PO RT RAI T OF AUGUSTU S S A I N T- GAU D E N S I N HIS F O R TI ETH Y E A R B Y K E NYO N C O " ' This re p rod u cti on is m a de from the or igi n a l pictu re p a inted in the scu l pto r s Thi rty- sixth St reet studio in 1 887 a n d dest roye d in the fi re in his studio in

. f H . 1 w b M 1 08 or C n N 0 . A r a a s a e r . C or ish , , in 9 4 eplic p int d y ox in 9 the e Memori a l E x hibition in the Met ropolit a n Mu se u m . Th e sculptor is re p r t \ I h i s a f W m . e rt ra of a . sented work upon the reli po it illi a . Ch se Behind to th e ft o of V a e a t r a f th e a r . A head , l , is pho og ph one nderbilt ca yatids c st ” f w f h on th e r o the Unkno n La dy o t e Louv re sta nds bey d . Next is b onze l f o o r a - a e as a n a a n d e yo a t h e l a te r re ie f H me S int G ud ns inf nt , b nd th t p s f M h e ff e s h e of a relie of iss L e e . T sc a olding behind th e a e l is t b ack the Sh w r a Memo i l . A UG US T US

S A I N T - GA UD N S

W I H I N (3 . L E S D

I N T E R N A T I O N A L S T L D I O

j O I -I N L A N Ii COM PA N Y M C M V I I I

A UGUS T US

S A I N GA UDE N S

H c . L E W I S IN D

T H E IN TE R N A T I ON A L S T U D I O j O H N L A N E COM PA N Y M CM V I I I COPYR I GH T 1 908 B Y J O H N L A N E CO M PANY

A L L R I GH TS R E S E R VE D 1 2 3 0 03 DEC 1 4 1908

R UT GE R B L E E CKE R J E W E T T A ND OT H E R FR I E NDS M ADE I N AM E R I CA

P R E F AT O R Y N O T E

This book on Augu stus Saint - Gau den s is divided into four sections :

: . . His L ife Chronology

2 . A n Essa

. : n 3 His Woryé Chro ology . Photographic reprod u ctions showing the developm ent of his art from his firstt l roduction to the last . f . i n I am i ndzbted to Mr de W . C . Ward or permiss on to i clude m n an edz tz on - de- l u x e a y of the photographs he has prepared for portfolio, ffi gI VI ng the sculptor s en tI re achievemen t . Also to the editor of the o cial u e m E n th e n m catalog of the Me orial xhibitio held at Metropolita Museu ,

Y ork m of an d n m . New , a odel catalogue In thoroughness detail arra ge ent

W OR K N E 1 8 . . L . Y 0 . , 9 C H

L IST O F I L L UST R AT I ONS

PORTRAIT OF AUGUSTUS SAINT- GAUDENS I N H I S

FORTIETH YEAR . BY KENYON CO" WILLIAM MAXWELL EVARTS WILLIAM GEDNEY BUNCE RODMAN DE KA Y GILDER DOCTOR WALTER CARY DOCTOR HENRY SHIFF

R . OHN S . G NT A J SAR E , CHILDREN OF PRESCOTT HALL BUTLER ADMIR AL DAVID GLASGOW FARRAGUT MISS SARAH REDWOOD L E E SAMUEL GRAY WARD

HOMER SHIFF SAINT- GAUDENS MR W I S . STANFORD H TE PROFESSOR A SA GRAY DOCTOR HENRY WHITNEY BELLOWS ABRAHAM LINCOLN AMOR CARITAS DEACON SAMUEL CHAPIN THE PURITAN WILLIAM MERRITT CHASE

CHILDREN OF JACOB H . SCHIFF GENERAL WILLIAM TECUMSEH SHERMAN KENYON COX WASHINGTON MEDAL DOCTOR JAMES M ccOSH

JULES BASTIEN- LEPAGE D MS MONUM NT OC K C K C M T Y A A E , R REE E E ER ,

I . H NGTON D . WAS , C L I S T O F I L L U S T R A TI ON S DIANA CHARLES COTE SWOR TH BEAMAN G I D ONU NT HI D HI ARF EL M ME , P LA ELP A MEMORIAL TO ROBERT GOULD SHAW DETAIL FROM THE SHAW MONUMENT PETER COOPER T OO H D OF B ONZ T TU PE ER C PER , EA R E S A E WILLIAM DEAN HOWELLS AND MISS HOWELLS CHARLES ANDERSON DANA JOSEPHINE SHAW LOWELL HO G Y O I T U TI OF TH UNIT D RACE RA , ASS C A E J S CE E E STATES SUPREME COURT ROBERT LOUIS STEVENSON EA H . V G MR . AND MRS WAYNE MAC MONU M ENT TO GENE RAL WI LL IAM TE CU M S EH S HE R MAN SHERMAN MONUMENT : LATER STUDY FOR THE HEAD OF VICTORY THE PILGRIM PLAQ UE COMMEMORATIVE OF THE CORNISH CELE B TION UN 2 1 0 RA , J E 3 , 9 5 S I " PLASTER MODELS FOR TH E UNITED STATES N EW COINAGE WHISTLER MEMORIAL AT UNITED STATES MILITARY I D Y T O NT N . Y . ACA EM , WES P , STUDY FOR THE HEAD OF CHRIST

UGU TU INT- G UD N O HOTOG PH BY A S S SA A E S , FR M P RA

de W . C . WARD A UG UST US SAINT - GA UD ENS

H I S L I F E : C H R O N O L O GY

1 F n 8 8 n 1 st . F 4 Born in Dubli , Ireland , March ather, a re chman ,

- P n came from Aspet in Haute Garonne , yre ees , a few miles

- S u . O n . from the town of aint Ga dens Mother, a native f Dubli u u of i m When A g stus , one several ch ldren, was six onths old m the family emigrated to America . L ived for three onths in

Boston, then settled in New York .

1 86 1 u u L At the age of thirteen Aug st s was apprenticed to ouis Avet, sa d to cameo cutter, to be the first man cut cameos In the nI d U te States .

Q u arrelled with Avet and left his employment .

L e u . S u Worked with Brehon , cameo c tter t died drawing at — u Coo night d ring his apprenticeship four years at er Union ,

two years at National Academy of Design . Towar s the close f b t u t p period he produced his firs work, a portrait b s of his at{I eirs.

1 86 . P 7 Went to Paris to study scu lptu re etite Ecole ; aged nineteen .

’ 8 8 - o ffro 1 6 70 Paris . In 1 868 he entered J u y s stu dio in the Ecole des - i worki n . S su ort n o Beaux Arts elf g , half his time at came i - El i r . M erc é a u é e S cutting , a e low student ; g and aint Mar 8 8 cean had j u st left . 1 6 was the year of the Universal E P u xposition , when a l Dubois exhibited his silvered bronze , F l or en ti n e S i n er g , which had been, awarded the Medal of

Honour in 1 866 . This work exercised a strong influence on - P on S . contemporary sculptors and aint Gaudens aul Dubois , O S n - who was nineteen ears lder than ai t Gaudens , was one

of his lifelong fri en s and admirers .

1 8 - F - P i 0 2 . O u o S 7 Rome n the o tbreak of the ranc russian War , a nt P Gaudens moved from aris to Rome , where he remained for i F - O three years , associat ng with the rench prize men f the day,

of whom M ercié was one . In Rome he produced the statues rI m n ted H i aw a tb a S i l en ce . ex e e and He also p in painting,

making studies Of the Campagna . 1 872 Returned to New York in the winter of this year to model a E ut bust of William Maxwell varts , which was p into marble 1 In 874 .

1 8 u 1 8 . 73 Rome, where he remained ntil 74 0

- 1 8 S . 75 7 New York . Stu dio in German avings Bank Building AUGUSTUS SAINT- GAUDENS

1 8 6 7 Received commission for the F arr ag u t monument . 8 1 F . u . 77 Married A gusta Homer, of Boston

1 8 - 77 8 Paris . Member of the International Jury at the Universal

Exposition .

1 8 . F 79 Rome lying visit .

- 1 8 80 P . F arr a u t S of 1 880 79 aris The g exhibited in plaster at the alon ,

also several medallions . Position assured .

1 880 - New York . Studio at Thirty sixth Street .

1 88 4. Received commission for the S h aw monument .

1 88 5 Took a house at Cornish , New Hampshire , as a summer .

- I CS l d n CC . . fl Mr and Mrs . S aI n t Gau dens were the first settlers ‘ th I s ar I I In t st c and Ma n y colony .

i n l 1 887 L co n statue unveiled .

1 888 G nera l Sherman gave Saint- Gauden s eighteen sittings for his

i U st .

A m 1 8 1 d a s . 9 monument , Rock Creek Cemetery, Washington 8 ’ 1 E . 93 Designed medal for the World s Columbian xposition, Chicago

1 h u 897 S aw monument nveiled in Boston . h of 1 8 er . 97 Paris . Worked on S ma n group Officer the L e ion of

. u } Honour Corresponding Member of the Instit te of rance .

1 00 of P . 9 Medal Honour, aris Illness ; returned to America , bringing

the S h er m a n with him . Operation at Boston . Settled perma

nentl . . S h er ma n y at Cornish, N H He finished the , and , in of - of spite ill health , p roduced , during the latter ears his l I fe i n col n , among other works , the seated figure of , the P ar n ell P h i ll i s B r ooks for , the p for Boston , the models the ori cal L alle figures In front of Boston ibrary , a seated figure of h ri st n for with attendant a gels , and the designs the new

coinage .

1 0 1 S of ff . 9 pecial Medal Honour, Bu alo The medal was designed by

F . Mr . James E . raser Equ estrian statue of General Sherman unveiled at the entrance

P . to Central ark, New York

E r F lected Honora y oreign Academician of the Royal Academy, followm L ondon . The g were among his other distinctions : S Member of the ociet of American Artists , which he had helped to found ; Mem er of the National A cadem of New f o . I S t L . I onorar York ; Member of the Academy uke , Rome y

f P . degrees rom Harvard , rinceton and Yale H I S LIFE : CHRONOLOGY

1 0 di . 9 4 His stu o at Cornish caught fire Models , drawings and u - a- i n cl u sketches were b rnt, also bric brac and paintings ,

- - ding his ortrai t ai nted by Bastien L epage . Saint Gaudens

was in ew Yor at the time .

The Cornish residents presented a gold bowl to Mr . and Mrs . Saint- Gaudens to commemorate the twentieth anniversary

of their coming to New Hampshire . A masque , with seventy

performers , was played in the grounds .

u sufieri n Died at Cornish , after a long illness and m ch g, on

u d . A gust 3 He worked almost until the end , often being

carried to his stu dios to superintend the work of his assistants . O F eb rua 2 th 1 08 u n 9 , 9 , a memorial service in honour of A gus

tus Saint audens was held in New York . of n A memorial exhibition his works was ope ed in March , at

the Metropolitan Museum , New York .

AUGUSTUS SAINT- GAUDENS

P L v P . t him to us This young figure , this Angel of eace , o e and uri y, he r modelled again and a am for the commemoration of fresh so rows , i h t t : th e making in each essay s g al erations , as if saying— I can change b u t e blossoms , not the structur of roots and stems those are integral ” n a d unalterable . One of the early reincarnations is familiar to all L the A m or Car i ta: of the u xembourg Gallery . The last I saw the ’ P S t . S u other da in tephen s Ch rch , hiladelphia , embedded in the wall b y the c ancel , still and white , a monument to a irl who died young, v on and the words engra ed the tablet held aloft by t is angel , into whose face has crept a sweeter radiance and in whose girdle you n ote some " es i : P erflowers , are Blessed are the ure in Heart for they shall see g0é

n u When the quartet played certai n mbers from Beethoven , Bach and S n ri chubert , the echo of his presence in the hearts of many liste ing f ends ’ u S u u ar tet i n D M i n or m st have been very insistent , for ch bert s Q , ’ ’

A i r r om S u i te i n D v u ar tet i n F M a or o . Bach s f , Beetho en s Q j , p 59, had often been his choice on those mu sical Su n day afternoon s In h I s i - big white studio in Th rty sixth Street . As I did not know S aint m a n no n r Gaudens in life , the music of his choice brought the eare to me ; but when my eyes travelled downward from that white angel among r the flowe s on the dais to the seated , shrouded figure reproduced on the n i cover of the programme, I felt that his art , which was so esse t ally the

expression of himself, reached its profoundest expression in this r u u i escen t w1th ou t n m r woman, sh o ded and , a e or insc iption , so er detached , so content with loneliness , who sits awaiting an ultimate i n r of awakening the cemete y Rock Creek above the city of Washington .

He left the world a little better than he found it . " Take the word better in its widest acceptation and can we say m a n m a n d more for any , wo an , child or dumb creature that has lived P A v r ) ro h ets u v died rt is not di orced f om life , as certain shrill f p wo ld ha e . v o us believe It is a part of life , like the mo ement clouds , the ways of i . A rt insects , the energy from food , and the dea of righteousness is life

r a n d . b in life , and the part can tinctu e sanctify the whole The artist y for v being himself, his best self, can make the road others li ing long r i after him not only smoother but a highway of ecu rr n joys . We walk ou r stages of the jour ney and the best that we assimi ate comes often r r from the lette s written to us in terms of paint , print and ma ble by of x r those whose insight and power e p ession are greater than our own . We n take the suste ance that our souls need , and as we grow in knowledge u r r u t th e the food sho ld also become fine , ra er and simpler in q ali y, as in e r u n case of a learned Greek arch ologist and lecture of my acq ai tance , — who kn ows all there i s to be known about Greek scu lpture a past — master in i t but whose voice drops only into a reverent inton ation

n S . S v whe he speaks the name of the austere copas ome , doubtless , ha e AN APPRECIATION P found sustenance in Canova and Hiram owers . If those academic and uninspired craftsmen h ave h el p ed others to live ; if they have given rr one moment of relief from so ow or boredom , one thrill of joy, then Canova and Hiram Powers have left the world a little better than they

found it and to them let honour and thanks be rendered .

All great art is sim l e and any attempt to an alyze the effect of a

work of art upon the be older should be S I m l e . May we not just ask ourselves these questions : Does it quicken t e emotion s ? Does it stir u u the sl mber of the soul Does it sp r the brain Does it open a window , as Jan van Eyck o en ed an earl fifteenth century window to the beauty of of Ian h not to u r L the world scape art , alt ough he did dare make O ady and Chancellor Rolin look through it at the win din g river and little islands ? Does it add something to ou r lives which we cannot find for v n ourselves , or which , ha ing once fou d , we have lost in the stress and obsession of daily details ? Does it give the thrill of the glory of a sunset of seen suddenly through a window after a day cloud , the mental joy n assa S of a pierci g p in hakes eare , the ecstasyof a Mozartian melody , the inward compregpension of tpe mystery of II‘c on hearing a child say ’ its first prayers in its mother s arms ? Remembering the street sculpture W I th r o i n that , certain b illiant exceptions , reduces th roughfares and teri ors O i ncon in the ld World , as well as the New, to a level of almost cei vabl e v platitudinous ugliness, the answer , as regards the a erage r level of mode n sculpture , must be in the negative . There is little to

choose between En land and America . England has her terrible monu estmi nster h er effi i es ments crowded in Abbey, America has awful g of chosen sons crowding one another in the National Hall of Statuary

i tol . ou r A ch i ll es P in the Ca We have execrable in Hyde ark , our eye te h en s on E Cobden n sores of p in uston Road , in Kentish Tow , and the u een Vi ctor i a S monument to Q in High treet, Kensington, at which even Y o v — the driver s of omnibu ses jeer . u ha e you r b u t a guest mu st be

courteous . I would gild my criticism in the form of an interrogation . ’ Has any American citizen ever derived one instant s pleasure or n H or ace Gr eel e Th e encourageme t from , say, the y planted against Tr i bu n e - o R oscoe Con /cli n S building, frock c ated g in Madison quare , Was h i n ton I r v i n P r u - g g in Br ant a k, or the f ll sized cast of Michael ’ y angelo s egregious Dav i d In the park adjoining the Albright Gallery at ff ? r Bu alo When a classical model is borrowed , It should be chosen f om ’ i the master s highest ach evement . " r S t F The Ame ican ocie y of the ine Arts, which is about to extend for ff n o its sphere of influence , should agitate a law to the e ect that p ubl I c mon ument shall be erected in honour of the dead which does not v minister to the pleasure of the li ing . AUGUSTUS SAINT- GAUDENS IV

The answer as regards the work of Augustu s S aint- Gaudens is in

. " the affirmative Natural it does not always pass th e test . Since the nameless draughtsman o the uatern a period engraved the mam v omb a rel rti moth on the wall of the ca e of es, the a st has not lived who

- would be awarded fu ll marks in such an ex am ination . S aint Gaudens produced so m uch in his forty years of working life (glan ce over th e pages of the chronology of his works) , and sometimes a commission was not entirely sympathetic to him . Sometim es in modelling a bust or a r elief of one who was no longer living he had only a photograph for r i s o m sti e uid an ce . Occasionally his work lacks that a n y qu of which aeterli n ck speaks ; occasion all it does not evoke emotion in th e Peter oo er h ea vi beholder . I am cold before his C p seated l in th e em b rasure of a heavy cano y by the Cooper Institu te . he figure is u n cou t th e of picturesque in its ness , but it lacks splendid sense per sonali ty that distin ishes the L i n col n . The mere idea of L incoln is an i n i tsel P r r z spiration in The idea of ete Cooper, admi able citi en and

d di d no i n r - an t S n . man , does not inspire us , it spi e aint Gaude s f r r he artist must eel before he can ex ess . Pe h a s it is th e cano in ‘ '

essrs . m 8: W which the sculptor was assisted by Mc , Mead te ,

t n of P eter Coo er . i hat deadens my app reciatio the p If th s be so, it is the single instan ce in which that remarkable firm who collabor ated with n - th e r u t of m an hi s Sai t Gaudens in a chitect ral set ing of monuments , and to whom New York an d America are in de ted for a series of t f s f i n ui r i u beau i ul buildin , ailed to add a dist g shed a ch tect ral setting ’ e e tI o f to th e sculptor s gesi 11 . But with th xcep n o P eter Cooper and a few Gar eld Fai rmou nt P P others , such as e fi in ark, hiladelphia the many works of Saint- Gaudens triumphantl y answer th e qu es tI on : Do ” we give pleasure to the living ? I f I were asked to catalo e th e works by h im from whi ch I have ri th e i i n de ved keenest delight an which cont nue to del ght, I would ame th e S h er m a n F arr a u t th e L i n col n th e S h aw th e fi i n , the g , , , gure Rock o P u r i ta n th e P i l r i m th e r of n n n Creek C mete the , g , se ies sta di g a gels th e mar Car i tas s th e r i f th e B u tl er to which belong , and among el e s , h i ldr en S ch i Ch i ldr en B asti en L e a e tl H om er C , the fl , the p g , the lit e a n t- a u den s and th e R obert L ou i s S tev en son th e r S i G early , not memo ial ’ i n i l es s E i r th e or i Saint G , dinburgh , wh ch is too la ge , but ig nal small r f r an d f of th e elief in rectangular o m , showing the head oot bed , that l n of th e n ti f n o g bed , the long lines figure , the long, se si ve ace , seemi gly re r v an d on th e n w n doomed but happily ie ed , backgrou d the i n s th e i v r an d th e endI n : hor e , y leaves an be ries , verse g

L L f was a ife is over, i e g y, r We have come the p rim ose way .

xvii i AN APPRECIATION

c v I ount myself fortunate in having, by the chances of tra el , reached

f r - the point o approach to the wo k of Saint Gaudens suddenly . He came almost newl to me . Nothing was discounted by advance aragra ph s wo of e i scu ssi ons . t S r ma n and studio I saw his finest works , the and , F arr a u t on v . the g , for the first time the day of m arri al in New York I walked up Fifth Avenu e and e n countered witha thrill of joy Sherman t r n aaa n the soldier riding to vic o y, sig alling a f of triumph amon the trees at the south entrance to Central I ark . I walked down ifth u F n Avenue and fo nd arragut the sailor , balanci g himself as if still i u - of o stand ng pon the quarter deck his g od ship , comfortably grounded ff M adI son S . v u u in quare I looked up abo e his bl , strong face , high p brI lli a nt through the clarity of the light that makes New York, five out of seven days in the week , one of the pleasantest winter resorts in the a n d on i nnacl e D i a n a world , there , the of the Garden tower , was slim , ’ ” of S - Gau dens s ew of one aint nudes , Diana the Cross Winds , as she r F has been called , shooting an imagina y arrowat the latiron Building that dominates the windiest corner in all New York . One grows very fond s Di a n a of thi little (she is many feet high) , as she is always present and o always conten ted and p retty. I see her fr m the room where I write these lines , a beautiful silhouette against a luminous white cloud , poised on her pinnacle , ready to shoot and fl away, not in the least disturbed " a r 6 8 i h 8 at the gig ntic marble towe 5 feet g , with 4 stories , the highest ffi u sub u o ce b ilding in the world , that will overtop but will not j ate

h e - . S S Gan her recalls , too, the labour of infinite pains that aint ens

r h I . always gave to his work . Pe fection was s only goal His artistic conscience knew no rest even after a work was cast in bronze , unveiled

i n s i tu . r and placed He was never satisfied , and so fea ful of letting an , thi ng b u t his best go forth to the world that many experiments never f l e i his studio . He desired to alter the S h aw monument that rises from the terrace r above Boston Common . Permission was refused ; but he wo ked again fi upon the original sketch , remodelled the floating ure of Death or

Fame and replaced her at a different angle . One ay he announced hi s determination to refashion the drapery of the fi ure in Rock Creek

M r . : Comete and desisted only when his assistant, raser, said You may ma c it different ; you cannot make it better . After Di a n a had been placed on the tower in Madison Square Garden he came slowly f to the conclu sion that the figure was too large . Stan ord White con Di a n a cu rred , so was taken down, at their own expense , and replaced by the p resent smaller version .

m r Subjective i pressions may, or may not , be of inte est to the r r re n e e s eade , but the g at ss of the subject or th me may excu e the record of them . AUGUSTUS SAINT - GAUDENS

t n When I recall the various impre'ssive , startling, in eresti g and ’ a so ou rn i musing episodes of my five months in America , the dom nating ’ im ressI on S - Gau dens s S h er m a n p is of my first glimpse o aint , the " v u u colour of gold , a happy warrior in the flush of his igo ro s and ” n t W I th ecce ric l ears , eager , intent , his stern face touched idealism , symbolica ly marching through Georgia to the sea , localised by the ’ r n r b oken pi e branch beneath the horse s feet, led b Victo y, laurel Sl i ctor crowned , bearing a palm branch , man , horse and y sweeping " er r onward that the Union might be saved , and that then forev the e ” might be peace . Here is inspiration for the youth of America ; here A rt r passes f om the exhibition room into the arena of life , where shine

- th e unsoiled fabrics of which im mortal things are m ade . Saint Gaudens r wished to place this g oup , his ultimate great work , the last canto, as ’

. M cCl ell an finel Mr called it , of his epic of the Civil War near Grant s i tomb on Rivers de rive . The authorities decided otherwise , wisely I

think . It would be hard to imagine a finer site for this incentive towards ideal patriotism than the wideni n land where the palaces of Fifth

l ea san ces 0 P . r i n Avenue merge into the Central ark The e , on an oasis

ffi S ri . the tra c , herman es eternally forth to Victory S h er ma n In journeying about New York one often passes the , and a at of lways the sight this fusion of the real and the ideal , the seen and ’ — — r - E the unseen , the real war ior and the warrior s ideal Nike irene the

t or . hear leaps as to a war chant, to great deeds told in reat verse There is an extraordinary suggestion of a light- footed forwar movement in the a dvan ci n group : the travail of the way is forgotten in the gl o e r of the mission . he feet of the Vi to seem hardly to touch the g oun ihe u of h er and the inspiration of her p resence , a ra spirit, sweeping out n r from her unfurled wings, sweepi g forward through her outst etched

arm, touch and refine the clay of horse as well as of man to something r rich and rare . It is that uncommon thing in art , an ideal made conc ete of n and actu al with out loss ofverisimilitude andwith no hint sentime tality.

This lyrical epic in bronze honou rs the dead and delights the living . Incidentally it pleads for colour in public monu ments as sanctioned by

the ancients from Phidias to Jan van Eyck . Who will deny that the roup gains greatly in beauty from the two la ers of old leaf that S aint éau ens u e M ar cu s A u r el i u s d placed upon it, and , if we are to j g by t e Ca I to i ne on the p I Hill, the weathering of the centuries will but add to the charm of Its p atina ?

Whatever you do, have the appearance of doing it without toil, " ’ r i no s was the sage counsel given to the gentlemen of U b court . The S h er ma n bears no more hint of the signs of toil than when Tetrazzini v warbles Donizetti , yet no fewer than ele en years of study and f alteration passed be ore the group was unveiled on Decoration Day, or 1 903 . F three of the years the sculptor was ill ; but he worked upon AN APPRECIATION

it, more or less , for eight , and he told a friend he estimated that it cost e him three years of actual labour . An important article in the C ntu r y

- M a az i n e 1 08 . S g (March , 9 ) by his son, Mr Homer aint Gaudens , who W ofli ci al is to rite the life of his father, supplies interesting details of the work done by the sou lI tor on the S h er ma n durin the last years of his

life . When he left the hospital in 1 900 and settle at his country home " ” in Cornish , his first serious occupation was the completion of the

S h er m a n monument . I must quote a few lines from Mr . Homer Saint ’ ” Gau den s s article to show what the word completion signifies : " At this time (1 00) on e cast of the S h er ma n stood in the Paris F E n . xpositio , while a p aster duplicate had gone to the rench foundry

My father , however, still dissatisfied with the result, and yet dreading

a trip abroad , set up a third replica in Cornish , and enga ed assistants , P r in order to send his alterations to a is , where the mig t be inserted

in the bronze . And here , in a shed placed aroun the statue to keep u ntI l out the snow, but not the cold , he remodelled sections of the cloak

he enlivened it with a possible floatin g movement . He modified such ‘ ’ portions of the Vi cto as her wing and her German ic hair at the back s z tI n ff of her neck . He emp a i ed the y an les and sti marks of age 11 on

r . the horse to increase the ne vous snap e restudied the mane , an at

of . a fortunate suggestion an assistant, lifted the end of the tail And

he changed the oak bran ch on the base to one of pine . But the troubles with the S h er m a n were not over after these "and n other"alterations . M father betrayed too great an i terest in this combination of the rea with the ideal to let the statue escape him then . So 11 he set the bronze himself in the field back of his house , to the delight of t e farmers , that he might experiment with a pedestal and ” su pervise the application of the patina .

VIII

L est it be thought that my enthusiasm for the S h er ma n is too n u

u n . bridled , I give m self the pleas re of oting Mr Kenyon Cox, who i n si an d n S has written muc always with g t k owledge , on aint h er m Gaudens . Some years a 0 he expressed the convi ction that the S a n monument is third in t e ran k of the great equestrian statues of the ’ ’ two Verr cch io s Gall ean i Don atello s Ga t world , the first bein o and ta m el a ta n 0 crI tI cI sm , a ha dy piece , as it has been used as an original

- commentary by almost eve writer and speaker on S aint Gaudens . In S n n A tl a n ti c M on thl his latest essa on ai t aude s ( y, March,

- Mr . Ken yon (fox writes : To day I am not sure that this work of an u not American sc lptor, just dead , is , in its own way, equal to either ” of them .

’ Taste and sobriety were the characteristics of Saint- Gau dens s

. kI n m el odramatI c t d . work He had a horror of the , or ex remes of any AUGUSTUS SAINT- GAUDENS

u t His prepossession was with grace , sweetness , spirit ali y, refinement, whatsoever you choose to call his essential quality . Emotion in marble was made no appeal to him . I believe he ite out of sympathy with f ’ o worIc. the passion and pathos Rodin s later He was a draughtsman, s for en s embl e a de igner, who expressed himself with equal feeling the f whether he worked In the round or in relie . He was a true impressionist im who saw a work as a whole before he began, and who kept the

. at pression before him until the end Although he laboured . detail , he r e s t i n always strove to keep the detail su bse vient to the n embl e . In s u dy ch astene his work we feel that it is completely under control , impulse is f . i by consideration He was an eclectic with , the term be allowed , more t individualism than eclecticism , yet he never allowed his individuali y to

r F . master the tempe ament of his sitter . acile cleverness he abhorred

He avoided mere realism , desiring to mould what he selected from life ’ into a pattern framed by the artist s vision . How the temperament of this sI l ent and sagacious man was evolved from a French father and P u an Irish mother, with aris as his art pedagog e , and New York , still of Ms a little raw in those days , as the scene working years, I leave to

students of heredity to determine . "

I f f - v we agree that personality is the li e gi ing principle in art, the ae s I ri tu al of essence which produces the sthetic and p aura great work, it should not be diflficul t to find a word to express the personality of n every significa t artist . Recall a cat name and his epithet should trip — t of L to the tongue the splendour of itian, the curiosi y eonardo, the F - . or S mysticism of Blake, the taste of Whistler aint Gaudens I would n - coin a compou d , and speak of his austere sensitiveness . His artistic a: t t e antenn explored the nature of his model , while his austeri y strained him from dwelling overmuch on the intimacies that he had discovered . This 3 ym athy 13 well shown in such divergent i eces as Doctor S h i of 1 80 M i ss S ar ah L ee 1 88 1 pr o essor the , the of , the f A s a Gr 1 8 r B ell o s 1 88 B sti e n L e e 1 88 a D . a a y of the w of 5, the p g of

t e r . a d a h 1 0 h i ll i s B r oo s M n M r s . Wa n e M a c Ve 2 P h y g of 9 and the p o 1 907 — Ct) nsider F ar r a u t 1 880 L i n col n his five heroes of the Civil War g , 88 1 S h a 1 8 L o a n 1 8 S h er ma n 1 0 . 7 , w 97 , g 7 and 3 How individual they f deIi catel . are, how minutely and elt, yet ow large in conception E Gen er al L o a n s m ath etI c ven the g , which is most y p critics agree in f dispraising, can be de ended on the ground that the sculptor could not esca e from the fact that he had to render the br av u r a and br agg adoci o ffi of lack Jack L ogan . It is di cult for an artist working for his f living, as well as for ame , to refuse commissions that he may feel are

antipathetic .

XXI I

AUGUSTUS SAINT- GAUDENS

t oh n S . 7 in the Bargello, and his head of a cherub in the cathedral at ’ i ol d F F es e s M a on n a Ch i ld S t . oh n and lorence ; of Mino da , 7 ; in the ’ u n r R obbi as s B u st o a Ch i ld ro nd of A d ea della f in the Bar ello, and ’ Desiderio da S ettigna no s bust of M ar i etta P all a S tr oz z i in t e Berlin

Museum . Saint- Gaudens attempted and nearly always su cceeded in his ” n n n many experiments in this art standi g between sculpture and pai ti g, B u n ce ar from lowest relief to the highest, from the and C y heads , P 1 8 and 1 8 pictorial and tentative , made in aris in 77 79 , to the con su mmate mastery of the S h aw memorial ; from the simple head of his infant son to the command of composition shown in the B u tl er and S ch ifi

children . XIII

- u How does a bronze low relief portrait gro p look, usurping the place of a picture in a modern drawing- room ? I was fortunate In seeing the relief of the B u tl er Ch i ldr en in its rightful place in the house of the

mother of the two little boys whose youn beauty it perpetuates , enclosed n on in the hammered oak frame desig ed or it , hanging the wall of a panelled room above a wood fire which cast shifting reflections upon the n m patina of the bro ze . No picture could seem ore suitable to the place , n or give a more enduri g pleasure than the surfaces of this low relief, h i dI ng and revealing themselves under the influences of the ruddy light - l I k w n . S e from the fire and the pale light from the i dow aint Gaudens , n i n stI n cti ve o m an Rom ey, was an maker of beautiful att rns , a who " con to saw life picturesquely, who knew it , and who essed that he had ” fight aga inst picturesqueness . Whatever he m ay have fought a inst m al r and omitted In aking this relief, the result is charming, an u ing i t re i n u c u of child life , two little boys in H ghla d cost me , the elder h ff u two olding his arm a ectionately over the shoulder of the yo nger , the

hands clas ed . E S ch i Ch i ldr en ual y pleasing is the low relief of the /f , of which a marb e repl I ca hangs in the permanen t collection of the Metropolitan

Museum and a bronze reduction in the L u xembourg Gallery . The figures of the little boy and girl are knitted together by the graceful 8 an lines of the shaggy greyhoun d body . The are in the marble d yet i ef f u all not of the marble ; they draw one to low re , the most di fic lt of v sculptural methods , making, e en when not particularly well done , an

appeal more intimate than sculpture in the round .

"I V

: S n I n one of his essa s Mr . Ken on Cox says I believe ai t

Gaude n s the most comp ete master 0 relief since the fifteenth century . Since the fifteenth cen tu ry "Yes "The fifteenth centu ry still stands S n - n l . n u n a p roach ab e I appraising the work of ai t Gaude s , distin u i shed r g modern , whose genius has isolated him, and who was the fi st AN APPRECIATION

i n sculptor America to vitalise the art, there may be a temptation in our pride in his prowess to overemphasize his achievement . Art never ch ild of u n dies , it slumbers only, reawakening when a geni s is bor to n orari es i fluence and educate his contem , and by his achievement once more to s ill that blessed wor Renaissance over the pages of art histories . he achievement of the ages in sculpture is so tremendous that there is hardly an era since civilization began when we can not say " ” of examples of plastic art : These are unapproachable . You can sa it half a dozen tI m es during one afternoon in any m u seum in the worl I said it yesterday at the Metropolitan Museum of New York standing t ’ before a series of scul ors small mode—ls , heads , torsos and feet of . r a o queens , birds , etc , ma e yea s g perfect ; before a Greek low — r . relief of a Y ou ng H or s ema n of the fou rth centu y B . C perfect ; before — r P a n th er . a b onze rollin on its back, early Imperial Roman perfect One h as on ly to close t e eyes and make memory pictures of master i eces r of E m by c aftsmen gypt , Assyria and ighty Greece ; of Gothic figures carved by u nknown craftsmen for cathedrals when sculpture and a i nti ng were the handmaids of architecture ; of works by Donatello and R/I i ch el a n elo n r g , to be remi ded that a modern must be ve y gifted to stand up among these great memorials of the past and win any meas ure of our approbation .

Again and again has Saint- Gaudens been called a child of the of Italian Renaissance , to which he was drawn throu h the example F u M a r s ei l certain rench sc l tors , through the virile Rude , ma er of the l ai s e re u group on the de Triomphe , thro gh Dubois , and in a lesser r e r deg ee through Chapu , Carpeaux and Merci , who he alded what I sup ose I must call the midn i n eteen th century French Renaissance in

scu tu re . S P P p Claux luter , ilon , Goujon , Houdon and igalle do not i r seem to have influenced these Fren chmen much . The eyes pierced back to Italy in h er lovely youth of art where around the miraculous r Donatello, early and later masters g oup themselves , or follow on like r b eau tI fu l I ff flowers in a ga den walk , each in itself, ea—ch o ering its perfume to the aroma of that supreme flowering time Jaco o della R obbi as S ernado Q uercia , the della , Ghiberti , Desiderio da ettignano,

n F n . and Anto io Rossellino, Mino da iesole , Be edetto da Majano When

1 86 S n - P in 7 ai t Gaudens , a youth of nineteen , went to aris to study art, scu lpture was awaken ing from on e of its recurrent slumbers . Ardent s i rI ts off s eu do r p had cast the shackles of p classicism , b oken away from or m - formal infor al reverence for second rate antiques , those smooth a n d m r co nymphs with pitchers s oothe angels with harps , y Venuses and h eroI c ersona es r g doing nothing trivially, all the drea y statues that

corrI dors of . n block t e a bored academicism I stead , they looked at D an d a n d onatello his kin , , looking, had the inspiration to—do what n u a oI nted Donatello did , what all stro g so ls do at the pp time to make AUGUSTUS SAINT- GAUDENS

u n " r i s - that return to Nat re that recu rre t evi v fie art . Saint Gaudens ’ arrived in Paris in 1 867 . The year before Paul Dubois s F l or en ti n e

S i n er S n . 1 868 had received a medal of honour in the alo In , the year E ositi on S - F l or en ti n e S i n er of t e Universal x , aint Gaudens saw the " g at the Ex osi tion . hat statue we are told marked an epoch for h I m ” as it did or modern sculpture . The new movemen t had begun . Saint Gaudens crossed the threshold of classicism and stepped out into the

. P nI n eteen radiant air of the return to nature aul Dubois , ears his l . a ui ére senior , became his friend and remained his friend for life g ’ and Saint Marceau had just left J ou ffroy s studio . M ercI e was his T - - . S n arti ci fellow student aint Gaude s p ated in the excitement, saw visions and began to prepare himself or the visitations of the muse . One won ders i n what direction his art wou ld have evolved had he never P F l or enti n e one to aris , but remained in America ; had he never seen the gi n er F g , never met those ardent young rench sculptors and shared their h sI ent u asm . "VI

’ In a way he was more fortunate than his compan ions in J ouffroy s l . an d r studio He was already a craftsman , he was able to suppo t himse f

- durin those fou r years of study in Paris by his trade of cameo cutting . ’ As a 0 he had served six years apprenticeship to two cameo cu tters " one h a in New ork, of the most fortunate things that ever p ened to ”

. F me , he said in later life rom his practical knowledge of t e art of em- cutting and the years he spent studying drawing at the Cooper fin ion N atI on al n and at the Academy of Desig in New York, he came ’ ou ffro s a nd to J y studio equipped with a practical knowledge , with c l en did i habits of close appli ation, that made a s foundat on for his f imaginative flights of later years . The col eetion o his works at the Metropolitan Museum contained a glass case showi ng a photograph of a e v him at the g of se enteen seated at his work table , looking up from the cameo which he has been cu tting . In the case were topaz and on x n y brooches that he had carved in those lo g past days , the first steps of t e n m small craftsman who became a great artist . It is a long jour ey fro minute work upon a topaz brooch to the large and masterly achievement ff i v r S h er m a n m emorI al . W n of the hat e ort , what str i g towa ds perfection hide i n those forty years " XVII

S n v urveyi g this life of loved labour, I see it in three di isions , which

P n P u . I will call relude , I terlude and ostl de The Prelude ends with his first visit to Rome in 1 870 at the age twent - r iv P of of two, whithe he was dr en from aris by the outbreak the 8 F . 1 0 1 00 ranco erman War The Interlude extends from to 9 , thirty

f . Postl u n 1 00 years o activity and absorption in his art The e begi s in 9 , m P m an i n n h e when he returned fro aris an ill to settle Cor ish , where

i r n th e 1 0 . remained , w th occasional visits to New Yo k, u til end came in 9 7 AN APPRECIATION

P r As regards the relude and Inte lude , there is little to add of external interest to the bald details given in the chronology of his life f r . rodu cti on s o p inted in this volume His youthful , a bust his father

. E made when he was nineteen and the ust of William M varts , sug esti ve n g of Roman i fluences , produced after his return from Italy, are

not noteworthy ; they betray neither originality nor temperament . H i a ath a i l en ce Neither do his marble statues of w and S , completed before h e t - was twen y four , show promise of the distinction of his later achieve al th ou i l en ce th e ment, h some may detect in the S a foreshadowing of

figure in Roc Creek Cemetery . Any competent and industrious young man could have produced them ; but there was romi se in the A n el s w A dor i n th e Cr os s i n Ch u rc S t . e g , high relief, for the of Thomas ,

r . York, unfo tunately destroyed by fire A man of no professed religious n v belief, he did his best work whe the subject was in ested with a i of mystical or spiritual si n fican ce . Then some slumber flame within him leaped up and kin led that " something more ” into his work which F ff makes art significant . rom actual flame and fire he su ered in spirit ’

. t . and in pocket In addition to the group in S Thomas s Church, his A n el s on th e Tomb o eat - Gover n or or a n f M g were consumed by flames , an i n the disastrous burnin of one of his Cornish studios i—n —1 904 r B there perished models , casts, rawings , household furniture , b ic brac n L and paintings , i cluding the prized portrait that Bastien epage had

made of him . The end of the first decade of the Interlude period was crowned B u tl er Ch i ldr en u nveI li n F arr a u t by the low relief of the , and the g of the g , r which p oclaimed him a master . XVIII

tw 1 880 1 00 The years be een and 9 , which saw the completion in 1 88 L i n col n Th e P u r i ta n S h a ten 7 of the and , and the w years later, were interlude only as the life of man m ay be called an interlude between

two . eternities Those were strenuous years . As if with prevision that he

would die all too young, he would bewail , one of his intimates tells me ,

the brief time there was to do all that he meant to do . He was a reticent

man, talking little in company, not averse to Bohemian gatherings , but v filling the part of onlooker rather than participator . I ha e heard him n evr ose r described as a , but with his ne ves well under control ; often ff r O indi e ent to pposition, but capable of sudden outbursts , as when he ground a plaster medallion beneath his feet when the criticism of the

subject had irritated h i m to exasperation . Work calmed him . An assistant tells me that sometimes he would arrive at the studio in a state

ressed rv l n n of sup ne ous exciteme t , but that the mome t his hands s to u touche the clay and began shape and press the material, he wo ld

gradually become quite calm and inten t . One of the intimate friend L S ships of his life was with Robert ouis tevenson, who sat for him in New York when delayed in that city by illness on his way to th e

x xvii AUGUSTUS SAINT- GAUDENS

1 88 . P r S Adirondacks in 7 The u itanic, mystical part of tevenson , com bi ned c with his charm , ease of expression and the range of his froli

- S . imagination, fascinated aint Gaudens He was forever uoting him , " q’ the prayers as well as the poems . Readers of the L etters know what S ” ’ tevenson thought of My dear godlike scu lptor . Stevenson s h iloso by of ha pi ness in the shadow of death must have affected who of aint audens , disliked speaking of death , although suggestions our common end by symbol or by implication are not In frequent in h i s r t works , but always as triumphant or consolato y, never , as in Alber D r r ii e . , as a menace "I "

It was in 1 887 when he knew Stevenson intimately that he produced Th e P u r i ta n ressed t , a statue in which he has ex not only the personali y - f t d . I of a ype , but also the spirit of a wor moving movement any efli i es m modern g deserve the appellation great, this statue is in the cate y of h I l I n I saw it on a day deep snow, standing dourly on its little

S r P . pringfield , the ve y essence of rigid uritanism Its correct name is S S Deacon amuel Chapin, who was one of the founders of pringfield ,

- but the world has agreed to call it Th e P u r i ta n . A bust S aint Gaudens ma el of Chester W . Chapin , a descendant of the deacon , served as a moge E n 1 0 E ightee years later, in 9 he was asked by the New ngland f l h Society o Pennsylvania for a rep ica to be laced in Ph i adel hia . T e

tSan emanded . sculptor consented, but gave them more the contract n t t t The new statue was to stand agai —s he Ci y Hall, conterminous to the ffi n ot S I h t S ri n field . tra c , on a hill above the g line , as at g The sculptor, r h e taking the model in hand again, made ce tain c anges which deemed s nece sary for its new environm ent . The head was remodelled and fl i n el changed , the y cloak was altered , the hand grasping the cud was ” advanced a n d the ible was reversed so that the lettering Holy ible ’ i n . Th e P u r i ta n for was seen Thus , sojourning years the craftsman s i i Th e P l r m . brain , shaped itself into g S - aint Gaudens , as I have said , also wished to chan e a detail in S h a M on u ment 0 the w , but the alteration in the position the figure of

Death or S leep was made from the original model . Th e bronze relief at Boston remains as it was when unv—eiled in 1 897 . It is the most learned and accomplished of his works h e gave to it twelve years of

. S n can labour ome of the heads he remodelled ma y times , and no one look at i t without wonder at the characterization of the rapt negro a i o i . tr t sm faces This black regiment, the li ht of a sudden trans fi u ri n forward l ed g their faces , sweeps impetuous y , by t eir commander , S to I ve Colone haw, a death that is to g all , through the genius of the i r n . sculpto , mmortal life so lo g as bronze lasts Above floats the symbolic figure claspin g poppies an d a laurel r two branch to her breast, interknitting, at this sup eme moment, the

xxvii i AN APPRECIATION races . The relief, framed in old trees , stands on a terrace built out from S the roadway above Boston Common just beneath the tate House . Even to those ignorant of the life and death of Shaw a n d his faithful band of the despised race , and there are some such who pause and of gaze at it , this concrete symbol devotion to a cause provokes tears which are all the more poignant because they will not flow . Perhaps it of o is the sight that compassionate angel , the bearer of p pies , who n tfiI s k ows the end and loves the brave condemned , that makes martial monument so affecting .

The period which I have called Postlude began when Saint

Gau dens settled in Cornish in 1 900 . He had still some fruitful years of work which were bestowed upon the completion of the S h er m a n for S teven s on for E New York, the reconstruction of the dinburgh , and the S eated L i n col n for Car ati des roduction of the Chica o , the y for the Bff A rt Wh i stl er M emor i al P a u alo Galle the or West oint , the P r n ell n al e ori cal t P L r for Dubli , the g groups for the Bos on ublic ibra y, the P h i ll i s B r ooks M on u m en t B aker M on u m en t an d p , the the design s for t the new coinage ; but he knew in his hear that death was but delayed .

Sh e tarried nearly seven years . P t The ostlude period brings me , a stranger, near to him, as shor ly before the Opening of the et bi tion of his works at the Metropolitan i Museum , it was m priv lege to spend a few days at his Cornish home .

I roamed throu h is haunts , lin ered in his studios , and sleighed over the beautiful up and country wh i c he loved . It was good to hear of the — e b e sk i enjoym nt derived from open air relaxations skating, ee n n tobogga nin g a n d sleighing . More tha once he turned out the wh ofe " ’ ” studI o i n : S of assistants , c g culpture isn t in it with tobo ganing . His son has p u bl i sh e i n the Cen tu r y M ag az i n e extracts rom two letters he wrote to friends in Paris expressin g his newly aroused love for the ou t- of- doors : " v I would never have belie ed it, nor do I suppose you will believe m e u now, but I am enjoying the rigorous yo ng winter up here keenly . S su n sl eI h s - now over all , brilliant and supreme , , sleigh bells galore , and a cheerfulness that brings back visions of t e halcyon winter days of m boyhood . y‘ and We skate , I play games upon the ice as I played them thirty ff . ff seven ears ago I am a little more sti , but that makes no di erence { , since still feel youn It is very far from the terrible , black, sad ” 0 L P days of the winters ondon and aris , and even New York . of When the shadow the end began to stretch towards him , I do not think that he found the twilight so gloomy as be imagined it might be in the da s of his robust health . The downward ways to the valley were gradual:and the desire to work continued through the vicissitudes

v i a dol or os a . u of that When too weak to stand , he wo ld sit by his AUGUSTUS SAINT - GAUDENS

n assistants sketching his ideas upo a pad ; when too weak to sit , he was carried in an Improvised sedan chair from one studio to another , o where he reclined n cou ches directing and sug esting . Inward con

3 Hm . n solation came to him , as to all fine I thi I realized what that 0 n u n consolation was as I sat in a room his Cor ish home , surro ded by mementoes of h I s presence . ""I I sat in the room at night with the flames from the wood fire inter l m mi ttent . S y revealing the objects ometi es , when a log fell and the n n on blaze leaped , I could disti ish ha ging the wall of the next cham r ber the port ait that John S argent pain ted years ago of M rs . Saint

Gaudens and their son Homer . I sat in the room at n ight a n d three heads steeped the atmosphere r with their presence . The first was his own po trait , a reproduction of rI nted u which is p as the last ill stration to this volume , a strong, beautiful door face , a noticeable head , as well as thinker, touched with the sadness n that marks the lineaments of all who create , wrestli g to release beau of form or of the fancy from the stubborn storehouses of the worl are a n d n The eyes small pierci g , the forehead square , downward r stretches the straight Greek line f om brow to nose , of which he made

amusing use in a caricature he drew of himself. u S h er ma n The second head was a st dy of the Victory of the statue , and from it there seemed to shine a refulgence as if the parted lips were m proclaiming the ultimate triu ph of spirit over matter . I looked from i n this head to the head of the man who fashioned it, and the silence of v r v v the room the ancient promise of icto y o er the gra e seemed new, as if just uttered . — h Then I turned to the third head a head of Christ . This and t e low- relief plaque of his wife were the last i eces of sculpture worked

- upon by S aint Gaudens with his own hands . he everlasting appeal that F of the life of the ounder Christianity makes to all , whatsoever their v shade of religious belief, or unbelief, may be , is so uni ersal that it is with no surprise we learn that during his long illn ess the sculptor m m an d brooded with , I imagine , glea s of ystical elation u on that life , t n w strove to express all he felt of its beau , wo der an pathos ith the — y means of expression nearest to him h i s craft . On the tables of the reti n room were books inter g the life of Christ, and in his working studio across the lawn fwas next day to see his monum ent to P h i lli p s B r ooks n so wherein the standing figure of Christ plays so sig ificant, commI ssi oned touching a part ; and another memorial , by a bereaved v family, where Christ is seated beneath ho ering angels whose hands

are folded in prayer . XXII In one of the studios which I visited next day hi s assistants were I a I r I enl argI ng certa n models . S t n d ng on a platform rI S I ng and sp ead ng

x xx resign ed to the stil ness of the pause which is her present Eternity .

XXIV

I sat in the silent studio, and recalled the da when I went out from Washington to seek this monument in Rock reek Cemetery . It wh o is not easy to find ; indeed , I have heard of some have sought and v u n have failed to disco er her , hidden in a cl mp of pi es , laurels and evergreens . The back round of the statue , a plain granite slab , faces outward . It is half hi den in the trees which arch above it and tangle about the base . There is nothing upon this obverse side of the monument of be but two intertwined laurel wreaths , with a row bound sheaves

u . neath , s ggesting, perhaps, that they who sow in tears shall reap in joy One might pass that way a n d fail to perceive the little path that m r admits to the cloi stral bower where she sits . I pushed y way th ough i O - of the hedge of fol age , and entered this little pen air temple silence and reconciliation . All was very still . No sound from the outside world a reached to this fastn ess . I ascended two steps and stood upon a hex m v th e gonal paved plot, with a assi e stone bench filling three sides of — fi u re . hexagon . On the fourth side sits the nameless g waiting

’ I saw her again, in a cast, among the scul tor s collected works u at the Metropolitan M seum , New York, still ho ding her secret close, émou v a n t still even without the architectural setting, the protecting r o tr ees and the su r u ndi n solitude . I did not see her immediately on entering the sculpture- ha l for facing me towered the heroic figure of L r incoln, that consummate work wherein , for the first time in histo y, the frock coat has been forced to garb a personality with beauty and for f romance . It is idle to say that it was impossible a sculptor to ail with such a subject as L incoln . Some have failed ; others have been v r n S - u successful in a ying degrees, but o ly aint Gaudens has ca ght the an d very idea of the national beloved hero, the rugged power and

sweetness of the face , the emotional angularities of the lon body, and f o s the sense o will controlled by simple nobility of character . De he not seem to be waiti ng to utter the words that are inscribed on the pedestal : " L et m f us have faith that right akes might, and in that aith let us to the en d dare to do our duty as we understand it S L P till grander looks the statue in incoln ark , Chicago, of which d this is a cast , for there the idea of an audience chamber is suggeste t r l ow by a circular stone exedra , six y feet across , which sur ounds the pedestal ; but at the Metropolitan Museum it was not diflficu l t to imagine of that the whole the vast hall was his audience chamber, and that we """" AN APPRECIATION were under the influence of his spirit as well as of the spirit of the sculptor who inspired the clay and made it L incoln . From the standing L i n col n I turned to L i n col n seated in his arm if t chair, the head lowered as in thought , modelled twen y years later ; L thence to the allegorical roups for the Boston ibrary, rou h but instinct with character an idealism ; thence to the plaster mo els for u u i red the new coinage , delightf l designs , but which re a considerable reduction of the relief before practical use coul be made of them ; ’ t thence to Mr . Kenyon Cox s portrait of him , working, the happy ar ist, for twice ha py, doing the work he loves , and leaving the world better that wor su rve I looked around for a final of his achievement, ran ing of wor from the head his father , his first to the head of Christ, his ast ; from the minute cameo brooch cut by the boy to the stu endous S h er m a n modelled by the man in his p rI me ; from the small p aque of B asti en L e ag e to the heroic figure of L i n col n ; from the li h t- touched ga iety of tpe S arg en t medallion to the learned maste o the S h aw S i l en ce 1 1 monument ; from the formal and uninspired of 7 , with finger t t t r S i l en ce 1 8 1 on lips , to the sub le y—of the eloquen and inspi ed of 9 in Rock Creek Cemetery p rocl aimmg the sure and silent evolution of t r . he a tist — L et the rest be silence and gratitude .

xxxii i

A UG UST US SAINT - GA UD EN -S

H I S W O R K S : C H R O N O L O GY

"I n th e foll owi n g pag es a n attem pt h a s been made to r ecor d ch r on o l ogi call y a ll th e wor ks pr odu ced by A ug u stu s S ai nt- Ga u den s fr om 1 867 ’ I a debt d or i n or m ti on to m mber s o th e s cu l to s i l to 1 0 . m i n e a e r am 9 7 f f f p f y, to h i s r i en ds a n d as s i sta n ts a n d to th e o ci a l catal o u e o th e M em or i al f , fi g f x b o E h i i ti n . "

- F . e P . E S u His ather , B rnard aint Ga dens

1 . . S . Bronz e bust . 5 in high igned and dated Miss Belle Gibbs Miss Florence Gibbs Hiawath a

Marble . Seated figure . h T is early work, which had been lost sight of for fifteen wn S years , stands on the la of a house near aratoga

S . . prings , N Y Fisher Boy

Statue .

Edward W . Stoughton Marble bust

Edwards Pierpont

Marble bust . P Mrs . ierpont

Marble bust . Silence 0 H S z M sonI . eroI c I e . a c Marble statue Temple , New

York .

William Maxwell Evarts ’ - o r Marble bust . Saint Gau dens s first comm I S S I ned po trait

bust .

Theodore Dwi ht Wool se 1 875- 1 879

- 1 8 . dhted 1 8 t . Marble ha f statue , 7 5 79 Yale Universi y Benjamin Greene Arnold

Marble bust .

XXXV AUGUSTUS SAINT- GAUDENS Fresco Painting t Trini y Church, Boston .

H enr . m E o er D . D . Mont y, y z e ron me allion . Church of the Incarnation,

Geor e W . Maynard g 4 plaque . 8} x 5 } in . David Maitland Armstrong

Bronze plaque . 7 x 4} in .

P William L . icknell

Bronze plaque . 73 x 4} in . William Gedney Bunce 1 Bronze plaque . 6 2x 5} in . Angels Adoring the Cross ri aF Grou s in high relief in CollaboratI on W I tli Joh L arge . ’ m a s St . o s . T Church , New York . Destroyed by fire Miss Helen Maitland Armstrong

Bronze plaque . 6i x 5} in . K Charles F . M c im

Bronze plaque . 7} x 5 in .

- F Kim S f S . M c Augustus aint Gaudens, Charles tan ord

White (Caricature) . n Bro ze medallion .

f Son Richard Watson Gilder, Wife and In ant

Bronze plaque . 8} x 1 7 in . Rodman Gilder

1 1 . Bronze plaque . 3 } x 5} in

L e Roy Kin Monument

Slab wit oak branches carved upon It . Newport , R . I . Emilia Ward Chapin

6 . Bronze plaque . 9} x in

Dr . William E . Johnston

6 . Bronze plaque . 9} x } in

F . D . Millet

Bronze plaque . 1 0} x 6} in . HIS WORKS : CHRONOLOGY

Dr . Walter Cary

x . Bronze plaque . 93 6i in of f There is also a variation this relie without the hat .

Miss Maria M . L ove .

x 6 . Bronze plaque . 9§ 3 in

r ff Dr . Hen y Shi

Bronze plaque . 1 02x 1 1 } in . I A redu ct on Is In the L uxembourg .

R . . S . S A John argent ,

Bronze medal . 2 } in . diameter . — Tomb of Ex Governor Morgan Three an els at the foot of a Greek cross rising above the

tomb . he height of the entire monument was 40 feet . These fi res were d e s t roye d by fire at Hartford m ter . e e (Conn ) y, while the models were bein put into r i marble . They were the fi st of the ser es of gures re eated A mor Car i tas p with variations in the , the angel on S the tomb of Anna Maria mith , at Newport, and the ’

r S t . S memo ial to a young girl in tephen s Church,

Philadelphia .

William Ox en a rd Mossley

Medallion and bust . Prescott Hall Butler ’ s Two Children f — r i . L o l e . 2 x D e 88 1 1 . Bronze . w l e 4 3 5} in at d i 0 88 ’ - O M rs . r n the wall of Butle s diningroom , in New York, in an oak frame designed by Stan ord White .

Admiral David Glasgow Farragut . Unveiled 1 88 1

S . Madison quare , New York City This was the first statue commissioned from S aint

. P Gaudens for a public place It was modelled in aris , S 1 880 exhibited in the alon of , and unveiled in New " 1 88 1 r York in , ma king an epoch in American sculp ”

u . S P 1 8 t re and decorative art igned and dated aris , 79

1 880 .

M . Mccormick

Plaque . L eonie Marguerite L enobl e

P . . laque Circular , about 9 in

Mrs . Charles Carroll L e e and Miss L ee 1 Bronze plaque 4} x 23 § in .

XXXVI " AUGUSTUS SAINT- GAUDENS

Miss S arah Redwood L ee

Bronze p laque . Josiah Gilbert Holland

r . B onze plaque 1 5} x 1 0} in . S amuel Gray Ward

1 . Bronze plaque . 8} x 1 4} in S - aint Gaudens considered this one reliefs .

reduction is in the L uxembourg .

For marble mantelpiece in the house of Cornelius Vander

bilt , New York S culpture Decoration in Villard House, New York

Homer S aint- Gaudens

l 1 6 . B ronze p a u e . 2 0} x } In ’ wh o A low of the sculptor s son , aged seventeen months . — Ex President Chester Allen Arthur

Bust . Commodore Vanderbilt

Bronze plaque . Two Sons of Cornelius Vanderbilt

Bronze plaque . 1 6 x 2 6} in . Miss Gertrude Vanderbilt at the age of seven

6 . Bronze plaque . 1 } x 2 3 } in

x Dr . Ale ander Hamilton Vinton f- Bronze . Heroic size . Middle relief. Hal length figure .

E r . mmanuel Chu ch , Boston

Robert R . Randall . ’ H . o S u b S . B ronze statue Sail r s n g ar or, taten Island S M rs . tanford White

1 . Marble relief. 23 x 2 } in

Professor Asa Gray

f . L ow rel I e . 2 Bronze plaque . } x 7 In r M Botanic Ga dens , Cambridge,

Dr . Holland Monument

S . pringfield , Mass

Dr . Silas Weir Mitchell

0 1 6 . Bronze plaque . 2 } x 3 in

x xxvfii

AUGUSTUS SAINT- GAUDENS

Deacon Samuel Chapin The Puritan

S . Bronze statue In pringfield , Mass , signed and dated

8 . 1 8 . P 7 Heroic size uritan costume , with a peak r c owned hat long flowing cloak and carrying a staff. r : 1 Insc iption 595 Anno Domino 1 67 5 . Deacon Samuel f ” . 1 r fi Chapin One 0 the founde s o Spring eld . A simI l a r statue (not a re lica) called The Pilgrim was made for the New ngl and Society of Pen ns l n 1 0 t S r Ph iya va ia in 9 5 and stands in Ci y Hall qua e ,

delphia . The head was remodelled and changed ;

changes were also made in the cloak, and the book was reversed so that the lettering " Holy Bible on the back

is seen .

Chester W . Chapin

Bust . The head served as a study for the Deacon Ch a i n who p ” was his ancestor and the p rototyp e of the l u ri tan

statu e .

Robert L ouis Steven son rectan 1l ar f Relief in orm ; signed and dated New York, S 1 88 F - eptember, ull len h figure , seen in p rofile , recfi ni n r looking left , g in a ed , the lowe limbs partly concealed by the coverlet ; the left hand holding a manu

script , the knees being drawn up to support it, and the r r ight hand poised in air , with a ciga ette between the

fingers . A border of i vy leaves and berries extends ue r across the top of the pla , with the insc iption and h ori z onta l u signature written y below it, the fig re of the wmged horse occurring between the first two stanzas

of the inseri tion . The sittings or the head and shoulders took place in New York while Stevenson was ill there on his way to r the Adirondacks . The hands we e modelled from tu di es made at Manasquan just before he left for

gamoa . Robert L ouis Stevenson

L ow . S Bronze circu lar medallion . relief igned and dated n 1 887 . Diameter (vertical) 3 5§ i n . ; (horizo tal) 3 4}

in . Similar in desi n and inseri ti on to the model de ifferi n fo : F scribed above, but g as lows oot of bed and lower quarter of figure not visible ; i vy border and verses of inseri tion made to conform to the circular shape of the

meda lion .

A bronze reduction is in the L uxembourg .

111 HIS WORKS : CHRONOLOGY — Robert L ouis Stevenson 1 887 1 902 ’ Rectangular bronze memorial tablet in Saint Gil es s w E S . L o . S Cathedral , dinburgh , cotland relief igned

- 1 88 1 02 . . i n . W I dth and dated 9 Height of relief, ft 7 ; , i ft . 1 . r r es n u } in va iant of the forme g , the fig re B fu t eing the same , but shown in ll leng h , covered with of a travelling rug in place the coverlet , having a quill en p in hand in place of the cigarette , and resting upon of of a couch in place the bed , with leaves manuscript scattered upon the floor ; and instead of the i vy border ex tending across the top and drooping at sides of the r f r of elie , a ga land laurel interwoven at the ends with f Scotch heather and S amoan hibiscus . The outline o a

- ship is shown in the lower right hand corner .

Mrs . Grover Cleveland

Bronze medallion .

Two L ions in Siena Marble

Boston Public L ibrary .

William M . Chase

1 . Bronze plaque . 2 2x 2 9} in f ff Ch ildren o Jacob H . Schi f ow r . Bronze . L elie A marble re lica is In the Metro ol I tan u p Muse m , New York, an a bronze reduction

In the L uxembou rg .

William M . Evarts

1 0 . Bronze plaque . 2 3 x } in Bust of General Sherman

Eighteen sittings were given In 1 887 . The bust supplied material for the head of Sherman on the e u estri a n statue P at the entrance to Central ark, New Yor D D . E w . d in Hubbell Chapin ,

Bronze relief. 3 6 4} x 3 2 4} in .

F r . ourth Universalist Chu ch, New York

r r Mrs . Schuyle Van Rensselae

Bronze plaque .

A reduction is in the L uxembourg . Oakes Ames

L arge medallion . Judge Tracy

Plaque . AUGUSTUS SAINT- GAUDENS Kenyon Cox

1 . Bronze plaque . 9} x 7? in

Executed two years after the portrait painted by Mr . Kenyon

- Cox of Saint Gaudens . Washington Medal

. ow Bronze medal L relief. To commemorate the inaugura tion of George Washington as first President of the United

States .

r m M c osh . D . a es C F {3 r . ronze memo ial tablet ull length , left hand resting

upon reading desk .

Princeton University . Jules Bastien L epage 1 1 Bronze plaque . x 9} In . Modelled when Bastien 0 ” L finI s epage was Ing his oan of Arc . In retu rn the artI st S - painted a portrait o aint Gaudens , which was h I s CornI sh st o r burnt at the fire In u dI In 1 904 . A e L r du ctI on Is In the uxembou g . Hollingsworth Memorial

Bronze . 5 ft . 9 in . x 2 ft . 9} in . Boston Museum . Miss Violet Sargent r B onz e plaque . Full length . P u laying a g itar .

W h i n o as t n . . Adams Monument, Rock Creek Cemetery, g , D C

n . f Bro ze statue . U n signed and undated A em al e seated

figu re . The monument consists of a block of gr anite u r a ainst which the fig e leans , and which forms one side 0g t an hexagonal plot of about twen y feet in diameter ,

enclosed in a clump of trees . Opposite and occupying r I th ee sides of the hex agon is a m ass ve stone bench . f S or P L r . eal the ublic ib ary, Boston , Mass r Stone rectangular high relief. A shield bea ing a book is su orted on either side by nude figures of boys , each

ho ing a torch . Study for th e Head of Diana

On Madison Square Garden tower . Peter Cooper COO er Tablet in p Union .

Monument to Mrs . Hamilton Fi sh r Two figu es adoring cross . w f In collaboration ith Stan ord White . ’ HIS WORKS : CHRONOLOGY Diana r r B onze figure on the towe of Madison Square Garden . f One of his ew nudes . Originally the figure was much

- . S aI nt S taller Thinking it too large , Gaudens and tan r r fo d White eplaced i t by the resent smaller version . r 1 8 2 A la ge statue of Diana , modelle in 9 , was exhibited in ’ r r F 1 8 b onze at the Wo ld s air in Chicago in 3 , and now ’ forms the weathervane for Montgomery ard s tower L F I on the ake ront In Ch cago. — The Columbus Medal 1 892 1 893 Modelled for the Chicago Exhibition of 1 893 in comm em o ration of the 400th anniversary of the landing of Colum

bus .

Charles Cotesworth Beaman

Bronze plaque . 2 6} x 1 5} in. A reduction is in the L uxem

bourg . President Garfield Monument

Bust of Garfield and allegorical figure of the Republic . F i rm o n r a u t P P . a k, hiladelphia In collaboration with f Stan ord White .

Tomb for Mr . Henry Ni vi ns . Mount Auburn Miss Annie Page

Bronze head . William Astor Chanler

Bronze bust . Martin Brimmer

Marble bust and medallion .

Memorial to Colonel Robert Gould Shaw . Unveiled

r S . B onze relief opposite the tate House , Boston, Mass E u estri an figure of Shaw surrounded b his black foot

so rw . r diers , who are marching fo ard female figu e , F symbolising Death and ame , floats above and a little fi u re S osi tion r in advance of the of haw, the being nea ly m . l e t ar d: horizontal The is extende palm upward , and the I I ht arm clasps to the breast poppies and a laurel

b ran efi . , the whole enveloped in swee ing dra eries The for C commission the memorial to olonel haw, com mander of the Fifty- fourth Massachusetts Regiment f F W a n er (colored troo s) , who ell at ort , was given by

S of assach u setts 1 88 . Th e r the tate in 4 wo k, with its

many modifications, extended over an interval of twelve

r 1 8 . yea s , the completed monument being unveiled in 97 AUGUSTUS SAINT- GAUDENS

General John A . L ogan .

r h o L F . Bronze equest ian statue . C I cag ake ront Peter Cooper Seated bronze statue under canopy at the side of Cooper

Union , New York . William Dean Howells and Daughter

Bronze plaque . 1 A reduction 3 in the L uxembourg . Miss Mildred Howells

Bronze medallion .

Charles A . Dana

f 1 . Bronze low relie . 3 7§ x 9} in

Maxwell Memorial

P P B o . Tablet on boulder In rospect ark, ro klyn

r L Mrs . Cha les Russell owell f L ow r . Marble . elie

r Mrs . Cha les C . Beaman

Bronze plaque .

Hon . David ayne Hill .

Marble ust .

Jacob Crowni n sh i eld Rogers

Medallion . S S Justice Horace Gray, United tates upreme Court

Bronze plaque .

Governor Roger Wolcott 1 90 1 - 1 902

Marble relief.

Robert Charles Billings

Medallion . Boston Public L ibrary .

oh n Mrs . J Chipman Gray

Bronze plaque . S enator Macmillan

Bust .

r h M s . a Vea Mr . and Wayne M c g

Bronze plaque . F Governor Roswell P . lower

Bronze statue . Watertown , N . Y . HIS WORKS CHRONOLOGY

Monument to General William Tecumseh Sherman . Unveiled P Gilt bronze group . At the south entrance to Central ark,

New York . Heroic size . Figure of General Sherman on r r ho seback, in uniform . —Before the horse and ride walks fi u re - E - P a winged female g Nike irene , or Victory eace r - r h er lau el c owned , right arm extended and holding in for left hand a palm branch . The studies the head of S f 1 888 for herman were made rom life in , the commission the group being received and work begun about 1 892 and contI nu ed P r 1 8 1 0 1 in a is in 97 , and in 9 at Cornish ; the r w r horse and ider , ithout the Victo y, being exhibited at th e S of 1 8 alon the Champ de Mars In 99, the whole in P E 1 00 plaster at the aris xposition of 9 , and , with altera - Pan A merI can E osi tI on uff 1 0 1 . tions , at the x , B alo, in 9 Eleven years in all of study an alteration elapsed before

the group was finished and unveiled on Decoration Day,

1 0 P r . 9 3 , at the south entrance to Central a k , New York

M rs . Mr . and Stanley Matthews

Plaque .

Mrs . Charles W . Gould

r . Ma ble bust 1 5} in . hi h . This bust was the resugt of studies of the same subject f extending over several years , a marble relie being exe cu ted r 1 88 1 8 r between the yea s —4 and 94 , and a ma ble bust in the round in 1 894 1 895 . H Hon . ohn ay

Nia rbl e bust . Dean S age

r . P Caricatu es of Henry Adams , Charles A latt and James Wall

Finn . m Bronze edall I ons .

Mar cus Daly

u . Bronze statue . B tte , Montana

Bronze Pl a u e

w f. L o re i e 3 2 4} x 1 9} in . Commemorating the masque of " ” The Golden Bowl , given at Cornish to celebrate the ’ - twentieth anniversary of S aint Gau den s s coming there . Greek Victory

Bronze head . Metropolitan Museum , New York . Greek Victory

Medal (head) . AUGUSTUS SAINT- GAUDENS The Pilgrim

Bronze statue . Philadelphia . (S ee page ""VIII) Charles Stewart Parnell

For . Dublin , Ireland

Bronze statue , with right hand upraised standing f of a lo ty obelisk .

Desi us for the New United States Coinage

ou bl e . eagle , eagle and one cent piece Fr ederic Fer ris Thompson

n . Marble medallio Teachers College , New York .

William C . Whitney

Bust .

Marcus A . Hanna

O . Bronze statue for Cleveland , hio

S ketch of Figure of Painting for Proposed Freer Gallery at Washington

Whistler Memorial at United States Military Academy, P West oint, N . Y .

r ft . . o f i n . L w f. 1 t . 2 Ma ble tablet relie Height , 2 , ; width , 3

In collaboration with Mr . Henry Bacon .

Abraham L incoln (Seated Figure)

- Bronze statue . Heroic size . Seated in arm chair, body and if head directed to the front, head slightly lowered as r f in thought ; ight hand open, alm down, on knee ; le t, 0 closed and resting on arm chair ; feet , set squarely f h an on circular base . Across the back o the C and S droo ing to the floor, a flag . This was one of aint ’ Gau gens s for last statues , destined Chicago by bequest of of the late John Crerar that city . Two Grou s for Entrance to Boston Public L ibrary

O 0 of . ne four figures , the other three

1 . L aw E P , xecutive ower and two figures representing

L ove .

2 . L Music , abour and Science . ’ The mod els were complete at the time of S aint- Gau dens s r death , but not the enla gements . Eight Ca atidos For r ff . t e Albright Galle y, Bu alo Si x were com l etely fimsh ed at the time of his death ; two almost fini s ed

PH OT O GR APH I C R EPR O D UCT I ONS

O F T H E W O R K S O F

A UG U ST US SAI NT GA UD ENS W I L L I A M M A "W E L L E V A R T S

a r . T r t ra . M ble bust . Height 2 3 in his was his fi st commissioned por it bust Th e r r wa s R N o de given in ome , the modelling being done in ew York imme d el f i at y after his retu rn rom Ita ly .

I n E the possession of M ISS MARY M . VARTS . t b . C Copyrigh 1 90 8 y de W . Ward 1 8 77 W I L L I A M G E D N E Y B U N C E

6 . a . r . B ronze pl que Low elief Height } in width 5 } in . Boat in lower - a r r right h nd co ne . f M W o . B U . In the possession R . G . NCE C opyright 1 00 8 by dc W C . Ward 1 8 79 R O D M A N D E K A Y G I L D E R

r . 1 r o z la lo l } i n . ; 1 . A a l o B n e p que , w re ief Height 3 width 55 in det i f m the ro o R c a Wa on l W f a I a o b o r ll g up f i h rd ts Gi der, i e nd nf nt S n , ut m e fu y carried out .

S CR : N I K A Y . I O E G B , IN IPTI N RODMA D LDE R PAR S , SE PTE M E R 1 8 7 9 . W M R . . I R . GI n the possession of LDER .

1 8 79 D O C T O R W A L T E R C A R Y

e 6 . t a r . . A r . f l coa o a r . B onze pl que low lie Height 92in width } in t ef , t f ms

f R S Y n o M . T In the possessio HOMA CAR . Co r l 08 b W py tgh 1 0 y dc W . C ard D R . H E N R Y S H I F F

L 1 . oa o z la lo l . I o i n . ; 1 F o Br n e p que , w re ief Height i width } in igure f t d a introduced t the right .

S C i n I tal i a n h e tr a n sl ati on r eads T o T H E IN RIPTION . T DEAR

- FRIEN D DOCTOR HEN RY S HIFF A T T H E A G E O F FORTY SEVEN . L O V E R O F T H E A N D O F I I N TOA DS SM ELLS ROM E , D LETTANTE I A N D T H E I I O F TH E I : P H LOSOPHY F N E ARTS , A DM RER FEL N E TYPE I N H O F F """ I N PARIS T E MONTH M A Y O T H E YEAR MD C C C L .

of M R S S - In the possession . AUGUSTUS AINT GAUDENS .

th e A reduction is in Luxembou rg . t b C 1 08 . . opyrigh 0 y de W C Ward R . . H s . A J O N S A R G E N T ,

o z al lo . D a 2 . Br n e med , w relief i meter } in

Th e S CR reads : M I P A R I S U L Y O G , IN IPTI N Y FR EN D JO HN SAR E NT , J M D C C C L x x x R I T R A T O , BR UTTO .

' M u ou s - of R A r u s . In the possession S . SAINT GAUDENS Copyri ght 1 008 by de W C . War d 1 88 1

C H I L D R E l F P R E S C O T T iH A L L B U T L E R — . O n o z lo c ob 1 880 Ma c 1 88 1 . 24 i . ; h Br n e w relief t er , r h , Height widt D } . I co an l o l a bit De 3 5 in n upper left rner, end ess kn t with egend us His ” Q uoque Finem .

Th e INS CRIPTION r e a ds : C HA RLES STE WART BUTLE R I N H I S

. W I I N I s rx T H FOURTH YEAR LA RENCE S M T H B UTLE R H S YEAR . T o M I P R E s c OTT B S I x T H I G Y FR EN D HALL UTLE R , OF J U LY , E HTE EN

- A N I . S I x T H I H UN DRE D D E G HTY MARC H TWENTY , E G HTE E N H UN

- DRE D AND EIGHTY ON E .

M R S P B I . . . R n the possession of H UTLE .

1 88 1

A D M I R A L D A V I D G L A S G O W F A R R A G U T

a a . E a t Bronze st tue , heroic size , on decorated stone pedest l xhibited the alo of 1 880 a v l M a o a a N Yo C t S n , nd un ei ed in dis n Squ re G rden in ew rk i y in w s - 1 88 1 . This a the fi rst st atue commissioned from Saint Gaudens for a

a . r t f r r Th public pl ce Fa ragu is in the uni o m of a United States Admi al . e r a r stone pedestal fo ms a semicircul r seat, divided by the pie upon which the t r S a an d n a a r ca v ol n . o th e figu e nds , termi ting t eithe end in r ed d phi s Up n ra w r a flow cent l pier is a symbolic sword , plunged do n th ough the w ves which a r an d e two a a C r L c oss it ov r se ted fem le figures , representing ou age and oy ow Th e r l r f . alty , carved in elie at either side seat is raised three steps f om a a the level of the p rk , and the space about its foot is p ved with pebbles in a which bronze cra b is sunk . Th e INS CRIPTION con ta i n s a bi ogr a ph i ca l s ketch a n d th e foll ow i ng a ppr e i a ti on : c DAVID GLASGOW FARRAG UT . THAT T H E M EMORY OF A DARING AN D SAGACIOUS COMMANDE R AND GE NTLE G REAT - SO ULE D W I c H I L D H O O D W A s I T o I S c o u N T R Y MAN , HOSE L FE FROM G VEN H , B U T W H O S E R VE D HE R S UPRE M ELY I N T H E W A R FOR T H E UNION M D c c x I - M D C C C v MA E AN , Y B PRE S E R VE D D HONORE D

. M D C C C L x x x I . COUNTRYME N HA VE S E T U P TH IS MON UM ENT A . D

D c c c 1 M D C C C L x x . BORN M . DIE D

1 88 1 M I S S S A R A H R E D W O O D L E E l w o la o l . Br nze p que , re ief

S CR : H W S i x T IN IPTION SARA RE D OOD LE E AT T HE AG E OF E E N .

I n th e C C L E E . possession of M R S . HARLES ARROLL C t 8 b W opyrigh 1 00 y de W . C ard 1 88 1

S I A IVI I I IEI . (B IKYA IY

1 8 i n . 1 . Bronze plaque . Height } ; width 4 } in

E W S CR O G R W . N K IN IPTI N SA M UE L AY A RD YOR , MAY ,

M D c c x x x I .

M R W W T . I n n . the possessio of HOMAS ARD . A reduction is in the Luxembourg W Copyri ght 1 008 by dc C Ward 1 882

H O M E R S H I F F S A I N T G A U D E N S

i 1 6 . 2 0 n . Bronze low relief. Height } ; width } in INS CRIPTION : T o MY F RI EN D DO CTOR HE NRY S HI F F T HIS PORTRAIT OF MY SON HOME R S HIFF SAINT - GA U D ENS A T T H E A G E OF S E V E N T E E N MONTHS .

MR S S - In the possession of . AUGUSTUS AINT GAUDENS .

A replica in m a rble was presented to t h e Metropolitan Museum of Art by ff a . . Mr . J cob H Schi A bronze reduction is in the Luxembourg .

1 884 hd ll fi ES I TFI Ii () ll l) VVId ll I ’ Ei

V f l a r bl e S 8 bv 1 2 . F 1 8 . 2 middle relief, igned and dated ebruary 7 , 4 3 5 inches C t 1 0 b do . C opyr igh 0 8 y W Ward 1 884 P R O F E S S O R A S A G R A Y

o z a o l . i a . ; 2 . I Br n e pl que , l w re ief Height 3 5} width 7 in n upper right m fl n VE —R I co er, within a wreath of owers , three mi iature books with word TA s on their pages .

S C : A I v IN RIPTION AS GRA Y M D C C C L x x x .

I a n the possession of Harv rd University . Copyright 1 00 8 by de IV C Ward 1 885

' I I IZ PJ IK ‘ Y VVIH JI I TPJ IE IY B E L L O W S

a t t 1 0 W ft . . o z o l a l l l . ft . 4 4 § Br n e mem ri t b e , midd e re ief Heigh in idth 5 in

S CR : - Y I I I IN IPTION FORTY THRE E EA RS M N STE R OF TH S C H URC H , o H - T H E T W HICH HE GAV E T E NAME ALL SO ULS . PRESI DENT OF 8 UNITE D STATE S SANITARY COMMISSION FROM 1 8 6 1 T o 1 8 7 . HE NRY 8 1 W I Y W D . D . I N 1 1 T H 1 . I H TN E BE LLO S , , BORN BOSTON J UN E , 4 D E D W I N N E 1 8 8 2 . YOR K JAN UARY ,

I o o of Tr o All o l a a C rc N Yo . n the p ssessi n the ustees f S u s (Unit ri n) hu h , ew rk Copyr ight 1 008 by de W C Ward 1 88 7 A B R A H A M L I N C O L N Th o z a . o c z . I L col Pa Ch ca o . e a of a Br n e st tue Her i si e n in n rk , i g ide n - b a a a c c a e s c c la o a c o , , udien e h mb r is sugge ted y" ir u r st ne exedr sixty feet r ss

- a c o lo al o c M . a whi h surr unds the w pedest , in the design fwhi h r S int G udens e W h e collaborated with the lat Stan ford hite . T inscription includes an ex tract from the Cooper Union speech of 1 860 :

L E T U S F I IG K IG A N D I N HA VE A TH THAT R HT MA E S M HT , THAT FAITH L E T U S TO T H E E N D DA RE T O D O O U R D UTY A S W E UN DE R N I T STA D .

T a la i n 1 0 a o a a - a co l wenty ye rs ter , 9 7 , the ye r f his de th , S int G udens mp eted

L C C . a statue of incoln seated , a gift by the late John rerar to hicago

1 88 7

’ IA IVI () I§ C3 AI II I7T AI S

8 ft . o z r l L o a ll Pa . To al Br n e high e ief, in the uxemb urg G ery , ris t height h e . T a a a 9 i n . ; width 4 ft sculptor repe ted this figure with v ri tions several Th e a wa s r r times . original ide embodied in the figu es on the Mo gan tomb at

a r fo Co . c o . H t rd , nn , whi h were destr yed by fire

1 887 D E A C O N S A M U E L C H A P I N ( T H E P U R I T A N

o z a l Ma . o c z . F o a a al ; Br n e st tue in Springfie d , ss Her i si e igure f m n w king P i n t u - fl an d a r ur ta cos me , with a peak crowned hat , long owing cloak , c r ying

a ff . sta . Branches ofpine needles scattered underfoot

: INS CRIPTION 1 59 5 A N N o DOMINI 1 6 7 5 . DEACON SA M UE L N T H E I I I . CHAP N , O E OF FO UN DE RS OF S PR NGF E LD

Th e P i l r i m a 1 0 . g , variation of the above , was executed in 9 5 C r t 1 0 b th e D tr i t P h t r C opy igh 0 5 y e o o og aphic ompon y 1 888 W I L L I A M M E R R I T T C H A S E

. 1 2 i n . o z la lo l 2 i h . ; } I lo l Br n e p que , w re ief Height 3 width 9 n the wer eft Th e of corner is a medallion with design of winged horse . clay model this ’ i n m a ff n o plaque , so ewh t di ere t form , is represented on the sculpt r s easel in ’ - K n a . ro ti i c . Mr . enyo Cox s portr it of Saint Gaudens (See F n sp e e ) W M R . In the possession of . M . CHASE .

1 888

C H I L D R E N O F J A C O B H . S C H I F F

i n . . . . a Bronze low relief. Height 5 ft 9} ; width 4 ft 3 in Sculptured fr me

l m n a . effect of p inth . Colu ns and cor ice hung with g rlands

A a r i A rt marble replic was presented to the Met opol tan Museum of by Mr . ff 1 Jacob H . Schi in 906 .

A i s L r bronze reduction in the uxembou g .

1 888 G E N E R A L W I L L I A M T E C U M S E H S H E R M A N

1 . r . B ronze bust . Total height 3 } in Modelled f om life in eighteen sittings This bust se rved as the S tudy for the head of Sherman in the equestri an sta tue

unveiled i n 1 903 in New York .

M R S P L T . In the possession of . AU HORNDIKE C r ht 8 1 0 b . opy ig 0 y de W C . Ward K E N Y O N C O "

a . 1 i n . . Bronze pl que , low relief Height 9 } ; width 7} in

S CR O : K Y c o x I I N H I S I - I R D IN IPTI N E N ON , PA NTE R , TH RTY TH - Y I S I I D M D C C C L x x x 1 x . , H G G EAR BY FR E N D , A U USTUS SA NT A U E NS ,

K Cox R . I n the possession of M ENYON .

E two th e a R K Cox xecuted years after portr it painted by M . ENYON of

- S . M R . AINT GAUDENS . W r C r t 1 08 b do C . d opy igh 0 y W a W A S H I N G T O N M E D A L

m a . D . Bronze ed l , low relief iameter 4 } in O W a t a fi C ( bverse) Bust of shing on , side view , he d in pro le , directed left ; on

A a . ti n e n ta l . F costume t the right , the fasces of magistr cy orming a border a th e . bout edge , thirteen stars

S CR O : G G W I G I . IN IPTI N E O R E A S H N T O N , PA T E R PA T R A E

M D C C L x x x I x .

' R v r r a l a A r c a a l a cla ol i ( e e se) Uppe h f, n me i n e g e , with wings spre d , ws h d ng " a r an d a i t E P r . r ows olive branch be r ng shield wi h legend lu ibus Unum - e Lo r l co a o a o N Yo a . T r a o we eft , t f rms f ew rk St te hi ty ight st rs f rming r borde . INS CRIPTION T O COMM E MORATE T H E INA UG URATION OF GEORG E WAS HINGTON AS F IRST PRESIDENT OF T H E UNITE D STATES I A T N E W Y I M D C C L x x x I x I Y K x x x , OF AM E R CA OR A PR L , BY A UTHOR T T H E I N I W I N E W OF COMM TTE E O CELE BRAT ON , AS H NGTON M EDAL ,

K I x x x M D C C C L x x x 1 x . YOR , A PR L , C r t 1 8 b dc C . opy igh 00 y W Ward 1 889

D O C T O R J A M E S M C C O S H

8 . o z o r al a l l l . } . . 3 Br n e mem i t b et , midd e re ief Height feet 3 in width 4 ft 7 in

S CR : C D O . . . R O . , W IN IPTI N JAMES M COS H , , LL D FO T ENTY YEA RS I I x x vu M D C C C L x V I I I G B , PRE S DE NT OF PR NCETON COLLE E , OCTO E R I H E x x M D C C C L x x x vu I . I N H S T J UN E , E RECTE D HONOR BY CLASS

M D C C C L x x t x x v I I I M D C C C L x x x 1 x . OF . J UN E ,

In the possession of Princeton University .

1 889

J U L E S B A S T I E N - L E P A G E

e 1 n . 1 . i ; . Bronze plaque , low relief H ight 4 } width 9 } in

- S C I : L E P A G F. A E T A T I S x x x t I IN RIPT ON J ULES BASTI E N . PAR S

M D C C C L x x x .

M R - S S N . In the possession of . AUGUSTUS AINT GAUDE S

A reduction is in the Luxembourg .

1 89 1

A D A M S IWO N U M E N T R O C K C R E E K C E M E T E R Y W A S H L N G T O NQ ID CL

r a a . B onze st tue , unsigned and und ted I S Th e in a monument, which enclosed in a clump of trees , consists of block of a r Of gr nite against which the figure leans , and which fo ms one side an hexagonal plot of about twenty feet in di a meter . Opposite and occupying r Th e r a th ee sides of the hexagon is a stone bench . figu e has been v riously

r - al o a a n a o a o . interp eted , th ugh S int G ude s g ve n n me t it

1 892 D I A N A

ro o Ma o a GaI den o . Th e B nze figure , surm unting the dis n Squ re t wer figure

- r r . T a a o i all c la oo la , a co w s ig n y mu h rge hinking it t rge S int G udens , in n su lt ation a o r W a ch c o o mov u r with St nf d hite , the r ite t f the t wer, re ed the fig e r r and eplaced it by the present sma lle version .

A l a S a o D a a mo ll 1 8 2 a ro a rge t tue f i n , de ed in 9 , w s exhibited in b nze t the V ’ V Orld s F r C a 1 8 r r a M t ai in hic go in 93 , and now fo ms the weathe v ne for on W ’ gomery a r d s towe r on the Lake Front in Chicago . C r ht 1 08 b . C . opy ig 0 y de W Ward 1 894 C H A R L E S C O T E S W O R T H B E A M A N

6 i n 1 o a lo l . 2 } . ; . Br nze pl que , w re ief Height width 5} in

S : M D x x V W CR O C C C L x I . C OT E S O R T H B IN IPTI N C HARLE S EAMAN , - H I S I G I G . BY FR EN D , A U USTUS SA NT A UDE NS B M R . . In the possession of S . C C EAMAN .

A r reduction is in the Luxembou g .

1 895

IWI C) PJ IJ IVI I§ PQ CF

P P F a a a . irmount ark , hil delphi

A a a S D r tall marble quadril ter l tele with o ic pilasters at the angles , supporting a a n enta bla tu re upon which rests the bust . Below in a niche st nds the figu r e of the Republic .

S CR on sh i eld : I I IN IPTION ( ) JAM ES AB RAM GARF E LD , PRE S DENT

T H E I M D C C C L x x x I . OF UN TE D STATE S ,

I 897 M E M O R I A L T O R O B E R T G O U L D SjH A W

B ronze relief. Boston Common . INS CRIPTION (to th e r igh t of th e floati ng fig ur e of Death or F a me) R E M P U B L I C A M OMNIA R E L I N Q U I T S ERVARE .

b eath th e r el i e R INS CRIPTION ( en f) O BE RT GOULD S HA W . KILLE D E O N W HILE LEA DING T H ASSAULT FORT WAGN E R . J ULY TWENTY A N D " - I I I . TH RD , E G HTE E N H UN DRE D S TY THRE E

Th e a C C commission for this memori l to olonel Shaw, ommander of the F - o r Ma ac R co o oo o f l a Fo ifty f u th ss husetts egiment ( l red tr ps) , wh el t rt Wa - M 1 8 n a o a a b a o a ach 8 . g er , w s given t S int G udens y the St te f ss usetts in 4 Th e n x a n r work , with its ma y modifications , e tended over inte val of twelve e a com mo b 1 8 . ye rs , the pleted nument ing unveiled in 97

D E T A I L F R O M T H E S H A W M O N U M E N T C h t 1 b dc C. 08 opyrig 0 y W. Ward 1 897

Coo o New Yo C per Uni n , rk ity S IN CRIPTION : E RECTE D BY T H E C I T I z E N s OF N E W YORK IN B R R G RATE FUL RE ME M ANCE OF PETE COOPE R , FO UN DE R OF T H E I V I COOPE R UN ON FOR TH E A D A NCEM ENT OF SC ENCE AN D ART , N I I M D V I I A NO DOM N c c c .

- h s Saint Gaudens attended classes at th e Cooper Union i n i youth .

P E T E R C O O P E R f a r a . 2 6 He d o the b onze st tue Height in . 1 ar Copyri ght 008 by do W . C . W d 1 898 W I L L I A M D E A N H O W E L L S M I S S H O W E L L S

l ow Bronze plaque , relief.

S CR O : I WI I N W N E W IN IPTI N M LDRE D AN D LL AM DEA HO ELLS ,

- R M D c c c V I I F . YO K I . ROM A UG USTUS SAINT GA UDENS D H n h R W . . . I t e possession of M . OWELLS

A replica i s i n th e Luxembourg .

1 898

' AI PJ I) IE IKES C) IS

t i n . 1 in Bronze low relief. Heigh 3 7} ; width 9} .

S CR O : D R M C C C "I " IN IPTI N C H A R L E S A N E S O N D A N A , D

M n c c c V I I .

W L FF I s o M R . I I M . n the po sessi n of LL AM A AN . Co r t 08 b . C . rd py igh 1 0 y de W Wa 1 899 J O S E P H I N E S H A W L O W E L L

Marble low relief. W o . R o D Josephine Shaw L well idow of General Charles ussell L well . e m b — 1 1 ce er 1 6 1 8 Oc 2 0 . , 43 tober , 9 5

' I M CA R L O IT A R L n the possession of ISS USSELL OWELL .

1 9 0 1

H Y A S S O C I A T E E U S T I C E O R A C E G R A , J O F T H E U N I T E D S T A T E S S U P R E M E C O U R T — i . 1 0 . r f. 2 n ; 2 R of Bronze plaque , low elie Height 9} width 3 7 in obe ofli ce . I m C r n left upper co er seal ofthe Supreme ou t of the United States ,

S CR : C I N IS - IN IPTION HORA E GRAY H SEVENTY FOURTH YEAR .

I D . C . I M DCCCC I . I I A UR E W G , ASH N TON , APR L , MAJOR HAERED TAS VEN T j

E T L E GI B US .

I n M R G the possession of S . HORACE RAY . C C . opyr ight 1 008 by de W Ward 1 9 0 2 R O B E R T L O U I S S T E V E N S O N

’ R c a la o z o i al a a Gile s s Ca a E e t ngu r br n e mem r t blet in S int thedr l , dinburgh , n 1 88 —1 0 co la ; lo l a a 2 . . 2 i n . ; S t nd w re ief, sig ed nd d ted 7 9 Height 7 ft width

i . 1 . 2 n A 88 w 9 ft variant, but much larger , of the relief made in 7 , hen o A Stevenson was delayed in New Y rk by illness on his way to the dirondacks . Th e N Th e sittings for the head and shoulders took place in ew York . hands o o a a Ma a a o v o were m delled fr m studies m de t n squ n , just bef re Ste ens n left

o amoa . Th e i s ho l co a a l f r S figure here s wn in full ength , vered with tr ve n - of li g rug in place of the coverlet , having a quill pen in hand in place a I n of cigarette , and resting upon a couch place of the bed , with leaves manu r floor r sc ipt scattered upon the , and instead of the ivy borde , extending and o of n across the top dr oping at sides of the relief, a garland laurel i ter at h e o e woven the ends with Scotch heather and Samoan hibiscus . T utlin of a ship is S hown in the lower right corner

’ S CR a bove S teven son s P r a er I US AN IN IPTION ( , y G VE GRACE D T o o STRENGTH FOR B EAR AND T PE RSE VE RE . GI VE US COURAG E

A N I AN T H E Q I I . T o US UR I D GA ETY , D U ET M N D SPARE O FR EN DS ,

T o U s UR I . B US I F I T MA E I N ALL UR SOFTEN O EN E M ES LESS , Y B , O

I . I I T MA I US T H E H N NOCENT EN DEAVOURS F Y NOT , G VE STRENGT T o H W I I S T o H W E MA E B ENCO UNTE R T AT H CH COM E , T AT Y B RA V E I N I I N I B I N I N W AN PER L , CONSTANT TR ULAT O , TE MPE RATE RATH , D I N ALL N AN T o T H E H CHA GE S OF FORTUN E , D DOWN GATE S OF DEAT , o N LOYAL AND LOVING T O E ANOTH E R .

(On l i nth bel ow rel i e r o er R B I B A T p , f p p ) O E RT LOU S STEVE NSON , ORN III W I B G B x I I I I V HO A RD PLACE , E D N UR H , NOV E M E R , MDCCCL , D E D A D V T I I I B III M c c c I . V A L MA , SLAN D OF UPOL U , SAMOA , DECE M E R , THIS ME MORIAL I s E RECTE D I N H I S HO N O UR BY READE RS I N ALL Q UARTERS O F T H E WORLD W H O ADMIRE H I M AS A MASTE R OF G I A N I R A N T o W H I S E N L S H D SCOTT S H LETTE S , D HOM CONSTANCY I I I AN I G AN H I S I I I UN DE R N F RM TY D S UFFE R N , D S P R T OF M RTH ,

U G A N H I S . CO RA E D LOVE , HAV E EN DEA RE D NAM E

" Under the wide a nd sta rry sky D a a l m l ig the grI ve nd et e ie, Glad did live and gladly die , a And I laid me down with will .

This h e the verse you gr ave for me He re he lies whe re he longed to be ;

o S a lo o om a , H me is the i r, h me fr the se ” And the hunter home from th e h i ll .

1 902

M A C V E A G H M R S . W A Y N E w . . . T o Bronze low relief Height 3 ft 2 } in . width 4 ft 9 in . figures at either en of r d long bench placed under a pine t ee .

M O N U M E N T T O G E N E R A L W I L L I A M T E C U M S E H S H E R M A N

t P o o . o a c o C a l a r N Yo r . F o Br nze gr up S uth entr n e entr k , ew k igure fGen f f o . eral herman on horseback , in uni rm Be ore the horse and rider walks a S — — f a fi u re N k - E V - P e - c w r winged em le g i e irene , or ictory eac laurel ro ned , ight a rm t extended and holding in her lef hand a palm branch .

Th e for a o a a o l f 1 888 co studies the he d f Sherm n were m de fr m i e in , the m mission for the group was received and work begu n about 1 892 and continued in Paris in 1 897 ; the horse an d ride r wi thout the Victory we r e exhibited at alo o C a Ma 1 8 ol las a Pa r the S n f the h mp de rs in 99, the wh e in p ter t the is E s 1 00 t Pan - A E xpo ition of 9 , and , with altera ions , at the merican xposition ,

ff 1 0 1 . E a n d a Bu alo , in 9 leven years in all of study alter tion elapsed before on D D 1 0 the group was finished and unveiled ecoration ay, 9 3 , at the south l P Cent r a N . entrance to ark , ew York

H E A D O F V I C T O R Y

n . 8 . Bro ze head Height ofhead } i n . ; of pedestal 4} in INS CRIPTION : H I K R - E I P H N H (VI CTO R Y - PEACE)

Al o h a - a a a c o h h a h e n ot con th ug S int G udens h d preferen e f r t is e d , did sider so w Th e u that it accorded ell with the statue as the first study . latter was sed for u of s n S r the equestrian stat e , and the profile this eco d tudy was late repro du d - n ce i n relief as the model for the n ew cen t an d the ten dollar coi . o r h t 1 8 b de C 0 . C . py ig 0 y W Ward I 905

T H E P I L G R I M

n a 1 0 E c i C all a P lad l . re ted ity H Squ re , hi e phi , in 9 5

A co o o N E la oc o P l a a c a mmissi n fr m the ew ng nd S iety f ennsy v ni , whi h sked for a replica of Th e P ur i ta n ; but the sculptor gave it what is virtu a lly a h h P il r i m e T e . new work , which called g

Th e head was remodelled and changed and the staff was advanced ; changes a were also m de in the cloak , and the book was reversed so that the lettering a Holy Bible on the b ck is seen .

I 905 P L A Q U E C O M M E M O R A T I V E O F T H E C O R N I S H C E L E B R A T I O N 2 1 0 J U N E 3 , 9 5

m 2 i n . 1 . : Te Bronze plaque i n low relief. Height 3 } ; width 9} in Design ple of Love .

S a r IN CRIPTION : (Names of participants . ) (On al t ) AMOR VINCIT I N AFFECTIONATE RE M E M B RANCE O F T H E CE L E B RATION OF

"" - III M C M V . A N D I . J UN E , A UG USTA A UG USTUS SA NT GA UDE NS

I n o M R S S - . A G the p ssession of UGUSTUS AINT AUDENS .

Th e Masque of the Golden Bowl was performed by the residents to cele

- r M r . n r brate the twentieth anniversa y ofthe year and Mrs . Saint Gaude s fi st made Cornish their summer home . b . r C r 0 C . opy ight 1 0 8 y de W Wa d I 9O7 P L A S T E R M O D E L S F O R U N I T E D S T A T E S N E W C O I N A G E (1 )

a r t . a o o o l a ol v a . A bov r a He d f w m n , in p fi e , we ring i e wre th e , thi teen s rs f r D a r 1 1 . n r o i mete of plaster model } in Unused desig , o iginally intended - c one ent piece .

I 9O7 P L A S T E R M O D E L S F O R U N I T E D S T T E S N E W C O I N A G E (Con ti n u ed) (2)

1 - - la o No . I a a for ol a and Simi r t , with ndi n he d dress substituted ive wre th ,

r r r . I with ma gin of elief lowe ed Depth 1 } in .

e - D sign for obverse often dollar gold piece . b 1 08 . C . r 0 y de W Wa d I 9O7 P L A S T E R M O D E L S F O R U N I T E D S T T E S N E W C O I N A G E (Con ti n u ed) (3 )

A a r w . I merican e gle , standing ; a ro s and olive branch in claws n upper right : L e e nd: l S CR O E I B . I fie d , IN IPTI N PLUR US UN UM g UN TE D STATES 1 2 OF AME RICA . Depth } in .

D - esign intended for reverse of the twenty dollar gold piece , but used for the ten .

1 90 7 P L A S T E R M O D E L S F O R U N I T E D S T A T E S N E W C O I N A G E (Con ti n u ed) (4)

F - W fl I an ull length figure of inged woman , standing ; owing hair, ndi head r i r d ess , classic robe ; torch in right hand , ol ve b anch in left ; left foot raised w f on a rock against which is an oak b r a nch . In the lo er le t field a small

C w r II . sketch of the apitol building, ith ising sun ; lower right field , MCMV

- 1 . Border of forty six stars . Edge bevelled . Depth 2 } in

- Original idea for obverse of twenty dollar gold piece . Co r t 1 08 b . C r py igh 0 y de W Wa d I 9O7 P L A S T E R M O D E L S F O R U N I T E D S T A T E S N E W C O I N A G E (Con ti n u ed) (5)

t t w s o - m l a to No . 4 b o i n r a o u ; Ca o Si i r , ut wi h u g he d dress f r the fig re pit l o f f building enlarged , rays of sun lengthened and extended acr ss rom le t to f . o o W a . E right B rder stars nearer centre , leaving ider m rgin dge , thirteen 1 a l E I B . D 2 . st rs , with egend PL UR US UN UM epth } in

fo r - Design r obve se oftwenty dolla r gold piece .

I 90 7 P L A S T E R M O D E L S F O R U N I T E D S T A T E S N E W C O I N A G E (Con ti n u ed) (6)

n fl . A . n merica eagle , ying Below , rising sun , with rays extendingto margi L E GE D I I W Y . N UN TE D STATE S OF AM E R CA , T ENT DOLLARS

1 Depth 3 } in .

- for - D n . esig intended for one cent piece , but used twenty dollar piece

M R S - S . From plaster models in the possession of . AUGUSTUS AINT GAUDENS Ca ’ w c: l yr ight 1 008 by do Ward l 90 7 W H I S T L E R M E M O R I A L A T U N I T E D S T A T E S M I L I T A R Y A C A D E M Y

W E S T P O I N T , N Y

1 . t Ma l a l lo l . 2 2 . o c a rb e t b et , w re ief Height ft in width 3 ft Greek t r hes W ’ w wre a a an d fl . sides , with a small gh bove histler s butter y device belo

r Wh r T n l k INS CRIPTION (ex tr act f om i stl e s e O C oc To j A M E s

- I I C """I III . T H E O F T H E MCN E LL W H STLE R , MD CC V MCM STORY B I U I S W I N T H E B O F T H E EA UT F L ALR EA DY COM PLETE , H E N MAR LES PARTHENON A N D BROIDE RE D WI TH T H E BIRDS U PON T H E F A N O F

HO KUSAI .

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T e 1 a a . al 6 M rble head on square block of m rble ot h ight in .

I o M R S S - n S . A G E S the p ssession of UGUSTU AINT AUD N .

T a n d - r e f of e th e l a his , the low eli plaque his wife , w re st pieces of sculpture w r a t- a t s o ked upon by S in G udens wi h M own h ands .

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