I ii any r EMANCIPATION awrf THE FREED in AMERI¬ CAN SCULPTURE n > M|| »*■ • Jp mmmmm HP© • EBfL Mel, mm _ »•" _..:.. jfisfcjjs-i, ' .ifj A ■iin BLACK FOLK IN ART SERIES Emar cipation and the Freed in American Sculpture A STUDY IN INTERPRETATION By FREEMAN HENRY MORRIS MURRAY Introduction by John Wesley Cromwell, A. M., Secretary of the American Negro Academy and author of "The Negro in American History" PUBLISHED BY THE AUTHOR 1733 7th STREET, N. W. WASHINGTON, D. C. 19 16 Coypright, 1916 by Freeman H. M. Murray PRESS OF MURRAY BROTHERS, INC. WASHINGTON, D. C. To DELILAH my devoted wife, and to my scarcely less devoted family, ofr sons, daughters, and brother, without whose encouragement and cooperation it would not have been possible for me to have accomplished the modicum herein indicated, this lit¬ tle book is affectionately dedicated. CONTENTS pages Preface ....... xvii Introduction ...... xxv topics Powers' Greek Slave ..... 1 Freedom, on the National Capitol, by Thomas Crawford ..... 3 The Libyan Sibyl, by William Wetmore Story . 5 The Freedman, by John Quincy Adams Ward . 12 The Freedwoman, by Edmonia Lewis . . 20 Emancipation, figure, Detroit, by Randolph Rogers 24 Emancipation, group, Washington and Boston, by Thomas Ball ..... 26 Emancipation, group, Edinburgh, by George E. Bissell ...... 32 Emancipation, panel, Cleveland, by Levi T. Scofield 37 Proposed Lincoln Memorial, by Clark Mills . 39 Summary — Emancipation groups and figures . 43 Emancipation, group, by Meta V. Warrick Fuller . 55 The Beecher Monument, Brooklyn, by John Quincy Adams Ward . . . . .66 v CONTENTS Mortar Practice, group, Cleveland, by Levi T. Scofield 71 The Navy, group, Brooklyn, by Frederick Mac- Monnies ..... 73 Powell's picture, The Battle of Lake Erie . . 79 Stalwart Negroes in Art . . . .80 The Cumaean Sibyl, by Elihu Vedder . . 82 Africa, statuette, at the National Capitol, by Randolph Rogers . . . .87 Africa, group, New York City, by Daniel Chester French ...... 92 The Harriet Tubman Tablet, Auburn, N. Y. . 102 The Douglass Monument; Rochester, N. Y. . 106 The Democracy of Childhood, group, Waterbury, Conn., by George E. Bissell . . . 109 The Attucks Monument, Boston, by Robert Kraus 114 Faithful Slaves Monuments .... 117 Peace, group, Indianapolis, by Bruno Schmitz . 120 Sculptors from the South and Black Folk . . 128 Black Folk in the Sculpture at the Centennial . 132 Ethiopia, and Toussaint L'Ouverture, by Anne Whitney ..... 136 The John Rogers Groups .... 143 The Shaw Memorial, Boston, by Augustus Saint- Gaudens ..... 164 Hopes of the Future, figures in group at the Panama-Pacific Exposition, by A. Stirling Calder ...... 175 vi CONTENTS Appendix ...... 183 Notes ....... 193 Postscript ...... 225 Index ....... 227 ILLUSTRATIONS ILLUSTRATIONS 1. The Greek Slave, statue, by Hiram Powers From an engraving by W. Roffe 2. Freedom, statue, on Dome of the National Capitol, by Thomas Crawford From a picture of the plaster cast 3. The Libyan Sibyl, statue, by W. W. Story From an engraving by E. W. Stodart 4. The Freedman, statuette, by J. Q. A. Ward From a photograph loaned by the sculptor's widow 5. The Freedwoman (or Freedom), group, by Edmonia Lewis From photograph loaned by Mr. G. W. Forbes (See p. 225) 6. Military Monument, Detroit, by Randolph Rogers From a photograph presented by Mr. Francis H. Warren 7. Emancipation, figure, on Military Monument, Detroit, by Randolph Rogers Detail of photograph (See under 6) 8. Emancipation, group, Washington and Boston, by Thomas Ball From heliotype in official descriptive booklet 9. Emancipation, group, Edinburgh, Scotland, by George E. Bissell From a photograph loaned by the sculptor 10. Emancipation, panel, in base of Military Monument, Cleveland, by Levi T. Scofield From a photog raph loaned by the sculptor xi ILLUSTRATIONS 11. Proposed Lincoln Memorial, designed by Clark Mills From a photograph loaned by Mr. Henry A. Vale 12. Emancipation, group (front view), by Meta Vaux Warrick Fuller From a photograph presented by the sculptress 13. Emancipation, group (side view), by Meta Vaux Warrick Fuller From a photograph presented by the sculptress 14. The Beecher Monument, Brooklyn, by J. Q. A. Ward From a photograph by the Detroit Photographic Co. 15. Figure on the Beecher Monument, Brooklyn, by J. Q. A. Ward From a photograph loaned by the sculptor's widow 16. Mortar Practice, group, on the Military Monument, Cleveland, by Levi T. Scofield From a photograph loaned by the sculptor 17. The Navy, group, on Soldiers' and Sailors' Memorial Arch, Brooklyn, by Frederick MacMonnies From a picture in "Brush and Pencil" (discontinued) 18. Jane Jackson, painted from life by Elihu Vedder Electrotype by courtesy of the Houghton Mifflin Company, publishers, and the sculptor 19. The Cumaean Sibyl, bronze bust, by Elihu Vedder Electrotype by courtesy of the Houghton Mifflin Company, publishers, and the sculptor 20. Africa, figure, on door-frame at the National Capitol, by Randolph Rogers From a photograph made and presented by Mr. Fred A. Fowler 21. Africa, group, in front of the Custom House, New York City (front view), by Daniel C. French From a photograph presented by the sculptor 22. Africa, group, in front of the Custom House, New York City (side view), by Daniel C. French From picture in the Century Magazine by permission xii ILLUSTRATIONS 23. The Harriet Tubman Tablet, Auburn, N. Y. From picture in the official descriptive booklet 24. The Douglass Monument, Rochester, N. Y., by Sidney W. Edwards From photograph loaned by Mr. John W. Thompson 25. Military Monument, Waterbury, Conn., by George E. Bissell From a photograph made for the author 26. The Democracy of Childhood, group, on Military Monument, Waterbury, Conn., by Geo. E. Bissell From photograph made for the author 27. The Attucks Monument, Boston, by Robert Kraus From picture in official descriptive booklet 28. Bronze Panel on Attucks Monument, Boston, by Robert Kraus From picture in the official descriptive booklet 29. Faithful Slaves Monument, Fort Mill, S. C. From picture presented by Mr. C. S. Link 30. Peace, group, on Military Monument, Indianapolis, by Bruno Schmitz From photograph by the Detroit Photographic Co. 31. War, group, on Military Monument, Indianapolis, by Bruno Schmitz From photograph by the Detroit Photographic Co. 32. L'Depart, group, on the Arc de Triomphe, Paris, by Fr. Rude From a photograph 33. The Army, group, on Soldiers' and Sailors' Memorial Arch, Brooklyn, by Frederick MacMonnies From picture in "Brush and Pencil" (discontinued) 34. L'Africaine, statue, exhibited at the Centennial Expo¬ sition, by E. Caroni From picture in Sandhurst's book, "The Great Centennial" xiii ILLUSTRATIONS 35. L'Abolizione, statue, exhibited at the Centennial Ex¬ position, by R. Vincenzo From picture in Sandhurst's book, "The Great Centennial" 36. Ethiopia, statue, by Anne Whitney 'From photograph loaned by Mrs. Olive Tilford Dargan 37. Toussaint L'Ouverture, statue, by Anne Whitney From photograph loaned by Mrs. Olive Tilford Dargan 38. The Slave Auction, group, by John Rogers From photograph loaned by the sculptor's widow 39. The Fugitive's Story, group, by John Rogers From reproduction of picture in New York Public Library 40. Taking the Oath and Drawing Rations, group, by John Rogers From photograph of group in the Metropolitan Museum of Art 41. The Wounded Scout, group, by John Rogers From photograph of group in the Metropolitan Museum of Art 42. Uncle Ned's School, group, by John Rogers From photograph loaned by the sculptor's widow 43. The Shaw Memorial, Boston, by Augustus Saint- Gaudens From a Copley Print — Curtis and Cameron, Boston 44. The Nations of the East, group, at Panama-Pacific Exposition, by A. Stirling Calder From photograph by the Cardinell-Vincent Company, San Francisco, Cal, 45. The Nations of the West, group, at Panama-Pacific Exposition, by A. Stirling Calder From photograph by the Cardinell-Vincent Company, San Francisco, Cal. 46. Hopes of the Future, figures in group at Panama- Pacific Exposition, by A. Stirling Calder Detail of photograph (See under 45) xiv ILLUSTRATIONS 47. The Death of Major Montgomery, tablet, in Old Fort Griswold, New London, Conn. From photograph made for the author 48. Proposed Freedmen's Memorial for Lincoln, designed by Harriet Hosmer From picture in the London Art Journal PREFACE This monograph is chiefly the expansion of papers which were read as lectures (illustra¬ ted by lantern slides) at the Summer School and Chautauqua of the National Religious Training School at Durham, N. C., in 1913. Some of the matter has also appeared in the A. M. E. Church Review. The expansion consists in the insertion of additional comment and explanation concern¬ ing the sculptures that were originally dealt with in the papers, and the inclusion of a few additional works more or less related to the subject in hand. A few foot-notes and refer¬ ences have been added and several somewhat extended notes have been placed at the end. In general, it has not been indicated what be¬ sides the notes are the additions and what the original matter. When preparing the manuscript for print¬ ing as a monograph, some changes in the wording were made in order to render the forms of expressions less direct and didactic. xvii PREFACE These alterations were perhaps not made as thoroughly and consistently as they should have been. Under the general title, "Black Folk in Art," I am gathering and arranging materials which I hope to publish in the form of other monographs. The plan contemplates covering the portrayal of Black Folk in art, and also their contributions to art, in ancient and in modern times. Concededly this is an ambi¬ tious undertaking. But surely it is a work that should be done, or at least begun, by somebody. Seemingly, this monograph is published out of its proper chronological or¬ der, but a beginning had to be made some¬ where, and, for reasons that need not be gone into, the phase of the matter treated herein seemed most nearly ready. It will be observed that the sub-title to this monograph reads: "A Study in Interpretation." That indicates one of the chief purposes that I have in view; and, notwithstanding a great deal of present-day prating about "art for art's sake," it is my intention to stand with those who hold that the most important feat¬ ure of art is what is portrayed; agreeing with Tuckerman's dictum, "The first requisite [in art] is to have something worth saying." The great Ruskin has said: "Art's value is to state a true thing or to adorn a serviceable xviii PREFACE one." I think that, for certain occasions, Ruskin would not have objected to a little expansion of this to make it read: "Art's value is to state a true thing or to suggest a true thought," etc. Certainly, that is Art's power, if not its chief value. Hence, when we look at a work of art, especially when "we" look at one in which Black Folk appear — or do not appear when they should,— we should ask: What does it mean ? What does it suggest? What impression is it likely to make on those who view it? What will be the effect on present-day problems, of its'ob¬ vious and also of its insidious teachings ? In short, we should endeavor to "interpret" it; and should try to interpret it from our own peculiar viewpoint. It is because of my cohviction of the im¬ portance of interpretation and analysis — for what purports to be serious art, at the least— that I have imposed my own views so freely herein. Yet other opinions and interpreta¬ tions have been liberally quoted. This matter of interpretation, and also re¬ gard for the contents of, as well as for the omissions from, art works, is especially im¬ portant as to sculpture, because sculpture more frequently than painting serves higher purposes than that of mere ornament or of the mere picturing of something. Often it is xix PREFACE designed to commemorate some individual or some event, or, particularly in the group form, its main purpose is to "say something." The fact is, nearly all sculptural groups, and a considerable number of individual statues, are based on some purpose beyond mere por¬ traiture or illustration. Moreover, these com¬ memorative and "speaking" groups generally stand in the open, at the intersections of the highways and in the most conspicuous places. We cannot be too concerned as to what they say or suggest, or what they leave unsaid. We can hardly press too strongly the im¬ portance of careful, perspicacious interpreta¬ tion. I am convinced that, for Black Folk— in America, at least — this is of paramount importance. Under the anomalous conditions prevailing in this country, any recognition of Black Folk in art works which are intended for public view, is apt to be pleasing to us. But it does not follow that every such recog¬ nition is creditable and helpful; some of them, indeed, are just the opposite. It is my pur¬ pose herein, to indicate, as well as I can, what I think are the criteria for the formation of judgments in these matters. It is not expect¬ ed that the views herein stated will meet with unanimous approval. That is not im¬ portant. If, however, the discussions and at¬ tempted analyses herein, tend to encourage or XX PREFACE to initiate, in other persons, candid statement and critical analysis in the matters now under consideration, one of my main purposes will be accomplished. It is perhaps not necessary to go further than simply to point out, that, what I have tried to stress herein — interpretation — is different from technical criticism. At the present time and for the present purpose, interpretation — which includes : intention, meaning, effect — is of such paramount im¬ portance, that I would not wish to distract attention from it by extensive technical criti¬ cism, even if I felt myself competent to in¬ dulge in such criticism. I wish that it were possible to state my in¬ debtedness, and fully to express my gratitude, to the many persons who have given assist¬ ance and encouragement in this work. Some acknowledgments are made in the text and the notes and in connection with the pictures; but the full extent of my indebtedness is sel¬ dom indicated. Very deeply am I indebted to Professor John W. Cromwell of Washington, D. C., who will contribute an Introduction, and who has not only given me valuable advice, criticism, and encouragement, but has also looked over xxi PREFACE the proofs of the most of the pages as they were put into type. In justice to Professor Cromwell, however, it should be stated that very few, if any, of the errors, typographical and other, that have gotten into the printed pages, were in those proofs that passed under his trained eye. I am also deeply indebted to Mrs. M. V. Warrick Fuller, sculptress, of Framingham, Massachusetts, whose intelligent helpfulness, and whose knowledge in matters pertaining to art and art works, have been constantly at my service. Scarcely less than to the persons just men¬ tioned, I am indebted to the Reverend Doctor Horace Bumstead, retired president of Atlanta University, whose assistance, rendered in so many ways, deserves far greater recompense than this mere acknowledgment. Among others whose assistance has been of especial value, the following persons, who, I believe, are not mentioned in the text nor in the notes, come to mind: Mr. A. D. Hervilly of the Metropolitan Museum of Art, New York City; Mr. H. D. Lydenburg of the New York Public Library; Mr. Herbert Putnam, Librarian of Congress and Mr. George F. Bowerman of the Public Library, Washington City, and their courteous assistants; Mrs. Geraldine L. Trotter of the Boston Guardian; xxii PREFACE Professor R. R. Wright of Savannah, Georgia; and Mrs. Mae P. Smith Johnson of Jersey City; and also the "World's Work," magazine. There are others whose assistance has been of value mainly in phases of the work not strictly covered by this monograph. As to the illustrations, it should perhaps be stated that the reproductions herein are not to be regarded as indicative of the artistic and technical merits or demerits, actual or relative, of the various works of art which are pictured; this, if for no other reason, on account of the diversity of sources on which I have been obliged to draw. In most cases, all that may be claimed is, that the picture indicates more or less sufficiently the general form and appearance of the figure, or group, or panel under consideration. The work of locating and securing the pic¬ tures has been by far the most difficult and trying part of the undertaking; and the grati¬ fying measure of success which has been at¬ tained is very largely due to the generous assistance of the persons whom I have named in this preface and elsewhere herein, and to a few others who have given me numerous fruitful clues. Finally: it may partially explain some mat¬ ters connected with the arrangement and "make up" of this book, which otherwise xxiii PREFACE might be puzzling, if I state that the gather¬ ing of materials and the "expansion" of the original papers have continued while the mat¬ ter herein was being put into type (by my own hand, during spare hours) for more than a year. F. H. M. M. Washington, D. C., July, 1916. INTRODUCTION "Black Folk in Art" suggests at once a study, a field of investigation and interpre¬ tation, unique and of absorbing interest. Whether in an objective or in a subjective sense its appeal is not controversial but is mainly addressed to the sensibilities of taste and beauty. As a theme, it is an evolution rather than one primarily for elaboration or analysis, for observation or for generalization. "Emancipation and the Freed in American Sculpture" became a subject W contempla¬ tion with the author only after beauties from the general viewpoint of Black Folk in Art had for many years engaged many of his leisure moments. During this time he was widely known as newspaper correspondent and editor, and as a contributor to several magazines. In the pursuit of his art studies in the realm of the Christ Child in art, there were incidentally brought to his attention, in pictures and in book illustrations, certain portrayals of the Biblical event known as the XXV INTRODUCTION "Adoration of the Magi," from which por¬ trayals there were omissions of proper repre¬ sentation of the darker races. These omis¬ sions excited his protest, which protest was first set forth in magazine articles, and later in illustrated lectures. Gradually the field was broadened until his articles and lectures covered more or less completely the whole range of the portrayal of Black Folk in Art. The next step was the desire to put into permanent form the results of his observa¬ tions and inquiries, supplemented by his own opinions on such phases of the subject as seemed appropriate. In short, he resolved to attempt the publication of a series of mono¬ graphs under the general title, "Black Folk in Art." The present monograph, "Emancipa¬ tion and the Freed in American Sculpture," is the first fruit of that resolve. So far as the undersigned is aware, there has been no similar literary venture in this particular field; yet one would hesitate to pre¬ sent the results of even so unique a study to a public already overburdeded with an abun¬ dance of literary material of one sort and an¬ other in the absence of an unmistakable de¬ mand. But Mr. Murray has made the at¬ tempt, and has done the work with such ability as to render a conspicuous public ser¬ vice. Judging from this initial success, the xxvi INTRODUCTION succeeding works of this series will be antici¬ pated with increasing interest. In the investigation of his subject, Mr. Murray was brought into correspondence with artists both of this country and of Europe, and also with men and women whose personal acquaintance with artists (some of them no longer living) enabled these persons to give the key to the interpretation that the individual viewpoint of the artist and the en¬ vironment supplied. By pursuing this plan of ascertaining the facts relative to the sub¬ ject of his interest, along with the usual meth¬ ods of reading and investigating, he acquired a comprehensive knowledge of art and art values and their subtle relations. His studies along these lines eventually made him an art critic. Step by step he was led onward until he had made not only a survey of whatsoever embraced the Freed in American sculpture,, but as well, an exhaustive and intensive study. The works of art covered by this survey were produced in the period extend¬ ing from the days of Emancipation, through Reconstruction, to the threshold of the second decade of the present century — almost two generations. The undersigned, having been privileged with the opportunity of reading the advanced sheets and having been consulted by the xxvii INTRODUCTION author at different stages in the progress of his work, has no hesitation in declaring that the wide range of the investigations pursued, the patient and exhaustive researches, the expert knowledge, the critical judgment, and the marked literary ability displayed by the author, are so unusual as to entitle him to distinction. The author does more than give interpre¬ tations and express artistic judgments; he often goes far afield to anticipate and answer inquiries respecting many of the topics treat¬ ed in the body of his monograph. These are discussed in detail and in such an entertain¬ ing manner in the Notes that they constitute a distinct characteristic of the book, furnish¬ ing sidelights as illuminating as are the abun¬ dant illustrations which adorn the body of the text. From what has been stated the conclusion is inevitable that Mr. Murray has presented a study which will compel perusal from cover to cover and ensure for the book a very wide reading. Independent and apart from his description and interpretation of what is worth while of Black Folk in American Sculpture, his obiter dicta, injected here and there through¬ out the monograph, form another excellent feature which must evoke admiration and xxviii INTRODUCTION enthusiasm. One may not see the artistic technique in the sculpture nor go into ecsta¬ sies over the illustrations, but he can not fail to recognize the grandeur of the thoughts which technique and illustrations inspire. In them there is more than pure intellect; there is warmth of feeling, depth of soul, pro¬ fundity of thought: these attributes charmr attract, elevate. The topical arrangement to which the author has resorted in the presentation of his subject makes gradations from the begin¬ ning to the end of the book easy and graceful, while the half-tone illustrations — many of them first published in this work, —the Ap¬ pendix, the copious and illuminating Notes, already referred to, and the Index will facili¬ tate the appreciation of "Emancipation and the Freed in American Sculpture" as a most worthy contribution to the literature of "Black Folk in Art." John W. Cromwell They (host me much thought, and much strong emo¬ tion, but it was foolish to suppose that I could arouse my audiences in a little while to any sympathy with the temper into which I had brought myself by years of thinking over subjects full of pain. — John Ruskin. Referring to his early books, in the second edition of his "Sesame and Lilies." EMANCIPATION AND THE FREED IN AMERICAN SCULPTURE A STUDY IN INTERPRETATION Prior to the breaking out of the Civil War, the fine arts in America had not reached a consequential position in the art world, and sculpture had rather lagged behind painting. Only a few American sculptors had made a national reputation, and almost none had at¬ tracted attention abroad. POWERS' "GREEK SLAVE" One of the more noteworthy works which had been produced in America before the War was Powers' "Greek Slave," which, being one of the first American nudes, and for other rea¬ sons aside from what would now be regarded as high artistic merit, had attained great pop¬ ularity. It had even been exhibited in London — at the Exhibition of 1851 —but its chief drawing power there was probably curiosity to see that which the Americans had made such an ado over. [i] EMANCIPATION AND THE FREED This statue — which was indeed as well "finished" as the sculptor's Italian workmen could make it and was "polished" to perfec¬ tion—had one probable reason for its Ameri¬ can popularity which I have not seen noted. What I have in mind will suggest itself to you when you recall that the anti-slavery agitation had already noticeably impressed the general public with the evils, cruelties, and brutalities connected with slavery as an institution. But then, as now, a "white" slave would attract more attention and excite far more commiser¬ ation than a black one or one less white than "white." Everybody could sympathize with the white slave in what Mrs. Browning called her "white silence," and anybody could safely "take her part" without being suspected of endeavoring to stir up strife. And so, whether or not we regard the "Greek Slave" as an artistic triumph, we must admit that it "took well" with the American public. The words "white silence" which were used a moment ago are taken from the sonnet on the statue written by Mrs. Browning the lead¬ ing English poetess at the time the statue was was being exhibited in England. The sonnet is a scathing — and I think, sarcastic — ar¬ raignment of Powers' American countrymen for maintaining slavery here. The last lines read: [2] IN AMERICAN SCULPTURE Appeal, fair stone, From God's pure heights of beauty against man's wrong! Catch up in thy divine face, not alone East's griefs, but West's, — and strike and shame the strong, By thunders of white silence overthrown. Hence, whether Powers so intended it or not —and he very probably did not — his "Greek Slave" may be regarded—permitting to me a figure of speech akin to that of Mrs. Browning's — as American art's first anti-slavery document in marble. "FREEDOM" ON THE NATIONAL CAPITOL, BY THOMAS CRAWFORD Of other more or less notable works pro¬ duced before the War, only one needs to be mentioned on this occasion. That one is the colossal statue of "Freedom" on the Dome of the Capitol at Washington. The sculptor called it "Armed Liberty" but the official name adopted was "Freedom." However, it is popularly known as "Liberty," and by that name I shall generally refer to it. This statue was modeled by Thomas Craw¬ ford several years before the War but was not cast into bronze until about 1861, and it was in 1863, after the Emancipation Proclamation [3] EMANCIPATION AND THE FREED had gone into effect, that it was finally raised into its place. It is recorded that the head-covering of Crawford's first model of this statue was the familiar "Liberty cap" which was adopted by the French Revolutionists. This form of cap is said to have been derived from the Roman pileus, the Phrygian cap worn by manumitted slaves. Jefferson Davis, who was then Sec¬ retary of War, under whose Department the Dome was being constructed, objected to the "Liberty cap," holding that it was a symbol unsuited to a people who, he claimed, had "always" been free. There was quite a con¬ troversy over it and the outcome was the head-dress which "Liberty" now wears, which has been described in many ways, one de¬ scription — perhaps no more inaccurate than the rest—being, "an eagle-shaped helmet with a circlet of stars." Another interesting matter connected with the statue is that while it was being cast into bronze at Mill's foundry near Washington the Southern states began seceding; whereupon, the white workmen, as Jarves puts it, "turned rebel" and a Negro assistant completed the work.* * "Art Thoughts," p. 313. For another version, see Notes. [4] IN AMERICAN SCULPTURE THE "LIBYAN SIBYL," BY W. W. STORY The War, or perhaps more correctly, the issues which precipitated the conflict and the occurrences and results which accompanied it and grew out of it, brought to art —both pictorial and sculptural—suggestions, ideas, and inspiration; and, above all, opportunity and freedom. There were things that men and women had felt impelled to say; now there was no longer reason why they could not be said, frankly and expediently. Perhaps the first American who said in art an important thing as to the issues then pend¬ ing, was William Wetmore Story, a New Eng- lander, who, working in Rome, chiseled and sent to the London Exhibition of 1862 his fam¬ ous "Cleopatra," and with it a statue whose modeling no less than whose message set all Europe to looking, talking, and commending. This statue he named the "Libyan Sibyl." What Story intended to portray may be stated in his own words. Writing to his friend Charles Eliot Norton, under date of August 15, 1861, he said: This last winter I finished what I consider as my best work — it is so considered by all, I believe — the Libyan Sibyl. I have taken the pure Coptic head and figure, the great massive, sphinx-like face, full-lipped, long-eyed, low¬ browed, and lowering, and the largely developed limbs of the African. She sits on a rock, her legs crossed, lean¬ ing forward, her elbow on her knee and her chin pressed [5] EMANCIPATION AND THE FREED down upon her hand. The upper part of the figure is nude and a rather simple mantle clothes her legs. This gave me a grand opportunity for the contrast of the mas¬ ses of the nude with drapery, and I studied the nude with great care. It is a very massive figure, big-shouldered, large-bosomed, with nothing of the Venus in it, but as far as I could make it, luxuriant and heroic. She is look¬ ing out of her large black eyes into futurity and sees the fate of her race. This is the theme of the figure — Slav¬ ery on the horizon, and I made her head as melancholy and severe as possible, not at all shrinking the African type. On the contrary it is thoroughly African — Libyan Africa of course, not Congo. This I am now putting into marble, and if I can afford it, I shall send it to the new Exhibition in London. * It will be recalled that this statue was modeled during the winter of 1860-61, so that, while the Sibyl was indeed meditating and brooding over the then terrible condition of her people, perhaps we may venture to claim that the Sibyl was also viewing prophetically the terrible impending conflict on the issue of which, the fate of millions of her race so largely depended. The picture which is shown herewith is from a steel engraving of the statue made by E. W. Stodart. This engraving appeared in a book by William Clark, Jr., entitled "Great American Sculptures," published in 1877. In this book Clark says of the statue: This weird woman of mystery, the child of the desert, it is true is not [like Story's "Cleopatra"] a "serpent of * "Story and his Friends," by Henry James; Vol. II, p. 70. [6] IN AMERICAN SCULPTURE the old Nile," but there is about her much of that pent-up fiery, energy threatening to burst forth at any moment to scorch and consume, which marks the "Cleopatra." The mission of the "Sibyl," however, is not to lure men to de¬ struction — she is the custodian of secrets, the secrets of the African race. And how close she keeps them, with her locked lower limbs, her one hand pressing her chin as if to keep in the torrent of words that threatens to burst forth, while the other grasps a scroll covered with strange characters, which would reveal much could we be permitted to de¬ cipher it. On her head is the Ammonite horn — for she is a daughter of Jupiter Ammon, and the keeper of his oracles,— and on her breast is the ancient symbol of mystery, as she sits there brooding and thinking and her breast heaving with emotions as she thinks of what is past and what is to come. Miss Phillips in her book on Story quotes a long description and interpretation of the statue from the London Athenaeum. It says in part: The Sibilla Libica has crossed her knees — an action universally held amongst the ancients as indicative of reticence or secrecy and of power to bind. A secret- keeping looking dame she is, in the full-bloom proportions of ripe womanhood Her forward elbow is prop¬ ped upon one knee; and to keep her secrets closer—for this Libyan woman is the closest of the Sibyls — she rests her shut mouth upon one closed palm as if holding the African mystery deep in her brooding brain. She looks out through mournful, wavering eyes, under the wide shade of the strange horned (Ammonite) crest that bears the mystery of the Tetra-gram-maton upon its front. Over her full bosom, mother of the myriads as she [7] EMANCIPATION AND THE FREED was, hangs the same symbol. Her face has a Nubian cast, her hair wavy and plaited, as is meet * No doubt many persons who see herewith for the first time the picture of this woman of "African type" will find her less "African" than Story's description would lead them to expect. For the popular American conception of the African is the type exemplified by the more outlandish of the captives brought here from the Congo and Niger regions. Seldom does any American geography or illustrated dictionary or cyclopedia indicate that Africa yields any other ethnological fruit, and the specimens shown are almost always as outre and repulsive as possible. But bear in mind that the picture we are reproducing is not a photograph made directly from the statue but is a steel engraving, and it is not improbable that Mr. Stodart when making the engraving "favored" the "Sibyl" somewhat. Jas. J. Jarves' book, "The Art Idea," publish¬ ed in 1864, was the first extended art criticism and interpretation by an American. In this book we read (page 281): Unhappily, England has secured the two conceptions, Cleopatra and the Libyan Sibyl, which have placed him [Story] in European estimation at the head of American sculptors. Their greatness consists in the originality of thought. They are the growth of new art-blood. We * "W. W. Story," by Mary E- Phillips [8] IN AMERICAN SCULPTURE •may ethnographically object that Cleopatra, sprung from Hellenic blood, could not be African in type. Still it is a generous idea, growing out of the spirit of the age, — the uplifting of down-trodden races to an equality of chances in life with the most favored, — to bestow on one of Africa's daughters the possibility of the intellectual power and physical attractions of the Greek siren. In harmony with the spirit of this statue is the loftier idea of the Sibyl, a suggestion, we are told, of Mrs. Harriet Beecher Stowe, founded on her knowledge of the runaway slave, Sojourner Truth. The Sibyl is Africa's prophetic annunciation of her fu¬ ture among nations. Sculpture of this character displays a creative imagination and daring of no mean order. Born of, yet in some degree forestalling, the great politi¬ cal ideas of the age, it is high art teaching noble truth* The statement by Jarves that this statue was suggested by the story of Sojourner Truth is made on the authority of Mrs. Stowe her¬ self. Miss Phillips, in her book, quotes Mrs. Stowe's statement. She says: Upon page 474, Vol. XI of the Atlantic Monthly, in the issue of April, 1863, are the following lines from the pen of the late Mrs. Harriet Beecher Stowe, upon "Sojourner Truth, the Libyan Sibyl." After graphically giving the history of this singular, •strong, sad woman, Mrs. Stowe continues: "But though Sojourner Tru*h has passed from among ms as a wave of the sea, her memory still lives in one of * According to Miss Phillips, four copies of this statue, the "Libyan Sibyl,'' were made. She says that two are owned in London, one in Paris, and one in Boston. Tuckerman, in his "Book of the Artists" says six copies were made but he fails to locate any of them. (See Note explaining what is meant by a "•copy" in sculpture.) {9] EMANCIPATION AND THE FREED the loftiest and most original works of modern art, the* Libyan Sibyl, by Mr. Story, which attracted so much at¬ tention in the late World's Exhibition.* "Some years ago, when visiting Rome, I related Sojourn¬ er's history to Mr. Story at a breakfast at his house. Al¬ ready had his mind begun to turn to Egypt in search of a type for art. . . . The history of Sojourner Truth worked in his mind and led him into the deeper recesses of the African nature — those unexplored depths of being and feeling, mighty and dark as the gigantic depths of trop¬ ical forests, mysterious as the hidden rivers and mines of that burning continent whose life history is yet to be. A few days after he told me that he had conceived the idea of a statue which he should call the Libyan Sibyl, Two years subsequently I revisited Rome and found the gorgeous Cleopatra finished "Mr. Story requested me to come and repeat to him the history of Sojourner Truth, saying that the concep¬ tion had never left him. I did so; and a day or two after he showed me the clay model of the Libyan SibyL I have never seen the marble statue, but am told by those who have that it was by far the most impressive work of art at the Exhibition." Mr. Story in one of his letters tells of his astonishment and gratification at the favor¬ able comments made by the European critics, and refers to the prices—tremendous they seemed to him — offered for the two statues. He had been unable to get either remuner¬ ation or encouragement for his previous work in America and had abandoned art as a seri¬ ous business, devoting his time chiefly to the * See Notes. [10} IN AMERICAN SCULPTURE writing of law books. He also did consider¬ able other literary work. Though little has been written about this statue in recent years, it is, or ought to be, most precious to the people of African descent in this land. Its purpose and its history, its frankness and its truth, its "personality" one might say, should strongly appeal to us. These qualities and its loftiness of conception with its air of mystery and its suggestion of far-reaching possibilities, and finally, its well- deserved fame — for, as has been shown, it was in foreign eyes America's first great work of art—all of these should constrain us to echo the expressed wish of Mrs. Stowe, that some day it should be one of the adornments of our National Capitol. If it does not become that, let us hope that some person or some or¬ ganization among us will be prompted to make an effort to secure at least one copy of this work and see to its placing in one of our institutions of learning—say, Howard Uni¬ versity at Washington City —or at some place where our people "do most gather," as an assurance of our appreciation and discern¬ ing comprehension and as an earnest of our purpose to encourage and foster in our own the higher callings, and especially not to neg¬ lect the imaginative and emotional art-power [ii] EMANCIPATION AND THE FREED with which we are admittedly so exceptionally endowed. Here would seem to be a fitting work for one or more of our Colored Women's Clubs or Federations of Clubs; for, so far as I am aware, not in all art, ancient or modern, American or foreign, is there a master-piece nobler in conception and more unreservedly complimentary to our race, and to our women especially, than is William Wetmore Story's "Libyan Sibyl." THE "FREEDMAN," BY J. Q. A. WARD While Europe and America were talking of this work of Mr. Story, the Emancipation Proclamation took effect and American Art added its approval and ratification. John Quincy Adams Ward, a sculptor, not perhaps then famous but already well known, sent to an exhibition in New York (in 1863) his mod¬ est, unostentatious "Freedman." This again set the art world to talking and to praising. This was a statuette only twenty inches high but it embodied large ideas. As to its mean¬ ing and significance, Jarves said (in 1864): Completely original in itself, a genuine inspiration of American history, noble in thought and lofty in senti¬ ment A naked slave has burst his shackles, and with uplifted face thanks God for freedom. We have seen nothing in our sculpture more soul-lifting or more [12] IN AMERICAN SCULPTURE comprehensively eloquent. It tells in one word the whole sad story of slavery and the bright story of emanci¬ pation.* The "Freedman," like many other great works of art and profound literary composi¬ tions, reveals itself differently to different minds and temperaments. These differences of interpretation — these varying responses of individual souls — are inherent in that which is profound and sublime. "My thoughts are not your thoughts, neither are my ways your ways, saith the Lord"; and the more pro¬ found and God-like the working of the mind of an individual at a given time, the more the quotation applies to that mind as contrasted with the minds of the multitude. Few of us can canter through Milton and Dante, or through Shakespeare and Browning, as we do through Dickens and Stevenson. Not that Dickens and Stevenson are not "great" in certain ways, for they are. Ward, whose "Freedman" we are discussing, is also great in his "Indian Hunter" in Central Park, New York, and in his equestrian statue of General Thomas in Washington, although neither of these purports to be profound. But the "Freedman" was conceived in a different mood and under different conditions; and, simple as it superficially appears, there is no * "Art Idea." page 284 [13] EMANCIPATION AND THE FREED work in American sculpture which has a high¬ er claim to be profound. Thus, while Jarves saw in the "Freedman" an uplifted face thank¬ ing God for freedom, another American critic, at a later date, saw something different. Charles C. Caffin, in his book, "American Masters of Sculpture," (published in 1903) says of it (page 44): It shows simply a Negro, in an entirely natural pose, who has put forth his strength and is looking very quiet¬ ly at the broken fetters. The whole gist of the matter is thus embodied in the most terse and direct fashion, without rodomontade or sentimentality but solely as an objective fact into which there is no intrusion of the sculptor's personal feeling. Caffin's description of the statue is correct enough but in his comment he seems to go entirely too far when he says that Ward kept out of it his "personal feeling." It would probably be more correct to say that Ward put into it as much as he could of his personal feeling, having regard for artistic considera¬ tions and for his habitual, self-imposed re¬ straint. Notice a little further on what Mr. Taft says as to the "emotion" that Ward wrought into it. There are other interpretations which stress certain of the ideas already noted and sug¬ gest others. Tuckerman, in his "Book of the [14] IN AMERICAN SCULPTURE Artists," (published in 1882) quotes an un¬ named "intelligent writer" as saying of this statuette (page 581): Here is the simple figure of a semi-nude negro, sitting, it may be on the steps of the Capitol, a fugitive, resting his arms upon his knees, his head turned eagerly piercing into the distance for his ever-vigilant enemy, his hand grasping his broken manacles with an energy that bodes no good to his pursuers. A simple story, simply and most plainly told. So much for the story which this intelligent writer reads from this statuette. He also sees much to admire on the physical side. He con¬ tinues : There is no departure from the negro type. It shows the black man as he runs today. It is no abstraction or bit of metaphysics that needs to be labelled or explained. It is a fact not a fancy. He is all African. With a true and honest instinct, Mr. Ward has gone among the race and from the best specimens, with wonderful patience and perseverance, has selected and combined, and from this race alone erected a noble figure — a form that might challenge the admiration of the ancient Greek. It is a mighty expression of stalwart manhood, which now, thanks to the courage and genius of the artist, stands forth for the first time to assert in the face of the world's prejudices, that, with the best of them he has at least an