The Washington times., 1901-11-24
WHEN LINCOLN
FREED. The SLAVES
Story of Carpenters Celebrated
Painting.
The Artist Afforded Every Facility in His Work By the
Great War Executive Pronounced by Him "As
Good as Could Be Made.

On the wall above the landing of one of
the staircases leading to the gallery of
the House of Representatives, is one of
the most interesting paintings in the Capt.
tol, the Proclamation of Emancipation -
1t was painted at the White House in 1854
by Frank Carpenter, and represents the
meeting of the Cabinet when President
Lincoln read his proclamation. Lincoln is
seen in the foreground, presiding at the
head of the long table, in his left hand
the proclamation fraught with such mo-
mentous consequences, and in his right, a
quill pen, which, on this occasion, was
truly ''mightier than the swcrd." Behind
the President on his right, stands SAL
mon p. Chase Secretary OF the Treasury.
by whom is seated Edwin NJ. Stanton,
Secretary of War. Upon Lincoln's left sits
William H. Seward. Secretary of State.
while at the rear. in the centre of the
painting. sits Gideon Welles, Secretary of
the Navy. On the extreme right, Edward
Bates, Attorney General. is also seated
at the table; and of the two Cabinet Of
ficers standing together in the back
ground, the taller is Montgomery Blair,
Postmaster General, and the other Caleb
Smith, Secretary of the Interior.
story of the Painting.
The story of the painting OF this work
is very interesting. When the artist first
met President Lincoln at reception at
the White House he was welcomed with
the words: 'Oh, yes; l know; this is the
painter" Then, Strengthening himself to
his full height, with a twinkle in his eye,
the President added playfully: do you
think, Mr.. Carpenter, that you can make
handsome picture of me?" Carpenter
described his next interview with the War
President, in these words: "He received
me pleasantly, giving me a seat near his
own armchair and after having read
Mr. Lovejoy's note he took of his spec
tacles and said, Well, Mr.. Carpenter, We
will turn you in loose here, and try to
give you good chance to work out your
idea. Then, without paying much atten-
tion to the enthusiastic expression of my
ambitious desire and purpose, he proceed
ed to give me a detailed account of .he
history and issue of the great proclama-
ton. Having concluded this interesting
to show me the various positions occu-
pied by himself and the different mem
bers of the Cabinet, on the occasion of
the first meeting. AS nearly as / remem-
ber,' said he, I sat near the head of the
table; the Secretary of the Treasury and
the Secretary Of War were here, at my
right hand; the others were grouped at
the left -
After describing at some length the de-
tails of the composition, the artist notes:
When at length the conception as thus
described was sketched upon the large
canvas and Mr.. Lincoln came in 20 see it,
his gratifying remark, often subsequently
repeated, was, 1t is as good as it can be
made.
"It is not too much to say that the en-
thusiasm in which this work was con-
ceived tagged not to the end. The days
were too short fer labor upon it. Lighting
at nightfall the great chandelier of the
state dining room, which was finally as
signed me for a studio instead of the Ii
brary, where the windows were shaded
by the portico, the morning light fire.
quently broke in upon me still standing,
pencil or palette in hand, before the i'm
mense canvas, unable to break the spell
which bound me to it. We will turn you
in loose here proved an Open sesame
to me during the subsequent months of
my occupation at the White House. My !
access to the official chamber was made
nearly as free as that of the private sec
unless special business was being |
transacted. Sometimes a stranger, ap-
the President with a low tone. |
would turn an enquiring eye toward the |
place where sat, absorbed frequently in |
a pencil sketch of some object in the |
room. This would be met by the hearty |
tones of Mr.. Lincoln-I can hear them yet |
ringing in my ears-'Oh, you need not
mind him; he is but painter There |
was a satisfaction to me, differing from
that of any other experience, in simply |
sitting with him. Absorbed in h,s pa
pers, he would become unconscious of my |
presence. while intentIy studied every
line and shade of expression in that fur
rowed face. In repose, it was the saddest
face / ever knew
The artist spent six months of incessant
labor on the painting and the praise Law