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 his matured and inflexible purpose to his assembled councillors. He would listen with unparalleled eagerness to the momentous sentences uttered for the first time in the ears of men, and to the discussion upon them, impatient of mere formalities and technicalities. Should a thought be sprung of important bearing, or an overlooked contingency be brought forward, how intently would its effect be watched. What varying emotions, consequent upon peculiarities of temperament and character, would be expressed in the countenances of the different individuals composing the group. How each in turn would be scanned. Above all, the issues involved:--the salvation of the Republic--the freedom of a Race. “Surely,” I said, “such a scene may be painted, and abiding if not absorbing interest secured, without the aid of conventional trappings. The republican simplicity of the room and furniture, with its thronging associations, will more than counterbalance the lack of splendor, and the artistic mania for effect. I will depend solely for my success upon the interest of the subject, and its truthfulness of representation.” And this purpose I carried with me to the end. VIII.