The Life and Genius of Nathaniel Hawthorne Part 22

It was the last expiring ember of Hawthorne's genius, blazing up fitfully and momentarily with the same brightness as of old, and then disappearing like Hawthorne himself into the unknown and the unknowable.

It is a fragment, and yet it seems complete, for it is impossible to imagine how the story could have been continued beyond its present limits; and Hawthorne left no word from which we can conjecture his further intentions in regard to it.

There was an old apothecary in Concord, named Reynolds, a similar man to, but not so aged as, Hawthorne's Doctor Dolliver; and he also had a son, a bright enterprising boy,--too bright and spirited to suit Boston commercialism,--who went westward in 1858 to seek his fortune, nor have I ever heard of his return. The child Pansie, frisking with her kitten--a more simple, ingenuous, and self-centred, but also less sympathetic nature than the Pearl of Hester Prynne--may have been studied from Hawthorne's daughter Rose. There also lived at Concord in Hawthorne's time a man with the t.i.tle of Colonel, a pretentious, self-satisfied person, who corresponded fairly to his description of Colonel Dabney, in "The Dolliver Romance." Neither is it singular that the apothecary's garden should have bordered on a grave-yard, for there are two old cemeteries in Concord in the very centre of the town.

I know of no such portrait of an old man as Doctor Dolliver in art or literature,--except perhaps Tintoretto's portrait of his aged self, in the Louvre. We not only see the customary marks of age upon him, but we feel them so that it seems as if we grew old and stiff and infirm as we read of him; and the internal life of old age is revealed to us, not by confessions of the man himself, but by every word he speaks and every act he does as if the writer were a skilful tragedian upon the stage.

It seems as if Hawthorne must have felt all this himself during the last year of his life, to describe it so vividly; but he ascends by these infirm steps to loftier heights than ever before, and the scene in which he represents Doctor Dolliver seated at night before the fire in his chamber after Pansie had been put to bed, is the n.o.blest pa.s.sage in the whole cycle of Hawthorne's art; one of those rare pa.s.sages written in moments of gifted insight, when it seems as if a higher power guided the writer's hand. It is given here entire, for to subtract a word from it would be an irreparable injury.

"While that music lasted, the old man was alive and happy. And there were seasons, it might be, happier than even these, when Pansie had been kissed and put to bed, and Grandsir Dolliver sat by his fireside gazing in among the ma.s.sive coals, and absorbing their glow into those cavernous abysses with which all men communicate. Hence come angels or fiends into our twilight musings, according as we may have peopled them in by-gone years. Over our friend's face, in the rosy flicker of the fire-gleam, stole an expression of repose and perfect trust that made him as beautiful to look at, in his high-backed chair, as the child Pansie on her pillow; and sometimes the spirits that were watching him beheld a calm surprise draw slowly over his features and brighten into joy, yet not so vividly as to break his evening quietude. The gate of heaven had been kindly left ajar, that this forlorn old creature might catch a glimpse within. All the night afterwards, he would be semi-conscious of an intangible bliss diffused through the fitful lapses of an old man's slumber, and would awake, at early dawn, with a faint thrilling of the heart-strings, as if there had been music just now wandering over them."

So Jacob in the desert saw angels descending and ascending on a ladder from Heaven. Discouraged, depressed, the door closed upon his earthly hopes, not only for himself, but for those whom he loves much better than himself, so far as he could ever be a help and a providence to them, Hawthorne finds a purer joy and a higher hope in the depths of his own spirit.

In the second chapter, or fragment, of this romance, Doctor Dolliver, followed by Pansie, goes out into the garden one frosty October morning, and while the apothecary is digging at his herbs, the imitative child, with an instinctive repulsion for everything strange and morbid, pulls up the fatal plant from which the elixir of life was distilled, and frightened at her grandfather's chiding, runs with it into the cemetery where it is lost among the graves and never seen again. This account stands by itself, having no direct connection with what precedes or follows; but the delineation is so vivid, the poetic element in it so strong, that it may be said to stand without a.s.sistance, and does not require the name of Hawthorne to give it value.

In the conclusion, the elixir of life proves to be an elixir of death; extremes meet and are reconciled. As he says in "The Marble Faun," joy changes to sorrow and sorrow is laughed away; the experience of both being that which is really valuable. Doctor Dolliver and Pansie are figures for the end and the beginning of life; the Old Year and the New. Such is the sum of Hawthorne's philosophy--the ultimate goal of his thought. There could have been no more fitting consummation of his work.

The cycle of his art is complete, and death binds the laurel round his brow.

A HERO'S END

After Hawthorne's letter of February 25, Fields felt that he ought to make an effort in his behalf. Fields's partner, W. D. Ticknor, was also ailing, and it was arranged that he and Hawthorne should go on a journey southward as soon as the weather permitted. Doctor Holmes was consulted, and the last of March Hawthorne came to Boston and met Holmes at Fields's house. Holmes made an examination, which was anything but satisfactory to his own mind; in fact, he was appalled at the condition in which he found his former companion of the Sat.u.r.day Club. "He was very gentle," Holmes says; "very willing to answer questions, very docile to such counsel as I offered him, but evidently had no hope of recovering his health. He spoke as if his work were done, and he should write no more." [Footnote: _Atlantic Monthly_, July, 1864.] The doctor, however, must have been mistaken in supposing that Hawthorne was suffering from the same malady that carried off General Grant, for no human being could die in that manner without suffering greater pain than Hawthorne gave any indication of; and the sedatives which Holmes prescribed for him could only have resulted in a weakening of the nerves. He even warned Hawthorne against the use of alcoholic stimulants, to which for some time he had been more or less accustomed.

Hawthorne and Ticknor went to New York, and two days later Ticknor was able to write to Mrs. Hawthorne that her husband appeared to be much improved. How cruelly disappointing to meet him at their own door four days later, haggard, weary and more dispirited than when he had left the Wayside on March 26! He had proceeded to Philadelphia with Ticknor, and there at the Continental Hotel Ticknor was suddenly seized with a mortal malady and died almost in Hawthorne's arms, before the latter could notify his family in Boston that he was ill. What a severe ordeal for a man who was strong and well, but to a person in Hawthorne's condition it was like a thunderbolt. Ticknor's son came to him at once, and together they performed the necessary duties of the occasion, and made their melancholy way homeward. Nothing, perhaps, except a death in his own family, could have had so unfavorable an effect upon Hawthorne's condition.

Some good angel now notified Franklin Pierce of the serious posture of affairs, and he came at once to Concord to offer his services in Hawthorne's behalf. However, he could propose nothing more hopeful than a journey in the uplands of New Hamps.h.i.+re, and for this it would be necessary to wait for settled weather. So Hawthorne remained at home for the next month without his condition becoming apparently either better or worse. At length, on May 13, the ex-President returned and they went together the following day.

We will not linger over that leave-taking on the porch of the Wayside; so pathetic, so full of tenderness, even of despair, and yet with a slender ray of hope beneath the leaden cloud of anxiety. To Hawthorne it must have seemed even more discouraging than to his wife and children, though none of them could have suspected that the end would be so soon.

On the morning of May 20, I had just returned from my first recitation when Julian Hawthorne appeared at my room in the Ma.s.sachusetts dormitory, and said, like a man gasping for breath, "My father is dead, and I want you to come with me." Fields had sent him word through Professor Gurney, who knew how to deliver such a message in the kindliest manner. We went at once to Fields's house on Charles Street, where Mrs. Fields gave Julian the little information already known to them through a dispatch from Franklin Pierce,--that his father died during his sleep in the night of May 18, at the Pemmigewa.s.set House, Plymouth, New Hamps.h.i.+re. After this we wandered about Boston, silent and aimless, until the afternoon train carried him to Concord. He greatly dreaded meeting the gaze of his fellow-townsmen, and confessed that he wanted to hide himself in the woods like a wounded deer. [Footnote: The pa.s.sage in "A Fool of Nature," in which he describes Murgatroyd's discovery of his father's death, must have been a reminiscence of this time--a pa.s.sage of the finest genius.]

On Wednesday, May 18, Hawthorne and Pierce drove from Centre Harbor to Plymouth, a long and rather rough journey to be taken in a carriage.

Hawthorne, however, did not make much complaint of this, nor did he seem to be unusually fatigued. He retired to his room soon after nine o'clock, and was sleeping comfortably an hour later. Pierce was evidently nervous about him, for he went in to look at him at two in the morning, and again at four; and the last time he discovered that life was extinct. Hawthorne had died in his sleep as quietly and peacefully as he had lived. There is the same mystery in his death that there was in his life, and it is difficult to a.s.sign either an immediate or a proximate cause for it. With such a physique, and his simple, regular habits of life, he ought to have reached the age of ninety. General Pierce believed that he died of paralysis, and that is the most probable explanation; but it was not like the usual cases of paralysis at Hawthorne's age; for, as we have seen, the process of disintegration and failure of his powers had been going on for years. Nor did this follow, as commonly happens, a protracted period of adversity, but it came upon him during the most prosperous portion of his life. The first ten years following upon his marriage were years of anxiety, self-denial and even hards.h.i.+p; but other men, Alcott, for example, have suffered as much and yet lived to a good old age. It may have been "the old dull pain" which Longfellow a.s.sociated with him, filing perpetually on the vital cord. It was part of the enigmatic side of his nature.

The last ceremonies of respect to the earthly remains of Hawthorne were performed at Concord on May 23, 1864, in the Unitarian Church, a commodious building, [Footnote: In 1899 this building was burned to the ground, and a new church has been erected on the same spot.] well adapted to the great concourse of mourners who gathered there on this occasion. Reverend James Freeman Clarke, who had united Hawthorne and Sophia Peabody in marriage twenty-two years before, was now called upon to preside over the last act in their married life. The simple eloquence of his address penetrated to the heart of every person present.

"Hawthorne had achieved a twofold immortality,--and his immortality on earth would be a comforting presence to all who mourned him. The n.o.blest men of the age had gathered there, to testify to his worth as a man as well as to his genius as a writer." Faces were to be seen in that a.s.sembly that were never beheld in Concord before. Among these was the soldierly figure and flas.h.i.+ng eye of the poet Whittier. Longfellow, Emerson, Lowell, Aga.s.siz, Alcott and Hillard were present; and ex-President Pierce shook hands with Judge h.o.a.r over Hawthorne's bier.

After the services the a.s.sembly of mourners proceeded to Sleepy Hollow cemetery, and there the mortal remains of Hawthorne were buried under the pine trees on the same hill-side where he and Emerson and Margaret Fuller conversed together on the summer afternoon twenty years before.

He needs no monument, for he has found a place in the universal pantheon of art and literature.

It would seem advisable at this parting of the ways to say something of Hawthorne's religious convictions. He went as a boy with his mother and sisters to the East Church in Salem, a society of liberal tendencies and then on the verge of Unitarianism. All the Manning family attended service there, but at a later time Robert Manning separated from it and joined an orthodox society. Hawthorne's mother and his sister Louisa became Unitarians, and at Madam Hawthorne's death in 1848 the funeral services were conducted by Reverend Thomas T. Stone, of the First Salem Church. It is presumable that Nathaniel Hawthorne also became a Unitarian, so far as he can be considered a sectarian at all; but certain elements of the older faith still remained in his mental composition. It cannot be questioned that the strong optimism in Emerson's philosophy was derived from Doctor Channing's instruction, and it is equally certain that Hawthorne could never agree to this. Whatever might be the origin of evil or its abstract value, he found it too potent an element in human affairs to be quietly reasoned out of existence. Whatever might be the ultimate purpose of Divine Providence, the witchcraft prosecutions were an awful calamity to those who were concerned in them. In this respect he resembled David A. Wa.s.son, one of the most devout religious minds, who left the church of Calvin (as it was in his time), without ever becoming a Unitarian or a radical. Miss Rebecca Manning says:

"I never knew of Hawthorne's going to church at all, after I remember about him, and do not think he was ever in the habit of going. I think he may have gone sometimes when he was in England, but I do not know about it. Somewhere in Julian or Rose Hawthorne's reminiscences, there is mention made of his reading family prayers, when he was in England.

He, as also his mother and sisters were people of deeply religious natures, though not always showing it by outward observances."

A Concord judge and an old Free-Soil politician once attended a religious convention, and after the business of the day was over they went to walk together. The politician confessed to the judge that he had no very definite religious belief, for which the judge thought he did himself great injustice; but is not that the most advanced and intelligent condition of a man's religious faith? How can we possess clear and definite ideas of the grand mystery of Creation? Consider only this simple metaphysical fact, that s.p.a.ce has no limit, and that we can neither conceive a beginning of time nor imagine time without a beginning. What is there outside of the universe? The brain reels as we think of it. The time has gone by when a man can say to himself definitely, I believe this or I believe that; but we know at least that we, "the creature of a day," cannot be the highest form of intelligence in this wonderful world. We thought that we lived in solid bodies, but electric rays have been discovered by which the skeletons inside of us become visible. The correlation and conservation of forces brings us very close to the origin of all force; and yet in another sense we are as far off as ever from the perception of it.

This would seem to have been also Hawthorne's position in regard to religious faith. What do we know of the religious belief of Michel Angelo, of Shakespeare, or of Beethoven? We cannot doubt that they were sincerely and purely religious men; but neither of them made any confession of their faith. Vittoria Colonna may have known something of Michel Angelo's belief, but Vasari does not mention it; and Beethoven confessed it was a subject that he did not like to talk about. The deeper a man's sense of the awe and mystery which underlies Nature, the less he feels inclined to expose it to the public gaze. Hawthorne's own family did not know what his religious opinions were--only that he was religious. One may imagine that the reticent man would be more reticent on this subject than on any other; but we can feel confident that at least he was not a sceptic, for the confirmed sceptic inevitably becomes a chatterer. He walks to Walden Pond with Hillard and Emerson on Sunday, and confesses his doubts as to the utility of the Church (in its condition at that time), for spiritual enlightenment; but in regard to the great omnipresent fact of spirituality he has no doubt. In "The Snow Image" he makes a statue come to life, and says in conclusion that if a new miracle is ever wrought in this world it will be in some such simple manner as he has described.

To the poetic mind, which is after all the highest form of intellect, the grand fact of existence is a sufficient miracle. The rising of the sun, the changes of the seasons, the blooming of flowers and the ripening of the grain, were all miracles to Hawthorne, and none the less so because they are continually being repeated. The scientists tell us that all these happen according to natural laws: perfectly true, but WHO was it that made those laws? WHO is it that keeps the universe running?

Laws made for the regulation of human affairs by the wisest of men often prove ineffective, and inadequate to the purpose for which they were intended; but the laws of Nature work with unfailing accuracy. The boy solves his problem in algebra, finding out the unknown quant.i.ty by those values which are given him; and can we not also infer something of the _unknown_ from the great panorama that pa.s.ses unceasingly before us? The one thing that Hawthorne could not have understood was, how gifted minds like Lucretius and Auguste Comte could recognize only the evidence of their senses, and deliberately blind themselves to the evidence of their intellects. He who denies the existence of mind as a reality resembles a person looking for his spectacles when they are on his nose; but it is the imagination of the poet that leads civilization onward to its goal.

College life is rather generally followed by a period of scepticism, partly owing in former times to the enforced attendance at morning prayers, and still more perhaps to the study of Greek and Latin authors.

During what might be called Hawthorne's period of despair, he could not very well have obtained consolation from the traditional forms of divine wors.h.i.+p; at least, such has been the experience of all those who have pa.s.sed through the Wertherian stage, so far as we know of them. It is a time when every man has to strike the fountain of spiritual life out of the hard rock of his own existence; and those are fortunate who, like Moses and Hawthorne, strike forcibly enough to accomplish this. It is the "new birth from above," in the light of which religious forms seem of least importance.

One effect of matrimony is commonly a deepening of religious feeling, but it is not surprising that Hawthorne should not have attended church after his marriage. His wife had not been accustomed to church-going, on account of the uncertainty of her health; the Old Manse was a long distance from the Concord tabernacle; Hawthorne's a.s.sociates in Concord, with the exception of Judge Keyes, were not in the habit of going to church; and the officiating minister, both at that time and during his later sojourn, was not a person who could have been intellectually attractive to him. Somewhat similar reasons may have interfered with his attendance after his return to Salem; and during the last fifteen years of his life, he was too much of a wanderer to take a serious interest in the local affairs of the various places he inhabited; but he was desirous that his children should go to church and should be brought up in honest Christian ways.

Little more need to be said concerning Hawthorne's character as a man. It was not so perfect as Longfellow's, to whom all other American authors should bow the head in this respect--the Was.h.i.+ngton of poets; and yet it was a rare example of purity, refinement, and patient endurance. His faults were insignificant in comparison with his virtues, and the most conspicuous of them, his tendency to revenge himself for real or fancied injuries, is but a part of the natural instinct in us to return the blows we receive in self-defence. Wantonly, and of his own accord, he never injured human being. His domestic life was as pure and innocent as that which appeared before the world; and Mrs. Hawthorne once said of him in my presence that she did not believe he ever committed an act that could properly be considered wrong. It was like his writing, and his "wells of English undefiled" were but as a synonym for the clear current of his daily existence.

The ideality in Hawthorne's face was so conspicuous that it is recognizable in every portrait of him. It was not the cold visionary expression of the abstract thinker, but a human poetic intelligence, which resolved all things into a spiritual alembic of its own. It is this which elevates him above all writers who only deal with the outer world as they find it, and add nothing to it from their own natures.

George Brandes, the Danish critic and essayist, speaks of Hawthorne somewhere as "the baby poet;" but we suspect that if he had ever met the living Hawthorne, he would have stood very much in awe of him. It would not have been like meeting Ernest Renan or John Stuart Mill. Although Hawthorne was not splenetic or rash, there was an occasional look in his eye which a prudent person might beware of. He was emphatically a man of courage.

The wide and liberal interest which German scholars and writers have so long taken in the literature of other nations, has resulted in founding an informal literary tribunal in Germany, to which the rest of the world is accustomed to appeal. A. E. Schonbach, one of the most recent German writers on universal literature, gives his impression of Hawthorne in the following statement:

"I find the distinguis.h.i.+ng excellence of Hawthorne's imaginative writings in the union of profound, keen, psychological development of characters and problems with the most lucid objectivity and a joyous modern realism. Occasionally there appears a light and delicate humor, sometimes hidden in a mere adjective, or little phrase which lights up the gloomiest situation with a gentle ray of hope. Far from unimportant do I rate the charm of his language, its purity, its melody, its graceful flexibility, the wealth of vocabulary, the polish which rarely betrays the touch of the file. After, or with George Eliot, Hawthorne is the first English prose writer of our century. At the same time he sacrifices nothing of his peculiar American quality. Not only does he penetrate into the most secret inner movements of the old colonial life, as no one else has done, and reproduces the spirit of his forefathers with a power of intuition which no historical work could equal; but in all his other works, from the biography of General Pierce, to the 'Marble Faun,' Hawthorne shows the freshness and keenness, the precision and lucidity, and other qualities not easy to describe, which belong to American literature. He is its chief representative." [Footnote: "Gesammelte Aufsatze zur neueren Litteratur," p. 346.]

Hawthorne has always been accorded a high position in literature, and as time goes on I believe this will be increased rather than diminished. In beauty of diction he is the first of American writers, and there are few that equal him in this respect in other languages. It is a pleasure to read him, simply for his form of expression, and apart from the meaning which he conveys in his sentences. It is like the grace of the Latin races,--like Dante and Chateaubriand; and the adaptation of his words is so perfect that we never have to think twice for his meaning. In those editions called the Elzevirs, which are so much prized by book collectors, the clearness and legibility of the type result from such a fine proportion of s.p.a.ce and line that no other printer has succeeded in imitating it; and there is something similar to this in the construction of Hawthorne's sentences.

He is the romance writer of the English language; and there is no form of literature which the human race prizes more. How many translations there have been of "The Vicar of Wakefield," and of "The Sorrows of Werther"! The latter is not one of Goethe's best, and yet it made him famous at the age of twenty-eight. The novel deals with what is new and surprising; the romance with what is old and universal. In "The Vicar of Wakefield" we have the old story of virtue outwitted by evil, which is in its turn outwitted by wisdom. There is nothing new in it except the charming exposition which Goldsmith's genius has given to the subject.

Thackeray ridiculed "The Sorrows of Werther," and in the light of matured judgment the tale appears ridiculous; but it strikes home to the heart, because we all learn wisdom through such experiences, of which young Werther's is an extreme instance. It was only another example of the close relation that subsists between comedy and tragedy.

It cannot be questioned that "The Scarlet Letter" ranks above "The Sorrows of Werther;" nor is it less evident that "The Marble Faun" falls short of "Wilhelm Meister" and "Don Quixote." [Footnote: See "Cervantes"

in _North American Review_, May, 1905] Hawthorne's position, therefore, lies between these two--nearer perhaps to "Werther" than to "Wilhelm Meister." In certain respects he is surpa.s.sed by the great English novelists: Fielding, Scott, Thackeray, d.i.c.kens and Marian Evans; but he in turn surpa.s.ses them all in the perfection and poetic quality of his art. There is much poetry in Scott and d.i.c.kens, a little also in Thackeray and Miss Evans, but Hawthorne's poetic vein has a more penetrating tone, and appeals more deeply than Scott's verses. If power and versatility of characterization were to be the test of imaginative writing, d.i.c.kens would push closely on to Shakespeare; but we do not go to Shakespeare to read about Hamlet or Falstaff, or for the sake of the story, or even for his wisdom, but for the _tout ensemble_--to read Shakespeare. Raphael painted a dozen or more pictures on the same subject, but they are all original, interesting and valuable, because Raphael painted them. If it were not for the odd characters and variety of incident in d.i.c.kens's novels they would hardly be worth reading.

Hawthorne's _dramatis personae_ is not a long one, for his plots do not admit of it, but his characters are finely drawn, and the fact that they have not become popular types is rather in their favor. There are Dombeys and Shylocks in plenty, but who has ever met a Hamlet or a Rosalind in real life?

A certain English writer promulgated a list of the hundred superior authors of all times and countries. There were no Americans in his catalogue, but he admitted that if the number was increased to one hundred and eighteen Hawthorne and Emerson might be included in it.

Doubtless he had not heard of Webster or Alexander Hamilton, and many of his countrymen would be inclined to place Longfellow before Emerson.

I have myself frequently counted over the great writers of all times and languages, weighing their respective values carefully in my mind, but I have never been able to discover more than thirty-five authors who seem to me decidedly superior to Hawthorne, nor above forty others who might be placed on an equality with him. [Footnote: Appendix C.] This, of course, is only an individual opinion, and should be accepted for what it is worth; but there are many ancient writers, like Hesiod, Xenophon, and Catullus, whose chief value resides in their antiquity, and a much larger number of modern authors, such as Balzac, Victor Hugo, Freytag, and Ruskin, who have been over-estimated in their own time. Petrarch, and the author of "Gil Bias," might be placed on a level with Hawthorne, but certainly not above him. Those whom he most closely resembles in style and subject matter are Goldsmith, Manzoni, and Auerbach.

Yet Hawthorne is essentially a domestic writer,--a poetizer of the hearth-stone. Social life is always the proper subject for works of fiction, and political life should never enter into them, except as a subordinate element; but there is a border-land between the two, in which politics and society act and react on each other, and it is from this field that the great subjects for epic and dramatic poetry have always been reaped. Hawthorne only knew of this by hearsay. Of the strenuous conflict that continually goes on in political centres like London and New York, a struggle for wealth, for honor, and precedence; of plots and counterplots, of foiled ambition and ruined reputations,--with all this Hawthorne had but slight acquaintance. We miss in him the masculine vigor of Fielding, the humanity of d.i.c.kens, and the trenchant criticism of Thackeray; but he knew that the true poetry of life (at the present time) was to be found in quiet nooks and in places far off from the turbulent maelstrom of humanity, and in his own line he remains unrivalled.

PORTRAITS OF HAWTHORNE

Hawthorne had no more vanity in his nature than is requisite to preserve a good appearance in public, but he always sat for his portrait when asked to do so, and this was undoubtedly the most sensible way. He was first painted by Charles Osgood in 1840, a portrait which has at least the merit of a fine poetic expression. He was afterward painted by Thompson, Healy, and Emanuel Leutze, and drawn in crayon by Rowse and Eastman Johnson. Frances...o...b..rne also painted a portrait of him from photographs in 1893, an excellent likeness, and notable especially for its far-off gaze. Of all these, Rowse's portrait is the finest work of art, for Rowse was a man of genius, but there is a slight tendency to exaggeration in it, and it does not afford so clear an idea of Hawthorne as he was, as the Osborne portrait. Healy was not very successful with Hawthorne, and Miss Lander's bust has no merit whatever. The following list contains most of the portraits and photographs of Hawthorne now known to exist, with their respective owners.h.i.+ps and locations.

Oil portrait painted by Charles Osgood, in 1840. Owned by Mrs. Richard C. Manning.

Crayon portrait drawn by Eastman H. Johnson, in 1846. Owned by Miss Alice M. Longfellow.

Oil portrait painted by George P. A. Healy, in 1850. Now in the possession of Kirk Pierce, Esq.

Oil portrait by Miss H. Frances...o...b..rne, after a photograph by Silsbee, Case & Co., Boston.

Crayon portrait drawn by Samuel W. Rowse, in 1866. Owned by Mrs. Annie Fields.