Even though, the ship's bow in the painting carries the name the Maine, it actually represents the Iowa.

This painting, the second of two pictures Lang painted between 1860 and 1861 featuring Mary, Queen of Scots taking leave of her attendants just before her execution in 1587, was painted to order for Robert L. Stuart. It is obvious from descriptions of the placement of figures as well as titles that Mary, Queen of Scots, was the subject of two separate paintings by Lang within a year, of which the Society's study is the second. The "Fine Arts" column of the New York newspaper, The Century, January 21, 1860, commented that Lang "has just finished, for a gentleman of this city," an historical study which he called, The Last Supper of Mary, Queen of Scots, which was republished in The Crayon for February 1860. It is described as follows: "The time is the night before the memorable execution. The beautiful but misguided queen, her face still calm, serene and lovely, her figure robed in green velvet, occupies the centre of the picture, and stands on a raised dais, while her attendants, fourteen in number, and overcome with grief, are grouped about her in different attitudes. The queen, firm and erect, has just finished that address to her attendants which is familiar to every reader of history, and is about to raise the cup to her lips to drink a last pledge of affection for them. The venerable physician, as well as the surgeon of her household, occupies a position in the background, to the left. Little Mary Curly, her eyes wet with tears, leans sorrowfully on the bosom of the venerable man, who looks on in pity. Mrs. Kennedy, who forms one of this group, seems muttering a prayer, while Mrs. Curly kneels before the queen and invokes the interposition of the Allwise, while struggling to suppress her emotions. Prostrate at the foot of the dais, and before the queen, is her French maid of honor, offering her own life to save that of her royal mistress. The effect produced here is impressive and grand. The group to the right is composed of her maids of honor and other attendants, all finely distributed and effectively portrayed. The picture, as a whole, is bold and impressive, all the details of that painful event being clearly and delicately expressed." This was the painting which Lang exhibited at the National Academy in 1860 with the title Mary, Queen of Scots, lent from the collection of Charles M. Connolly, a New York tobacco merchant, 45 Water Street, whose country home was at Fort Washington on upper Manhattan Island. The June issue of The Crayon, in commenting on the Academy exhibition, referred to the painting on display and stated that the "condemned queen is formally taking leave of her attendants, and at the same time performing a religious rite by partaking of the communion cup, her jailors have refused her a priest," and commented that Lang's study "is his best performance, showing more dramatic power and chastness of color than heretofore."Lang's picture evidently turned out so well that by the end of the year he had another study in preparation for Robert L. Stuart. It was described in The Crayon for December 1860 as follows: "Lang has a cartoon completed of a scene in the prison-life of Mary, Queen of Scots, representing the Queen in the act of dividing her property among he friends and attendants the day before her execution. This composition is his happiest effort." This is the study now in the Society's collection.

For thirty-six years William Kelby was the assistant librarian of the Society (1857-93), and for the last five years of his life he was the librarian. He was succeeded in the latter position by his brother, Robert Hendre Kelby. The artist, Robert Hinckley, was born in Boston in 1853. He studied painting in Paris at the Ecole des Beaux-Arts and with Carolus-Duran. For many years his studio was at Rehobeth Beach, Delaware.

Robert Kelby joined the library staff of the New-York Historical Society in April 1868 as an assistant to his brother William, then the assistant librarian. In 1898, he succeeded his brother as librarian and was simultaneously appointed a member of the executive committee of the Society. Kelby served as librarian until 1920 when he retired with the title of Librarian Emeritus. In 1904, he was awarded a gold copy of the Society's centennial medal for his devoted service to the library.

Born in England, this famous actress took Laura Keene as her stage name; her real name was Mary Moss. She made her debut in America at Wallack's Lyceum Theatre in New York in 1852 and was at the height of her popularity on the New York stage when Powell painted this portrait. She achieved one of her greatest successes in "Our American Cousin"; she was playing the leading role in this play at Ford's Theatre in Washington on the night of April 14, 1865, when President Lincoln was shot there.

Karst was born at Bingen, Germany, but came to the United States as an infant with his parents. He became a noted wood engraver and illustrator and is probably best known for the illustrations he provided for McGuffey's "Readers." He lived in Debruce, New York, and his home there is now a museum. His portrait was a gift to the Society from his daughter.

Thomas Jefferson Farnham traveled extensively west of the Rockies, as well as to the Sandwich Islands and to Mexico. After 1840 he resided for some time in the environs of New York where he wrote and published "Travels in the Great Western Prairies, the Anahuac and Rocky Mountains and in Oregon Territory" (1841).

A native of Connecticut, Halleck came to New York in 1811 and became associated with a group of literary men, with one of whom, Joseph Rodman Drake, he wrote in 1819 a series of articles for the New York "Evening Post." His fame was established that year with the publication of "Fanny," a satire on the follies of society. Halleck was later employed as confidential secretary to John Jacob Astor; when Astor died in 1848 he left Halleck an annuity, allowing him to resume his career as an author.