A Tale of Two Busts: The Later Friendship of John Adams & Thomas Jefferson

Thomas Jefferson always reminded me of my great-grandmother.

When I was younger, she had a house overflowing with dolls.

Walking in, you got an eerie feeling of being watched, but it never started as a particularly overbearing sensation. There were, after all, only a few dolls on her entry table, some assorted figures lounging placidly in her bookcase. But then you made your way into her living room.

Then you looked up.

And it was then that you came to the horrible realization that you were thoroughly and utterly surrounded. Packed as tight as can be, glassy eyes leering down at you, staring from their coveted ledge just under the ceiling and wrapped around the entirety of the room as if they were playing a perpetual game of ring-around-the-rosie with you an unfortunate party in the middle.

Jefferson was also a collector of faces, though they were more of the sculptural variety, and his reasoning and motive for such an assortment of figures differed greatly from that of the woman who gave me my first and longest lasting phobia.

The majority of Jefferson’s collection originated from the French neoclassical sculptor Jean-Antoine Houdon. Having met during Jefferson’s time as Minister to France (1784-1789), Houdon was described by Jefferson as being “without rivalship the first statuary of his age.”[i] It is of no surprise then, that in 1785, the Virginian arranged for Houdon to go to the United States and commit the likes of George Washington to immortal portrayal in the form of a full-length statue, the product of which is currently housed at the Virginia State Capitol.

By the time he left France, Jefferson had in his possession some ten or twelve terra-cotta plaster busts by Houdon, collected with a purpose to construct a “gallery of worthies”[ii] at Monticello, Jefferson’s home in Virginia. Among these original inclusions, were such figures as George Washington, the Marquis de Lafayette, John Paul Jones, Benjamin Franklin, Turgot, and Voltaire- notable minds of the American Revolution and the Enlightenment. This first set fit quite neatly into the original purpose Jefferson had for his budding gallery: to curate and display the likes of people he regarded with great respect and admiration. Jefferson wrote of these busts that they were “the memorials of those worthies whose remembrance I feel a pride and comfort in consecrating.”[iii]

The majority of these figures were not commissioned by Jefferson himself. For instance, the bust of John Paul Jones, the naval commander of the Revolutionary War, was the investment of the Freemason Lodge of the Nine Sisters who commissioned Houdon following Jones’ victory at the Battle of Flamborough Head in 1779. Jones gifted a plaster of this bust to Jefferson in February 1786, offering it “as a mark of [his] esteem and respect.”[iv] Jefferson, continuing his time as Minister of France, was called upon two years later by Jones to oversee the preparation and packing of eight more plasters of his bust, effectively cementing himself as a trustworthy point of means for fine art importation.

Jefferson himself didn’t get truly serious about the commission and acquisition of busts until 1819, when Italian sculptor Pietro Cardelli traveled to Monticello armed with various letters of recommendation to prove himself a suitable candidate to take Jefferson’s portrait. Diane Ehrenpreis, the Associate Curator of Decorative Arts of Monticello, remarks that the subsequent rendition of Jefferson is “a very realistic depiction of what Jefferson looked like when he was about 74 years old living in retirement.”[v]

Along with Jefferson’s portrayal, Cardelli also constructed busts of James Madison and James Monroe, both of which he kept in Monticello’s private suite and library.

Over time, Jefferson’s original admirative purpose for this gallery changed, or at the very least shifted. Notably, Jefferson included a bust of Alexander Hamilton, Jefferson’s chief political rival, in his collection. Despite their obvious animosity towards one another, the first Secretary of the Treasury was still brought into the gallery as one of the Monticello worthies, deemed a respectable character and valuable enough as a colleague to be placed amongst the likes of other such reputable minds. This inclusion did not in any way downplay the inherent adversarial nature of Jefferson and Hamilton’s relationship. The placement of the bust, opposite Jefferson’s own in Monticello’s Entrance Hall, was done so that the two men would, as stated by Jefferson himself, be “opposed in death as in life.”[vi]

Another complicated relationship of Jefferson’s was that involving his close friend turned political rival, John Adams, a man whose visage was also commemorated within Jefferson’s gallery.

Currently, Adams’ bust is displayed in the Monticello Cabinet, a room where Jefferson answered thousands of letters and conducted his business as a plantation owner and his reports as a weather observer. It is a private study meant to be highly functional, a place for the mind to be productive and focused.

Adams stands vigil against a window, silhouette illuminated from the outside as he is given a prime spot to oversee his old friend’s proceedings. The room overflows with books and papers. Where there is space- the floor or otherwise- there are tools of scientific inclination; a theodolite, a barometer, a polygraph, a telescope angled to the sky. The artworks on the walls look as though they belong in a field guide, varied species of birds committed to opportune angles of observation. Alongside them hang architectural prints of detailed buildings and layouts- testament to Jefferson’s passion for constructive design- all of which sit over an inquisitive green wallpaper.

Considering the mental faculties associated with the room itself, it is of no wonder why Jefferson would place Adams in such a space. While at the height of their amiability towards one another- the years preceding the 1800 election- Jefferson spoke quite fondly of Adams’ mind and his penchant for reflective thinking. His main grievance was with Adams’ vanity. Jefferson mentioned it to James Madison in multiple letters throughout the 1780s. Nevertheless, Jefferson always ended these correspondences on a note of fondness regarding Adams’ more venerable qualities, such as his “sound head on substantial points”[vii] and being a man “profound in his views.”[viii]

Later on, after their eventual fallout from the election, Jefferson, while poking barbs at Adams, describes him as being in possession of “a better heart than head.”[ix] This comment, meant to undermine Adams’ intellect, still maintains the more emotive aspects of Adams as worthy attributes. This mixture of feelings towards Adams coincides neatly with the multi-purpose utilization and form of Jefferson’s Cabinet room. Residing next to the most private haven of Monticello- Jefferson’s Bed Chamber- and divided by only a thin folding door, Monticello’s Cabinet was a place close to the Virginian’s heart as well as his mind- passion and function culminating into a truly intimate space.

There is one other bust currently featured in the Cabinet room.[x] George Washington’s likeness is settled under the slant of a telescope angled towards the ceiling. A highly respected personage granted special access to a room very few were admitted to. Unlike the grouped likenesses of Jefferson’s original set- (another) George Washington, the Marquis de Lafayette, John Paul Jones, and Benjamin Franklin- who are all kept in the Tea Room of Monticello[xi]. The Tea Room served as a popular social spot for the Jefferson family and a place meant to house overflow seating during meals. By contrast, Adams and Washington sit peacefully companionable in the private sanctuary of Jefferson’s study.

The actual acquisition of the bust followed many years of animosity between Adams and Jefferson. Their political differences led to a total cessation of correspondence. It was not until 1811 that their friendship was rekindled, and even then, it was preceded by years of dedicated letters and beseeching by Abigail Adams and Benjamin Rush, a mutual friend and fellow signer of the Declaration of Independence.

Ultimately, Jefferson’s frostiness towards Adams was abated when a neighbor recounted the details of their recent visit to Peacefield. Jefferson quickly reached out to Rush, imploring him to extend overtures of reconciliation to Adams based on the news his neighbor bore:

5 December, 1811

In Boston they fell into company with Mr. Adams, and by his invitation passed a day with him at Braintree. He spoke out to them everything which came uppermost . . . he adverted to the unprincipled licentiousness of the press against myself, adding ‘I always loved Jefferson, and still love him’- this is enough for me. I only needed this knowledge to revive towards him all the affections of the most cordial moments of our lives.[xii]

After Rush reached out to Adams, the other took over and sent the first of many letters to Jefferson, opening up a path of reconciliatory correspondence between the two. An ongoing conversation which spanned over such varied subjects, from philosophical and political inquiries, to more domestic goings-on concerning grandchildren and the issues of their encroaching old age.

The Adams bust at Monticello is not a commissioned original. The original currently sits at Faneuil Hall in Boston. Through the efforts of 215 public subscribers- each donating two dollars towards the portrait- Adams’ likeness was committed to marble memory. After being sculpted in 1818 by French artist Jean-Baptiste Binon, the sculptor hoped to gain further profit from the venture by selling additional plaster versions. These replicas were later given as gifts to John Adams and his son, John Quincy Adams, along with the Boston Athenaeum. Eventually, Thomas Jefferson himself received one. Despite the bust not being a direct commission, it was very likely that Jefferson actively sought out a portrayal of Adams to add to his gallery of worthies.[xiii]

The portrait was gifted to Jefferson by Benjamin Gould, an American educator and merchant, who following a pleasant meeting some months earlier, wished to “renew the expression of [his] obligation for [Jefferson’s] kind and obliging attention.”[xiv] Sent by way of the Schooner Virginia under the command of a Captain Otis, the plaster bust was received in Richmond before making its way to its permanent home in Monticello.

Upon its reception, Jefferson sent back his thanks, stating:

5 August, 1825

I am much indebted to you, Sir, for your present of the bust of my friend, Mr. Adams. Without knowing exactly the precise period at which it was taken, I think it a good likeness of what he was a little after he had past the middle age of life. It received a little injury by fracture, but the parts are preserved, and, being on the back part, can be repaired without disfiguring it. I place it with pleasure in the line in my cabinet of his predecessor and successors.[xv]

It was opportune timing for this material reconciliation, as less than a year later, Adams and Jefferson both passed away on July 4, 1826.

Jefferson lay in his bed chamber, the room- according to the official Monticello description- that acted as the “most private space of an intensely private man.”[xvi] A space that was separated by only a thin folding door to a room that housed the likeness of one of his closest and dearest friends. Did he leave that door open in his final moments? Was he able to see the bust of Adams before he succumbed to his myriad of ailments? Unfortunately, this is not a detail able to be verified in the Virginian’s death. But considering Adams’ last words, being the unaware claim that “Jefferson still lives,”[xvii] it is not too much of a stretch to consider Jefferson’s mindset to have somewhat mirrored that sentiment. An old friend that might yet survive him, a worthy colleague to continue on.

Author’s Note: Thank you to Alexandra Elliott and Ed Fitzgerald for helping edit and format this article (and for being generally great people).

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[i] Jefferson, Thomas. “Thomas Jefferson to the Virginia Delegates in Congress.” 12 July 1785.

[ii] Jefferson, Thomas. “Thomas Jefferson to Joseph Delaplaine.” 3 May 1814.

[iii] Jefferson, Thomas. “Thomas Jefferson to James Bowdoin.” 27 April 1805.

[iv] Jones, John Paul. “John Paul Jones to Thomas Jefferson.” 28 February 1786.

[v] Ehrenpreis, Diane. “Cardelli Bust of Thomas Jefferson.” 6 March 2023.

[vi] Randall, Henry S.. “The Life of Thomas Jefferson.” 23 December 2010.

[vii] Jefferson, Thomas. “Thomas Jefferson to James Madison.” 14 February 1783.

[viii] Jefferson, Thomas. “Thomas Jefferson to James Madison.” 30 January 1787.

[ix] Jefferson, Thomas. “Thomas Jefferson to William Short.” 12 June 1807.

[x] Busts of James Madison and James Monroe are obliquely mentioned as placed in the Cabinet as well, in a 1825 letter. But it is unclear whether Jefferson is alluding to the room or a metaphorical gallery.

[xi]Jefferson, Thomas. “Thomas Jefferson to James Ronaldson.” 7 February 1820.

[xii] Jefferson, Thomas. “Thomas Jefferson to Benjamin Rush.” 5 December 1811.

[xiii] We were able to confirm Jefferson’s desire to collect a bust of Adams during a conversation with a representative from Monticello.

[xiv] Gould, Benjamin A.. “Benjamin A. Gould to Thomas Jefferson.” 14 July 1825.

[xv] Jefferson, Thomas. “Thomas Jefferson to Benjamin A. Gould.” 5 August 1825.

[xvi] “Bed Chamber: Jefferson’s Most Private Space” Monticello.

[xvii] Parannick, Amber. “Deaths of John Adams and Thomas Jefferson on July 4^th” Library of Congress. 6 July 2022.