Nearly fifty years have passed since Archibald M. Willard painted “The Spirit of ’76.” Mr. Willard has passed, and so have all who were intimately connected with its creation, except myself. Probably no painting, the creation of an American artist, has received such wide and continuous interest and attention as this patriotic painting. Many times during the last quarter of a century, I have been urged to record my recollections of Willard and my association with this historical painting. Many times I have been asked for information which did not come under my personal observation. As the years pass, this demand for information has become more insistent and more urgent. This little volume has been prepared partly to meet this demand, but more especially to accede to the oft-repeated requests of my family and friends. These requests for information have not always been confined to my own experiences. Therefore, the more fully to meet the wishes of my family and friends, to my own personal recollections I have added a brief sketch of the artist, of Hugh Mosher the fifer, and Mr. Ryder’s own account of the conception and purpose of the artist, written many years ago and now difficult to find. I have also added a few words regarding the extant original sketches and the Replica of 1912. H. K. D. January 1926 Archibald M. Willard a brief sketch [Illustration: ARCHIBALD M. WILLARD at the age of forty, when he painted the “Spirit of ’76”] A brief sketch of Archibald M. Willard and the Spirit of ’76 “The Spirit of ’76” is the best known painting produced by an American, and at the same time one of the most inspiring works of art ever issued in America. It may not conform to any orthodox school of painting or possess the fine points of technique that some critics demand, but as an inspiration of patriotism, I doubt if any painting has had as wide and continuous influence as “The Spirit of ’76.” It has been reproduced in one form and another millions of times, by almost every available process--chromo-lithography, steel-engraving, half-tone, and the various color processes. It is perhaps available in more homes than any other American painting, either framed or in magazines, printed books, school histories, calendars, posters, etc. Many a patriotic parade has included the famous trio of this painting. Although the painting is so universally known, it is surprising that so little authentic printed material is available either on the artist himself or the story of the creation of this, his most celebrated work.