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Triumph of Liberty. Dedicated to its Defenders in America.
Complete Explanation:
An allegory of liberty flourishing and monarchy and tyranny in decline. In a wooded grove Minerva, with a shield bearing the arms of the United States and a flag emblazoned with stars, pours libations on an altar fire. Beside her are three female figures. The first, Plenty, holds a torch to a pile of titles of nobility, crowns, scepters, and other attributes of monarchy. Justice holds a sword and scales, and Peace an olive branch. Behind them is a small pyramid on a pedestal inscribed with the names: Hancock, Warren, Sullivan, Putnam, Scamel, Barber, Green, Laurens, Wooster, Mercer, and Poor. Two urns on the monument are labeled "B. Franklin" and "Montgomery." To the right is a column, surmounted by a seated, nude Liberty figure holding a wreath. Below it stands a cherub with a scroll with the words "Allons enfans de la Patrie . . . ," an open book labeled "The Rights of Man," a staff and liberty cap, and a flag. Behind is a mountainous landscape and town. In the lower right foreground stands another group, including a king about to stab himself, several other monarchs cringing, and a standing woman. In the lower left stand an aged classical priest and a writhing, mutilated hydra.

Stauffer describes an impression accompanied by the following text:

"By a Column raised to Liberty, is a Monument sacred to the memory of the American Heroes, fallen in defence of their Country. While, Liberty is Crowning them, America uder [sic] the figure of Minerva sacrifices to their Manes, and a Priest of that Deity sings their glorious actions. The Hydra of Despotism mortally wounded by those great men expires in frightful convulsions. Peace and Justice hand in hand, join with America in her homage to Liberty. Plenty reclining on her emblematical Horn, reposes on American ground. The Genius of Liberty points out the declaration of Independence and a Book of the American Constitution. From the dreadful Sight, a group of Kings turn away with horror and dismay."

Stauffer also cites a second state of the print, with the date after the artist obliterated and that after the engraver's name changed to January 1798.

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