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WASHINGTON'S CROSSING

OXFORD UNIVERSITY PRESS

Introduction

That was the residence of the principal citizen, all the way from the suburbs of New Orleans to the edge of St. Louis.... Over the middle of the mantel, engraving-Washington Crossing the Delaware; on the wall by the door, copy of it done in thunder-and-lightning crewel made Washington hesitate about crossing, if he could have foreseen what advantage to be taken of it. -Mark Twain, 1883

WASHINGTON'S CROSSING!" the stranger said with a bright smile of recognition. Then a dark frown passed across his face. "Was it like the painting?" he said. "Did it really happen that way?"

The image that he had in mind is one of the folk-memories that most Americans share. It represents an event that happened on Christmas night in 1776, when a winter storm was lashing the Delaware Valley with sleet and snow. In our mind's eye, we see a great river choked with ice, and a long line of little boats filled with horses, guns, and soldiers. In the foreground is the heroic figure of George Washington.

The painting is familiar to us in a general way, but when we look again its details take us by surprise. Washington's small boat is crowded with thirteen men. Their dress tells us that they are soldiers from many parts of America, and each of them has a story that is revealed by a few strokes of the artist's brush. One man wears the short tarpaulin jacket of a New England seaman; we look again and discover that he is of African descent. Another is a recent Scottish immigrant, still wearing his Balmoral bonnet. A third is an androgynous figure in a loose red shirt, maybe a woman in man's clothing, pulling at an oar.

At the bow and stern of the boat are hard-faced western riflemen in hunting shirts and deerskin leggings. Huddled between the thwarts are farmers from Pennsylvania and New Jersey, in blanket coats and broad-brimmed hats. One carries a countryman's double-barreled shotgun. The other looks very ill, and his head is swathed in a bandage. A soldier beside them is in full uniform, a rarity in this army; he wears the blue coat and red facings of Haslet's Delaware Regiment. Another figure wears a boat cloak and an oiled hat that a prosperous Baltimore merchant might have used on a West Indian voyage; his sleeve reveals the facings of Smallwood's silk-stocking Maryland Regiment. Hidden behind them is a mysterious thirteenth man. Only his weapon is visible; one wonders who he might have been.

The dominant figures in the painting are two gentlemen of Virginia who stand tall above the rest. One of them is Lieutenant James Monroe, holding a big American flag upright against the storm. The other is Washington in his Continental uniform of buff and blue. He holds a brass telescope and wears a heavy saber, symbolic of a statesman's vision and a soldier's strength. The artist invites us to see each of these soldiers as an individual, but he also reminds us that they are all in the same boat, working desperately together against the wind and current. He has given them a common sense of mission, and in the stormy sky above he has painted a bright prophetic star, shining through a veil of cloud.

Most Americans recognize this image, and many remember its name. It is Washington Crossing the Delaware, painted by Emanuel Leutze in 1850. Today it hangs in New York's Metropolitan Museum of Art. Visitors who are used to seeing it in reproduction are startled by its size, twelve feet high and twenty feet wide.

The painting itself has a history. The artist was a German American immigrant of strong liberal democratic principles, who returned to his native land and strongly supported the Revolutions of 1848. In the midst of that struggle Emanuel Leutze conceived the idea of a painting that would encourage Europe with the example of the American Revolution. His inspiration was a poem by Ferdinand Freiligarth called "Ça Ira," which created the image of a vessel filled with determined men:

"You ask astonished: "What's her name?" To this question there's but one solution, And in Austria and Prussia it's the same: The ship is called: "Revolution!"

In 1848 and 1849, Leutze began to work on the great canvas. An early study survives, complete only for vivid figures of Washington and Monroe and a single soldier. It is painted in strong primary colors, bright with hope and triumph. After he started, the European revolutions failed, but the artist kept working on his project in a different mood. The colors turned somber, and the painting came to center more on struggle than triumph. Leutze recruited American tourists and art students in Europe to serve as models and assistants. Together they finished the painting in 1850.

Just after it was completed, a fire broke out in the artist's studio, and the canvas was damaged in a curious way. The effect of smoke and flame was to mask the central figures of Washington and Monroe in a white haze, while the other men in the boat remained sharp and clear. The ruined painting became the property of an insurance company, which put it on public display. Even in its damaged state it won a gold medal in Berlin and was much celebrated in Europe. It became part of the permanent collection of the Bremen Art Museum. There it stayed until September 5, 1942, when it was destroyed in a bombing raid by the British Royal Air Force, in what some have seen as a final act of retribution for the American Revolution.

Emanuel Leutze painted another full-sized copy, and sent it to America in 1851, where it caused a sensation. In New York more than fifty thousand people came to see it, among them the future novelist Henry James, who was then a child of eight. Many years later he remembered that no impression in his youth "was half so momentous as that of the epoch-making masterpiece of Mr. Leutze, which showed us Washington crossing the Delaware, in a wondrous flare of projected gaslight and with the effect of a revelation." Henry James recalled that he "gaped responsive at every item, lost in the marvel of wintry light, of the sharpness of the ice-blocks, the sickness of the sick soldier." Most of all he was inspired by the upright image of Washington, by "the profiled national hero's purpose, as might be said, of standing up, as much as possible, even indeed of doing it almost on one leg, in such difficulties."

The great painting went to the city of Washington and was exhibited in the Rotunda of the National Capitol. Northerners admired it as a symbol of freedom and union; southerners liked it as an image of liberty and independence. When the Civil War began, it was used to raise money for the Union Cause and the antislavery movement. The presence of an African American in the boat was not an accident; the artist was a strong abolitionist.

In 1897, private collector John S. Kennedy bought the painting for the extravagant sum of $16,000, and gave it to the Metropolitan Museum of Art. There it remained until 1950, when romantic history paintings passed out of fashion among sophisticated New Yorkers. It was sent away to the Dallas Art Museum in Texas, and then to Washington Crossing State Park in Pennsylvania, where it stayed until 1970.

Among the American people the painting never passed out of fashion. Many cherish it as an image of patriotism, and they have reproduced it in icons of wood, metal, ceramics, textiles. It appeared on postage stamps, dinner plates, place mats, key rings, coffee mugs, and tee shirts. By the mid-twentieth century the painting was so familiar that artists quoted its image without explanation, not always in a reverent way. Cartoonists invented angry satires of Nixon Crossing the Delaware, Ronald Reagan Crossing the Caribbean, Feminists Crossing the Rubicon, and Multiculturalists Rocking the Boat.

American iconoclasts made the painting a favorite target. Postmodernists studied it with a skeptical eye and asked, "Is this the way that American history happened? Is it a way that history ever happens? Are any people capable of acting in such a heroic manner?" The iconoclasts answered all of those questions in the negative, and they debunked the painting with high enthusiasm. On National Public Radio in 2002, commentator Ina Jaffe argued at length that Emanuel Leutze's painting bore little resemblance to "historical reality," and she recited a long list of its "historical flaws." As other critics had done, she pointed out correctly that the flag was wrong; the Stars and Stripes was not adopted until 1777. "What's more," Ms. Jaffe added, warming to her work, "the boats used by the Continental army were different, the time of day is wrong (it was actually night), and the jagged chunks of ice floating near the boat would have been smoothed over by the flow of the river." She complained that the painting was not merely inaccurate but absurd. Her favorite example was the same detail that inspired young Henry James: George Washington was not only standing in the boat; he was standing on one leg. Ms. Jaffe declared, "There's no way Washington could have stood up for the journey without losing his footing and being tossed into the freezing water."

The debunkers were right about some of the details in the painting, but they were wrong about others, and they rarely asked about the accuracy of its major themes. To do so is to discover that the larger ideas in Emanuel Leutze's art are true to the history that inspired it. The artist was right in creating an atmosphere of high drama around the event, and a feeling of desperation among the soldiers in the boats. To search the writings of the men and women who were there (hundreds of firsthand accounts survive) is to find that they believed the American cause was very near collapse on Christmas night in 1776. In five months of heavy fighting after the Declaration of Independence, George Washington's army had suffered many disastrous defeats and gained no major victories. It had lost 90 percent of its strength. The small remnant who crossed the Delaware River were near the end of their resources, and they believed that another defeat could destroy the Cause, as they called it. The artist captured very accurately their sense of urgency, in what was truly a pivotal moment for American history.

Further, the painting is true to the scale of that event, which was small by the measure of other great happenings in American history. At Trenton on December 26, 1776, 2,400 Americans fought 1,500 Hessians in a battle that lasted about two hours. By contrast, at Antietam in the American Civil War, 115,000 men fought a great and terrible battle that continued for a day. The Battle of the Bulge, in the Second World War, involved more than a million men in fighting that went on for more than a month. By those comparisons, Washington's Crossing was indeed a very small event, and the artist was true to its dimensions.

But the painting also reminds us that size is not a measure of significance. The little battles of the American Revolution were conflicts between large historical processes, and the artist knew well what was at stake. He understood better than many Americans that their Revolution was truly a world event. We shall see that Washington's Crossing and the events that followed had a surprising impact, not only in America but in Britain and Germany and throughout the world.

Emanuel Leutze also understood that something more was at issue in this event. The small battles near the Delaware were a collision between two discoveries about the human condition that were made in the early modern era. One of them was the discovery that people could organize a society on the basis of liberty and freedom, and could actually make it work. The ideas themselves were not new in the world, but for the first time, entire social and political systems were constructed primarily on that foundation.

Another new discovery was about the capacity of human beings for order and discipline. For many millennia, people had been made to serve others, but this was something more than that. It was an invention of new methods by which people could be trained to engage their will and creativity in the service of another: by drill and ritual, reward and punishment, persuasion and belief. Further, they could be trained to do so not as slaves or servants or robots, but in an active and willing way.

These two discoveries began as altruisms, and developed rapidly in the age of the Enlightenment, not only in Europe and America but in Ch'ing China and Mughal India and around the world. Together they define a central tension in our modern condition, more so than new technology or growing wealth. As ideas they were not opposites, but they were often opposed, and they collided in the American Revolution. In 1776, a new American army of free men fought two modern European armies of order and discipline. When the conflict began in earnest, during the late summer and fall of 1776, the forces of order won most of the major battles, but an army of free men won the winter campaign that followed. They did so not by imitating a European army of order, a profound error in historical interpretations of the War of Independence, but by developing the strengths of an open system in a more disciplined way.

Emanuel Leutze's painting shows only one side of this great struggle, but the artist clearly understood what it was about. He represented something of its nature in his image of George Washington and the men who soldiered with him. The more we learn about Washington, the greater his contribution becomes, in developing a new idea of leadership during the American Revolution. Emanuel Leutze brings it out in a tension between Washington and the other men in the boat. We see them in their diversity and their stubborn autonomy. These men lived the rights they were defending, often to the fury of their commander-in-chief. The painting gives us some sense of the complex relations that they had with one another, and also with their leader. To study them with their general is to understand what George Washington meant when he wrote, "A people unused to restraint must be led; they will not be drove." All of these things were beginning to happen on Christmas night in 1776, when George Washington crossed the Delaware. Thereby hangs a tale.

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Excerpted from WASHINGTON'S CROSSING by DAVID HACKETT FISCHER Copyright © 2004 by David Hackett Fischer. Excerpted by permission.
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