The story of a border city during the Civil WarAnderson, Galusha
History
The story of a border city during the Civil War
Anderson, Galusha
Missouri -- History -- Civil War, 1861-1865; Saint Louis (Mo.) -- History -- Civil War, 1861-1865
Almost all of the artist’s intimate friends were Southerners. To be cut
by them in that way seemed to him a very bitter trial. For the moment he
hesitated. Up to that time I had not known him; but I was known in St.
Louis as an uncompromising Union man; so, in his hesitation as to what
he should do, he called at my house, told me his whole fascinating
history, and asked my advice as to whether, in view of the threats of
his old friends, he should put his painting of the slave auction in the
show-window. I counselled him not to be turned aside by threats from
doing any right thing, and insisted that in his case his conscience was
involved; that he was bound in some way to bear witness to his
conviction concerning slavery, and that he should do it by his brush as
well as by his lips. I told him, come what would, he ought to display
his painting; that while it would cost him much so to do, there
certainly would be compensations for his sacrifice; that, in my
judgment, where he would lose one friend he would gain three; and that
those whom he would gain would be better than those whom he would lose.
At the close of our conversation he determined to act in accordance with
his own judgment and conscience, even if he lost all his old friends and
gained none.
The next day his “Slave Mart”[37] was in the show-window. Before it all
day long stood a crowd, ever going, ever coming. Thousands viewed with
admiration the work of the artist. There was a soul, a life in the
picture, that appealed to every onlooker. Some subtle power in it laid
hold of the imagination and touched the heart. The artist became more
widely known. He entered on a new career. Friends such as he never had
before sprung up on every hand. He afterwards painted John Brown going
out, with pinioned arms, to execution, and stooping to kiss a negro
baby. This historical painting was afterwards engraved, and the
engraving was extensively sold.
We have written enough to show how much it cost one in St. Louis, during
the war, to decide firmly with which party in the national conflict he
would cast his lot. Such decisions in a multitude of cases were
divisive; they often set in bitter antagonism husbands and wives,
parents and children; in not a few instances destroyed old friendships
and blotted out for a time the ordinary amenities of life, and even
split asunder Christian churches, the very body of Christ; and the
cleavage was so deep and radical that it remains to this day; some
churches still being designated either “North” or “South.”
The whole thing was amazing when it was enacted, the recollection of it
now is weirdly strange. But we should never forget that those who
uncomplainingly sacrificed for their country the tenderest relations of
life were as heroically patriotic as those brave men who fell pierced
with Minie balls on the “high places” of bloody battlefields.
CHAPTER X
BITTERNESS
Public-domain text, read in full here on John Shaqi.
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