The Life Of Thomas Paine Volume II Part 36

The large engraving by W. Sharp was published April 20, 1793, and the smaller in 1794. A reproduction by Illman were a fit frontispiece for Cheetham (what satirical things names are sometimes), but ought not to have got into Gilbert Vale's popular biography of Paine. That and a reproduction by Wright in the Mendum edition of Paine's works, have spread through this country something little better than a caricature; and one Sweden has subjected Truelove's edition, in England, to a like misfortune. Paine's friends, Rickman, Constable, and others, were satisfied by the Romney picture, and I have seen in G. J. Holyoake's library a proof of the large engraving, with an inscription on the back by Paine, who presented it to Rickman. It is the English Paine, in all his vigor, and in the thick of his conflict with Burke, but, n.o.ble as it is, has not the gentler and more poetic expression which Bonneville found in the liberated prisoner surrounded by affectionate friends.

Romney and Sharp were both well acquainted with Paine.

A picturesque Paine is one engraved for Baxter's "History of England,"

and published by Symonds, July 2, 1796. Dressed with great elegance, Paine stands pointing to a scroll in his left hand, inscribed "Rights of Man." Above his head, on a frame design, a pen lies on a roll marked "Equality." The face is handsome and the likeness good

A miniature by H. Richards is known to me only as engraved by K.

Mackenzie, and published March 31, 1800, by G. Gawthorne, British Library, Strand, London. It is the only portrait that has beneath it "Tom Paine." It represents Paine as rather stout, and the face broad.

It is powerful, but the least pleasing of the portraits. The picture in Vale resembles this more than the Romney it professes to copy.

I have in my possession a wood engraving of Paine, which gives no trace of its source or period. It is a vigorous profile, which might have been made in London during the excitement over the "Rights of Man," for popular distribution. It has no wig, and shows the head extraordinarily long, and without much occiput It is pre-eminently the English radical leader.

Before speaking of Jarvis' great portrait of Paine, I mention a later one by him which Mr. William Erving, of New York, has added to my collection. It would appear to have been circulated at the time of his death. The lettering beneath, following a facsimile autograph, is: "J.

W. Jarvis, pinx. 1805. J- R. Ames, del.--L'Homme des Deux Mondes. Born at Thetford, England, Jan. 29, (O. S.) 1737. Died at Greenwich, New York, June 8, 1809." Above the cheap wood-cut is: "A tribute to Paine."

On the right, at the top, is a globe, showing the outlines of the Americas, France, England, and Africa. It is supported by the wing of a dove with large olive-branch. On the left upper corner is an open book inscribed: "Rights of Man. Common Sense. Crisis": supported by a scroll with "Doing justice, loving mercy. Age of Reason." From this book rays break out and illumine the globe opposite. A lower corner shows the balances, and the liberty-cap on a pole, the left being occupied by the United States flag and that of France. Beneath are the broken chain, crown, sword, and other emblems of oppression. A frame rises showing a plumb line, at the top of which the key of the Bastille is crossed by a pen, on Paine's breast. The portrait is surrounded by a "Freedom's Wreath" in which are traceable the floral emblems of all nations. The wreath is bound with a fascia, on which appear, by twos, the following names: "Washington, Monroe; Jefferson, Franklin; J. Stewart, E. Palmer; Barlow, Rush; M. Wollstone-craft, M. B. Bonneville; Clio Rickman, J.

Home Tooke; Lafayette, Brissot."

The portrait of Paine represents him with an unusually full face, as compared with earlier pictures, and a most n.o.ble and benevolent expression. The white cravat and dress are elegant. What has become of the original of this second picture by the elder Jarvis? It might easily have fallen to some person who might not recognize it as meant for Paine, though to one who has studied his countenance it conveys the impression of what he probably would have been at sixty-eight. About two years later a drawing was made of Paine by William Constable, which I saw at the house of his nephew, Dr. Clair J. Grece, Redhill, England. It reveals the ravages of age, but conveys a vivid impression of the man's power.

After Paine's death Jarvis took a cast of his face. Mr. Laurence Hutton has had for many years this death-mask which was formerly in the establishment of Fowler and Wells, the phrenologists, and probably used by George Combe in his lectures. This mask has not the large nose of the bust; but that is known to have been added afterwards. The bust is in the New York Historical Society's rooms. In an article on Paine in the _Atlantic Monthly_ (1856) it was stated that this bust had to be hidden by the Historical Society to prevent its injury by haters of Paine. This has been quoted by Mr. Robertson, of London, in his "Thomas Paine, an Investigation." I am a.s.sured by Mr. Kelby, of that Society, that the statement is unfounded. The Society has not room to exhibit its entire collection, and the bust of Paine was for some time out of sight, but from no such reason as that stated, still less from any prejudice. The face is that of Paine in extreme dilapidation, and would be a dismal misrepresentation if shown in a public place.

Before me are examples of all the portraits I have mentioned (except that in Birmingham), and I have observed contemporary representations of Paine in caricatures or in apotheosis of fly-leaves. Comparative studies convince me that the truest portrait of Paine is that painted by John Wesley Jarvis in 1803, and now in possession of Mr. J. H. Johnston, of New York. The picture from which our frontispiece is taken appeared to be a replica, of somewhat later date, the colors being fresher, but an inscription on the back says "Charles W. Jarvis, pinxit, July, 1857."

From this perfect duplicate Clark Mills made his portrait-bust of Paine now in the National Museum at Washington, but it has not hitherto been engraved. Alas, that no art can send out to the world what colors only can convey,--the sensibility, the candor, the spirituality, transfusing the strong features of Thomas Paine. As I have sat at my long task, now drawn to a close, the face there on the wall has seemed to be alive, now flushed with hope, now shadowed with care, the eyes greeting me daily, the firm mouth a.s.signing some pa.s.sword--Truth, Justice.