynolds in the popular esteem: his brush was in demand by the first in the land; and the unfortunate Louis XVI. was included among his sitters. After this, in 1793, Stuart returned to America, painted the portraits of the leading citizens in our chief cities, and finally settled in Boston. The most important works he executed in this country were his well-known portraits of Washington, including the famous full-length painting, which represents the great man, not in the prime of his active days, as represented by Peale and Trumbull, but when, crowned with glory and honor in the majesty of a serene old age, he was approaching the sunset of life.