BGuthrie Photos: MD -- Annapolis -- State Capitol -- Interior Images

MD -- Annapolis -- State Capitol -- Interior Images:

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SCAMDI_170820_012.JPG: Washington Resigning His Commission Artist: Edwin White (1817-1877), 1858
2. SCAMDI_170820_019.JPG: The Fifth Lord Baltimore Charles Calvert (1699-1751) Artist: Allan Ramsay, c. 1740
3. SCAMDI_170820_025.JPG: The Senate Chamber
4. SCAMDI_170820_033.JPG: Renovation to Senate Chamber State House December 1966
5. SCAMDI_170820_035.JPG: The State House Annex A New Addition to the Old State House
6. SCAMDI_170820_039.JPG: House of Delegates Chamber, 2012
7. SCAMDI_170820_041.JPG: Senate Chamber, 2012
8. SCAMDI_170820_043.JPG: The American's Creed [by William Tyler Page] I believe in the United States of America as a government of the people, by the people, for the people; whose just powers are derived from the consent of the governed, a democracy in a republic, a sovereign Nation of many sovereign States; a perfect union, one and inseparable; established upon those principles of freedom, equality, justice, and humanity for which American patriots sacrificed their lives and fortunes. I therefore believe it is my duty to my country to love it, to support its Constitution, to obey its laws, to respect its flag, and to defend it against all enemies. Erected Dec 23, 1919 136th anniversary of Washington's Resignation as Commander-in-Chief -- Emerson C. Harrington, Gov.
9. SCAMDI_170820_056.JPG: William Paca (1740-1799) Artist: John Beale Bordley, 1836
10. SCAMDI_170820_065.JPG: Thomas Stone (1743-1787) Artist: John Beale Bordley, 1836
11. SCAMDI_170820_068.JPG: Samuel Chase (1741-1811) Artist: John Beale Bordley, 1836
12. SCAMDI_170820_076.JPG: Charles Carroll of Carrollton (1783-1872) Artist: Thomas Sully, 1834
13. SCAMDI_170820_080.JPG: Charles Carroll of Carrollton (1783-1872) Artist: Richard E. Brooks, 1905
14. SCAMDI_170820_086.JPG: John Hanson (1721-1783) Artist: Richard E. Brooks, 1905
15. SCAMDI_170820_110.JPG: Maryland's Four Signers
16. SCAMDI_170820_114.JPG: The House of Delegates Chamber
17. SCAMDI_170820_130.JPG: Thomas Hunter Lowe (1928-1984) Artist: Bjorn Egeli (1900-1986), 1972
18. SCAMDI_170820_133.JPG: John Hancon Briscoe (1934-2014) Artist: Peter Egeli, 1977
19. SCAMDI_170820_135.JPG: Benjmin L. Cardin (b. 1943) Artist: Peter Egeli, 1987
20. SCAMDI_170820_141.JPG: Casper R. Taylor (b. 1934) Artist: Carolyn Egeli, 2004
21. SCAMDI_170820_144.JPG: C. Ferdinand Sybert (1900-1982) Artist: Mary McClaren, 1973
22. SCAMDI_170820_148.JPG: Thomas E. Conlon (1883-1943) Artist: Graham Whitlock
23. SCAMDI_170820_151.JPG: Welcome to the Maryland State House
24. SCAMDI_170820_161.JPG: In honor of Maryland's first eight hundred volunteers for service in the Navy of the United States of America in 1917 ... ... The right is more precious than peace and we shall fight for the things which we have always carried nearest our hearts -- to such a task we can dedicate our lives and our fortunes. Erected by their fellow citizens
25. SCAMDI_170820_168.JPG: Washington Resigns
26. SCAMDI_170820_196.JPG: The Calverts The Lords Baltimore of the Colony of Maryland
27. SCAMDI_170820_206.JPG: The Third Lord Baltimore
28. SCAMDI_170820_210.JPG: The First Lord Baltimore
29. SCAMDI_170820_211.JPG: The Second Lord Baltimore
30. SCAMDI_170820_213.JPG: The Fourth Lord Baltimore
31. SCAMDI_170820_215.JPG: Washington's Resignation Speech (side 1)
32. SCAMDI_170820_234.JPG: Washington's Resignation Speech (side 2)
33. SCAMDI_170820_236.JPG: Thomas Johnson Born November 4, 1732, Calvert County, Maryland Died October 26, 1819, Frederick County, Maryland First and three times governor of Maryland, chief justice General Court of Maryland 1790-1791, associate justice Supreme Court 1791-1793, member of commission which established the city of Washington, member of the Continental Congress, member of the General Assembly of Maryland, brigadier general Maryland militia 1776, nominated George Washington for Commander in Chief of all the American forces June 15, 1775, honored as a patriot, distinguished as a statesman, respected as a judge. Erected by the Maryland Society Sons of the American Revolution, 1928
34. SCAMDI_170820_239.JPG: Original Senate Chamber of Maryland
35. SCAMDI_170820_243.JPG: Commemorative of the one hundred and fiftieth anniversary of the signing of the Declaration of Independence A memorial to those patriots: William Paca Thomas Stone Charles Carroll, of Carrollton Samuel Chase who as representatives of the colony of Maryland subscribed to that document which became the cornerstone in the building of a free and independent states. Erected by the Citizens of Annapolis July 4, 1926
36. SCAMDI_170820_246.JPG: Thomas Holiday Hicks (1798-1865) Artist: James Kimball Harley (1829-1889), 1867
37. SCAMDI_170820_248.JPG: The Burning of the Peggy Stewart Artist: Francis Blackwell Mayer (1827-1899), 1896 Old House of Delegates Chamber In October, 1774, Annapolis experienced its own "tea party," reminiscent of the uprising that occurred the year before in Boston Harbor. When the brigantine Peggy Stewart arrived at the port of Annapolis on Friday, October 14, laden with a cargo of tea, its contents were subject to a highly controversial tax imposed by Britain on goods imported to America. When the owner of the Peggy Stewart, Anthony Stewart, paid the "tea tax," he violated the non-importation resolution implemented by the colonists in protest. By Wednesday, October 19, a crowd had gathered in Annapolis threatening Stewart's life if he did not destroy the ship and its cargo. Unwilling to accept Stewart's offer to destroy the tea, the crowd demanded that the vessel be burned. Fearing the mob might attack his home where his wife lay ill, Stewart gave in to their demands. Artist Frank B. Mayer depicts the scene when Stewart, escorted aboard the Peggy Stewart by members of the crowd, was forced to set alight his own ship and its cargo of tea.
38. SCAMDI_170820_252.JPG: Historical Paintings by Francis Blackwell Mayer
39. SCAMDI_170820_258.JPG: Bringing a Historic Photograph to Life
40. SCAMDI_170820_282.JPG: The Planting of the Colony of Maryland Artist: Francis Blackwell Mayer (1827-1899), 1893 Old House of Delegates Chamber This painting commemorates the landing of the first settlers in the colony of Maryland on March 25, 1634 on St. Clement's Island in what is now St. Mary's County. Led by Leonard Calvert, first proprietary governor, the group departed from Cowes, England, in November 1633 aboard two ships, the Ark and the Dove. In this scene, the settlers, in thanksgiving for their safe arrival, prepare to erect a rough-hewn cross, symbolizing the religious tolerance upon which the colony was founded. The events of this historic day are commemorated annually on March 25, "Maryland Day." In creating this image, the artist Frank B. Mayer relied upon the first person account of Father Andrew White, a Jesuit priest who was among the original settlers. Father White is depicted at the far left of the image, following the procession of cross-bearers. Governor Leonard Calvert is depicted at the center of the painting, with a sword at his side.
41. SCAMDI_170820_284.JPG: Important 19th Century Events in Maryland
42. SCAMDI_170820_292.JPG: The Expansion of Rights in Maryland
43. SCAMDI_170820_297.JPG: Maryland in the War of 1812
44. SCAMDI_170820_302.JPG: Watchful Waiting, September 1814 (detail) Richard Schlecht
45. SCAMDI_170820_327.JPG: History of the Old House of Delegates Chamber
46. SCAMDI_170820_330.JPG: The Old House of Delegates Chamber A Victorian Era Chamber
47. SCAMDI_170820_337.JPG: The Old Senate Chamber Change Over Time
48. SCAMDI_170820_350.JPG: Restoring a National Treasure
49. SCAMDI_170820_360.JPG: George Washington (1732-1799) Artist: StudioEIS, 2014 The bronze statue of George Washington, by StudioEIS (2014), is placed where it is believed that he stood to deliver his address to Congress. Washington is depicted in the emotional moment when he was compelled to steady his handwritten speech with both hands. Congressman and Maryland Senator James McHenry noted in a letter describing the ceremony that when "he spoke of the officers who had composed his family...he was obliged to support the paper with both hands." Reproduction 18th Century Armchair Artist: Harrison Higgins, Inc. , 2014 To prepare for the arrival of Congress, Maryland ordered 60 Windsor chairs from Baltimore. However, frozen harbors delayed the chairs' arrival until April 1784, so local residents loaned chairs for the use of Congress. The two armchairs and 10 matching side chairs displayed in the chamber are copied from one of the original sets of chairs believed to have been lent by Governor William Paca. The original chair from which these are copied belongs to the Maryland Historical Society and is on loan to Historic Annapolis, where it is displayed in the William Paca House. The other ten side chairs are reproductions of an English chair owned at the time by a prominent Annapolis family and is in a private collection.
50. SCAMDI_170820_366.JPG: Senate President's Desk Maker: Probably made by William Tuck (c. 1774-1813) in the shop of John Shaw, 1797 In December 1796, the Maryland Senate commissioned cabinetmaker John Shaw to provide "twenty-four handsome commodious chairs to be made for the accommodation of the senate, amongst which shall be a presidential chair." The following year, Shaw delivered the 24 upholstered armchairs, as well as a desk for the president, and 10 additional senator's desks. The 1797 furniture remained in use in the Old Senate Chamber until sometime between 1837-1845. Senate President's Armchair Maker: Attributed to the shop of John Shaw (1745-1829), c. 1797 In December 1796, the Maryland Senate commissioned cabinetmaker John Shaw to provide "twenty-four handsome commodious chairs to be made for the accommodation of the senate, amongst which shall be a presidential chair." The following year, Shaw delivered the 24 upholstered armchairs, as well as a desk for the president, and 10 additional senator's desks. The 1797 furniture remained in use in the Old Senate Chamber until sometime between 1837-1845.
51. SCAMDI_170820_370.JPG: Furnishing the Old Senate Chamber
52. SCAMDI_170820_372.JPG: George Washington Resigns his Commission
53. SCAMDI_170820_375.JPG: William Pitt (1708-1778) Artist: Charles Willson Peale (1741-1827), 1768 Delegate Chamber Known as the "Great Commoner," Whig statesman William Pitt was born near London in 1708. He was elected to the House of Commons and served as Secretary of State. In 1766 Pitt was named Earl of Chatham, at which time he assumed a place in the House of Lords. Pitt was an active proponent of colonial rights. American colonists admired him for his opposition to the Stamp Act of 1765, in which Parliament taxed nearly every paper document passing through colonists' hands, including newspapers, licenses, and even playing cards. Pitt believed that Parliament should pursue increased trade, not taxation, with colonists to generate revenue. Englishman Edmund Jenings arranged for Maryland artist Charles Willson Peale to paint a portrait of Pitt while Peale was studying in England. Jenings had been asked by a group of wealthy Virginia businessmen from Westmoreland County to procure a portrait of a British leader sympathetic to colonial American rights for display in the lower house of the Virginia legislature. When the first choice, a portrait of Charles Pratt, Baron Camden, by American expatriate Benjamin West, did not materialize, Jenings turned to the relatively inexperienced Peale for a portrait of Pitt. Seeing an opportunity to make his artistic mark, Peale accepted the commission, painting two full-length versions of the Pitt portrait. He based his likeness on a bust of Pitt by British sculptor Joseph Wilton (1722-1803). Peale's portrait of Pitt shows him in a setting filled with objects that carried particular meanings, or symbols. The portrait has been called an allegory, for many of the details in it can be interpreted as republican symbols. For instance, Pitt appears not in the robes of an earl, but in classical dress. This associated the statesman with classical Roman heroes who would have worn similar attire (it also avoided connecting Pitt with English aristocracy, which might not have been received well by American viewers). In a 1768 broadside, Peale described other republican symbols in the painting, such as the copy of Magna Carta Pitt holds in his left hand. The original English document, written in 1215 in Runnymede, allowed that the basic rights of English barons (and later, freemen) be recorded and confirmed with King John's royal seal. American colonists looked to this document as a model for their own Declaration of Independence. Pitt points with his right hand to a statue of British liberty. The female figure holds a staff topped with the liberty cap of the ancient Romans. Ironically, she tramples the petition against the Stamp Act drafted at the 1765 Congress at New York. For Peale, Liberty's represented action signified that "States which enjoy the highest Degree of Liberty are apt to be oppressive of those who are subordinate." Other symbols in the portrait include the American Indian, who, with a dog at his side, shows the faithfulness and firmness of America; an altar with a perpetual flame, illustrating the sacred cause of liberty, on which are carved busts of the famous Whigs Hampden and Sidney; and, in the background of the portrait, the Banqueting House of Whitehall, from which British monarch Charles I was led to his execution in 1649 after years of dispute with Parliament resulted in English civil war. Peale, a fervent supporter of republican values, drew many of these visual details from established symbolism created by Whig artists. They would have been recognizable to both English and American audiences. The Peale portrait of Pitt that hangs in the Maryland State House was the first of the two versions Peale painted. The second, per the conditions of the original commission, was sent to Westmoreland County. It now hangs in the Westmoreland County Museum in Montross, VA. Peale offered the first version to the Maryland legislature in a resolution introduced by John Ridout in 1774: "Charles Wilson [sic] Peale of the City of Annapolis Limner, impressed with a strong sense of Duty to his native Province projected when in London and since hath compleated the portrait of the Earl of Chatham on Canvass at full length, with a view humbly to offer the same to his Country, as a tribute of Gratitude, And presumes to entreat a favourable acceptance of that portrait, to be placed in the State House or such other conspicuous place as shall be thought most fit and Convenient. Thus eminently to dispose of the first Fruit of his Science will much redound to his Reputation and confer an Honour which he shall forever acknowledge with Gratitude and Thanks." (Upper House Journal 37, pp. 6-7) The Assembly accepted Peale's offer and presented him a "compliment" of one hundred pounds. Peale also produced a mezzotint, or print, after the Westmoreland portrait, a copy of which is held by the Pennsylvania Academy of Fine Arts.
54. SCAMDI_170820_378.JPG: William Pitt: "The Great Commoner"
55. SCAMDI_170820_380.JPG: Reproduction 18th Century Armchair Artist: Harrison Higgins, Inc. , 2014 To prepare for the arrival of Congress, Maryland ordered 60 Windsor chairs from Baltimore. However, frozen harbors delayed the chairs' arrival until April 1784, so local residents loaned chairs for the use of Congress. The two armchairs and 10 matching side chairs displayed in the chamber are copied from one of the original sets of chairs believed to have been lent by Governor William Paca. The original chair from which these are copied belongs to the Maryland Historical Society and is on loan to Historic Annapolis, where it is displayed in the William Paca House. The other ten side chairs are reproductions of an English chair owned at the time by a prominent Annapolis family and is in a private collection.
56. SCAMDI_170820_383.JPG: President's Niche and Dais
57. SCAMDI_170820_386.JPG: Congress Assembled: Furnishing the Old Senate Chamber
58. SCAMDI_170820_389.JPG: Mary "Molly" Ridout (1746-1808) Artist: StudioEIS, 2014 The resin statue of Molly Ridout, by StudioEIS (2014), is located in the gallery where she and other prominent citizens witnessed the resignation ceremony. The gallery was the only place where women could view the proceedings of Congress and the Maryland Senate. Molly authored one of the only written accounts of George Washington's resignation and the only description left by a private citizen. The model for this statue is a descendant of Molly Ridout, Rachel Ridout of New York, the daughter of Barbara Ridout of Annapolis and the late Orlando Ridout V.
59. SCAMDI_170820_391.JPG: A View from the Gallery
60. SCAMDI_170820_409.JPG: Restoring a National Treasure
61. SCAMDI_170820_422.JPG: Washington, Lafayette & Tilghman at Yorktown Charles Willson Peale (1741-1827) 1784 Oil on canvas Signed lower left: "C.W.Peale pinxt 1782" MSA SC 1545-1120 Washington, Lafayette, & Tilghman at Yorktown by Charles Willson Peale In October 1781, British General Charles Cornwallis surrendered to General George Washington (1732-1799) at Yorktown, VA, effectively ending the Revolutionary War. In enthusiastic response, the Maryland House of Delegates asked Governor Thomas Sim Lee to commission Maryland-born Charles Willson Peale to paint a portrait of colonial America's hero, General Washington. Lee wrote to Peale in December 1781: "The Honorable Delegates of Maryland have Unanimously resolved to have the Portrait of His Excellency General Washington, at full length, to be placed in their House, in grateful remembrance of that most Illustrious Character." (Letter from Governor Thomas Sim Lee to Charles Willson Peale, December 7, 1781; reprinted in The Selected Papers of Charles Willson Peale and His Family, vol. 1). Peale, at that time residing in Philadelphia, accepted the commission, anticipating it would increase his artistic stature and likely lead to further public commissions. It took the artist about three years to complete the portrait, as he wished to make it "something better than a mere Coppy [sic]" (Letter from Charles Willson Peale to Samuel Chase, November 23, 1784; reprinted in The Selected Papers of Charles Willson Peale and His Family, vol. 1). In the end, Peale produced a large-scale painting that exceeded the delegates' request. In addition to painting Washington, whose likeness Peale based on an 1783 sitting that took place in Philadelphia, Peale added two figures to the foreground of his composition. The first, to Washington's immediate left, is the Marquis de Lafayette, who represents the pivotal alliance between colonial America and France that led to victory in the Revolution. Peale initially relied on a bust of Lafayette to produce the latter's painted image, although Lafayette saw the painting as it was nearly finished, and offered to sit for Peale so the artist could tweak his likeness. The second figure Peale added is Lieutenant Colonel Tench Tilghman (1744-1786), a Marylander who served as Washington's military secretary and aide-de-camp, who is shown in profile. Tilghman's portrait was painted from life. Tilghman's inclusion in the scene was appropriate for a painting that was intended to hang in Maryland. Born in Talbot County, Tilghman studied in Philadelphia and began a career there as a businessman. In 1776, he volunteered his services to George Washington and became his military secretary and aide-de-camp. Tilghman served without pay until May 1781 when Washington was able to arrange for him a regular commission in the Continental Army. Washington called Tilghman a "zealous Servant and slave to the public, and a faithful assistant to me for near five years." (Papers of George Washington, Letter to Sullivan, May 11, 1781). To reward Tilghman's service, Washington sent him to deliver formally the news of Cornwallis' surrender to the Continental Congress, which then was meeting at Independence Hall in Philadelphia. Appropriately, Peale painted Tilghman with the 1781 Yorktown Articles of Capitulation in his left hand. In addition, Tilghman is portrayed wearing his ceremonial officer's sword. Peale painted the sword faithfully, as a careful comparison with the original (also on exhibit in the Old Senate Chamber of the Maryland State House) demonstrates. The portrait setting includes important historical details. The background shows Yorktown from the southeast. In the left middleground are soldiers of various nationalities carrying flags. On the far left is a French soldier, holding the royal Bourbon flag of France, with its white field and fleur-de-lis. In the center of the group are two British soldiers with their flags cased. To the right is an American soldier holding the regimental standard, identifiable with its red and white stripes and a blue field on which is painted an American eagle. As Peale described the setting: "I have made in the distance a View of York & Gloster with the British army surrendering in the order in which it happened. And in the middle distance I have introduced French & American officers with Colours of their nations displayed, between them the British with their Colours cased. These figures seem to tell the story at first sight, which the more distant could not so readily do" (Letter from Charles Willson Peale to William Paca, September 7, 1784; reprinted in The Selected Papers of Charles Willson Peale and His Family, Vol. 1) Upon nearing the completion of the painting, Peale wrote to then Governor William Paca in September 1784, reporting on his progress and appealing to the governor to compensate him for painting the three full-length figures. The legislature agreed to Peale's request, paying him �213.4.8 for both the painting and its frame, which Peale designed and Annapolis cabinetmakers John Shaw and Archibald Chilsolm assembled. The artist traveled from Philadelphia to deliver the painting to the State House in December 1784.
62. SCAMDI_170820_428.JPG: Washington, LaFayette & Tilghman at Yorktown
63. SCAMDI_170820_432.JPG: Tench Tilghman Swords Colonel Tench Tilghman (1744-1786) The two swords belonging to Tench Tilghman were left to the state by Mrs. Judith Goldsborough Oates who died on December 26, 1997. Mrs. Oates was a direct descendent of Tench Tilghman. The larger sword is made of silver with gold inlay and is the one worn by Col. Tilghman in the portrait of Washington, Lafayette & Tilghman at Yorktown which hangs in the Old Senate Chamber. The sword is clearly depicted by the artist Charles Willson Peale. The history of the portrait and Washington's own words show the importance Tilghman's faithful service and friendship during the War. According to family tradition, the other sword was passed down to Tench Tilghman from his great-great-grandfather, Michael Turbutt. The swords were accepted for the state by Governor Parris N. Glendening and the Board of Public Works on February 4, 1998 and were installed in the Old Senate Chamber on February 16 at a ceremony with the Maryland Senate in honor of George Washington's birthday. The gift of the swords was reported in an article in the Baltimore Sun on February 4 which featured State Archivist Edward C. Papenfuse and Archives' Conservation Officer Hanna Sczcepanowska who prepared the swords for presentation and permanent exhibition. "...zealous servant and slave to the public" Tench Tilghman was born on December 25, 1744 in Talbot County on his father's plantation. He was educated privately until the age of 14, when he went to Philadelphia to live with his grandfather, Tench Francis. In 1761, he graduated from the College and Academy of Philadelphia, which later became the University of Pennsylvania, and then went into business with his uncle Tench Francis, Jr. until just before the Revolutionary War. Tench Tilghman's public service began with his appointment by Congress to a commission established to form treaties with the Six Nations of Indian tribes. In 1776, Tilghman was commissioned captain in the Pennsylvania Battalion of the Flying Camp. In August 1776, he joined George Washington's staff as aide-de-camp and secretary. He served without pay until May 1781, when Washington, calling him a "zealous servant and slave to the public, and faithful assistant to me for nearly five years," procured for him a regular commission in the Continental Army. Following the victory at Yorktown, Washington rewarded him with the honor of carrying the Articles of Capitulation to the Continental Congress in Philadelphia. After the War, Tilghman returned to Maryland where he resumed his career in business in Baltimore and married his cousin, Anna Marie Tilghman. They had two daughters, Anna Margaretta and Elizabeth Tench. Tilghman died on April 18, 1786 at the age of 41. George Washington said of his long-time assistant: "None could have felt his death with more regret than I did, because no one entertained a higher opinion of his worth or had imbibed sentiments of greater friendship for him than I had done."
64. SCAMDI_170820_437.JPG: Tench Tilghman's Swords
65. SCAMDI_170820_446.JPG: Heroes of the Revolution
66. SCAMDI_170820_451.JPG: Witnesses to the Resignation
67. SCAMDI_170820_455.JPG: Revolutionary Leaders
68. SCAMDI_170820_466.JPG: Mordecai Gist (1743-1792) Artist: Peter Egeli, after Charles Willson Peale
69. SCAMDI_170820_470.JPG: John Hanson (1721-1783) Artist: Cedric Egeli, after Charles Willson Peale, 1974
70. SCAMDI_170820_472.JPG: James McHenry(1753-1816) Artist: De Nyse W. Turner, (1917-2010) after James Sharples (c.1751-1811) , 1975
71. SCAMDI_170820_479.JPG: Otho Holland Williams (1749-1794) Artist: Peter Egeli, after Charles Willson Peale, 1975
72. SCAMDI_170820_481.JPG: Joshua Barney (1759-1818) Artist: Robert Templeton, after Charles Willson Peale, 1973
73. SCAMDI_170820_485.JPG: Samuel Smith (1752-1839) Artist: Adrian Lamb, after Gilbert Stuart, 1975
74. SCAMDI_170820_486.JPG: Anne Catharine Hoof Green (1720-1775) Artist: Charles Willson Peale, 2015
75. SCAMDI_170820_490.JPG: John Eager Howard (1752-1827) Charles Willson Peale, 1823
76. SCAMDI_170820_492.JPG: Jeremiah T. Chase (1748-1828) Artist: Attributed to Robert Edge Pine, 2015
77. SCAMDI_170820_497.JPG: Sir Robert Eden(1741-1784) Artist: Florence Mackubin, after Charles Willson Peale, 1914
78. SCAMDI_170820_500.JPG: William Smallwood (1732-1792) Artist: Charles Willson Peale, 1823
79. SCAMDI_170820_503.JPG: Daniel of St. Thomas Jenifer (1723-1790) Artist: Stephen Berge, 1975
80. SCAMDI_170820_506.JPG: John Hoskins Stone (1750-1804) Artist: Charles Willson Peale, 1824
81. SCAMDI_170820_508.JPG: George Plater (1735-1792) Charles Willson Peale, 1825
82. SCAMDI_170820_513.JPG: William Paca (1740-1799) Charles Willson Peale, 1823
83. SCAMDI_170820_515.JPG: Thomas Johnson, Jr. (1732-1819) Artist: Charles Willson Peale, 1824
84. SCAMDI_170820_520.JPG: Matthew Alexander Henson Co-discoverer of the North Pole with Admiral Robert Edwin Peary April 6, 1909 Born: August 8, 1866 -- Died: March 9, 1955 Son of Maryland Exemplification of courage, fortitude and patriotism, whose valiant deeds of noble devotion under the command of Admiral Robert Edwin Peary, in pioneer Arctic exploration and discovery, established everlasting prestige and glory for his state and country
85. SCAMDI_170820_524.JPG: Maryland Remembers: By the dedication of this plaque; she leaves for posterity evidence of her remembrance of her nearly 63,000 native sons who served in the Union forces and the more than 22,000 in those of the Confederacy in the war between the states. In commemorating the centennial of that great struggle between the citizens of the temporarily divided nation in the 1860's, the Maryland Civil War Centennial Commission did not attempt to decide who was right and who was wrong, or to make decisions on other controversial issues. On the contrary, its objective was solely to commemorate important events of the war within the state and to collect and preserve documents and information associated with her involvement. By so doing, it seeks to pay tribute to those who fought and died, as well as to the citizens who, during the Civil War, tried to do their duty as they saw it. Erected and dedicated October 5, 1964
86. SCAMDI_170820_527.JPG: The Archives Room The 18th Century State House
87. SCAMDI_170820_531.JPG: The John Shaw Flag
88. SCAMDI_170820_540.JPG: The Rotunda
89. SCAMDI_170820_552.JPG: State House Caucus Room USS Maryland Silver Service Susquehanna River In May 1906, the citizens and school children of Maryland donated $5,000 to purchase this 48 piece silver service for the new armored cruiser Maryland. Made by Samuel Kirk and Sons of Baltimore, the set depicts 167 scenes from the history of Maryland's 23 counties and Baltimore City. The USS Maryland silver service is unique. Not only do its pieces portray the houses, churches, and events of Maryland history, but their decorative borders symbolize the economy and culture of the state. Horns of plenty speak of hospitable, fruitful Maryland - "The land of pleasant living." Festooned tobacco leaves and oyster shell borders symbolize the importance of both land and water in the life of our state. Rope borders on each piece show the nautical purpose of the USS Maryland is carved into the design, and the names of 12 noteworthy Maryland naval officers appear on the 12 punch cups. On July 21, 1921, the U. S. Navy commissioned the battleship Maryland to replace the original cruiser, and the silver service was transferred aboard the new ship. After 26 years of service, including war-related duty during World War II, the Maryland, Fighting Mary, was decommissioned on April 3, 1947. The silver service, which had been in storage during the war, was returned to Baltimore. The silver was displayed in the main gallery of the Maryland Historical Society until 1962, when, with the Help of Admiral Hill, the silver was placed on permanent display in the State House. In 1992, the submarine USS Maryland (SSBN 738) was commissioned and four pieces of the Maryland Silver Service were placed aboard her, where they remain to this day. This unique and wonderful silver service a memorial to the history and people of Maryland.
90. SCAMDI_170820_555.JPG: The USS Maryland Silver Service Creating the USS Maryland Silver Service
91. SCAMDI_170820_560.JPG: The USS Maryland Silver Service Decorating the Silver Service
92. SCAMDI_170820_566.JPG: Portraits and Furnishings
93. SCAMDI_170820_573.JPG: Leonard Calvert (1606-1647) Artist: Attributed to Jacob Van Oost I (1601-1671) or II (1639-1713), c.1640
94. SCAMDI_170820_576.JPG: The Landing of the Maryland Colonists from the Ark & the Dove, St. Clement's Island, March 25, 1634 Artist: Peter Egeli, c. 1975 This painting depicts an incident, reported by Father Andrew White, which occurred soon after the colonists arrived at St. Clement's Island on the Potomac River. A small boat had been sent ashore, with some women to wash clothes. At the shore the boat capsized and many of the precious linens were lost. Men on the stern of the Ark can be seen pointing to the shore, where the bottom of the overturned boat is barely visible. People are trying to recover the lost goods. The Dove is being hailed to help while the Ark's longboat has been launched and will soon be pulling for shore to lend some hands." Artist's statement, Peter E. Egeli The ship Ark and the pinnace Dove, set sail from Cowes, Isle of Wight, England on November 22, 1633. They first landed at St. Clement's (now Blakiston) Island on March 23, 1634. On March 25, Father White celebrated a mass of thanksgiving for their safe arrival in Maryland – which we continue to celebrate as Maryland Day. At the time of their landing, St. Clement's Island was approximately 400 acres. Accessible only by boat, it is now the St. Clement's Island State Park. Erosion has left the island at only 62 acres. Governor Leonard Calvert, who had sailed aboard the Ark, soon thereafter decided to move the settlement to St. Mary's City, the capitol of Maryland until 1695 when it was moved to Annapolis. His portrait, attributed to James Van Oost I or II, c. 1640 hangs directly opposite the Ark & the Dove, in the pier between the two windows. This painting gives the viewer an interesting vantage point, from sea level. It is powerful and evocative, and makes one consider the vastness of the water and the landscape that the first settlers experienced upon their arrival.
95. SCAMDI_170820_578.JPG: William Pinkney Whyte (1824-1908) Artist: David Bendann (c.1832-1915), 19th century
96. SCAMDI_170820_589.JPG: Frank Brown (1846-1920) Artist: Louis P. Dieterich (1841-1922), 1900
97. SCAMDI_170820_599.JPG: Clarence W. Blount (1921-2003) Artist: Simmie Knox (b. 1935), 2012
98. SCAMDI_170820_603.JPG: Reverdy Johnson (1796-1876) Artist: Unknown artist, 19th century
99. SCAMDI_170820_607.JPG: State House Caucus Room A Legislative Meeting Room
100. SCAMDI_170820_614.JPG: USS Maryland Silver Service
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