Henry Kelsey Devereux

“ On the right of the old man marches a boy, hardly in his teens, whose drum keeps time to the beat of the other. His face is upturned to the old man, as though he were his grandfather, as if to question perhaps the route or the danger ahead, but still with a look of rapt inspiration. No shade of fear lurks in his calm eyes, while the ‘rub-a-dub’ of his little drum sounds as clear and distinct as the heavier roll of the aged drummer. ”

“ It may be that enthusiasm borne of an intimate knowledge of the creation of this picture makes me over-enthusiastic, but then and afterwards, even to this day, when I learn how it holds the interest of all that look at it, the belief is strengthened that the picture was an inspiration, though it might be judged crude in execution by artistic standards. I know little or nothing of art, nor does the ordinary individual looking at a picture, but any one picture that can so universally move [Pg 57] the onlooker must convey something deeper than the pigments on the canvas. ”

“ The conception and purpose of the artist and his adviser cannot be better interpreted than in Mr. Ryder’s own words, written many years ago.
“The idea of the artist in painting the picture was to concentrate all the determination and enthusiasm possible in a few figures. No field afforded a better subject than the Revolution, with its determined old heroes and the air of ‘Yankee Doodle’ to rouse them to the highest pitch of enthusiasm. ”

“ Willard has passed, and so have all who were intimately connected with its creation, except myself. Probably no painting, the creation of an American artist, has received such wide and continuous interest and attention as this patriotic painting. Many times during the last quarter of a century, I have been urged to record my recollections of Willard and my association with this historical painting. Many times I have been asked for information which did not come under my personal observation. As the years pass, this demand for information has become more insistent and more urgent. ”

“ Ryder, at Ryder’s suggestion, Willard moved to Cleveland. He used as a studio, a small room on the fourth floor of what used to be the Union National Bank Building located at Euclid Avenue and what was then Hickox Alley, Cleveland, Ohio. From this time on Willard spent almost his entire life in Cleveland.
This little studio had a northern exposure, and he was artist enough, even then, to realize the value of the northern light. His canvas when stretched was taller than himself. His idea had become [Pg 34] a big one and nothing but life-size would do for the figures to be used. ”

“ Hats are in the air; the flag has turned; the threatened defeat is about to become a victory. The dying man raised himself to cheer. The trio of homespun musicians are discoursing with all their might that music whose shrill melody is so surcharged with patriotism. ”

“ It was then, on special request made by those in charge of the Centennial that the original painting itself was sent to the Exposition.
Mr. Ryder suggested that the title be “Yankee Doodle” and under this title “The Spirit of ’76” was at first known. He left the conception and development of the painting to Willard’s imagination.
At that early period after the Civil War, when the training days of the militia system had practically gone to pieces, the various companies were expected [Pg 32] to go into camp for three days each year. These days had become a neighborhood picnic. ”

“ The wonderful inspiration developed in “The Spirit of ’76” is entirely lacking. This Willard made for Doctor Barton in 1898.
In 1912 a replica of “The Spirit of ’76” was made by Willard himself. Willard was then 76 years of age. This replica was executed for the City of Cleveland as a special Commission. This is located in a prominent place in the new City Hall at Cleveland. It is fitting that this replica should be available in Cleveland where “The Spirit of ’76” was conceived and executed by a Cleveland artist [Pg 78] and painted from Cleveland and northern Ohio subjects. ”

“ Sawtelle gave this crayon sketch to Doctor Barton. This original rough sketch embodies essentially the ideas wrought out in the oil painting, but naturally it is rough and unfinished. The drummer boy is a head shorter. His face is in the shadow. The dying man is much too prominent in the foreground, a mistake which Willard later corrected. Apart from these points, it lacks altogether the spirit and inspiration which Willard worked into his finished painting. ”

“ It was an ordinary sized canvas and delineated a Fourth of July celebration in a country village. An old man in the center beating a drum, with a younger man on each side, the one with a drum, the other with a fife. The surroundings and background were rural. This painting was finished a few months prior to the opening of the Centennial Exposition of 1876 at Philadelphia. When Mr. Ryder saw the picture, he immediately conceived the idea of changing the subject from humorous to patriotic, and Willard concurred in the idea. ”

“ Anyway, to this day, although nearly fifty years have passed, recalling the happenings of that day brings to me a thrill for the earnest effort and perfection of drill of those little fellows. The two companies of larger boys had passed through their drill in a way to [Pg 52] please everybody. When it came time for the little fellows to march out, every boy was keyed to the limit. ”

“ Of these, I believe, only one is now in existence. It is owned by the Reverend William E. Barton of Oak Park, Illinois, who was formerly pastor of the First Congregational Church at Wellington, Ohio. It came into Doctor Barton’s possession in the following manner. In the preparation of his early sketches for the preliminary groupings, Mr. Willard was assisted by Mr. William F. Sawtelle, a photographer of Wellington. Willard gave this original crayon sketch to Mr. Sawtelle. Mr. Sawtelle preserved it, expecting to pass it on to his son. His son died. Mr. ”