Contrary to a rather general belief, “The Spirit of ’76” was not painted for exhibition at the Centennial. At that period there was a general and widespread spirit of patriotism and the days of the Revolutionary War were especially before the people of this country. Mr. Ryder had this prominently in mind and for this reason he suggested to Willard the painting of this picture that reproductions therefrom might be made and a large number of these reproductions sold generally throughout the country and particularly at the Centennial. It was not sent to the Centennial until many of these colored reproductions had been distributed, and a large popular interest in the painting had arisen. It was then, on special request made by those in charge of the Centennial that the original painting itself was sent to the Exposition. Mr. Ryder suggested that the title be “Yankee Doodle” and under this title “The Spirit of ’76” was at first known. He left the conception and development of the painting to Willard’s imagination. At that early period after the Civil War, when the training days of the militia system had practically gone to pieces, the various companies were expected to go into camp for three days each year. These days had become a neighborhood picnic. Uniforms were seldom in evidence. There were few guns or swords. There were, however, always the flag, the fife, and the drum. Willard had this idea prominently before him. He slashed into outline various charcoal attempts, but the lines would not fall or respond as he wanted them to. The real idea as to what Yankee Doodle and the men who fifed it and drummed it, stood for, eventually began to thrust itself persistently into the pencil points. Willard daily became more enthused over the patriotic features to be delineated. His early days of marching and fighting under the stars and stripes helped greatly in stirring his patriotic enthusiasm, which later was put upon and filled the completed canvas. While Willard was engaged in painting this picture, his father, who was posing as his central figure, became critically ill. He did not live to see the finished painting. When Willard was told that his father was soon to pass away, all thoughts of a humorous picture faded from his mind. He decided to paint his father as he really was. After Willard became acquainted with Mr. Ryder, at Ryder’s suggestion, Willard moved to Cleveland. He used as a studio, a small room on the fourth floor of what used to be the Union National Bank Building located at Euclid Avenue and what was then Hickox Alley, Cleveland, Ohio. From this time on Willard spent almost his entire life in Cleveland.