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It was a scene repeated throughout the South - especially in the opening days of the War Between the States. Like their Northern countrymen, most Southerners wanted no war, but the war came - and responsible men were committed to do their duty. From Charleston to Galveston, from Richmond to Little Rock, from Memphis to Mobile - Southern men in uniform left for war.
The leave-taking could be as brief and simple as a fleeting embrace and a promise to remember and return. Among the leaders of the land, however, departure was often marked by solemn ceremony. Family and faithful friends gathered in support of the man who was bound for war. Endearments were shared, memories were recalled, toasts were offered and pleas for protection were prayed. Often such ceremonies were capped by the presentation of an ornately engraved edged weapon. It was offered with a heartfelt blessing - a leave-taking benediction of hope that the sword would remain sheathed or that it would provide protection from the brutality of battle. It was typically received with gratitude - and a vow to carry it with honor, to faithfully do one’s duty, to return when the homeland no longer needed defending - and even in the darkest hour to remember those left behind. Then the time of departure was at hand, the man in gray was gone - and the blessing of the sword remained only as a memory. Mort Künstler’s Comments The idea for this work was suggested to me several years ago, but I did not decide to paint it until I discovered this 19th century poem by T.B. Read.
As I researched this painting, I learned that there were innumerable presentation swords and sabers carried by Northern and Southern officers and non-coms during the Civil War. It was usually a handsomely-crafted, non-regulation weapon given as a token of esteem by family, friends, or admirers. Sometimes, when the gift was very expensive - and the officer was very popular - funds for its purchase were raised by subscription in the community. A presentation ceremony was often formal and elaborate, but sometimes it was an intimate family affair set in a drawing room with relatives and close friends. I chose the latter for the setting of this picture. It gave me an opportunity to paint a moving scene that was common during the war, and the setting allowed me to portray an interior scene with dramatic lighting. It also allowed me to portray period dress and furnishings typical of America’s leading families during the era. I can only imagine what words were said by a wife or sweetheart like this Southern woman before lifting the blade to her lips - and what emotions touched the hearts of the loved ones who were present. To me, these tender farewell moments reflected our people’s devotion to both family and duty - and were so American. inspiration and idea for this painting came about through a series of circumstances. The Farmers and Merchants Bank of Winchester had purchased my original painting Jackson Enters Winchester. The Chief Executive Officer of the bank, Will Feltner, asked me if I would be interested in doing a companion piece. Naturally, I was delighted. During a visit to "Stonewall" Jackson's Headquarters in Winchester, I learned that the historic building had never been depicted in a painting, and decided this would be the perfect opportunity to do so. No fighting had taken place at Jackson's winter headquarters, so I chose to illustrate a tranquil snow scene similar to my Confederate Winter. In walking around the former Lewis T. Moore house, I found that the most interesting side of the building was the original front. Where the public now enters is actually the side of the structure. Walking around to the original front, one finds that, aside from the entrance, the only major changes made since Jackson's time are the addition of two dormers on the second floor. It was here in Winchester that Mary Anna, Jackson's second wife, joined him for the winter of 1861-62. The Jacksons stayed at the home of Dr. Graham, just a few doors away from Headquarters. I also learned that Mrs. Jackson would often walk over to Headquarters with a basket of food for supper. The scene shows "Stonewall" Jackson saying goodbye to Mary Anna. The General's blue uniform is of note. The coat is the same one Jackson wore at Virginia Military Institute when he was a professor of Artillery Tactics. It conforms to 1850 Uniform Regulations for Virginia Militia and, except for the buttons, is the "Old Army" uniform. Confederate Gary had not yet become universally standard. As his entourage waits, he and Mrs. Jackson walk a few steps away for some parting words in private. Members of his staff are witness to this tender moment, Major Henry Kyd Douglas, the mounted officer on the extreme left of the painting, would later gain fame as Jackson's biographer. On foot and immediately to the right of Douglas is Lieutenant Colonel William Allan, Jackson's Chief of Artillery. Directly behind him, a mounted trooper chats with Captain Jed Hotchkiss, topographical engineer and noted mapmaker for the General. Further on and just to the left of the stairs is Dr. Hunter McGuire, Jackson's medical chief, who later was to make his home in Winchester. Alongside Dr. McGuire in the red artillery officer's kepi is Lieutenant "Sandie" Pendleton. On the right of the stairs, Major Reverend Robert L. Dabney, in winter cape and coat, waits with Captain J.G. Morrison. To the right of Morrison, a mounted trooper of Jackson's cavalry escort carries the standard of the first National Flag. Major D.B. Bridgeforth is on the extreme right. The rest of the officers and men wait patiently for this man of steel, some turning away in embarrassment by this unexpected show of tenderness. The Jacksons' only child, Julia, was born the following November. I am privileged to know Julia's daughter, Mrs. Julia Christian Preston, the granddaughter of "Stonewall" Jackson and Mary Anna Jackson. At the age of 103, she is attractive, bright, alert and well, and living in North Carolina. I hope she enjoys this painting of her grandparents as much as I enjoyed painting it. |
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