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The True Face of Sir Isaac Brock University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2018-10 The True Face of Sir Isaac Brock St-Denis, Guy University of Calgary Press St-Denis, G. (2018). The True Face of Sir Isaac Brock. Calgary, AB. University of Calgary Press. http://hdl.handle.net/1880/108892 book https://creativecommons.org/licenses/by-nc-nd/4.0 Attribution Non-Commercial No Derivatives 4.0 International Downloaded from PRISM: https://prism.ucalgary.ca THE TRUE FACE OF SIR ISAAC BROCK by Guy St-Denis ISBN 978-1-77385-021-4 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright. COPYRIGHT NOTICE: This open-access work is published under a Creative Commons licence. This means that you are free to copy, distribute, display or perform the work as long as you clearly attribute the work to its authors and publisher, that you do not use this work for any commercial gain in any form, and that you in no way alter, transform, or build on the work outside of its use in normal academic scholarship without our express permission. If you want to reuse or distribute the work, you must inform its new audience of the licence terms of this work. For more information, see details of the Creative Commons licence at: http://creativecommons.org/licenses/by-nc-nd/4.0/ UNDER THE CREATIVE UNDER THE CREATIVE COMMONS LICENCE YOU COMMONS LICENCE YOU MAY NOT: MAY: • gain financially from the work in any way; • read and store this • sell the work or seek monies in relation to the distribution document free of charge; of the work; • distribute it for personal • use the work in any commercial activity of any kind; use free of charge; • profit a third party indirectly via use or distribution of • print sections of the work the work; for personal use; • distribute in or through a commercial body (with • read or perform parts of the exception of academic usage within educational the work in a context where institutions such as schools and universities); no financial transactions • reproduce, distribute, or store the cover image outside take place. of its function as a cover of this work; • alter or build on the work outside of normal academic scholarship. Acknowledgement: We acknowledge the wording around open access used by Australian publisher, re.press, and thank them for giving us permission to adapt their wording to our policy http://www.re-press.org B 6 A F or Want of a True F ace By the time I began researching Sir Isaac Brock, Ludwig Kosche had been dead for the better part of two years. It was then the spring of 2002, and nearly seventeen years had passed since his article on the “Contemporary Portraits of Isaac Brock” was published. Having leafed through it on more than one occasion, I was well aware of the contribution Koche made to the study of Brock iconography. Yet, most of my energy was still devoted to Tecumseh, or rather the mystery surrounding his bones. For this reason, I had to put my growing fascination with Brock’s portraits on hold. One day, however, I took a much-needed break from Native history and went in search of Kosche’s article. Recalling a thorough study, I expected a de- finitive conclusion. Disconcertingly, however, it appeared that Kosche was not entirely comfortable with some of his own findings. Still, his article was not a complete disappointment. Kosche was able to identify the two portraits most likely to be au- thentic likenesses of Brock (figs 3, 27). He also convincingly argued that a miniature long thought to portray a young Isaac Brock was actually Lieutenant George Dunn (fig. 11). But he failed to stress these significant breakthroughs, and this because he was unable to find the documenta- tion necessary to prove his points. Thus constrained, Kosche presented his findings in rather ambiguous language, as if the reader was expected to come around to his way of thinking. Nor did it help that he wrote in a convoluted and sometimes condescending manner. The end result was a lingering uncertainty, which led some War of 1812 historians to question whether any of Brock’s portraits were authentic.1 To be fair, a cautious approach was recommended by one of the read- ers who took part in the peer review of Kosche’s article.2 But Kosche was 113 Figure 3. Figure 27. overly cautious, mainly because he feared being abused for alerting the world to the misidentification of Lieutenant George Dunn’s miniature. He was also convinced that the first angry outburst would come from the Women’s Canadian Historical Society of Toronto, where certain members refused to give up their long-held belief that the miniature was of Sir Isaac Brock.3 But as the weeks and months passed, the dreaded backlash failed to materialize. No doubt, it was stifled by the society’s ongoing decline, which in the summer of 1985 forced the ladies of the executive to debate the sale of their most valuable asset—their club house.4 They were far too occupied with that unpleasant business to take much, if any, notice of Kosche’s article. Neither were there any complaints voiced beyond this shrinking sphere of influence. However, it was not a lack of interest that al- lowed Kosche to make his bold claim without recrimination. It had more to do with the fact that most Canadians were unaware of the revision he made to their pictorial heritage. Because the circulation of Archivaria was, for the most part, limited to members of the Association of Canadian Archivists, it is not surprising that Kosche’s article drew little attention. Had he published his findings on the Dunn miniature (fig. 11) separately, and as a feature article in one of the country’s leading newspapers, they would have been more widely known. Of course, there was also likely to have been a greater reaction— which probably would have been largely negative, just as Kosche dreaded. And since he did not take well to criticism, it was perhaps best that his exposé on Lieutenant George Dunn’s miniature was published without much fanfare. In rediscovering Kosche’s article, I was optimistic that his research would facilitate my own. I was keen to find an authentic likeness of Brock, and it was reassuring to know that Kosche was able to establish that there were at least two credible portraits in existence.5 The first showed Brock as a young ensign in the 8th (or King’s) Regiment (fig. 27), and the sitter’s youthful appearance corresponded with Brock’s age when he entered the British army in 1785. As well, the facings of the uniform were blue— the correct colour for the 8th Regiment.6 The second portrait, otherwise known as the profile portrait (fig. 3), featured an older Brock only a few years prior to his death in 1812. This was exactly the image I wanted: a mature Brock near the height of his fame. Yet, Kosche seemed unsure of 6 | For Want of a True Face 115 Figure 11. himself when it came to the profile portrait, even hinting that someone should undertake further research to back him up.7 Although the sugges- tion seemed a bit peculiar, as Kosche was supposed to be the expert on the subject, I had no reason to doubt the article’s scholarship—not until December of 2002. It was then that my faith in Kosche began to waver. Quite by accident, I stumbled upon an art catalogue that was pub- lished in conjunction with an exhibition at the National Gallery of Canada in 1991. It showcased the artwork of William Berczy, who Kosche named as the artist responsible for Brock’s profile portrait.8 Well do I remember my anticipation as I began flipping through the pages of the catalogue, expecting at any moment to catch a glimpse of the distinctive portrait. But it was nowhere to be found.9 This omission struck me as being very odd, given that Kosche published his article six years prior to the publication of the catalogue. Therefore, it was difficult to imagine that the catalogue’s- au thors would not have known about Brock’s portrait and its attribution to Berczy. I blamed myself for having gone through the catalogue too quickly, and so I began another round of flipping . albeit more slowly this time. In reaching the appendices, I was stopped in my tracks by an illustration that looked remarkably similar in style to Brock’s profile portrait. I carried 116 The True Face of Sir Isaac Brock on, hoping that Brock’s likeness would jump out at me, but there was no sign of it.
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