do an underdrawing. he said it should all be done with the paint brush. not many people can do that just with the paint brush, but stuart could. we'll take a look at katherine brass yates' husband over here. attention to detail. you may have noticed on epes sergeant there was hair powder on the collar and here it is again. it is wig powder that's on his shoulder. it must not have been a faux pas to have that showing because both of these painters painted it. here are his brass buttons glistening against the beautiful dark blue of that coat he's wearing and he's sitting in a windsor shachair. i love the way his accruement --

are sitting on the desk. his wife's painting is a classic. it's gilbert stuart at his very best, i think. let's walk along this wall. this was another stuart portrait painted while he was new york before he ever went to philadelphia to paint washington. this is henrietta. so many times these were done as a pair. her husband was a newly appointed ambassador to the u.s. and they were newlyweds. this was painted right before they returned to england. an interesting thing about stuart as a painter is that he could be very slow. what henrietta wrote in her

diary -- the thing about stuart, he's remarkable for being dilatory. it's amazing that paint draws so slowly in this country. many people noted that. stuart sometimes came through very quickly, but other times he just didn't even finish a work. he was very mercurial. this is such a beautifully done portrait with the color harmonies that stuart used for her. the beautiful linings and the peach and the way her bonnet is lined and the bow and the bow under her chin and the blue in the sky. it is unusual for him to show someone doing something. yates was sewing and then hen henrietta pulling on her glove.

the variety of stuart's brush is just so amazing. in some areas the paint is very thin. in other areas it is very built up. you can see the texture of the canvas coming through in this one. this is rembrandt peel. rembrandt peel was one of the sons of charles wilson peel. charles wilson peel had a huge number of children. i can't remember how many. one was rembrandt. one was rubins. one was raphael. this is rembrandt painting rubins, his brother, with a geranium. it is a portrait of rubins and geranium. we'll see more work by rembrandt peel later. here we come to nelly custus. we saw her in the washington family portrait as a young girl. here she is a young woman

painted by stuart in 1804, so this is after he had left new york. she's wearing a very comfortable at ease dress, but she has this beautiful sash tied around her waist and twining over her arm, a transparent sash. nelly custus, she had had a hard life. her father died when she was young. she had been very, very close to martha washington. martha washington died in 1802. it was very devastating for nelly to lose martha washington. also, she had a child that contracted the measles, died from the measles, and nelly herself got measles. she was at a time in her life where there was a lot of sadness and melancholy. stuart captures that, i think,

with her looking off in the distance. stuart, as i said earlier, his whole point in coming to america was to make his fortune painting washington. and the history of his paintings of washington is a little bit complicated. he came to philadelphia. he had the letter of introduction from john jay. he took it to washington and surprisingly washington was willing to -- he invited him for an evening that very evening and he was willing to sit the next morning. the first portrait stuart did of washington, it's called "the van portrait," because it was commissioned by someone named van. stuart did that portrait and immediately had 33 requests, 33 patrons, who wanted copies of that portrait. he made 12 or 13 copies and then he got tired of doing that. and we have a van portrait not

on view. we have one downstairs, which is another replica of that. for a while the gallery thought our van portrait might have been the original that stuart painted, but it is probably a very early copy because stuart wrote that he had rubbed that one out. in the midst of making replicas of the van portrait, he got another commission from martha washington for the portrait, x became the one that was used on the dollar bill and is the one that is modelled after. this one was a replica of the ahea athenium. this is the portrait of washington by stuart for that commission. they're not all exactly the same

depending on stuart felt when he was doing the replica. stuart said that washington was difficult to paint because he was so taciturn. washington was not one to suffer that glib kind of conversation that stuart liked to partake in, so it was difficult to get washington. they said washington, when he wasn't engaged in an idea or talking about something, when he was doing that, his features were very enlivened, but when he wasn't, his features went slack. so he had no expression, which may be some of the trouble stuart had with him, but this is a very elegant portrait of the first father. this is a replica of a portrait we'll see downstairs that stuart

did of john adams. here he's changed the color of his clothing and given him this rich reddish brown jacket. the technique he used about the little lines around the eyes and the little bits of blue that reflect enliven the face quite a bit. he's done it with washington to some extent as well. stuart would block in the face in a very fluid way, very light. then he'd go back and put the highlights on the top of his head where the light would shine. you can see his bald dome has the heavier paint on it and on the nose and various places where the light would catch. this is jefferson, who is a little less focused looking, to me, than the others. but similar backgrounds to all of them. this he took a replica of a portrait he had done of

jefferson and not delivered to him yet. so he had it in his studio and was able to use it. and madison, part of the pluribus group. then we come to james monroe. you'll notice the background in the monroe painting is different, and it may be because this one started a little earlier. this one was started in 1817 when monroe was president. monroe did not like this painting very well, was not happy with it. maybe it was the background that stuart was using at the time. this is the only set that exists now of the five presidents. there were two. he did one for a man named dogget as well. only three remain -- only two

remain. i think it is only madison and monroe. the other burned in the library of congress. the frames are original and are thought to be by dogget, a frame maker in boston. hanging on the wall is george washington. i guess by now you're beginning to get the sense, i think, that the 18th century in america at the time of the revolution and after the revolution was a very small place. many of the same people congresswoman come up again and again. we've seen a few of those relationships upstairs. john jay and alexander hamilton and george washington. the most important thing, i think, is of this small place with all these people that are all interconnected george washington is the center. everybody knows george washington. everybody admires george

washington. everybody wants a portrait. everybody wants to paint george washington if you're a painter. if it's a painting or an engraving from a painting or maybe it's a vase that you bought from france with george washington's image on it or a society of the cincinnati plate considering george washington to be the modern-day -- or maybe it's a clock with george washington on it imported from france. everyone wants something with george washington on it. this portrait we're looking at right here is the galleries of von sinclair george washington. it was cleaned by a grant the gallery has from the bank of america to conserve paintings by gilbert stuart. i think we're working our way through them, but this was one of the first ones that was done. it's a replica of the van image.

this one was requested by a man named van and then also owned by someone named sinclair, so that's why it's called the van sinclair image of washington. this is a replica of the very first image of washington that stuart did. you can see the red drapery in the background capturing the presidential image there. beside it is an image of washington by rembrandt peel. it's done much later. it's done in 1859, so it is after washington had died. we also in the gallery have another image now by rembrandt peel of george washington, washington before yorktown, that hangs in the stairwell. it's a magnificent painting and we may see it later. let's walk across the room and look at these portraits of john

and abigail adams. we saw john upstairs. actually that portrait we saw upstairs of john in his reddish-brown coat is a replica of this painting. stuart never finished it. abigail adams wrote that she just didn't know what to think about that man stuart. the likeness wasgood, but perhaps her children would they ever see it because stewart just didn't finish it and it was only in 1815 that stewart came back to this portrait and finally finished it. he -- adams had to come and sit again for it because of course he had changed in 15 years and stewart repainted it and updated it, added the wrinkles and all that adams had acquired. now, an gail adams, her portrait was also commissioned in 1800 and never finished and stewart

came back to do it again in 1815 and abigail did not repose, she did not resit for it so her face stayed the same. very smart woman. and the dress is the old style fashion that she had on, but stewart added an up to date scarf and the bonnet. those are new. those are in fashion in 1815. so he updated her portrait, but her face remained the same. stewart apparently said to her nephew when he was painting her the first time in 1800, i wish i could have painted her when she was younger, it would have been a perfect venus. maybe he said that to all the women he painted. but these are classics of american portraits, these portraits of john and abigail paintings, they are wonderful paintings by stewart and worth the wait. they have been recently conserved from that bank of america grant.

so they're looking their very best. now, there are some other paintings in this room here. let's go across over here to -- this is captain joseph anthony. this was painted by stewart when he was in new york. joseph anthony is stewart's uncle and one of his contacts when he came to this country. he was in philadelphia. stewart went down to paint him or he came up to new york, i'm not sure, but this is his uncle and someone who really did a great benefactor for stewart, introduced him to many people and did a lot for him to get his career started. so he is shown at his desk -- or in a chair, desk chair and he has not his papers in front of him and he's writing. >> this is an additional portrait of george washington, a wonderful painting that has just come to the gallery from the corcoran collection and just been hung in the seventh stet stairwell. it's george washington before

the battle of yorktown painted by ram brant peel who we have seen already and painted in 1829. a little later than what we've been looking at. it's george washington on his horse, his white horse, preparing for battle and you can see washington -- of course, the challenge that peel had was washington had been a 49-year-old general when -- at the battle of yorktown and at this time when peel is painting it he is a 66-year-old -- well, actually, he is portraying him as a 66-year-old president. so there is a difference. it's 1829 so washington has already died, but there is a difference. it's the image, the presidential image of washington that everyone is so interested in. peel shows him with alexander hamilton, his aid to camp that we have seen already darting off to the right on his horse. alexander hamilton was known to be very i'm pet with us and off to something quickly that may be

what's happening and this is lafayette that's at washington's right on the horse behind him. the other generals in the background are known, one is knox, one is -- i'm not sure i remember who they are but they are known for traits of men. and the noxious weed in the foreground that the horse is trampling on is great britain and this is yorktown of course before -- this is before yorktown but yorktown of course is the concluding battle of the revolutionary war. so this is a members of the j y jurier addition to our collection and wonderful to have it hanging here to yet another image of washington. we've looked briefly at these patientings but they require much more time really to understand what the artist had in mind and what tools he has used to create that image and all of the details that he has included. you noticed some paintings that

it's very little, very simple, some of the stewart paintings have very little black and white paint and yet he has been able to create an image that's very believable. then you have seen others by charles wilson peel, the for tralt of john boringly that has so many al gore cal references and so many information if you take the time to look and understand it. it just requires bringing a fresh eye and trying to understand what the artist has been -- has tried to do. >> this was the second of a two-part look at marn portraits at the national gallery of art. you can view this and all other american history tv programs at our website, c-span.org/history. american history tv on c-span 3 features the civil war every saturday at 6:00 p.m. and 10:00 p.m. eastern. we've covered the war extensively these past five

years as many state and national historic sites and local civil war groups hosted events to mark the war's 150th anniversary. to watch any of these past programs or to find upcoming schedule information visit our website, c-span.org/history. this is american history tv, all weekend, every weekend, on c-span 3, and in prime time on weeknights when congress is in reces recess. >> each week american artifacts takes viewers into archives, museums and historic sites around the country. next we visit the national museum to health and medicine located just outside of washington, d.c. to look at items spanning mor than 150 years of the museum's existence. this is the second of a two-part program, the first focused on the museum's civil war collection. some viewers may find images in this program disturbing. >> hello and welcome to the

national museum of health and medicine my name is tim clark and i'm the museum's deputy director and we are here today to give you a short tour of the highlights of the museum. the museum was founded in 1862 as the army medical museum. our mission today is very much the same. our mission is to collect those objects that share the value of military medicine and preserve the legacy of american medicine. so what we will show you today is highlights to the museum's collections from the last 150 years in areas of military medicine, human anatomy and pathology, forensic identification, biomedical engineering and a few other special artifacts and exhibits that are on dismay here. so come along. >> we've moved into an exhibit on the history of innovation in military medicine, but we start

our tour today with this object, the floor of what was known as trauma bay 2 from the bilod theater hospital in iraq.8#+cf1o from 2003 to 20 o 7 during the height of the insurgency of the iraq war the bilad theater hospital served as the evacuation point where american service members were treated in country before being flown to germany and eventually back to the united states for the next levels of care, but trauma bay 2 was known where the place where the worst wounded were treated. so this piece of floor helps tell the story of modern battlefield medicine and it shares that story by these deep gouges you can see in the floor. you can imagine the gurnees being carried into the emergency room and the gurney legs being kicked into place over and over and over again.

the yellow stains that are evident show the antiseptic, the betadine used to clean wounds in advance of surgery. the black stains embedded into those fwougouges are the blood those patients treated at bay 2. the story as it was shared with us from the caregivers at the bilad theater hospital was that this became known as the place where the most american lives were saved or lost since vietnam so it carries for us a very special story. we can help to remember all those lives that were lost but so many lives that were saved. we are honored often by visitors to this floor who are young men and women who started on the road to recovery by -- and can trace that recovery to their time at the bilad theater hospital during the iraq war and often were treated right here on

bay 2. >> as we move on through the rest of this room that's focused on the history of innovation in military medicine, one exhibit display focuses on the advancements in surgical kits. we see a surgical kit from the time of the revolutionary war and the war of 1812, compared and contrasted with kits from the civil war, the middle part of the 20th century from world war ii and then kits used by medical examiners from iraq and afghanistan. one thing to notice in the surgical kit from the war of 1812 is that the knives may look to us today very much like kitchen knives or butcher knives, but these were the precise tools of that era. so it's interesting to note that those knives are alongside the tools used to extract bullets from injuries and one can imagine the pain that might have been caused by even the tools

themselves. another object kit of note is the kit used to do a postmortem examination, an autopsy on the remains of the father of the united states navy, john paul jones, jones had died and was buried in france at the end of the 18th century, but in 1905 a surgeon named joseph corniel had jones' remains exhumed and core kneel used this kit that we have on display to positively identify jones' remains which were then reinn turned at the naval academy in annapolis, maryland. >> another exhibit in this gallery features on advances in the protection of service members. different eras of the 20th century. a helmet from world war i showing the very clear path of a bullet as it passed from front

to back of that helmet and then from world war ii and korea the middle part of the 20th century, again, the bullet still punk ring the helmet but as the newer technology and materials were developed we see this kevlar helmet from the first gulf war, gn, slowing and stopping a bullet becomes the immediate need and so this allows us to show the advances in the materials but also the concern with stopping and preventing head injuries. >> another feature of our exhibit on the history of innovation in military medicine is this display on facial reconstruction and advances in plastic surgery. from the time of the civil war through the 20th century and to the type of work that's being done on service members recovering today in the early 21st century. an interesting story is that of carlton bergen who is featured

here with photographs. bergen was injured and -- in his mouth, in his pallet and nose. he was treated by a doctor in new york who successfully treated more than 30 patients during the course of the civil war. it's not something well-recognized or understood about the nature of facial reconstruction surgery during the war itself, but bergen is told, interestingly, by a series of photographs documenting the series of streurgeries, but we o have two very unique casts done at different times of his recovery and on display a piece of bergen's jaw. so this is a unique part of the nature of the museum's collection. we not only have photographic evidence, 3-d evidence, but also an tomorrow cal specimen all from the same individual. the cast that is we see here are from world war i and world war

ii. some of the models you see here on display are evidence of the different stages of the surgical repair done on an individual over a series of surgeries. you can see the nature of this soldier's injury prior to repair and then in this case and in the case below you can see how the surgeon was inflating the issue so that to create enough tissue for eventual use to restore that particular structure, in this case the nose or a flap over an injured eye. these then became the teaching models of the mid 20th century before there were ipads and on screen technologies, this was how surgeonsrbcñ of the era wer learning and tracking an individual case as a teaching study. and we compare those to 3-d