A recent review in the philadelphia enquirer says this exhibition has love, death, and psychodrama. It goes on to examine a wealthy irish noble man who is part kickens with a spritz of Yankee Doodle into there is no doubt that his story from his traumatic head wound, to the demise at the hand of his own tenants is a cracking good tale, but it is more than love, death, and psychodrama. We see the entanglements of the 18th century and the global interconnectedness of the American Revolution. We find a story at the age of revolutions and also a story of today. A story of who we are and how we got here, and what the past means to us as a people or as nations. But we also find a detective story. A decades long mystery that started with two regullatively obscure paintings that had 22 works of art. One of the greatest mysteries of the past year, and my job brings me many, many joys on a regular basis, but one of the greatest has been watching this exhibition evolve and witnessing matts excitement at each new discovery. Every new object, twist, and admission that we found we learned there is always nor learn and explore. She a graduate at the university of delaware. He joined the museum staff matthew has since helped curate a new water color, a. He is the lead curator of cost of the revolution and he is here with a great story about love, death, and history. Thank you very much, liz, for that kind introduction, and it is a pleasure to stand here today to talk about a project that has really consumed my life for the past two years, but it had long roots back to my childhood. The presentation cu curiati curiating it. I want to thank the library for sponsoring it, this conference along with the foundation, john and jeanne rowe. I will be speaking next weekend as well. And i want to make one shout out to the team here at the museum that im part of, lead by dr. Phillip mead, mark turdo, marcella marcuchi. They have chupushed me and askee great questions, and they have produced a really wonderful exhibiti exhibition. And so lets start with a quote from richard st. George manser st. George. This is interesting to start with. Wendy . It said if i were a prince, my history would interest nations and ages. He was no prince, he was not a nobleman, he was a protestant. But his life is actually of interest to nations and also of interest to a new anyone, this current age in which tens of thousands of people are going to learn about richard st. George manser st. George. So back when he wrote this to a fellow artist and friend henry fucelli, i think he was trying to be modest, he was trying to show he was modest even though sometimes he was not modest at all. But he will be on the front line, and the cost of revolution is all about that it is about the dynamic and unexpected stories of the preponderate aeo events of the American Revolution. That is a Diverse Group of people. What can a live tell us about an era, and how can one life be a window into the past . Some of the great events of the past, specifically the American Revolution. His slief a win into the entangled histories of those that take place here in this very neighborhood, and connecting it to the irish revolution of 1798. Now were taking, were yous this window into this moment, but someone who opposed them. It is a little bit of a different angle here that were thinking about in this time known as the age of the age of revelations. And it comes from the 22 known surviving works of art that richard st. George created, posed for, or helped to create. And for the first time all 22 of those works are brought together in the same room and this is here at the museum of the American Revolution. Now we get to look at and examine a life through art work from the period. And what we have been left with is a story of one of the most well documented. And not a high ranking officer, he never rose above the rank of captain. This is an unusual case. He is a welalthy case and they are profoundly affected by what happens here. Lets begin with the detective story. One of my favorite stories to tell. This connects and involves wisconsin, melbourne australia. Ireland, england, people here in philadelphia. If is the First International loan exhibition. That detective story in my opinion begins in 1957. In 1957 the Valley Forge Historical society, the pr predecessor organization acquired these two paintings. It was the battle of paoli and they came in via a partial gift and they had been put up for sale in london. And they came out of a private english collection. And in 1957 little else was known about them. The artists what they depicted, and when you look at the details in both of these paintings you see a rare detpiction of a batte with intense detail, emotion, dra drama, and the fires broiling there. The pennsylvania soldiers being bayonetted. The other painting depicts october 4th, the 242 years ago, 242 years ago today, amazing we get to talk about this today, was the battle of germantown. And the Generals Army and we germantown avenue. You can still see it and walk on it today. A big stone house, doesnt look like it over there but it is meant to be a stand in, and the town of beggars town. There are a lot of details, how would an italian artist know about all of this. Theyre inspiring interests in these events in the American Revolution, but also inspiring a lot of questions about how they would never set foot in america, why did he in a european perspecti perspective. When i first encountered these, he is called the American Revolution. I remember getting them from my dad. The cardboard book sleeve, i really liked this book. I was really pleased they got to see those. So that was the first time they were published in that book. Meanwhile across the atlantic, there is another book that comes out. One of the great histories in ireland, he is saying he was one of the first People Killed in the revolution of 1798. Fast forward to the 1980s. He is joining us as a graduate student and a living historian who participated in revolutionary war reenactments. He got really interested in the paintings that no one had really studied in detail before and he want today understand them a bit more. What he did was a very detailed study of them, trying to pick out who some of these individuals might be. And he was able to do that pretty successfully. Two of the key people depicted in the foreground of these paintings are shown here. One on the left here Martin Hunter who is a british lieutenant, and she is depicted in the paolei painting. You see him bang adaging his ri hand. And there is st. George being carried off. A comrade of Martin Hunter. And Steven Gilbert published his findings in the painting. And one of the reasons that steven was able to know so much about the details. And Martin Hunters journal was in 1984. He later went on to serve in canada. I think he went on. And he devoted quite a bit of sink for descriptions of the battles that took place here in and around philadelphia, but also quite a bit of wink on his buddy, richard st. George. He also noted that st. George drew clark haracatuers unkmontl well. He liked to lead attacks from the front. And he also had a armed entourage that followed him as well. Martin hunter made sure he took note of and recorded. And he said that richard st. George brought with him from ireland a man names bernard who was a family servant. He brought bernard with him to america in his service and armed bernard and uniformed him in some of the cast off clothing that st. George had and he armed him with american akucharments like an american long rifle, a sword, a brace of pistols, a long sword, and he Martin Hunter also noted how richard st. George also had two run away enslaved formally enslaved africanamerican men following him as well. Three men following st. George. And st. George decided to arm and equip and uniform those two africanamerican men as well who were seeking their freedom with the british army. We dont know when and where they joined, but they may have joined him in the Philadelphia Campaign, it is possible, but he has these men with him in battle fighting alongside him in battle here in and orlando philadelphia. Another cartoon that was also known to exist, that they did study of is view in america in 1778. It was in london by matthew and mary darley. They were accomplished print sellers in london. And when this print was examined alongside those paintings, there was some interesting similarities going on like the british light infantry men. There is also a couple hunting shirts in here, the linen and fringe garment that is so distinguishly used by the army. So this questions, but it was a little enigmatic at the time. Lets cross back over the atlantic again. So in the 19 0s and 90s an irish art historian was also undertaking a study of this painting, portrait of richard st. George by hugh douglas hamilton, painted in 1796. In 1992, this painting was sold to the National Gallery of ireland from the fourth third great grandson of st. George. And it was sold in 1992 and now graces the exhibit downstairs, but before it arrived to us, it was actually on display in the hall of the largest portraits from the National Gallery of irelands collections, and cullen undertook a study of this painting to understand what it was depicting, what its message was. What this painting is about is that in 1792, richard st. Georges wife passed away. And this painting was commissioned by him of him standing at his wifes tomb with the latin phrase, nonimmemor, not forgotten. He was trying to symbolize what this painting would mean. Its interesting how theres parallel interest in richard st. George but unknowingly going on, on both sides of the atlantic, about the same time. Fast forward a little more. 20 2005, in melbourne, australia, theres a painting that hang there is. You can see it downstairs. Prior to 2005 it was known as officer of the fourth regimen afoot and handsome painting by thomas gaines, painted about 1776. It was purchased by the National Gallery of victoria in 1921, entered their collection in 1922. As this unidentified officer. And i know greg irwin will be speaking this afternoon. He chronicled in his email entitled red coat images, encouraging people to learn more about british officers and soldiers from the revolutionary era. Martin myron, head curator currently at the tape in london was interested got interested in the story of st. George and knew about this painting. And he knew that richard st. George briefly served in the fourth regimen afoot beginning 1776 and came to america with that regiment. This is an ensign thats being shown. He started to study richard st. Georges correspondence. He had a portrait done of himself by gainsborough when he was a younger man. He compare this had painting to the portrait of st. George mourning at his wifes tomb. Theres a facial resemblance there. Martin myron has reidentify this had as richard st. George just before he leaves for america in 1776. Thats adding another bit of evidence to this building story of this interesting officer. Two years later, big moment. Came out of the blue. I was 15 years old. But sothebys in new york auctioned off these four watercolor sketches. They are extremely rare surviving eyewitness works of art from the revolutionary war. They depict the scenes from the perspective of a light infantry officer during the Philadelphia Campaign that also had service in new york. On the back sides of these sketches are also some written inscriptions and description of the scene on the right. The scene on the right is particularly important. Notice the inscription at the bottom of it there. It says my triumphant entry into philadelphia. We see there being carted off into philadelphia probably an officer, surrounded by other british troops, but he has a head wound. And on the back side of that sketch is a written inscription of the battle of germantown. Now we have headwound, germantown, a guy being carted off, taken off the battlefield, richard st. George. He a head wound at germantown. Wow, are these richard st. Georges cartoons that he did, the caricatures that Hunter Martin mentioned in his journal . Indeed, they are. These are the four surviving caricatures that richard st. George did during the revolutionary war while on campaign here in america. And they came basically came up randomly for auction, but they were part of the collection of arthur edwin bye who had done some traveling in england and europe in the 1920s and 30s. Ill get back to that later. Thats all thats known about their information. As historians started to examine them and i was kind of watching this as a 15yearold teenager, interested in the American Revolution, watching it from the sidelines of the internet, reading articles of john reese, a great mentor of mine, and comparing them to the view in america cartoon. On the left thats the view in america cartoon and on the right is the detail from myself conversing with rebel prisoners, according to the rules of chivalry sketch. A fort in the background with american flag. You also see a light infantry man pointing in jest and what do you see in myself conversing with conversations with rebel prisoners . Is that one of richard st. Georges cartoons as well . Steven gilbert had theorized that because of the quote from Martin Hunter. And then we were able to find more cartoons by richard st. George. If you look in the bottom right corner of these cartoons you see rstgm for richard st. George mansor. Richard st. George mansor is his birth name. Prior to 1774, and these are from 1772 and 1773, thats what he was known as, richard st. George mansor st. George. When a maternal relative passed away he stood to inherit land in ireland and following tradition of the period he took on his mothers surname to become richard st. George mansor st. George. These are his prewar cartoons, published a view in america a couple of years later. Thats an interesting connection there. When you compare them, that is on the right there is timothy talow and his wife going to church on sunday, from 1772, 1773. Look at the horse there and the cart. Look at the horse there and the cart with my triumphant entry into philadelphia. Theres a lot of similarity. Is richard st. George the reason why the paintings exist . The answer to that is yes. That is the reason why. Ill get back to that in a little bit. Meanwhile again, across the atlantic, ruth kenny, can you raise your hand . Art historian from dublin. Ruth published an article in 2010 with this sketch. The only time its ever been published before and ruth had got wind of this sketch in a private collection in cornwall, england, and went to go study it in the early 2000s and published it in irish George Society in 2010 and listed as a private collection i contacted ruth and we talked about it a little bit more. What it depicts is a self portrait. This is a self portrait of richard st. George after the revolutionary war and its signed on the back richard mansorgh st. George, with a cap and robe he was known to have worn after the revolutionary war to cover the silver plate that was put in his head that he received at the battle of germantown. Only known postwar artwork by richard st. George. There also appeared about the same time another portrait of st. George, him in his black silk cap in the early 2010s, less than a decade ago. And its a really incredible portrait of the veteran of the revolutionary war, what he looked like after the war. So all of this coming together, all of this art work has never been thought about together before. But now it is being thought about together. At the center of it is this man, richard st. George mansorgh st. George. Lets take a step back, find out who he is, what his origins are, and find out about his life and death. Its his life the reason why all of this art work survives. So, to give you a rundown, richard st. George is born about in about 1752. He was born and lived much of his life at hedford while he also had property in england near bristol. He was a member of the church of ireland, published cartoonist in l london in the 1770s, joined the british army in 1775 first, then purchased the new commission as an officer in 1776 and continued serving with the army until 1778. He returned home in 1778 as a wounded veteran. And he traveled around, went to a variety of different places. He was a widower. His wife passed away four years into their marriage. Then he was killed in 1798 at the beginning of the irish revolution in 1798. Portraits of him as a young british officer and later in life as an officer in the british light are sort of the alpha and omega portraits of his life. And these portraits are now downstairs and they serve to signal both his life and his death in america and ireland. So richard st. George was descended from people who had settled in ireland in the mid 1600s. His grandfather on the left there, a portrait of his grandfather, rose to the rank of Lieutenant General in the british army, irish establishment of the british army. It was his daughter, mary st. George, that was richard st. Georges mother. There was a harp tune named for her. Richard st. George inherited quite a bit of land from the mansergh and st. George bravenlgs of his family, accumulating to 12,000 acres of land. One of those plots is shown in a 1775 land book that documents some of the land he owns. Thats quite a bit. Thats about the size of m manhattan island. Thats quite a bit of land. Wealthy individual. But here are his ten known surviving cartoons that he published when he was a College Student at Trinity CollegeCambridge University in england. They make fun of the new rich in england and ireland. They poke fun at macaroni fashions. They poke fun at, for example, in the center there, the country apothecary, one of his professors at cambridge, the old macaroni critic. These are published by matthew and mary darley in 1772 and 1773. Soon after that, he joins the british army. Thats when he commissions this portrait right before he ships off for america. This portrait was probably painted, probably posed for it right before he left. Theres a narrow window of time from the spring of 1776 when he purchase this had commission to the early summer of 1776 when he left for america that he could have posed for this. Theres that reference to him talking about this portrait when he was older after the war. The intense campaigns of the early revolutionary war, fights first in and around new york. But then he joins William Howells excursion to capture the capital of philadelphia, which we have the pleasure to be in today. He fights at germantown, major battles of the campaign. At the battle of brandywine, is he part of the second battalion of light infantry. He purchased a commission in the light infantry, purchased a commission as a lieutenant and thats downstairs. At the battle of brandywine richard st. George endured some of the most difficult fighting at sites that some of us got a chance to tour yesterday during the bus tour of the Philadelphia Campaign in the footsteps of richard st. George. And the night after the battle, st. George wrote a letter that still survives. He wrote it from the heights of dillworth, september 11th, 1777. He described how there was a most infernal fire of canon and musketry, incline to the right, incline to the left. Halt, charge. This is the intensity of battle in st. Georges own words. Hes writing it the night after. At that battle, richard st. George was hit in the heel, maybe by a musket ball, some other shot. He had trouble walking in the days following. So hes probably sitting there, like he depicted himself in one of those sketches writing this letter on his knee basically the night after the battle. Then just under two weeks later, he goes through another intense moment in his life. The battle of peoli. British light infantry near peoli tavern on september 20th and 21st, 1777. He added to that letter saying that this moment was a dreadful scene of havoc. He described it as a nocturnal, bloody scene. This is described in that letter, which he added to on the night of october 2nd. This moment at paoli really stuck in st. Georges mind. He had trouble sleeping afterwards because of the brutality of the battle. On october 4th, 1777, his life changed. Thats the day he received his devastating head wound at the battle of germantown according to Martin Hunter. He was carried off the battlefield by Corporal George peacock, rescued from the field and brought into philadelphia for emergency surgery, a surgery that may have taken place at a place like pennsylvania hospital, which was in existence back then. And he underwent a procedure in which a disk of his skull was removed to relief pressure on the brain. His skull seemed to have been fractured rather than a direct shot through the head with a musket ball. Basically had an intense concussion, seems likely at least, that he had an intense concussion that had to be relieved. A silver plate was put over that disk that was cut out and he lived for the rest of his life with that silver plate in his head. And germantown and the memories of paoli gave him a new perspective, i think, reading his letters that survive. After the revolutionary war he wore this black cap to cover that silver plate in his head, he wore robes, as one person saw it, as a sign of mourning and went around seeking relief for his wounds but wasnt very successful at finding relief. Eleanor butler, one of the ladies in 1788 after she meets richard st. George wrote how he was dressed in the deepest mourning and wore this black silk cap and she says that he went to visit the most eminent surgeons and physicians in europe but was not finding relief. What he was being prescribed was opium, he was being prescribed wine and snuff to manage the pain. In reality, that probably only made his pain worse. It also contributed to delirium and hallucinations. He wrote in 1792 that im daily visited with convulsive attacks, three this very day, melted down also by nightly hallucinations and dreadful visions. This is veteran art work for a veteran of the revolutionary wore is extremely rare to survive. This is a veteran expressing himself after he receives a devastating wound and how does that affect his life . You see in the distance two demonic looking figures peering at him in this landscape. I hope more art historians, along with ruth and i, and military historians and even physicians and doctors can look at this painting and maybe learn more from it and see new perspectives on it. Im hoping this exhibit will inspire that. But this is a veteran dealing with a traumatic brain injury. And one of the things that richard st. George does to deal with that wound is a really important detail to the beginning of this story. Richard saent george traveled to italy. And he did that in the 1780s. 1782, those delagata paintings, and richard st. George went on a grand tour. He went to france. He went to germany. He went to rome. He also went to naples. Richard st. George went to those. He told stories about herculaneum and pompeia. Im sure many of you have not seen that painting on the right there. That is the painting of grand tourists in those ruins, archaeological sites in naples. He painted that in the 1780s. If you notice theres some tiny figures there. I wonder if one of them is richard st. George. Xavier delagata, this is done in 1780, two years before the paintings of paoli and german town. Richard st. George seemed to travel back between england and ireland in the 1780s. When he was in naples, he worked with other artists in the city, commissioned one or two portraits of himself, one in black chalk. Unfortunately we dont know where those are yet. But we hope to find them. But he seems to also have worked with xavier della gatta to paint two important points in his life. We dont have the receipt that della gatta has left for paying him for these portraits but we know they were there. We know st. George was a veteran of both battles and had a reason for maybe wanting to commission these works. He is depicted in the foreground of the germantown painting and his friend is depicted in the foreground of the paoli painting. These may be helping st. George to manage the memories of his service in america, really harrowing time that really changes his life. So new understandings of that. And st. Georges relationship with art after the war, this is not a oneoff of that. This is not an anomaly for his life. s also encountering and befriending some of the early artists of the romantic era, budding romantic era of art, in which new ways of expressing emotion and grief, love and pain are put to canvas and put to paper in the form of poetry. He befriends people like henry fuseli, sir Brooke Boothby and anna seward. You may recognize that name. She wrote a relatively famous poem of the period. Shes writing about john andres death in 1780 as the result of the hangmans noose, Washingtons Army after consorting with benedict arnold. She also wrote poetry about richard st. George, now the colonel seems to be some sort of fabrication or sign of respect because he never reached the rank of colonel throughout his career. Anna seward wrote this to him and described how like andre, st. George needed to be sort of venerated as a veteran of war. She has a bit of antiwar sentiment in her poetry. She says that although andre died and lost his life for his king and country, richard st. George survived but he survives as sort of a living relic of a failed conflict, of the loss of the 13 of the american colonies. Seward, boothby and fuseli, fuseli, being most famous for painting of the nightmare. A lot of the spectators that saw that there just wrote shocking. And youll see why in the next slide. Thats the nightmare there on the left, painted by henry fuseli. This is not gainsborough, reynolds, romney. This is fuselis mind depicting a nightmare. But these three individuals, boothby being known as the roving baronet, he was a poet. They actually hosted another connection to andre, a medieval costume party. What does that sound like . Sound familiar right here in philadelphia in 1778 . In 1783 in the woods of st. Georges property near bristol, st. George orchestrates a grand medieval pageant that seward, boothby and fuseli attend. Boothby and fuseli play in starring roles. Fuseli is dressed as great wizard painter, meanwhile boothby is in the woods, dressed as a knight, literally, in arm or and st. George and boothby and fuseli and go out in the woods and rescue fair maidens and seward is there, writing poetry as theyre doing this. Really wild. I wonder if st. George is expression himself in a theatrical way, but also helping to make his memories deal with his memories of the war and maybe fight a war the way he wanted it to be fought. Im curious about that. So he worked also, continues his friendship with fuseli. On the right is another one of his works. Penelope boothby was Brooke Boothbys 5yearold daughter who passed away suddenly. He commissioned fuseli to commission that portrait of her ascent into heaven. Stephanie st. George passed away in august 1792, notice of her death in british newspaper. Richard st. George now coupling with his wartime memories, now he has an even more tragic moment in his life, the loss of his wife, leaving him as a widower with two young sons. He commissioned a work that may have been akin to the apothesias of ruth boothby. Meanwhi meanwhile, things are changing in ireland. He had returned in 1778, the announcement of the frevenlg alliance with the United States and what that partly sets off is the rise of the Irish Volunteers movement which leads to the achievement of the legislative independence for irish parliament, celebrated in this flag on loan from the National Museum of ireland. Later what comes about is a rising revolutionary moment, partly inspired by the American Revolution and partly by the french revolution, who use a harp super imposed with a liberty cap and pole as their symbol. In the 1790s these united irishmen are arguing for total independence. Weve partnered with the National Museum of ireland and Northern Ireland to bring great treasures from that revolutionly moment to philadelphia for the very first time. Wolftones pocketbook, henry joy mccrackens coat and wolftones certificate in the society of irish great artifacts. Definitely see them downstairs in the exhibition. Here is something that many of you have not seen before. This has never been published before or exhibited before. This was discovered by myself and philip meade, phil, raise your hand, when we went to ireland to secure these loans and also walk on the property where st. George lived. We got a tip from the architectural historian. I met him last year for the first time in october, just about a year ago, he said that oh, i think i know of another portrait of richard st. George in ireland. And i said ill believe it when i see it. I dont believe you yet. I asked for pictures. He never sent me pictures but we were going to go to ireland anyway to see it. Going blind to ireland to see this, we happened upon this in the drawing room in the home of one of the descendents of richard st. George. This is an interesting portrait because of the inscription on the backside also added on to the frame. It says the late m, meaning mansergh st. George murdered in his house by the rebels in 1798 by hamilton 1800. What happened to richard st. George in 1798 is that in february he went down to some of his properties because he heard there was rebellious activity go ing on, illegal cutting down of trees, perhaps influenced by the younted irishman. Saent george goes down to check on this activity and also try to stop it. He stands before his tenants, exclaiming against rebellion and he says to them basically that im going to be staying without an armed guard at the home of one of my agents and if you dare try me, go ahead. And they do. Night of february 9th, 1798 a group of tenants, some say about 30 of them, broke into that house, and murdered st. George that night. One of the first People Killed in 1798. That brief mention in the history of the irish revolution, we know much more about it now. Newspapers in ireland and england carry the story and then a large funeral takes place february 22nd, 1798. Thanks to porig higgins, who is here as well. If you could raise your hand. There you are. He finds this Funeral Service and i was able to find the sermon published on that day acres sermon we reproduced calling out the demon of rebellion, the violent influence of france. This is a document that suggests how the International Impact of the American Revolution, french revolution has on ireland. Its an amazing primary source that has never been published before, never been studied before, until now. And then in 1998, fast forward 200 years to the bicentennial of that death. Martin mansergh is here with us. There was a stone, monument and plaque dedicated on the site where richard st. George was killed. That plaque, however, does not honor richard st. George. On it are the names of the three men that were hanged for the murder of st. George, but martin mansergh, collateral descend enter of richard st. George mansergh st. George, went down to dedicate that monument and delivered an important speech in his career. Ive read a lot of your speeches, martin. He said that im not here to defend an ancestor. Im here to promote peace and reconciliation in ireland, because just a couple of months later, martin was one of the political advisers that helped negotiate the good friday agreement in 1998. The relevance of st. Georges story during the bicentennial of 98 is still relevant then and is still relevant today as we are in this brexit climate. Now i have a bit of a charge for us all. This is really incredible. This is recent. Recently found. Im sorry, im running a bit long. I know im between all of us and lunch but im getting sxielt t so this was a note sent to me by richard st. Georges fourth great grandson who sold the mourning portrait to the National Gallery of ireland. It says in this box or trunk are the shirt, hat and clothes which et cetera, which captain m. St. George, my dear son, had on him the day he received the dangerous wound in his head by a musket bullet in an action with the rebels the fourth of october, 1777 at germantown, about five miles from philadelphia. That note survives, but where is the trunk . The next great detective story is cued up. The note is on its way to be included in the exhibition. It will be here later this month. Just going through some export licensing and that sort of thing. But what this exhibit has brought forget is a resurgence of interest and i hope it will continue to think about the entangled histories of ireland and america and also the story of a really interesting and fascinating family, descendents of which were here last thursday night to celebrate the opening of the exhibition. Theres phil standing at the ruins of Headford Castle where a lot of his art work used to hang. All of this is still real and there and present for people and all of this will be chronicled in the upcoming catalog, preorder your copy now. Sheets are available preorder sheets are available on the back table outside the conference room. And then we also sort of brought richard st. George to life with a theatrical program. There will be showings throughout the weekend. I encourage you to check out some really talented actors bringing richard st. Georges story to life. Thank you very much. [ applause ] hes probably somewhere in that picture. Do you have any idea where he might be . Theres a chance he could be in there, because theres other officers shown. But its hard to say. But among the foreground officers, and we could talk about this as well. Among the foreground officers, it seems that we could really pick out Martin Hunter, really pick out william wolf, 40th regiments captain who was build at the battle, british officer, excuse me, killed at the battle. Theres a chance that hes in there. We just dont know where yet. Yeah. One second. One second. Go ahead. Im sorry. Castle st. Georges manor . Correct. When was that destroyed . Left the family in 1880s and in 1906 a very massive fire took place there and that was really its demise. Yes . Clearly this exhibit has taken time sbefrt for you. Whats the most interesting thing youve found from your research . One thing. Oh, man. I knew that would be hard. Im most intrigued by that note about the box, you know, because i want to find that now obviously. So i got some people working on that, the family members working on it, asking all the cousins, what do you have in your attic, that sort of thing. Were hoping to find that. Especially to come so late in the game and it has philadelphia connections. Its also one of the most significant moments in his life. If that uniform, that hat is found, i mean, thats one of the greatest surviving collections of artifacts from the revolutionary war i know about. Yeah, martin . Oill be very brief. I just want to thank you and congratulate you on an enormously well researched and very adventurous in terms of subject exhibition, you and your colleagues and i think its a very great achievement and obviously as a collateral relative, although i dont identify with his politics, nonetheless its very gratifying to have if you like the two sides brought out all right the man on the wrong side of the two refb lugs but also somebody who left a significant both artistic and written record of what happened and so congratulations again to the museum. Thank you. [ applause ] last one go ahead. Im most intrigued by the self portrait of richard st. George. Its almost impressionistic because of the dreams sequence. Is there information in the literature talking about psychological effects that was experienced following the revolution . Literature in the period, you mean . Not much. Still kind of wrestling what this is all about. Is it acting, is it actual real, theres a lot of misprescribed from a modern viewpoint, misprescribed medicating and that sort of thing. Not too much. What im hoping is that maybe this will this exhibit will encourage scholars to dig deeper into that question to find out more, because none of this is all we dont know everything yet. And that really goes to show thats what we here at the museum of the American Revolution are all about. We dont know everything yet. Were still on the hunt to find more and more about a topic we think we know a lot about, the American Revolution, but theres so much more to learn, so much more to discover. Thank you. Thank you very much. Well talk, peggy. Yeah. Thank you. [ applause ] week nights this week, a preview of whats available every weekend on cspan 3. Tonight the focus is the 1945 yalta conference. First u. S. War department documentary on the february conference. Then an examination of the World War Ii Allied summits in tehran, quebec and moscow, which preceded the conference in 1945, followed by major issues and decisions on yalta conference which took place at a crimea location in ukraine. Beginning tonight on cspan 3. Up next we visit the smithsonian National Museum of the American Indian on the national mall. Kevin gover joined us to talk about the artifacts and issues of native americans today. First a clip from the museums opening in 2004. We have lived in these lands and these Sacred Places for thousands of years. We are, thus, the original part of the Cultural Heritage of every person hearing these words today, whether you are a native or not native. We have felt the cruel and destructive edge of colonialism that followed contact and that lasted for hundreds of years, but in our minds, and in our history, we are not its victims