Hennepin at the Falls of St. Anthony 383 



history as the portaging of that canoe round the falls of St. Anthony 

 by Father Hennepin and his companion Du Gay. 



It is lamentable that in the Capitol of the state, on the wall of 

 the governor's room, is a travesty of this scene — a painting on -which 

 the youth of the state are expected to look and from which to draw 

 impressions of the historic discovery of 1680. When I first glanced 

 at that painting I turned my face away in a feeling akin to disgust, 

 and for three years I did not look upon it again. I have recently 

 examined it. in order that I may be able to render a truthful descrip- 

 tion. As a work of art and fiction it may be worthy of praise, as a 

 historical picture it is a misrepresentation and an abortion. 



The painting shows seven persons, of whom five are seated and 

 two are standing. Of the former one is black-whiskered Du Gay. 

 He has a flint-lock gun, a buffalo gunpowder horn, and a game pouch 

 suspended from his shoulder resting at his right side. He is well 

 clothed and capped. On either side of him are four Indian warriors 

 seated, and apparently interested in the speech which is being made 

 by Hennepin. A red pipestone calumet lies across the gunwale of 

 the canoe. At the right of the picture is an Indian squaw just ap- 

 proaching, with a bundle of baggage suspended by a head-strap, lying 

 across her shoulders. She has Caucasian features and a copper- 

 colored skin. It is to be inferred that the bundle belongs to Henne- 

 pin, and the squaw is a slave in his service. The bundle is nicely 

 wrapped and strapped in what appears to be a Mackinac blanket, 

 although ]t may be meant to indicate a beaver skin robe, for it is hard 

 to believe that such an anachronism as a Mackinac blanket would by 

 any one be introduced into such a painting. A birch canoe is on the 

 rocks in the midst of the group, the ostensible means of travel for the 

 whole seven. 



Standing boldly to the front, and facing the falls, appears Henne- 

 pin. The spot is apparently some distance below the falls on the 

 east bank. The point of view enables one to overlook the falls and 

 see a small part of the river above, and hence must' be supposed to 

 be located on the brink of the gorge. At the same time it is plain 

 that the portage round the falls has already been made and that the 

 arrival of the squaw carrying Hennepin's baggage is the last act in 

 the "carry." Hence it has to be inferred that the scene is at the 

 lower end of the portage line, and at the place where they can again 

 push their canoe into the river. This inherent inconsistency cannot 

 be explained by any one except the artist. 



The most remarkable character in this fantastic group, as is 

 natural and was to be expected, is Hennepin himself. His cowl is 

 thrown back upon his chasuble, revealing a shaven face and a tonsured 

 caput. He stretches forward and upward both arms, in the left hold- 

 ing a crucifix as if he were proclaiming the double dominion of St. 

 Anthony of Padua and of the king of France. A robe covers him 

 down to Ills ankles. His feet are lightly sandaled, and his shoulders 

 and back are covered with a chasuble which tapers downward to a 

 narrow strip, extending about to his hips. The sleeves of the gown 

 are large and flowing, and the priest's waist is girted by a twisted (or 

 braided) heavy cord, the ends of which hang down the right side and 



