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Samuel K. Dennis, Bequest, 1953Isaac Henry Ford, Bequest, 1916Anna B. C. Hambleton, Bequest, 1940W. Hall Harris, SrMary Parkhurst Hayden, Bequest, 1934M. Ella Hoopes, Bequest, 1942Sewell Key, Bequest, 1948Isaac F. NicholsonIsaac Tyson NorrisEmilie McKim Reed, Bequest, 1926Clinton L. Riggs, Bequest, 1938J. Henry Stickney, Bequest, 1892Henry StockbridgeDeCourcy W. ThomMrs. W. Calvin Chesnut, Bequest, 1942F. Sims McGrath, For Bordley Papers and other purposesMisses Elizabeth Gray and Julia McHenry Howard, For Studies in Maryland History, and other giftsMaryland Society Colonial Dames of America, For restoration of manuscriptsMoses S. and Blanch H. Hecht FoundationMr. and Mrs. Morgan B. Schiller, For restoration of Lloyd PapersAugusta M. Libby, Bequest 500., 1946, and other giftsHendler FoundationLouis S. ZimmermanJ. Gilman D'Arcy PaulMrs. William R. Milford, For Amelung gobletW. G. Baker, JrMrs. John Nicholas BrownBuck Glass Company, For Amelung gobletMrs. W. Hall Harris, SrRebecca Lanier King, Bequest, 1928Mrs. William Milnes Maloy, For purchase of Jefferson PapersNeil H. SwansonR. C. Ballard Thruston, Bequest, 1946Vanderbilt University, For Studies in Maryland History No. 3Adelaide S. WilsonJ. Appleton WilsonWilliam Power WilsonCharles McHenry HowardMaryland Society Daughters of Founders and Patriots of America, Forrestoration of manuscriptsMiss Ethel M. MillerMcHenry HowardMrs. Mildred Siegel, For gallery installationArunah S. A. BradyMaryland Society Daughters of Cononial WarsSociety of the Cincinnati in MarylandSimon DalsheimerMrs. Frank M. DickGeorge de GeofroyMrs. Brantz Mayer Roszel, Bequest, 1954Miles White, JrMiss Virginia Appleton WilsonMrs. Harold Duane JacobsCalvert Distillers Corporation, For cleaning portraitJoseph KatzRobert GarrettBaltimore Ice Cream CentennialHeyward E. Boyce, Bequest, 1950Hugo DalsheimerL. Manuel HendlerWilliam Milnes Maloy Memorial, Gift of 0275.86275.00270.00250.00250.00250.00250.00250.00

J. Hall PleasantsIda M. Shirk, Bequest, 1949, 200., and other giftsJoseph E. SmithSociety of the War of 1812 in MarylandBryden Bordley HydeS. M. DrayerJacob EpsteinMaryland Society United Daughters of the ConfederacyEdward B. PassanoMrs. Arthur RobesonHenry F. ReeseMiss Elizabeth Chew WilliamsNellie C. WilliamsMrs. William S. HillesMrs. Frances Eaton WeldCharles C. Homer, JrAddison C. MullikinLouis H. DielmanDouglas H. GordonSamuel E. 00150.00125.00125.00120.00The following have contributed 100.00 each either to the Endowment Fund or forother purposes:Philip A. BeattyMrs. Harvey G. BeckMrs. A. B. BibbinsJohn E. BordleyFred G. Boyce, Jr.Miss Grace BirminghamMrs. Zelina C. BrunschwigJohn G. BuckMrs. Stockton BuzbyMilton CampbellCharles M. CohnMrs. Virginia B. DaviesAlexander E. DuncanEastern Shore Society ofBaltimore CityR. C. HoffmanBryden Bordley HydeHenry P. HynsonHutzler Fund, Inc.William IngleJane Griffith KeysMiss Margaret MyrtleLankfordJoseph LaPidesMrs. Rebecca LittlejohnMrs. James H. LovellMaryland Credit FinanceCorporationHenry deCourcy MayMcCoimick & Co.Elizabeth Grant McllvainCarl Ross McKenrickRobert G. MerrickJohn H. MorganF. C. Nicodemus, Jr.S. Bernard NovemberFlorence Belle OggPratt D. PhillipsKatherine Bibb StehmanBernard C. SteinerWilbur Van SantWashington County Historical SocietyMrs. George WeemsWilliamsJohn Purdon WrightFor other contributions, including those donated in connection with payment ofannual dues, the Society makes grateful acknowledgment.Gifts of various funds, many of large amounts, have been received to advance thecause of historical preservation and increase appreciation of our Maryland heritage.These have been used for contemplated purposes for the benefit of the people ofMaryland without direct advantage to the Society and have not been included in thegeneral funds listed above.Mrs. Edgar W. Garbisch, Old TrinityRestorationLawrence S. RockefellerRamsay, Scarlett & Co.Chapel of Ease, Taylor's Island, RestorationAnonymous contributions.For the gift of objects, books and papers, far too numerous to list here, whichhave been received in the century and more since it was founded, the Societyrecords this expression of its lasting gratitude. These contributions from countless members and friends have made the Society a major storehouse of state andnational treasures.

«K «K o « o o «„Will complete papersfor applicantsiNS OF THE REVOLUTION SONS OF THEAMERICAN REVOLUTIONDAUGHTERS OF THEAMERICAN REVOLUTIONPHOTOENGRAVING CO.andMEnSravuiSs for Ik Printer.Merchant aManulacturer "conduct related investigationsdflttists-BitftamsJAMESdjaftimore jMartjfandGRiiM Mm, a D.516 CATHEDRAL STREETBALTIMORE 1, MD.SPECIALIZING INAMERICANAEstablished 1876BOOKS ONAMERICAN HISTORYGENEALOGY-LOCAL HISTORVCATALOGUESIISSUEDnui- ri'ON RioiH.srSpecial attention to inquirieslor books relating to Baltimoreand Maryland.BOUGHT AND SOLDiSMITH'SBOOK STOREI LIBRARIES OR SINGLEBOOKS PURCHASEDSOUTHERN BOOK CO.0 ['.AST I'RANKLIN SlKI 11B.U.11MORE 2,VERNON805 N. HOWARD STREETMD.7-8271MU 5-2823BALTIMORE1

MARYLAND HISTORICAL MAGAZINEVOL.51, No. 1MARCH,1956CONTENTSHoratio Greenough, Boston Sculptor, and Robert Gilmor,Jr., His Baltimore Patron.Nathalia WrightA Baltimore Estate: Guilford and Its Three Owners/. Gtlman D'Arcy PaulWages in Colonial Maryland . Manfred JonasPark Head Church and the Reverend Jeremiah MasonMary Vernon MishCharles Wallace as Undertaker of the State HouseMorris L. RadoffSidelightsReviews of Recent BooksNotes and QueriesContributorsPAGE11427395054627579Annual Subscription to the Magazine 4.00. Each issue 1.00. The Magazineassumes no responsibility jor statements or opinions expressed in its pages.FRANCISC. HABER, EditorThe Magazine is entered as second class matter, at the post office at Baltimore,Maryland, under Act of August 24, 1912.THE MARYLAND HISTORICAL SOCIETYH. IRVINE KEYSER MEMORIAL BUILDING201 W. MONUMENT STREET, BALTIMORE 1GEORGE L. RADCLIFFE, President; JAMES W. FOSTER, DirectorThe Maryland Historical Society, incorporated in 1844, was organizedto collect, preserve and spread information relating to the history ofMaryland and of the United States. Its threefold program includes1. Collection of manuscript and printed materials, maps, prints, paintings,furniture, silver, fabrics, maritime items, and other objects of interest;2. Preservation of these materials for the benefit of all who care to enjoy them,and exhibition of items which will encourage an understanding of State andNational history; and3. Spread of historical information relating to Maryland and the rest of thecountry by means of addresses at the Society's home by authorities in variousfields; addresses to outside groups by officers and staff of the Society; publication of the Maryland Historical Magazine, a quarterly containing originalarticles about State history; Maryland History Notes, a quarterly bulletin ofnews of the Society and other local historical items; the Archives of Marylandand volumes of the series " Maryland in World War II " under the authorityof the State; and the series of books entitled " Studies in Maryland History."The annual dues of the Society are 5.00, life membership 100.00. Subscriptionto the Magazine and to the quarterly news bulletin, Alaryland History Notes, isincluded in the membership fee as well as use of the collections and admission tothe lectures. The library, portrait gallery and museum rooms, are open daily exceptSunday, 9 to 5, Saturday, 9 to 4. ]t/ne 15 to Sept. 15, daily 9 to 4, Saturday, 9 to 1.

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MARYLANDHISTORICALMAGAZINEA QuarterlyVolume 51MARCH, 1956Number 1HORATIO GREENOUGH, BOSTON SCULPTOR, AND ROBERT GILMOR, JR,HIS BALTIMORE PATRONBy NATHALIA WRIGHTONE of the earliest and most generous patrons of the sculptorHoratio Greenough was Robert Gilmor, Jr., merchant andart collector of Baltimore The story of their relationship constitutes a short chapter in the history of American art. It also furnishes glimpses—often laughable, sometimes sentimental, alwaysengaging—of an eager, ambitious, and appreciative young manand his older, less imaginative, but sympathetic friend.The two men first met in March, 1828, in Washington, whereGreenough was modelling busts of President John Quincy Adamsand Chief Justice John Marshall.1 At that time Greenough was1The sources for this account of the Greenough-Gilmor relationship arc, unlessotherwise noted, Greenough's letters to his brother Henry of March 8, 26, and

IMARYLAND HISTORICAL MAGAZINEnot yet twenty-three. He had returned the year before because ofillness from Rome, where he had studied some eighteen months,and, though he had executed a few busts and one or two statues,he was known principally to the Washington Allston circle inCambridge and his native Boston. Well-born though he was, hisfather's financial position was precarious, and he had no fundswith which to continue his study.Gilmor at fifty-four was one of Baltimore's wealthiest and mostprominent citizens, widely acquainted in America and abroad, andowner of one of the finest collections of art objects in the country.The success of his father's counting-house had early given himopportunity to indulge his fondness for the arts—a fondnesswhich, like the peculiarly American connoisseur that he was, he atfirst feared " may perhaps prove dangerous," but v/hich, he added," as long as I can restrain it with[in"} the bounds of prudence &reason, I am convinced . . . will prove one of the greatest sourcesof pleasure, amusement and relaxation from the serious concernsof life." 2Approving what he saw of Greenough's work in Washington,Gilmor engaged the sculptor to make a bust of himself or hiswife for 100 and asked an estimate for a statue of Venus risingfrom the shell. The bust, of Mrs. Gilmor as it was decided, wasmodelled in Gilmor's Gothic library in Baltimore during the lasttwo weeks of March and the first week of April, 1828. Greenoughthought it his best work in America, and Gilmor was sufficientlypleased to order its execution in marble and also a group orstatue of undetermined subject—both commissions to be carriedApril 5, 1828, in Letters of Horatio Greenough (Boston, 1887), pp. 31-41, andhis letters to Gilmor, May 17, 1828 (Pennsylvania Historical Society), Feb. 25.1829 (Maine Historical Society), May 16, 1829 (Pennsylvania Historical Society).April 25, Sept. 7, 1830 (Boston Public Library), April 12, 1831 (Maine HistoricalSociety), Oct. 10, 1831 (University of Michigan), Jan. 13, June 10, 1832 (BostonPublic Library), July 25, 1833 (Haverford College), Nov. 28, 1835 (BostonPublic Library). These letters are all I have located of those written by Greenoughto Gilmor. Three others, two dated 1830 and one 1839, were sold at the Libbieauction of Brantz Mayer's manuscripts on Nov. 11-13, 1879. Possibly Greenoughwrote no more than fourteen in all which reached their destination; some threeor four on each side of the correspondence were lost in transit. On Aug. 29, 1848,Gilmor sent Mayer ten of Greenough's letters which he said contained " a fullhistory of all that has passed between us on the subject of the Medora & my wife'sbust & cameo portrait." (Letter in the New York Historical Society.)I have not located any of Gilmor's letters to Greenough. There were at leastthose dated Oct. 9, 1829, ca. Dec, 1829, June 12, Oct. 24, 1830, Nov. 10, 1831,Feb. 29, 1832, ca. June, 1833, Sept. 24, 1835.1Anna Wells Rutledge, " Robert Gilmor, Jr., Baltimore Collector," The Journalof the Walters Art Gallery, XII (1949), 19.

HORATIO GREENOUGH, SCULPTOR, R. GILMOR, JR., PATRON3out in Italy. He also interested himself in Greenough's career:introduced the young man to possible patrons (and to such historical personages as old Charles Carroll of Carrollton), obtainedfor him an order for a bust in Philadelphia, possibly advancedmoney which made it possible for him to return to Italy, and influenced several Bostonians to lend him 1,000. Greenough sailedin May and this time established himself in Florence.The first of the two Italian orders, Mrs. Gilmor's bust inmarble, gave Greenough a disproportionate amount of trouble.The episode 3 illustrates one of the most exasperating circumstances of the life of sculptors in Italy in the nineteenth century:their dependence on native workmen to host or roughly cut thestone. When the cast of the bust reached Leghorn from Americain January, 1829—nearly a year after it was made—Greenoughhad it sent directly to the quarries at Carrara, but wishing to remodel the drapery he instructed the boster to wait for his arrival.The boster, having recently quarreled with Greenough's formerteacher Bartolini and fearing dismissal by the pupil (also, nodoubt, taking advantage of the young sculptor's inexperience)went to work on the marble immediately, making alterations impossible. Meanwhile Greenough was delayed in Florence modelling for James Fenimore Cooper the group of Chanting Cherubs,his first specific large commission, which he was eager to finishand exhibit in the hope that it would improve his chances ofobtaining a government commission.Apparently it was June before Greenough arrived in Carrara.4His reaction upon discovery of the damage done by the boster wastypical of his professional consciousness, his passion for perfection, his generosity, and his impecuniousness. He first consultedother artists in Florence, and obtaining their approval of his proposed changes he wrote the boster, charging him with ruiningthe work and proposing to pay him but half the regular price oftwenty-five, francesconi (about 26). At this the man created anoisy and protracted scene, heaping insults on the sculptor andall his countrymen and refusing to give up either bust or cast.The American consul had finally to intervene to secure them. Bythis time it was mid-September, a month after Greenough hadsIt was described by Horatio to Henry, Sept. 16, 1829; quoted in Henry toGilmor, Oct. 29, 1829 (New York Historical Society).'His passport is so stamped (Massachusetts Historical Society).

4MARYLAND HISTORICAL MAGAZINEpromised the work would be in New York. Still dissatisfied withthe design and feeling it his "" duty to do more" than make thework " as good as Mr G expects it," 5 he proposed to finish itwithout drapery as a specimen of his work to be given by Gilmorto some friend and to execute a second bust draped to please him.Sketches of the second design were to accompany the first bust.Yet in the end he evidently finished the work, which was sparinglydraped, according to the original model, and seems to have executed no other design. It was finished by mid-November andshipped in February, 1830.6For Mrs. Gilmor's bust Greenough was evidently paid 150.He received 100 at the time of its modelling and was to have 50 more when the marble was dispatched.7 In this transactionGilmor was again thoughtful of his artist: the customary amountpaid in advance was only half the total. Before he went to Carrara, in fact, Greenough apparently drew on his patron for 50to cover the cost of materials. On receipt of the bust in marbleGilmor seems to have offered Greenough another 100, whichthe sculptor refused because the model was " so munificentlypaid." 8 The account was handled, like all others between Gilmorand Greenough, by Grant, Pillans, and Company in Leghorn.The subject of the second commission, the statue, was discussedbetween Gilmor and Greenough at intervals for nearly three years,in which time they considered virtually all possible sculpturaltraditions: mythological, pastoral, historical. Biblical, idealistic,and romantic. Gilmor's original idea of a Venus was soon abandoned, for before Greenough left for Italy he submitted sketchesof a shepherd boy, Sappho, and Jacob and Rebecca. None pleasedGilmor so well, however, as the group of Cherubs which Greenough began soon after his return to Florence for Cooper, copyinga detail in Raphael's Madonna del Baldacchino. Gilmor wishedhe had thought of the subject first, and he searched through engravings of old masters hoping to have a comparable inspiration.The attitude was typical of the romantic fusion of distinctivelyseparate art forms. Failing to satisfy himself, he wrote to Green6Horatio to Henry, Sept. 16, 1829.'Greenough to Washington Allston, Nov. 17, 1829 (Massachusetts HistoricalSociety). It was packed when Gilmor's nephew Robert tried to see it on Feb. 8Robert Gilmor (1808-75), Diary (Maryland Historical Society).7Greenough to Allston, Sept. 19, 1829 (Massachusetts Historical Society).8Greenough to Gilmor, July 25, 1833.

HORATIO GREENOUGH, SCULPTOR, R. GILMOR, JR., PATRON5ough toward the end of 1829 stipulating only a figure three orfour feet high, preferably female and partially draped, thoughleaving the sculptor considerable liberty about these matters.'Greenough's suggestion for such a size was a girl of about nineyears, since he thought "' adult forms on a small scale producedbut a mean effect unless decidedly in miniature." 10Meanwhile the difficulties of carrying on a correspondenceacross the Atlantic Ocean began to complicate the negotiations.Greenough had finally conceived the subject of the dead Medora,the bride of the Corsair in Byron's poem, and had communicatedit to Gilmor in a letter written probably in February, 1830, whichapparently crossed Gilmor's letter proposing the miniature figure.But this letter of Greenough's was lost, and Gilmor evidentlydid not learn of the idea until nearly a year later. Appa

REVIEWS OF RECENT BOOKS, 62, 161, 252, 357 NOTES AND QUERIES, 75, 171, 263, 366 COUNTERFEITING IN COLONIAL MARYLAND. Kenneth Scott, 81 A CHILDHOOD AT CLYNMALIRA. Harriet Winchester Jones, 101 NEWTOWN HUNDRED. Edwin W. Beitzell, 125 JOURNAL OF A VOYAGE DOWN THE CHESAPEAKE BAY ON A FISHING EXPEDI- TION, 1824. Horatio Ridout, 140