Crowning a hill, which is the triumphant result of a series of terraces rising from the town of Falmouth, opposite Fredericksburg, is Belmont, the home of Gari Melchers, an American artist, who has been more honored abroad than any of our living painters, with the exception, perhaps, of John Singer Sargent.

Born in Detroit, Gari Melchers left America when he was seventeen, to pursue his studies in Europe.

His apprentice days were spent in Dusseldorf and Paris, where his professional debut in 1889 gained for him the coveted Grand Prix--Sargent and Whistler being the only other American painters similarly honored.

Italy had to resign to Holland the prestige of lending her country to the genius of Mr. Melchers, for he intended to reside in Italy, but owing to the outbreak of the cholera there he settled at Engmond instead. His studio borrowed the interest of the sea on one side and the charm of a lazy ca.n.a.l on the other, and over its door were inscribed the words: "Wahr und Klar" (Truth and Clarity). Here he worked at those objective and realistic pictures of Dutch life and scenes; and free from all scholastic pretense, he painted the serene, yet colorful panorama of Holland.

Christian Brinton says of the art of Gari Melchers that it is explicit and veracious. Prim interiors are permeated with a light that envelopes all things with a note of sadness. Exterior scenes reflect the shifting of seasons or the precise hour of day. He paints air as well as light and color. Without exaggeration, he manages to suggest the intervening aerial medium between the seer and the thing seen.

Mr. Melchers has no set formula.

In 1918 there was a wonderful "one man" display of his art at the Corcoran Art Gallery, and in 1919, the Loan Exhibition, held by the Copley Society at the Boston Art Club, was the second of the two important recent events in the artist's career since his returning to America. Here his work has undergone some perceptible change, gaining lightness and freshness of vision, which shows his reaction to a certain essential Americanism. Mr.

Melchers attacks whatever suits his particular mood, and his art is not suggestive of a subjective temperament.

"The Sermon"--"The Communion"--"The Pilots"--"The Shipbuilders"--"The Sailor and His Sweetheart"--"The Open Door" are some of his well-known canvases. His reputation as a portrait painter rests upon a secure foundation.

His awards include medals from Berlin, Antwerp, Vienna, Paris and Munich, Ansterdam, Dresden, Pennsylvania Academy of Fine Arts, and many other medals for art exhibitions.

He is an officer of the Legion of Honor, France; officer of the Order of the "Red Eagle," Prussia; officer of the Order of "St. Michael" Bavaria; officer of the Order of the "White Falcon," Saxe-Weimar.

Mr. Melchers himself is frank and not chained by minor conventions. He has a powerful personality and a charming wife, who dispenses a pleasant hospitality, in a home that leaves nothing to be desired.

[Sidenote: _John Elder's Great Work_]

JOHN A. ELDER

Fredericksburg gave John A. Elder, the gifted painter to the world, for he saw the light of day in this town in February, 1833; and here he first felt that call to art which had its beginnings when Elder would, as a mere boy, make chalk drawings on the sides of the buildings, and took the time, while doing errands for his father, to give rein to his imagination through some interesting sketch, which would finally drift into the possession of his friends. His father's opposition to an artistic career for his son did not long r.e.t.a.r.d his progress, as so great was the urge within him that he borrowed from a fellow townsman, Mr. John Minor, the money to study abroad, and before long Dusseldorf, Germany, claimed him as a student, and there the love of line and color which he had inherited from his mother's family gained definition. Details of his life in Dusseldorf are too vague to chronicle but he returned to this country at the beginning of the Civil War, with a knowledge of his art which gained him instant recognition, and success followed in his footsteps.

Elder was a man whose sympathetic personality drew the love of his fellow-men, and his studio was the rendezvous of such men as Attorney-General R. T. Daniel, Lord Grant, Peterkin, Fred Daniel, who represented the United States as consul to Rome for fourteen years, and many others.

His experiences in war gave to him a sureness and truth in detail, which, when added to his technique, produced results which challenged the admiration of all who saw his work.

[Sidenote: _Some of Elder's Paintings_]

His "Battle of the Crater" and "Scout's Prize" were inspired by scenes in which he had figured. The former hangs on the walls of the Westmoreland Club, in Richmond, Va., and his canvas "After Appomattox" adorns the State Library in the same city, along with many portraits which trace their origin to him.

His "Lee" and "Jackson" are in the Corcoran Art Gallery in Washington, and there is a portrait of Mr. Corcoran himself which owes its existence to his gifted brush.

He visited Jefferson Davis at "Beauvoir" and painted him there.

Of ordinary height and rather thick set, Mr. Elder's appearance was characterized by distinction and force. His eyes were dark and very expressive; he wore a moustache and "imperial" and in all his photographs we notice the "artistic flowing tie." On the left of his forehead was a scar, the result of some encounter in Germany, and as the artist never married, one is apt to read a romance into his life. However, this is pure speculation, as there is nothing to substantiate such an a.s.sumption.

"Jack" Elder was a master of the foils, and on one occasion when a noted Frenchman engaged him in a "bout" Elder disarmed him with ease, and the Frenchman's foil was thrown against the ceiling.

The artist returned to Fredericksburg, where he lived six years prior to his death, which occurred on February 25, 1895, and in these last years he was ministered to by his nieces and nephews, who showed him much devotion.

REV. JAMES POWER SMITH

Rev. James Power Smith was not born in Fredericksburg, but he preached here for thirty years, at the Presbyterian Church, aiding the poor and sick, and always smiling. He was highly successful in his church achievements and in his years of editorship of the Central Presbyterian.

One night in his life proved him to be minted of fine metal, and that night inscribed his name forever in history. It was the fearful night when Stonewall Jackson received his death blow.

Captain Smith (now Reverend) was a theological student when war broke out, and was immediately made a military lieutenant (not a chaplain).

Throughout the war he followed close to Jackson, on his staff. Religion brought them together and their friendship was deep.

[Sidenote: _When Jackson Was Wounded_]

When in the darkness of the trees that overhang the Chancellorsville road, "Stonewall" Jackson was mortally wounded and others about him killed by their own troops there were a few men, among them General A. P. Hill, at hand to help him. He had hardly been taken from his horse when two aides, Lieutenant Morrison and Lieutenant Smith, arrived. With General Hill directing, they arrested the bleeding. General Hill had to hurry back to form his men for an attack. Lieutenant Morrison had just seen a field piece, not 200 yards away, pointing down the Plank Road. There was no litter, and General Jackson offered to walk to the rear. Leaning on Major Leigh and Lieutenant Morrison, he began struggling toward his lines. They had just placed Jackson on a litter that had been sent up, when the Federal cannon began to rake the road with canister. Every figure, horse or gun toward the Confederate lines disappeared. They tried to take him back, but a litter-bearer was struck down and the Great Leader was dropped and bruised.

In a moment, on the dark road swept by awful fire, there were but three men, and, as the subject of this sketch, Lieutenant Smith, was one of them, it is apropos to quote what Prof. R. S. Dabney says in his Life of Jackson:

"The bearers and all the attendants, excepting Major Leigh and the general's two aides, had left and fled into the woods. While the sufferer lay in the road with his feet turned toward the enemy, exposed to the fire of the guns, his attendants displayed a heroic fidelity which deserved to go down in history with the immortal name of Jackson. Disdaining to leave their chief, they lay down beside him, leaning above him and trying as far as possible to protect him with their bodies. On one side was Major Leigh, on the other Lieutenant Smith. Again and again was the earth torn by volleys of canister, and minnie b.a.l.l.s hissed over them, the iron striking flashes from the stones about him."

Finally when the firing ceased, General Jackson was removed from the battlefield to a hospital, and then to Mr. Chandler's house at Guinea Station, where he died, May 10, 1863.

Lieutenant Smith became The Reverend when war ceased, and married Miss Agnes Lucy Lacy, a daughter of Major J. Horace Lacy.

He was well known in Fredericksburg. For thirty years he was pastor here; for fifty years Secretary of the Presbyterian Synod, and for years editor of the Central Presbyterian. Many know his works. All men know the deep, immovable courage it took that night to lie as a barrier, to take whatever death might be hurled down the sh.e.l.l-swept road toward "Stonewall"

Jackson.

He still lives, in 1921, in Richmond. His voice is low, his smile soft, and his religion his life. He is the last surviving member of "Stonewall"

Jackson's staff.

MAJOR J. HORACE LACY

There are many living now who remember him. The strong, stolid figure, the fine old face traced with the lineage of gentility, the cane that pounded down the sidewalks as he went where he willed. There are some left who knew the power and poetry and kindliness of the man.

Major Lacy was a graduate of Washington and Lee and an attorney at law, though he seldom practiced. He was married in 1848 at Chatham, when he was twenty-four years of age, to Miss Betty Churchill Jones, and later became the owner of "Chatham" and of the "Lacy House," about each of which clings grim traditions of war; both the Wilderness place and Chatham became known in those two battles as "The Lacy House."

Washington Irving was his guest while spending some time in Virginia; General Robert E. Lee was his guest, and many other widely known men.

His service in war was well done. He was made a lieutenant at the beginning and promoted to major on the field of battle at Seven Pines. He served under General Joseph E. Johnston until the latter surrendered, some time after Appomattox.

When the war was ended he went North to do a brave thing. He spoke through Pennsylvania and Maryland, pleading for funds to bury and put grave stones over the Confederate dead. He had experiences there. But his splendid oratory and the courage of his presence usually kept order.

[Sidenote: _Winning a Hostile Audience_]

He spoke once at Baltimore, and among his audience was an Irish Federal regiment, clad half in uniform, half in civilians, as forgotten ex-privates usually are. Major Lacy was told that most of the audience was hostile and threatening.

He walked on the platform and spoke a few words about the unknown men he came to get funds to decently bury, of the women away where the starlight was twinkling over cabin and home, of those who waited, listening for a step; of those who were never again to see the men they loved.

Shuffling feet and laughter dulled the simple pathos of his words. Then turning half away from his audience he recited a poem called "The Irish Immigrant's Lament":

"I am sitting on the stile, Mary, Where we sat, side by side, On that bright May morning long ago, When first you were my bride."