,,american ,,masters ,,of ,,sculpture ,by the same author3 ,,american ,,masters ,,of ,,painting ,,photography ,,as ,a ,,fine ,,art ,illustration3 ,,the ,,sherman ,,monument ,by ,augustus ,saint-,gaudens ,,american ,,masters ,,of ,,sculpture ,,being ,,brief ,,appreciations ,,of ,,some ,,american ,,sculptors ,,and ,,of ,,some ,,phases ,,of ,,sculpture ,,in ,,america ,,by ,,charles ,h4 ,,caffin ,author of 8,american ,masters of ,painting0 ,illustration ,,garden ,,city ,,new ,,york ,,doubleday1 ,,page ,,company #aiac ,copyright1 #aijc1 by ,doubleday1 ,page ,company ,,introduction ,the year #ahgf1 the date of the ,centennial ,exhibition1 is a landmark in the progress of ,american sculpture as it is in that of ,american painting4 ,not to be fixed too definitely1 and yet serving approximately as a starting-point of new conditions which have transformed what had been a sporadic and largely exotic product into a lusty1 homogeneous and thoroughly acclimatised growth4 ,i speak of the gradual improvement and spread of taste in the community2 the steady trend of students to ,paris and the habit of ,american sculptors to make their own country the scene and inspiration of their labours4 ,the earlier tendency had been toward ,italy2 to ,rome and ,florence1 especially1 where ,american colonies existed4 ,here the student adopted the ,canova tradition of sweetened classicism1 or the infusion of naturalism into the classic vein1 represented in the work of a few romanticists2 and1 having learned his craft1 remained in ,italy to practise it4 ,his sources of instruction had not been of the best and he worked in an atmosphere tainted with artistic and political decadence4 ,it is not surprising that much of the sculpture of this period1 though considerably admired in its day1 strikes us now as coldly and pedantically null1 unconvincing and grandiloquent or1 at best1 innocuously sentimental4 ,only once in a while is there a statue of such moment as 8,the ,greek ,slave10 by ,hiram ,powers1 which very closely follows and attains to the purity of ,canova's style4 ,the more memorable works of this period came chiefly from those sculptors who1 although living abroad1 kept in touch with home4 ,of these the most distinguished was ,william ,henry ,rinehart2 yet his classical pieces will not compare in force and dignity with his sitting statue of ,chief ,justice ,taney at ,annapolis1 reproduced in ,mount ,vernon ,square1 ,baltimore1 which still remains one of the most impressive monuments in this country4 ,in like manner ,thomas ,crawford's best works were the bronze doors for the ,capitol1 illustrating events in the ,revolution1 the colossal 8,liberty0 which crowns the dome and an equestrian statue of ,washington at ,richmond4 ,equally it was in another equestrian statue of ,washington1 the one which stands in the ,boston ,public ,gardens1 that ,thomas ,ball reached his best achievement4 ,but it is inferior in ease and dignity to the same subject executed by ,henry ,kirke ,brown1 whose equestrian statue of ,general ,scott at ,washington also stands out conspicuously among the best we have4 ,brown1 too1 studied in ,italy1 but with the conviction that ,americans should occupy themselves upon ,american subjects returned home and established his studio in ,new ,york4 ,it would be going too far to attribute the excellence of these two statues to the fact of their having been conceived and executed in the ,american environment1 the more so as ,brown's work was uneven in quality and did not in other subjects reach the dignity of these4 ,yet his deviation from the custom of the time was the outcome of a very individual force of character1 and the influence of the latter upon his work may very well have been renforced by the environment4 ,at any rate1 his action was considered notable in his own day and has always been remembered since1 and undoubtedly marks the beginning of the reaction against self-expatriation4 ,it will not1 however1 escape the thoughtful student of this period how natural such self-expatriation was4 ,a stout heart1 indeed1 was needed to bear up against the dearth of artistic incentive at home4 ,necessarily the time was devoted mainly to material expansion and building up1 especially calling for the heroic qualities of brain and muscle1 and accompanied inevitably by a spirit of materialism4 ,it was not until the conscience and soul of the nation had been re-awakened by a great moral question and chastened by the stern discipline of a tremendous struggle that it began to return to the higher enthusiasms of its youth4 ,hero-worship was reborn--or1 rather1 took a nobler1 more spiritualised form--for a nation will always have its heroes4 ,but now1 instead of the hero of the market or the stump1 whose service to the public is subordinate to self-aggrandisement1 there had sprung up in every ,state--indeed1 from every village and most firesides--heroes of sacrifice4 ,the hero-worship which ensued was bound up with a fuller1 deeper sense of national life1 eager to express itself4 ,it found vent in the spoken and written word1 it sought to free itself in visible1 tangible expression4 ,as the birth of the ,republic had been identified with the erection of noble buildings1 so the rebirth of national conscience and soul found in a revived architecture the means of expressing its national state and civic pride1 and in sculpture its worship of heroes4 ,and it is a remarkable coincidence that the beginning of this esthetic demand fitted in with the appearance in ,america of a band of trained artists1 returning from their studies abroad4 ,the ,centennial ,exhibition opened the eyes of the country to the wonders of foreign art1 and here were ,americans on the spot trained in those foreign schools4 ,with only a few exceptions all our sculptors of the present generation have acquired their training1 either wholly or in part1 in ,paris2 that is to say1 in the best school in the world4 ,for ,france1 ever since the ,middle ,ages1 has never been without a succession of great sculptors4 ,when the ,gothic spirit had spent itself1 that of the late ,italian ,renaissance was imported2 and the art1 continually adjusting itself to the changing conditions of national life1 has been held in uninterrupted honour to the present time4 ,it is in this branch of the fine arts that the ,french genius has found its most individual expression4 ,corresponding with the maintenance of fine traditions is the excellence of the system of teaching4 ,the ,institute and the cole des ,beaux ,arts perpetuate a standard1 characterised by technical perfection and elegance of style1 while the tendency to academic narrowness is offset by the influence of independent sculptors2 for there is not a thought-wave in modern art that does not emanate from or finally reach ,paris4 ,it is the world's clearing-house of artistic currency4 ,the attractions of a city so rich in artistic resources1 so generous to artists1 have allured many to extend their sojourn there beyond the years of studentship1 and ,paris has been in these days1 only in a still greater degree1 what ,florence and ,rome were half a century ago--a resort for self-expatriated ,americans4 ,but1 with a few exceptions1 the sculptors have escaped this tendency2 not so much perhaps from inclination as from circumstances4 ,for commissions have been plentiful in ,america1 and the need of being on the spot in order to secure them drew the sculptors home--on the whole to the betterment of their art4 ,for it is the same with ,paris1 a university of the arts1 as with ,harvard1 ,yale or any other university of letters and science4 ,the atmosphere is most congenial to the quick development of student years2 but1 for the further1 more gradual development that grows out of the stuff which a man has in him1 not to be compared to the rough-and-tumble contact with the larger world4 ,for there are some elements of technique which can be imparted2 others1 however1 are of personal growth4 ,it is a distinction largely of manners and feeling4 ,manners can be imparted and acquired2 feeling1 at best1 mainly guided4 ,its finer manifestations are the outcome of self-development4 ,thus in the matter of modelling1 in which the ,parisian student usually excels1 the hand can be trained to express with exquisite precision and delicacy the surface of flesh and fabric1 the form and texture of each2 and the feeling for the esthetic charm of these things can be aroused and refined4 ,so1 too1 can that larger feeling for the construction of the form and the organic relation of its parts1 up to the point at least of securing accuracy and truth to nature4 ,but the still larger feeling1 which finds in the structure and organic arrangement an expression of emotion and manifests itself most amply in composition1 cannot be taught4 ,to certain general principles the student may be directed1 just as any school of manners may lay down rules of conduct1 which will be admirable in securing propriety and decorum4 ,so far can feeling be instilled and regulated2 but the freer1 deeper1 really significant feeling has its origin in character1 in the moral and mental ego of the individual1 to be further deepened and broadened by the experiences of life4 ,in sculpture this significant feeling manifests itself appropriately in the large field of the general design2 in the weight1 stability and harmonious unity of the mass1 which make the composition monumental2 and in the manifestation of character and sentiment1 sustained through every part of the whole1 which renders the composition expressional4 ,for convenience one separates the disposition of the form from the expression1 but really they are one and the same act1 the sculptor composing his plastic material as the musician does his chords and harmonies1 to give expression to the character or sentiment that supplies the theme of his work4 ,now1 given this natural gift1 the renforcement of it must come from the theme itself1 from the degree to which it has laid hold of and possessed the sculptor's imagination4 ,and it is for this reason that1 when he is executing ,american themes1 the true environment for him is ,america4 ,it ought to give him direct incentive1 and1 even if it does not1 should at least save him from being enticed into a more specious attitude of mind4 ,for ,i think one may note traces of this speciousness in the sculpture of ,americans working in ,paris2 a parti pris for the smaller elegancies of design as opposed to the salient and the large4 ,on the other hand1 the working upon ,american themes in the ,american environment can draw nothing out of the artist that is not in him2 and this higher mastery over form and composition1 being a gift of the gods1 is necessarily rare4 ,perhaps only in a few ,american sculptors1 as only rarely in other countries1 will you discover it2 while skill in modelling1 elegance of design and a generally sensitive taste will be found more diffused through ,american sculpture than through that of any other country except ,france4 ,the reason1 unquestionably1 is the peculiar aptitude of the ,american to impressions and his study in the best of modern schools4 ,,publishers' ,,note ,thanks are due to the ,sculptors1 to the ,century ,company and to ,charles ,scribner's ,sons1 whose assistance has made possible the inclusion of the illustrations in this edition4 ,,contents ,,page ,,introduction ,v ,i4 ,,augustus ,,saint-,,gaudens #a ,,ii4 ,,george ,,grey ,,barnard #ai ,,iii4 ,,john ,,quincy ,,adams ,,ward #cg ,,iv4 ,,daniel ,,chester ,,french #ec ,v4 ,,frederick ,,macmonnies #ga ,,vi4 ,,paul ,,weyland ,,bartlett #hg ,,vii4 ,,herbert ,,adams #ig ,,viii4 ,,charles ,,henry ,,niehaus #aag ,,ix4 ,,olin ,,levi ,,warner #abi ,x4 ,,solon ,,hannibal ,,borglum #adg ,,xi4 ,,victor ,,david ,,brenner #afc ,,xii4 ,,the ,,decorative ,,motive #agc ,,xiii4 ,,the ,,ideal ,,motive #bji ,,index #bcc ,,list ,,of ,,illustrations ,,the ,,sherman ,,monument4 ,,by ,,augustus ,,saint-,,gaudens ,frontispiece ,,facing ,,page ,,grief4 ,,by ,,augustus ,,saint-,,gaudens #h ,a ,memorial in ,rock ,creek ,cemetery1 ,washington1 ,d4 ,c4 ,,the ,,lincoln ,,statue4 ,,by ,,augustus ,,saint-,,gaudens #i ,,relief ,,portrait ,,of ,,robert ,,louis ,,stevenson4 ,,by ,,augustus ,,saint-,,gaudens #af ,,pan4 ,,by ,,george ,,grey ,,barnard #bh ,,the ,,hewer4 ,,by ,,george ,,grey ,,barnard #bi ,,two ,,friends4 ,,by ,,george ,,grey ,,barnard #cd ,a ,memorial ,monument4 ,,the ,,greeley ,,statue4 ,,by ,,john ,,quincy ,,adams ,,ward #df ,,the ,,beecher ,,statue4 ,,by ,,john ,,quincy ,,adams ,,ward #dg ,,death ,,and ,,the ,,sculptor4 ,,by ,,daniel ,,chester ,,french #fj ,the ,milmore ,monument in ,forest ,hills ,cemetery near ,boston4 ,,detail ,,of ,,the ,,clark ,,monument4 ,,by ,,daniel ,,chester ,,french #fa ,forest ,hills ,cemetery4 ,,alma ,,mater4 ,,by ,,daniel ,,chester ,,french #fh ,columbia ,university4 ,,diana4 ,,by ,,frederick ,,macmonnies #gf ,,bacchante4 ,,by ,,frederick ,,macmonnies #gg ,,michelangelo4 ,,by ,,paul ,,weyland ,,bartlett #ib ,library of ,congress1 ,washington1 ,d4 ,c4 ,,madonna4 ,,by ,,herbert ,,adams #ajd ,tympanum for ,st4 ,bartholomew's ,church1 ,new ,york4 ,,portrait-,,bust4 ,,by ,,herbert ,,adams #aje ,,bust ,,of ,,the ,,artist',s ,,wife4 ,,by ,,herbert ,,adams #aaj ,,the ,,driller4 ,,by ,,charles ,,henry ,,niehaus #abb ,from the ,drake ,monument1 ,titusville1 ,pennsylvania4 ,,the ,,hahnemann ,,statue4 ,,by ,,charles ,,henry ,,niehaus #abc ,from the ,hahnemann ,memorial1 ,washington1 ,d4 ,c4 ,,bust ,,of ,,daniel ,,cottier4 ,,by ,,olin ,,levi ,,warner #acf ,,cupid ,,and ,,psyche4 ,,by ,,olin ,,levi ,,warner #acg ,,diana4 ,,by ,,olin ,,levi ,,warner #add ,,cowboy ,,mounting4 ,,by ,,solon ,,hannibal ,,borglum #aeb ,,lost ,,in ,a ,,blizzard4 7,marble47 ,,by ,,solon ,,hannibal ,,borglum #aec ,,tamed4 ,,by ,,solon ,,hannibal ,,borglum #afj ,,portrait ,,of ,c4 ,p4 ,,huntington4 ,,by ,,victor ,,david ,,brenner #afh ,,recumbent ,,figure4 ,,by ,j4 ,,massey ,,rhind #aib ,from the ,tomb of ,father ,brown in the ,church of ,saint ,mary-the-,virgin1 ,new ,york4 ,,puma4 ,,by ,a4 ,,phimister ,,proctor #aic ,from ,prospect ,park1 ,brooklyn4 ,,chariot ,,race4 ,,by ,f4 ,g4 ,r4 ,,roth #bjb ,,bust ,,of ,a ,,child4 ,,by ,,birtley ,,canfield #bad ,,the ,,stone ,,age4 ,,by ,,john ,j4 ,,boyle #bae ,i ,,augustus ,,saint-,,gaudens ,if we value the gift of imagination in an artist over that of technique it is not because we undervalue the latter4 ,without technique a work of art is not to be thought of2 it is as essentially the visible expression of the inward grace as the human form is the casket of the human spirit4 ,but the quality in man or woman of purest delight and most enduring significance is less the body and its acts than the thought that animates them4 ,and is it not so with a work of art8 ,it is as an artist of superior imagination that we regard ,saint-,gaudens2 as one who can give to the facts of our knowledge a fresh form and significance1 attracting us toward the idea contained within the actual1 the idealisation of character or of sentiment4 ,and such imagination in an artist must have a twofold working4 ,it fills him with a fine idea and it discovers to his hand a fine manner of embodying it2 it penetrates his technique4 ,to appreciate fully a sculptor's worthiness in this respect one should realise the peculiar relation in which he is placed with regard to facts4 ,while the painter has a wide range of resources for creating an illusion the sculptor is limited to a comparatively strict and nave realism4 ,even if he introduces an ideal figure1 such as that of an angel1 he is compelled to give it the clear-cut contours1 substance and actuality of a distinctly visible and tangible form4 ,his only means of idealising are the abstract beauty of line and form1 the character of expression in face and gesture and the general feeling of nobility and sweetness that he can impart to his work through the degree to which the thought that is in him inspires his hand4 ,he may1 indeed1 attempt a more obvious trick of idealising1 as when ,greenough represented ,washington in the rle of ,olympian ,zeus by the device of baring the body and placing a mimic thunderbolt in the hand4 ,but to modern taste1 at any rate1 such a procedure seems ridiculous4 ,the truth is1 that the highest form of imagination--indeed1 the only tolerable one to the modern mind--is that which illumines the facts of our common knowledge and expression2 in a word1 which bases itself on facts4 ,but this demands of the sculptor a very high degree of creative imagination1 in all probability a proportionately higher one than the painter's2 for if the latter is confronted1 for example1 with a subject of ill-made coat and trousers1 he can by merging the costume in atmosphere and by toning it with the background so gloss over its inartistic appearance as to produce a handsome ensemble4 ,but1 compared with the sculptor's problems1 this is an evasion of the difficulty4 ,to repeat1 the sculptor is limited in his presentment to the actual facts4 ,but1 though it may seem to be a paradox1 it is almost a truism in art1 that the limitations of a medium are its most characteristic sources of power--at least1 when knowingly and courageously admitted4 ,and1 ,i believe1 it can scarcely be doubted that the quality in ,saint-,gaudens's imagination which has most conduced to his greatness as an artist is this3 it is kindled by contemplation of the facts1 and it finds in the facts its keenest and truest impulse4 ,moreover1 it has been his good fortune to be confronted with large and impressive facts4 ,the panorama of ,american civilization1 and especially one episode of tremendous import--the ,civil ,war--has spread itself behind his work2 and the latter1 as in the case of one of his own reliefs1 has grown out of and in harmony with the background4 ,other sculptors1 also1 have had the same high incentive1 but many have failed to respond to it4 ,saint-,gaudens has had the force of imagination which could not only grasp the magnitude of his opportunity but interpret its impressiveness4 ,the conditions in ,america have demanded that his work should be largely of a memorial character--monuments to those that are honoured in public or mourned in private1 and in both directions his achievements have placed him in the foremost ranks of modern sculptors4 ,this was demonstrated at the ,paris ,exposition of #aijj1 where he was represented among other works by the statue of ,general ,sherman and the 8,shaw ,memorial40 ,a comparison of these1 respectively with ,dubois's 8,joan of ,arc0 and with ,bartholom's 8,monument to the ,dead10 helped one to divine the special qualities of ,saint-,gaudens's style4 ,he himself had a ,paris training4 ,son of a ,french father and an ,irish mother1 brought to this country when a child1 he displayed early an aptitude for art1 and in course of time went through the usual regimen of a student in ,paris4 ,thus he came under the influence of the best academic traditions and of the modern naturalistic movement1 and imbibed both to the degree that his own temperament and the conditions of his inspiration demanded4 ,so in the direction of tradition--that is to say1 of more or less consecutive descent from an original classic type--we may compare his 8,general ,sherman0 with ,dubois's 8,joan of ,arc02 both equestrian statues1 monumental in design1 full of decorative dignity yet so different in character4 ,the latter1 noble in every particular1 has a choice propriety of feeling that separates it by an ocean of motive from the freer spirit of the other4 ,it is at once mannered1 more consciously correct and studiously discreet and has an air of hauteur and aloofness1 as becomes its aristocratic descent in the direct line from ,verrocchio's 8,colleoni40 ,the 8,sherman10 however1 is of only collateral descent1 modified by a larger environment and a fresher inspiration4 ,the typal form has yielded to the individual1 abstract dignity to the force of character1 the fundamental suggestion to that of vivid1 immediate actuality4 ,in its naturalistic tendency and expression of profound emotion the 8,monument to the ,dead10 by ,bartholom1 is at one with ,saint-,gaudens's work2 but ,i found myself comparing it with the latter's figure of 8,grief0 in the ,rock ,creek ,cemetery1 near ,washington4 ,then its degree of naturalism is found to be less4 ,it shows some influence of the classic tradition in the use of nude figures and in their elaborate disposition along the background of masonry2 while the single figure by ,saint-,gaudens is draped and presented with an unaffectedness of arrangement and with an intimacy of appeal that is at the same time more naturalistic and more poignant4 ,so may we not deduce from these comparisons one quality inherent in ,saint-,gaudens3 that of daring to be free from conventional restraint1 or rather the daring to adapt1 with a freedom only limited by his sense of artistic fitness1 the academic traditions which his early life experienced8 ,for the means by which he has wrought out his freedom are in no sense revolutionary4 ,he does not1 for example1 go as far as ,rodin in the latter's disregard of symmetry in composition4 ,his own have always a monumental character1 studied for their effect in the mass1 as seen from various points of view4 ,moreover1 they are always extremely reserved3 as far as possible removed from the floridness indulged in by many students of the academic traditions4 ,a similar reserve controls his naturalistic tendencies4 ,evidently it is not naturalism of itself which attracts him2 indeed1 all his leaning is primarily toward the sculpturesque side of sculpture1 as a self-contained mass1 proportionately impressive1 equable in outline1 decorative and structural in ensemble4 ,these principles of technique are at the service ,illustration3 ,,grief ,by ,augustus ,saint-,gaudens ,a ,memorial in ,rock ,creek ,cemetery1 ,washington1 ,d4 ,c4 ,illustration3 ,,the ,,lincoln ,,statue ,by ,augustus ,saint-,gaudens of--perhaps it would be truer to say that they have been adapted to--an imagination1 which reverences the character in man and can picture and suggest the individual in relation to the larger issues of his time2 with a capacity of emotional expression that has the added poignancy of compression4 ,it has been1 indeed1 continually renforced by the grandeur of the themes that have confronted him1 and the result upon his technique is a gravity of distinction which represents the finest kind of style4 ,in that smaller kind of style which is limited to the actual technique of modelling it would be possible to mention sculptors who far excel ,saint-,gaudens2 but in those qualities of broader and deeper reference wherein brain and sensibility coperate with hand for high creative and poetic ends ,i doubt if he has any superior among modern artists4 ,let us trace the gift of idealising as it appears in several of his works1 selected because they represent a descending scale from the purely ideal to the idealised fact4 ,and first the statue of 8,grief0 in the ,rock ,creek ,cemetery4 ,i made the pilgrimage from ,washington one sunny autumn afternoon with a companion4 ,the gatekeeper directing us1 we threaded our way along the labyrinth of paths1 among the chaos of conflicting monuments1 so many of which testify to impotence of taste4 ,finally a glance behind a hedge of cypress--we are indeed on holy ground6 ,within the little enclosure of solemn greenery a bench1 marble and of ,greek design1 invites to sit2 the world is all outside1 and here before us1 raised upon a slight pedestal1 enough to lift it above the level1 but not too high for close and intimate communion1 is the ,presence3 a woman's seated figure1 wrapped about in coarse drapery that shrouds her head and falls in long1 loose1 heavy folds at her feet4 ,we have heard the story3 ,that a husband1 robbed of his wife with shocking suddenness1 called upon the sculptor to express in plastic shape the void in his life1 enjoining him to ignore all symbols of hope and to give utterance only to the consuming hopelessness of loss4 ,and here before us--in the isolation of the figure1 in the uncompromising sternness of the drapery1 in the majestic agony of the face1 the eyelids lowered in pain1 the lips full and set in the effort of endurance and also in a protest as proud as it is despairing--there is expressed a universality of grief that sums up the sorrow of the modern world1 as well as the eternal question of the why and to what end4 ,under the spell of it a wife and husband sit on into the golden afternoon1 chastened1 purified1 elevated1 drawn closer to each other by the realisation of the mystery of grief1 and with a renewed sense of the sanctity of happiness ere the shadow falls4 ,here indeed is an idealisation1 complete and absolute2 no helping out with wings and symbols1 but the rendering of a simple1 natural fact--a woman in grief2 yet with such deep and embracing comprehension that the individual is magnified into a type4 ,the emotional appeal is universal4 ,in this statue the sculptor could give free rein to his imagination4 ,observe how in the 8,shaw ,memorial0 he meets the problem of an actual fact of history2 the youthful leader riding forth to war with his marching regiment of ,negroes4 ,what a boundless zest he displays for the realism of the scene6 ,he portrays the humble soldiers with varying characteristics of pathetic devotion1 and from the halting uniformity of their movement1 even from the uncouthness of their ill-fitting uniforms1 from such details as the water-bottles and rifles1 secures an impressiveness of decorative composition1 distinguished by virile contrasts and repetitions of line and by vigorous handsomeness of light and shade4 ,mingled with our enjoyment of these qualities is the emotion aroused by the intent and steadfast onward movement of the troops1 whose doglike trustfulness is contrasted with the serene elevation of their white leader4 ,behind this group looms up the tremendous issues of the war2 they were present to the imagination of the sculptor and he has suggested them to ours4 ,hence the work is big with fatefulness1 with a reference reaching beyond the fate of the personages represented to the fate of a nation trembling in the balance4 ,ah6 it is a great gift1 this power to touch upon the fundamental1 the essentially and genetically vital aspect of a matter1 and by means so simple and of common knowledge4 ,as he worked upon the memorial it would seem as if ,saint-,gaudens distrusted somewhat his possession of this faculty1 for to increase the idealisation he has introduced a figure of ,victory floating above the head of the leader4 ,it was not necessary and is scarcely in accord with the rest of the composition1 introducing into the energy and concentration of the whole a somewhat quavering note4 ,yet1 to judge by my own experience1 the sense of jar yields to indifference2 one loses consciousness of this figure in the grandeur and elevation of the whole4 ,but1 if this is the experience also of others1 it tends to prove how unnecessary was its introduction2 and1 further1 one is inclined to resent it as partaking of the obviousness which would occur to a smaller sculptor4 ,a similar attempt to renforce the ideal suggestion contained in the realistic parts of the group with the direct introduction of a symbolic figure reappears in the equestrian statue of ,general ,sherman4 ,but the figure in this case is more intrinsically a part of the general design in perfect harmony of character and feeling1 and the group as it stands1 while almost the latest1 is probably the most completely grand example of ,saint-,gaudens's art4 ,sherman leans a little forward in the saddle with a handling of the reins that keeps in control the impetuosity of his big-boned1 powerful charger1 an action of the hands very characteristic of an accomplished horseman4 ,his head is bare and his military cloak floats from his back in ample folds4 ,victory moves ahead of his left stirrup1 palm branch in hand1 her drapery buoyed up with air2 the horse's tail streams behind2 throughout the whole composition is a single impulse of irresistible advance4 ,from every point of view the mass is compact with dignity1 ornamental in line and bulk1 alive with elevated and inspiring energy4 ,at closer range one may discover the big simplicity and pregnant generalisation of the modelling1 also the meaningfulness of the characterisation4 ,the horse in build and gait is a serviceable beast1 bred for courage and endurance2 the rider1 a man of iron purpose1 indomitable in face and carriage2 while the woman's figure in the grand spirit of the flowing lines and in the lofty sadness of her mien touches a chord of triumph and pathos1 of the glory and the tragedy of victory4 ,i compared this statue with ,dubois's 8,joan of ,arc10 and found it so much less mannered1 so far more vital in the immediateness of its import2 or1 shall we state it in this way3 less consciously a work of art1 more spontaneously the expression of an overpowering sentiment4 ,this1 if ,i am not mistaken1 contains the gist of ,saint-,gaudens's art4 ,while traditional in its origin1 it is a living art1 rooted in the realities of its environment1 modified in its growth--that is to say1 in its technique--by the necessity of responding to its conditions4 ,but how does ,saint-,gaudens fare when he confines himself to a factual representation of his subject8 ,let his statue of ,lincoln at ,chicago testify4 ,no grace of line or grandeur of mass2 only a chair behind the standing figure to eke out the stringiness of the legs and in a measure to build up the composition4 ,nor could the sculptor snatch an easy triumph through any heroic rendering of the figure1 spare and elongated1 in clothes uncompromisingly ordinary4 ,but the man as he was1 and just because he chanced to be the man he was1 was great1 and in the fearless acceptance of this fact the sculptor has seized his opportunity4 ,the statue is planted firmly on the right foot--not every statue really stands upon its feet--the right arm held behind the back--these are the characteristic gestures of stability1 tenacity and reflection2 while the advance of the left leg and the grip of the left hand upon the lapel of the coat bespeak the man of action4 ,with such completeness are these complex qualities suggested and then crowned with the solemn dignity of the declined head1 so aloof in impenetrable meditation1 that the homely figure has a grandeur and a power of appeal which are irresistible4 ,true1 our imagination1 renforced by knowledge1 goes out to reach the artist half-way1 thereby lessening the space he has to travel in his idealisation of facts4 ,behind this isolated figure looms up the scene in which he played so great a part4 ,it was precisely because this scene was present to the sculptor's imagination1 and he knew it would be to ours1 that he set himself to the most realistic rendering of his subject and thereby triumphed4 ,but once more1 turn to his statue of ,peter ,cooper4 ,there is no background here of heroism1 or any environment of a nation roused to highest sacrifice2 only the background of a building1 ugly in itself1 though we know it to be the habitation of a great educational movement4 ,homely also is the general appearance of the founder and benefactor1 yet the figure in its loose1 slovenly costume1 seated in a chair1 presents in its solid mass a suggestion of fundamental force2 the left hand grasps a walking-cane with a gesture of fine decision1 and the head1 with its long hair and fringe of beard1 by sheer force of genial1 manly directness1 so earnest and unsophisticated1 compels us to realize this man to be more than ordinary4 ,he is the prophet of a cause1 the leader of a peaceful revolution4 ,in a word1 if one has the mind and sympathy to note it1 this old and yet alert man1 of ungarnished simplicity and indomitable confidence1 is an embodiment of the same sure uplifting of the people to which he contributed so largely4 ,i have chosen these examples to illustrate ,saint-,gaudens's ability to idealise his subject1 to reach through the fact to the soul within the fact4 ,but his sensibility to impressions is not only moved by the larger aspects of life2 it is also exquisitely sweet and subtle4 ,study his numerous low-relief portraits--for example1 the children of ,prescott ,hall ,butler1 those of ,jacob ,h4 ,schiff1 and the single portraits of ,miss ,violet ,sargent and of ,robert ,louis ,stevenson4 ,in all these and in many others his sensibility is exhibited1 not only in the sympathetic comprehension of character1 but also in the extraordinary finesse of the execution4 ,illustration3 ,,relief ,,portrait ,,of ,,robert ,,louis ,,stevenson ,by ,augustus ,saint-,gaudens ,the figures are not merely set against the background2 they grow out of it1 forming with it an enclosed parterre of beautiful design1 of delicately differing planes of elevation1 of subtle tones of gray in between the extremes of light and dark4 ,the effect is not unlike that revealed at early morning when the landscape is flattened in appearance by the mist1 and1 as the latter is loosened and dispersed by the sun1 the patterned forms take on infinitesimal degrees of definition and mysteriousness behind the intervening veils of lighted vapour4 ,through such a simile one may1 perhaps1 suggest the essential quality of loveliness in these low reliefs4 ,yet they are qualities shared to-day by several sculptors in ,france1 sufficient to reveal an artist of rare sensibility1 but not to measure the grander characteristics of ,saint-,gaudens's art4 ,in the conditions of ,american civilization he has come within a range and depth of inspiration denied to modern ,frenchmen1 and it is in the degree to which he has responded to those opportunities that his preminence consists4 ,his position is unique1 for no other sculptor of our time has so attuned the traditions of his art to the key of the modern spirit for the expression of grand conceptions4 ,,ii ,,george ,,grey ,,barnard ,while ,saint-,gaudens1 an ,american of ,european descent and training1 has caught the outspoken voice of our national life1 ,george ,grey ,barnard1 of ,american parentage and practically self-taught1 expresses its underlying force4 ,to the former came a congenial opportunity in the demand for memorial sculpture4 ,he turned it to great account through his gift of penetrating to the central fact of the subject and of illuminating it with a generous imagination4 ,instead of facts1 however1 it is rather with ideas that ,barnard's imagination has been concerned4 ,they preceded his study of sculpture1 and he sought the latter as an expression for them1 influenced in his self-instruction by the work of ,michelangelo4 ,he is from the ,west1 that huge quarry out of which a new order of ideas is being gradually dug and shaped4 ,the echoes of the clang of tool upon inchoate material1 of sharp wits and keen purpose carving anew at the problems of existence1 reach us from time to time in this more conventional ,east4 ,we may smile at the crudeness of some of the results achieved1 but cannot disregard the import of the endeavour4 ,the force which animates it is the craving for larger1 fuller liberty than mankind has yet attained2 a titanic force1 often brutal in its material manifestation1 but with inherent mightiness of spirit4 ,it is this spirit which has enveloped ,barnard's imagination since his childhood1 and forms1 as it were1 the basis of his art4 ,its keynote is humanity1 the elemental relationship of man to man and of men to the universe2 a liberty of life and art1 that would shake off the trammels devised for narrower theories and conditions and adjust itself to the perspective of a wider horizon4 ,a boyhood nourished on literature and nature-studies sowed the seed from which these matured ideals were to spring4 ,he was born at ,bellefonte1 ,pennsylvania1 in #ahfc1 the son of a ,presbyterian minister2 but his early years up to the age of twelve were spent in ,chicago1 after which the family moved to ,iowa4 ,when only nine years old he began to learn something of shells and minerals from a retired sea captain2 later he studied birds and animals1 taught himself to draw them and by fifteen was an expert taxidermist with as many as #a1bjj specimens in his collection4 ,then for nearly two years he earned his living as an engraver and worker in gold and silver ornaments1 learning meanwhile to model1 until1 having saved a little sum of money1 he returned to ,chicago1 determined to become a sculptor4 ,he was now seventeen and had not yet seen a statue4 ,there is a hint in this of the instinct that draws would-be artists toward sculpture rather than painting4 ,it is an instinct for form1 a passion for its tangible bodiliness1 a prepossession so strong that it seems to transpose the senses of touch and sight2 giving to the flat and round-topped thumb of the sculptor's strong1 square hand a sense equivalent to sight1 keen and sensitive as is the touch of the blind1 and giving to his eye a touch-consciousness4 ,he feels with his eye and sees with his thumb4 ,it is by the touch that in childhood we all assure ourselves of the reality of things1 and it is the stimulation of the tactile imagination1 as ,mr4 ,bernard ,berenson calls it1 which is one of the chief sources of pleasure in the illusion of a picture4 ,but touch to the sculptor is not an illusion4 ,while a painter only imagines the form of an arm through his sense of sight1 the sculptor actually gets his sensation through his hands1 as he feels it growing in form and character1 substance and subtlety of surface under his manipulation4 ,with him the physical delight is added to the mental4 ,i imagine1 indeed1 that the degree to which he expresses this twofold delight is largely the measure of his ability as a sculptor4 ,barnard thus early had experienced it2 but1 we should notice1 so far only through an experience of minute work4 ,yet his communing with himself and with nature along the shores of the great lake and of the ,father of ,waters was only waiting to discover its effects in a larger field of sensations4 ,this awakening did not come to him at once in ,chicago4 ,there was then no ,art ,institute with its array of sculpture casts2 no flourishing school with its accompanying enthusiasms4 ,yet1 possibly that was well for the slow1 silent development of this youth1 a dreamer of dreams1 already a student of philosophy and occultism1 fervently religious1 with a religion that felt after the mysteries of life and included such dawning notions as he had of art4 ,he chanced upon a teacher whose stock in trade consisted of four casts of the antique statues in reduced size1 which he drew in every possible position1 until he had completely mastered the representation of an object on the flat4 ,this1 it will be observed1 was a temporary suspension of his study of solid form1 being indeed1 a transposition from actual depth and distance to the illusion of a third dimension2 and the intense application in this direction1 with the fascination of it1 affected his work for some time4 ,i think a comparison of 8,the ,boy0 with one of his later works will show this4 ,the early work displays more feeling for light and shade than for form1 and is1 in fact1 rather a study of planes of varying value than of bulk4 ,while this may appear a somewhat fine-drawn distinction1 it does involve an important principle1 because it affects the way in which the subject has been considered1 the conception1 indeed1 which inspired the work4 ,in his later work ,barnard is not oblivious to the charm of subtle modelling1 but the larger motive is present in his mind1 that of the constructional1 organic character of the mass1 and it becomes the distinctive direction in which his genius expresses itself4 ,he grew to consciousness of this large aspect of sculpture through the influence of ,michelangelo4 ,hearing that there were some casts of the master's work stored away in a room under lock and key he sought admission4 ,it was at first denied2 students by acts of vandalism had abused their privileges2 the exhibition had been closed to them1 and no exception could be made in his case4 8,but ,i must see them10 was his simple answer4 8,michelangelo lived and worked for me as much as ,jesus did2 his works belong to me--,i must see them40 ,in presence of such a fervour of conviction the director yielded1 and ,barnard was allowed to come and go as he pleased4 ,if one could really know the boy's emotions1 what a revelation it would be6 ,to most of us1 if we can recall our youth1 the impressions that counted most came gradually1 finding us often unprepared for them1 and through circumstances or our own levity of soul unable to receive due profit at the time4 ,but to the young ,barnard1 with a seriousness beyond his years1 peering into the mystery of life1 feeling after expression in form1 the revelation of ,michelangelo's genius must have been like sudden light to a blind man1 who1 hitherto1 had had but vague imaginings of light and form4 ,there1 in the quiet afternoons1 until daylight faded into twilight1 alone with these sublime beings1 the boy would sit and sit4 ,tired on one occasion1 he sat himself in the lap of the 8,moses0--for he was small and boyish-looking despite his seventeen years--and resting his curly head against the statue's beard fell fast asleep1 his young1 eager spirit1 wrapped around and absorbed by the influence of the mighty dead4 ,do you not perceive in this little story another proof of the boy's physical joy in form1 so that after drawing from it sustenance to his spirit he nestled into contact with the feel of it1 as a baby1 surfeited with nourishment1 lies close to the mother's breast8 ,and it was with a good deal of a baby's unconsciousness1 ,i suspect1 that ,barnard sucked in nourishment from the experiences of this time4 ,he was not as yet deliberately studying these statues1 was still ignorant of the technical problems which they offered2 but1 himself a dreamer of dreams1 he lost himself in the magnitude of the conception1 and little by little grew to realise how dreams may shape themselves into form4 ,he began to have an inkling of the majesty of form in the round1 as something not to be translated into the flat1 but to be felt in the bulk2 a realisation of the wonder of palpable structure1 when it has become the plastic expression of noble thought4 ,it was several years later1 and much discipline had to be undergone1 before the impressions of this lonely communing were to become part of his conscious equipment as a sculptor4 ,but ,i wonder whether the scarcity of artists1 as compared with the great number of skilful practitioners of painting and sculpture1 is not due1 in part at any rate1 to the fact that few students enjoy a period of subconscious reception of impressions4 ,in place of it they are surrounded by the clatter of the classroom1 share in the smart little theories of their fellow-students and for the influence of the great masters substitute adulation for some teacher who professes to know a short cut to success4 ,most modern education1 indeed1 is a bustling after results1 that allows no space for the slow1 steady1 silent growth1 such as prepares the sapling to take its place among the giants of the forests4 ,yet in our study of the lives of all true artists we shall find that the period of communing1 either with nature or with the masterpieces of art1 has intervened4 ,happy for the student to whom it comes early6 ,at the end of his eighteenth year he received a commission for the portrait bust of a child1 and discovered for himself the manner of executing it in marble4 ,with the sum received1 he went to ,paris1 studying for a time under the academician1 ,cavelier1 and then establishing himself in a humble studio4 ,twelve years he lived in ,paris1 enduring the extreme of privations1 until the patronage of an ,american1 ,mr4 ,alfred ,corning ,clark1 relieved the pressure of want2 and the acceptance of seven of his works at the ,champ de ,mars in #ahid and his election as an associate of the ,socit ,nationale des ,beaux ,arts crowned his struggles with artistic recognition4 ,during ,illustration3 ,,pan ,by ,george ,grey ,barnard ,illustration3 ,,the ,,hewer ,by ,george ,grey ,barnard the intervening years he had shunned the influence of modern ,paris1 drawing nutriment in the museums from ,phidias and ,michelangelo1 from the divine repose of the one and from the other's conflict of soul1 conscious of great strivings within himself that craved utterance4 ,all his early works were so completely in response to an impulse from within1 that they seem to me to reveal themselves as confessions of his soul1 as manifestations not only of his artistic but of his spiritual development4 ,the earliest was 8,the ,boy03 a nude figure seated1 asleep1 with arched back and with head drooping on the breast2 a supple form1 with that mingling of firmness and languor which a child presents in sound1 healthy sleep2 a composition1 very fresh in conception and beautiful in its rhythmical compactness2 expressive1 moreover1 in every part1 of the character of profound slumber4 ,this single theme of feeling flows through the whole figure in measured bars of melodious movement4 ,i like to think of it as an artist's expression1 not of a boy1 but of boyhood2 his own boyhood1 in its unalloyed purity and freshness1 which even in his manhood is 8not dead but sleepeth02 abiding with him in its beautiful quiescence1 perpetual testimony to the living on of the child in the artist's soul4 ,then may we not see in 8,pan0 an embodiment of his experiences of passionate youth8 ,truly it is also the reincarnation of the spirit of the old golden legend of the world1 before it was burdened with seriousness1 still irresponsible and sportive2 when the woods and streams were haunted by creatures close akin to the animals1 but gifted also with something of man's higher opportunities3 lazy1 sensuous and luxuriously content4 ,but this is only to refer back to a mythological type the perennial characteristics of the birth of passion in a youth4 ,it seems to me quite one with the philosophic bent of ,barnard's mind that he should have comprehended both intentions in his 8,pan40 ,it is as if he had analysed himself and then exorcised his vagrant desires by imprisoning them in bronze4 ,as an artist he takes his opportunity in the recumbent figure of enforcing the sensuous charm of the long1 sinuous limbs1 and once more indulges in the luxuriousness of firm1 soft fleshiness2 this time1 however1 with muscles not relaxed in sleep but unstrung in the sweet lassitude of lazy ease4 ,then what a subtle insinuation of contempt for the type as he conceives it6 ,he sets one long asinine ear acock1 and lets the other droop ridiculously1 while in the slanting eye there is a leer of mischievous1 foolish wantonness4 ,i do not forget that this is later work1 executed after ,barnard's return to ,america2 yet his point of view is so subjective that he can scarcely fail sooner or later to express the struggles of his own soul4 ,but apart from these psychological considerations the statue is one of extraordinary artistic interest2 the composition highly original and to a grand degree sculpturesque4 ,it has1 that is to say1 qualities peculiar to sculpture2 the impressiveness of bulk1 of form in the round1 with vigorous appeal to our tactile sense in its bossy elevations and deep hollows1 and with that aptitude for changing effects of light and shadow1 bold in parts1 in others mysteriously subtle4 ,moreover1 it is remarkable in its expression of character in pose and gesture2 for subtle expressiveness could scarcely be carried further in the line of this conception and it is continuous throughout the figure and harmoniously complete4 ,these1 moreover1 are the traits conspicuous in all ,barnard's work4 ,we shall find them in the group 8,i ,feel ,two ,natures ,struggling ,within ,me10 which1 perhaps1 more than any other of his works breaks away from the usual canons of composition4 ,i can remember that when ,i first saw it the abruptness of the composition startled me unpleasantly2 but this feeling has worn off and ,i recognize an inherent reasonableness in the arrangement1 a harmony of fitness in the conception4 ,it illustrates1 in fact1 the liberty of the western spirit1 which dares to free itself from formula2 it is not to be taken as a subversion of old principles1 but as a justification of the right of freedom of will1 where the originality of thought demands some freer method of expression4 ,for1 as a matter of fact1 the salient feature of this group is the expression of character2 and by the time that you fall under the spell of its intention1 you are reconciled to the abruptness of the composition4 ,it may interest those who are distrustful of 8literary0 expression in a work of art to know that the metaphysical title of this group was an afterthought4 ,it had its inception in the chance grouping1 afterward slightly modified1 of two models1 and the idea was to reproduce the character of pose and gesture4 ,then the standing figure suggested the notion of a conqueror2 not one of the theatrical sort with action of defiance1 but one who through defeat has reached an ultimate victory2 and so by degrees the group began to partake of the fulness of the sculptor's own thinkings and conclusions1 until it finished by presenting in generalized form the conflict of the two natures of man4 ,the evolution of this group very fairly illustrates the balance of impulses in ,barnard's work4 ,he is by natural instinct a sculptor2 one whose imaginings inevitably shape themselves in form4 ,on the other hand he is a thinker of thoughts and a dreamer of dreams that press for utterance1 and he finds the utterance in plastic expression2 but there is no confusion in his own mind between the mode of expression and the thought expressed4 ,he recognizes both the possibilities and the limitations of his art1 and in the working out of his thought confines himself to those aspects of it which lend themselves to plastic interpretation4 ,at the same time his nature is so earnest and intense that it would seem impossible and horrible to him not to use his art to some serious end4 ,but1 be sure1 it is less the bigness of his purpose than his power as a sculptor1 or1 shall we say1 the happy adjustment of the two1 that gives ultimate importance to his work4 ,in further proof of this let me refer to two more of his statues1 one of which had its origin in chance1 the other in deliberation3 ,the former is 8,maidenhood0 which was primarily suggested by the pose of a model1 spontaneously assumed4 ,it had character and was evidently characteristic of this individual type of girlhood4 ,he studied the figure1 first in its ensemble and then in the correlation of its parts1 and as he worked the floodgates of sentiment were gradually lifted1 until there poured into the work his pent-up feeling and convictions concerning female beauty1 his personal ones as a man and the abstract devotion that he felt for it as an artist4 ,the result is a statue1 lovely as a piece of technique1 lovely also in its inspired interpretation of beauty of form and soul2 a figure that has the allurement of individual personality1 as well as that higher quality of abstract loveliness which belongs to an ideal conception1 rendered with exquisite reverence and a spirit of purest poetry4 ,the other statue1 8,the ,hewer10 was begun with the deliberate purpose of embodying in a series of figures the gradual evolution of mankind and1 ,i fancy also1 of the human soul toward higher possibilities4 ,there is nothing unusual in the theme1 but much in the way in which ,barnard has comprehended and expressed it4 ,he has felt it in its elemental significance and set it forth with monumental simplicity4 ,the background of his imagination1 and he makes it part of ours1 is the nebulous immensity out of which primitive man emerges toward the light4 ,the step is won by putting forth of strength2 but tentatively1 gropingly1 with only partial consciousness of strength2 there is an exertion of power1 but a ,illustration3 ,,two ,,friends ,by ,george ,grey ,barnard ,a ,memorial ,monument reserve far greater of unexpended power4 ,in correspondence with the controlled bigness of this conception is the generalized method of the actual modelling1 so that the eye is not deflected to this or that part1 but compelled to embrace the figure as a whole4 ,it is in this respect that ,barnard's work differs from that of ,rodin1 to which at a first glance we might feel disposed to liken it1 in consequence of the expression of character in both and the freedom from conventional restraint4 ,but each has his separate method of attack2 for while ,rodin reaches his ensemble through an elaboration of the parts1 ,barnard is possessed first and foremost of the conception in its entirety and keeps the parts subordinate4 ,the one entices you to follow the play of subtle expression that winds through the figure1 while the other arrests your eye to its structural significance as a unity4 ,in a brief summary of this sculptor's art the thing to be noted is that it is distinguished as much by breadth of conception as by expression of character1 and always with an instinctive regard for the simplest form of plastic interpretation4 ,it is this which separates him from the hypersensitive tendencies of the old world and proves him to be a prophet of the new4 ,his vision is less penetrating than embracing2 his methods more constructive than analytical2 his emotions ample1 sane4 ,his genius indeed has not grown with the sinuous convolutions of a sapling that enforces its existence in a thicket1 but like one that stands alone in virgin soil with spaciousness around it4 ,,iii ,,john ,,quincy ,,adams ,,ward ,born in ,urbana1 ,ohio1 in #ahcj1 ,ward is still an active force among ,american sculptors4 ,his career connects the past with the present1 spanning the long interval like a bridge3 one pier1 embedded in the old condition of things when ,american sculptors first began to make ,america the scene and inspiration of their art1 its arch mounting above the indifference to1 and ignorance of1 things artistic which prevailed before the influence of ,european art began to be felt here1 and its other pier firmly incorporated into the new order4 ,and there is additional fitness in the simile1 for ,ward's career has presented the logical reasonableness of an architectural structure2 built up of character1 stout as granite1 shaped by experience and tempered by local necessities2 a structure modified by practical as well as by esthetic considerations1 which has been invaluable in its day and embodies some features of permanent worth among others that time has superseded4 ,for the architect of his own life cannot proceed like the builder of a material bridge--establish simultaneously his hither and nether pier1 and then by ingenious underpinning support the weight of the arch until he reaches the keystone1 which finally locks all into a compact whole4 ,he can but start with good1 firm basis of intention1 hew the stones as faithfully as he knows and set them in cement of honest endeavour1 lifting his arch by personal force1 while the force of gravity1 acting outside himself1 gradually determines the direction of its curve4 ,he will be shrewder than most if he guesses when he has reached the keystone--generally will only discern it after long years by looking back2 and when he gains the farther bank of the stream and once more has the firm ground beneath his feet1 if he turns round to view the work he will be conscious of parts which disturb the symmetry of the whole3 here a bit of inferior craftsmanship which his later knowledge detects1 there some result of untoward circumstances4 ,he is happy if his life presents a constancy of purpose and has been of service to his fellows4 ,such happiness may fairly be enjoyed by ,ward4 ,his share in establishing the ,national ,sculpture ,society1 of which he has been president since its foundation1 would alone entitle him to the permanent consideration of his colleagues1 while to the sum total of ,american sculpture he has made some very notable contributions4 ,that his work includes examples which fall short in artistic conception and in technical skill1 is undeniable4 ,they are the result partly of the circumstances of his development and partly of his own determined1 straightforward character2 a combination of meager artistic experiences at the start and of a predisposition to the objective point of view4 ,one imagines that he has always been powerfully attracted to the facts of things3 the facts of ,american life and the facts of the subjects which he has portrayed in his art4 ,if there was any fiber of transcendentalism in his mind--and few of us are altogether without some vision of what is beyond the bounds of actual experience--it took the form of speculating upon the future of ,american civilisation1 which facts have subsequently indorsed1 or1 if it entered into his feeling toward his subject1 made him realise something of the spirit embedded in the fact1 as in his early statue representing the ,negro breaking loose his fetters4 ,but the various theories concerning art which study in ,paris might have taught him1 and which in a measure are the shibboleth of people whose faith in facts has dwindled1 and1 unless reallied to actual facts1 are but 8vacant chaff well meant for grain10 he had no means of learning in his youth1 and throughout his manhood1 ,i suspect1 has had little patience with4 ,still at the bottom of all theories is the principle that it is not in the subject but in the manner of presenting it that a work of art is proclaimed2 that technique and motive should be indissolubly wedded--to their mutual perfection if each is choice1 and1 if either is inferior1 to a mutual loss4 ,this was not recognised in ,america in ,ward's youth1 nor until much later2 and none of his work1 it is probably true to say1 reveals that particular kind of craftsmanlike facility which distinguishes the work of the sculptor who has been trained abroad1 and by the side of this more accomplished modelling ,ward's statues often appear crude4 ,but if they lack the stylistic quality1 the best of them have a force which more than compensates4 ,it results from a strong feeling for design1 the general accumulative effect of the whole composition1 which itself results from a strong antecedent feeling for form4 ,the latter seems to characterise all self-taught students1 whether sculptors or painters2 and1 although1 as their experience broadens1 there may be increased subtlety of expression1 the primary characteristic of their work will continue to be a very strong sense and enjoyment of the structural facts of the figure or landscape1 and most frequently in their simplest and directest manifestations4 ,and in the case of sculpture this is an especially valuable gift of vision1 since the most sculptural quality in sculpture is unquestionably that of form3 its solidity1 stability and natural grace or dignity of movement4 ,it is precisely in these particulars that some of our foreign-taught sculptors1 while easily excelling ,ward in refinements of detail1 fall short of him4 ,as a boy he had been devoted to fashioning with his fingers1 and1 at the age of nineteen1 entered the studio of ,henry ,kirke ,brown4 ,the latter1 after practising as a sculptor at ,albany1 had spent some five years in ,europe1 chiefly in ,italy2 but1 feeling strongly that an ,american should occupy himself with ,american subjects1 and to that end should work in his own country1 resisted the tendency among sculptors of that day to join the ,american colony in ,rome or ,florence4 ,he therefore returned and engaged upon the equestrian statue of ,washington1 now in ,union ,square1 ,new ,york4 ,ward assisted him in the work and gained thereby a fine experience of what makes for nobility in design4 ,he must have profited also by companionship with a man of such large and generous mind4 ,but his stay in the studio was short1 and for the rest he has been the architect of his own career4 ,a fragment remains of his student work1 a study for a high-relief in which an ,indian is represented breaking and burning his arrows--an episode of the voyage of ,hendrik ,hudson4 ,one cannot help noticing the navet of the composition1 the simple intention of representing the action just as it might have happened2 the apparent unconsciousness that any academic considerations were involved4 ,it1 no doubt1 represents the attitude of his mind at that time1 and to a very considerable extent prefigures the lines along which his development was to proceed4 ,thus a year or two later1 while he was working in ,washington and executing busts of many leading men of the time1 and the whole country began to seethe with passion over the slave question1 ,ward's contribution to it is 8,the ,freedman40 ,it shows simply a ,negro1 in an entirely natural pose1 who has put forth his strength and is looking very quietly at the broken fetters4 ,the whole gist of the matter is thus embodied in a most terse and direct fashion1 without rodomontade or sentimentality1 but solely as an objective fact into which there is no intrusion of the sculptor's personal feeling4 ,but of his personal point of view toward his art there is abundant testimony4 ,this figure1 which was never reproduced larger than statuette size1 but in that form had a wide popularity1 proves how keen and true was ,ward's instinct for the sculpturesque qualities of sculpture and for the limit to which it is safe to go in the interpretation of sentiment4 ,the latter is simply enforced by the action of the figure4 ,in order that he might have opportunities of studying form in the freedom of movement1 he visited the western frontier and lived for a while among the ,indians4 ,a statue of this period is 8,the ,indian ,hunter10 which now stands in bronze in ,central ,park1 ,new ,york4 ,again it is a strikingly vivid realisation of actual facts2 of the racial characteristics of both the man and his dog1 and of their respective kinds of movement3 the man's1 stealthy and powerfully controlled2 the dog's1 more keen and alert and needing to be checked4 ,again1 too1 one feels1 ,i think1 the absence of any preconceived theories of technique1 so that the group has something of a primitive1 almost barbarous feeling2 which1 however1 seems strangely appropriate to the subject4 ,yet it is easy to understand that for a young sculptor1 so resolutely facing natural facts and untrained in academic teaching of what is right and what is wrong1 a table of doctrines which may easily lead to dry formalism1 but which yet holds many directions and warnings of value1 there will be shoals ahead4 ,the actual may readily drift into the commonplace2 and that some of ,ward's portrait-statues should be of small account was to be expected from the circumstances of his self-wrought development and peculiar personal point of view4 ,they were the stepping-stones by which he gradually rose to higher things4 ,for the thing to be noticed is that he eventually reached the power that is exhibited in such works as the 8,greeley10 8,washington10 8,lafayette10 8,general ,thomas10 and in that masterpiece1 the 8,beecher0 statue1 by following with undeviating persistence the promptings of his youth2 only that with matured experience came a clearer discrimination of the salient facts1 and a deeper understanding of what they truly signified4 ,in a word1 he reached beyond the fact to its significance4 ,it may be mainly the significance of clothes1 as in that remarkable statue of 8,lafayette0 at ,burlington1 ,vermont1 in which he represents the hero of two revolutions as a middle-aged dandy4 ,i cannot say whether he saw behind ,lafayette's support of liberty1 as ,carlyle did1 but at any rate the figure has simply the easy dignity of a well-bred man1 whose embonpoint has modified but ,illustration3 ,,the ,,greeley ,,statue ,by ,john ,quincy ,adams ,ward ,illustration3 ,,the ,,beecher ,,statue ,by ,john ,quincy ,adams ,ward not effaced his debonair demeanour and whose clothes set gracefully to his person4 ,yet the person is unmistakably enforced4 ,the man is not lost in the millinery1 as one may have noticed in some costume statues2 and it is in this respect that ,ward has shown his true appreciation of the significance of clothes4 ,they not only envelop the figure as naturally as a skin1 and with no hindrance to the imagining of the body inside them1 but they adapt themselves completely to the character of the man as shown in the pose of the body and expression of the head4 ,they have been reduced1 in fact1 to an abstraction corresponding to the sculptor's conception of the man4 ,in the 8,washington0 statue1 which stands upon the steps of the ,sub-,treasury ,building in ,wall ,street1 the sculptor had the advantage of a picturesque costume1 and he has treated it with the same masterful ease4 ,yet on this occasion our attention is not divided between the significance of the clothes and that of the figure4 ,the latter represents ,washington in the ceremony of taking the oath of office in #aghi1 an event which happened near the spot now occupied by the statue4 ,the pose is entirely free from heroics3 that of a noble1 true-hearted gentleman1 conscious of the dignity and responsibility of the occasion4 ,one could have wished that the legs were planted more squarely on the ground1 as it would have increased the statuesque assertiveness of the figure2 but it is quite possible that the sculptor intentionally avoided this1 in the desire to suggest that it was at the call of duty and not of personal ambition that ,washington accepted office4 ,so he has taken the weight off the right foot and advanced it slightly1 thus giving a pliant1 curving motion to the body1 and with it a touch of hesitancy to the pose4 ,backed by the classic faade of the ,sub-,treasury ,building the statue is very happily placed1 and amid the turmoil of the neighbourhood strikes a note which is refreshingly true and noble4 ,no less turmoil surrounds the ,greeley monument in ,newspaper ,row and1 outwardly at any rate1 of a less savoury character4 ,moreover1 its pedestal abuts upon a narrow sidewalk1 and the figure1 seated in an armchair1 has the unhelpful background of a large plate-glass window4 ,it is itself1 too1 of shambling build1 uncouthly costumed1 the large1 round face1 oddly fringed with a rim of whiskers4 ,the legs are wide apart2 one arm rests on the back of the chair1 the other lies upon the thigh1 its hand holding a sheet of paper2 the round shoulders droop forward1 and the head is inclined so as to bring into view the flat1 dome-like skull4 ,yes1 the whole composition is the very reverse of what we usually understand by statuesque1 and thousands pass and repass it daily without any recognition1 so occupied are they in threading their way through the swarm of loud-lunged sellers of chronic 8specials40 ,yet if you will step back into the roadway1 at the risk of being demolished by trolley-cars or wagons full of mile-long rolls of paper1 you cannot fail to be impressed by the very strangeness of the figure4 ,how full of character it is6 ,sitting back almost in a heap1 pondering some point1 the figure yet suggests that it is about to rise and put its resolve into action1 so remarkable is the mixture of downrightedness and alacrity4 ,it is indeed a representation of character truly original and of a convincing force1 that bears the stamp of genius4 ,let us place it in our respect alongside of ,saint-,gaudens's 8,peter ,cooper10 as equally a triumph of art over uncompromising material1 and1 indeed1 along similar lines of unflinching acceptance of the actual facts of the problem1 and of broad1 ample sympathy with nobility1 though it does not lie upon the surface4 ,for the convenience of analysing ,ward's methods ,i have ventured to regard these three statues as examples of the significance1 respectively1 of clothes1 form and character4 ,not quite accurately1 ,i admit1 because the three motives unite in all in various proportions2 but perhaps ,i am right in feeling a preponderance of the one in each4 ,however that may be1 we shall find a completely balanced union of all three in the ,beecher monument4 ,the sculptor had particularly in mind the episode of ,henry ,ward ,beecher's visit to ,england in #ahfc1 on a special mission from ,president ,lincoln1 for the purpose of bringing to ,english public notice the true position of the ,north4 ,he was met by noisy opposition1 but bore it down by indomitable endurance and intellectual force4 ,in the strongly marked1 mobile features2 in the intellectuality of the head1 carried so resolutely above the broad chest2 in the striking simplicity of the quiet1 stalwart pose1 no less than in the absence of all rhetorical gesture in the arms1 which are suspended at the sides2 even to such a detail as the right hand1 not clenched aggressively or held in indecision1 but with the fingers drawn up to the thumb1 a gesture that mingles alertness with poise1 the figure expresses character1 rocklike will and mental preminence4 ,the ,inverness cape serves to give increased weight and breadth to the form2 one arm being restrained within its folds1 the other free for a fling of action if the occasion require it4 ,the figure bears down upon its pedestal1 column-like1 monumental in the highest degree4 ,it is a portrait-statue of most extraordinary impressiveness4 ,the equestrian statue of ,general ,thomas at ,washington1 ,district of ,columbia1 is a spirited and arresting composition4 ,the rider presents a portrait study of considerable power1 but the sculptor in his zeal for the actual has seized upon the fact that ,thomas was not a practised horseman4 ,he does not move in his seat with the motion of the horse1 his bridle-hand lacks control1 and the action of the horse's head proclaims it4 ,one may enjoy a detail so minute as that of the hand in the ,beecher statue1 because it is contributory to the total effect1 and equally regret this insistence upon a personal peculiarity of the ,general1 since the total effect is thereby diminished4 ,such a detail is local and insignificant1 only to be appreciated by a few of his comrades2 but the statue will endure and be judged for what it presents2 a general and his horse--do they move as one8 is the personal supremacy of the rider maintained8 ,the pedestal of the 8,beecher0 is embellished with figures4 ,on one side a woman and on the other a little girl is depositing a wreath1 and a boy is steadying the latter figure4 ,they are well modelled in natural and graceful movement1 but they impart a touch of sentimentality1 so alien to ,ward's habit and1 indeed1 to the spirit of the statue1 that ,i wonder whether they were not a concession to the wish of the subscribers4 ,figures again adorn the pedestal of the ,garfield monument in ,washington1 and among them is to be found a most successful treatment of the nude4 8,the ,student0 is an admirable example of ,ward's knowledge of form and of his discretion in rendering it4 ,his ability as a decorative sculptor was shown in the group of 8,sea-horses and ,victory0 which crowned the temporary ,naval ,arch in #ahii1 though executed many years before4 ,equally pronounced were the joyous elevation of the forms against the sky and the harmonious unity of the whole as a mass4 ,it proved that ,ward's management of composition was as thorough in a complicated group as in a single figure4 ,he is now engaged upon the pediment for the recently erected ,stock ,exchange ,building in ,new ,york4 ,as ,i have seen only the model--and that has been subjected to various modifications--it would be premature to discuss it4 ,but it bids fair to be a most memorable work1 fitly crowning by its magnitude and importance a long and honourable career4 ,,iv ,,daniel ,,chester ,,french ,among the earlier works of ,daniel ,c4 ,french is a bust of ,emerson1 a truly admirable rendering of the mingled nobility and sweetness of the well-known face1 of the human kindliness which warmed the pure and abstract elevation of his mind4 ,it reminds us that in his youth ,french enjoyed acquaintance with the philosopher of ,concord and came under the influence of other famous spirits who formed the little group of high thinkers and plain livers1 with whom it was also an axiom1 of more than incidental importance1 that ,americans should shake their minds free of the ,european point of view and develop a culture for themselves out of the genius of their own conditions4 ,french1 himself of ,new ,england stock1 born at ,exeter1 ,new ,hampshire1 in #ahej1 came under these influences at the impressionable age of eighteen1 when he began to model under the instruction of a member of the ,alcott family1 the head of which1 ,amos ,bronson1 had been one of the leading writers in ,the ,dial4 ,moreover1 his own nature1 one may suspect1 furnished congenial soil for the germination of the seeds which it received during this time1 since the fruit of his maturity savours unmistakably of these conditions4 ,and this1 notwithstanding that he spent many subsequent years in ,florence1 where his master was ,thomas ,ball1 a blithe1 sweet nature1 gentle1 refined1 and full of bonhomie4 ,here again was a continuance of1 at least1 the gracious influences which had surrounded ,french's growth from the beginning1 and it was in the light of these that he sucked in nourishment from the environment of ,florence4 ,to judge by the tenor of his afterwork1 the treasures of the city did not affect him very directly2 here and there we may find a hint of assimilated style1 notably in the angels for the ,clark monument in the ,forest ,hills ,cemetery2 but for the most part1 apparently1 the impressions of these days served to give artistic indorsement to the gracious elevation of the earlier literary ones4 ,even the work upon which he engaged himself at that time1 a statue of 8,endymion10 was a following of the ,canova tradition1 still lingering in ,italy1 rather than of the beckonings of the older art1 and chiefly characteristic of himself by reason of the calm1 passionless purity of the emotion involved4 ,the degree and quality of emotion which enters into an artist's work must constitute one of the most important elements in his art and will even affect that other essential element1 the character of his technique4 ,how his work will affect ourselves will largely depend upon the extent to which we respond1 either by nature or by a habit of cultivation1 to the particular kind of emotion which he portrays4 ,on the other hand1 a great number of people seem unable to appreciate the emotional quality in a work of art and look only for the intellectual1 while more than a few artists display little or nothing of the latter quality and exaggerate the sensuous4 ,especially are they apt to limit the range of the emotions to one kind1 that of love1 and to regard it exclusively in its sexual manifestation4 ,in this way the word passion1 with its deep significance of an emotion so strong as to bring suffering1 has been belittled4 ,some art is the product of this nobler kind of passion1 a good deal is only a tiresome reiteration of the lower kind1 and1 again1 there is art which emanates from a tranquillity of spirit undisturbed by either kind of passion4 ,it is in this last category that ,french's art seems to belong4 ,my own appreciation of it recalls the memory of a certain mountain pool4 ,i had made an early start on a summer's day1 rising in the cheerless glimmer before the dawn and spending some two hours as one of many sleepy passengers in a stuffy train4 ,alighting at a drowsy little town1 where small farmers congregate to pursue their petty barterings1 ,i began the ascent by a bridle path1 steep1 stony and dusty1 winding frequently as it steadily mounted4 ,by noon ,i had reached an elevation midway between the last belt of trees and the snow-line and could look down upon the cloud-mists that clung like patches of wool to the forest1 and farther down to the green bowl of the valley1 with its flashes of river and thin spirals of gray smoke4 ,above me was a more venturesome climb1 to have accomplished which would have entailed stouter endurance and more painful effort1 crowned1 it may be1 with a keener1 fiercer exaltation4 ,but1 as it was ,i felt exalted4 ,the spacious prospect1 the crystalline purity of the air1 a labour that had fully taxed my natural strength1 combined to produce a condition of most perfect spiritual exhilaration1 stealing over me so unconsciously as at last to be realised with surprise4 ,the memory of it represents to me the clearest comprehension of passionless emotion and of the mental atmosphere in which a work of art that has not been conceived in the throes of passion may spring forth and be matured4 ,full to the brim of this sensuous elation1 ,i wandered from the path and found myself beside a pool that caught within its deep hollow something of the sky's blue and the glint of a passing cloud2 otherwise mirroring only the surrounding banks and my own figure1 bending over to peer through the cold1 clear water to the bottom4 ,quite near it was to the dusty1 beaten track1 yet secluded1 cradled within its own niche of the great mountain1 placidly exhaling its water to the sky1 whence it was in turn to receive its sustenance4 ,again ,i am helped to understand the beautiful reasonableness of art2 although it may not be of the kind which mirrors the wide experiences of life1 holds within it the mystery of impenetrable depth1 or stirs the soul to loftiest heights of sensuous and intellectual comprehension4 ,for1 if the artist sets his art at the highest spot that his powers permit1 keeps it secluded from the passing traffic of the world1 unsullied1 fresh1 that it may give clear reflection to the figures of the imagination which1 in the calm elation of this upper air1 he brings to its margin1 then he has done something for which the world is infinitely better4 ,it is an art of this kind which ,french1 if ,i mistake not1 represents--elevated1 but passionless2 always true to its noblest and sweetest promptings2 mingling intellectual grace with the graciousness of pure emotion4 ,his first statue was the 8,minute ,man10 erected on the old battle-field at ,concord in #ahge4 ,the young farmer is standing with one hand upon the plow and in the other grasping a musket1 his head alert1 as if he were waiting for a summons1 the body held ready to advance4 ,though a work of immaturity and giving little promise of its author's subsequent accomplishment1 it yet has something of the sweet uplifting of sentiment that will reappear later with more assurance of conviction and with maturer technical expression4 ,the next important work was the seated figure of ,john ,harvard1 unveiled at ,cambridge in #ahhd4 ,during that interval of nine years ,french had made extraordinary progress4 ,whether we consider the conception of the personality or the character of the technique1 this statue is the work of a man who has attained to a realization of his true bent and to a freedom and force of craftsmanship4 ,the dignity of quietude1 a self-contained aloofness1 the tender graciousness of a refined spirit1 a gentle1 unforced sincerity--these are the qualities ,illustration3 ,,death ,,and ,,the ,,sculptor ,by ,daniel ,chester ,french ,from the ,milmore ,monument1 ,forest ,hills ,cemetery1 ,boston ,illustration3 ,,detail ,,of ,,the ,,clark ,,monument ,by ,daniel ,chester ,french ,forest ,hills ,cemetery in himself which the sculptor has imparted to this figure4 ,he has represented in it the fine flower of ,puritan scholarship and devotion to the higher claims of humanity4 ,it is impossible not to detect in this characterisation an echo of the sculptor's own early memories1 and more or less they abide with him up to the present time4 ,in correspondence with the development of his own ideals is that of his technique4 ,it has acquired a breadth and unity of feeling1 a regard for the mass and a tact of choice in the selection of details1 a mingling of suavity and monumental stability1 a disposition of the drapery1 natural and yet enriched with elegant surprises4 ,the statue is at once imposing and full of grace4 ,during the next decade ,french had opportunities for developing the imaginative tendencies which had already shown themselves during his student days4 ,the chief works of this period are the 8,gallaudet ,memorial0 in ,washington1 ,district of ,columbia1 the ,milmore monument in ,forest ,hills ,cemetery1 better known as 8,death and the ,sculptor10 the 8,john ,boyle ,o',reilley ,memorial10 and the 8,statue of the ,republic0 at the ,chicago ,exposition4 ,the 8,gallaudet0 represents the great teacher of deaf and dumb mutes in the act of instructing his first pupil4 ,he has his arm around the girl1 and each raises a hand to fashion the silent talk1 while they gaze into each other's faces in the rapt effort of mutual comprehension4 ,the group is thus realistic in its conception1 but developed with a degree of sympathy that passes into lovely imaginativeness as the sculptor penetrates the mystery of communication between these two creatures4 ,purely imaginative1 however1 is the following work3 ,the untimely death of the sculptor1 ,martin ,milmore1 is here commemorated by an allegory of ,death arresting the hand of a sculptor as he is engaged in perfecting his work4 ,he is scarcely more than a youth1 well-knit and lithe in figure1 with a sweet seriousness of face2 and as he plies the mallet and chisel1 carving anew at the world-old problem of the ,sphinx1 putting forth his brave young strength in pursuit of a yet undimmed ideal1 a gentle touch interposes between his hand and work4 ,he turns his head from the enigma to face the reality of a ,presence--a female figure1 her head tenderly bowed in the shadowed obscurity of a heavy veil1 mighty wings calmly folded at her back1 a bunch of poppies in her grasp4 ,the youth has not yet comprehended who and what she is1 only the ineffable sadness of her face rivets his questioning gaze4 ,he is face to face with another enigma--that of ,death4 ,this memorial has won more admirers than perhaps any other of the sculptor's works1 and the reason is not far to seek4 ,the allegory conveys a human story with such precision and tender sincerity that all can read it and few can fail to be affected4 ,moreover1 the story is told with artistic propriety1 the character of the memorial being sculpturesque4 ,the dignity of form in the round has been boldly asserted2 the device of clothing the youth's figure in a tightly fitting suit permits a contrast of vigorous1 clean-cut form with the drowsy1 sensuous suggestion of the sweeps and folds of drapery on the other figure1 and these again are relieved by the strong1 simple modelling of the wings4 ,moreover1 the varied emphasis of these figures in the round1 placed against the quiet1 smooth levels of low-relief in the background1 results in a colour-scheme of striking handsomeness2 the gradations from dark to light mingling richness and delicacy of tone1 while the passages are distributed with such variety of bold and subtle contrasts as to be exceptionally decorative4 ,and it is by these devices1 as well as by the action of the two figures and the expression of their faces1 that the sentiment of the subject is conveyed4 ,the quality of the sentiment in this particular group is fairly characteristic of ,french's range of emotional expression4 ,it has more of elevation than of breadth and depth4 ,not that it is lacking in either candour or sincerity1 but1 like ,truth at the bottom of the well1 it exists in a cool1 clear1 undisturbed element1 its gaze concentrated on the circle of sky above1 a glimpse of abstract inspiration1 checkered by the occasional passage of a bird or by some wayfarer's shadow4 ,separated from the turmoil of human passion it touches the theme of humanity with a gracious tenderness that leans toward an elegant idealisation and to an attitude of feeling that is far less human than artistic4 ,i would cite1 as an illustration of what ,i am trying to express1 the fact that ,death has been symbolised by a woman of noble and inviting mien1 whose arms might fold themselves around the young sculptor's form as with a mother's caress1 while she pressed the poppies on his brow and wooed him to eternal sleep4 ,it is a beautiful idea1 which touches our fancy1 but not the heart that has experienced the pain of loss2 and in its lyrical melodiousness we miss the snapping discord that would hint at the tragedy of a career of promise abruptly cut4 ,similarly1 a delicate fancy rather than imagination pervades the monument erected to the memory of the poet ,o',reilley4 ,this group of three figures may be felt also to establish a doubt1 aroused by the previous work1 as to whether the sculptor is fortunate in the treatment of a composition which involves more than one figure4 ,neither of them is conspicuous for organic unity or for relational value in the parts4 ,it is1 indeed1 in the management of a single figure that ,french produces the most complete ensemble4 ,among these the colossal 8,statue of the ,republic0 at the ,chicago ,exposition marks1 if ,i mistake not1 a turning-point in his art4 ,here1 for the first time1 his matured powers came into direct contact with the influence of architecture4 ,hitherto his imagination had played around the subject represented2 now it became absorbed in the architectonic significance of the statue itself1 as a feature of isolated and conspicuous emphasis in a great scheme of monumental architecture4 ,removed from the surroundings for which it was conceived1 the 8,republic0 is scarcely beautiful1 the contours being rigid1 the pose monotonous2 yet these qualities became in its appointed place the very source of its indubitable stateliness2 of its value as a focus-point in the long vista of the ,court of ,honour and as an expression in heroic shape of the dignity of the ,republic4 ,at this time ,french came into close contact with the architect1 ,charles ,f4 ,mc,kim1 and the intimacy has ripened into very frequent collaboration1 so that1 although he has executed other commissions1 such as that clever character-study1 the statue of ,rufus ,choate1 and1 in coperation with ,e4 ,c4 ,potter1 a spirited and impressive equestrian statue of ,washington1 his work has become more and more identified with sculpture in its relation to architecture4 ,to a mind like his1 that seems always to have leaned toward the abstract1 this alliance with an art so free from direct human allusion must have followed quite naturally4 ,yet we may be disposed to regret a transition which has in a measure1 if ,i may use the word1 dehumanised his art1 which broke off his development when it had acquired a charm of poetical expression not too usual in this country1 and would appear to have curtailed the freedom and individuality of his manner4 ,certainly1 the series of figures for the ,capitol at ,st4 ,paul1 ,minn41 lack the distinction and vital worthiness of some of his earlier work2 and even the latest statue of 8,alma ,mater10 beautiful as it unquestionably is1 ,i can hardly feel belongs among his best4 ,in the centre of the spacious paved court that forms the southern and chief approach to ,columbia ,university1 at the foot of the steps which lead up to the library--one of ,mc,kim's most choice and impressive designs--she sits enthroned2 clothed in a loose robe and college gown1 a volume open on her knees1 the arms extending upward from the elbows which rest upon the chair1 one hand holding a scepter1 the other open with a gesture of welcome4 ,the face is of a familiar type of ,american beauty1 corresponding with the very modern suggestion of the whole figure4 ,yet the sculptor has invested the head with an air of dispassionate refinement which gives it a certain aloofness2 scarcely more1 however1 than the self-possession1 consciously unconscious1 with which the ,american woman can carry her beauty4 ,it is almost as if one of them had mounted the pedestal and1 with a ready wit embracing the situation1 were enacting the part of patroness to the university4 ,every student will love her and her influence will be altogether one of sweet nobility2 but whether he will receive any inspiration in the direction of the highest art and scholarship is less sure4 ,the immediate fascination of the statue is that in feeling it is thoroughly modern and ,american2 and1 if it fails to comprehend the complex elements drawn from all sources and times which mingle in our highest civilisation1 it is precisely because it is limited in character to the local and contemporary4 ,we recall that ,french in his youth came under the influence of ,emerson1 one of whose tenets was1 as far as possible1 to ignore ,european traditions1 and to draw his illustrations from the society and manners of the ,united ,states2 that ,french himself lived some time in ,florence without assimilating its influence directly1 has habitually confined himself to rendering types of ,american character and has gradually discovered for himself a personal form of technical expression4 ,to this personal isolation may be traced both the excellence and the limitations of his technique4 ,it is distinguished by a pure and poignant serenity1 by a monumental feeling penetrated with a sort of gentle sprightliness2 for the expression which he puts into the modelling of the limbs can scarcely be characterised by a word of more sensitive application4 ,in his handling of an arm or hand1 still more of the articulation of a wrist1 his method is so dispassionate as to betray little fascination in the loveliness of form and movement4 ,in this respect his technique1 as compared with modern ,french sculpture1 is deficient in the stylistic quality1 lacking the raciness and the suggestive piquancy of craftsmanlike precision4 ,as to the finer quality1 that of style1 in which thought is wedded to technique in a union choicely ,illustration3 ,,alma ,,mater ,by ,daniel ,chester ,french ,columbia ,university appropriate1 indefinably distinguished1 one may detect it in his angels for the ,clark monument1 particularly in the treatment of the head and wings4 ,but these panels are1 perhaps1 the only examples of his work in which a direct influence of his sojourn in ,florence can be traced4 ,they are imbued with the spirit of the ,renaissance4 ,when1 as usually1 he works in an atmosphere circumscribed by local considerations1 ,i doubt if we shall find this added savour of style4 ,he handles drapery with evident delight1 but scarcely with an independent control of the material4 ,having arranged it upon the model with perfect taste1 he copies the folds and volumes4 ,they seldom display that touch of artistic arbitrariness which a master of style would give them1 compelling them to yield to the precise shade of expression demanded by the subtle union of his hand and brain4 ,in the 8,death and the ,sculptor0 the drapery reaches a measure of style1 but scarcely in the 8,alma ,mater02 and this is precisely one of the reasons of the suggestion that a woman has been suddenly metamorphosed into a statue4 ,the drapery is not idealised4 ,yet1 if it is only on rare occasions that ,french's work evinces style1 it is never without a very rare and fine distinction--the impress of a man who reverences his art and has yielded her the devotion of a refined and elevated spirit4 ,if the localness of its range may have been at the expense of some desirable qualities1 it has endeared it to the greater number of people and presented an invaluable incentive to many a young artist to seek his ideals in his own country4 ,if it fails to touch the deeper chords of human emotion1 it is always purifying and uplifting4 ,with maturity it has lost nothing of its original freshness1 and has had an abiding influence for good upon ,american art and life4 ,v ,,frederick ,,macmonnies ,penetrating the ,american temperament is a strong vein of boyishness1 alertness1 elasticity of mind1 a happy disregard of difficulty and a buoyant hopefulness2 a predisposition to humour and a refusal1 except in really serious matters1 to take life seriously2 a national grace of gaiety4 ,it is this phase of ,americanism that is reflected in the sculpture of ,frederick ,macmonnies4 ,he is himself a remarkable example of maturity in youth4 ,to-day1 in this year #aijc1 he is but forty1 yet in variety and quality the work accomplished has been prodigious1 and he has long since reached a notable eminence both at home and in ,paris4 ,the latter has been pretty constantly his place of sojourn since #ahhd1 and he has proved himself fully in touch with its spirit1 at least with that exhalation of elegant materialism which hovers over its deeper qualities4 ,for1 except in the statues of ,nathan ,hale and ,james ,s4 ,t4 ,stranahan1 and possibly in his 8,shakespeare0 of the ,congressional ,library1 ,macmonnies has shown himself more alive to the external charm of form than to its expression of underlying qualities of deeper significance4 ,at the age of seventeen he had the good fortune to be received into the studio of ,saint-,gaudens as an apprentice-pupil1 where he worked for some four years1 meanwhile attending the life classes at the ,academy of ,design and the ,art ,students' ,league4 ,even in those days he developed an extraordinary manual skill1 and his drawings also are remembered by his fellow-students as being quite unusually graceful and true4 ,he had1 moreover1 the privilege of working under the master1 at the time of his greatest productivity1 when his studio was the resort of the best architects1 sculptors and painters2 so that he grew up under the most favoured conditions1 corresponding in kind to those experienced by apprentices of the fifteenth century in the bottegas of the ,florentine masters4 ,accordingly1 when ,macmonnies went to ,europe1 in #ahhd1 his experience and knowledge were far beyond what students of his age usually possess4 ,however1 the first visit to ,paris was abruptly terminated by the cholera1 before which he retreated to ,munich1 and for some months studied painting4 ,then followed a tour on foot over the ,alps1 when a summons from ,saint-,gaudens recalled him home4 ,for a year he assisted the master and then returned to ,paris1 this time entering the cole des ,beaux ,arts and studying under ,falguire2 with such success that he twice won the ,prix d',atelier1 which ranks next to the ,prix de ,rome and is the highest prize open to foreigners4 ,then1 taking a studio of his own1 he executed his first statue1 a 8,diana10 which gained an ,honourable ,mention at the ,salon4 ,a commission for three angels in bronze for the ,church of ,st4 ,paul in ,new ,york was followed in #ahhi and #ahij by orders for the ,hale and ,stranahan statues1 for the latter of which he received a ,second ,medal at the ,salon1 the only instance of an ,american sculptor being thus honoured4 ,after executing two small fountain designs1 for which he modelled a 8,pan of ,rohallion0 and a 8,faun with ,heron10 he found himself confronted with the big problem of the ,columbia fountain1 the most important sculptural group at the ,chicago ,exposition4 ,since then1 in addition to many statuettes1 medallions1 busts and low-relief portraits he has accomplished such notable works as the 8,bacchante10 the statue of ,sir ,harry ,vane1 the 8,shakespeare10 pediments for the ,bowery ,savings ,bank and spandrils for the ,washington ,arch in ,new ,york1 a quadriga for the ,soldiers' and ,sailors' ,memorial ,arch in ,brooklyn and horse groups for the entrance to ,prospect ,park1 a 8,victory0 for the battle monument at ,west ,point and colossal groups for the ,indiana ,state ,soldiers' and ,sailors' ,memorial at ,indianapolis4 ,the mere enumeration of this incomplete list of works1 representing a period that scarcely exceeds ten years1 testifies to the artist's energy and inventiveness4 ,that such an exuberance of output should affect the quality of his work was almost inevitable4 ,the precise way in which it seems to have done so is interesting1 in relation not only to ,macmonnies's career1 but to the art generally4 ,it has1 indeed1 a reference to the artist's manner of using his model1 to the degree in which his imagination maintains a control over or succumbs to the facts of the living subject4 ,it is true the model will frequently suggest an idea to the artist4 ,some arrest of action1 momentary gesture1 or the movement of relaxation1 as the figure1 tired with posing1 extends itself1 will supply the artist's eye1 ever on the alert for impressions1 with the hint of a motive which his imagination will develop into a serious and beautiful work4 ,he will use the model to build up the structural fabric of his ideas1 and1 if need be1 to elaborate the facts1 but unless he ,illustration3 ,by permission of ,theodore ,b4 ,starr1 ,new ,york ,,diana ,by ,frederick ,macmonnies ,illustration3 ,by permission of ,theodore ,b4 ,starr1 ,new ,york ,,bacchante ,by ,frederick ,macmonnies can modify the facts of the figure by elimination or accentuation and invest his rendering of them with that intangible something which does not exist in the model1 but in the impression which the latter has made upon his imagination1 the result will scarcely fail to bear the earmark of being a copy4 ,doubtless the artist will lessen the probability of this1 indeed1 may entirely remove it1 by his absorption in the technical subtleties of obtaining an illusion of actual facts out of his inert material2 but this1 after all1 is one of the active forms of his artistic imagination4 ,if he exercises it with enthusiasm he is still maintaining his ascendency over the objectivity of the model4 ,this is the kind of realism in which the ,japanese carver indulges on his sword hilt4 ,the facts are for him merely an excuse for revelling in the enjoyment of his skill--the closer his rendering of them the greater his triumph over the medium--and we ourselves in examining his work lose cognisance of the facts in our wonder at the skill of craftsmanship4 ,this is a very different kind of realism from that exhibited in the statue which crowned the principal entrance of the recent ,paris ,exposition4 ,the figure presumably was to symbolise modern ,paris4 ,perhaps it was in a spirit of mischief1 certainly without much sense of humour and with no imagination1 that the sculptor sought his model in a well-known magazin des modes1 selecting the most famous of the young ladies1 on whose beautiful figure the mantles and cloaks are set1 that the patronesses of the establishment may see by a supreme effort of the imagination how they will set upon themselves4 ,he represented her in a costume la mode4 ,the statue stood against the sky1 a monument of commonplace1 trivial and ridiculous4 ,but1 without going to any such lengths in demeaning his imagination1 the artist may still allow it to become hypnotised by his model4 ,i was very much struck by the remark of a painter1 whose nudes are exquisitely pure and poetical in type1 that it was his habit as soon as he had secured the facts of the figure to discontinue the model1 since he found that otherwise he was apt to become possessed by it4 ,and is it not a fact that in very many statues and pictures one detects the evidence of this possession8 ,is it absent in ,macmonnies's later work8 ,the earlier is alive with spontaneous1 creative energy1 which shows itself most characteristically in works like the 8,cupid on ,ball10 8,boy with ,heron10 and the 8,diana40 ,the last has been criticised for being 8nervous and strained0 in manner4 ,not quite justly1 perhaps1 since the long1 lean limbs are precisely those of one accustomed to swift movement2 the movement in this case is free and elastic1 and the whole gesture of the body expressive of keen and practiced energy2 no antique type1 it is true1 but its modern antithesis1 the girl whose graceful lines have been strung and whose grace of action liberated by physical activities4 ,the figure has the buoyancy and poise of mass and charm of living lines which distinguish the work of ,macmonnies as much as the actual beauty of modelling4 ,these traits reappear in a most fascinating way in the artless grace of the 8,cupid10 bounding along with head and shoulders thrown back1 as he discharges an arrow behind him4 ,the action of the body is quick with naturalness1 and yet the disposition of every part1 even to such a detail as the fingers1 reveals the shrewd arrangement of a choicely refined taste--an instinctive taste1 operating almost unconsciously1 with a frank1 boyish impulsiveness1 high spirited and not without a spice of mischievous humour4 ,for note the redoubtable struggle between the 8,boy with ,heron02 the youngster planted firmly and putting forth his strength so stubbornly1 the bird thrashing the air with its wings and writhing its body angrily4 ,how will it end8 ,is it only a tumble of sport1 or will the young creature of the earth not let go until the creature of the air is subdued1 perhaps maimed1 killed8 ,or1 again1 in the 8,pan of ,rohallion0 the boy stands upon a ball supported by miniature dolphins1 which spout their streams of water and look up as if listening1 while he blows the two reeds that issue at a broad angle from his impish mouth1 leaning back to inflate his chest until his body describes an arc4 ,it is the attitude of a saucy child that has taken the measure of its little self from the affectionate indulgence that surrounds it2 again1 not an antique type1 nor rustically impish like a ,puck1 but with the engaging elegance and self-conscious roguery of a certain kind of modern urchin4 ,yes1 modernity is the key to which all ,macmonnies's work is pitched2 an echo not of the modern mind1 but of the modern temperament4 ,so we may be disposed to prefer the earlier ones1 while his temperament was still fresh and frank and exuberant with the insouciance of youth4 ,later on the exuberance is at once more conscious and less spontaneous4 ,in the 8,diana0 there was an abounding healthfulness of liberated energy2 in the 8,bacchante0 a suggestion of energy1 renforced with champagne4 ,truly1 this is not an inapt suggestion for a bacchante to make2 but we are a long way from the anthropomorphic tendency of the antique mind which personified the power of wine in its social and beneficent aspects1 and saw in ,bacchus the god of civilisation and in his devotees the frenzy of divine inspiration4 ,moreover1 there is no suggestion of this in the statue4 ,the figure is of modern type1 rendered with undisguised naturalness4 ,after being declined by the trustees of the ,boston ,public ,library1 it is now in the ,metropolitan ,museum1 where among the variety of impressions it loses its startling emphasis and takes its place naturally as one of the cleverest pieces of modern sculpture4 ,for of its exceeding cleverness there can be no doubt4 ,the action is such as no model could maintain in its vivacity for more than a moment2 the artist has seized it in all its flow and suppleness of movement and held it in his imagination to the finish4 ,it is a statue which we can almost accept as an example of the predominance of technique over the facts of the living model1 except for a certain look-at-me-ishness which seems to result from the artist's consciousness that his problem was a daring exhibition of skill4 ,there is just a little too much protestation of skill in the whole conception1 just as there is too much protestation of hilarity in the girl's face4 ,her gaiety is hysterical1 the composition lacking in artistic sanity4 ,both the ,nathan ,hale and the ,stranahan statues were completed when the artist was only twenty-eight years of age4 ,the former1 since no portrait of ,hale exists1 is an effort of imagination1 the latter of observation and by far the finer work4 ,for1 while ,macmonnies is gifted with a very delightful imaginativeness1 he has not so far shown himself possessed of the deeper qualities of imagination4 ,the ,hale scarcely rises above a graceful and touching sentimentality2 there is a point-device nicety in the carriage of the figure2 it stands well upon its feet1 but with an air of debonair primness and too conscious rectitude4 ,the point of view is a little immature4 ,in the ,stranahan1 however1 the frankness of youth has helped the artist4 ,he had seen many a sculptor go down before the difficulty of a figure in modern civilian garb1 but he had also seen his master1 ,saint-,gaudens1 triumph over it in his 8,lincoln40 ,so1 as a boy to prove he is not afraid1 grasps the nettle tightly and is not stung1 ,macmonnies grasped his problem and succeeded4 ,he contrives no ingenious arrangement nor extenuates any detail of the costume1 but actually makes it interesting by the charming handling of the masses and textures4 ,with equal directness he has represented the character of the figure3 stable1 composed1 yet animated1 while to the observation of the head he has brought a sympathetic and reverent study1 which results in a singular nobility and sweetness of expression4 ,the statue1 in fact1 has a very considerable measure of monumental dignity1 is full of vitality and touched all over with fineness of human and artistic feeling4 ,full of vitality also1 and of artistic feeling is the 8,sir ,harry ,vane0 in the ,boston ,library4 ,the costume1 a beaver with rolled brim and plume1 doublet and cloak1 and breeches tucked into riding-boots1 offered opportunities of picturesqueness of which ,macmonnies has taken full advantage4 ,the gesture1 too1 as the figure stands firmly with one leg advanced1 drawing on a glove1 is manly and of winning courtliness4 ,indeed1 the elegance may be felt to be in excess2 the conception of the personality being scarcely more than that of a fine gentleman engaged in the unimportant occupation of putting on his gloves4 ,the costume also plays a conspicuous share in the statue of 8,shakespeare0 at ,washington4 ,the doublet1 trunks and surcoat are stiff with embroidery1 most cunningly modelled1 and the set of the silk hose upon the strong1 shapely legs is admirable4 ,the head1 too1 is admirably constructed1 the bony portions having been copied from the bust in ,stratford-on-,avon ,church and the features from the ,droeshout portrait1 commended by ,jonson for its fidelity4 ,thus the external facts have been very conscientiously compiled1 and edited with much mastery of craftsmanship2 but the soul of the facts1 the inspired poet inside them1 is scarcely suggested4 ,the statue illustrates again that ,macmonnies does not display imagination2 that he only approximates to it with a certain charm of imaginativeness1 finding fittest expression in subjects of a decorative character1 of which the very beautiful central doors of the ,library of ,congress remain the most successful example4 ,for the larger compositions1 while full of exuberant invention and charm of detail1 lack unity and dignity of ensemble4 ,the best of them was probably the short-lived fountain for the ,court of ,honour at ,chicago4 ,its central feature1 the 8,ship of the ,republic10 presented a handsome silhouette1 whereas the quadriga on the ,brooklyn ,arch1 when viewed from the back1 does not4 ,considering also the necessary haste involved in the preparation of the fountain1 it was a fairly maintained composition1 reasonably balanced and homogeneous4 ,in spirit1 however1 it represented the verve and gaiety which the ,parisian seeks in exposition sculpture1 and scarcely conformed to the graver1 more monumental character of the architectural scheme at ,chicago2 while the naturalistic rendering of a ,parisian model to symbolise the ,republic1 presented a curious and not uninstructive contrast to ,french's 8,republic0 at the other end of the basin4 ,for in this figure ,macmonnies revealed perhaps for the first time1 certainly in most marked manner1 his tendency to lose himself in the natural facts of the model4 ,some extenuation might be found in the haste with which the work was bound to be completed2 and a similar insufficiency of time--as commissions piled upon him in unexampled profusion--may account for his subsequent addiction to bare naturalism4 ,yet it scarcely excuses it1 and still less that the naturalism should take a grosser form1 until in the colossal groups at ,indianapolis it reached a degree of coarseness in the female figures which is very far indeed from the exquisite feeling of the artist's early work4 ,in the freshness of his youth he reflected the national grace of gaiety4 ,god forbid that the grossness of type and orgy of action displayed in these latter groups should be indicative of anything ,american6 ,,vi ,,paul ,,weyland ,,bartlett ,in the ,metropolitan ,museum of ,new ,york there is a group1 called 8,the ,bohemian10 which represents a man leaning over a young bear1 endeavouring by voice and gesture to encourage it to antics4 ,the attitude and play of movement are very true to life4 ,one knows the action of a trained bear at the end of its keeper's chain2 how it balances from foot to foot1 moves its body up and down like a huge1 slow piston rod1 while its head turns this way1 that way1 keeping rude time to the rhythm1 half chant1 half howl1 of the man's voice4 ,the latter seemed to our childhood's imagination to have some affinity with the bear2 both strange creatures appearing in the village1 whence no one knew2 performing their uncouth antics1 silent but for the man's mournful1 monotonous dirge or an occasional burst of gibberish as he rattled the chain2 then disappearing1 whither8 ,in the posturing of the man in this group we can anticipate what will be the movement of the bear when it is trained1 and feel the suggestion also of an animal kinship between them and of their outcast1 vagrant fellowship4 ,not only is the technique sure and facile1 the observation of form and action just1 but the conception is one in which imagination has played a distinct part4 ,it is an early work of ,paul ,weyland ,bartlett1 executed shortly after he had studied with ,frmiet4 ,one may fancy that he1 too1 had come under the spell of these strange travelling companions1 and the absorbing question to his boy's mind had been3 ,how was the bear taught8 ,then1 in after years1 when his interest in animals1 quickened by the example of his master1 took artistic shape1 he bethought him of his old-time wonder and set himself to solve it4 ,however that may be1 it is clear that ,bartlett's preoccupation in the subject extended beyond mere deftness of craftsmanship1 and that in some way or other his imagination had been roused4 ,i urge this point because some of his subsequent works might lead one to suppose that he is lacking in imagination and absorbed exclusively in the exercise of a very accomplished1 graceful and refined technique4 ,thus his statue of 8,law0 in the rotunda of the ,library of ,congress at ,washington reveals no higher conception than that of a refined young woman in classic draperies1 holding a scroll and resting one hand upon a table of the law2 a personification entirely superficial and only redeemed from mediocrity by the tactful elegance of the modelling4 ,but1 while he was engaged on this1 he was pondering another statue which hit his interest closely4 ,the artist in him that could not be aroused to enthusiasm by an abstraction1 such as 8,law10 awoke to the personal matter of portraying the greatest master of his own craft4 ,his imagination was enlisted1 and after much delay--for his conscience was very truly involved in this work and he had an ideal that to his utmost ability he would reach--the 8,michelangelo0 was completed2 a work of sincere imagination2 of most arresting and moving appeal4 ,then followed a commission for an equestrian statue of ,lafayette2 and1 after making the preliminary sketch for it in ,new ,york1 he returned to ,paris to execute it4 ,it was there1 too1 that he had conceived and executed the 8,michelangelo02 but with this 8,lafayette0 his imagination again failed him4 ,through lack of interest in the subject1 ,i wonder1 or lack of incentive in the environment1 or lack of stability in himself8 ,for from this statue which stands in the ,place du ,carrousel1 a gift from the children of ,america1 judged at least from the full-sized model temporarily erected for the ceremony of presentation in #aijj1 one receives mainly an impression of elegance4 ,an elegance certainly monumental2 raised to the dignity of a motive and incorporated into a fine structure of form1 yet a little bit pretentious4 ,it is as if the sculptor had no higher purpose than to prove his capability as a stylist4 ,he has certainly succeeded2 but the statue is more than a trifle modish4 ,bartlett had no need1 however1 to protest his possession of stylistic qualities4 ,the 8,michelangelo0 sufficiently proclaimed it1 rivalling the skill of technique displayed in ,macmonnies's 8,shakespeare0 in the same rotunda1 and displaying even greater accent of mastery1 since it is the expression of a more forceful and imaginative characterisation4 ,it is worth while to notice how keenly the sculptor has anticipated the material in which the statue was to be finished4 ,for1 while marble permits a great variety of surface effects and delicate contrasts of light and shade1 the essential suggestion of bronze is its hardness1 and consequently its special capacity is to express structure and action1 bone and muscle4 ,in this 8,michelangelo0 one will find no superfluities of detail1 little insistence upon qualities of surface4 ,a few salient lines of planes1 with incisive depth of shade here and there1 suffice for the drawing of the figure4 ,the ,illustration3 ,,michelangelo ,by ,paul ,weyland ,bartlett ,library of ,congress1 ,washington1 ,d4 ,c4 main concern is structural1 even the leather apron playing no inconsiderable part in the strong1 stalwart frugality of the whole treatment4 ,this instinct for the special qualities of bronze has led ,bartlett to make experiments in what is a thoroughly characteristic method of securing surface effect1 the colouring of the metal with patina of various kinds4 ,on several occasions he has exhibited little objects1 such as frogs and turtles1 in which he seemed to have recovered some of the secrets of ,japanese art1 so rich and varied were the tones of red and brown and green1 so exquisite the silky smoothness of the not too highly polished surface4 ,compared with the crude effects of commercial pickling the colour and texture of these objects was a revelation4 ,as to the conception of character in the 8,michelangelo10 opinions seem to differ1 some finding it deficient in suggestion2 as if any statue were likely to convey to our imagination the full suggestion of the master's genius4 ,such can only be found in his own works4 ,for myself1 ,i find abundance of suggestion in the rugged grandeur of the head 7which in the accompanying illustration has been unfortunately reduced in size72 a ruggedness1 scarred by time and spiritual conflict with the fever heat of supreme1 unsatisfied passion2 a rugged1 mountain-like head1 with deepset eyes1 two craters communicating with the inner volcanic fire4 ,i am happy in the possession of a cast of this head1 have lived with it several years1 turned to it constantly with a sense of being strengthened and purified thereby4 ,i find1 too1 in the figure a fair amount of correspondence to the character of the head4 ,structurally it is strong and the attitude is that of a man completely absorbed in the thoughts that occupy his brain4 ,indeed1 one of the most notable things in the composition is the entire absence of any suggestion of preconceived pose2 the figure stands in complete1 unconscious isolation4 ,when the illusion from the front is so satisfactory it is with repugnance that one pries behind the scenes2 but this statue in its position has to be viewed also from the rear and1 so viewed1 is less dignified4 ,the coat1 fitting trimly to the waist and finishing in a stiff skirt1 again with a hint of modishness1 belies the stern simplicity of the front view4 ,some smaller motive has here intervened1 of historical accuracy to a little period of costume1 quite out of place in one who belongs to all subsequent ages2 unreasonable1 too1 for we fancy that the old hewer of marble would never have encumbered himself with such sartorial gear1 when1 as here represented1 he stood with chisel in hand meditating some great conception4 ,but there is no satisfaction in dwelling on this point4 ,the happier thought is that a sculptor1 still young1 could have given us a work so distinguished in technique1 of so sincere and strong appeal4 ,,vii ,,herbert ,,adams ,the delicately refined sentiment of ,herbert ,adams1 product of a naturally sweet and modest temperament1 has discovered its fittest expression in flowers and in the flower-like forms of women and children1 influenced in its manner by decorative feeling4 ,for he seems to have the instinct that leads men to be naturalists2 of the kind whose gentle mind draws them into intimacy with nature's nurslings and frequently as well toward very tender sympathy with what is most fresh and fragrant in humanity4 ,such a one studies and loves form1 but less for its organic and structural import than for its visible expression of the spirit with which his imagination invests it2 a very sensitive kind of imagination1 that must play freely or suffer some impairment of its delicate elasticity4 ,from his earliest years ,adams had desired to be a sculptor4 ,he came of an old family of good ,new ,england stock and was born at ,west ,concord1 ,vermont1 in #aheh1 but passed his boyhood in ,fitchburg1 ,massachusetts4 ,a general education at the local grammar and high school was supplemented by special studies at the ,worcester ,institute of ,technology and the ,massachusetts ,normal ,art ,school4 ,then followed a period of five years in ,paris1 where he studied under ,merci1 the pupil of ,falguire4 ,among the many sculptors with whom he came in contact1 he felt most strongly the influence of these two1 both natives of ,toulouse1 in whose art the poetry of the south mingles with academic elegance and technical perfection4 ,during these years1 too1 he studied in the galleries and frequented the ,louvre1 not only for the sculpture1 but also for the paintings4 ,that the latter should have attracted him may seem at first sight hardly worth mentioning2 since1 indeed1 no student of art1 whatever his metier would be likely to escape the fascination of the paintings4 ,but ,adams seems to have been very conscious of it then1 and to look back upon it now as one of the distinct influences of his student days4 ,and that painting had an influence1 and a very marked one1 upon his technique and motives as a sculptor1 one can scarcely doubt4 ,his early work shows more feeling for the harmonic rendering of light and shade and for the decorative treatment of the surface than for the structure and character of the form4 ,it reveals also1 especially in his busts1 that specialisation of sentiment1 limited in range1 very quietly intense in kind1 tinctured frequently with enigmatic suggestion1 which is so often found in ,italian sculpture and painting of the fifteenth century4 ,that he had felt that influence has occurred to many observers of ,adams's work2 yet it was not until five years ago that he visited ,italy4 ,accordingly1 it must have been to his studies at the ,louvre that he owed his acquaintance with ,italian art2 and the paintings as well as the sculpture1 perhaps as much as it1 must have shaped his impressions4 ,and the work of the marble sculptors of the fifteenth century1 of men like ,mino da ,fiesole and ,maiano1 is strongly pictorial in character1 frequently with more of the painter quality than the sculptor1 with great regard for highly finished surfaces and delicate richness of light and shade4 ,they represented the higher tendencies of the thought of their time3 subtle and refined and elegantly ,platonic4 ,to some corresponding partiality is apparently due the inclination of ,adams's mind toward this particular expression of sculpture4 ,for1 while sculpture responds to the most vigorous conceptions of the artist1 it lends itself also to the most sensitive idealisation2 more so in a measure than painting1 since the absence of the realism of colour makes a greater demand upon the imagination and keeps the representation more nearly within the region of the abstract4 ,in order to increase the sensitiveness of the idealisation by merging it in the vague1 the refuge of the modern world from the too exacting claims of the actual1 ,rodin often leaves part of his statues in the rough4 ,so did ,michelangelo4 ,but the ,italian mind of the fifteenth century1 wedded to perfection and finish as an essential of its creed1 carried to further sensitiveness the tactile suggestion of the marble by bringing its surface to a smoothness of polish akin to that of jade or ivory1 materials which are of peculiarly caressing appeal to the sense of touch4 ,the effect was also heightened by the use of colour4 ,the practice of colouring sculpture dates back to the earliest times which archeological research has been able to embrace4 ,continuing without interruption to the present times in ,oriental countries1 it was1 however1 abandoned in the ,west4 ,yet the ,greeks and ,romans1 the ,gothic artists1 and those of the ,italian ,renaissance up to the sixteenth century resorted to it freely4 ,then the practise1 for some reason1 fell into disuse1 and by degrees the strong prejudice against it resulted in forgetfulness that it had ever existed among the greatest artists of antiquity1 and it was accepted as a matter of course that one of the chief beauties of a marble statue was its whiteness1 and that the colouring of a statue was a habit only of barbarians4 ,but in comparatively recent times we have learned to appreciate the use of colour by the ,indians1 ,chinese and ,japanese upon their statues and to understand its motive1 and have discovered1 as ,i have said1 that the practice was at one time universal4 ,yet even now the prejudice against it continues4 ,some artists object to it because the colour tends to make less obvious to the eye their skilful nicety of technique1 while among laymen there exists a very general misunderstanding of the motive in using colour4 ,they suppose that colour is added to a statue to increase its resemblance to nature2 as1 indeed1 would seem to be the motive in the cheap images commercially produced for churches4 ,but the motive of the best artists has never been a realistic one4 ,they have added colour1 either for decorative purposes or to enforce the idea of the statue1 the meaning that was uppermost in the artist's mind as he fashioned it4 ,thus the statue of the god and the cella in which it stood were brought into a unity of effect by colouring both1 so that the divine presence permeated the shrine4 ,or it might be that the latter was dimly lighted and the greater part of the statue was plunged in mysterious obscurity1 when the artist would gild the lips and eyes that the benign smile and the composure of the glance might shine with soft conspicuousness amid the gloom4 ,in both these examples artistic fitness would regulate the use of colour both to unify the effect and to enforce the idea4 ,so1 too1 in the case of a bust1 the artist may feel that there is an expression in the eyes of the woman whose portrait he is modelling or latent in the curve of the lips1 which summarises the impression of her character as he feels it4 ,in his desire to emphasise the idea which he has in his mind1 he will resort to colour in the eyes or lips2 he may then feel the need of balancing notes of colour elsewhere1 as in the shadows of the hair or in the fillet which binds it or in some ornament of jewelry2 and1 having gone so far1 may find it desirable to complete by further enrichments of colour the general decorative feeling that has been produced4 ,very probably he will be influenced in his use of colour by the larger decorative intention of making the bust more conformable to its place in a room1 so that instead of standing out in cold distinctness it may merge into the warmth of surrounding colour4 ,illustration3 ,,madonna ,by ,herbert ,adams ,tympanum for ,st4 ,bartholomew's ,church1 ,new ,york ,illustration3 ,,portrait ,,bust ,by ,herbert ,adams ,evidently actuated by such intentions1 ,adams has frequently resorted to colour in portrait reliefs and busts1 with so choice a feeling that they have a quality of very rare distinction4 ,in one case1 while the form is marble of a pinkish1 creamy hue1 the bodice of the dress and full-puffed sleeves are carved in wood of a pale-cedar colour and an embroidered band across the bosom is sprinkled with gems of lapis lazuli and green4 ,this last feature is handled with exquisite finesse1 while the character of the rest of the design is large and simple4 ,two of his busts are illustrated here1 and in one case there is colour treatment and in the other the marble has been left in its purity4 ,the former suffers by reproduction1 since the photographic process has altered the relation between the coloured portions and the rest1 giving a sharpness of contrast to the eyes and mouth2 and it is at a further disadvantage1 for the sake of comparison1 because the other is an exceptionally fine example of ,adams's work4 ,a portrait of the artist's wife reveals an intimacy of sympathetic comprehension and a loving reverence of expression that make it a quite unusual work4 ,it is pervaded also with an exquisite mystery of feeling1 as of something beyond the artist's and the husband's knowledge hidden behind the veil of the woman's separate existence1 but a mystery the quality of which his knowledge comprehends4 ,for there is mystery also in the face of the other bust1 but more enigmatic2 only a partial reading of the character and to the rest no clue4 ,while the one portrait reveals a character matured and comprehensible1 notwithstanding that its outlines merge into conjecture1 the other leaves one guessing1 as do many of the old ,florentine women's portraits4 ,the 8,bust of the ,artist's ,wife0 in its melodious rendering of light and shade illustrates very pointedly the predominance of the colour or painter feeling over the sculptural1 of expression over structure4 ,it is more or less felt in all ,adams's busts1 and is very noticeable in low reliefs1 such as the 8,hoyt ,memorial0 and the 8,pratt ,memorial0 tablets1 where he followed his own promptings4 ,but when he works in coperation with an architect1 the latter's influence disturbs the oneness of his motive and draws him to considerations of the architectonic use of form1 which results in some impairment of the expression4 ,in the 8,hoyt ,memorial0 two angels1 floating in the air1 support a tablet with inscription4 ,emphasis is given to the heads and arms and1 in a less degree1 to the wings2 but the rest of the form is indicated little more than is necessary to explain the arrangement of the streaming folds of light drapery4 ,the result is a delicate pattern of light and shade1 a decoration of sweetly refined imagination1 corresponding with the gracious refinement of the expression in the faces4 ,a similar appreciation fits the 8,pratt ,memorial ,angel0 which he modelled for the ,baptist ,emmanuel ,church in ,brooklyn1 although the figure is in the round4 ,in the 8,pratt ,memorial0 tablet1 executed some years later1 ,adams reveals how exquisitely he can use flower forms as motive for decoration4 ,the design forms the border of a long1 narrow panel4 ,at the top is a winged head1 symbolising the ,angel of the ,resurrection1 and at the foot a head without wings1 representing the ,sleep of ,death4 ,the latter is enfolded with poppy-flowers and leaves1 these forms being carried up the sides of the panel1 until at the middle distance they become interspersed with lily-forms which finally assert themselves at the top4 ,the modelling is in very low relief with the exception of the heads1 to the lower of which a modest emphasis is given1 while to the upper a much stronger one4 ,both these faces are very beautiful1 the expression being chiefly centred in the eyes4 ,the lids in the one case are half-raised1 as in the act of awakening before consciousness has fully dawned2 in the other lying as softly over the eyeballs as folded petals4 ,the exquisite chastity and serenity of these ripe1 rounded faces are echoed in the floral borders2 so richly patterned1 yet with such reserve and tender piquancy4 ,and1 in contrast with the usual tedious reiteration of time-wearied ornamental motives1 how refreshing the novelty and imagination in these borders6 ,the artist has gone to nature for his models1 and1 while reproducing the character of ,renaissance ornaments1 has used the natural forms with so delicate an exuberance of fancy that no motive is repeated1 the whole being quick with fragrant and fresh appeal4 ,indeed1 so far as my knowledge goes1 no plastic decoration has been produced in this country which can approach it in beauty2 perhaps not even in the actual beauty of the ornamental forms1 certainly not in the sentiment of pure and holy calm which it exhales4 ,nor even in other decorations by ,adams shall we find1 ,i think1 such perfect harmony between the form and feeling1 for in his other examples he was working with divided mind4 ,while the floral borders upon the pair of bronze doors which he executed for the ,library of ,congress are intrinsically as beautiful as these1 displaying the same freshness of invention and loving insight into the decorative suggestion of flowers1 they have not the same perfectly balanced relation to the character and feeling of the whole design4 ,the artist was dragged from his own poise by two outside influences4 ,the doors had been commenced by ,olin ,warner1 and before his death the figures in the panels had been planned and partly executed4 ,adams was called upon to complete the work and strove loyally to preserve as much as possible of the dead artist's intention4 ,consequently1 the figures are neither his nor ,warner's4 ,moreover1 the planning of the doors had been originally the architect's1 and he1 too1 made his influence felt in the direction of a predilection for the profuse exuberance of ,roman ornament4 ,with this ,adams has absolutely no sympathy1 his own tendency being toward an ardent nature-study purified by the influence of the antique which prevailed among ,florentines of the fifteenth century4 ,therefore1 again he was twisted from what he would have done instinctively4 ,compared with his independent work in the 8,pratt ,memorial0 tablet1 these doors are overloaded and lacking in singleness and unity of motive4 ,yet with what devotion ,adams worked6 ,the process of casting in the bronze could only reproduce the front surface of his decoration2 the undercutting of the leaves and tendrils had to be executed afterward with a graving tool1 and for weeks he superintended the work4 ,viewed in detail1 the borders in these doors are unusually alive with beauty1 but1 as ,i have said1 the ensemble is lacking in the crowning beauty of harmony of form and feeling4 ,he has recently completed a tympanum in marble and two bronze doors for the ,vanderbilt ,memorial ,entrance1 which has been added to ,st4 ,bartholomew's ,church in ,new ,york4 ,here1 again1 he coperated with the architect4 ,such coperation necessarily imposes certain conditions upon the sculptor's imagination2 ,i had almost written limitations or restrictions1 except that the necessity of having to conform to an architectonic plan need be no bar to the freedom of imagination1 but merely directs it into a certain channel4 ,it permits1 indeed1 a liberty within the law2 but this is not the sort of coperation that has existed between the sculptor and architect on the present occasion4 ,the latter has not only established the architectural plan of the design--a geometrical arrangement of bands and spaces which presents a very agreeable ensemble and nice apportionment of graduated emphasis--but has also imposed upon the sculptor the character of his decoration4 ,the church is a modern rendering of the ,romanesque style2 ,illustration3 ,,bust ,,of ,,the ,,artist',s ,,wife ,by ,herbert ,adams therefore1 the architect has sought the models for the decoration in medieval sculpture of the eleventh or early twelfth century4 ,it is a characteristic example of the way in which the ,american architectural mind frequently works4 ,such a course is so obvious and reasonable1 yet what a meagerness of imagination it displays6 ,it has mastered the 8styles0 and lives up to its tables of laws and formulas as rigidly1 as literally and with as little regard for their spirit as the ,jews of old clung to their ,decalogue4 ,it dare not1 or cannot1 rekindle the spirit of the past with an infusion of the present1 as has been done in all living periods of architecture1 but to commemorate a ,new ,yorker of the nineteenth century1 reproduces the ungainly types of figures1 fashioned at a time when architecture was better understood than sculpture4 ,so in the principal panels of the doors the architect has arranged four apostles--rude1 formalistic figures1 too short in the leg--and filled the subordinate ovals with dry little rigid groups2 succeeding in his desire to remind us of the past and failing utterly to affect us in the present4 ,for what possible appeal1 religious1 emotional or esthetic1 can these groups make to the modern imagination8 ,yet1 from the point of view of the subject we are discussing1 the saddest thing is that a sculptor of 8delicately imagined sensations0 should be so distorted from the true bent of his genius and compelled to exert ingenuity in lieu of imagination4 ,it is an incredible waste1 for only in the borders can we discover ,adams's real self2 yet1 if he had been permitted to work in a reasonable liberty of imagination1 he might have made the groups conformable to the style of the building and possessed also of some vital elements of beauty and of beautiful appeal4 ,one effect1 however1 of this unequal coperation with the architect which may bring some compensating benefit to ,adams's art has been that his mind has been directed more than previously to the architectonics of decoration and to the sculptural value of form4 ,for1 while the figures in these doors have no individual interest1 the sum total of the whole decoration has a very marked structural dignity1 which arouses one's respect1 if it does not warm one to enthusiasm4 ,and this enforcement of the structural quality reappears even more conspicuously in the tympanum1 both in the increased sense of force which the figures convey1 and in the organic relation of the forms to the shape of the space and to its architectural function4 ,for1 as ,i have said before1 ,adams's work does not usually impress one by its qualities of form1 but rather by its sentiment and expression4 ,even in the portrait-statue of ,joseph ,henry in the ,library of ,congress and the 8,channing10 recently unveiled at ,boston1 one does not feel the form and character of the bodies4 ,both figures are represented in gowns and count mainly as decorative masses4 ,in the statue of ,richard ,smith1 however1 which is one of his latest1 he has shown the professor in his laboratory1 clad in shirt and trousers1 with no accessory except an apron caught up on one side2 and in the treatment of the head and body and more especially in the carriage of the hands1 as one holds a specimen and the other a magnifying glass1 has obtained a considerable measure of structural character4 ,nor do ,i forget the tympanum1 executed in #ahif1 for the ,senate ,reading-,room in the ,library of ,congress1 a design of two mermaids supporting a cartouche4 ,the nude forms display a thorough knowledge of the figure and a truly sculptural appreciation of the charm of muscular movement rippling over firmly constructed bodies4 ,it seems to prove1 if it were necessary1 that the preference which ,adams has shown for the pictorial possibilities of sculpture is due only to his particular temperament2 to a reticence of feeling that shrinks from too exact an expression of the idea1 around which in his own imagination also he preserves a certain zone of vagueness4 ,so1 in the tympanum for ,saint ,bartholomew's ,church1 illustrated on an accompanying page1 he is divided between the motives of expressing a sentiment of tender adoration and of giving the figures at the same time an architectonic force4 ,in the latter direction we may feel that he has been the more successful2 for in the attention paid to form he seems to have become preoccupied in the model4 ,the same face appears in each of the three figures and with a self-consciousness in the eyes that contradicts the devotional expression of the mouth2 a self-consciousness that ,i find myself connecting with the little niceties of arrangement with which the hair is prinked4 ,i conclude by wondering if this tympanum will prove a turning-point in the artist's career6 ,for when one studies the beauty of form1 so strongly realised beneath the draperies1 its fine expression and functional propriety1 it is to feel that this work1 despite a certain lack of ,adams's usual spirituality of sentiment1 is the most important in a sculptural sense that he has yet done4 ,for1 regarded from the point of view of an architectural decoration it is unusually distinguished with admirable appropriateness of lines and masses to the space1 a truly architectural feeling1 and a distribution of light and shade1 characterised alike by richness and by delicacy4 ,it has the choiceness of style of his best portraits1 renforced by virility4 ,and1 if this latter quality1 called into play by his coperation with the architect1 is maintained in future work1 the result can scarcely fail to be a betterment of his art4 ,for he will find a way of bringing it into complete harmony with the expression of his sentiment1 since there is no necessary incompatibility between virility of style and delicacy of feeling4 ,indeed1 the offspring of their union is a very special poignancy4 ,,viii ,,charles ,,henry ,,niehaus ,charles ,henry ,niehaus is a conspicuous exception to the general rule that our sculptors are ,paris-trained4 ,after working as a youth at wood-engraving1 stone-cutting and carving in marble1 he became a student in the ,mc,micken ,school of ,design1 in his native city1 ,cincinnati1 ,ohio1 and thence proceeded to ,munich4 ,his ,german training was supplemented by extensive travel and later by a prolonged visit to ,rome1 during which he devoted himself to the study of the nude under the influence of the antique4 ,but before the latter interlude in a life otherwise filled with the execution of commissions1 he returned to ,america4 ,for him the time was auspicious4 ,president ,garfield had recently been assassinated1 and the ,state of ,ohio had appropriated funds for a statue to be placed in the ,capitol at ,washington1 and by public subscription another was to be erected in ,race ,street1 ,cincinnati4 ,both these commissions were awarded to the young ,ohio sculptor4 ,each statue commemorates ,garfield's gift of oratory1 but the one at ,cincinnati in a more informal way1 so that it probably represents very fairly ,niehaus's particular tendency at this time4 ,there is a dramatic touch in the pose of the figure2 the weight firmly on the left foot1 the other energetically advanced2 both arms extended2 one holding a sheaf of paper1 the other raised slightly in a gesture of maintaining the attention of the audience2 the handsome head well carried above the broad1 arched chest4 ,but this dramatic suggestion does not pass beyond the limit of tolerably natural characterisation2 the balance between energy and controlling force1 manifested in the studied carriage of a speaker accustomed to move his hearers2 and the naturalism is completed by the absence of all affectations of arrangement in the costume4 ,it comprises simply a frock coat and trousers and an overcoat unbuttoned and drawn clear of the chest4 ,the figure1 indeed1 is represented in the guise and attitude in which it might be familiar to the greatest number of people4 ,so1 too1 is that of ,william ,allen1 for which ,niehaus shortly afterward received the commission from the ,state of ,ohio2 yet with even greater simplicity and naturalness1 with an absence of the heroic or dramatic which had been fitting enough in the 8,garfield10 considering the circumstances4 ,the 8,allen0 is an intimate portrait of an incisive speaker and clear1 close reasoner1 in an attitude entirely unstudied1 full of natural resolution4 ,from these two statues one may get a very fair impression of the sculptor's natural bent as influenced by ,munich training4 ,its prime feature is a vigorous realism that makes straight for character in the subject1 finding it as much in pose and gesture as in the head1 and giving expression to it in the simplest and directest fashion2 if with some dramatic play as we have seen1 yet without any floridness4 ,what we do not yet observe is a feeling for the subtler expression of movement in the figure1 and1 in consequence1 of subtler feeling in the disposition and texture of the draperies2 qualities which entered into his work after his protracted study in ,italy4 ,for1 having completed these commissions1 ,niehaus set out for ,rome and established himself in a studio just outside the ,porta del ,popolo1 in close proximity to the ,villa ,borghese1 devoting himself1 as ,i have said1 to the study of the nude4 ,the only three statues which survive from this period--an athlete scraping himself with a strigil1 another binding on the cestus1 and a 8,silenus10 pirouetting on one foot as he blows his pipes--are quite remarkable examples of the modern interpretation of the antique4 ,movement continuous through every part of the body and absolutely adjusted to the action2 a poise of balance in the disposition of the torso and limbs1 which combines the pleasure of repose with that of movement2 anatomical accuracy that includes the structure of the figure and the varieties of tension according as the muscles are separately employed2 and throughout a salience of modelling which imparts a dignity as well as naturalness to the whole--these are the qualities so admirably attained4 ,the knowledge of form and the feeling for it thus perfected has naturally influenced all the sculptor's subsequent work4 ,he exhibits them obviously in the colossal nude1 8,the ,driller10 executed for the ,drake monument at ,titusville1 ,pennsylvania2 but no less in numerous portrait-statues4 ,an ,american sculptor has unfortunately few opportunities for displaying his ability in the treatment of the nude1 the commissions which perforce engage his time being almost exclusively problems of figures in modern civilian garb or in the uniform of the army or navy4 ,he may occasionally introduce it into a piece of decorative sculpture1 or fashion some ideal subject for the pure love of doing it1 since his chances of disposing ,illustration3 ,,the ,,driller ,by ,charles ,henry ,niehaus ,from the ,drake ,monument1 ,titusville1 ,pennsylvania ,illustration3 ,,the ,,hahnemann ,,statue ,by ,charles ,henry ,niehaus ,from the ,hahnemann ,memorial1 ,washington1 ,d4 ,c4 of it are very limited4 ,for while the old ,puritan objection to the nude may have almost died out in ,america1 it has scarcely been succeeded by a true appreciation of the abstract expression and beauty of the human form when treated by an artist4 ,an old-fashioned bluntness of vision fails to see more in a nude than nakedness2 may enjoy very thoroughly the structural and muscular development1 play of movement and texture of skin in a horse1 or the analogies of these qualities in a tree or plant1 and yet miss entirely their subtler manifestations when exhibited in the freely exposed human form4 ,prejudice or lack of imagination obscures the fact that it is the expression of these qualities in their highest possible degree1 that is the end and purpose of the artist2 an obscurity1 however1 which1 it must be admitted1 not a few nude paintings and sculptures tend to perpetuate4 ,so ,niehaus had to wait very many years before he could utilise frankly the results of his studies at ,rome4 ,the opportunity came with the erection of a monument to the memory of ,colonel ,edwin ,l4 ,drake1 who sunk the first oil well in ,pennsylvania in #ahei4 ,the donor1 who preserved his incognito1 but who is supposed to have been one of the officials of the ,standard ,oil ,company1 demanded an architectural structure with planes on which the story of ,drake's life and achievements might be inscribed1 and instead of a representation of himself a figure typical of his work4 ,thus arose occasion for 8,the ,driller40 ,it would be well if public monuments were more frequently of this typical character4 ,our cities and parks are peopled in bronze1 not as much as possible to their embellishment4 ,by all means hand down the effigies of great and worthy men2 but why not with more regard for the really salient thing1 the head1 introduced as bust or bas-relief1 and with less for the frock coat and trousers1 the cut of which can be taken on trust or1 better still1 forgotten8 ,instead of demanding such prosaic record1 how much better it would be to call upon the sculptor to create out of his imagination some subject that may represent or symbolise the greatness of the hero and appeal to the imagination of succeeding generations1 meanwhile gladdening all who pass and repass it daily with its essential beauties4 ,have you not seen a trousered1 frock-coated statue against the pedestal of which are a row of seats and sitters with their back to the man that is to be remembered8 ,substitute1 however1 for example1 a fountain to his memory2 and in parched summer weather1 at least1 all eyes would be turned toward its refreshment1 and possibly some hearts reminded of the man in whose honour it was placed2 who1 if he were fit to be remembered1 must have brought in his lifetime some refreshment and stimulus of suggestion to his fellowmen4 ,so with our battalions of generals1 mounted and unmounted1 scattered over the country4 ,great men they were1 but there was greatness also in the volunteers of the rank and file2 and ,i for one shall continue to find more incentive to enthusiasm in the recognition of this in the ,shaw ,memorial than in dozens of solitary individuals4 ,once more1 it is imagination in which we are wont to be lacking2 and the best that is in our artists is seldom called forth because of our insistence upon the obvious and trite4 8,the ,driller10 therefore1 was an unusual opportunity for ,niehaus1 of which he has made characteristic use4 ,that is to say1 the realism of the figure as it kneels with hammer uplifted to drive the drill into the ground1 is admirably true1 while the figure has a classic dignity of composition2 and its expression of control1 as well as of the putting forth of force1 brings it within the domain of ideal beauty4 ,in some groups which were among the ephemeral sculpture of the ,pan-,american ,exposition he also freely introduced the nude1 in a number of figures symbolising various kinds of industry4 ,individually they were excellent1 but the combined effect was unfortunate4 ,the composition as a whole lacked cohesion and dignity1 representing little more than an aggregation of figures1 separately employed2 so that one missed the idealising touch and found their realism of the crudely1 story-telling kind4 ,and this last characteristic--,i do not know whether it is a symptom of ,german genre feeling derived from ,munich--reappears elsewhere in his work4 ,while his statues are strongly sculptural1 his bas-reliefs betray not only a very pictorial feeling1 but that particular genre phase of it which is mainly occupied with enforcement of the facts4 ,not1 however1 in his earliest work of the kind1 the historical doors of ,trinity ,church1 ,new ,york1 in which the representation of incidents was demanded4 ,these he represented very realistically1 but with a regard for the decorative charm of full and empty spaces and of receding planes of distance4 ,compared with the pictorial nuance displayed in these six panels1 the treatment of the four which embellish the ,hahnemann monument is very deficient in artistic imagination4 ,they represent the founder of homeopathy in a series of scenes which are baldly illustrative and seem to have little interest of subject and still less of decorative value4 ,yet they are affixed to a monument setting off a portrait-statue which is ,niehaus's finest work1 and equalled by few others in the country4 ,the expression of benign dignity in the head flows through the whole length of the figure1 which is disposed in lines that are as suave as they are noble4 ,from every point of view it has the grandeur of monumental repose1 softened1 one might almost say humanised1 by this exquisite winding movement4 ,among modern portrait-statues ,i can remember few that make so sweet and serious an impression4 ,in the composition of this figure one can trace unmistakably the effect of the sculptor's close study of the antique1 not only in the suppleness of movement and statuesqueness of pose1 but also in the abstract appeal to one's esthetic enjoyment that the composition of the figure yields4 ,moreover1 this freedom1 force and sensitiveness extend to the handling of the drapery1 in which every fold has a grace of naturalness and also a value of expression4 ,these qualities are again happily united in the sitting statue of ,lincoln at ,muskegon1 ,michigan4 ,while it is neither so forceful nor so persuasive as the 8,hahnemann10 it yet has a liberal measure of graciousness and dignity and a finely monumental feeling4 ,in these statues and in some others1 as in the ,gibbon in the ,library of ,congress and1 though perhaps by more apparently contrived means1 in the standing statue of ,stephen ,girard1 ,niehaus obtains from the composition of the single figure a degree of decorative effect which seems to fail him in treating groups4 ,thus the pediment of the ,appellate ,court1 ,new ,york1 while good in detail1 is without much unity or harmonious feeling4 ,it is1 indeed1 in the portrayal of character--as in his fine1 straightforward rendering of ,farragut1 or in those striking busts of ,rabbi ,gottheil and of ,ward1 the sculptor1 and in the statues already noticed1 wherein the pose and drapery1 besides contributing to the character1 yield an additional suggestion of monumental dignity--that he is at his best4 ,,ix ,,olin ,,levi ,,warner ,in these days when we are trying to raise 8artists10 as we do chickens1 by a process akin to incubation1 we regard it as an anomaly if one emerges to eminence from surroundings which1 according to our system1 do not seem congenial4 ,and people have expressed surprise that ,warner1 the child of a ,new ,england ,methodist minister1 brought up in a community which had no artistic inclinations1 should have made up his mind to become a sculptor before he had ever seen a statue4 ,but the history of art is full of such surprises2 and the thoughts of youth are ever like the wind1 8which bloweth where it listeth2 thou canst not tell whence it cometh or whither it goeth40 ,the greater and more beautiful surprise is that the boy had foundation of character on which to nourish the flowers of his imagination1 and that when in after years they were matured1 it was found that he had kept them so choicely select1 that their fragrance was not unlike that of the flowers which in old time bloomed on the hills of ,hellas4 ,something of the old ,greek spirit had been revived in this son of ,connecticut3 intellectual stability1 moral balance and spiritual serenity4 ,presently we shall consider how these qualities became translated into terms of art in his work--into a feeling for form1 monumental rather than picturesque1 a rhythmical and harmonious reserve1 a peculiar sensitiveness to the significance of the essential facts in the design--but at the moment let us note how they affected his early conduct4 ,by the time that he left school at the age of nineteen1 the desire of being a sculptor had so grown upon him as to press for a decision4 ,accordingly he arranged for himself a test4 ,he would attempt a bust of his father1 and thus determine once and for all the 8to be or not to be0 of his ambition4 ,so1 in ignorance of the easier way by which sculptors proceed1 he bought some plaster of ,paris1 converted it into a block1 and set to work with a knife4 ,his only notion of art was to produce a good likeness1 and in this he succeeded4 ,the bust was exhibited and commended at the ,state ,fair1 and ,warner felt that his cherished wish was justified4 ,but the deliberation which had characterised the choice of a profession was followed by an equal seriousness in determining the means of attaining it4 ,he could not have known that sculpture in ,america at that time was in a poor way2 he had1 in fact1 no acquaintance even with the mediocre kinds of statue2 but the old-fashioned1 ,new ,england conscience within him viewed the matter very earnestly4 ,already he felt a reverence for the work to which he was to devote his life1 and that the best of preparations must be made4 ,he would seek it in ,paris4 ,but he had no funds nor could his father spare them1 so he quietly laid aside his longings and proceeded to earn the necessary money4 ,mastering the trade of telegraph operator1 he pursued it for six years1 not1 as may be supposed1 without some ultimate benefit to the facility and delicacy of his manipulation4 ,at length1 with his savings of #a1ejj he started for ,paris4 ,this was in #ahfi1 when he was twenty-five years of age4 ,arriving in the great city without introduction1 friends or knowledge of the language1 he made his way to the ,louvre4 ,here were students busy copying2 fellows such as he meant to be1 and he was drawn toward them1 wandering from easel to easel1 until upon the woodwork of one he espied a name1 8,arthur ,wilson40 ,he ventured to address the owner and tell him of his quest1 and was directed to a studio occupied by two young sculptors1 an ,american and an ,englishman4 ,with them he studied for nine months1 until1 through the influence of ,united ,states ,minister ,washburne1 he was admitted to the cole des ,beaux ,arts4 ,here he worked in the studio of ,franois ,jouffroy1 where he had the benefit of associating with such artists as ,falguire1 an older pupil of the master1 and with ,falguire's pupil1 ,merci1 a man of his own age4 ,both of these artists had broken away from the master's severely academic style and were tempering their own with the life and movement of the new naturalistic tendencies4 ,warner also in modelling from nature incurred the old master's strictures1 because his sturdy individualism refused to lend itself to conventional methods2 but1 on the other hand1 his studies from the antique were commended4 ,in time1 however1 his funds were exhausted1 and1 having to find employment1 he entered as an ordinary workman the studio of ,carpeaux1 the strongest decorative sculptor in ,france since ,rude1 whose pupil he had been4 ,warner's ability was recognised by the master1 and he received the great compliment of an invitation to remain and study in the studio4 ,but he declined1 being eager by this time to return home4 ,the years of studentship had been diversified by the thrilling events of the ,siege of ,paris and the ,commune4 ,warner in his own country had experienced the war-fever1 and1 eager to join the ,army of the ,republic as a drummer-boy1 had been dissuaded by his father1 who during the stormy days of the ,civil ,war carried him off to a quiet spot among the ,vermont hills1 that he might continue his studies4 ,so1 when the empire fell and a republic was established1 he regarded the action of the ,germans in continuing the war as an attack upon liberty1 and enlisted with many of his comrades in the ,foreign ,legion4 ,but his duties were confined to mounting guard upon the fortifications4 ,when1 in #ahgb1 ,warner returned to ,new ,york it was to suffer the hard experience of disillusionment4 ,in ,paris he had found art occupying a prominent position in the public and private life of the community1 artists honoured and encouraged by the ,state and his own ability acknowledged by some of the masters of his craft4 ,he returned to his native country to find a prevailing ignorance concerning art2 to find the trained artist competing for jobs with the commercial stonecutter and metal-worker1 the competitions decided more by political favoritism and wire-pulling than by artistic merit2 to find1 indeed1 that he was transplanting the delicate growth of his ideals from a congenial soil to what was1 artistically speaking1 very much of an arid and howling wilderness4 ,these words are scarcely too strong to express the conditions of the field of art in this country more than a quarter of a century ago1 before the ,centennial ,exhibition had sounded the tocsin of an improved taste2 before the students of art had begun to return in numbers from the foreign schools1 and schools of art in this country had been put upon a better basis2 before the importation of all sorts of works of art from ,europe and the ,east1 and the travel of our own people abroad had become so extensive2 before the spread of interest and knowledge which all these causes operated to produce4 ,even now the slime of politics is very apt to foul the fair working of competitions1 and it is often difficult for a sculptor1 unless he is at the very top of his profession1 to secure a public commission without some degree of wire-pulling4 ,but in #ahgb1 when the factories kept on hand a stock of military statues1 complete in every particular except the number of the regiment--which was riveted on to suit the requirements of the intending purchasing committee--the outlook for an unknown artist with high ideals1 clean of purpose1 who reverenced his profession as his life1 was dark indeed4 ,warner held hunger and despair at arm's length for four years1 and ,illustration3 ,,bust ,,of ,,daniel ,,cottier ,by ,olin ,levi ,warner ,illustration3 ,,cupid ,,and ,,psyche ,by ,olin ,levi ,warner then decided that he had better return to his trade of telegraph operator4 ,so he wrote to ,mr4 ,plant1 the president of the ,southern ,express ,company1 with whom he had previously been employed1 asking for a position4 ,this gentleman1 however1 learning the circumstances of the case1 met them with a commission for a portrait-bust of himself1 followed by one of ,mrs4 ,plant4 ,about this time1 too1 ,warner made the acquaintance of ,mr4 ,daniel ,cottier1 who had recently opened a gallery for the display of the objects of art which he was importing1 and now invited the sculptor to make an exhibition of his works4 ,this proved to be the turning-point of his affairs2 commissions began to come in with increasing frequency1 until he was fully engaged upon a number of important works4 ,he was elected a full member of the ,national ,academy1 and was one of the original group of painters and sculptors who founded the ,society of ,american ,artists4 ,in the too short period left to him before his sudden death in #ahif1 which resulted from a bicycle accident in ,central ,park1 ,new ,york1 he produced a variety of works of high merit4 ,they comprise portrait-busts1 among the best of which are those of ,daniel ,cottier1 ,alden ,weir1 ,w4 ,c4 ,brownell and ,miss ,maud ,morgan2 three heroic statues1 representing1 respectively3 ,governor ,buckingham of ,connecticut1 ,william ,lloyd ,garrison and ,general ,devens2 fountains for ,union ,square1 ,new ,york1 and for ,portland1 ,oregon2 many medallion portraits1 including some of ,indian ,chiefs2 ideal subjects1 8,twilight10 8,the ,dancing ,nymph0 and 8,diana02 an alto-relievo of 8,cupid and ,psyche0 and one of the sets of bronze doors for the ,library of ,congress at ,washington4 ,in all these works1 covering so wide a range of motive1 there is present a union of monumental feeling with extreme sensitiveness1 which gives them in a marked degree the sculpturesque character and invests them with a singular individuality4 ,i shall never forget the impression made on me by a memorial exhibition1 held in #ahig1 of a considerable number of his busts and medallions and of the 8,psyche40 ,it may sound a little incongruous1 but they suggested the impression that a highly bred1 finely trained race-horse makes upon the imagination2 an intensity of force and suppleness1 nothing superfluous1 everything expressive of its function1 the whole an embodiment of keen vitality1 of power and grace4 ,there was a similarly high-bred feeling in these heads1 the sign-manual of an unusually keen perception of facts and of a most refined sensibility in the rendering of them4 ,i doubt if anywhere in modern art1 except in that of ,rodin1 will you find busts of such vital power4 ,they exhibit the same regard for the structural significance of the head2 something more than the suggestion of form and bulk--a rich1 strong1 jubilant recognition of these facts as the ones of peculiar interest to the sculptor1 offering him the opportunity of indulging his especial delight4 ,they exhibit also1 as do ,rodin's1 the same delicately precise handling of details3 like the obligato which a musician composes upon his basic theme1 yet with a different range of motive4 ,warner's work does not reveal the psychological analysis of ,rodin's2 the penetrating1 almost troublous intensity of his bust of ,dalou1 for example4 ,he is scarcely less keen or subtle in his analysis than the ,french master1 but studies the ripple of flesh above the muscles1 the tremor or fold of an eyelid1 the curves of nose or mouth1 the disposition of the hair1 with a pure delight in their expressional force or grace4 ,he views the head as a type rather than as an individuality1 and seeks to extract from it the essence of its character4 ,it is in this respect1 among others1 that he shows himself to be imbued with the kind of spirit that animated the ,greeks4 ,as compared with ,rodin1 whose vision grasps the complexities of modern emotion and the underlying sadness of an age that has come late in time and whose energy is enclosed in a frail web of nerves1 ,warner is a child-man1 with a man's reserve and poise1 and a child's unsophisticated eagerness of eye and its pure delight in beauty and the joy of living4 ,and this strain of the ,greek temperament in sculpture is a very different thing from the motive of the so-called 8classic0 school4 ,the latter drew its primary inspiration from ,roman sculpture1 in a search for something supposedly heroic1 that would fit the genius of the new republicanism which had arisen out of the chaos of the ,revolution4 ,it was at first grandiloquent1 but1 growing senile1 fell to babbling of the abstract beauty of line and form1 always without direct reference to nature and gradually with the increased formalism that grew from the perpetuation of certain arbitrary rules and precedents4 ,such 8classic0 statues1 when they are the work of a master1 have their beauty1 but it is inert1 without the thrill of life2 when the work of a mere practitioner1 they are unspeakably jejune and paltry4 ,both kinds are alike in their divorce from nature-study1 from the inspiration which it gives to an intimate appreciation of line and form4 ,they will not show the fluidity of line1 the delicate surprises of curve1 the infinite subtleties of modelling that invite caress1 the texture and quality of flesh1 nor the mingling of firm and supple in the form1 the pliant movement adjusted to the action of the figure--in a word1 the stir of life within the material4 ,warner gives us this sensation and with so choice an instinct for the exact point at which the naturalism should melt into plastic immobility1 with a love so keen and unalloyed for the manifestations of nature and in a spirit so seriously jocund1 that we recognise1 as ,i have said1 his affinity with the old ,greek ideal4 ,we may trace it also in his feeling for the monumental rather than for the picturesque2 for those qualities in sculpture which belong to it preminently1 as opposed to those which it derives by analogy from painting4 ,it appears in the alto-relievo1 8,cupid and ,psyche10 most conspicuously1 because the subject might have been treated differently4 ,the modern sculptor1 working from the background to the front plane by repeated superlayers of clay1 can introduce a variety of subtly differentiated planes1 and may become absorbed in this composition of light and shade1 producing an effect which we can describe as full of colour and which is exceedingly beautiful4 ,the artist of old time1 however1 graving the marble1 wood or metal1 started with the form of the figures under his hand1 absorbed himself in them and regarded the open spaces of his composition1 when he reached them1 simply as a background4 ,instead of a quasi-pictorial subtlety of light and shade he strove for a purely sculptural tangibility of modelled form4 ,it is this insistence upon form which is so conspicuous in the 8,psyche02 in the contrast between the child's podgy softness and the maiden's long1 lithe1 firm figure4 ,this principle1 applied to decoration1 is most successfully represented in the artist's last completed work1 the bronze doors of the ,library of ,congress4 ,in the lunette-shaped spaces above the doors the figures are in very high relief1 and the background is modelled with forms of mountains and clouds1 producing an effect of great richness1 while upon each valve of the door is a single figure in low relief2 the flesh parts having an emphasis of roundness1 the draperies being flattened1 yet amply indicating the dignity of the form beneath4 ,the left-hand figure with the lyre 7how ,i wish that it were possible to reproduce it here67 is supremely beautiful in its poise between life and art1 in its exquisite rhythm of lines and in the alternate ebb and flow of the planes of surface4 ,but it was in his rendering of the nude that ,warner exhibited the loveliest qualities of his art4 ,he viewed it1 as one views a flower1 with single vision for its exquisite abstract beauty4 ,flower-like and fragrant1 the 8,psyche10 the 8,dancing ,nymph0 and 8,diana10 have the quivering sensibility of contour that one finds in the free growth of nature2 united1 however1 to a firmness of texture and strength of structure and to a conscious play of movement1 responding to the play of spirit1 which in their perfect alliance are only to be found in the human form4 ,the spirit which animates these figures is1 of course1 the sculptor's1 and it reveals itself most choicely in the serenity of the 8,diana10 in the suspense between absolute repose and projected movement4 ,for the figure seems about to rise2 the carriage of the head and body alike suggest the activity inherent in the languor4 ,one may believe that in the precision of beauty displayed in this statue1 in the complete adjustment1 that is to say1 of every one of its qualities of beauty to the supreme idea of discovering that imaginary line upon which life merges into art1 the mobile into the immobile1 ,warner reached most nearly his ideal4 ,for in his busts and heroic statues1 as in the fountains and decorative subjects1 he was more or less constrained to a point of view4 ,but in his nudes1 and particularly in this one1 the product of his maturity1 he could work in the full liberty of his imagination4 ,and the latter is found to be the ideal expression of those qualities of character which ,i have already attributed to him3 intellectual stability1 moral balance and spiritual serenity4 ,the singularly choice discretion which governed ,warner's appreciation of form is shown equally in his ,portland fountain3 a circular bowl with broad1 flat brim1 supported upon a rectangular pedestal and balanced by two caryatides4 ,the design is almost severely simple1 yet tempered with a grace of fitness in every detail1 so chaste and noble as to produce an impression of perfect repose4 ,it has1 indeed1 just that suggestion of being firmly rooted1 of strong growth upward and of natural spread at the top1 which exactly befits its architectural character1 while in the contour and details it is as delicate as a lily4 ,we have traced this feeling for the monumental side of sculpture in ,warner's reliefs1 where it is revealed in the thoroughly plastic treatment of form1 so that it quivers on the edge between immobility and life2 in his fountain1 that presents a conspicuous immobility quickened with animation1 and in his busts1 wherein the form ,illustration3 ,,diana ,by ,olin ,levi ,warner is made the foundation of lifelike character4 ,it remains to note how this last combination is carried to its highest conclusions in his heroic statues4 ,a standing figure could scarcely be planted on its feet or mount with more inevitableness of free1 strong growth than the statue of ,general ,devens1 while in the carriage of the whole body1 more especially in that of the alert1 intellectual head1 the type of the citizen-officer is convincingly expressed4 ,but a sitting figure offers a more complicated problem1 owing to the number and variety of planes which it presents and to the necessity of harmonising these contrasted items into a completely balanced ensemble4 ,warner1 in the statue of ,garrison1 has united such a variety of lineal directions and opposing planes into a stately1 stable mass2 has mingled with the dignity of repose an energy of character and gesture all the more impressive that it is kept in control1 and has made every detail of movement respond to the suppressed fire of character in the head4 ,the latter is modelled with a touch as tenderly appreciative as will be found in any of his busts or reliefs1 so that this statue of the great abolitionist1 perhaps the most important work of his career1 sums up the diverse characteristics of his art4 ,how noble that was in sentiment and expression1 how thoughtfully taken up and with what a loving gravity pursued1 even the least of his works declare4 ,x ,,solon ,,hannibal ,,borglum ,it was five years ago that ,solon ,h4 ,borglum was first represented at the ,salon2 he also received a silver medal at the ,universal ,exposition of #aijj and another at the ,pan-,american ,exhibition in ,buffalo2 quite recently a fuller display of his work has been seen at the ,keppel ,gallery in ,new ,york4 ,yet1 although he is probably the most original sculptor that this country has produced1 he is still but little known to the ,american public4 ,it may seem strange that a people with such eagerness for novelty should in some cases be so slow to appreciate originality4 ,but there is no necessary connection between the two2 indeed1 the pleasure in novelty may easily pass into a craving for it1 as enfeebling to the mind as the habitual use of drug or dram2 whereas the recognition of originality demands some independence and original effort on the part of ourselves4 ,again1 originality does not act by blind jumps in midair1 as in that species of dream with which some of us may be familiar1 wherein we find ourselves midway in a leap1 and then1 by successive contractions of the muscles1 seem to continue our leaps in the air until we fancy that we are flying4 ,the leap of originality must always commence from some mental terra firma--conscious or unconscious experience2 and1 according as there is in ourselves some degree of corresponding experience1 shall we appreciate or at least be impressed by the originality of the inventor and the artist2 of the creator1 in a word1 whether he deals in facts or in ideas4 ,for this reason the creator of facts meets with readier recognition than the creator of ideas4 ,marconi1 for example1 though he deals with matters far beyond the understanding of most people1 nevertheless appeals to their imagination through their habitual1 though it may be unscientific1 acquaintance with the previous methods of telegraphic communication4 ,so1 in the case of every creator in the domain of practical experiment2 either he meets a realised need or quickly suggests a need through the analogy of our every-day experience4 ,on the other hand1 the creator of ideas must be satisfied with a smaller following1 at least at first1 and at any rate with slower appreciation4 ,yet here1 too1 there are degrees of slowness1 according to the medium of expression which he employs4 ,of all such artists1 he who works in words will reach the people most quickly1 since this is an age of words1 especially of the written word4 ,the public eye is habituated to the printed page2 though1 truly1 not so much in search of ideas or for suggestive stimulus to thought1 but rather to the loss of independent thinking and to the smothering of the imagination in a banal prodigality of detailed statements4 ,in the palmy days of painting and sculpture it was to them that the eye was habituated1 and the impressions thus received were informed with the experience and the imagination of each observer4 ,we1 however1 in the superiority of our modern education1 run our eye over a painting or piece of sculpture to discover what there is in either that is convertible into words1 and overlook the qualities which affect the senses abstractly1 which are indeed the bones and marrow and very physiognomy of the work of art1 its distinguishing characteristics and capacity to move us4 ,and this powerlessness to enter into a work of art from the artist's point of view deprives us of all independence and initiative of appreciation4 ,when a gap has been made by some bell-wether in the hedge of stubborn intolerance which public opinion had set round the art of a ,rodin1 we take our turn in the long row of sheep that follow each other's tails through the gap and fancy that we are discoverers and appreciators of genius4 ,small wonder1 then1 if one of our own prophets1 merely a young sculptor of ,america1 should still be waiting for honour in his own country4 ,yet it is here1 if anywhere1 that ,borglum's work should be appreciated1 since it is ,american to the core1 dealing with the incidents of cowboy life on the western prairies4 ,others have essayed the same subject1 but rather from an outside standpoint with technical equipment derived from1 or at least inspired by1 the teaching of the ,parisian schools4 ,borglum1 on the other hand1 knew from childhood the inside of the life1 was himself a cowboy1 and for a long time with no thought of anything but the joy and interest of the life itself4 ,least of all had he any notions about art4 ,the free1 open-air existence amid spaciousness of earth and sky2 the recurring seasons1 each with its separate routine of necessary work1 demanding the exercise of vigour1 resourcefulness and courage2 intimacy with man and animal life1 and sympathy begotten of mutual hardships and frequent dangers--these things possessed him1 and in the vast silence of nature ,illustration3 ,,cowboy ,,mounting ,by ,solon ,hannibal ,borglum ,illustration3 ,,lost ,,in ,a ,,blizzard 7marble7 ,by ,solon ,hannibal ,borglum penetrated silently the fibers of his being4 ,he grew and grew unconsciously2 his manhood matured before the artist in him awoke2 his mind stored with experiences before the need came upon him of expression4 ,the dormant artistic instinct was an inheritance from his father1 a ,danish wood-carver1 who had migrated to this country early in the sixties4 ,he settled in ,ogden1 ,utah1 where ,solon was born in #ahfh2 but he found no encouragement for his craft and1 resolving to become a doctor1 turned back to ,st4 ,louis1 took a degree in medicine1 and then established himself in ,fremont1 ,nebraska1 where his practice soon extended far into the prairies4 ,he kept many horses1 and the son grew up among them1 with little inclination for school studies and a keen desire for the open-air life4 ,at first he worked as a cowboy on a ranch of his father's2 later assumed control of a larger one1 where for a number of years he lived in that close companionship with men and animals which breeds sympathy as well as knowledge4 ,one of his elder brothers1 ,gutzon1 had already become an artist1 and it was a visit that he paid to the ranch in #ahij which first aroused in ,solon's mind a thought of trying to draw4 ,he began to experiment with the pencil1 and gradually the fascination of representing form grew upon him1 so that sketching occupied all his leisure time with continually increasing grip upon his desire1 until by #ahic he made up his mind to sell out his share in the ranch and go forth and study art4 ,first he sought his brother in the ,sierra ,madre ,mountains of ,california and studied painting with him for a few months2 then drifted to ,los ,angeles1 and thence to ,santa ,anna4 ,in the latter town he rented his first studio at two dollars a month2 but it was not long before he found his clothes were getting shabby1 and1 moreover1 the confinement of the four walls was irksome4 ,so he put a sign upon his door1 8,in ,studio ,saturdays ,only02 and under cover of the dusk started for the wild country of the ,saddleback ,mountains4 ,all through the week he lived among the old ,spanish ,indians and ,greasers--lawless people who have been left stranded in the march of civilisation--eating with them1 sleeping beside them in the thicket1 sketching everything he saw4 ,on ,friday he started back for the town1 and1 sleeping on the outskirts1 was early astir in the morning and passed unobserved to his little room before the towns-people were awake4 ,that first ,saturday he was uninterrupted in his work1 and at nightfall again set out for the mountains4 ,but the following week1 to his surprise1 a visitor called1 a school-teacher from the ,east1 and the result of the visit was first a commission to paint the stranger's portrait for five dollars1 and secondly1 the beginning of a valued friendship4 ,next ,saturday the teacher called again1 accompanied by two ladies1 who wished to learn to paint4 ,the lessons were continued weekly at a dollar a visit1 and thus for nearly a year he subsisted1 one day of each seven in his studio and during the others among the mountains2 until1 encouraged by his friend1 he made a sale of his drawings1 netted sixty dollars1 and therewith packed up his blanket and oil-stove and set his face toward ,cincinnati4 ,here he entered the day and evening classes in drawing and rented a little room4 ,before long1 however1 he was heartsick for the old1 free life4 ,it was beyond his reach2 yet1 as he went to and from his work1 he passed the ,united ,states mail stables1 and the sight of the horses stirred the old feeling of comradeship4 ,the lights were kept burning at night in the stables1 so morning after morning before daybreak he lived among them1 drawing and studying4 ,by degrees he turned to modelling and executed the figure of a horse pawing a dead one4 ,it was shown to ,mr4 ,rebisso1 the head of the school of modelling1 who1 discovering the young man's ability1 gave him encouragement and advice1 permitting him to work in his own studio and finally making it possible for him to visit ,paris4 ,until ,borglum's fingers had found their way to clay he had been groping in the half-light of unrealised purpose4 ,now1 however1 he discovered at one stride the kind of subject nearest to his heart and the method of expression best fitted to his experience and temperament4 ,for1 look you1 his experience had been of facts2 facts1 it is true1 from which in the aftermath of memory his temperament was to extract their romance and sentiment2 but1 in the first place1 facts of the most direct and vigorous form4 ,the subtleties1 to which painting better lends itself1 were outside the habit of his mind2 whereas the tangible shape and more simple obviousness of sculpture exactly fitted his need4 ,he had reached it through the same natural1 unpremeditated growth that had characterised all his development4 ,such kind of growth is1 perhaps1 only possible to one whose boyhood and early manhood have been spent in the large vacancy of nature and the natural life4 ,to those who are bred within the crowded and conscious civilisation of cities the desire of being an artist will probably come earlier2 it will anticipate the experiences of life2 from the first will shape itself more definitely and in its course conform to existing opportunities of instruction4 ,while still immature in character and manhood the student will be run through the mould of a matured system which will turn him out at best an inexperienced expert4 ,but with ,borglum it was otherwise4 ,the experience here preceded the expertness1 and the latter is not such as the schools can teach or possibly should try to teach4 ,his groups have little of the ordered arrangement of traditional composition1 nor does the modelling show facile skill or elegant refinement4 ,his work1 indeed1 is much more an expression of nature than of art1 the frank1 untrammelled expression of a natural artist giving utterance to the fulness of his thoughts4 ,he acknowledges with gratitude the great assistance that he received from ,mr4 ,rebisso1 and when he went to ,paris he enjoyed the critical encouragement of ,frmiet and ,saint-,gaudens2 but for the rest he is self-taught4 ,his visit to ,paris lengthened into a sojourn of four years1 during which he took a short course in the study of the figure at ,julien's ,academy and frequented the ,louvre and ,luxembourg2 otherwise keeping very much to his studio1 drawing inspiration from the memory of his own experiences1 and discovering for himself a technique that should give substance to his ideas4 ,so ,borglum's work does not readily line up with that of other modern sculptors4 ,in its disregard of symmetrical composition1 in the frequent appearance of passages left suggestively in the rough and in the vivid naturalness that characterises it we may for a moment fancy that we detect the influence of ,rodin4 ,yet it shows none of the latter's feeling for subtlety of modelling1 and by comparison is crude2 moreover1 the point of view of each is widely different4 ,rodin's is profoundly analytical and introspective at the same time2 ,borglum's more spontaneous and instinctive1 aiming to interpret in a vigorous ensemble the vivid impression of an objective fact4 ,again1 in breadth of handling and in knowledge of animal structure and movement1 we might compare him with ,barye2 only to find1 however1 that the latter far excels him in nobility of line and mass and falls as far behind him in the expression of sentiment4 ,for ,borglum's work reveals in a remarkable degree the sentiment which comes of intimate1 habitual companionship4 ,he does not1 on the one hand1 invest his animals with any quasi-human sentimentality1 or1 on the other1 look at them from the outside standpoint of the hunter or otherwise observant student4 ,he has entered into the actual sentient part which they play in the life they share with man4 ,hence the sentiment that his work reveals is most poignantly affecting4 ,i doubt1 indeed1 if any sculptor of animals has ever represented with such fidelity and convincingness their intelligence and emotions4 ,note1 for example1 some of the phases of character-building in which he represents the bronco4 ,here it is full-grown1 though still untamed1 but quiet as a lamb1 resting its muzzle on its dam's back4 ,it has not yet come in contact with the disciplining force of man4 ,now it is confronted with a saddle that lies upon the ground and recoils with a mixture of trembling and curiosity4 ,there it has been rounded up and thrown1 at first struggling with impotent fury1 then stretched in utter exhaustion4 ,later the saddle is on its back1 and it is pitting its strength and cunning against the knowledge and endurance of man2 then finally tamed1 and coperating with man in the taming of other horses1 or sharing the night watch1 or meeting with him the mortal peril of the blizzard4 ,but ,borglum's power of stimulating our imagination includes in some cases even a suggestion of the environment of the figures1 as1 for instance1 in the marble group of a mare and foal caught in a snowstorm4 ,the little one is unconscious of danger1 content as it noses close up to the mother's side for shelter2 but the gesture of the latter is full of solicitude and anxiety4 ,in the swish of her tail and the droop and stiffening of the hind quarters1 we are made to realise the force of the blizzard2 while1 is it the little mass of piled-up snow1 or the whiteness of the marble1 or the intensity of the sculptor's imagination1 that conveys to our own a sense of white1 snowy desolation all around the two poor creatures8 ,it is seldom in modern sculpture that one will find an expression of sentiment so unaffected and affecting4 ,and the other notable element in his work is its rendering of movement4 ,it matters not what kind of movement--impetuous dash1 sudden arrest of action1 alert repose1 the vicious fling of body and heels as the beast prepares to turn a somersault1 the limp of pain1 the submission of exhaustion1 the supple step to music in the circus1 the pause of doubt1 the spasm of baffled rage--each and all and others are represented with an intimacy of knowledge and an instinctive certainty of method4 ,he knows his subject so well and realises in his mind so vividly the impression which he seeks to interpret1 that all pettiness of observation is swallowed up in a large ,illustration3 ,,tamed ,by ,solon ,hannibal ,borglum comprehension which disregards details1 except in so far as they are essential to the action or the sentiment4 ,and how characteristic are the details which he does introduce6 ,here1 for example1 is the figure of a horse1 8tamed40 ,a saddle lies upon the ground4 ,it is the object which excites1 first the terror1 then the anger of the untamed horse4 ,but this one is conquered and hangs his head submissively over the instrument and badge of his defeat4 ,he stands with front feet planted forward1 the legs trembling1 the hind ones limp and sluggish2 the line of the ribs exposed as the flank heaves2 the nostrils distended with the gasps of breath2 the eye listless1 the ear fallen4 ,but1 keenest touch of all1 note how the saddle-cloth and girths have left a hot1 glossy impress upon the body1 the hair around their edges being clotted with sweat4 ,it is detail such as this1 full of character1 that one finds in all these pieces of sculpture2 and1 for the rest1 the modelling is broadly suggestive1 yet always distinctly characteristic2 not only rendering structure and action1 but offering varieties of flesh texture1 according to the condition and character of the horse represented4 ,borglum1 in a word1 is an impressionistic sculptor1 untrammelled by formula or tradition1 seeking nature direct1 with an eye habituated to essentials and with a degree of sympathetic comprehension that corresponds with the range and reality of his life's experiences4 ,his work is1 thus1 truly original2 a product of his own manhood1 fashioned to artistic fitness4 ,,xi ,,victor ,,david ,,brenner ,in this country1 as elsewhere1 prior to the establishment of the ,french ,socit des ,amis de la ,medaille1 medal-making had sunk to a department of trade2 or1 if something artistic were attempted1 there was a divorce between the designing and engraving4 ,a sculptor or painter1 with no practical knowledge of the possibilities and limitations of the cutting process1 would be commissioned to produce the design1 while its execution in the die was turned over to a more or less skilled operative4 ,the barrenness of the result may be seen in the majority of medals produced during many years4 ,recognising that the work of the medallist had been and should be a special department of art1 with very individual qualities of exquisite expression1 the ,national ,academy two years ago established a class in ,coin and ,medal ,designing and put it in charge of ,victor ,d4 ,brenner4 ,ten years previously the latter had arrived in ,new ,york1 an expert die-sinker and engraver2 now he had just returned from studying under ,roty in ,paris4 ,the story of his progress from artisan to artist is not without a touch of romance4 ,to the student of personal accomplishment there is always a particular satisfaction in the contrast between hard and strait beginnings and the ultimate success4 ,he forgets1 as the artist himself perhaps does when the sweets of victory are on his tongue1 the long weariness of the previous struggle1 and is philosophically persuaded that the pain of parturition must necessarily precede the birth of art as of life4 ,however that may be1 ,brenner has had his share of privations2 and it is well for him that he encountered them early and surmounted them before the enthusiasm of youth dwindled4 ,he was born in #ahga at ,shavly1 in the north-west of ,russia1 and from his sixth to his thirteenth year attended the ,hebrew school4 ,after three years of apprenticeship to his father1 who was a general mechanic and seal-cutter1 with considerable talent in carving1 the youth1 now sixteen years old1 travelled through the neighbouring towns1 making seals4 ,then he worked for a jewelry engraver in ,riga1 and subsequently migrated to ,mittau1 where he found employment in a rubber stamp and type foundry1 cutting dies and illustrations for advertisements4 ,in #ahhi he established himself in ,kowno as a jewelry engraver and seal-cutter4 ,by this time he had saved nearly enough to pay his passage to ,new ,york1 and the following year he reached our shores4 ,he was then scarcely nineteen1 without friends1 knowledge of the language or ready funds4 ,for a while he sold matches on ,fulton ,street1 and then graduated to the superior opportunities of a sweat-shop in ,brooklyn4 ,he was rescued from this by an advertisement through which he found employment with a jewelry firm4 ,meanwhile his acquaintance with the language and with the local conditions was improving1 and it was not long before he obtained a position as seal-cutter4 ,then followed an engagement with ,mr4 ,h4 ,popper as die-cutter and jewelry engraver1 during which he came to the notice of ,professor ,s4 ,h4 ,oetinger1 the numismatist1 whose collection of medals seems to have awakened in the young man a longing to be himself an artist4 ,in #ahia he first learned to handle clay at the ,cooper ,union night class1 but attended only for a month1 and it was not until #ahif that he studied drawing under ,ward in the night class of the ,academy of ,design4 ,meanwhile1 in #ahic1 he had started for himself in business1 working for jewelry and silversmith firms2 steadily improving his financial conditions1 but becoming more and more impatient under the restraints which the exigencies of trade placed upon his desire to be an artist4 ,i should judge that these years of material comfortableness may have been really more trying to him than the previous lean years4 ,then1 work and food and lodging seemed the only desirable things2 now he was in labour with a desire that exceeded all others4 ,he had tasted of the sweets of beauty and become conscious of having something beautiful within himself1 might he but learn how to express it2 and all the while the ,gallios of trade 8cared for none of those things40 ,this period of probation at length came to an end in #ahih1 by which time he had saved sufficient money for study in ,paris4 ,a little time before1 in connection with a medal for the ,convention of ,charities and ,corrections1 he had made the acquaintance of ,mr4 ,samuel ,p4 ,avery4 ,but the latter had for some time been acquainted with him1 keeping watch over his progress and secretly helping him to commissions4 ,of the value and encouragement of ,mr4 ,avery's friendship ,brenner speaks with warm gratitude4 ,through him he obtained an introduction to ,mr4 ,george ,a4 ,lucas1 who befriended him in ,paris and introduced him to ,roty1 furnishing him with commissions while he was still studying in the latter's atelier4 ,this he entered after preliminary studentship in the ,illustration3 ,,portrait ,,of ,c4 ,p4 ,,huntington ,by ,victor ,david ,brenner ,julien school1 and became the assistant as well as pupil of the master4 ,his progress was rapid1 and examples of his work are already to be found in the ,paris ,mint1 ,munich ,glyptothek1 ,vienna ,numismatic ,society1 the ,metropolitan ,museum and the ,numismatic ,society1 ,new ,york4 ,up to the present time ,brenner's best work has been portrait-plaques and the heads upon the obverse of medals4 ,in designs which involve a decorative treatment he has been less happy4 ,as might be expected of one whose period of study has been so short1 he is weak in composition and freehand drawing1 nor does he display much inventiveness of fancy4 ,on the other hand1 he has an extraordinarily direct vision1 quickened by experience in so exacting an occupation as die-cutting1 and1 moreover1 a very mobile sympathy4 ,the latter helps him to be interested at once in his subject1 and with so much affection and reverence for the personality that his portrayal exhibits a very unusual degree of intimacy4 ,among the best of his portraits are those of ,william ,maxwell ,evarts1 ,j4 ,sanford ,saltus and ,george ,aloysius ,lucas1 whom ,i place in one group2 and those of ,m4 ,vad1 ,edward ,d4 ,fulde and ,m4 ,lacour in another4 ,the reasonableness of the separation is to be found in the difference of motive1 respectively1 illustrated in the modelling2 the more distinctively sculptural as compared with the painter-like method4 ,for in all low-relief work one will find the artist to be showing a preference either for form and the structural character of the subject1 or for its colour qualities1 represented by delicate variations in the planes1 which produce a corresponding warmth of delicate light and shade2 in a word1 he feels his subject either in the round or in the flat4 ,which you yourself will prefer is a question of your point of view4 ,among brother artists who are painters there will probably be a verdict in favour of the second group1 since it represents more closely what they themselves strive for1 and are therefore partial to4 ,and its pictorial quality may equally recommend it also to general approbation4 ,for1 indeed1 such a portrait as that of ,m4 ,vad is unquestionably fascinating4 ,there is in it scarce any resort to lines1 the modelling being effected almost entirely by planes1 at once broad and subtle1 full of a sense of colour and giving an expression of dreaminess to the face4 ,yet1 if one compares this portrait with either of the three included in the former group1 it is to find in the latter a compensating virility of expression1 a greater dignity of structure and of character4 ,it is not usual to find these two very opposite motives of technique united in one artist4 ,but in ,brenner's case it seems to result from an absence of all artistic parti pris1 and from the freshness of interest with which he attacks each subject1 so that the latter itself reveals to him the more appropriate manner of presenting it4 ,in the portrait shown in the accompanying illustration the two motives seem to be combined4 ,,xii ,,the ,,decorative ,,motive ,in all ages sculpture has been intimately allied with architecture1 somewhat as the blossom with the tree1 reaching often its noblest expression as an efflorescence of decoration upon the surface of a building or as separate forms within it2 springing up in statue1 tomb or pulpit like bursts of flowery growth in the forest4 ,nature in a marvellous way adapts the colour and forms of the blossoms to the character and structure of the tree and shapes of the woodland flowers2 for example1 the foxglove spiring up amid the tree trunks to the character of its environment4 ,in the spirit of this example the sculptor fashions his designs in conformity with that of the architecture1 whether it be for decoration of the building's surface or for a separate contributing feature4 ,such coperation with the architect demands at once fertility of imagination and considerable self-restraint2 an appreciation of the larger qualities of design as displayed in the architecture1 mingled with a natural feeling for the charm of minute and exquisite workmanship2 a personal feeling1 subordinated to the main design1 yet in this subordination finding an increase of force4 ,for the modelled ornament is itself enriched by its enrichment of the wall-surface2 and the statue which has fine architecture for its setting receives therefrom additional dignity1 provided always that the sculptor has adapted the lines of his figure to those of the architecture4 ,if he miss the spirit of the latter and design his subject independently his statue loses the benefit of the alliance and its importance is overpowered by the necessary predominance of the architectural effect4 ,nor is the failure to secure harmonious relation between the sculpture and the architecture always to be laid to the sculptor4 ,the architect's design may be lacking in taste and dignity2 or1 if good in itself1 yet without adequate or any provision for sculptural embellishment2 the latter being resorted to as an afterthought4 ,examples of this kind are not infrequent4 ,the best opportunity that we have in this country of studying sculpture in its relation to architecture is in the ,library of ,congress1 for here the design was deliberately planned to include sculpture and painted decoration1 and on a scale of unusual magnitude4 ,some critics are disposed to complain of an overelaboration in the decorative scheme1 but at least every item of the sculpture was organic and structural in intention4 ,we may differ1 that is to say1 as to the propriety of introducing so much embellishment1 but the latter everywhere grows naturally out of its position and has its closely planned function in the general design4 ,the sculptural decoration of the staircase hall was entrusted to ,philip ,martiny1 except the figures in the spandrils over the main arch which fronts you as you enter4 ,these were executed by ,olin ,l4 ,warner--whose work has been reviewed in another chapter--and in their ,greek-like monumental simplicity and repose1 their freedom from all accessory aids to decoration and their avowal of the decorative value of pure form they are in marked contrast to the ,french spirit of ,martiny's work4 ,for the latter1 a naturalised ,frenchman1 represents the ,french training1 comparatively unaffected by the ,american environment4 ,as a boy he was employed with his father in modelling and carving ornamental designs2 thus gaining a familiarity with ornament before he proceeded to study it systematically as a designer1 from which stage he passed on to the further studies of a sculptor of the figure4 ,the feeling for decoration is with him an instinct1 cultivated in the best of all schools1 that of practical experience2 his knowledge of historic forms a habit of memory1 and his versatility in adapting1 skill in device and manipulative facility1 the product of habitual practice4 ,for the newel posts of the staircase he executed the female figures holding a torch aloft2 but these reveal mainly the results of good teaching4 ,they are not a personal expression of himself4 ,in a seated figure1 however1 designed as a ,soldiers' and ,sailors' ,memorial for ,jersey ,city1 he reached a very considerable degree of monumental dignity2 yet it still appears to be true that his real bent is toward decoration4 ,in this he displays creative fancy and a most charming faculty in the use of form4 ,witness this marble balustrade1 divided into compartments by a series of plain posts1 between which are suspended festoons of fruit and flowers1 with baby forms astride them4 ,each in a vein of playful fancy personifies some occupation1 art or science1 and the emblems typifying them are introduced as accents of surprise in the composition4 ,the whole is alive with graceful animation and yet preserves a rhythmical dignity1 a variety in uniformity1 like the play of notes in succeeding bars of music4 ,its freedom of fancy and rich effect recall the qualities shown in ,lorado ,taft's decoration of the ,horticultural ,building at the ,world's ,fair2 a decoration of rare distinction4 ,indeed the prime feature of this artist's work at its best is the decorative character of the composition2 as in 8,the ,solitude of the ,soul10 which involves an ideal motive1 but is perhaps happiest in the grouping of the nude figures around the mass of unhewn rock4 ,the relief ornament in the ceiling of the dome and in the frieze of the entablature was modelled by ,albert ,weinert4 ,he was limited by the architect to the well-known ,roman forms revived by the sculptors and painters of the ,italian ,renaissance1 but has treated them with so much individual feeling that one may regret he was denied the opportunity of creating the designs4 ,for one cause of the dearth of decorative sculptors in ,america may very reasonably be attributed to the hesitation of architects to permit the use of any forms except such as they can find authority for in historic ornament4 ,martiny1 we have seen1 was allowed to invent the design for the staircase2 a quite unusual privilege1 which has resulted in a memorable work of art1 almost unique in the country4 ,usually the architect from books and photographs indicates what forms shall be adopted1 and these are reproduced by the draftsmen in working drawings1 which are handed over to a contractor to be executed by journeymen modellers4 ,their business is to copy the drawing exactly4 ,if they have any individuality of feeling it is suppressed2 the divorce between design and craftsmanship is perpetuated1 and dry conventionalism results4 ,in the degradation of design which ensues from this slavish adherence to historic precedents1 producing1 be it noted1 not a revival of the precedent but1 for the most part1 a dead1 inert copy1 a thing not to be taken seriously as decoration1 the sculptor is discouraged from associating himself with design4 ,he may have the gift of decoration1 but it lies uncultivated1 since he will not work except with reasonable liberty4 ,and he is right1 for the only decoration that is of any vital worth is such as grows under the hand of a man whose brain has conceived it and is controlling continually its growth4 ,he may be influenced by historic precedent or be working in the freedom of his fancy2 in either case1 his work has personal1 vital significance4 ,significantly bad it may be1 and this ,i suspect is the architect's apprehension2 yet1 provided it have significance1 there is some prospect of improvement3 just as we reach what measure of virtue we have through our faults4 ,for of all men the most exasperating is he who1 without character enough for fault or virtue1 methodically maintains a level of innocuous mediocrity4 ,equally exasperating is decoration of this kind1 and it is a kind that is prevalent everywhere4 ,the dome of the ,library is supported on eight piers1 each formed of a cluster of columns1 one of which projects more prominently than the rest and is surmounted by a figure personifying some department of civilised life or thought4 ,its function seems to be to prolong the upright line of the pier to the bottom of the triangular pendentive which connects the spread of the arches2 at any rate1 those figures which most simply suggest the vertical direction1 with as little play of contour lines as possible1 appear most conformable to their position4 ,the one that most thoroughly fulfils this condition is the figure of 8,philosophy10 by ,bela ,l4 ,pratt4 ,one arm hangs down1 the other is drawn up at the elbow supporting a book2 the line of the drapery on one side comes squarely down to the feet and on the other is slightly varied by the drawing back of the leg from the knee4 ,the figure is of ample proportion1 with a sweet gravity of mien2 the head1 being slightly bowed1 which1 as it is viewed from below1 brings the face agreeably within the line of vision2 a point that has been overlooked in some of the other statues4 ,without having any particular force1 the figure nevertheless impresses by the sobriety of its lines and mass and by its reserve of feeling4 ,the value of these qualities can best be appreciated when one is actually standing in the dome and able to compare the figure with the other corresponding ones1 all of which by reason of more varied contours seem inferior to it in decorative appropriateness4 ,this same sculptor was entrusted with the designs of the six spandrils over the entrance doors4 ,the forms are graceful and repeat with pleasant variation the curve of the arch1 but they do not adequately fill the space1 and are wanting in architectonic character4 ,just what ,i mean can better be understood by comparing them with ,warner's spandrils1 mentioned above4 ,then one can scarcely fail to notice how much more structural in feeling are the latter1 organically related to the arches and to the space1 truly architectural in their character4 ,pratt's strongest point seems to be expression of sentiment1 exemplified in his busts of ,colonel ,henry ,lee and of ,phillips ,brooks2 in some low-relief portraits of children and in the heroic figure of a soldier for ,st4 ,paul's ,school1 ,concord1 ,new ,hampshire4 ,in all of these it is not so much the characteristics preminently sculptural that we are conscious of1 as the quality of the sentiment2 and this same quality1 portrayed with graceful inventiveness1 represents the measure of his architectural decoration4 ,it is1 therefore1 in such examples as the medallions in the pavilions of the ,library1 personifying the four seasons1 that he appears at his best2 for in these the sentiment is expressed not only by suavity of line1 but by a sensitive treatment of the various planes4 ,like his low-relief portraits they have very strongly the pictorial quality4 ,that he has1 however1 a feeling as well for the sculptural quality of form is evident from two nude female figures which he has executed in marble1 8,study of a ,young ,girl0 and 8,study for a ,fountain10 in which the charm of sentiment and form are very happily united4 ,it is not within the scope of this essay1 which is considering the principles of architectural sculpture1 to note each of the remaining seven statues in detail1 especially since most of them are by sculptors whose work has been reviewed elsewhere4 ,and the same applies to the sixteen bronze statues that stand below upon the marble balustrade of the gallery4 ,these represent real or imaginary portraits of men illustrious in the departments of civilised life and thought1 personified above1 and their function is to relieve by a series of spiring forms the level lines of the balustrade4 ,and here again1 if ,i am not mistaken1 those which with least disturbance of contour conform to the character of a simple shaft are the most effective4 ,thus we may be disposed to feel that1 viewed in relation to its position and function1 the 8,solon0 by ,f4 ,wellington ,ruckstuhl protests too much its own individuality1 and that the greater reserve of ,c4 ,e4 ,dallin's 8,newton10 of ,john ,j4 ,boyle's 8,bacon0 and 8,plato10 of ,paul ,w4 ,bartlett's 8,michelangelo10 of ,edward ,c4 ,potter's 8,fulton10 of ,charles ,h4 ,niehaus's 8,gibbon10 of ,george ,e4 ,bissell's 8,kent0 and the 8,henry0 by ,herbert ,adams1 makes them more valuable as sculptural adornments to the architecture4 ,and1 after all1 this qualification is the most important one in the interest both of the architecture and of the statue itself4 ,if it were possible to study the statues independently of their surroundings we might find that some ,i have mentioned are intrinsically inferior to some of those omitted2 and ,i well remember that some which now fill their present position with quiet effectiveness seemed less interesting before they were put in place4 ,for the ultimate test of the statue1 as a part of the architectural scheme1 depends less upon its intrinsic than its extrinsic value2 not so much upon what it is as upon how it coperates with the architecture1 lending it some accent of piquancy or elaboration and drawing from it dignity and enforcement4 ,nor is the truth of this weakened by the fact that you visit many a church in ,italy solely to study some piece of sculpture without one thought of the architecture1 unless it be a regret that the shrine is not worthy of its treasure4 ,in such a case the intention of the sculpture was not architectonic2 whereas in the ,library of ,congress1 as in all other buildings in which the coperation of the sculptor has been deliberately included1 the ideal is to make the two arts mutually renforcing4 ,the architecture being necessarily predominant1 the sculpture which does not conform to the limitations imposed upon it will suffer by comparison1 while1 on the other hand1 through conformity it will secure additional measure of impressiveness4 ,of the elaborate decoration of the rotunda clock by ,john ,flanagan ,i cannot speak from knowledge2 and1 without having seen it in place1 it is unfair to judge of the effect of the mingling of precise elegance in the lower part with the florid arrangement above of ,father ,time and two female figures4 ,but before leaving the ,library we may find in the corridors of the entrance hall four relief-panels1 by ,r4 ,hinton ,perry1 personifying ,greek1 ,roman1 ,persian and ,scandinavian 8,inspiration40 ,they seem to me to represent this sculptor at his best1 displaying a gift of imagination and very charming treatment of form1 regulated by reserve and taste2 for these last qualities are not so conspicuous in some of his work4 ,the fountain group1 for example1 which embellishes the terrace in front of the ,library1 is a clever exhibition of technical skill in the representation of form and movement1 but pretentious4 ,its lack of cohesion as a group may have been less the affair of the sculptor than of the architect1 since the latter had provided for the figures three equal-sized niches2 but on the other hand the sculptor seems to have regarded them as features to be ignored4 ,his central figure of ,neptune is entirely outside the arch1 while the sea-nymphs on their restive steeds seem to be trying to get clear of the architectural restraint4 ,restiveness1 indeed1 is the chief suggestion of the whole2 an uneasy collocation of aggressive forms1 out of keeping with the somewhat severe character of the ,library faades4 ,yet one should not overlook the indubitable power and vigour of these figures1 especially of the ,neptune2 only regretting that imagination has entered so little into its composition4 ,in this respect the 8,primitive ,man and ,serpent10 a later statue1 is much more acceptable4 ,it also has power1 the more effective that its energy has been controlled1 and the sculptor1 in thinking out this conflict between creatures of such different forms1 has produced a composition which is full of imagination and very statuesque4 ,again he exhibits his mastery of form in a statue of 8,circe02 a finely poised1 supple figure1 with a superb action of voluptuous invitation4 ,moreover1 the conception is satisfactorily idealised1 a quality which does not always characterise his treatment of the female form4 ,the one1 for instance1 in the group of 8,the ,lion in ,love0 is a very ordinary reproduction of the model2 nor can ,i find in his ,langdon doors for the ,buffalo ,historical ,society's ,building1 the same imaginative control of form as in the ,library reliefs4 ,perry1 in fact1 seems to be an impetuous1 forceful person1 drawing largely upon his temperament and with the unevenness of result very usual in such cases4 ,yet he has a mastery of technique so much above the average that1 when he regulates it with reserve and kindles it from his imagination1 he produces work which is full of interest4 ,in this brief survey of the decorative sculpture of the ,library of ,congress it has been possible to touch only upon some of the most conspicuous features1 but much else that is worthy of study upon the spot will be found scattered over the big building1 especially in the private reading-rooms of the ,senate and of the ,house of ,representatives4 ,the scheming and supervision of this vast amount of beautiful detail was the work of ,edward ,pearce ,casey1 an architect with considerable knowledge of decoration and feeling for it4 ,in some cases he was coperating with sculptors who had had no previous experience in decorative work1 and he was himself without practical experience1 having but recently returned from his studies at the cole des ,beaux ,arts1 and the bias of his taste1 if ,i mistake not1 was toward the exuberance and profuseness of ,roman ornament4 ,when1 therefore1 we take into consideration the vastness and varied features of the undertaking1 we can scarcely avoid the conclusion that it has been upon the whole very well carried out2 probably quite as well as was possible under the conditions of having to complete so huge a work by a given date4 ,for one of the difficulties with which our artists1 architects1 sculptors and painters alike have to contend is the inexorable public demand that the building with all its embellishments shall be 8turned over0 on contract time4 ,very few men are sufficiently sure of their position1 and likewise possessed of sufficient conscience in the matter1 to insist upon adequate time for the development of their decorative scheme4 ,this insistence upon securing as far as possible an ultimate perfection of detail1 guided by a judgment and taste of unusual refinement1 is a notable characteristic of the architect1 ,charles ,f4 ,mc,kim1 as it is also of the sculptor1 ,augustus ,saint-,gaudens4 ,hence to this day the pedestals in front of the ,boston ,public ,library are without the groups of statuary that the latter is to execute4 ,again1 as an example of choiceness and reserve in the sculptural decoration of a building1 one may cite ,mc,kim's treatment of the faades of the ,university ,club1 ,new ,york4 ,indeed1 they are quite too choice and reserved to satisfy the popular taste1 and it is the latter which unfortunately regulates in the majority of instances the character of our public buildings1 with an inevitable tendency toward pretentiousness of mass and floridness of detail4 ,on the other hand1 from the point of view of the sculptor1 ,mc,kim's influence has been too personal1 too exclusively along the line of reproducing the style and feeling of antique art1 to have been of much direct benefit to the development of decorative sculpture in this country4 ,he is1 perhaps1 too intolerant of failure to venture upon experiments4 ,for certainly the development has been attended with some results to which it is impossible to point with appreciation4 ,do we find an example of this in the ,appellate ,court in ,new ,york8 ,its exterior is profusely covered with sculpture2 but can one truly feel that it is decorative8 ,on the contrary1 it may occur to some that the building would have had more dignity unadorned2 that it is overloaded2 its quiet lines disturbed by the flutter of forms against the sky2 that the figures themselves lack the decorative quality1 dryly formal in some instances and in others without sufficient reserve of line and mass2 overpowering1 in fact1 the structure1 while individually1 at the distance from which they are seen1 of not much moment4 ,civic pride1 doubtless not uninfluenced by the discovery that there is a commercial value in esthetics1 has led to the embellishing of office buildings and hotels with sculpture4 ,with the former continually increasing their vertical direction1 it has been no easy matter to devise for them a suitable kind of plastic decoration4 ,perhaps the most appropriate has been the flat ornamentation1 occasionally burgeoning into rounded forms1 which ,louis ,h4 ,sullivan1 a ,chicago architect1 has used4 ,he has the advantage of being his own designer for decoration as well as for structure2 and having a very logical mind he designs both with a strict regard for organic propriety1 while his fecund imagination enables him to create freely forms of inexhaustible variety and full of the charm of vital freshness4 ,in the case of many office buildings1 especially those erected some years ago1 the sculpture has the appearance of being added as an afterthought1 so inadequate is the provision made for it4 ,there is a conspicuous instance of this on lower ,broadway1 ,new ,york1 four colossal figures in bronze by ,j4 ,massey ,rhind being placed upon a projecting cornice some twenty feet above the level of the street4 ,they have no structural relation to the building and thereby lose much of their effectiveness4 ,this sculptor1 a native of ,edinburgh1 where his family1 as architects and otherwise1 have long been identified with the civic improvements that have gradually made the modern city so conspicuously handsome1 is one of the most skilful of our architectural sculptors4 ,he has not the play of fancy nor the graceful facility in decorative forms displayed by ,martiny2 but1 instead1 a strong instinct for big simplicity of design1 and for the constructional value of the figure as an adjunct to the architecture4 ,when1 as in the spandrils for the ,smith ,memorial ,arch at ,philadelphia1 he is elaborating a part of the structure1 he works with as much of the feeling of an architect as of a sculptor1 showing an unmistakable appreciation of the material4 ,in the case of these spandrils it is granite1 and the treatment of the drapery and wings has been admirably adapted to the quality and character of the material and to the exigencies of cutting4 ,a similar recognition of the claims of the material is displayed in some granite lions1 designed for the ,ehret mausoleum in ,woodlawn ,cemetery1 and again in the caryatides1 executed in pink ,tennessee marble for the ,macy ,building in ,new ,york4 ,the latter1 moreover1 are particularly successful in suggesting their architectural function of carrying a superincumbent weight1 rigidity of form and grace of line being fortunately mingled4 ,among the varied subjects which have occupied this sculptor is an elaborate fountain for 8,georgian ,court0 at ,lakewood1 ,new ,jersey4 ,the design comprises a male figure1 almost nude1 standing in a chariot formed of a huge shell1 these parts being in bronze1 while the sea-horses that he drives and the attendant ,nereids are of marble4 ,the composition1 enclosed within a circular basin and rising pyramidally toward the centre1 is full of spirit1 with especial force and freedom of movement in the marble portions4 ,yet it is probably true that ,j4 ,massey ,rhind discovers his best qualities as a sculptor ,illustration3 ,,recumbent ,,figure ,by ,j4 ,massey ,rhind ,from the ,tomb of ,father ,brown in the ,church of ,saint ,mary-the-,virgin1 ,new ,york ,illustration3 ,,puma ,by ,a4 ,phimister ,proctor ,prospect ,park1 ,brooklyn in less exuberant designs4 ,indeed1 his most impressive work1 within my knowledge1 ,i should take to be the recumbent portrait-statue of ,father ,brown in the ,church of ,saint ,mary-the-,virgin in ,new ,york4 ,it is very truly monumental1 with an exquisite placidity and tender gravity of feeling2 the lines of the figure severely simple1 the vestments1 notwithstanding some elaboration of delicate detail1 subordinated so completely to the form1 and the latter in its supple fixity expressive of the eternal calm of the head4 ,it is a figure from which emanates a very unusual atmosphere of spirituality4 ,i wonder if there is not more incentive to revere the memory of a man in a memorial like this1 representing him folded in the sleep of death1 than in one which figures him as he lived6 ,yet the latter is the more usual method in this country1 possibly because of the lack of space in city churches4 ,saint-,gaudens has done some memorable work in this direction1 notably in the portrait-panels of ,james ,mc,cosh at ,princeton1 and of ,doctor ,bellows in the ,church of ,all ,souls1 ,new ,york2 so too have ,french and ,herbert ,adams4 ,again in mural tablets1 bearing instead of a portrait some ideal figure1 work of technical merit and of very beautiful spirit has been done by ,clement ,j4 ,barnhorn of ,cincinnati4 ,especially would ,i mention an angel design of his for the ,poland ,memorial and a 8,madonna of the ,lilies40 ,in both these low reliefs he displays a quite exquisite appreciation of the beauty of simplicity of design1 of the expression of tender differences of plane1 and of the mingling of firm and vanishing lines4 ,nor in the refinement of treatment is the structural character of the figure and drapery lost4 ,,domestic ,,design ,among the various decorative designs by ,barnhorn is one for a cottage piano1 carved in wood4 ,conventionalised tree-forms compose the legs1 extend a bough from each side along the lower part of the keyboard and then mount up the sides and spread their foliage in a canopy along the top1 a draped figure occupying the centre of the front4 ,the design has one good feature1 that it grows out of and expresses the character of the material4 ,yet it deviates from what experience suggests to be worth regarding as an axiom3 that in such objects as are actually a part of the structure of a room1 for instance a mantelpiece1 or in those which by their size and importance emphasise their structural character1 the contours should conform to the straight and curved lines1 which experience has found necessary in architecture4 ,in a word1 that the structure of the object should be first attained and the decoration then subordinated to it1 instead of the latter being allowed to encroach upon the structural lines4 ,an ivy-mantled tower takes its place suitably in an open-air setting2 and1 on the other hand1 a small object indoors1 such as a clock on a shelf1 may assume any variety of outline2 but with the larger1 formal ones1 whether built into1 or detached within1 the room1 you cannot indulge in irregular contours without making them amorphous1 more or less clumsy or else trivial4 ,and this piano seems open to the charge of cumbersomeness1 which again offends the instinct of the musician1 who would feel in the instrument a suggestion of yielding to the vibrations of the music--a feeling so prominent in the delicate simplicity of the violin and to be desired in the form of all instruments4 ,yet one welcomes in this piano the inventiveness of fancy displayed1 and the skill and individuality of the craftsmanship1 delighted to find an ,american sculptor applying his art to the intimacies of domestic design4 ,among the few sculptors who have used the figure decoratively in the arts of minor design none has displayed a livelier imagination or a more charming facility than ,henry ,linder4 ,his little conceptions for candlesticks1 inkwells1 electric-light stands and other objects of domestic use are full of grace and spirit4 ,another decorative sculptor of rare feeling and unusual technical resources is ,m4 ,m4 ,schwarzott4 ,i remember well a panel of his representing fishes sporting in the waves1 which1 as ,mr4 ,hartmann fitly observes1 is worthy of a ,japanese coppersmith4 ,that very few sculptors have devoted themselves to domestic design is due as well to the dearth of really decorative genius among them as to the claims of other commissions upon the time of those few who possess it4 ,partly1 perhaps1 to a prevalence of 8high-art0 notions1 which regard a statue as1 of itself1 more worthy than a decorated object1 irrespective of the skill and craftsmanship or the beauty of the design involved4 ,yet1 ,i doubt if a prejudice of this sort would deter a man really possessed of the decorative instinct4 ,it is the lack of this and of appreciation on the part of the public for personal work which forms a bar to our advancement in the arts of design2 this and the preference of the architects for reproducing commercially the time-honoured forms4 ,encouraged by them our rich people prefer a room in which every detail is dryly imitated from a dead period to one animated by the art and spirit of to-day4 ,so they take their morning coffee la ,louis ,quinze2 their luncheon in a ,dutch kitchen2 drop into an affectation of ,japan for a cup of afternoon tea2 dine in the splendour of the ,grand ,monarque2 sip their liqueurs in ,pompeii1 and rest at length from this jumble of inert impressions in a chamber l',empire4 ,small wonder if their appreciation of art should be a pose and their actual encouragement of it nearly null6 ,,open-,,air ,,decoration ,the first great opportunity in this country for sculptors to prove their capacity in the larger field of outdoor decoration was presented by the ,world's ,fair at ,chicago1 and it brought into prominence three animal sculptors1 ,e4 ,c4 ,potter1 ,edward ,kemeys and ,a4 ,phimister ,proctor4 ,the first named collaborated with ,french in the quadriga above the water-gate and in the groups of the 8,bull0 and 8,farm ,horse0 in front of the ,agricultural ,building1 displaying in the one case a fine command of spirited movement and in the other a feeling for large simplicity4 ,these qualities he combined most effectively in the equestrian statue of ,washington for the ,place de ,jna in ,paris1 in which again his collaborator was ,french4 ,the 8,wild ,cats0 by ,kemeys1 which stood upon the ends of two of the bridges1 were quite extraordinary examples of animal sculpture4 ,their stealthy1 supple movement1 as1 bellies low to the ground1 they advanced with that slow1 clinging step which precedes the spring1 represented the closest study of the naturalist1 while the treatment of the lines and masses was altogether a sculptor's1 monumental in a high degree4 ,proctor also is a naturalist and ardent sportsman1 camping alone for weeks together in the forests and studying the big game at close quarters4 ,perhaps his instinct is naturalistic rather than sculptural4 ,at any rate1 the strongest feature of his work is its realism2 yet his 8,pumas10 at one entrance of ,prospect ,park1 ,brooklyn1 shows a fair measure of monumental feeling4 ,the quadriga which he modelled for the ,united ,states pavilion at the ,paris ,exposition was dwarfed by the structure1 but when reproduced for the ,ethnological building at the ,pan-,american ,exposition proved extremely effective4 ,on this occasion1 however1 it was only a part of the structure's embellishment and not a single emphatic note1 for which purpose it was too slight in composition1 unduly stringy and deficient in cohesion4 ,proctor himself had felt it to be so1 and the lesson was not lost upon him1 for in his next opportunity of essaying an important composition he produced something of much more sculptural import4 ,this was a group executed for the ,pan-,american ,exposition1 which embodied the idea of 8,agriculture10 representing a man at the plow-tail1 while a boy urged on the team1 a horse and an ox4 ,it was a very remarkable example of the force of realism1 when governed by the sculptural intention4 ,the mass was most imposing and full of variety of movement1 through the contrast afforded by the figures3 the horse vigorously straining at the traces1 the ox exerting his slow1 lumbering weight2 the boy in free action1 while the man's was concentrated and checked4 ,moreover1 it told its story so simply and directly1 with such complete recognition of the essential points4 ,as a piece of artistic realism1 it was alive with the spirit of ,millet--altogether a most memorable work4 ,at this exposition was also seen a quadriga by ,frederick ,g4 ,r4 ,roth4 ,his previous work had consisted of statuettes executed in bronze1 revealing a close study of unusual kinds of action1 such as that of an elephant balancing himself upon a tub4 ,he modelled a pair of these in which the mass is poised1 respectively1 upon the forelegs and the hind ones4 ,although they are very small in size they are large in feeling1 with breadth of modelling and enforcement of the suggestion of bulk and weightiness4 ,the expression of movement is admirable3 felt continuously throughout the mass and varying so characteristically1 according as each part contributes to the action4 ,nor does he neglect to secure the surface-charm of colour and texture in his bronzes2 and these little objects of art make very choice appeal to sight and touch4 ,this charm of surface is accompanied by a more vigorous display of movement in a group1 which represents 8,the ,combat0 between an elephant and a rhinoceros4 ,the latter1 with hind legs planted as firmly as trees1 is ramming his horn into the belly of the other beast1 who has rolled over on his side and is lifting head and trunk in a spasm of pain4 ,again our interest is divided between the extraordinary realism of the representation and the beauty of the surfaces1 shown especially in the slabs and corrugations of the rhinoceros4 ,the stress of movement is carried still further in the quadriga4 ,it is an incident of a 8,chariot ,race02 the vehicle has been whirled on to one wheel1 and the driver is throwing his weight upon the opposite side to restore the balance1 at the same time holding back with all his force against the strength of the four galloping horses4 ,this group1 of full size1 executed in plaster1 cannot fail to impress one both by its daring and by the knowledge and power displayed4 ,whether it completely convinces one's imagination is less certain4 ,the figure of the man does1 so also that of the horse which is plunging in midair2 but the hind legs of the others and the chariot wheel seem rooted to the ground1 thereby clogging the impetus of movement4 ,the group1 in fact1 raises an interesting point as to the limitation of the sculptor4 ,a painter could give the wheel an appearance of revolving1 could raise a cloud of dust around the heels of the horses and by the introduction of atmosphere resolve the rigidity of lines4 ,correspondingly1 if this group were raised to an elevation so that the juncture of the wheels and legs with the ground were not observable1 and the whole by distance were enveloped in atmosphere1 the effect upon the imagination would be vastly increased1 probably complete4 ,but when it was seen at ,buffalo1 on a low pedestal close to the eye1 the deficiencies of illusion were as apparent as they are in the accompanying illustration4 ,however1 granted that the illusion would be complete1 we may question the propriety of expressing in sculpture such violent movement of progression4 ,if stationary1 an equal vehemence might still be monumental2 but can one imagine any structure upon which1 without detriment to its stability and impressiveness1 this restless mass1 hurling itself forward from its position1 could be placed8 ,therefore1 the sculptor seems to have landed himself in the predicament of needing something which he has made it impossible for himself to procure2 due1 if ,i mistake not1 to his having forced the medium beyond its characteristic limits4 ,eli ,harvey's observation of wild animals in confinement has resulted in some excellent statues of lions1 jaguars and leopards1 all of which would be eminently suitable for the embellishment of public parks4 ,in two cases he has used lions as the motive for decorating pediments intended for the lion house of the ,new ,york ,zological ,society4 ,his work is at once very true to life and thoroughly sculpturesque4 ,in all probability1 however1 the finest animal group which has yet been produced in this country is the 8,buffaloes0 by ,h4 ,k4 ,bush-,brown4 ,it has been reproduced as a statuette in bronze1 and in this form is a powerful and impressive work1 but to appreciate to the full its conspicuously monumental character1 the dignity of its bulk and of its massed and rooted energy1 one must have seen it in the original colossal size4 ,well placed in the natural surroundings of a park1 it would present a spectacle of remarkable grandeur4 ,this sculptor1 like his uncle1 ,illustration3 ,,chariot ,,race ,by ,f4 ,g4 ,r4 ,roth ,henry ,kirke ,brown1 the sculptor of the equestrian statues of ,washington and ,general ,scott1 is a horseman1 and his own equestrian statues display a thorough knowledge1 but scarcely that imposing dignity of mass1 which the build of the buffalo made possible for this group4 ,whereas at the ,chicago ,exposition the gaiety of the sculptural embellishment1 with the exception of the ,macmonnies's fountain1 was concentrated on the buildings1 and the arrangement of statues and groups about the grounds had been regulated with reserve1 one motive of the ,pan-,american was to demonstrate conspicuously how sculpture could be used in the decoration of open spaces4 ,there must have been many who felt that this feature was overdone2 that the dignity of the vistas was disturbed by the multiplicity and variety of forms1 and that what had set out to be gay finished by being fidgety4 ,the more so that there was little relief of greenery1 the whole scheme being too exclusively architectural without the assuaging influence of landscape gardening4 ,if in lieu of so much sculpture trees had been imported into the scene1 its beauty would have been increased1 and the discomfort of the visitor1 unsheltered from the sun1 correspondingly diminished4 ,the value of greenery in displays of this sort is at once an esthetic and a practical consideration4 ,the sculpture at this exposition was under the supervision of ,karl ,bitter1 and his equestrian 8,standard ,bearers10 surmounting the pylons of the ,triumphal ,bridge1 were the most arresting features of the scheme4 ,ten years earlier he had modelled the colossal groups that stood at the base of the dome on the four corners of the ,administration ,building4 ,they presented a fanfare of form against the sky2 and these rearing horses at ,buffalo1 with their riders holding aloft a draped flag1 had the same fling of action1 only more controlled by experience4 ,instead of an explosion of limbs and movement1 there was a sustained and concentrated energy1 infinitely more impressive4 ,it is in decorative subjects of this sort1 which permit a certain heroic exaggeration1 that ,bitter seems at his best4 ,an ,austrian by birth and training1 he has the ,teutonic exuberance1 touched with the gaiety of the ,french influence1 and it is when the occasion warrants the exercise of both qualities that he finds his best chance4 ,when he is deprived of an excuse for festivity he is liable to abandon himself to an excess of force1 as in the 8,atlantes0 of the ,st4 ,paul ,building in ,new ,york1 which are uniting their titanic strength with contortion of limbs and muscles to support--one little balcony6 ,or if1 as in a memorial to the dead1 he is constrained to moderation and set toward the expression of sentiment1 his work is apt to be characterised by sentimentality and ineffectualness4 ,yet1 in the sitting statue of ,doctor ,pepper1 he has made a sincere attempt to render in straightforward fashion the personality of the subject4 ,the figure is realistically treated1 even to the adoption of an awkward pose1 which1 however1 fairly corresponds with the meditative suggestion1 while the expression of the head unquestionably enlists our interest4 ,nevertheless1 it is in such a group as ,bitter furnished for the ,naval ,arch at the ,dewey celebration1 full of stirring action and heroic suggestion1 that he is to be seen most characteristically4 ,isidore ,konti's groups at the ,buffalo ,exposition proved him to be a decorative artist of unusual versatility4 ,he does not show the same varied familiarity with ornamental forms as ,martiny1 but his technique is scarcely less facile and sure than the ,parisian's1 while touched with much of the ,italian navet4 ,gay or serious1 according to the subject1 his inventiveness of fancy inclines toward that slightly idealised realism which characterises the work of many sculptors of the modern ,neapolitan school2 a realism that is less the product of any theory of art1 than of the natural adaptability to impressions--a quick perception coloured by temperament4 ,thus ,konti seems to me at his best when his fancy moves most simply4 ,a first impression of his group1 8,the ,age of ,despotism10 was very satisfactory4 ,bold and simple in design1 it represented a man seated in a chariot1 erect and cold1 with eyes fixed sternly ahead1 and at his side a woman 7a courtesan1 ,i took her to be7 lashing on the team of human cattle1 while women were dragged in chains behind4 ,amid so much trite symbolism here seemed to be a touch of very nave and forcible realism4 ,but closer inspection discovered that the realism was impaired by artifice and artfulness2 the woman in the chariot had wings1 and one of the captives carried a pair of scales1 a lapse into abstractions that for myself1 at any rate1 lessened the value of the group4 ,on the other hand1 in the group upon the ,temple of ,music1 while abstractions were introduced1 they had no other meaning than a decorative one4 ,the youth with a lyre might represent ,apollo1 but there was no need to recognise the fact2 he was simply one of a joyous band of figures1 animated with the grace of gaiety1 of music and the dance4 ,these groups were as refined in composition as they were exuberant1 exhibiting the genuine creativeness of an artist who has an instinct for decoration and a lively delight in the pure expression of line and form1 regulated by an instinct also of artistic propriety4 ,it is eminently a ,latin trait1 in which the ,american is as deficient as the ,anglo-,saxon or ,teuton4 ,our tendency is to desire a motive in decoration beyond the decorative one4 ,so we make our statuary expressive of patriotism or what not4 ,well and good2 but we do so without that instinct of propriety which should be as careful of the setting of the statue as of the statue itself4 ,thus in city squares and public parks we multiply our memorials without adding1 as effectively as might be1 to the beauty of their environment4 ,it was this fact which1 by a display of the opposite1 the ,buffalo ,exposition was designed to enforce4 ,in another chapter ,i have alluded to our preference for portrait-statues with their prosaic accompaniment of tailor-made trimmings to statues which1 while commemorating the individual1 would be more essentially decorative4 ,but it is equally to be desired that better use should be made of such statues as we decide to encourage2 for a statue set down promiscuously in a public square or thoroughfare1 facing in no particular direction1 forming the termination of no vista of sight1 supported and isolated by no architectonic arrangement1 loses the greater part of its impressiveness4 ,indeed it is very generally forgotten that there is an element of formality in a statue1 which necessitates some formality in its placing1 and that the accompaniment of wriggling paths and of the haphazard sprinkling of trees1 such as we find in our ,new ,york smaller parks1 is directly opposed to the spirit of the statue4 ,it is equally a violation of propriety and a waste of good material to set a fine statue on the line of a thoroughfare1 where it is seldom seen from the front1 but continually passed by unnoticed4 ,yet these and similar incongruities are only too frequent4 ,,xiii ,,the ,,ideal ,,motive ,the value of the imaginative quality in a work of sculpture must depend chiefly upon the degree to which it is governed and prompted by1 impregnated with1 the sculptural feeling4 ,this is1 of course1 true of any other work of art3 that it should be the offspring of a wedding of the thought with the medium2 a union in which the medium is not compelled into alliance with the thought1 or dallied with in a more or less honourable concubinage1 but fitly mated in the liberty of mutual dependence4 ,yet it is so habitual with us to clothe our thoughts in words1 actually to think in words1 that the artist finds it difficult to shake himself free of the verbal subjection and to think in the language of his particular medium4 ,some evade the difficulty by not burdening themselves with thought2 others succumb to it and force their medium and technique to a literal rendering of their ideas1 whether shallow ones or deeper2 while a few succeed in deriving motive from the medium1 or in so moulding their thought to it1 that both become indissolubly blended and mutually enforcing4 ,thus in those signal examples of ,michelangelo upon the ,medici tombs1 we may call them 8,night0 and 8,day10 8,dawn0 and 8,twilight10 for convenience of reference1 but it is because the conceptions embodied in them cannot be captured into the precision of words that they have so profound a significance4 ,consciousness grows upon us first of huge1 bony structures and elastic muscles2 of torso and limbs contorted2 more developed than the normal2 in attitudes impossible to it1 or well nigh so4 ,we derive from this consciousness an impression of struggle2 but no emblem or visible cause for it is introduced2 only it is borne in upon us by the forms themselves4 ,with this clue to understanding we note the more than human strength1 the superb sensuousness1 the eternal fixity of these supple figures and1 again1 their distortion1 and the struggle which they body forth is realised as one of spirit1 a conflict of soul4 ,but to have discovered this is not to have captured the conception4 ,it still eludes all exact comprehension2 vague1 limitless1 the lapping up upon our shore of sense of an ocean that stretches to immensity4 ,this is to cite the example of a genius1 beside whom the wits of most other men seem petty2 yet surely it contains the principle upon which all truly imaginative work must be based4 ,it is thus that ,rodin bases his2 bodying forth in structure1 modelling and expression of movement his imaginings1 just so far as they are to be made palpable to sight1 but with a residuum always of what the mind alone can conceive or approximate to4 ,in every work of art there should be present the imagination of the artist1 arousing our own imagination1 directing it and then leaving it to its own unhampered speculation4 ,this quality is not to be confined to the so-called 8ideal0 subject1 it must appear in every bust or statue to make it vital4 ,for while it is given to but few men to have creative imagination1 we have a right to expect in the artist that degree of imagination which can penetrate beyond the outer integument of his subject1 and find inside the tailor-made or millinery outworks the man or woman1 the revelation in the flesh1 however infinitesimally fractional1 whether divine or devilish1 of infinity4 ,how many ,american sculptors have infused their work in portraiture with this vital quality has been reviewed elsewhere4 ,but the number is not complete without mention1 at least1 of ,w4 ,r4 ,o',donovan1 ,samuel ,murray1 ,charles ,calverly1 ,henry ,h4 ,kitson and his wife1 ,alice ,ruggles ,kitson1 ,r4 ,e4 ,brooks1 ,a4 ,a4 ,weinman and ,birtley ,canfield4 ,the last named's treatment of the child in portraiture is full of tender imagination4 ,and elsewhere ,i have treated of some of our sculptors whose decorative works have exhibited imagination2 the sweet and gaysome kind of it that plays like sunlight upon water2 or1 if occasion demands it1 the kind of deeper1 serious import4 ,but there is a kind of decorative sculpture for which we can have little patience3 the nude or draped inanities that spread themselves over space1 exploitations of brainless facility2 or1 again1 the figure which would be meaningless except for the added symbols1 and which we only recognise as a model1 posturing with something borrowed or stolen from the ,old ,world property-room4 ,yet one of the shibboleths glibly passed around the studio is 8ideal sculpture10 and it is largely applied to just such sculpture as this2 to works which are barren of ideas1 or in which the subject of the statue is declared only through some time-worn symbol4 ,not that the introduction of a symbol is of itself objectionable1 though it is a fact that the works of finest imagination1 as ,saint-,gaudens's 8,grief10 to quote a modern example1 are free of such aids to suggestion4 ,but ,i am thinking of that vast majority of statues ,illustration3 ,,bust ,,of ,a ,,child ,by ,birtley ,canfield ,illustration3 ,,the ,,stone ,,age ,by ,john ,j4 ,boyle in which the figure would convey no hint to our imagination if it were not for the symbol introduced4 ,and how far1 ,i wonder1 does the symbol succeed in leading us8 ,we are apt to find it either trite or1 as in the case of some of the mystically symbolic work of modern times1 abstruse4 ,with religious symbolism it is different4 ,in old days1 at least1 the artist and the public had a common starting-ground of knowledge1 and the symbol awoke a clear impression1 invested by religious habit with a weighty import4 ,but what of the frequent statues1 representing 8,law10 8,truth10 8,justice0 and the like by a draped model1 alternately holding a tablet1 serpent1 mirror1 scale and swords1 or what not2 or that countless family of undraped statues1 clever studies merely of anatomy and academic composition8 ,their only suggestion to the cultivated imagination is one of weariness1 yet they pass in the studios for 8ideal40 ,let us clear our minds of cant and see these things for what they really are--more or less skilful imitations of the model1 but of creative imagination1 of the faculty to give expression to an idea1 possessing nothing4 ,on the other hand1 some sculptors1 in their avoidance of the trite1 run to the opposite extreme of the abstruse--to that occult and mystic symbolism1 which has been sporadic for half a century in ,europe and has found at least two exponents in this country4 ,here again1 if the artist makes the figure the main source of expression1 establishing a chord of communication between his own imagination and ours1 and uses the symbolic object solely as an accessory1 the latter may possibly help our act of appreciation1 or1 at least1 will not hinder it4 ,but1 when it usurps the chief function in the composition and we find in the figure no clue to any line of imagination1 having to turn to the symbol for assistance1 it is then that our distress begins4 ,we may or may not recognise the object1 and1 if we do1 may be baffled in our attempt to discover its allusion in the present case2 haunted meanwhile by a disagreeable doubt as to whether it was really intended to be allusive or only introduced for decorative effect4 ,it is not by such little stepping-stones to understanding1 slippery and insecure1 that the truly creative imagination proceeds4 ,it takes its leap into the air1 clear of obstructions1 relying upon its own power of flight4 ,for1 even if we comprehend the meaning of the symbol and its allusion1 how far1 ,i wonder1 does it carry us8 ,when from the mysteries of ,egypt1 for example1 the modern artist borrows a symbol to garnish his modern thought1 ,i wonder if we are much impressed8 ,he uses1 we will say1 the device of the winged globe4 ,we know that it once stood to people as a sign of immortality2 we recognise that much1 but does it touch our feeling--will it increase our belief in immortality or promise anything to our yearning after it8 ,the statue itself must do that1 and if it does1 the symbol is likely to be felt intrusive4 ,i do not forget that ,sargent in his ,boston decoration has made noble use of symbolism4 ,yet ,i feel strongly that the earlier part of the work which involved ,egyptian1 ,assyrian and ,judaic symbolism is inferior to the subsequent work1 which is impregnated with the ,byzantine4 ,for in the latter the artist has identified himself so completely with the medieval mind1 that he is thinking in it1 while working in the modern technique2 consequently his work is veritably a reincarnation of the old thought4 ,compared with this his earlier use of symbolism appears only scholarly and ingenious4 ,so1 one may infer1 it is not the use of symbolism that is alien to the modern mind1 but that use of it which borrows from the past and does not reproduce the ancient spirit or incorporate the old with modern thought4 ,in his 8,fountain of ,man0 at the ,pan-,american ,exposition1 ,charles ,grafly combined a cryptic motive with what was otherwise simply and intelligibly sculpturesque4 ,the crowning and most prominent feature of the composition1 to which the remainder served as an elaborate base1 was a draped mass1 which on nearer view proved to be two figures back to back1 their heads covered with perforated casques1 joined together over the top by what had the appearance of a handle4 ,the faces were visible1 but from the rim of the casques descended curtains of drapery1 enshrouding the figures1 but leaving exposed the hands1 which grasped short cylinders4 ,there can be no doubt of the general suggestion of the symbolism1 the twofold nature of man1 the mystery of it2 but ,i must confess that ,i am baffled by the headgear and the cylinders4 ,yet the mass was impressive as a finial to the fountain1 having something of the character of a low obelisk4 ,indeed1 for decorative purposes it might almost as well have been a shaft1 the special aptitude of the human form for the expression of ornamental design having been obliterated by the drapery4 ,not so1 however1 in the lower part of the composition4 ,the pedestal on which the figure rested was surrounded by nude forms of youths and maidens intended to represent the seasons1 while the platform on which they rested was supported by crouching male and female forms1 personifying1 ,i believe1 the virtues and vices4 ,yet with all ,grafly's inclination toward symbolism1 there is very little expressional suggestion in his treatment of the nude4 ,he becomes preoccupied with the model and his imagination seems to leave him4 ,however1 in one statue at least1 8,the ,vulture of ,war10 he has shown what he can accomplish1 when he permits his imagination to control4 ,here the nude is made a vehicle of emotional force3 a male figure stooping forward1 as if he were on some lofty crag and about to hurl himself to earth2 his face treacherous and cruel2 the limbs constricted like a beast of prey's4 ,there is a largeness of design in this figure as well as expression2 something infinitely finer than mere close studies of anatomy1 accompanied with accessories of abstruse suggestion2 a real incentive to one's imagination which is lacking1 if ,i mistake not1 in such compositions as 8,symbol of ,life10 8,in ,much ,wisdom0 and 8,from ,generation to ,generation40 ,on the other hand1 in his busts ,grafly exhibits a directness of insight into character and a vigorous1 very personal technique that make them most distinguished4 ,nor does the symbolism of ,f4 ,e4 ,elwell1 as shown for example1 in his 8,goddess of ,fire10 stir more in me than an interested curiosity4 ,why should he have drawn the type of his figure and its accessories from the art of ancient ,egypt8 ,had he the intention of fashioning something beautiful1 or that should pique the appetite for surprise8 ,was his motive to allure or tantalise our imagination8 ,for my own part1 ,i admit the fascination of this spritish figure1 so queerly bedizened1 but am not conscious of any appeal to the imagination4 ,on the other hand1 when his work is not abstruse it is apt to be too obvious4 ,the 8,orchid ,dancer0 is clearly posing for effect1 looking for applause1 and1 ,i should judge from the expression of her face1 quite unable to understand why any one could withhold it4 ,however1 while the movement of the figure lacks expression1 there is a very pleasing fancifulness in the treatment of the drapery1 curling across the body and upward from the feet in petal-like volutes4 ,i think ,i do not fail to appreciate the sentiment which inspired this statue1 and1 if ,i speak of it as being too obvious1 it is because it seems to me that the sentiment stands out clear of the sculptural feeling4 ,thought and technique are not wedded in such manner1 that you not only cannot feel them separately1 but would find it impossible to distinguish how much had been inspired by the one1 how much by the other4 ,elwell's work suggests a man of poetic and intellectual capacity who has resorted to sculpture to express his ideas1 and this is a different thing from the sculptural instinct1 influenced by intellect and poetry4 ,accompanying this lack of a predominant feeling for form is a lack of mastery of it1 which becomes apparent when he confronts his model4 ,the latter does not act as stimulus to sculptural motive1 but becomes something to be reproduced1 and his invention is absorbed in the details which shall convey a suggestion of the intellectual and poetic motive4 ,one may even feel that this intellectual or poetic motive becomes an obsession1 which interferes with his receiving sculptural stimulus from the model4 ,for among his later works are two in which evidently the same model has been used2 but in one case he has been filled with an idea1 and the use he has made of the model is tame1 whereas in the other case it would appear to have been the model herself which engaged his imagination4 ,he has made a close study of her head and bust1 producing something in which the nobility of form and flesh are very apparent1 which1 in fact1 has very strongly the sculpturesque feeling4 ,he calls the finished work 8,mary ,magdalen10 but this1 one feels sure1 was a convenient afterthought1 and that the original intention1 as ,i have said1 was simply a study of form and flesh2 and his temporary escape from the prepossession of an idea has given free course to the sculptural purpose4 ,two earlier works1 regarded as being his most important productions1 were the ,dickens ,memorial and a statue of ,general ,hancock at ,gettysburg4 ,these two1 ,grafly and ,elwell1 are the only ,american sculptors within my knowledge who have been drawn toward symbolic mysticism2 for the mysticism that appears in ,barnard's work1 and must have been present in the colossal 8,spirit0 by ,john ,donoghue1 a work known to me only by report1 is of a grander1 deeper character1 growing out of and penetrating the form itself4 ,this statue of ,donoghue's1 a seated1 winged figure thirty feet high1 represented the ,spirit1 the 8,thou0 of ,milton's apostrophe1 who 8from the first ,wast present1 and1 with mighty wings outspread1 ,dove-like1 satst brooding on the vast abyss1 ,and madst it pregnant40 ,described as a work of great impressiveness1 with suggestion of sublimity1 benignity and mysterious power1 it was executed in the artist's studio on the ,roman ,campagna and sent to this country for exhibition at the ,chicago ,world's ,fair4 ,but for some reason it never reached its destination1 and was allowed to crumble away in the warehouse of a ,brooklyn wharf4 ,other works of his also--8,sophocles10 8,diana10 8,venus0--for lack of appreciation lie in storage4 ,working fitfully and with painful hindrances from insufficient facility in the handling of his medium1 ,theodore ,bauer has produced some works full of imagination4 ,nature gave him the gifts of music and of dreaming2 and1 nursing these1 he slipped on into middle life1 without ceasing to be a child4 ,the grit of manhood1 the practicality of the world and the need of responding to it in kind1 are outside his comprehension4 ,he lives within himself in a world of his own3 a world of rosy lights and purple shadows2 soft1 olian breezes1 whose wailing arouses a rapture of mild despair2 distant mountains1 whose inaccessible snows prompt sweet imaginings of purity and high endeavour1 while he meditates in his valley of unlaborious delight and delicious1 pleasurable pain4 ,a world of reverie1 darkened1 however1 at times by storm-clouds and disturbed by the deep moan of thunder along the distant heights4 ,for in ,bauer's work delicate fancy alternates with sadness1 as one may see in his two statues in the ,library of ,congress4 8,religion0 is represented as a young girl peering into the far beyond with wistful1 visionary gaze and holding before her a poppy flower with leaves and seed-pod4 ,in her grasp is the pride of life and the narcotic with which the world lulls its pain2 but she looks beyond them to the ideal and to the balm of spiritual ecstasy4 ,in the 8,beethoven10 however1 is expressed the world-wearied yearning of the artistic soul4 ,the well-known face1 rugged and graven with the lines of time and suffering1 is slightly bowed1 and the right hand is held to the ear as it listens intently for the far-off strain of inspiration1 while the other hand is poised as if above a keyboard1 the fingers searching to express the music in his brain4 ,a heavy cloak with high-standing collar gives breadth and picturesqueness to the figure4 ,it is1 indeed1 too picturesque1 one may feel--with too expanded a composition and too much play of movement1 to satisfy its architectonic function of relieving by a vertical line the horizontal of the balustrade4 ,but1 however that may be1 as the portrait of a great musician and an idealisation of his art1 it is a statue full of suggestion--a work of imagination1 elevated1 tender1 deep and true4 ,bauer had long pondered a series of four groups1 representing 8,the ,tragedy of the ,sphinx02 her awakening to love1 her passion1 disillusion and death2 and in one of the buildings of the ,chicago ,world's ,fair1 amid the chaos of the construction period and in a winter of unusual severity1 a winter of veritable discontent to him1 he worked upon the first of these1 8,the ,sphinx and the ,cupid40 ,during the exposition months it stood in a retreat of foliage near the ,art ,palace unnoticed4 ,yet1 even unfinished as it was1 it exerted an extraordinary fascination4 ,the little ,love ,god was whispering in the creature's ear1 and as the honey of his words sweetly melted her slow imagination1 a smile of aroused appetite began to play upon her lips1 hunger shone in her eye2 a passion hot and cold1 eager with desire1 callous to everything but its own satisfaction2 a cruelty that would not be appeased until it had consumed itself4 ,i have said that ,bauer is painfully hindered by a lack of facility in the handling of his medium2 but ,i doubt if it is from lack of skill in technique1 as is sometimes said4 ,he is1 in fact1 a very rapid and sure worker up to a certain point1 that of bodying forth his conception in its broad1 general aspect2 and the subsequent embarrassment is due to the subtlety of the expression for which he is striving2 a kind of subtlety1 often alien1 ,i expect1 to the expressional capacity of his medium4 ,for ,bauer has long wished that fate had made him a painter instead of a sculptor1 and there is no doubt that the quality of his imagination is more suited to the medium of colour4 ,in contrast with the mysticism and subtlety of imagination1 more or less displayed in the work we have been considering1 is that form of imagination which turns to earth and to the facts of things for its inspiration4 ,how it has operated in the work of some of our sculptors has been noticed elsewhere1 as well as the fact that the ,indian subject has made frequent appeal to their imagination4 ,a further example of the latter is 8,the ,medicine ,man10 by ,c4 ,e4 ,dallin1 which was a prominent feature on the grounds of the ,paris ,exposition4 ,mounted on a stringy pony1 the man himself lean and gaunt1 the group counted very little as a mass1 yet compelled attention by the keenness of the characterisation4 ,amid the extreme modernness of the scene and its variety of impressions1 the impassiveness of this figure1 survival of an age so remote1 was strangely moving2 a proud1 stern figure1 conscious of its dignity1 in pitiful1 solemn protest against the inexorable march of destiny2 the last echo of an unrecorded epic4 ,no sculptor has succeeded better in combining with complete naturalism the poetry of the ,indian subject4 ,gutzon ,borglum in his statuettes has represented with realism and vigour its actualities1 and ,h4 ,a4 ,mac,neil has reached inward into the thought of the ,indian2 but ,dallin has given us the realism1 spirit and some suggestion of the ,indian environment1 such as ,brush did in his early paintings4 ,in ,philadelphia1 however1 is an ,indian group representing 8,the ,stone ,age10 which involves some further suggestion4 ,a woman stands grasping a hatchet and clutching her infant to her breast1 as she looks into the distance with wary1 resolute courage1 while a little child crouches up to her on one side1 and on the other a bear's cub lies dead4 ,it is by ,john ,j4 ,boyle1 one of his few ideal subjects1 a work of powerful imagination4 ,this sculptor has essayed decorative subjects1 but with less success4 ,his control of composition does not seem to extend beyond the treatment of a single figure or of a group in which one is predominant2 and his strong point is the expression of character or sentiment4 ,thus his seated statue of ,benjamin ,franklin is one of the most interesting examples of portrait-sculpture in the country4 ,it possesses a considerable share of monumental dignity and a very remarkable intimacy of feeling4 ,the pose is informal1 the expression of the head and body quite natural1 yet the conception has no trace of obviousness1 much less of commonplace4 ,it is invested with just sufficient idealisation to preserve the impression of a statue2 that it is not the counterfeit presentiment of a man1 but a memorial of his qualities and what they imply to his admirers4 ,and the qualities are expressed with admirable decision2 the intellectual dignity of the head well sustained by the erect torso and the broad1 firm carriage of the arms2 the easy negligence of the costume according so well with the benevolence and genial humanity of the face4 ,indeed1 in this portrait-statue ,boyle reveals a penetrating and sympathetic insight and a choice of treatment that are the products of an active imagination2 and when in a subject like the 8,stone ,age0 his imagination can work as it lists1 it reaches to that point where the particular becomes merged in the universal suggestion4 ,for in this group we pass from interest in the episode to a realisation of the rude grandeur of the primitive nature1 the physical grandeur of untrammelled development and the natural instinct of the mother animal4 ,i recall another group of his3 a modern peasant woman with her baby folded in sleep upon her broad bosom and another child nestling at her feet4 ,here1 too1 the mother is vigorous and ample1 but rounded and softened by more genial environment4 ,yet in the generousness of her form as in the strenuousness of the other's1 we feel the same suggestion of the earth-mother1 the mother in closest affinity with nature4 ,only1 as nature progresses from rigour to amenity1 the primal instinct of preservation of her young has passed into the all-pervading tenderness of maternal solicitude4 ,it is1 in fact1 the typical conception of motherhood1 as compared with the merely individual representation that appears in each of these groups4 ,the conception1 moreover1 is coloured with modern thought1 not a spiritualised abstraction1 like ,raphael's1 but enriched with the passion and fecundity of earth4 ,raphael may have sought his models among the girl-mothers of ,trastevere or the ,campagna2 but his idea of motherhood he brought down from the region of artistic and intellectual speculation4 ,on the other hand1 the tendency of the modern artist is to set back his model in her actual environment and to discover her affinity thereto4 ,or1 if his model be nature1 he no longer attempts to spiritualise it by arrangement of lines and forms that accord with his abstract theories of beauty1 or by investing it with atmosphere and sunlight1 drawn from his own imagination4 ,nor is he satisfied with the objective nature-study of the ,dutchmen of the sixteenth century2 but1 observing nature no less closely than they1 he peers further into it in the search for a soul and heart within her that shall correspond to the heart and soul within himself4 ,the main current of the poetic imagination in modern art is to find the soul in the fact and it is a phase of the general tendency of modern thought4 ,our gaze is earthward2 to the beauty1 poetry and desirable goodness that are in nature and the natural life1 and to the spiritual suggestion in the actual4 ,there are minor currents1 too1 little streams of rebellion that flow contrary to the general direction4 ,the superesthetic and the superintellectual1 equally are protests against the trend toward naturalism4 ,the one responds to what there is in us of world-weariness1 of a jaded epicureanism that needs the subtlest stimulants to its imagination2 the other would emphasise the quality by which1 it assumes1 we are differentiated from1 and superior to1 the natural world4 ,disregarding the ,universal ,intellect which regulates the law of natural growth and of natural habits1 it would force the little unit of intellect into premature development1 into lifelong estrangement from the wholesomeness of nature4 ,for facts it would substitute names2 words1 words and continually words1 until they take the place of knowledge1 of ideas and of all religious1 moral and esthetic consciousness4 ,in ,american art there is scarcely any trace of the superesthetic2 but more than a little of the superintellectual1 a phase and product of our infatuation for words1 which binds the imagination with wrappings of borrowed thought and checks the free flight of original ideas4 ,for the end of art is not to teach1 but to make us feel2 to refine and elevate the operation of the senses1 helping us through visible1 tangible and audible beauty to catch at something of the mysterious infinitude of beauty4 ,even as man's intellect reaches ever wider and further until knowledge is merged in speculation2 so by the promptings of the senses we reach from appreciation of material things to that detachment of feeling which exists in the ideal4 ,,index ,adams1 ,herbert1 #ii-aae1 #ahd1 #aic ,ball1 ,thomas1 vi1 #ef ,barnard1 ,george ,grey1 #ba-cf ,barnhorn1 ,clement ,j41 #aic1 et seq4 ,bartholom1 ,albert1 #f1 #g ,bartlett1 ,paul ,w41 #hi-ie1 #ahd ,barye1 ,antoine ,louis1 #aeh ,bauer1 ,theodore1 #bbc1 et seq4 ,bissell1 ,george ,e41 #ahd ,bitter1 ,karl1 #bjd1 #bje ,borglum1 ,gutzon1 #aec1 #aed1 #bbf ,borglum1 ,solon ,hannibal1 #adi-afb ,boston ,public ,library1 #ha1 #hc ,boyle1 ,john ,j41 #ahd1 #bbg1 et seq4 ,brenner1 ,victor ,david1 #afe-aga ,brooks1 ,richard ,e41 #bad ,brown1 ,henry ,kirke1 vi1 #dc1 #bjc ,bush-,brown1 ,h4 ,k41 #bjb1 #bjc ,calverly1 ,charles1 #bac ,canfield1 ,birtley1 #bad ,canova1 v1 #ef ,carpeaux1 ,jean ,baptiste1 #acd ,casey1 ,edward ,pearce1 #ahh ,cavelier1 ,jules ,pierre1 #bh ,centennial ,exhibition1 v1 viii1 #acf ,chicago ,world's ,fair1 #fa1 #fe1 #ge1 #hd1 #aig1 #bjc1 #bbb1 #bbd ,coloring ,sculpture1 #ajb1 et seq4 ,crawford1 ,thomas1 vi ,dallin1 ,cyrus ,e41 #ahd1 #bbf ,donoghue1 ,john1 #bbb ,dubois1 ,paul1 #f1 #g1 #ae ,elwell1 ,f4 ,edwin1 #bai1 et seq4 ,falguire1 ,jean ,alexandre ,joseph1 #ge1 #ajj1 #acd ,flanagan1 ,john1 #ahe ,frmiet1 ,emmanuel1 #ij1 #aeg ,french1 ,daniel ,chester1 #ee-gj1 #aic ,grafly1 ,charles1 #bag1 et seq41 #bbb ,greenough1 ,horatio1 #d ,harvey1 ,eli1 #bjb ,jouffroy1 ,franois1 #acd ,kemeys1 ,edward1 #aig ,kitson1 ,alice ,ruggles1 #bac ,kitson1 ,henry ,h41 #bac ,konti1 ,isidore1 #bje1 et seq4 ,library of ,congress1 #gd1 #hc1 #ij1 #aac1 #abh1 #adb1 #agf1 et seq41 #bbc ,linder1 ,henry1 #aie ,macmonnies1 ,frederick1 #gc-he ,mac,neil1 ,h4 ,a41 #bbf ,martiny1 ,philip1 #agg1 et seq41 #agi1 #aia1 #bje ,mc,kim1 ,charles ,f41 #fe1 #ff1 #ahi ,merci1 ,marius ,jean ,antonin1 #ajj1 #acd ,metropolitan ,museum of ,fine ,arts1 ,new ,york1 #ha1 #hi1 #afi ,michelangelo1 #ba1 #bf1 #bg1 #ajb1 #bab ,murray1 ,samuel1 #bac ,national ,sculpture ,society1 #dj ,niehaus1 ,charles ,henry1 #aai-abh1 #ahd ,o',donovan1 ,w4 ,r41 #bac ,pan-,american ,exposition1 #adi1 #bjc1 #bjg1 #bag ,paris ,exposition of #aijj1 #f1 #gg1 #adi ,perry1 ,r4 ,hinton1 #ahe1 et seq4 ,potter1 ,edward ,c41 #ff1 #ahd1 #aig ,powers1 ,hiram1 vi ,pratt1 ,bela ,l41 #aha1 et seq4 ,proctor1 ,a4 ,phimister1 #aig1 #aih1 #aii ,rebisso1 ,louis ,t41 #aee1 #aeg ,rhind1 ,j4 ,massey1 #aia1 et seq4 ,rinehart1 ,william ,henry1 vi ,rodin1 ,auguste1 #h1 #ce1 #ajb1 #aci1 #aeh1 #bac ,roth1 ,frederick ,g4 ,r41 #aii1 et seq4 ,roty1 ,louis ,oscar1 #afh ,ruckstuhl1 ,f4 ,wellington1 #ahd ,rude1 ,franois1 #acd ,saint-,gaudens1 ,augustus1 #c1 #ag1 #ba1 #di1 #gd1 #ge1 #aeg1 #aic1 #bad ,schwarzott1 ,m4 ,m41 #aif ,sullivan1 ,louis ,h41 #aij ,taft1 ,lorado1 #agh ,ward1 ,john ,quincy ,adams1 #ci-eb1 #afg ,warner1 ,olin ,levi1 #aji1 #aca-adf ,weinert1 ,albert1 #agi ,weinman1 ,adolph ,a41 #bad ,illustration3 ,,the ,,country ,,life ,,press ,,garden ,,city1 ,n4 ,y4