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Updated: June 8, 2025
Consider, Herr Peale, I was starving in this country which hates Germans and regard as a mad old fool and an ugly old devil, and none helped me until the learned doctor discovered me. I am a German, yes. Yet I have no nationality, being absorbed in the larger brotherhood of science.
The bones of a mammoth were discovered in Ulster County, New York, and Peale secured possession of them, had them taken to Philadelphia, and started a museum.
In drawing-room and dining-room are gathered numerous paintings forming a collection well known as the Brandon Gallery. It represents the work of celebrated old court painters and of notable early American artists. In the drawing-room, a canvas by Charles Wilson Peale may be regarded as the portrait-host among the shadowy figures gathered there, its subject being Colonel Benjamin Harrison.
Many strong men have since tried the same feat, but have never cleared the water. Peale, who was called the soldier artist, was once visiting Washington at Mount Vernon. One day, he tells us, some athletic young men were pitching the iron bar in the presence of their host.
There were easy chairs with restful arms within reach of tables holding lamps, ash receivers and the like; and rows and rows of books on open shelves edged with leather; not to mention engravings of distinguished men and old portraits in heavy gilt frames: one of his grandfather who fought in the Revolution, and another of his mother this last by Rembrandt Peale a dear old lady with the face of a saint framed in a head of gray hair, the whole surmounted by a cluster of silvery curls.
Gilbert Stuart, the most important figure, is represented by an extensive collection on wall A. In this room, too, are canvases by West, Peale, Copley, and their followers well into the Nineteenth Century. Gallery 59 contains chiefly the work of that barren mid-century period when portraiture and landscape painting alike became hard and labored.
Peale was born in Maryland in 1741, and was, among other things, a saddler, a coach-maker, a clock-maker and a silversmith. He finally decided to add painting to his other accomplishments, so he secured some painting materials and a book of instructions and set to work.
The example of this man was brought vividly to my mind at a later day, in Philadelphia, when an important educational question was under discussion. Rembrandt Peale had two dreams, each worthy of his genius.
In the City of Brotherly Love Baily notes the geniality of the people, who by many travelers are called aristocratic, and comments on Quaker opposition to the theater and the inconsequence of the Peale Museum, which travelers a generation later highly praise.
"Janice!" cried the person so challenged. "How lovely! Who Did Mr. Peale come to Greenwood?" "Not he. Who, think you, did it?" "I vow if I can guess." "Charles! "No!" gasped Tibbie, properly electrified. "Thee is cozening me." "Not for a moment," cried Janice, delightedly. "Tell me everything about all" was Tabitha's rapturous demand.
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