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At the request of the Honorable RICHARD RIKER, Chairman of the Committee of Arrangements, for the Grand Canal Celebration at New York, November the fourth, eighteen hundred and twenty-five, the Subscriber, in behalf of the Department of Fine Arts,

That, having been charged, (by the Committee of Arrangements appointed by the Corporation of New York, on occasion of the Grand Canal Celebration,) with superintending the execution of such works of art as this most interesting event required, he offers the following statement of what has been effected by the respective Artists, &c. employed, and the works they have accomplished, chiefly with a view to explain or illustrate the account of the Grand Canal Celebration, its history, commencement, and final termination, consummated at New York, the fourth of November, one thousand eight hundred and twenty-five;

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BADGE.

The first of my operations was to make an appropriate Device, intended for a Medal, to be worn by the guests of the Corporation on the joyful day; but time not permitting the execution of such a work as would be worthy of the occasion, it was resolved to have this Device engraved by a first-rate artist, and postpone the Medal to be executed at leisure: it was therefore engraved on copper by Mr. Asher B. Durand, and printed on satin by Mr. Elias Wade, jun., and thus, as a Badge, was worn by the ladies and gentlemen on the Celebration Day.

This device will be found printed on the same plate with the Invitation Ticket. It represents the visit of Pan to Neptune; Pan seated in a canoe, loaded with the products of our fields, forests, and Mediterranean Seas, from Lake Erie, being piloted by an aboriginal native of the western forests, with a brotherly affection embraces Neptune, who, seated in his naval car, and attended by a Triton winding his conch, reciprocates the embrace; and in this attitude, with arms interlocked, Neptune returns the visit to Sandy Hook, by accompanying his brother Pan to his native woods on the shores of Lake Erie.

The inscription on the Device is – "Alliance of Neptune and Pan," above the figures, and "Union of Erie with the Atlantic," beneath.

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INVITATION CARD.

Our next operation was the INVITATION CARD to the Guests, who were invited to accompany the Mayor, Recorder, and Common Council, to witness the ceremonies, and the immixtion of the mild waters of Lake Erie with the briny floods of the Atlantic, at Sandy Hook.

The Device for this Card was designed and engraved by Mr. Asher B. Durand, upon a steel die; the application or impression from this die, on the copperplate, was made by the very ingenious Mr. Cyrus Durand, and the lettering executed by Mr. Joseph Perkins; thus exhibiting the admirable effect produced by this union of first-rate talents.

This Device represents the Arms of the State, that single handed accomplished this mighty work, in a section of time so short as to annihilate all comparison. The Supporters are Liberty and Justice. The Shield exhibits a rising Sun. The Crest is a full fleged young Eagle, on a terrestial sphere, and expanding his pennons for flight. In the back ground, on the left hand of Liberty, is the City of New York, as it is approached from the Narrows, at the Southern extremity of the State; and on the right hand of Justice are seen some of the wonderful series of Locks, at Lockport, near the Western termination of the Canal.

"The Corporation of the City of New York, invite ---------- ---------- to participate with them in the celebrations on the Completion of the Erie Canal, to meet at the City Hall, on Friday, the fourth day of November, at eight o’clock, and proceed with them, in the steam-boat, to Sandy Hook.

"Grand Canal commenced 4 July 1817, completed 26 October 1825."

{This plate will be found printed on the same page as the badge, and beneath it.}

DURAND AND WRIGHT.

Thus in seven year, four months, and twenty-three days was achieved this great work.

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BALL TICKET.

The next pictorial document in chronological series, is the TICKET for the Grand Canal Celebration Ball, given by the military and citizens of New York, which fete closed the Celebration in this City. In the centre of the Ticket is an elliptical frame, in which is a view of a Canal, with Locks, and boats towed by horses; in the distance is seen a Lake or the Ocean, with a Lighthouse upon a point of land.

Since writing the above, upon a more strict inquiry we have been enabled to ascertain the composer, engraver, and printer, to be Mr. Samuel Maverick, Engraver and Copperplate Printer, 73, Liberty Street. These above mentioned circumstances show why an artist ought to at least put his name upon his work, as he otherwise must do himself great injustice.}

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MEDAL.

The Corporation of the City having voted that a MEDAL should be struck, in commemoration of the great event of opening the navigable communication between Lake Erie and the Ocean, the arrival in our harbor of a loaded flotilla, charged with the productions of the immense regions, surrounding the wide Western Lakes, and the measureless water-courses of our

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Northern Continent the same general idea of a Device, was adopted, as on that of the Badge worn by the Corporation guests on the celebration day.

On the face of the Medal is represented Neptune, who, with brotherly cordiality, returns Pan’s visit to the Ocean; the motto – "UNION OF ERIE WITH THE ATLANTIC." Under this emblem are the initials of the artists, R. DEL., W. Sc. On the reverse is the Armorial Bearings of the State, the sole agent in the great work; on the right of which are appropriately represented Canal Aqueducts and Locks; and on the left is a view of the Harbor and City of New York; the motto "ERIE CANAL COMM. 4 JULY 1817, COMP. 26 OCTR. 1825:" the contracted words in this motto in full are "COMMENCED," and "COMPLETED." Underneath the above is the sculptor’s name "C.C. WRIGHT"; and below are the words in small Roman capitals "PRESENTED BY THE CITY OF N. YORK."

ARTISTS.

The Medal was engraved by Mr. Charles C. Wright, (of the firm of A. B. and C. Durand, Wright and Co., corner of Broadway and Canal Street.) The lettering by Mr. Richard Trested, Engraver and Die Sinker, 68, William Street, upon dies made by Mr. William Williams, Worker in Iron and Steel, corner of Liberty and Green Streets. The Medals, themselves, were most elegantly impressed by Mr. Maltby Pelletreau, (of the firm of Pelletreau, Bennett, and Cooke, 170, Broadway,) at their Gold and Silver Manufactory, No. 12, Rose Street, by means of his very powerful and exquisitely adjusted screw Press. The superlative beauty of the Medal (to every one who has seen it) renders it perfectly unnecessary for us to say more, than that all pronounce it to be a chef d’ouvre of the fine arts; each artist, in his respective department, having manifested himself to be an accomplished master of his art; which, by this combination of talent has aided in producing a work of such superior excellence as to rival the best masters of the old world. We must, however, in justice to the sculptor decide, that although each has crowned himself with a never fading wreath of fame, that a ray of superior lustre reflects upon the brow of the artist who engraved the dies.

THE BOX.

When it had been determined by the City Authorities that a Medal should be struck, the Committee of the Corporation, (Aldermen King and Davis,) were charged, amongst their other commissions to Buffalo, with procuring a sufficient quantity of the most curious woods, such as birdseye, and curled maple, red cedar, &c. the produce of the western forests, for making Boxes to inclose the Medal. This was procured, and deposited in a canoe, now in the City Hall, made by the aboriginal red men, on the shores of Lake Superior; and embarked on board the "Seneca Chief," the first Canal boat from the Lakes, which navigated the length of waters from Erie to the Ocean. We may here take notice, that the logs of cedar were procured by Mr. Miles, son of Capt. Thaddeus Joy, of Buffalo, from an island in Lake Erie. The Boxes are made of these woods, which inclose the Medals presented to the invited guests. The Boxes for the semi-metal and silver Medals are likewise made of these very curious woods. On the inside of the lid is the crest of the City Arms; with the inscription "Presented by the City of New York;" and on the innerside of the bottom "This Box was made from a piece of Wood, brought from Erie in the first Canal-boat, the Seneca Chief." The gold Medals are inclosed in elegant square red morocco cases.

ARTISTS.

The makers of the curious wood boxes were Mr. Daniel Karr, turner, 222, William Street; and Mr. Duncan Phyfe, Murray Street. The maker of the morocco cases for the gold Medals was Mr. Robert Tanner, Morrocco Case Maker, 67, Liberty Street.

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As a considerable number of the printed plates of this work are in Lithography, that is literally, Drawing on Stone; it will not perhaps be unacceptable, at the present moment, to give some very concise remarks on the history, and manner of operation, of this new art; particularly as these impressions are from the very first press, which on this side of the Atlantic, has been put into effectual operation, many abortive attempts having been made prior to Mr. Imbert’s successful one. We shall be but brief in our notice on the subject as he is preparing a publication on the essential parts and uses of the Art of Lithography, which he is about to lay before the public with all convenient despatch.

In this age of discoveries not the least admirable is the Art of Lithography; it was the result of a regular and skillful series of well-planned experiments by Mr. Alois Senefelder, of Munich, the capital of Bavaria. The era of discovery cannot be confined to a day or a year; he began his experiments upon Bavarian stone, from economical principles, with a view to save the expence of copper or tin plates; with a mind gifted by nature and from competent education, furnished with a good acquaintance with the mechanic powers, but chiefly with chemistry, he prosecuted his experiments to the eventual results we now witness. The improvements on this art, since the first publication of his course of experiments, have been very rapid; in the earlier part it was chiefly applied to the more common purposes of life, by the principle of Transfer, to writings, lettering, music, &c.; but for the higher purposes of pictorial subjects, its progress has comparatively been more slow, until within a few years, say six or eight, since which in Germany, France, Italy, England, &c., it has already rivalled the best of lineal chalk and wood engravings, and upon the principle of Transfer, it is equal at least to the finest engraving that ever was or can be executed on copper, &c.

Artists, at present, chiefly practise it in the chalk, the pen and ink, or with the brush manners – or in the art of transferring drawings, writings, &c. done on transfer paper, to the stone, by which a limitless number of fac-similies may be printed.

At the first view of this art, and its peculiar mode of impress, most persons have imagined it to be the easiest and most simple thing in the world to be a Lithographer; but experience has taught the many, many thousands, who have attempted it, that nothing less than the utmost care and experience can accomplish the operation; the manipulating of the drawings is easy enough, and look perfect on the stone, but the chemical principles, on which all the success of printing depend, cannot produce a good impression if the draughtsman, however good an artist, does not execute the work with the necessary precaution. The artist must not only be a good designer, but a good chemist, and a good painter. The art does not depend so much on mechanical as chemical principles.

The leading point in this new art is through the medium of SOAP, to make the repulsion of oil to water produce the curious effect of printing drawings upon stone of a certain texture.

The instruments for this kind of drawing are – first, inks similar to China or Indian ink, to be drawn on the stone with the steel pen or brush; secondly – Lithographic chalk, similar to, and worked like, common black French chalk, on the stone; thirdly – transfer ink, whereby any drawing or writing made on transfer paper, is transferred positively to the stone, and may be multiplied "ad infinitum," which in all probability will turn out to be the most useful part of the art, whereby confidential and circular letters of any description may be multiplied with the utmost despatch; as was universally practised by both parties during the Revolutionary War in Europe, and is still exercised by every one of these Governments, as well as by men of business, thereby saving the expence of copying clerks, or transcribers; and, moreover, in the cheapest, most expeditious, and confidential manner.

Every gentleman ought to be provided with a sufficient quantity of this transfer paper and its ink, which he can use with equal facility as common ink, by only rubbing it down with rain water; if this writing is sent to a Lithographic press, a hundred or more fac-similies, identical with the original manuscript may be had in a few hours at a very small expence.

Such being the history and nature of the art of Lithography, every candid eye, which views these very interesting first essays of the art executed in America, but will allow, that neither Germany, France, or England, could show equal specimens executed during the first six months after its introduction into these countries.

From the nature of our work it was required that many artists should at once be employed, in order to facilitate the publication; where any individual has done more than one piece, there is evident improvement in his second essay, as in the case of Messrs. Imbert, Duponchel, Canova, Morgan, Tuthill, &c.: but this improvement is most remarkable in the printing department, which is an indispensible branch of the art, without which the most perfect of drawing would be of no avail.

We shall now proceed to notice the subjects of art, as much as possibly we can in the order they occurred.

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PLAN OF THE FLEET.

It having been thus determined, by the Committee of Arrangements for the Grand Canal Celebration, to employ the art of Lithography in furnishing plates for this publication; Mr. Imbert was charged as a test of his talent, to execute (from a draught furnished by Mr. Rhind, the Admiral of the day) a plan of the position of the Fleet, as formed when passing around, and reciprocating international salutes, between this grand gala Fleet of steam-gallies (returning from Neptune’s domain) and the British Sloops of War SWALLOW, Captain Baldock, and KINGFISHER, Captain Henderson, at anchor in the North River, off the Battery.

The result of this experiment was satisfactory as to the competency of Mr. Imbert to draw upon stone, and to print Lithographically, so much so, that a much more difficult task was assigned to him, with a view to draw out the potency of his capabilities.

The subject of the Plan of the Fleet was one of the most interesting occurrences of the day, and would furnish a most excellent opportunity for the exercise of the talents of any accomplished marine artist, as viewed from a point about one hundred yards south from the Kingfisher, during the circumnavigating of the Fleet around the British vessels, at which period the finest of friendly feelings were manifested between the British tars, and their Trans-atlantic cousins, in this great day of mutual gratulations.

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The reason why the Whitehall Watermen’s Barges are not represented on the Diagram and Catalogue of the Fleet was, that a few minutes prior to this period, when passing Governor’s Island, they left the line, for the purpose of landing, and with their Car, bearing the victorious Boat, already prepared to join the Procession on Shore, at that moment filing into the Battery.

ARTISTS.

For the annexed diagram of the Fleet, we have been obligingly favored by C. Rhind, Esq. the Commandant of the aquatic fete. This Plan was the first test of Mr. Imbert’s talents as a Lithographer, and Lithographic Printer.

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FRONTISPIECE.

The second subject recommended to Mr. Imbert’s skill, was a Frontispiece or Title Page, in which not only his talents as a draftsman should be tested, with Lithographic chalks in pictorial style, but also in that of a Literator, or former of letters in Lithographic ink. The lettering of this subject needs only to be seen to be admired, and although not quite equal to copperplate, yet it holds its ground very respectably in the presence of the generality of copperplate lettering; especially when it has the good fortune to be successfully printed; for it must be remembered that in this art, in its present condition, it seems in a considerable degree to depend on a kind of good luck, to succeed in taking off impressions.

The subject of the Vignette is the Arms of the City. The shield bears in the centre the four sails of a windmill, in the form of an X. or St. Andrew’s Cross; in the upper and lower compartment is a beaver; and on the two lateral sides, is a flour barrel. In the infancy of our State, these were very characteristic emblems, as windmills, in the City of NIEUW AMSTERDAM, were the most prominent instruments of manufacture, and the country at that period abounded chiefly with beavers; exhibiting flour and peltry as the staple commodities of the Province.

The Crest is the same as that of the State, namely a young eagle perched on a hemisphere, expanding his wings, and ready to spring off to flight. The supporters are, on the dexter side, an armed Indian native of the forest; and on the sinister, a mariner; both together uniting to convey the idea of the amphibious character of our State – and moreover, are the modern representatives of the Heathen God Pan, and his brother Neptune, the God of the Seas, as exhibited on our Celebration Badge and Medal. On the right hand of the Indian is a larch pine, and in the distance a Canal, with locks; on the left hand of the mariner is the steam-galley Chancellor Livingston, under steam, commemorative of steam-gallies having been first built in New York; and in the distance is a view of Castle Williams and Fort Columbus on Governor’s Island, with a still more distant prospect of New York; the whole illuminated by a radiating rising Sun, giving relief to the thick volumes of rolling smoke, issuing from the flue pipes of the Chancellor Livingston.

ARTISTS.

The composer of the Vignette, was the same artist who designed the Badge, and View of the Aquatic Procession of the Steam Gallies. – The composer and lithographer of the lettering was Mr. Anthony Imbert, 79, Murray Street.

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MAPS.

With reference to the MEMOIR, it was necessary to have at least two Maps; one of the State of New York, exhibiting the course of the Canal, and its relation to the neighbouring country, but especially the navigable waters of it; the other to shew its connexion, not only with the water-courses of the United States, but those of the whole Northern Continent.

For this purpose, the artist who designed the View of the Fleet, was charged with preparing Drafts of Maps, to suit the size of the Book, and calculated to be executed in Lithography by Mr. Imbert; all of which have been executed, and the result is seen in those respectable specimens of Lithographic mapping; they are, in many respects, superior to the general style of copperplate maps, for utility and effect, and rivalling it in neatness.

Prior to, or about the period of the origin of this operation, one of the Members of the Committee, then about travelling to the South, was charged with an endeavour to procure Lucas’ splendid colored maps, published at Baltimore: this was accomplished after some necessary improvements and alterations were made, by instructions from the Committee.

In addition to these two, there is another map, exhibiting what was the state of knowledge of the geography of our State, about a hundred years since, chiefly with a view to the then known portages, between the various navigable waters, and great Lakes; it is a fac-simile of the Frontispiece to Governor Colden’s "History of the Five Indian Nations." It is full of intelligence, and pregnant with information on the then known state of our country. If the Committee had done nothing more than to have republished this Map they would have deserved well of their country; as the Book is now very scarce, its re-printing would amply remunerate any enterprising publisher.

ARTISTS.

This Lithographic Map was executed by Mr. Imbert, in one of his happiest moods. The artists who engraved Lucas’ colored maps, printed at Baltimore, were B.T. Welch and Co., but drafted by F. Lucas, Jun.

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LITHOGRAPHIC PANORAMA.

VIEW OF THE FLEET PREPARING TO FORM IN LINE.

The whole of the voyage of the Canal-boat Seneca Chief, from its commencement at Buffalo, until its completion at Sandy Hook, and its return again to Lake Erie, is not only pregnant with matter for deep reflection, but the scenes exhibited during the whole of the celebrations, raises the imagination to a high degree of even sublime feeling. Many of these were truly picturesque, and worthy of the master talents of the graphic art; some of the most interesting and best calculated for the pencil were –

1^st. – The reception at Albany of the Western Flotilla from the Lakes, &c.

2^nd. – The midnight scene at West Point, which was sublime.

3^rd. – The arrival of the Fleet at the dawn of day, when the Washington S.G. went to tender congratulations to the Flag Ship, majestically holding her way down the river; both dimly seen through the morning fog.

4^th. – The Fleet preparing to form the line, on its return from the Navy Yard, at Brooklyn.

5^th. – The moment of consummating the union of the waters of Lake Erie with the Atlantic, the Fleet formed in a circle, the Man of War Porpoise in the centre.

6^th. – The Fleet on its return from Sandy Hook, passing around the British Sloops of War at anchor, prior to its dispersion, – &c. &c. &c.

In the centre of the picture is the JAMES KENT, steam-galley, bearing down from the North to the East River, to take her position in the Line. Towards the right side of the picture, and on her starboard beam, are the four Pilot-boats, preparing to weigh anchor; next to them is the Revenue Schooner ALERT, Captain Henry Cahoone, which having weighed anchor, is saluting the passing Fleet, whilst she is just taken in tow by the S.G. NAUTILUS. Next to her is the S.G. WASHINGTON, carrying the great standard of the City, with the Corporation on board. In her wake is the FULTON steam galley, with the Corporation Guests; succeeded by the LADY CLINTON barge with the ladies invited by the Corporation, with her consort the S.G. COMMERCE abreast. On the larboard quarter is seen Castle Williams; – Governor’s Island in the distance; and at the extremity of the right of the picture, is a steam-galley, following in the wake of the LADY CLINTON; over the bow of the steam-galley is Fort Columbus saluting; and in the far distance Staten Island is seen.

Between the Lady Clinton and the Alert, the Whitehall Barges appear taking their position in the Line. Again – Towards the left side of the picture, off the stern of the James Kent, is the ship HAMLET between two steam-gallies, the OLIVER ELLSWORTH and BOLIVAR. Next, under the Hamlet’s stern, is the S.G. CONSTELLATION, with the SENECA CHIEF in tow; under the stern of the Seneca Chief is the S.G. CONSTITUTION, having the Canal-boat YOUNG LION OF THE WEST in tow; and lastly the S.G. CHIEF JUSTICE MARSHALL, towing the NIAGARA, Canal-boat; the Jersey Shore in the distance.

Moving the eye towards the left of the picture is seen Castle Garden; then the artillery on the Battery saluting the assembling Fleet; the old tower of the flag staff (since demolished) and the Revenue boat-house, standing on wooden piles, is on the extreme left, between which and the Battery, on the foreground, Pier No. 1. protrudes into the East River, on which are mounted the Watermen’s Battery of cannon, on marine carriages – a waterman in the attitude and act of firing.

To those who had the good fortune to witness this scene, a look at this sketch will no doubt resuscitate the soul animating enjoyments of the day, with all its attendant circumstances, in which a nation’s victory, unaccompanied with tears or blood, was displayed in a genuine generous triumph, over "rocks and woods, and mountain floods," for one of the most beneficial purposes to man.

To those who had not this felicity, it will perhaps convey but a very faint idea of the occasion; truly it is beyond the competency of pen or pencil to describe it, for what can communicate to the mind of a stranger, the exalted feelings of a noble, generous, free people, exulting over, (not their fellow man,) but over those most mighty obstacles appointed by the Author of nature to exercise the mental and corporeal faculties of his intelligent creation.

Who can describe the moving masses of citizens, every where assembled on this real holiday on shore; or the swift velocity of the gathering gallies on the water, crowed with a joyous people; the thick ascending volumes of curling smoke arising from those powerful engines, which impel the self-moving galley wherever the pilot lists; the closing squadron or the lengthening line; the gay attire of streamers and ensigns; the clear bland atmosphere, and cloudless skies; the thunders of the triumph on either shore, reciprocated from the gallant fleet: – The art of man on this occasion is baffled and silent; – imagination, and that but faintly can conceive it, or people the waters, the hills, the trees, the windows, the house tops, and every spot of ground with cheerful countenances and exulting shouts.

If these reasons are not sufficient, for not attempting more than is performed on this plate, we have none to offer, for omitting the vast multitudes of animated population; besides a thousand other circumstances beyond the power of the pencil.

ARTISTS.

The artist who composed this subject, is the same who designed the device, for the Badge, Vignette, &c. It was by accident, or rather an irresistible impulse, that this piece was originally put on paper; the glory of the scene created so delightful a sensation in his mind that he seized his pencil, long laid aside, to put down in black and white, in the language artists are wont to express their ideas, the images that occupied his minds eye, with a view to preserve the recollections of those impressive objects, presented to this visual faculties, as well as to his soul, on that memorable day of felicitations. He was the more tempted to this by his not being altogether unacquainted with the construction of shipping. But nevertheless in the minutiæ he was greatly aided by the politeness of C. Rhind, Esq. the Admiral of the day. Moreover, to shew the full extent of our good fortune, Mr. Imbert, the Lithographer, is professionally a Marine Artist; originally he was a French Naval Officer, but long a prisoner in England, where he devoted this time of leisure, to the improvement of his talents, in the studying of drawing and painting, under a first rate emigrant artist, as a useful as well as agreeable amusement during the tedium of captivity.

In the execution of the plate Mr. Imbert availed himself of the assistance of Mr. Felix Duponchel, and that of the composer, (with a view to hasten this large work) on the less essential parts of the subject, when he was not otherwise necessarily engaged in superintending the press, or preparing the different pieces of the artists engaged in this Book; but the essential parts, particularly the shipping, are his own individual work.

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HON. CADWALLADER D. COLDEN.

(On Copperplate.)

ARTISTS.

To embellish the MEMOIR an excellent Portrait was obtained; painted by Messrs. Waldo and Jeweti, No. 3, Pine Street; engraved by Mr. Asher B. Durand (of the firm of A. B. and C. Durand, Wright and Co. Corner of Canal Street and Broadway); and printed by Mr. Elias Wade, jun. of the same firm.

Any observations on this Portrait are superfluous; the confessedly high and well-earned reputation of the artists, require none of our commendations, for every one can, at a glance, decide on the excellency of this work of art. – "Esto perpetuo."

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HON. WILLIAM PAULDING,

Mayor of the City of New York, for the year eighteen hundred and twenty-five.

(On Copperplate.)

ARTIST.

This Portrait was engraved from the life by Asher B. Durand. This picture speaks for itself in a language superior to what we can utter: Mr. Durand is here in his true element.

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HON. PHILIP HONE,

Mayor of the City of New York, for the year eighteen hundred and twenty-six.

(On Copperplate.)

ARTISTS.

Engraved by Asher B. Durand, from a portrait painted by Rembrandt Peale, Esq. In this subject both artists have immortalized themselves.

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SAMUEL L. MITCHILL, M.D. & LL.D.

Late Representative and Senator in Congress, and President of the State and County Medical Societies of New York, Professor of Botany and Materia Medica in the University, Surgeon General of the Militia, President of the Lyceum for Natural History, &c. &c.

(On Copperplate.)

ARTISTS.

Painted by Jarvis, and engraved by Asher B. Durand. To say that it is engraved by Mr. Durand is sufficient.

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HON. DE WITT CLINTON.

(On Copperplate.)

ARTISTS.

Engraved by J.B. Longacre, from a miniature by G. Catlin. This portrait was transmitted to the Committee from Albany. This picture is represented as inclosed in a very handsomely carved frame.

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BUST OF THE HON. RICHARD RIKER,

Recorder of the City of New York for the year eighteen hundred and twenty-six.

(In Lithography.)

ARTIST’S PLATE.

ARTISTS.

This subject was drawn from the original Bust in the possession of Mr. Browere, the Sculptor; and lithographed by Signore Dominico Canova, at the office of the Lithographic press.

This original Bust is an exquisite specimen of the new art of making genuine fac-similes from the living subject; it was recently invented by John Henri Browere, a native of this City. No painting or modelling can equal it in giving the true form and expression of the countenance; wilful ignorance or something worse, can alone object to this valuable discovery; the multitudes of those of the highest rank who have undergone the operation, are sufficient witnesses to its not being executed with any painful or even disagreeable circumstances to the subjects.

Mr. John Frazee, our elegant Sculptor, on application to what he thought the competent authorities for granting copyright, was informed Sculpture had no protection from our laws, and of course is subject to piracy, the moment of publication by every mechanic; his particular object was the protection of his celebrated bust of General La Fayette. He made a feeble effort for the passage of a law for the protection of Sculpture; his application was handed over to a Committee, and there it will no doubt remain unless some of our Representatives shall take pity on poor helpless Sculpture, and raise up her willow crowned head, by having that protection granted which one single friendly word could accomplish on the floor of Congress.

Mr. Browere finds himself in the same situation as Mr. Frazee, and can never publish any of these superb busts of our greatest and best men which he has made, but at the peril of being pirated; and thus losing the recompence due to ingenuity and talents; he feels this circumstance hang like a heavy weight about his neck, whilst thus the wings of his genius are clipt to the shortest pinch.}

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GEOLOGICAL PROFILE,

(Copperplate.)

Extending from the Atlantic to Lake Erie, running near the 43^rd degree of North latitude, and 9 degrees of longitude. Taken in eighteen hundred and twenty-two and twenty-three, under the direction of the Honorable Stephen Van Rensselaer, by Amos Eaton, and engraved by Rawdon, Clark, and Co. Albany.

This Sectional Profile of the country extends from Boston Harbor to Albany, and from Albany to Buffalo and Lake Erie. On this Plate are four views on the Grand Canal, viz. –

First. – Entrance into the Canal at Albany. Drawn by J. Bights.

Second. – View of the Aqueduct Bridge at Little Falls, Drawn by J. Bights.

Third. – View of the Aqueduct Bridge at Rochester. Drawn by J. Bights.

Fourth. – View of the Village of Black Rock, from the Canada Shore, in eighteen hundred and twenty-three. Drawn by T.H. Wentworth.

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ENTRANCE TO THE HARBOR, LOCKPORT.

(Lithographic Plate.)

This sketch is taken from the Genesee level, representing the village of Lockport as it first bursts upon the eye when approaching it from the East. After passing over a monotonous level of sixty-two miles without a lock, the eye of the traveller is suddenly arrested by a formidable terrace of rocks, about eighty feet in height, forming the Eastern extremity of the "Mountain Ridge." The Canal enters this terrace, a distance of seventy or eighty rods, through a natural ravine, forming a convenient harbor for an hundred boats, or more.

The terrace presents itself here in the form of two capes or promontories, with an abrupt elevation of eighty feet; the one on the right hand remains in a perfect state of nature; the one on the left has been cut away for some distance for the purpose of forming an embankment on the opposite side of the Canal.

Approaching Lockport from the East nothing of the village can be seen until the boat is just doubling this cape, when in an instant the whole scene opens to view, and the sound of the bugle announces its approach.

The singularly romantic appearance of this place, with its striking contrast and sudden transition from the tedious monotony of the country below, must fill the mind of every traveller with peculiar delight as he approaches it from the East. The abrupt eminence seen in the left of the sketch is denominated by the village "Prospect Hill." It appears at first sight to overlook the village, but is only of equal height, being the summit level of the Mountain Ridge.

ARTIST.

Drawn from nature and lithographed by Geo. Catlin, Esq.

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LOCKPORT, FROM PROSPECT HILL.

(Lithographic Plate.)

This sketch, taken from the top of the terrace, presents a more general view of the village and harbor.

From the singular and appropriate form of this basin it would almost seem as if nature had formed it for the purpose to which it is now applied. At its head it is of a circular form, and surrounded by a rampart of rocks; its form is somewhat similar to a funnel, its banks describing about two-thirds of a circle. The declivity of the hill to the basin is such as to admit of a tolerably easy ascent and descent for the transaction of business, and affords the finest advantages for the location of manufactories, for the operation of which there will be an abundant supply of water discharged through a waste gate at the head of the locks, with a fall of sixty feet.

In this view are distinctly seen the fine double locks by which the Canal lifts itself sixty feet to the summit level of Lake Erie. To prevent the detention of boats the locks are made double, one tier being exclusively for the purpose of boats ascending, the other for descending. At the summit of these locks the Canal commences its course to the Westward, cut through solid rock for three miles, varying from twenty to thirty feet.

The village, as will be seen in this sketch, is situated on both sides of the Canal, immediately above the locks; its foundation is on solid rock, but in most parts covered with a light soil. It contains about fifteen hundred or two thousand inhabitants, and a few of its buildings are remarkably fine, being built of stone; the remainder are built of logs, and intended only for temporary use.

ARTIST.

Drawn from nature and lithographed by Geo. Catlin, Esq.

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DEEP CUTTING, LOCKPORT.

(Lithographic Plate.)

This sketch is a representation of the Canal on the upper level, exhibiting the interior perspective of the excavation one mile West of Lockport, shewing the stratification of the rocks, and the manner of towing boats through the excavation.

A ride through this chasm for three miles, on a Canal-boat, between those formidable walls of solid rock, where nothing is to be seen above their summits, though in the midst of a forest, is calculated to excite in the susceptible mind the most pleasing and singular sensations. These walls are from twenty to thirty feet high, and all the way perpendicular, though their surface is extremely uneven by the fracture in blasting.

Except for a few feet in thickness at the top, the whole wall is formed of geodiferous limestone rock, containing in its cavities the most beautiful colors of crystalization, on which the passing stranger is continually catching his eye and reluctantly passing.

The tow-path in the deepest cutting is about one-third of the distance down the wall, and sufficiently wide for two horses to pass; the outer extremity of it is secured by a sill of hewn timber, which is a security for the horse, and gives freedom to the tow-line which slides over it.

ARTIST.

Drawn from nature and lithographed by Geo. Catlin, Esq.

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PROCESS OF EXCAVATION, LOCKPORT.

(Lithographic Plate.)

This sketch gives a representation of the highly interesting manner in which this great work was performed, shewing all the means of excavating in full operation. The excavation being entirely in solid rock, for three miles, it was consequently effected by boring and blasting only; for this purpose from ten to fifteen hundred men were employed for several years; most of them were employed within the excavation, and the requisite number without, for the purpose of disengaging the stone from the Canal. The principle means of raising the stone were the cranes represented in the sketch.

These cranes are an ingenious application of mechanics to a horse power, enabling him to raise a ton weight or more from the bottom of the Canal, and discharge it in huge piles at a distance of sixty or seventy feet from the excavation, and fifty feet above its banks. They were generally set a regular distances from each other, (sixty or seventy feet,) and fifteen or twenty feet from the Canal, allowing the extremity of their gibs to describe about to the middle of the chasm.

These cranes were some of them made double, which not only seemed to accelerate their operations, but to add materially to their strength. They were worked by a horse, whose power upon the axle, by means of a lever, was very great. The gib was so constructed as to act with great ease around the arbour, and where the weight was raised to its proper height, one man, by a line descending from the extremity of the gib, would easily describe the machine as to bring the weight down directly over the heap where it was discharged, and easily return it by the same means.

Each of these cranes formed a heap of rocks, as seen in the sketch, and when in full operation for three miles in length, and the work progressing under the hands of fifteen hundred men, under a continual cloud of smoke, and almost incessant explosion of rocks, produced a novel and interesting scene.

Since the completion of the Canal these cranes have all been destroyed, and nothing remains along the banks of the Canal except those huge piles of rocks, as seen in the sketch, extending for three miles. As nothing of these are to be seen from the Canal-boat, while passing through the excavation, I would recommend to the curious and romantic traveller to spend a day along these banks, where he can easily amuse himself among the beautiful minerals with which these heaps abound.

ARTIST.

Drawn from nature and lithographed by Geo. Catlin, Esq.

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BUFFALO, FROM THE LIGHT HOUSE.

(Lithographic Plate.)

As at Albany the Canal commences, so at Buffalo it terminates; along the bottom of the terrace on which the town is seated, it is seen, until it communicates with the harbor in the creek.

ARTIST.

This was drawn from nature and lithographed by Geo. Catlin, Esq.

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BUFFALO HARBOR FROM THE VILLAGE.

(Lithographic Plate.)

From the terrace the view extends over the Canal, terminating in the basin, the creek and harbor, the shipping and lighthouse, with the long breakwater projecting into Lake Erie; on the horizon, in the centre, is the expanse of that Lake; on the right of the picture is the American, and on the left of it the Canada shores.

ARTIST.

This was drawn from nature and lithographed by Geo. Catlin, Esq.

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JUNCTION OF THE WESTERN AND NORTHERN CANALS.

(Lithographic Plate.)

This view was taken from a Canal-boat, and represents the scene where the two artificial rivers of our State unite; it is herewith given for the purpose of conveying to those unacquainted with its locality, and idea of its scenery.

ARTIST.

This subject was drawn on the spot by a gentleman competent to the task; drawn on Lithographic stone by Mr. Felix Duponchel, and printed at the press of Mr. Imbert.

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VIEW OF THE CAHOOES FALLS.

(Lithographic Plate.)

This subject is taken from a Canal-boat, in passing across the great dam which has been made across the Mohawk River, for the purpose of enabling the boats on the Northern Canal to pass the river on a level. The beautiful scenery surrounding the Cahooes has long been the subject of admiration to the traveller of taste; the romantic wildness of the banks of the Mohawk can hardly be surpassed. This View is taken at the moment the Falls first appear, and is decidedly the most picturesque point from which they can be seen; as the Canal-boat progresses in the Basin, the elongation of the covered bridge below is fully relieved by the white foam of the more distant Falls.

The Basin, from whence this View is taken, is not the least admirable effort of art over nature which the traveller beholds in the construction of our Canals.

ARTIST.

This View was taken on the spot by the same gentleman who favored us with that of the "Junction of the Western and Northern Canals," drawn on Lithographic stone by Mr. Felix Duponchel, and printed by Mr. Imbert, 79, Murray Street.

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This page contains three copperplates of Badges worn on the day of Celebration by the Saddlers, House Painters, and Fancy Chair-makers.

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SADDLERS’ ARMS.

(Copperplate.)

On a shield Gules, a chevron Or; above it two and below one saddle Proper. Crest – a horse saddled and bridled, with a plumed crest of three ostrich feathers; supporters, two bridled and plume-crested horses; motto, on a wreathed ribbon, "Our Trust is in God." On the plate are the words – "Canal Celebration, New York, 1825"

No artist is given.

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HOUSE PAINTERS’ ARMS.

(Copperplate.)

On a shield quartered, and on the dexter upper and sinister lower quarterings Argent, is a chevron Gules; above it two and below one Phœnix’ head and neck proper. On the sinister

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Upper and dexter lower quarterings Gules, three shields Argent, two above and one beneath; crest, a Phœnix; supporters, two chained leopards; motto, "Amor et Obedientia;" at the top, "House Painters’ Society."

Artists unknown.

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FANCY CHAIRMAKERS.

(Copperplate.)

Within a laurel wreath, in the centre of a glory, is a fancy chair, with the State crest as an ornament for the middle back rail; at the top is a wreathed ribbon, with the motto, "Rest for the weary."

Artists unknown.

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CHAIRMAKERS’ SOCIETY.

(Lithographic Plate)

This plate contains two circular wreathes, abreast of each other; on the dexter side is a figure of Plenty, the cornucopiæ at her feet, and resting her left hand upon a fancy chair; in her rear, is an Indian corn field, at the foot of a high mountain; in the distance is a village, with a chair manufactory; in the far distance is a ship in New York Bay, with Castle Williams, on Governor’s Island, on her starboard bow; and in the farthest distance is New York. Beneath, on a labelled ribbon, is the motto, "By Industry we thrive."

On the sinister wreath is the Chairmakers Arms; the shield is divided into three compartments – one across the upper part, separated horizontally – and two beneath, sub-divided vertically; on the superior division is a fancy settee; on the lower dexter compartment Gules, is a square-bottomed fancy chair; and on the sinister, Azure, is another round seated one. The crest is a Chairmakers boring bitt, crossed vertically by a shaving tool. On a label beneath is the motto, "Rest for the Weary."

These wreaths were borne on either side of the Banner of this Society, on the day of Celebration.

ARTIST.

Lithographed and printed by Mr. Imbert.

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NEW YORK NAUTICAL INSTITUTION.

(Copperplate.)

This device is emblematic of Science, Skill, and Benevolence; Science is characterised as an angel, with appropriate instruments, and bending from a cloud she delivers to Neptune a sextant, as the emblem of Naval Skill: Benevolence like a nursing mother, with her attendant circumstances, is seated on a cornucopiæ, upon the same cloud with Science. This scene is represented as taking place outside of Sandy Hook; on the right of Neptune, who is seated on his naval car, and drawn by dolphins, are the High Lands of Neversink, and on the left of the Picture, is Staten Island; in the distant horizon is Sandy Hook Lighthouse; pilot-boats, ships outward and inward bound are placed under their appropriate positions.

In the centre of the upper compartment of the frame, which surrounds the device, is the crest of the State Arms; the eagle holds between his mandibles, a flying labelled ribbon, with the words "Science, Skill, and Benevolence" upon it; on either side are nautical instruments, viz. – mariners compasses, sextants, log reels, minute and hour glasses, telescopes, charts, flags, ensigns, &c.

The leading object of this Institution is the promotion of nautical science; and we learn with great pleasure, that the Society is now zealously occupied in making preparation for the erection of an Astronomical Observatory; and it is to be hoped that in addition to the liberality of our merchants and underwriters, legislative bounty will be added; so that so useful and necessary an establishment may be speedily put into effectual operation.

ARTISTS.

We are sorry it is not in our power to give the names of the composer and engraver of this elegant plate; we can only say that it is handsomely executed on copper in the line manner.

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NEW YORK MARINE SOCIETY.

(Copperplate.)

This elegant plate is divided into four departments, separated by convoluted carved framework.

First. – On the dexter side of the upper part are the three principle marine sciences, Astronomy, Geography, and Mathematics, tendering their services to a navigator.

Second. – On the superior and sinister side is exhibited a shipwreck, – a drowned seaman on the shore, his bereaved wife and children mourning over it, whilst benevolent Love or Charity, in the name of the Marine Society, attended by cheering Hope, came as good angels to comfort and relieve the distressed family.

Third. – On the lower dexter partition the device is a female Indian, armed with a bow and arrows, seated on a rock; at her feet a beaver and a human head pierced with an arrow; with mountains, woods, and waterfalls in the distance.

Fourth. – In the inferior sinister department is a view of the City of New York, from Governor’s Island, as it was in the year seventeen hundred and seventy.

ARTISTS.

This plate was composed by J.L. Winn, and engraved by Mr. Morrison, Moorfields, London.

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PILOTS’ CHARITABLE SOCIETY.

(Copperplate.)

The device on the superior part of this plate, is Charity affectionately attending to the necessities of Infancy and Youth.

On the lower compartment, is a view at the Sea Bass Banks, looking towards Sandy Hook; on the right side of the scene is the Jersey shore, and on the left is Staten Island; in the centre is a pilot-boat, with all sail set, and scudding before the wind, to board an inward bound ship; between these is a dismasted vessel, under jury masts, beating close hauled to windward, and towed by a pilot-boat towards the Hook.

ARTISTS.

This excellent plate was designed and engraved by Hoogland, and originally printed by Valentine, but on this occasion host handsomely by Mr. Elias Wade, jun.

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BANNER OF THE WHITEHALL WATERMEN

IN THE AQUATIC PROCESSION.

(Copperplate.)

This device represents Neptune on his triumphal car, drawn by four marine sea horses, on the top of the floods; a Triton on each flank, winding his marine trumpet; Neptune standing up in his car, holds in his right had a banner, with the inscription "WHITEHALL;" and in his left another banner, with the words "AMERICAN STAR."

Engraved upon the rocks on the shore are the names of the victors in the memorable boat-race, viz. – Coxswain, John Magnus; Oarsmen, Cornelius Cammeyer, Alfred Cammeyer, Chas. Beateaugh, Richard Robins.

ARTISTS.

We know not who composed the original, but it was engraved by Mr. S. Maverick and J.F. Morin, from a sketch by Cummings.

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WHITEHALL WATERMEN’S PLATE

FOR THE LAND PROCESSION.

(Copperplate.)

The Whitehall Watermen after their return from the expedition to Sandy Hook, landed, and having their car prepared, joined the Land Procession. This plate is indicative of that procession, and of their having assisted in that as well as the Aquatic Fete. It is a representation of the victorious boat borne upon the car on that day of celebration; in the distance is seen Castle Williams as viewed from the Whitehall Slip; and still more distant is Staten Island.

On a rock on the foreground is inscribed the word "Howard," in compliment to Major Howard of the United States Revenue Department; and beneath are the words, "Whitehall, victorious, May 20^th, 1925."

ARTISTS.

This plate was engraved by S. Maverick and J.F. Morin, from a draft by Cummings.

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ROPEMAKERS’ ARMS.

(Lithographic Plate.)

On the shield is a figure of Justice blinded, with a sword in her right, and a pair of scales in the left hand. The Crest is a Ropemaker working at the twisting wheel, an eagle perching on it, with expanded wings, seeming to prepare for an attack. The Supporters are two Ropemakers, – the one on the dexter side, standing on a pile of rope, carries the striped flag of the United States, whilst the other on the sinister, also standing on a coil carries the standard of the same, bearing the striped shield, surmounted by an American Eagle; all which are relieved by a ground of clouded sky and forest scenery.

Underneath, on a flying labelled ribbon, is the motto, "Although we go backward still we advance;" below is a ropewalk, on a stone bridge of five arches across a Canal, with a Canal-boat passing through the middle one; on the other side of the bridge is a wharf, with a ship at anchor in the stream.

ARTISTS.

The composer of this subject is unknown to us, but the plate was lithographed by Signore Canova; the lettering by Imbert.

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STUDENTS OF COLUMBIA COLLEGE.

(Lithographic Plate.)

The inscription above the device is "Temporal Manifestation in Eternal Duration," signifying that Time is evolved from, and surrounded by Eternity. This idea is here made palpable to the eye, wherein three beautiful females express the three only modes that we can conceive of Duration, viz. –

First. – That portion which is Past, whose origin our finite minds cannot compass.

Second. – The Present, which is an ever-moving mathematical point.

Third. – The Future, which is equally with the Past, beyond the span of created faculties.

In this device the lady representing the Past is gliding off into Eternity, with an air of sadness and sorrow; she who personifies the Present, has an expression of placid tranquillity, forgetful that her existence is but instantaneous; and the representative of the Future, comes smiling forward, full of hopes of ceaseless felicity.

These emblems are certainly very expressive of the activity of the scene we occupy in this fleeting world of ever changing temporality, embraced in a boundless eternity.

As verbal language is very useful in elucidating that of painting, so vice versa, we may find the pictorial language of equal service in explaining verbal. We apprehend the composer of this subject had in view the primary elements of language in the construction of the tenses of the verb. However this may be, we find literary men using the very same ideas in explaining grammar, an instance of which we find in an "Essay on Language," followed by a grammar on these principles, by W.S. Cardell, Esq., published by Bliss and White, of this City, where this eminent author limits the number of tenses to three. Moreover, the enlightened conducters of our New York High School, with all correct grammarians, have adopted these truly philosophical principles, in defiance of gothic barbarism, scholastic quackery, monkish ignorance and selfish imposition.

In this manner do the Arts and Sciences mutually support and elucidate each other, and manifest their sisterly affinity.

Were this the place for such speculations, we could easily demonstrate from this hieroglyphic emblem, the ceaseless activity of every verb, for we can do no more neutralize the action of

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a verb, than we can arrest the flight of Time, for both are co-incident, co-active, and contemporaneous.

ARTISTS.

This subject was originally composed by S. Shelley, Esq. an eminent English artist, which he called "The Hours, or the Past, Present, and Coming Hours;" and is now lithographed by a young Lady of this City, for the Students of Columbia College.

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NIEUW NEDERLANDT.

(Lithographic Plate.)

This is perhaps the greatest curiosity we can present to the public upon this occasion, more especially when we contemplate what Nieuw Nederlandt was at that day, when compared with what it is at this period under the name of New York; at that time it could not contain more than one hundred inhabitants at most, and perhaps as many soldiers within the Fort, under the command of Governor Van Twiller, – but now we number upwards of one hundred and seventy thousand, and they not only daily but hourly increasing.

"This view of Fort Amsterdam, on the Manhattan, is taken from an ancient engraving, executed in Holland. The Fort was erected in 1623, but finished, upon the above model, by Governor Van Twiller in 1635." Such is the account we have on the plate.

The picture is a birdseye view of the localities around what is now New York, apparently done from a recollection of their situation, as seen from the Heights above Weehawk, by an intelligent Dutch officer; this is sufficiently manifested in the superlative beauty and accuracy of the Fort, shipping, canoes, and Indians.

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DESCRIPTION OF THE FORT.

Nearly in the centre of the subject stands the elegantly regular "Fort Amsterdam;" being a square fortress, standing nearly due North and South, with bastions at each angle, (as it was in our time,) with a half-moon covering the Eastern curtain, and a demi-horn work covering the Western, with a ditch surrounding the whole: on the salient angle of the North-west, to that of the South-east bastions, are four clusters of a few houses each, and still more to the East is a windmill, the whole standing upon the Southernmost point of the Island of Manhatans; the limits towards the right of the picture admits no more of the Island than to Dominie’s Hook, now the foot of Harrison Street. Over the Fort is seen Long Island, across the East River, with Guanas Creek, seeming to run far into that Island. The artist appears to have forgotten Governor’s Island, if it had existence at that period as an Island, but it was perhaps only a projected Hook, like its near neighbour Yellow Hook; the neck which then united it to Long Island having been since washed away, by the diurnal flux and reflux, now forms Buttermilk Channel; in the same manner as Sandy Hook, formerly a Peninsula, has within a few years become an Island, by the ceaseless washing of an impetuous tide, and the encroachment of the Atlantic waves.

Directly off the Southern point of Manhatans Island, towards the left of the picture, (just on the spot where our fleet of steam-gallies formed the line of procession to Sandy Hook, on our great Fourth of November,) are three armed ships, at anchor in the North River, with their heads towards the East; above these vessels is seen the horizon at the Narrows, and under them is the Jersey shore, at Paulus Hook; beneath is Hoboken, on the foreground, with the Bay of Aharsimus between them.

Again, immediately under the South point of Manhatans (now New York) Island is a canoe, with outriggers at stem and stern, in which are two Indians paddling it; then abreast of Paulus Hook, is a pettyaugur, with leeboards and a high poop-stern, surmounted by a Dutch marine flag, scudding before the South-west wind, up the Mauritius, Hudson, or North River.

On the foreground is an elegantly formed canoe, with five Indians on board, four of which stand up paddling along, two on each side placed alternately, and one seated on what in this situation may be denominated the stern; the two paddlers on the starboard have quivers filled with arrows on their backs; they are all naked to their waistcloths, most probably of skins, with each two long straight feathers for their crests, as all the other Indians in the piece have; at each end of this canoe, which seems calculated to sail either way, the stem and stern are raised above about one foot over the gunnels, and project horizontally at both ends, what may be termed a bowsprit, finished by a spherical head about the size of a mans; these bowsprits or handles, seem an ingenious contrivance for lifting the canoe and carrying it on the land, by two men hoisting it on their shoulders, and thus, as on a pole, moving it from place to place, and that with the greatest expedition.

Over the bow of the canoe, towards the right of the picture, is a Dutch long-boat, with high poop, in which amidships are two sailors rowing, at the bow is an outlook man, standing up, and seated at the stern are two soldiers, with raised pikes or muskets. And again, on the left of this subject, in the Bay of Aharsimus, are two common canoes, without the outrigger apparatus – in the nearest is seen one Indian, and in the other are two paddlers, drest as those in the large war canoe, the whole of them with their heads towards the East. On the plate over Long Island, in the sky, are the words "T’Fort Nieuw Amsterdam op Manhatans," and at the top of the plate are the words "Nieuw Nederlandt."

As a work of art this view is very curious; it is evidently an effort of strong memory, even allowing for the omission of Governor’s Island, which the artist has apparently united to Long Island; and most probably it was so at that period, for in the memory of those still alive, the Buttermilk Channel was nearly fordable, where now there is six or seven fathoms depth of water.

The general proportions and shape of the land are tolerably correct, and the shipping, with the canoes, elegantly so; but in the proportion of the shipping to the extent of the land, there is a wonderful mistake, for the distance between New York and Paulus Hook, we know to be a mile and a quarter, which the length of these three ships do more than fill up, this making each vessel to be from stem to stern half a mile long; let this be corrected and all would be faultless.

The Fort Amsterdam of Governor Van Twiller remained until our time, and was demolished about the year seventeen hundred and eighty-nine, with a view to build the late Government House upon its scite; but it likewise is removed, and in its place stand the elegant suite of buildings facing the Bowling Green.

Fort Amsterdam occupied the two blocks of houses formed by the Bowling Green, State, Pearl, and Whitehall Streets; the salient angles of the North-east and North-west bastions, formed the angles at the corner of Whitehall Street and the Bowling Green, whilst that of the Bowling Green and State Street formed the other; and again, the salient angles of the South-east and South-west bastions, form now the corner of Whitehall and Pearl Streets, and that of Pearl and State Street formed the other salient angle.

The half-moon, covering the East curtain of the Fort, extended across and beyond Whitehall Street; and the demi-hornwork, covering the West Curtain, crossed State Street, and projected some distance into our present Battery: although the great gate is not represented on this picture, yet we know it was in the centre of the North Curtain, facing the Bowling Green.

The cluster of houses, at the salient angle of the North-west bastion, stood upon the block contained within Broadway, Marketfield, Greenwich Streets, and Beaver Lane; the cluster standing off the North-east bastion was contained in the block within Beaver, Broad, Stone Streets, and Broadway; and between these two stand a cluster in the centre of what is now Broadway near the Bowling Green; and a fourth cluster stands where now is Water and Moore Streets; a little to the East of these is a windmill, near that creek upon which now stands Broad Street.

Upon what is now the Bowling Green stands a pole or gibbet for the punishment of transgressors, on which they were hoisted by the waist, and were there suspended during a longer or shorter period in proportion to merited suffering and disgrace.

This is the oldest view of the City of New York known to be extant, and appears to have been taken shortly after the first settlement. We are indebted for this plate to the researches of Joseph W. Moulton, Esq. the historian of New York. It is inserted in this work chiefly with a view to contrast the then situation of the city and country with its present powerful condition.

It seems difficult to realize the idea that in the space of two centuries, so splendid a fleet as that exhibited on the Fourth of November, should occupy the waters, where formerly the largest vessel to be seen on the river was the war canoe of the Indians, and where the solitude of the vast forest was only interrupted by the howl of the panther or other beasts of prey.

Beneath the view is a plan of the river in the vicinity of Albany, then called Fort Orange.

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ANCIENT MAP.

On the same plate with the View of Nieuw Nederlandt, and beneath it, is a Map of part of the North River, for about six miles above, and as many below, Fort Orange, now the City of Albany: this extent of country is entitled "Ranselaer’s Wyck;" it is sub-divided into four sections, Fort Orange being the central point. On the West of the river that section North of the Fort is called "Weelys Dael;" the one South of it, "Bylaers Dael;" on the East of the river, opposite Weelys Dael, is "Palfrajs Dael;" and South of it, opposite Bylaers Dael, "Twillers Dael," North of the Fort, on the banks of the river, are Bloemertsburg, Greynbosch, and Monemins Casteel; South of the Fort are Goodynsburg, and many settlements down the river.

Opposite Fort Orange, on the Eastern bank of the river, is De Lacbsburg; and towards the North Dickops huys, and Unumats Casteel. The two Casteels are skilfully placed on the most Northerly frontier, to defend it from attacks from above. On the island next below Fort Orange is Renselaerburg and Weelysburg; still lower are Smacks and Beeren Islands. The river itself is named "Mauritius oft Noord Rivier."

Reckoning from the South with reference to the Map, we find the following –

1. Beeren Eylandt nu Renselaers Eylandt.

2. Dose Keel heest een vaterval.

3. Bouw landt N 1 lang 1325, treeden lang broadt 536.

4. N 2 & 4 lang 2336, treeden broadt 300 treeden.

8. N.9 la, 450, 6. 60.

9. N 5 la, 550, 6. 54.

5. N 7 lang 500, broadt 325.

6. N3 lang 2030, broadt 266 treeden.

7. Smacks Eylandt.

10. Vlack landt met weynick boomen.

11. Verdron cleen landt.

12. Riot Valley.

13. Goodyns Eylanden.

14. Paep Sykouekees Kill.

15. Goodyns Kill heest een Waterval.

16. De Laets Moulen Kills aende Waterval.

17. Bloemerts Kill.

18. Bloemerts (3) Eylanden.

19. Renselaers Kill aende Waterval.

20. Waterval.

21. Waterval.

Some of the lots of land are laid down rectangularly; but others in a concentric, semicircular, or bow form, the first constituting one lot, the next concentric one another, the third another, at suitable distances apart, with larger radii, so that each lot, except the first, touched the river at tow points; this system of lotting has this advantage, that although back lots they still communicate with the river. On the Map, between the work "Ranselaer" above, and "Wyck," beneath, there is a curious volant like indescribable animal, within a four sided shield, the upper broader than the lower side; the contours of it formed by waved and voluted lines, but the one side uniform symetrically with the other; to which is added "Founded in 1630."

ARTISTS.

This View of "Nieuw Nederlandt" is borrowed from the "History of the State of New York, Part II." By Joseph W. Moulton, Esq. The Map of Renselaer Wyck, was reduced by Mr. M. from a large parchment map in possession of the present proprietor of that ancient colony.

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FIRE DEPARTMENT.

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WASHINGTON FIRE COMPANY, No. 20.

(Lithographic Plate.)

This Fire Engine is mounted on a carpeted car, with all its appropriate instruments, hose, axe, &c. and drawn by four horses; the leaders with mounted postilions; those in the shafts are guided by the driver, seated on the car; between him and the Engine stand two Firemen, one bearing the pipe, the other the axe, both in their appropriate costume; the nearest, being Pipeman, carries the Pipe, and the other the axe.

ARTIST.

This Lithographic Plate was designed and drawn on a Bavarian Lithographic Stone Plate, by Signore D. Canova.

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EAST RIVER FIRE COMPANY, No. 42.

(Lithographic Plate.)

This superb Engine is borne on a carpeted car, drawn by four horses, with postilions mounted; in front of it stand two Firemen in their appropriate uniforms, the nearest is the Pipeman, with his pipe; (the first man, upon an alarm, seizing the Pipe is the Pipeman.) In the rear of the Engine stand two Linkboys, with lanterns shouldered. Our limits do not permit us to enter into the minute details of the beautiful ornaments of this machine, or the highly polished condition, and its continual state of preparation for action.

ARTIST.

This plate was designed and lithographed by W.H. Tuthill, Esq.

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ENGINE, No. 15.

(Lithographic Plate.)

This most elegant machine is represented as borne on a carpeted car, and drawn by four horses, with mounted postilions. In front of the Engine, on the car, are two Firemen, the nearest being Pipeman, and flanked by two Linkboys, carrying lanterns. In this picture the postilions appear to be mounted on the off horses instead of the near ones; in the original design they no doubt must have been correct, but owing to the inadvertance of the Lithographer, he has neglected to attend to the reversing of the impression in the printing.

ARTIST.

This is lithographed in the ink style, and in lines, in imitation of Woodcut, by W.P. Morgan, Esq.

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EAGLE FIRE COMPANY, No. 41.

(Lithographic Plate.)

This elegant Engine is mounted on a car, carpeted, and beautifully decorated with festoons, and drawn by four horses, led by four colored grooms, dressed in Turkish costume; on the top of the Engine is the American flag upon the engine pipe, as a flag staff.

Standing upon the car is a Fireman flanked on either side by a Linkboy. Our limits will not admit of more minute detail on the particulars, but by inspection of the plate it will be better understood than by any verbal description.

ARTIST.

This was the first Engine that was lithographed, and that by Mr. Imbert.

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CLINTON FIRE COMPANY, No. 41.

(Lithographic Plate.)

This fine Engine is mounted on a car, carpeted, and beautifully decorated with festooned drapery over vallences; it is drawn by four horses; postilions are mounted on the leaders; the driver is seated on the car, and in his rear, but in front of the Engine, is a Fireman carrying a Banner, supported on the right and left by a member of the Company. The back ground to this Engine is taken from a picture painted on the back of the condenser, and represents an imaginary, rather than a real view of the Aqueduct Bridge at Little Falls, over the Mohawk River, with Locks and other circumstances attending the Canals.

ARTIST.

This subject was designed and lithographed by W.H. Tuthill.

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PHENIX COMPANY, No. 22.

(Lithographic Plate.)

This elegantly lithographed picture represents the beautiful Engine, No. 22. It is borne on a carpeted car, drawn by four horses; the two leaders have mounted postilions, the others are guided by the driver, seated upon the car; in front of this machine stands the Pipeman, holding his pipe, and flanked by two Linkboys, bearing lanterns; on the top of the condenser, on an elevating supported, is perched an eagle on a globe, (being the crest of the State Arms,) and in its bill it holds a triumphal wreath.

ARTIST.

This subject was designed from the Engine, and lithographed by W.P. Morgan, Esq.

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LA FAYETTE FIRE COMPANY, No. 7.

(Lithographic Plate)

This Engine is mounted on a carpeted car, the drop elegantly festooned with rolled drapery, and drawn by four horses; the driver is seated on the car, and in his rear, but in front of the Engine, are three Firemen standing, the centre one bearing a banner, surmounted by an eagle fluttering and perched on a globe, holding the number 7 in his bill; on the banner is an equestrian figure of the youthful La Fayette. The banner is stayed with cords by the flanking Firemen, the nearest being the Pipeman, with his pipe.

ARTISTS.

This plate was designed and lithographed by W.H. Tuthill, Esq. and printed by Mr. Imbert.

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HOOK AND LADDER COMPANIES

(Lithographic Plate.)

This plate represents the Hooks and Ladders as they are used in actual service, on a long truck carriage, which is drawn by four horses; upon the two leaders are mounted postilions, and on the truck in front is seated the driver; in the rear, the machine is steered with a tiller, by a Fireman. On the top of the truck a pyramid is raised of Hooks and Laddrs, as in real action, with two Axemen mounted on it – on each side are two Hookmen, supporting the Ladders. The top of the pyramid is surmounted by a flag-staff, bearing the United States Flag, under which is a floating pendant, with the inscription "We Raze to Save," indicative of the principal subject of the operations of this Company, in pulling down what would be only fuel for the flames, or to prevent their extension.

ARTIST.

This plate was designed and lithographed by Signore Canova.

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FIRE WORKS.

(Copperplate.)

The festivities of the great day of consummation were very appropriately closed by a most brilliant Pyrotechnic display, exhibited upon the roof of the City Hall; imagination must supply the place of description of this scene – the pen and pencil give it up, those alone who were witnesses can conceive its glory as an expression of the complicated feelings of a nation exulting in the great work of its own hands, the result of its own conceptions humanly speaking.

This copperplate goes as far as the graphic art can do, to aid the imagination in forming an adequate idea of the form and manner of the display; but the life and soul is wanting, which is not within the compass of the art. This superb edifice of native white marble is here viewed as from the South-west; the elegant dome is immersed and enveloped in volcanoes, cataracts, and volumes of the devouring element, pouring forth from burning mouths burstings, explosions, and spoutings, floods of appalling fire, that flashed upon the bedimmed eye, and deafened the astonished ear.

Above this pictorial representation is this inscription – "A view of the magnificent and extraordinary Fire Works, exhibited on the New York City Hall, on the evening of the Celebration of the Grand Canal, November 4^th, 1825, by Richard Willcox, Engineer," &c. and beneath it – "Explanation." "The City Hall was illuminated with 1,542 wax candles, 454 lamps, and 310 variegated lamps; total, 2,306. To eclipse this great effusion of light was not within the power of ordinary Fire Works, hence extraordinary means were employed, which consisted of 13 compounded gerbs, each containing 58 pounds of brilliant Chinese and diamond fires, which changed alternately. These fires were supported by a back ground of spur fire, which projected 1,500 brilliant stars, intersecting each other in fanciful directions. During the evening were projected 320 4 lb. rockets; 30 9 lb. and 24 20 lb. rockets – total, 374; with a great variety of minor amusing pieces. The general bursts of simultaneous applause from a great concourse of citizens, afford the best panegyric on the decided superiority of these Fire Works, both as to extraordinary grandeur and brilliant display."

ARTISTS.

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LITHOGRAPHIC TRANSFER

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AUTOGRAPH FAC-SIMILIES.

(Lithographic Plate.)

It is not simply for the gratification of the curious, but rather as being one of the most useful potentialities of Mr. Senefelder’s great discovery, that we have introduced in this place a specimen of Autographic Fac-similies, positively impressed from the manuscript of the writers.

Any one wishing to have his writing multiplied has only to provide himself with Transfer Paper, instead of common paper, and Lithographic Writing In,, instead of common, to accomplish the whole business, for these are the only requisite instruments. These materials are always to be procured in every Lithographic establishment, and as Mr. Imbert’s is the only efficient one we know of in this City, we refer those who wish it to him, 79, Murray Street. When we contemplate the endless variety of uses to which this art may be applied, it is vain to attempt to enumerate them; every one can make the application to himself, whether for literary, military, professional, mercantile, or other purposes. The operation being so simple, cheap, and easy, will no doubt be found to be greatly exercised in this, as its utility has been tested in every country where it has been introduced, and for such purposes as the slowness and expence of typographical printing is found inadequate to accomplish.

ARTISTS.

These Autograph Fac-similies speak for themselves by whose hands they were executed; and, as usual, it is printed by Mr. Imbert, or his assistant Signore Cuppa, pronounced Anglice Coopa.

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AUTOGRAPH FAC SIMILES,

Printed directly from the original writing by means of

LITHOGRAPHIC TRANSFER.

{The below are transcribed from the autograph facsimiles as printed in the original volume.}

Sir

Will you favor the Committee with a brief explanatory report of the different prints &c &c in our Book.

Archibald Robertson Esq.

New York 1826

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Department of the Fine Arts

At the request of the Honorable RICHARD RIKER, Chairman of the Committee of Arrangements, for the Grand Canal Celebration New York, Nov. 4, 1825, the Subscriber, in behalf of the Department of Fine Arts,

{End of autograph facsimiles as printed in the original volume.}

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LITHOGRAPHIC TRANSFER FROM COPPERPLATE.

(Lithographic Plate.)

As we have given a specimen of Lithographic Transfer from Autograph Manuscripts, we in this plate give a specimen of it from Copperplates; the process is equally simple in both; it is only printing with lithographic ink, from the copperplate, instead of common printing ink; and upon transfer paper, instead of common printing paper. The impression is without delay applied to the stone, put under the press, and it is completed.

We have, in this case, used the copperplates of the Corporation Badge and Invitation Card, on purpose to exhibit at once the precision of the operation; both being inserted in this volume. The great advantage obtained in this process is, that as a copperplate wears away by abrasion at every impression, so the number of impressions are limited; but, through the medium of the lithographic press they may be limitless.

The only circumstance that we have to regret is, that we were under the necessity to use in this case, worn out copperplates; had we have had early impressions from the original state of the plates equally good impressions would no doubt have been obtained, as may evidently be perceived, and thus would have justified a prior remark, to this amount – that Lithography was equal to the finest Copperplate through the medium of transfer; and thus it becomes a means by which engraving on copper, even the finest, may be multiplied, "ad infinitum;" a most invaluable gift to mankind in thus multiplying with facility the works of first-rate artists.

ARTISTS.

This was printed from the original plates, engraved by Mr. A. B. Durand, on steel, and transferred to copper by Mr. Cyrus Durand; again printed by Mr. Elias Wade, jun. with lithographic ink, which was transferred to stone by Mr. Imbert, and finally lithographically printed by him.

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CONCLUSION.

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We cannot dismiss this Report without remarking, that this volume, with all its plates, can give but a very inadequate idea of the circumstances attending the great occasion that it commemorates; the descriptions, both verbal and pictorial, are but a small specimen of what might be told, or graphically represented in the language of picture, of the history, feelings, and scenes manifested in our rational exultation upon this glorious victory over nature’s most stubborn bulwarks.

In our remarks we have had occasion to notice some of the most useful and beneficial improvements in this remarkable Age of Discoveries. First – who does not feel the value of the immortal Fulton’s application of steam to the purposes of navigation. Secondly – it is to be hoped that soon this country will likewise feel the useful importance of Senefelder’s curious discovery of the Art of Lithographic Printing. And thirdly – we cannot avoid noticing Browere’s discovery of the Art of making Fac-similies of living subjects from nature.

Amongst these three discoverers, we are proud to find two of them native Americans, viz. – Fulton and Browere; others might be mentioned, but we forbear the details.

In getting up the plates for this singular work, the artists have endeavoured to keep pace with the typographical department, in which they have advanced pretty nearly with equal steps; had it not been that they were unavoidably delayed at the lithographic press, the works of art would perhaps have anticipated the typography. At all events, it is a very remarkable circumstance that a work of this description, with so many plates, should have been accomplished in the very short space of six months; for although it is the production of a great variety of intellect to compose it, and of hands to execute it, yet nevertheless their labors were not of that description as by mutual aid to facilitate, but rather to retard it; and had not the most rigid superintendence, skilful vigilance, and prompt encouragement and assistance been afforded, it would perhaps have required years to accomplish the achievement.

That there is very considerable variety, and shades of comparative merit in our plates, it is natural to expect; every one in this respect will judge for himself, and it will very possibly be discovered that those which display least excellence as works of art, amply compensate by the interest or curiosity of the subject. Although it was desirable that first-rate talents should be solely employed, yet to get the work completed as soon as practicable, with a view to gratify the public mind highly excited, naturally weighed with the Committee to use the most expeditious system of operations, consistent with doing tolerable justice to the occasion.

That the language of picture touches the soul with as much pungency as verbal, a celebrated poet sings when he says, "Poema Pictura erit," a Poem is but a Picture; for the same idea that is conceived in the mind, may, generally speaking, be expressed in either manner. But we must grant that sometimes the one, at other times the other, are found most convenient for brevity’s sake, or other circumstances; wherefore, it has been thus far found useful to employ the dialect of the pencil, to the extent herewith exhibited. The chief object has been to adopt the mode of expression, verbal or pictorial, by which, with the utmost precision might be communicated, a correct idea of our Grand Canal Celebration, – its attendant circumstances and history, in the most concise, but comprehensive manner practicable. But when thus both systems are united, we have the most perfect mode of conveying ideas to distant ages and nations, that mankind are as yet possessed of.

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MY DEAR SIR,

Agreeably to your request I have endeavoured to give "A brief explanatory Report of the different Prints, &c. in your Book;" imperfect as my powers are to do the subject justice, you have it in that state in which it is. Hoping for the indulgence of the Committee for unavoidable failures in a task in which it would have been impossible to have succeeded at all, my dear Sir, without your kind suggestions.

My imperfection is not in volition but competency, therefore I commit it to your’s, the committee’s and the public’s liberality.

Hon. RICHARD RIKER, Chairman of the Committee of the Corporation,

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IN COMMON COUNCIL.

RESOLVED, – That the thanks of the Corporation of the City of New York be presented to WILLIAM L. STONE, Esq. for his Narrative of the Canal Celebration, prepared by him at the request of the Committee of this Board.

And, as a testimony of the approbation of the Common Council, of the manner in which he has executed the wishes of their Committee, IT IS ORDERED, – That a Medal of silver, a Box, and a copy of Mr. Colden’s Memoir, be presented to him in the name of the Corporation of the City of New York.

RESOLVED, – That the thanks of the Corporation be presented to ARCHIBALD ROBERTSON, Esq. for his description of the plates, prepared by him at the request of the Committee of this Board.

And, as a testimony of the approbation of the Common Council, of the manner in which he has executed the wishes of their Committee, IT IS ORDERED, – That a Medal of silver, a Box, and a copy of Mr. Colden’s Memoir, be presented to him in the name of the Corporation of the City of New York.

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The chief cause of failure in plates is the want of good finished drawings or designs, furnished to the engraver or lithographer to work from and not rude sketches. The designing and engraving arts are totally distinct, and require exceedingly different faculties, which very rarely have been united, in even a tolerable degree, in any individual; to this cause we mainly attribute so many failures on this side of the Atlantic. The writer of this has had very extensive experience on this head, and cannot too strongly urge on any one wishing to have a good plate, to be sure to furnish the engraver or lithographer with a good drawing at least, or painting – for the designing artist is as the author, the engraver but as the printer of a book; we pray you who goes to a printer to have a book composed? The designing artist is the "primum mobile," without whose inventive powers all is vain. In our operations we have greatly felt the want of a due attention to the above circumstances in those concerned in furnishing plates. The mighty mass of mind concentrated in HOGARTH, is the only instance which we can at this moment call to recollection, in whom the very, very rare, faculties of the designer, inventor, or composer, were united to those of the engraver.

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{The below are transcribed from the autograph facsimiles as printed at the end of the original volume.}

New York 18^th April 1826.

Sir,

The Corporation of the City of New York have caused medals to be struck to commemorate the completion of the Erie Canal which unites the great Lakes with the Atlantic Ocean.

The Corporation, influenced by a deep and profound respect, for those distinguished and patriotic citizens who affixed their names to the Declaration of Independence, and pledged in it support "their lives, their fortunes, and their sacred honour," have instructed us as a committee to prepare medals of Gold of the highest class and present in behalf of the City of New York, one to each of the three surviving Signers of that great State paper.

In obedience to the order of the Common Council, and in behalf of the City, we have the honor to transmit, to you; Sir, a medal of gold of the highest class.

It affords us the greatest satisfaction to make this communication. We accompany the medal with a box, made of Maple brought from Lake Erie in the first canal Boat the Seneca Chief.

A memoir on the New York Canals will be transmitted to your hereafter.

Appropriate letters were also transmitted to the President of the United States, and to the ex-Presidents, and to other distinguished persons to whom Medals of Gold of the highest class, had been awarded by the Corporation. Fac-similies of answers together with those of Mr. Adams, Mr. Carroll, Mr. Jefferson and Gen. Lafayette are herewith given.

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Quincy, May 24^th 1826.

Gentlemen,

I have received your polite letter of the 28^th with the splendid testimonial of the benevolence of the City of New York in a Gold medal, and a silver one in commemoration of the great Canal in New York, which is the pride and wonder of the age and deserves to be commemorated by every effort of (?). I rejoice that the City of New York has taken the lead in Striking medals on important events. The Hollanders have a History of their Country, engraved on gold, and silver medals, and it is the most permanent history of any. My gratitude to the City of New York cannot be expressed in words. I pray you Gentlemen to accept my thanks, for the polite and obliging manner in which you have presented this splendid token to me.

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Messrs. Riker, Agnew, Bolton, and A. Davis, a Committee of the Corporation of New York.

I receive, gentlemen, with great thankfulness the Medals you have been pleased to send me, commemorative of the completion of the Erie canal. This great work will immortalize the present authorities of New York, will bless their descendants with wealth and prosperity, and prove to mankind the superior wisdom of employing the resources of industry in works of improvement rather than of destruction. The surviving signers of the charter of our Independence, to whom you are pleased to send monuments of this great atchievement, have the satisfaction of seeing in them and additional manifestation of the blessings resulting from the measures in which , with a host of departed worthies, they ventured to embark their country. as an humble individual of that body, accept my thanks for this mark of attention, which I tender respectfully to the Corporation of the city of New York, and to yourselves particularly, the organs of their communication by your letter of April 18 – just now received with the assurance of my highest consideration.

Monticello June. 8. 26.

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Baltimore 9^th May, 1826

Gentlemen

I was this day highly gratified by your letter of the 28^th past, and the delivery of the gold medal, of the highest class, commemorating the completion of the Erie canal uniting the great western lakes, with the Atlantic Ocean, Which, as a committee of the corporation of the City of New York, you were instructed to deliver to me, being one of the three surviving signers of the declaration of Independence, of these United States.

I am much honoured by this testimony of respect, paid to me, by the order of the common council of the city of New York for the part I took in singing that important paper.

The completion of the great Work, uniting the Western lakes with the ocean, does honour to the State of New York; may the benefits resulting from the undertaking amply reward the wise and patriotic exertions of its citizens, and perpetuate to the city of New York its growing prosperity.

Accept, Gentlemen, my thanks for your letter and the satisfaction you have expressed in conveying to me this testimony of humble respect.

P.S. I have also received the medal inclosed in a box made of the maple from lake Erie. The Memoir of the canals of New York, when printed, I request the favour of you to forward to me as it will be a most interersting and construction communication

R. Riker

John Agnew

Th. Bolton

W.A. Davis, Esquires

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Montpellier May 31, 1826.

Gentlemen

I have duly received your letter of April 28^th and with it a Medal of Gold, commemorating the completion of the Erie Canal, presented in the name of the City of New York by order of the Common Council: the Medal being accompanied by a box made of Maple brought from the Lake in the first Canal boat the Seneca Chief.

I beg the corporation to be assured that I feel in its full extent, the value of this testimonial of kind respect, and that no one can offer a more cordial tribute of congratulation that myself on the event commemorated; an event the more splendid when viewed in its contrast with occasions to which such emblems have been often dedicated.

As a Monument of Public spirit conducted by enlightened Councils, as an example to other States worthy of emulating enterprize, and as itself a precious contribution to the happy result to our country of facilitated communications and intermingled interests, bringing nearer and bending faster the multiplying parts of the expanding whole, the Canal which unites the great Western lakes with the Atlantic Ocean, is an achievement of which the State of New York may at all times be proud, and which well merited the homage so aptly paid to it by her great commercial Metropolis.

R. Riker

John Agnew

Th. Bolton

W.A. Davis, Esquires

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Oak Hill July 3^d 1826.

Gentlemen,

Having been called from home by attention to my private concerns, in another part of the State, I had not the satisfaction to receive your letter of the 28^th of April, until within a few days past.

The accomplishment of the great work undertaken by the State of New York, by which the western lakes are united with the Atlantic Ocean, through the Hudson river, forms a very important epoch in the history of our great republic. By facilitating the intercourse, and promoting the prosperity and welfare of the whole, it well bind us more closely together, and thereby gives a new and powerful support, to our free and most excellent system of government.

That this great work should be commemorated by the Corporation of New York, in the name of the city, by the medals which you have caused to be struck, is a proof of the just estimate which you have formed, of its importance, and of the happy consequences likely to attend it.

For the kind sentiments which you have expressed in my favor, and the testimonial you have transmitted to me, of the good opinion of the common council I tender to you my grateful acknowledgement

R. Riker, John Agnew, Tho. Bolton and W.A.

Davis Esquires – Committee of the Corporation of New York.

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Messrs. R. Riker

Washington, 23 May 1826.

Gentlemen

I have received from the hands of Mr. Cambreleng the medals struck by the Corporation of the City of New York, to commemorate the completion of the Canal which has united the waters of the Western Lakes with those of the Atlantic – an Event among those most worthy of commemoration, in the progress of human affairs, an event equally creditable to the Enterprize and Perseverance of the People of New York, and by the accomplishment of which, in honouring themselves they have reflected honour upon the age and Country to which they belong.

Gratefully accepting the medals as a token of the kind remembrance of your City, I tender to you Gentlemen by ware sensibility to the friendly and flattering terms, with which you have conveyed them to me.

With the respectful and friendly Salutations of your fellow-citizens.

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La Grange June 27^th 1826.

Gentlemen

The New favor Confered Upon me By the Corporation of the City of New York, at the Same Time it excites lively feelings of personal gratitude, is the more gratifying to my Heart, as it Has Been By You Intended as a testimony of Regard to the Revolutionary Army of Which I am the last Surviving Major General. Permit me therefore in the name of My Brother Soldiers and in my own name to present the Corporation With the Most Respectful and affectionate Acknowledgements.

With every Sentiment of Patriotic interest and pride I had followed the rapid progress of an enterprise Highly Honourable to the State of New York, to the American Name, and to the principle equally dignified and productive, of self government in its final success, Exceeding the Most Sanguine Anticipations, Has Been Witnessed By me With inexpressible Delight, and now I feel additional Happiness in possessing the Badges Relative to the Admirable Work for which I am Indebted to New York’s Remembrance, depending on your Goodness, Gentlemen, to offer to the Common Council my grateful and Devoted Respects, I request you also to Receive the Cordial and Respectful Tribute of the same Sentiment and Have the Honor toe be with the Highest Regard

Recorder Riker, John Agnew, Tho. Bolton and A. Davis Esquires.

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{End of autograph facsimiles as printed at the end of the original volume.}

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