Drake’s first step was to repair and start up Angier’s system of trenches, troughs and skimmers. By the end of June he had dug a shallow well on the island and was saving ten gallons of oil a day. He found it difficult to get a practical “borer” to sink an artesian-well. In August he shipped two barrels of oil to New Haven and bargained for a steam-engine to furnish power for drilling. The engine was not furnished as agreed, the “borer” Dr. Brewer hired at Pittsburg had another contract and operations were suspended for the winter. In February, 1859, Drake went to Tarentum and engaged a driller to come in March. The driller failed to materialize and Drake drove to Tarentum in a sleigh to lasso another. F. N. Humes, who was cleaning out salt-wells for Peterson, informed him that the tools were made by William A. Smith, whom he might be able to secure for the job. Smith accepted the offer to manufacture tools and bore the well. Kim Hibbard, favorably known in Franklin, was dispatched with his team, when the tools were completed, for Smith, his two sons and the outfit. On May twentieth the men and tools were at the spot selected for the hole. A “pump-house” had been framed and a derrick built. A room for “boarding the hands” almost joined the rig and the sawmill. The accompanying illustration shows the well as it was at first, with the original derrick enclosed to the top, the “grasshopper walking-beam,” the “boarding-house” and part of the mill-shed. “Uncle Billy” Smith is seated on a wheelbarrow in the foreground. His sons, James and William, are standing on either side of the “pump-house” entrance. Back of James his two young sisters are sitting on a board. Elbridge Lock stands to the right of the Smiths. “Uncle Billy’s” brother is leaning on a plank at the corner of the derrick and his wife may be discerned in the doorway of the “boarding-house.” This interesting and historic picture has never been printed until now. The one with which the world is acquainted depicts the _second_ rig, with Peter Wilson, a Titusville druggist, facing Drake. In like manner, the portrait of Colonel Drake in this volume is from the first photograph for which he ever sat. The well and the portrait are the work of John A. Mather, the veteran artist and Drake’s bosom-friend, who ought to receive a pension and no end of gratitude for preserving “counterfeit presentments” of a host of petroleum-scenes and personages that have passed from mortal sight.