III.

Peter

The monument on the site of the surrender has itself had a history. As early as 1856 its construction was proposed at a banquet held in the old Schuyler house on the anniversary of the surrender. John A. Corey, George Strover, and Alfred B. Street (who read a poem), were among those present then, but all three are now dead. In 1859 the Saratoga Monument Association was formed under perpetual charter from the State, the members being Hamilton Fish, president; Philip Schuyler, vice-president; John A. Corey, secretary; James M. Marvin, treasurer; Horatio Seymour, Benson J. Lossing, George W. Bleeker, George Strover, William Wilcox, Henry Holmes, LeRoy Mowry, Asa C. Tefft Gansevoort and James M. Cook. The War of the Rebellion and the death of several of the original trustees checked all further proceedings until the spring of 1873, when an act was passed by the Legislature creating a Board of Trustees for the monument, composed of Hamilton Fish and William L. Stone, of New York City; Horatio Seymour, of Utica; Benson J. Lossing, of Poughkeepsie; Asa C. Tefft, of Fort Edward; LeRoy Mowry, of Greenwich; James A. Marvin and John A. Corey, of Saratoga Springs, and Charles H. Payn, of Saratoga (i. e., Schuylerville). Mr. Corey dying just after the Board organized, Mr. Stone was made secretary in his place.

Messrs. Stone and Canning, of the Committee of Design, immediately chose for the architect of the monument Mr. Jared Clark Markham, who by a curious coincidence is a member of the same family as was Archbishop Markham, one of George III.'s advisers. Mr. Markham prepared a stirring address in pamphlet form, and drew plans for a monument before any funds were in prospect.

The late ex-Governor Seymour and C. H. Payn, with Messrs. Stone and Canning, were active in securing the first appropriation from the Legislature. John H. Starin, George William Curtis and Congressman Edward Wemple, of Saratoga, have more recently interested themselves in securing money

from Congress to complete the work. Mr. Starin is now the president; Messrs. Marvin and de Peyster, vice-presidents; D. S. Potter, treasurer; and W. L. Stone, secretary. Other members are Joseph W. Drexel, Charles K. Graham, S. S. Cox, George William Curtis, E. F. Bullard, P. C. Ford, General George S. Batcheller, A. B. Baucus, J. Meredith Read, Mrs. E. H. Walworth, Lemon Thomson, D. F. Ritchie, C. W. Mavhew. C. S. Lester and Horatio Rogers.

The corner-stone of the shaft was laid on October 17, 1877, the centennial anniversary of the surrender. Grand Master Couch performed the Masonic rites, orations were made by George William Curtis, Horatio Seymour, William L. Stone and others, and Alfred B. Street read a poem. The streets and houses of Schuylerville were profusely decorated, and there was a two days' celebration in which thirty thousand visitors joined, several hundred carriages full of people going from Saratoga Springs alone. The presence of several old citizens who had talked with General Schuyler and other survivors of the campaign added interest

LADY ACLAND PASSING AMERICAN CAMP.

to the occasion. For the erection of the monument there has been received and expended, from the Legislature, $25,000; from Congress, $70,000; and from private

subscriptions about $5,000, collected in 1877. Governor Robinson saw fit to veto one appropriation of $10,000. With the above amounts a plot of four acres was secured, graded and adorned, and the exterior of the monument completed, with its three bronze statues in the niches and sixteen bronze bas-relief tablets placed in the two first stories of the interior. The association boasts that every penny contributed may be seen in the monument in theshape of good, artistic work.

One needs but to travel through the country, or even through one of our large cities, to observe that there are monu

KING GEORGE AND HIS MINISTERS.

ments and monuments. Often the design or the object commemorated makes one wish that granite and bronze were less enduring. There is cause for congratulation, then, when a memorial is erected which elevates as well as satisfies the artistic instinct, and commemorates events so dear to every American that one could not imagine a vandal so base as to mar the structure.

The time-tested Egyptian idea is honored in the shape of the gray, granite obelisk as well as in the illustrative groups inside. On near view it must be conceded that the chaste Gothic ornamentation of the shaft adds to its attractiveness. It rises 155 feet from its foundation of

concrete, which is thirty-eight feet square and eight feet deep. A winding stair leads to the windows in the top, affording a noble view. At each corner one of the 36 brass 12-pound field pieces, captured from Burgoyne, will be placed as soon as the bronze carriages are ready. There are entrances on four sides, flanked by pillars of black, Maine granite, polished, with carved capitals. Over each entrance is an arched niche, each containing a bronze statue except the one on the south, which is inscribed "Arnold." Orders for the three statues were given to three different sculptors in order to

secure individuality of treatment and to encourage a generous emulation, while giving each an opportunity to fill his niche with a masterpiece. Mr. George E. Bissell's Gates is a wellposed figure, admirable in its effect and in the details of its Continental trappings. Mr. O'Donovan gives in General Morgan an athletic, backwoods rifleman in deerskin dress, typical of the Kentucky marksmen who worried Burgoyne's flank. Perhaps the sense of General Schuyler's wrong at the hands of Congress and the halo of noble qualities which surround the name of this gentlemansoldier make a harder task for his sculptor. Mr. Doyle's dignified figure, draped in a military cloak, may well represent Schuyler as he was. Both statues and bas-reliefs were cast at the National Fine Art Foundry and the Henry Bernard Bronze Foundry in New York city.

Gables rise to the height of 42 feet above the entrance, and are joined at the corners by massive granite eagles, measuring seven feet across their folded wings. Still higher, are double windows, Gothic, arched and gabled, adorning each face of the shaft. The stone over the door bears in large letters, cut in granite, the inscription:

1777. SARATOGA. 1877.

The pictorial groups in bronze that line the first two stories of the interior make the monument unique, and add to its historic, educational and artistic value. Such reminders of the rude but broad and equal foundations of society are not erected too soon. This idea of the archi

tect's was heartily approved by the committee, and especially by Mr. Seymour, who must have had such a memorial in his mind when he said in his speech at the celebration in 1877: "Monuments make as well as mark the civilization of a people."

Apostles of "realism" will find in this work of Mr. Markham an example of a veteran designer keeping full pace with the foremost and best ideas of today. His designs here are indeed much in advance of some work of younger artists, who are yet groping in search of an unknown ideal. In designing the groups he has kept in mind Ruskin's maxim that the only historic art worth a straw is the history of our own times. Avoiding the strained effects that would result from following imaginary conceits of the past, he has availed himself of every help to give these groups a realistic and historic value. The portraits in the groups, the revolutionary rifle, powder-horn, spinning-wheel, British broadaxe, Indian tomahawk, shoe buckles, even the charm on Lady Acland's watch-chain, were copied from carefully preserved originals. These designs, the work of years, have been carefully carried out by the modellers-Hartley, Kelly and Pickett-No. 1 being the work of the architect himself. The moral purpose of the tablets is appar

DEATH OF GENERAL FRASER.

ent in the contrasting of the unequal social conditions which brought on the Revolution, as in the companion groups representing the pampered ladies of the British Court on one side and the wives of the colonists facing danger and hardship on the other. The temper and spirit of the time, the characteristics of republicanism and royalism, are thus curiously portrayed and embalmed in the sixteen bronze bas-reliefs, each of which

is 4x5 feet in size. Twenty more groups are to be added to the upper stories.

An encomium from so prominent an authority as ex-President Andrew D. White, of Cornell University, may be inserted here: "Having much traveled over the world," writes President White, "and seen many monuments erected in honor of distinguished men and in commemoration of noted events, I have difficulty in recalling one more interesting than the Saratoga monument. It presents in its intended sculpture decoration one of the happiest ideas ever embodied in a similar structure, namely, statues of the three Generals who served the country at a most critical period of its history, and the niche left vacant where would have been the statue of the fourth had he not become a traitor to his country."

she lived, if she did not at least doubt that she might be Paulo's legitimate heiress? What was the word that she struggled in vain to tell in dying? Charity did not account for it all. Emilia Giorgini was charitable to the poor, and to sinners who did not soil her skirts, but implacably stern to whatever reflected on her own honor.

As she thought over these things, a secret terror seized her of what might happen in the future to her soul, or to her family. She was afraid that the child's mother had been deceived. Francesco's wife, who willingly believed everything evil that was told her, never doubted that the girl was an outcast; and when the young eyes, hungry for affection, turned to every face that seemed to meet them kindly, her opinion of the mother's character aided her natural coarseness in putting a low interpretation on that pathetic look.

"So she is jealous of the child!" thought the Mattei, and laughed inwardly as she turned away to tell Beatrice the success of her intercession.

Betta had already spoken to the girl, and privately arranged the second and most important part of their expedition. Her sister Maria was still housekeeper at Palazzo Giorgini; and from her she knew all the movements of the family. The Count and Countess had gone into the country for a few days. Don Giovanni had been ill, and his anxious wife was going to try change of air for him. The other servants would accompany them to the villa, and Maria alone remain to guard the palace. Betta had arranged that she and Beatrice should enter by the secret door through the apartment where Paulo had taken his wife on their marriage. She did not fear any disapproval on the Signora Mattei's part, but thought better not to tell her their plan till after it should have been accomplished.

Beatrice knew her mother's story and her own, and she was intelligent enough to pretend to be ignorant of them.

"Your only hope is in seeming not to know who you are, and in making them think that you are contented with your lot," the Signora Mattei would whisper to her.

"Don't let them see that you know, not for your life!" said Betta. "Remember what happened to your father!"

"Do you think that they did it!" asked Beatrice, when first she heard the story.

They were in the villa of the Advocate Randini, her father's friend; and she pointed her question at the villa Alinori adjoining.

"Oh, no, dear! not directly," Betta had answered, soothingly; "but they profit by it."

"Who did it?" persisted the girl. "I do not know," said Betta. "I cannot guess. But I think that Lo Zoppo could tell something."

"I will ask him when he comes again!" exclaimed the girl. Betta caught her by the arm. "You are a little fool! Do you think that he will tell you anything? He would go straight to the signora and tell her every word you had said, and ask her what you mean."

"He comes here to reap grain, and he carries the wine to Sanzio," Beatrice said. "The Signor Leonardo hates him."

"He does!" said Betta. "Why?"

"He says that he is always begging. But the Signor Leonardo hates me, too. I heard him ask the signora once what she kept that brat in the house for."

66

And what did she answer?" asked Betta, who was listening very intently.

"She laughed," said Beatrice, “and said she had taken me with the intention of pleasing him. What did she mean, Betta?"

"Who knows!" replied Betta carelessly. She had not told the child that part of her mother's story which related to Don Leonardo.

For two years now, Beatrice had known who she was; and at length she was to see the palace of her father, of which she was the rightful mistress! What dreams she had had! What wild plans she had laid to regain her forfeited inheritance! What ambition and hatred had grown up in her heart, side by side! And what a power of concealing both had she acquired in those years of silence and subjection! One charm of the turquoise ring the kind stranger had sent her was that it seemed a tribute to her proper state. Those about her would