American Eloquence in 4 volumes presents a study in American political history and it contains a selection of great speeches of American statesmen showing the spirit and motives which have triggered these leaders throughout several phases of American history. The work divides history of United States in 9 stages: Colonialism, Constitutional Government, the Rise of Democracy, the Rise of Nationality, the Slavery struggle, Secession, Civil War and Reconstruction, Free Trade and Protection, and Civil Service Reform. Each of these is marked by important orations of nation's great leaders, from Colonialism and orations of Alexander Hamilton, through Anti-Slavery speeches of John Quincy Adams and Abraham Lincoln to Free Trade and Reform era and lectures of Henry Clay and George William Curtis.

Early American painter Gilbert Stuart has long been mistakenly represented as a hard-drinking rogue, habitual liar, and inexplicable financial failure. To explain his stylistic unevenness as an artist, he is assumed to have had an inferior assistant, but the documentary evidence for an assistant who painted on his portraits is non-existent-in fact, there is evidence to the contrary. This ground-breaking study demonstrates that Stuart suffered from a hereditary form of manic depression, leading him to create pictures that contain peculiar lapses characteristic of a manic-depressive, or bipolar, artist. Using documentary and empirical evidence-from diaries and letters to x-radiographs of paintings-this book fills important gaps in our knowledge of Stuart, and connects the strange visual effects in some of Stuart's paintings with cognitive deficits attendant with the disorder. In addition to Stuart, other bipolar artists, including George Romney, Raphaelle Peale, Gilbert Stuart Newton, and William Rimmer, are discussed in relation to these deficits, revealing patterns which carry broader implications for all manic-depressive artists. This volume is a significant contribution not only to studies of Stuart and the four other painters but also to our understanding of the mind of a manic-depressive artist. It bridges the broad disciplines of art history and psychopathology.