ladies of that city, to be sold at a fair in
behalf of some benevolent purpose. This was the "Checker Players," and
was the first of his efforts ever submitted to the public. Its success
was immediate. It proved one of the most attractive features of the
fair, and the newspapers pronounced it one of the most satisfactory
evidences of native genius ever seen in Chicago. Mr. Rogers was much
pleased with its success, and soon followed it with "The Town Pump," one
of his most popular compositions.

The popularity which these efforts attained, opened John Rogers's eyes
to a correct perception of his true mission in life. He was not capable
of accomplishing any thing in classic art, but here was a field in which
a renown, unique and brilliant, might be won, and in which he might
endear himself to thousands of hearts in the great world in which he
lived. Both fame and wealth seemed opening up before him. He did not
hesitate long, but resolved to follow the leadings of his genius. Having
heard that a new process of flexible molds had been invented, by which
the most intricate designs could be cast with ease, he came to New York
in 1859, bringing with him his "Checker Players" and "Town Pump," and
the model of a new group on which he was then engaged. Seeking an
Italian familiar with the new process, he engaged him to cast his
figures in plaster by means of it, and from him he learned how to
practice the new method himself.

He now put forth his "Slave Auction," which he had modeled in Chicago
and brought to New York with him. The antislavery excitement was then at
its height, and this effort aroused the sympathy and won Mr. Rogers the
support of the greater part of the people of the Northern States. There
was a large demand for the group, and Mr. Rogers soon found himself
obliged to employ assistance to fill the orders which kept crowding in
upon him. By selecting a subject which was of the deepest interest to
the people of the country, he had thus attracted attention to his
merits, and he felt sure that by keeping the people supplied with works
illustrative of the topics of the day, he would win the success to which
he aspired.

He now ventured to establish himself permanently in New York, and,
renting the garret of a Broadway building, set up his studio in it, and
issued this modest card: "John Rogers, Artist, Designs and Executes
Groups of Figures in Composition at his Studio, 599 Broadway." The
success of his works had