Chapter 4 Civil War Busts

Having finished his tenure at PAFA, Poole moved back to Maryland and sought out opportunities to demonstrate his growing artistic capabilities. In 1866, he landed in Baltimore, Maryland. From a small diary kept at the time, we get a glimpse of Poole’s daily life in Baltimore. The diary contains many quotidian details—and only covers a brief period of his career—but it also relates some important life milestones. On Wednesday, June 17, a diary entry reports going to a Sunday school picnic at Patterson’s Park. The park, founded in 1827 with six acres of land donated by William Patterson,a wealthy shipping merchant, was the oldest park in Baltimore. He then caught cold the next day from getting wet at the picnic. He dutifully reports getting letters from his cousins, Sue and Rachel, and writing letters, as well. He chronicles visits with the Smoots, a prominent local family. He reports working on his mother’s portrait. His notes indicate that he seemed to be staying with a family named the Collys.

His life seemed split between painting, sculpting, and socializing. For example, one entry noted, “Monday August 13, 1866. Rained in the morning. Went to see Miss Jinnie Biser. She was looking as sweet as a peach. In the afternoon went to Mr. Dades. Dan Lakin, Butler Gross, and Mr. Yahy from VA was there also Mr. White from Montgomery. Had an understanding with (I know who).”

During this time, in terms of pursuing a living through his art, a unique opportunity presented itself. In 1866, as a young artist, he was receiving recognition in Baltimore for a sculpted bust of Robert E. Lee. Eight months after the end of the Civil War, on December 7, 1865, Poole, age 24, had arrived in Lexington, Virginia, where Lee was serving as President of Washington College (today’s Washington and Lee). He remained there for a fortnight, painting a portrait andsculpting a bust of Lee. Poole’s family may have been known to the General, since Lee was well acquainted with the Baltimore community.In any case, the association apparently was close enough to coax the General from his well-known aversion to sitting for artists and photographers. Lee was co-operative and, after young Poole had finished his task, the modest General permitted himself a word of cau-tious praise for the portrait by allowing as how the artist himself was pleased with it.

A note in Poole’s diary mentions Poole discussing with the General that he (Poole) hadn’t served in the Civil War. Lee’sresponse was not captured.The bust of General Lee has disappeared, but Poole and hisfamily retained the portrait, one of the rare paintings done from life of Robert E. Lee. His later busts of Confederate generals “Stonewall” Jackson and Joseph E. Johnston (“finished busts of Lee and Johnson busts,” diary Sept 18, 1866) were similarly received. According to hisdiary, three busts were sold on December 29, 1866. His diary references working on the Johnston bust, starting in June of 1866, first creating it in plaster and then casting it in bronze. He also mentions a complementary letter from Johnston’s wife about her husband’s bust. Poole also reports showing the Lee bust to Johnston who gave him a “very flattering letter.” Today, the Johnston bust resides with the General’s family, having been purchased at auction a few years ago.The Lee and Jackson busts have not been found.

Poole’s approach to creating busts is worth noting. In his diary, he writes that “Mr. Donovan lent him picture of Jackson.” The photowas taken by well-known Virginian photographer Julian Vannerson and may have been a carte-de-visite like the one American Civil War Museum collection below. Poole actively promoted his busts and solicited supportive letters from several Confederate generals. He writes of asking another general, John Daniel Imboden (a cavalryman who fought with Jackson and under Lee), for a letter of support. “Today General Imboden, wife and daughter came to see me. Admired my busts of Lee and Jackson very much. Promised me a letter.” He later reports that a most flattering letter was received. In that 1866 letter, Imboden wrote that the “remarkable” resemblance of the sculpture to the real Jackson brought the General’s memory alive once again. News coverage of the Lee bust was highly complementary.

The gallery that represented Poole, Fischer Brothers and Company, W. Baltimore Street, was clearly skilled at promoting the young artist using the newspapers of the time. The Fischer Brothers, Arthur and William, operated their studio in Baltimore where Poole lived. Before people had easy access to their own cameras, studio portraiture was especially popular for those who could afford it. Elaborate backgroundsets for formal posed portraiture were the norm, and people certainly donned their best outfits to be photographed. Popular formats included the cabinet card and the carte-de-visite.

Poole also painted from photographs.One article mentions that copies of a bust created by Poole at “quarter life size” could be purchased for $3, a not inconsiderable sum which would be about $75 today. Given that a skilled tradesperson only made $700 a year, such busts were intended for the wealthy. Poole also wrote about engaging other galleries to showcase his work.On July 28, 1866, the Baltimore Sun reported the following: “A bust of Gen. R.E. Lee, which is regarded as a very striking likeness,has been executed by a young Baltimore artist, Mr. E.A. Poole. He visited Lexington and remained there for some time for the purpose;and ex-Governor Lecher and Col. C. H. Marshall,who was long the private secretary of General Lee, pass unqualifiedly favorable judgement upon the production as a faithful portraiture.Copies of the bust, of about quarter life size, have been reproduced in plaster.”

Other diary entries give us a glimpse into the young artist’s life at the time. Poole ordinarily did not write about politics, but in an Oct 4, 1866 entry, he wrote that the Radicals had staged a torchlight procession, “Quite a display, but the conservatives beat them in numbers.” On Wednesday Oct 10, he wrote “Had an election today. It was a mere farce. Only Radicals were permitted to vote.” The Radical Republicans were a group of politicians who formed a faction within the Republican party that lasted from the Civil War into the era of Reconstruction. The Radicals were known for their opposition to slavery, their efforts to ensure emancipation and civil rights forBlacks, and their strong opinions on post-war Reconstruction. The 1866 elections were a decisive event in the early Reconstruction era, in which President Johnson faced off against the Radical Republicans in a bitter dispute over whether Reconstruction should be lenient or harsh toward the vanquished white South. Given Poole’s family roots in southern Maryland—and his disparaging diary comment about the Radicals—his family were most likely Southern supporters. On March 27, 1867, Poole wrote that he took a studio on the corner of Mulberry and Charles in Baltimore.

On May 7, 1867, he wrote this poem: “Think of this as memories dreamed. Given by one who sometimes wishes to be remembered by thee, yesterday not yet numbered with the past. When time should fly onward swiftly and fast. Then, then! Strong may’st remember in thy youth, there once did live another, who in truth, really loved thee, yes, fondly, and true.” To whom this poem was directed, we do not know. Only two months later, he was to leave for Paris, perhaps with a broken heart.