"I ca-an't-I do-don't-Oh, let me " Mrs. Cheyne did not at all know what she said. "You must," Mrs. Troop repeated. "Your boy's jest fainted dead away. They do that some when they're gettin' their growth. Wish to tend to him? We can git aout this side. Quite quiet. You come right along with me. Psha, my dear; we're both women, I guess we must tend to aour men-folk. Come!" The "We're Heres" promptly went through the crowd as a bodyguard, and it was a very white and shaken Harvey that they propped up on a bench in an ante room. pier-head and they slid her along the wharfside with their hands. Every one wanted to say so much that no one said anything in particular. Harvey bade Dan take care of Uncle Salters's sea-boots and Penn's doryanchor, and Long Jack entreated Harvey to remember his lessons in seamanship; but the jokes fell flat in the presence of the two women, and it is hard to be funny with green harbor-water widening between good friends. "Up jib and fores'le," shouted Disko, getting to the wheel, as the wind took her. "See you later, Harve. Dunno but I come near thinkin' a heap o' you an' your folks." Then she glided beyond earshot, and they sat down to watch her up the harbor. And still Mrs. Cheyne wept. "Favors his ma," was Mrs. Troop's only comment, as the mother bent over her boy. "How d'you suppose he could ever stand "Psha, my dear," said Mrs. Troop; it?" she cried indignantly to Cheyne, who "we're both women, I guess. Like's not had said nothing at all. "It was horrible it'll ease your heart to hev your cry aout. -horrible. We shouldn't have come. It's God He knows it never done me a mite o' wrong and wicked! It-it isn't right! good, but then He knows I've had someWhy-why couldn't they put these things thing to cry fer!" in the papers-where they belong. Are you better, darling?" That made Harvey Harvey very very properly ashamed. "Oh, I'm all right, I guess,' he said, struggling to his feet, with a broken giggle. "Must ha' been something I ate for breakfast." 66 Coffee, perhaps," said Cheyne, whose face was all in hard lines, as though it had been cut out of bronze. "We won't go back again." "Guess 'twould be 'baout's well to git daown to the wharf," said Disko. "It's close in along with them Dagoes, an' the fresh air will fetch Mrs. Cheyne araound." Harvey announced that he never felt better in his life, but it was not till he saw the "We're Here," fresh from the lumper's hands at Wouverman's Wharf, that he lost his all-overish feelings, in a queer mixture of pride and sorrowfulness. Other people-summer boarders and such-like played about in cat-boats or looked at the sea from pier-heads, but he understood things from the inside-more things than he could begin to think about. None the less, he could have sat down and howled because the little schooner was going off. Mrs. Cheyne simply cried and cried every step of the way, and said most extraordinary things to Mrs. Troop, who "babied" her till Dan, who had not been "babied" since he was six, whistled aloud. And so the old crowd-Harvey felt like the most ancient of mariners-dropped into the old schooner among the battered dories, while Harvey slipped the stern-fast from the Now it was four good years later, and upon the other edge of America, that a young man came through the clammy sea-fog up a windy street which is flanked with most expensive houses, built of wood to imitate stone. To him, as he was standing by a hammered iron gate, entered on horseback-and the horse would have been cheap at a thousand dollars-another young man. And this is what they said: Hello, Dan!" "What's the best with you?" "Well, I'm so's to be that kind o' animal called second-mate this trip. Ain't you most through with that triple-invoiced college o' yours?" 66 Getting that way. I tell you the Leland Stanford, Junior, isn't a circumstance to the old 'We're Here,' but I'm coming into the business for keeps next fall." "Meanin' aour packets?" "Nothing else. You just wait till I get my knife into you, Dan. I'm going to make the old line lie down and cry when I take hold." "I'll resk it," said Dan, with a brotherly grin, as Harvey dismounted and asked whether he were coming in. 618 MR. KIPLING'S TRUTH TO FACT IN "CAPTAINS COURAGEOUS.” allowed no one else to attend to any of Harvey's wants. "Master-man. Man-master," said he. "You remember, Dan Troop? On the "Thick as the Banks, ain't, it Doctor?"We're Here?” said Dan, propitiatingly. But the coal-black Celt with the secondsight did not see fit to reply till he had tapped Dan on the shoulder, and for the twentieth time croaked the old, old prophecy in his ear: 66 Well, I won't go so far as to deny that it do look like it as things stand at present," said Dan. She was an able packet, and one way an' another I owe her a heap-her and dad." "Me too," quoth Harvey Cheyne. THE END. MR. KIPLING'S TRUTH ΤΟ FACT IN IN this number of MCCLURE'S is published the final instalment of Mr. Kipling's masterly story of "Captains Courageous." The several instalments have attracted wide attention as they appeared, and have started some very interesting points of discussion. One of these was as to Skipper Ireson--whether he had had an injustice done his memory in the story told of him in Whittier's ballad of "Skipper Ireson's Ride." The interesting communication from Captain John Codman, published in the March number, seemed to amply sustain the contention of Captain Disko Troop, in "Captains Courageous," that such injustice had been done, and that for once Whittier "slipped up.' Mr. Kipling's purpose in taking up the subject was probably not so much to set Skipper Ireson right before the world as to truly show forth Captain Troop; but whichever was his primary aim, he receives in Captain Codman's letter a strong testimony to his thoroughness and accuracy. Another point that has been raised, and even a more interesting one, is as to the descent of the negro cook of the "We're Here." He is represented as the descendant of Southern negroes who had fled to the interior of Cape Breton and as reared to speak Gaelic. This the editor of the "Marine Journal" of New York conceived to be an error, and in a recent number of his paper said: As a matter of fact, although the people of Cape Breton are largely Highland Scotch, negroes are as scarce among them as skunks, which means that there are none in the island. Indeed, we have known the colored cook of a vessel that put into Sydney, C. B., to be followed around the streets there by a crowd as a curiosity. There are settlements of ex-slaves in Nova Scotia, near Halifax, but they do not speak Gaelic, and we believe there is a "CAPTAINS settlement of Gaelic-speaking negroes somewhere in Carolina. But there are no settlements of negroes, Breton. and much less Gaelic-speaking negroes, in Cape This article was reprinted at North Sydney, Cape Breton, in the "Herald" newspaper, and immediately called forth several letters of refutation. We print herewith two that are of particular interest. ARICHAT, CAPE BRETON, January 25, 1897. To the Editor of MCCLURE's Magazine : of Kipling's "Captains Courageous," now running in The New York "Marine Journal," in a criticism your valued magazine, claims that the author has fallen into an error when he represents the cook of the " We're Here' as a Cape Breton negro, the descendant of Southern slaves, etc. In some respects, at least, no mistake has been committed. There are at least two negro families living in Inverness County, Cape Breton, who are in all probability the descendants of fugitive slaves. These negroes, living in a community of Highland Scotchmen or their descenI dants, soon acquired the language of the Gael. remember meeting one of these colored people a few years ago. He was cook on a trading schooner, and was as black as any Southern negro. He not only spoke Gaelic, but could write in that language as well, and I had in possession for some time verses of what I knew of him I could say that he was the cook a Gaelic song written by this colored cook. From so faithfully portrayed by the master hand of Kipling. D. F. POSTE RESTANTE, Canso, Nova Scotia, To the Editor of MCCLURE'S MAGAZINE: The enclosed cutting from the North Sydney "Herald," Cape Breton, speaks for itself. Rudyard Kipling does not err. In defence of his statement I beg to state that there are two families of Gaelicspeaking negroes at West Bay, in Cape Breton; also another family at Whycocomagh—both places in Inverness County, Cape Breton. Doubtless others have advised you of this, but in order to preclude any chances of non-acquaintance on this subject, I have taken the liberty to send you this information. Your obedient servant, DANVERS OSBORN. LIFE PORTRAITS OF DANIEL WEBSTER. Born at Salisbury, N. H., January 18, 1782. Died at Marshfield, Mass., October 24, 1852. WITH INTRODUCTION AND NOTES BY CHARLES HENRY HART. THE HE first portrait of Daniel Webster that we know, is of especial interest from its romantic history. It was painted when Webster, at twenty-two, was paying his addresses to Grace Fletcher, who, four years later, became his wife. By whom it was drawn is not known, but Daniel gave it to Grace, and, upon her death, he gave it to her sister, Rebecca, the wife of his kinsman, Israel Webster Kelley, of Webster's native town, Salisbury (now Franklin), New Hampshire. From Mrs. Kelley it has descended to the Rev. Webster Kelley Peirce of Brimfield, Massachusetts, but was found too late to reproduce here. As early as the time of his marriage Webster's striking appearance had begun to be noted. "His large lustrous eyes, which later shone forth from their cavernous depths, and massive brow, dominated over the other features, which were sharply cut, refined, and delicate; while the paleness of his olive complexion was heightened by hair as black as the raven's wing." This is as he is finely depicted in an early portrait, by an unknown hand and of uncertain date, belonging to the Long Island Historical Society, wherein Webster's conscious ideality and spirituality are portrayed with a prescience quite remarkable considering that he was only then entering upon his great career. Portraits are here reproduced painted by Gilbert Stuart in 1822 and 1824, by Francis Alexander in 1835, by Hiram Powers in 1836, by Thomas Bayley Lawson in 1844, by Chester Harding in 1845, by F. de Berg Richards in 1846, by Southworth and Hawes in 1850, by Ormsby and Silsbee in 1851, and by Joseph Ames and by J. W. Black in 1852. These eleven pictures by no means exhaust the portraits of Webster. Their number is legion. Charles Bird King, who studied in England with Leslie and Morse, and for forty years had a studio in Washington, District of Columbia, where he painted all the notabilities of the period, painted a portrait of Webster in 1817, which he bequeathed to the Redwood Library, Newport, Rhode Island; and another by King is in the Ogle-Tayloe collection at the Corcoran Art Gallery. MISS Sarah Goodridge made at least five miniatures of him from life. The first, painted in 1827, was done for Eliza Buckminster Lee, and is now in the cabinet of the Massachusetts Historical Society. In a letter from Webster to the artist, now before me, he writes, relative to this picture: "I owe you an apology for not calling on you before I left home, after receiving the miniature, to tell you how very much it satisfied Mrs. Webster and also the person for whom it was designed. They thought it a very good likeness and are well pleased with it." This portrait was engraved for the "Private Correspondence of Daniel Webster" in 1857. Miss Goodridge subsequently painted miniatures of Webster in 1831, 1833, 1836, and about 1845. One of these is in the collection of Miss Walker of Boston; another is owned by Senator Lodge; a third belongs to the artist's nephew, Mr. Edward Appleton, while the latest, an unfinished sketch, is in the possession of the writer. James Barton Longacre, the accomplished engraver who, for more than a quarter of a century, held that official position in the United States Mint and earlier projected the "National Portrait Gallery of Distinguished Americans," drew several portraits of Webster in sepia. Two of these he engraved, one in 1830 and the other in 1833, and both are interesting heads. George Linen, a Scotchman who came to this country in 1834 and acquired celebrity for his small cabinet portraits, painted Webster, at Marshfield, in 1838. This portrait is owned by Mrs. John B. Linen of Buffalo, New York, but it does not respond satisfactorily to the camera. Richard Morell Staigg, the most eminent of the latter-day miniaturists, painted at Washington, in 1844, a portrait of Webster which is now owned by the Academy of Fine Arts, Philadelphia. It was exquisitely engraved by that master of delicate work, John Cheney, and a replica belongs to the Massachusetts Historical Society. Albert Gallatin Hoit painted a portrait for Paran Stevens, which hung for years in the Revere House, Boston, and now belongs to the Union League Club, New York. Webster was also painted by James Frothingham and by John Pope, drawn by W. J. Hubard and by Eastman Johnson, and modeled by John Frazee in 1833, by Shobel Vail Clevenger in 1839, by Clark Mills in 1849, and by John C. King in From the bust by Clevenger was taken the head that so long ornamented the old orange fifteen-cent postage stamp. Harding, Ames, and Healy seem to have run a pretty even race in delineating him. They evidently kept him on hand, much as Stuart kept his pot-boiler" portraits of Washington. It is claimed that Harding painted him from life nine times, Ames a like number, and Healy but one less. From my investigations I am satisfied that while each was almost continuously painting Webster, and sometimes from life sittings, most of the pictures of him by these men are mere repetitions, with variations of pose and change in details. 64 Chester Harding's first and best portrait of Webster, painted in 1828, belongs to Mrs. Abbott Lawrence of Boston, and was finely engraved by S. A. Schoff for the "Works of Daniel Webster." The picture by him that for so long was a feature of Stetson's Astor House, Mr. Webster's headquarters in New York, now belongs to the Hon. Robert F. Stockton of Trenton, New Jersey. The head in the full-length picture in the Boston Athenæum, painted by Harding in the winter of 1847-48, is much like the Lawson portrait. The figure was not painted from Webster, but from John Tucker, the proprietor of the old Tremont House, Boston. A composite portrait made by Harding in 1855 for Hon. J. M. Thompson of Springfield, is owned by the Algonquin Club of Boston. 44 It would be impossible, if it were desirable, to note all the daguerreotypes and talbottypes that were taken of Mr. Webster. They would form a good-sized portrait gallery by themselves. There are, however, curiosities of Webster portraiture that must not be neglected. A painting Webster, by his will, left to his grand- that was one of the treasures of the Webdaughter Caroline LeRoy Appleton-Ma- ster Historical Society was secured, on dame Jerome Bonaparte of Washingtonthe portrait of himself by Healy "which now hangs in the southeast parlor at Marshfield." There was another of him by Healy burned in the fire at Marshfield in 1878. The original study for the portrait in Healy's familiar picture of "Webster's reply to Hayne," which hangs in Faneuil Hall, is dated" Marshfield, Nov. 13, 1848," and belongs to Mr. Thomas B. Bryan of Elmhurst, Illinois, who also owns a finished sketch, by Healy, of Webster in his hunting garb, with gun in one hand and game in the other. The latter was Healy's last portrait of him from life. Both have been often reproduced. An earlier portrait of Webster, painted by Healy (1842), with a companion picture of Lord Ashburton, hangs in the State Department at Washington, while a replica of it is in the New York Historical Society. There are, of course, many other portraits of Webster by Healy that are claimed to be original, but it is impossible to assign their places or determine their authenticity, with the facilities at hand. Portraits of Webster by Ames are at Dartmouth College, Exeter Academy, and in the Somerset Club, Boston. Ames's composition called "Last Days of Webster at Marshfield," made familiar by the engraving, is in the possession of R. M. Foote of Boston. the disbandment of the society, by Tilly Haynes, of the United States Hotel, in Boston, who sold it to Mr. R. Hall McCormick of Chicago, as one of three painted by Harding. The frame was recently removed, and beneath the spandrel, on the canvas, hidden from view, was the unknown signature of "Emory Seamon, pinxt, 1854," showing that it was painted two years after Webster's death. There are two pictures of Webster sitting against a tree, wearing one of his favorite big soft hats. One faces to the right, and is called "Webster at Marshfield, by Healy, and the other faces to the left, and is called "Webster at Franklin," by Ames. This is surely the Barnum show of "pays your money and takes your choice; for both have evidently been copied, with some variations, from the same original, and that, apparently, a daguerreotype. Another more remarkable curiosity will be found noted under Harding's portrait of Webster at 63, on page 624. Mr. Webster was twice married: in June 1808, to Grace Fletcher, who died January 21, 1828; and in December, 1829, to Caroline LeRoy, who died February 28, 1882. Through the courtesy of Mrs. Charles H. Joy and of Mrs. Abbott Lawrence, of Boston, we are enabled to reproduce, for the first time, portraits of both the first and the second Mrs. Webster. From the original portrait by Gilbert Stuart, owned by Mr. George Frederick Williams, Dedham, Massachusetts. Canvas, 28 by 36 inches. This portrait has never been reproduced before, and so hidden from view has it been that it is not mentioned in the list of the painter's works given in Mason's Life of Stuart or in that more complete one printed in the catalogue of the Stuart exhibition, by the Museum of Fine Arts, Boston, in 1880. It comes forth, therefore, in the light of a new discovery. It was painted for that warm friend of both painter and subject, Isaac P. Davis of Boston, and hung for years in his parlor. One day while visiting Mr. Davis, Webster stood for some time before the picture, and making a low bow to it said: "I am willing that shall go down to posterity." When Webster sat for this portrait he had just returned from Washington "looking pale and thin and far from well, yet the picture has the depth of expression for which he was so remarkable." Mr. Davis subsequently gave the picture to Webster, . and it hung at Marshfield, where it was saved from the fire that destroyed the historic house. It was then given by Mrs. Fletcher Webster to the present owner, who for years was her trusted counselor and friend. A copy by Jane Stuart, made for Mr. James W. Paige, Webster's brother-in-law, is in the possession of Mrs. Abbott Lawrence of Boston. From the original portrait by Gilbert Stuart, owned by Mr. Henry Parkman, Boston. Panel, 24 by 30 inches. This unfinished head is perhaps more interesting artistically than historically. It shows how the master portrait painter of America worked; but is hardly far enough advanced to be valuable as a portrait. Stuart was such an erratic individual that it is difficult to imagine why he left this portrait unfinished as he left also portraits of Bowditch, Story, Sparks, Everett, and others. It may be that he was not satisfied with it and contemplated beginning anew; or he may have been so well satisfied with it that he hesitated to proceed further. Whatever his reason was, we can only regret that his high mightiness did not complete what he had so well begun. It was painted at the order of Mr. Edmund Dwight of Boston, the grandfather of the present owner, who, after Stuart's death, went to the artist's studio and carried the panel off. |