Francis B. Carpenter, Six Months at the White House

[25] appliances and tricks of picture-making, and endeavor, as faithfully as possible, to represent the scene as it actually transpired; room, furniture, accessories, all were to be painted from the actualities. It was a scene second only in historical importance and interest to that of the Declaration of Independence; and I felt assured, that, if honestly and earnestly painted, it need borrow no interest from imaginary curtain or column, gorgeous furniture or allegorical statue. Assenting heartily to what is called the “realistic” school of art, when applied to the illustration of historic events, I felt in this case, that I had no more right to depart from the facts, than has the historian in his record.

When friends said to me, as they frequently did, “Your picture will be bald and barren,” my reply was, “If I cannot make the portraiture of the scene itself sufficiently attractive without the false glitter of tapestry hangings, velvet table-cloths, and marble columns, then I shall at least have the satisfaction of having failed in the cause of truth.” I reasoned in this way: The most important document submitted to a cabinet during our existence as a nation is under discussion. A spectator permitted to look in upon that scene would give little thought and small heed to the mere accessories and adjuncts of the occasion. His mind would centre upon the immortal document,--its anxious author, conscious of his solemn responsibility, announcing