THE OLDEST REVOLUTIONARY WAR WIDOW

In the early 1850s, few pedestrians strolling past the house on H Street in Washington, near the White House, realized that the ancient widow seated by the window, knitting and arranging flowers, was the last surviving link to the glory days of the early republic. Fifty years earlier, on a rocky, secluded ledge overlooking the Hudson River in Weehawken, New Jersey, Aaron Burr, the vice president of the United States, had fired a mortal shot at her husband, Alexander Hamilton, in a misbegotten effort to remove the man Burr regarded as the main impediment to the advancement of his career. Hamilton was then forty-nine years old. Was it a benign or a cruel destiny that had compelled the widow to outlive her husband by half a century, struggling to raise seven children and surviving almost until the eve of the Civil War?

Elizabeth Schuyler Hamilton-purblind and deaf but gallant to the end-was a stoic woman who never yielded to self-pity. With her gentle manner, Dutch tenacity, and quiet humor, she clung to the deeply rooted religious beliefs that had abetted her reconciliation to the extraordinary misfortunes she had endured. Even in her early nineties, she still dropped to her knees for family prayers. Wrapped in shawls and garbed in the black bombazine dresses that were de rigueur for widows, she wore a starched white ruff and frilly white cap that bespoke a simpler era in American life. The dark eyes that gleamed behind large metal-rimmed glasses-those same dark eyes that had once enchanted a young officer on General George Washington's staff-betokened a sharp intelligence, a fiercely indomitable spirit, and a memory that refused to surrender the past.

In the front parlor of the house she now shared with her daughter, Eliza Hamilton had crammed the faded memorabilia of her now distant marriage. When visitors called, the tiny, erect, white-haired lady would grab her cane, rise gamely from a black sofa embroidered with a floral pattern of her own design, and escort them to a Gilbert Stuart painting of George Washington. She motioned with pride to a silver wine cooler, tucked discreetly beneath the center table, that had been given to the Hamiltons by Washington himself. This treasured gift retained a secret meaning for Eliza, for it had been a tacit gesture of solidarity from Washington when her husband was ensnared in the first major sex scandal in American history. The tour's highlight stood enshrined in the corner: a marble bust of her dead hero, carved by an Italian sculptor, Giuseppe Ceracchi, during Hamilton's heyday as the first treasury secretary. Portrayed in the classical style of a noble Roman senator, a toga draped across one shoulder, Hamilton exuded a brisk energy and a massive intelligence in his wide brow, his face illumined by the half smile that often played about his features. This was how Eliza wished to recall him: ardent, hopeful, and eternally young. "That bust I can never forget," one young visitor remembered, "for the old lady always paused before it in her tour of the rooms and, leaning on her cane, gazed and gazed, as if she could never be satisfied."

For the select few, Eliza unearthed documents written by Hamilton that qualified as her sacred scripture: an early hymn he had composed or a letter he had drafted during his impoverished boyhood on St. Croix. She frequently grew melancholy and longed for a reunion with "her Hamilton," as she invariably referred to him. "One night, I remember, she seemed sad and absent-minded and could not go to the parlor where there were visitors, but sat near the fire and played backgammon for a while," said one caller. "When the game was done,...