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He Comes the Hero Comes
David and Ginger Hildebrand, Colonial Music Institute
George Washington's Mount Vernon, The Music of Washington's World series, December 17, 2015
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Jug
Probably Herculaneum Pottery, Liverpool, England
ca. 1800The Robert Charles Lawrence Fergusson Collection
One side of the jug shows an oval map of the United States of America surrounded by figures drawn from the cartouche of the same map published in London in 1783 by John Wallis. At the left of the map, George Washington is depicted in military uniform walking alongside the female allegorical figure of Liberty, who holds a liberty pole and cap. The winged figure of Fame flies overhead, blowing a trumpet and holding a crown of laurel leaves and a ribbon bearing the name "Washington." To the right of Fame is a variation of the American flag that includes the Great Seal in the center. At the right of the map, Benjamin Franklin is seated with the goddess Athena looking over his shoulder and the figure of Justice to the side, with two pine trees behind them.
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Carte des Etas-Unis de l'Amerique suivant le Traite de Paix de 1783
Paris: Chez Lattre, Graveur du Roi, 1784The Society of the Cincinnati, Robert Charles Lawrence Fergusson Collection
Dedicated to Benjamin Franklin, this is the first map to delineate the full extent of the United States of America after the ratification of the Treaty of Paris. The cartouche features symbols of the new American nation, including the Great Seal of the United States and the Eagle of the Society of the Cincinnati. This rare first state of the first edition of Lattre's map includes a detailed chronology of the war affixed to the left and right margins. [2012]
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Indépendance des États-Unis
L. Roger, engraver; after Jean Duplessis-Bertaux, artist
Paris: Chez Blin, 1786The Robert Charles Lawrence Fergusson Collection
This allegorical image celebrates the alliance of France and the United States and their victory over Great Britain. America is represented by a Native American woman resting her foot on the defeated British lion. She stands beside a monument bearing portraits of Louis XVI, Benjamin Franklin and George Washington.
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"Washington and American Independance, The Apotheosis of Franklin"
English
ca. 1785Gift of Mr. and Mrs. Paul William Cook, Society of the Cincinnati in the State of Rhode Island and Providence Plantation, 1959
"Washington and American Independance (sic), The Apotheosis of Franklin" (alternately known as "The Apotheosis of Franklin and Washington") copperplate-printed bed furnishing in red on white cotton or cotton-linen blend, made in England, ca. 1785. Pattern depicts George Washington in military uniform standing in a chariot alongside a seated female figure of America, who holds a caduceus in one hand and an oval plaque inscribed "AMERICAN / INDEPEND/ ANCE [sic] / 1776" in the other hand. The chariot is pulled by two leopards, which are flanked by two American Indians, one holding a thirteen-striped flag and the other a flag bearing a rattlesnake inscribed "Unite or Die" and cut into thirteen parts. Soldiers carrying striped flags descend from a mountain and follow the chariot. Behind the chariot is the (labeled) Liberty Tree, bearing an upside-down placard reading "Stamp Act." Above Washington, the pattern depicts Benjamin Franklin next to the personification of Liberty, and the two hold a banner inscribed "WHERE LIBERTY DWELLS THERE IS MY COUNTRY." On the other side of Franklin is the goddess Athena, carrying a shield with thirteen stars and pointing to the Temple of Fame, and two putti holding a globe showing America divided into Georgia, South Carolina, North Carolina, Virginia, Maryland, Pennsylvania, New Jersey, New York, and New England. The winged figure Fame holds two trumpets and flies in front of the temple. Above Franklin are a beaver and a heron with a fish in its mouth shown in a marsh. The textile may have originally been a bed curtain or bedspread, and may have been converted into a drape or hanging at a later date.
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Badge of Military Merit
ca. 1782-1783Collection of the American Independence Museum, Exeter, NH and the Society of the Cincinnati in the State of New Hampshire. Gift of William L. Willey.
George Washington created the Badge of Military Merit—the first military decoration for enlisted men—on August 7, 1782. The award recognized distinguished conduct and was intended to encourage “virtuous ambition” and “every species of Military merit.” Soldiers honored with the award “shall be permitted to wear on his facings over the left breast, the figure of a heart in purple cloth, or silk, edged with narrow lace or binding.” Only two reputed examples are known, of which this is one. The decoration fell out of use after the Revolutionary War but was revived in 1932 as the modern Purple Heart.
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Partially printed D.S., Hartford, June 7th 1782: receipt of Pay-Table-Committee
Cuff Liberty, Dick Freedom, Committee of the Pay Table; Connecticut. Treasury Dept.
1782The Society of the Cincinnati, The Robert Charles Lawrence Fergusson Collection
Payment receipt signed for Dick Freedom by Cuff Liberty. Dick Freedom and Cuff Liberty were African American participants in the Revolutionary War who adopted aspirational names during their service. They served in the all-African American Second Company of the Fourth Connecticut Regiment.
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Voltaire medal
François-Marie Arouet, artist; Struck in Paris
1778The Robert Charles Lawrence Fergusson Collection
Benjamin Franklin and the French philosopher Voltaire collaborated to produce this bronze medal in honor of George Washington. The obverse depicts a generalized portrait of the general—as no true likeness of Washington existed in France at the time. The reverse displays military symbols and a Latin inscription meaning, “Washington combines in a single union the talents of a warrior and the virtues of a philosopher.”
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Anti-Slavery Medallion, Am I Not A Man and A Brother
Henry Webber, artist; Struck in Great Britain
1787The Diplomatic Reception Rooms, U.S. Department of State
This anti-slavery medallion was produced as part of the late 18th century abolitionist movement in Western Europe and America. Many abolitionists wore these medallions to clearly state their position and start conversations about slavery. These small porcelain and ceramic medallions were designed and produced by a team of craftsmen led by British potter Josiah Wedgwood. Over time, the medallions’ popularity grew, and the image appeared on a variety of objects, including chinaware, cufflinks, and pamphlets distributed by and among the activists.