Portrait(s) of the sea serpent, 1817
Uncaptured the sea serpent was by autumn 1817, but exhibited it also was—in panoramas hung in Boston, Massachusetts, and New York, New York.
The Massachusetts panorama was based on artwork by John Beach, who had gone from creating a likeness to be engraved around August 21 to painting its portrait and that of the town on August 27. Beach was instrumental in the collection of a smaller creature billed as the “progeny” of the serpent. Now the little pickled critter was exhibited alongside the painting of its parent.
The Columbian Centinel describes the massive painting:
“The Sea Serpent.” Columbian Centinel [Boston, Massachusetts] 17 September 1817 [Wednesday]; p. 2.
The exertions to capture this animal have not ceased, though they have been unsuccessful. We are happy to learn, that much pains have been taken to describe on canvas the exact appearance of this Monster when he was best seen by the citizens of Cape-Ann; and that Messrs. Penniman and Beach have nearly completed, and will have for examination next week, a correct representation (twenty feet long by ten wide) of the town and harbour of New-Gloucester as drawn from the Stage rocks (so called) on the western side of the harbor, with the Monster of the Deep as he was seen by credible persons sporting in the outer-harbor, between the Fort Point, and the Stage rocks.—It will also exhibit the spectators as they appeared on the shores, and the positions in which the citizens were, when in pursuit of and firing at the monster from their boats. From the science of the persons engaged in this picture; and the advantages which Mr. Beach enjoyed of seeing the Serpent several times; we are confident the description will be given correctly; and that next to the gratification of having seen the real Monster, will be the contemplation of this painting of the scene of his appearance on the American shore.
Beach’s panorama was displayed in Boston by the first week of October, in an exhibit suitable for everyone:
The panorama Columbian Centinel [Boston, Massachusetts] 8 October 1817 [Wednesday]; p. 2.
The PANORAMA of the great SEA SERPENT is now in exhibition in Merchants’ Hall, Water street; with its Young, preserved in spirits. It attracts deserved attention; and we trust will be viewed by every friend to science, the arts, and zoology of our country. Its merit as a painting is attested by numerous connoisseurs who have examined it. We hope the Ladies will patronize this effort of art, and subject of science.
Beach may have the source of the panorama displayed in New York, but his name isn’t mentioned in advertisements. This wasn’t accompanied by a pickled young ’un, but it was larger and advertised with long (long) sentences and excited capitals:
“The Sea Serpent.” The Evening Post [New York, New York] 29 September 1817 [Monday]; p. 3.
THE
SEA SERPENT,
A MONSTER OF UNCOMMON SIZE,
Who has paid a long visit to our eastern coast, and excited the admiration of scientific men, and the western world in general, has been accurately painted by an artist of the first talents, under the direction of a gentleman, whose genius and minute observation of the monster entitle him to the confidence of the public! and is now ready for exhibition at
WASHINGTON-HALL,—BROADWAY.
On upwards of three hundred square feet of canvass [sic]
PRICE OF ADMITTANCE, 25 CENTS.
The Painting of this wonderful animal, which is now exhibited at Washington Hall, is, in many respects, one of the most interesting displays ever presented to the public. It covers a canvass about 35 feet by 20, representing a beautiful view of a bay opening to the ocean, with boats, vessels, and hills, in the distance, and the Serpent stretching his enormous and formidable length across the front. The painting is well executed, and every object in it—and the land, waves, vessels, clouds, sky, light and shade, so justly arranged, as to please the taste of general beholders. When we consider that the principal design is to give the public a correct idea of a terrible animal which is now known to exist, as it were, in the neighbourhood of our city, which appals the courage and baffles the skill of every one attempting its approach, we feel fully warranted in asserting, that it is a spectacle so magnificent, so sublime, as to be surpassed only by the awful monster which it represents. The interest of the spectator is increased by the consideration that there is no fancy, no fiction, and no poetry in the view—but that it is only a PENCIL DISPLAY of a monster whose force is irresistible, whose movement is swift as the wind, and the terror of whose eye can no more be painted than the strength, the swiftness, or the noise of his movements over the ocean waves.
The views are taken from the representations of a celebrated naturalist whose enterprising vigilance has given him an opportunity, six different times, to approach so near the animal as to see his eyes, teeth, tongue, and the color of his head and neck, distinctly. We may therefore look on the painting as a fact, and contemplate the animal, with his lofty head erect in the air, and his long and spiral volumes dashing over the waves as a moving miracle, bearing down stubborn incredulity and oppressing the beholder with the weight of the most “TERRIBLE” and [the] most “SUBLIME.” In all the arts there is nothing like the painting—for the academicians never before knew of any thing in nature like the SEA-SERPENT; and every AMERICAN should be proud that we are the first to give this interesting subject of the pencil a SHAPE AND FORM.
Twenty-five cents appears to be the equivalent now of about $4, which isn’t a bad price for an enormous painting and a plethora of polysyllabic words.
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