But America as a whole did not care for him any more. Dr. Hosack loaned him money, and, after his acquittal, he set sail for England, and let Richmond Hill be sold to John Jacob Astor by his creditors. It brought only $25,000, which was a small sum compared to what he owed, so he had another object in staying on the other side of the water: a quite lively chance of the Debtors' Prison!

Apropos of this, there is one rather human little tale which is comforting to read, dropped down, as it is, in the middle of so wildly brilliant a career, so colossally disastrous a destiny.

While Burr was living at Richmond Hill, he was often obliged to take coach journeys to outside points. One day he was on his way home from Albany and stopped at a roadhouse at Kingston. While he was eating and drinking and the horses were being changed, he saw a drawing which interested him. He asked to see more by the same artist, for he had a keen appreciation of skill in all lines.

This and the other sketches shown him were the work of a young fellow called John Vanderlyn, who shortly was summoned to meet the great Burr. The lad was apprenticed to a wagon-maker, and had absolutely no prospects nor any hope of cultivating his undoubted talent. Like any other boy young and poor and in a position so humble as to offer no opportunity of improvement, he was even afraid of change, and seemed unwilling to take the plunge of leaving his master and taking his chance in the great world.

"Very well," said Burr. "When you change your mind, just put a clean shirt in your pocket, come to New York and asked for Colonel Burr."

Then he dismissed the boy from his presence and the whole episode from his mind, got into his coach and continued on his way.

Two months later he was at breakfast in the dining-room at Richmond Hill,--with Theo probably pouring out his "dish of coffee,"--when a vast disturbance arose downstairs. A roughly dressed lad had presented himself at the front door and insisted on seeing Colonel Burr, in spite of all the resistance of his manservant. At last he succeeded in forcing his way past, and made his appearance in the breakfast-room, followed by the startled and indignant servant. Burr did not recognise him in the least, but the youth walked up to him, pulled a shirt--of country make but quite clean--out of his coat pocket, and held it out.

Immediately it all came back to Burr, and he was delighted by the simplicity with which the wagon-maker's apprentice had taken him at his word. No one could play the benefactor more generously when he chose, and he lost no time in sending Vanderlyn to Paris to study art.

So brilliantly did the young man acquit himself in the _ateliers_ there that within a very few years he was the most distinguished of all American painters in Europe. In Henry Brevoort's Letters are references to his commission to paint General Jackson, among others.

And now comes the pleasant part of this little story within a story:

In 1808, Aaron Burr was an exile in London. His trouble with Hamilton, his mad scheme of empire and trial for treason, his political unpopularity, had made him an outcast; and at that time, he, the most fascinating, and at one time the most courted of men, lived and moved without a friend. And he met Vanderlyn,--once the wistful lad who drew pictures when his master wanted him to turn spokes. Now Vanderlyn was a big man, with a name in the world and money in his pocket, and--Aaron Burr's warm and grateful friend. Burr was living in lodgings at eight shillings a week at that time, and his only caller was John Vanderlyn.

In 1812 it seemed safe, even advisable, for the exile to return to America again, but where was the money to be found? He was penniless.

Well, the money was found quite easily. Vanderlyn made a pile of all his best canvases, sold them, and handed over the proceeds to his friend and erstwhile benefactor. And so Burr came home to America.

I think the nicest part of all this is Vanderlyn's loyal silence about the older man's affairs. It is likely that he knew more about Burr's troubles and perplexities and mistakes than any other man, but he was fiercely reticent on the subject. Once a writer approached Vanderlyn for some special information. It was after Burr's death, and the scribe had visions of publishing something illuminating about this most mysterious and inscrutable genius.

"And now about Burr's private life," he insinuated confidentially.

The artist turned on him savagely.

"You let Burr's private life alone!" he snarled.

The author fled, deciding that he certainly would do just that!

Burr came home. But fate was not through with him yet. Dear Theo set sail without delay, from South Carolina, to meet her father in New York. He had been gone years, and she was hungry for the sight of him.

Her little son had died, and father and daughter longed to be together again.

Her boat was the _Patriot_--and the _Patriot_ has never been heard from since she put out. She was reported sunk off Cape Hatteras, but for many years a haunting report persisted that she had been captured by the pirates that then infested coastwise trade. So Theodosia--barely thirty years old--vanished from the world so far as we may know. The dramatic and tragic mystery of her death seems oddly in keeping with her life and that of her father. Somehow one could scarcely imagine Theo growing old peacefully on a Southern plantation!

Her father never regained his old eagerness for life after her loss.

He lived for years, practised law once more with distinction and success on Na.s.sau Street, even made a second marriage very late in life, but I think some vivid, vital, romantic part of him, something of ambition and fire and adventure, was lost at sea with his child Theodosia.

And now shall we go back, for a few moments only, to Richmond Hill?

Counsellor Benson (or Benzon) is generally supposed to have been the last true-blue celebrity to inhabit the famous old house. He was Governor of the Danish Islands, and an eccentric. Our old friend Verplanck says that he himself dined there once with thirteen others, all speaking different languages.... "None of whom I ever saw before,"

he states, "but all pleasant fellows.... I, the only American, the rest of every different nation in Europe and no one the same, and all of us talking bad French together!"

It was soon after this that the city began cutting up old lots into new, and turning what had been solitary country estates into gregarious suburbs and, soon, metropolitan sections. Among other strange performances, they levelled the hills of New York--is it not odd to remember that there once were hills, many hills, in New York?

And right and left they did their commissioner-like best to cut the town all to one pattern. Of course they couldn't, quite, but the effort was of lasting and painfully efficacious effect. They could not find it in their hearts, I suppose, to raze Richmond Hill House completely,--it was a n.o.ble landmark, and a home of memories which ought to have given even commissioners pause,--and maybe did. But they began to lower it--yes: take it down literally. No one with an imaginative soul can fail to feel that as they lowered the house in site and situation so they gradually but relentlessly permitted it to be lowered in character. It is with a distinct pang that I recall the steps of Richmond Hill's decline: material and spiritual, its two-sided fall appears to have kept step.

A sort of degeneracy struck the erstwhile lovely and exclusive old neighbourhood. Such gay resorts as Vauxhall and Ranelagh Gardens had encroached on the aristocratic regions of Lispenard's Meadows and their vicinity. Brannan's Gardens were close to the present crossing of Hudson and Spring streets. And--Richmond Hill did not escape! It too became a tavern, a pleasure resort, a "mead garden," a roadhouse--whatever you choose to call it. It, with its contemporaries, was the goal of many a gay party and I am told that its "turtle dinners" were incomparable! In winter there were sleighing parties, a gentleman and lady in each sleigh; and--but here is a better picture-maker than I to give it to you--one Thomas Janvier, in short:

"How brave a sight it must have been when--the halt for refreshments being ended--the long line of carriages got under way again and went dashing along the causeway over Lispenard's green meadows, while the silvered harness of the horses and the brilliant varnish of the Italian chaises gleamed and sparkled in the rays of nearly level sunshine from the sun that was setting there a hundred years and more ago!"

The secretary and engineer to the commissioners who cut up, levelled and made over New York was John Randel, Jr., and he has left us most minute and prolific writings, covering everything he saw in the course of his work; indeed one wonders how he ever had time to work at all at his profession! Among his records is this account of dear Richmond Hill before it had been lowered to the level of the valley lands. It was, in fact, the last of the hills to go.

After describing carefully the exact route he took daily to the Commissioners' office in Greenwich, as far as Varick Street where the excavations for St. John's Church were then being made (1808), and stating that he crossed the ditch at Ca.n.a.l Street on a plank, he goes on thus:

"From this crossing place I followed a well-beaten path leading from the city to the then village of Greenwich, pa.s.sing over open and partly fenced lots and fields, not at that time under cultivation, and remote from any dwelling-house now remembered by me except Colonel Aaron Burr's former country-seat, on elevated ground, called Richmond Hill, which was about one hundred or one hundred and fifty yards west of this path, and was then occupied as a place of refreshment for gentlemen taking a drive from the city."

In 1820, if I am not mistaken, the levelling (and lowering) process was complete. Richmond Hill's sad old windows looked no longer down upon a beautiful country world, but out on swiftly growing city blocks. In 1831, a few art-loving souls tried to found a high-cla.s.s theatre in the old house,--the Richmond Hill Theatre. Among them was Lorenzo Daponte, who had been exiled from Venice, and wrote witty satirical verse.

The little group of sincere idealists wanted this theatre to be a real home of high art, and a prize was offered for the best "poetical address on the occasion,"--that is, the opening of the theatre. The judges and contestants sat in one of the historic reception rooms that had seen such august guests as Washington and Burr, Adams and Hamilton, Talleyrand and Louis Philippe.

Our good friend General Wetmore can tell us of this at first hand for he was one of those present.

"It was," he says, "an afternoon to be remembered. As the long twilight deepened into evening, the shadows of departed hosts and long-forgotten guests seemed to hover 'round the dilapidated halls and the dismantled chambers."

The winner of the prize was Fitz-Greene Halleck; and it was not at all a bad poem, though too long to quote here.

The theatre was never a brilliant success. To be sure, such sterling actors as Mr. and Mrs. John Barnes and the Hilsons played there, and during a short season of Italian opera, in which Daponte was enthusiastically interested, Adelaide Pedrotti was the prima donna.

And one of New York's first "opera idols" sang there--Luciano Fornasari, generally acclaimed by New York ladies as the handsomest man who had ever been in the city! For a wonder, he wasn't a tenor, only a ba.s.so, but they adored him just the same.

Somehow it grows hard to write of Richmond Hill--a hill no longer, but a shabby playhouse, which was not even successful. The art-loving impresarios spent the little money they had very speedily and there was no more Richmond Hill Theatre.

Then a circus put up there--yes, a circus--in the same house which had made even sensible Mrs. Adams dream dreams, and where Theo Burr had entertained her Indian Chief! In 1842, it was the headquarters of a menagerie, pure and simple.

In 1849--thank G.o.d--its nightmare of desecration was over. It was pulled down, and they built red-brick houses on its grave and left its ancient memories to sleep in peace.

"And thus" [Wetmore once again] "pa.s.sed away the glories and the shadows of Richmond Hill. All that remains of them are a few fleeting memories and a page or two of history fast fading into oblivion."

For once, I cannot quite agree with him--not when he says that. For surely the home of so much romance and grandeur and charm and importance must leave something behind it other than a few fleeting memories and a page or two of history. Houses have ghosts as well as people, and if ever there stood a house with a personality, that was sweet, poignant and indestructible, it was the House on Richmond Hill.

I, who tell you this, am very sure. Have I not seen it sketched in bright, shadowy lines upon the air above Charlton and Varick streets,--its white columns shining through all the modern city murk?

Go there in the right mood and at the right moment, and you will see, too.

CHAPTER V

_"Tom Paine, Infidel."_

... These are the times that try men's souls. The summer soldier and the sunshine patriot will, in this crisis, shrink from the service of their country; but he that stands it _now_, deserves the love and thanks of man and woman....

I have as little superst.i.tion in me as any man living; but my secret opinion has ever been, and still is, that G.o.d Almighty will not give up a people to military destruction, or leave them unsupportedly to perish, who have so earnestly and so repeatedly sought to avoid the calamities of war, by every decent method which wisdom could invent.--"The Crisis."

I want you to note carefully the t.i.tle of this chapter. And then I want you to note still more carefully the quotation with which it opens. It was the man known far and wide as "the infidel,"--the man who was denounced by church-goers, and persecuted for his unorthodox doctrines,--who wrote with such high and happy confidence of a fair, a just and a merciful G.o.d Almighty.