•i0•^!'Jl:^^rfri;^^''^rk4^r^^ tUNB ^T^..^^ 7<^^^^^;^^^ ^''Jfl-^t'Mj THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA RIVERSIDE D P- \ P- < to -i o Q. AUGUSTUS SAINT-GAUDENS iA vc^im^ 1 I'ORIRAIT OF AUGUSTUS SAINT-GAUDENS IN HIS FORTIETH YEAR 13 Y KEN YON COX 1 liis reprixliit'tion is niaik- from rlu- iirigin:il |iutun- painfrd in the sculptor's 1 liirtv-sixtli Street studio in 1887 :iml destroyed in the tire in his studio in Cornish, N. H., in 1904. A reph'ca was painted hv Mr. Cox in 1908 tor the Memorial Kxhibition in the Metropolitan Museum. 1 lie sculptor is repre- sented at work upon the relief portrait of William M. Chase. Behind his head, to the left, is a photoj;ra|>h of one of the Vanderhilt caryatids. .\ cast o( the "Unknown Lady" of the Louvre stands lieyond. Next is the bronze relief of Homer Sainf-Gaudens a,s an infant, and Invond that the plaster relief of Miss Lee. I he scaffolding luhiiul the easel is the hack of the Shaw .Memorial. AUGUSTUS SAINT-GAUDENS BY C. LEWIS HIND LONDON: JOHN LANE, THE BODLEY HEAD NEW YORK: JOHN LANE COMPANY MCMVni Copyright 190S by JOHN LANE COMPANY ALL RIGHTS RESERVED PRESS OF REDFIELD BROTHERS, NEW YORK TO RUTGER BLEECKER JEWETT AND OTHER FRIENDS MADE IN AMERICA pnmr^D in U . S . A PREFATORY NOTE This book on Augustus Saint-Gaudens is divided into four sections: 1. His Life: Chronology. 2. An Essay. 3. His Works: Chronology. 4. Photographic reproductions showing the development of his art from his first production to the last. I am indebted to Mr. de W. C. Ward for permission to include many of the photographs he has prepared for an edition-de-luxe portfolio, giving the sculptor's entire achievement. Also to the editor of the official catalogue of the Memorial Exhibition held at the Metropolitan Museum, New York, a model catalogue in thoroughness of detail and arrangement. New York, 1908. C. L. H. LIST OF ILLUSTRATIONS PORTRAIT OF AUGUSTUS SAINT-GAUDENS IN HIS FORTIETH YEAR. BY KENYON COX WILLIAM MAXWELL EVARTS WILLIAM GEDNEY BUNCE RODMAN DE KAY GILDER DOCTOR WALTER CARY DOCTOR HENRY SHIFF JOHN S. SARGENT, R.A. CHILDREN OF PRESCOTT HALL BUTLER ADMIRAL DAVID GLASGOW FARRAGUT MISS SARAH REDWOOD LEE SAMUEL GRAY WARD HOMER SHIFF SAINT-GAUDENS MRS. STANFORD WHITE PROFESSOR ASA 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 McCOSH JULES BASTIEN-LEPAGE ADAMS MONUMENT, ROCK CREEK CEMETERY, WASHINGTON, D. C. LIST OF ILLUSTRATIONS DIANA CHARLES COTESWORTH BEAMAN GARFIELD MONUMENT, PHILADELPHIA MEMORIAL TO ROBERT GOULD SHAW DETAIL FROM THE SHAW MONUMENT PETER COOPER PETER COOPER, HEAD OF BRONZE STATUE WILLIAM DEAN HOWELLS AND MISS HOWELLS CHARLES ANDERSON DANA JOSEPHINE SHAW LOWELL HORACE GRAY, ASSOCIATE JUSTICE OF THE UNITED STATES SUPREME COURT ROBERT LOUIS STEVENSON MR. AND MRS. WAYNE MAC VEAGH MONUMENT TO GENERAL WILLIAM TECUMSEH SHERMAN SHERMAN MONUMENT: LATER STUDY FOR THE HEAD OF VICTORY THE PILGRIM PLAQUE COMMEMORATIVE OF THE CORNISH CELE- BRATION, JUNE 23, 1905 SIX PLASTER MODELS FOR THE UNITED STATES NEW COINAGE WHISTLER MEMORIAL AT UNITED STATES MILITARY ACADEMY, WEST POINT, N. Y. STUDY FOR THE HEAD OF CHRIST AUGUSTUS SAINT-GAUDENS, FROM PHOTOGRAPH BY de W. C. WARD AUGUSTUS SAINT-GAUDENS HIS LIFE: CHRONOLOGY 1848 Born in Dublin, Ireland, March ist. Father, a Frenchman, came from Aspet in Haute-Garonne, Pyrenees, a few miles from the town of Saint-Gaudens. Mother, a native of Dublin. When Augustus, one of several children, was six months old the family emigrated to America. Lived for three months in Boston, then settled in New York. 1 86 1 At the age of thirteen Augustus was apprenticed to Louis Avet, cameo cutter, said to be the first man to cut cameos in the United States. 1864 Quarrelled with Avet and left his employment. 1864-7 Worked with Le Brehon, cameo cutter. Studied drawing at night during his apprenticeship — four years at Cooper Union, two years at National Academy of Design. Towards the close of this period he produced his first work, a portrait bust of his father. 1867 Went to Paris to study sculpture. Petite Ecole; aged nineteen. 1868-70 Paris. In 1868 he entered- Jouffroy's studio in the Ecole des Beaux Arts. Self-supporting, working half his time at cameo- cutting. Mercie, a fellow-student ; Falguiere and Saint Mar- ceau had just left. 1868 was the year of the Universal Exposition, when Paul Dubois exhibited his silvered bronze, Florentine Singer, which had been awarded the Medal of Honour in 1866. This work exercised a strong influence on contemporary sculptors and on Saint-Gaudens. Paul Dubois, who was nineteen years older than Saint-Gaudens, was one of his lifelong friends and admirers. 1870-2 Rome. On the outbreak of the Franco-Prussian War, Saint- Gaudens moved from Paris to Rome, where he remained for three years, associating with the French prize-men of the day, of whom Mercie was one. In Rome he produced the statues Hiawatha and Silence. He also experimented in painting, making studies of the Campagna. 1872 Returned to New York in the winter of this year to model a bust of William Maxwell Evarts, which was put into marble in 1874. 1873 Rome, where he remained until 1874. 1875-7 New York. Studio in German Savings Bank Building. xi ATjGUSTUS SAINT-GAUDENS 1876 Received commission for the Farragut monument. 1877 Married Augusta F. Homer, of Boston. 1877-8 Paris. Member of the International Jury at the Universal Exposition. 1879 Rome. Flying visit. 1879-80 Paris. The Farragut exhibited in plaster at the Salon of 1880, also several medallions. Position assured. 1880 New York. Studio at Thirty-sixth Street. 1884 Received commission for the Shaw monument. 1885 Took a house at Cornish, New Hampshire, as a summer residence. Mr. and Mrs. Saint-Gaudens were the first settlers in this artistic and literary colony. 1887 Lincoln statue unveiled. 1888 General Sherman gave Saint-Gaudens eighteen sittings for his bust. 1 891 Adams monument, Rock Creek Cemetery, Washington. 1893 Designed medal for the World's Columbian Exposition, Chicago. 1897 Shaw monument unveiled in Boston. 1897 I Paris. Worked on Sherman group. Officer of the Legion of i90o( Honour. Corresponding Member of the Institute of France. 19CO Medal of Honour, Paris. Illness; returned to America, bringing the Sherman with him. Operation at Boston. Settled perma- nently at Cornish, N. H. He finished the Sherman, and, in spite of ill-health, produced, during the latter years of his life, among other works, the seated figure of Lincoln, the Parnell, the Phillips Brooks for Boston, the models for the allegorical figures in front of Boston Library, a seated figure of Christ with attendant angels, and the designs for the new coinage. 1901 Special Medal of Honour, Buffalo. The medal was designed by Mr. James E. Eraser. 1903 Equestrian statue of General Sherman unveiled at the entrance to Central Park, New York. 1904 Elected Honorary Foreign Academician of the Royal Academy, London. The following were among his other distinctions: Member of the Society of American Artists, which he had helped to found; Member of the National Academy of New York; Member of the Academy of St. Luke, Rome. Honorary degrees from Harvard, Princeton and Yale. xii HIS LIFE: CHRONOLOGY 1904 His studio at Cornish caught fire. Models, drawings and sketches were burnt, also bric-a-brac and paintings, inclu- ding his portrait painted by Bastien-Lepage. Saint-Gaudens was in New York at the time. 1905 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. 1907 Died at Cornish, after a long illness and much suffering, on August 3d. He worked almost until the end, often being carried to his studios to superintend the work of his assistants. On February 29th, 1908, a memorial service in honour of Augus- tus Saint-Gaudens was held in New York. A memorial exhibition of his works was opened in March, at the Metropolitan Museum, New York. XllI AUGUSTUS SAINT-GAUDENS AN APPRECIATION I E LEFT the world a little better than he found it." With these true and temperate words the voice of the speaker ceased. There was no applause, as this solemn assembly in honour of the memory of the first American sculptor of genius was in the nature of a sacred rite; but the hush of sympathetic appreciation that stilled all the trivial movements of the large audience was more eloquent than any quick manifestation of approval. We felt that the sobriety and taste of the peroration, as of the whole memorial oration, by Mr. McClellan, Mayor of New York City, was in harmony with the life-work of Augustus Saint-Gaudens. This lay service of gratitude for the gift of a significant life was held on the 29th of February, 1908, in the city of New York, where Saint-Gaudens lived and worked for so many years; where so many of his friends remain; which he had known so well, and upon which he has left the impress of enduring beauty and exemplary achievement. His Sherman and his Farragut rise nobly above the swirl of New York, standards to which others must strive to attain, the high-water mark of modern sculpture. On August 3, 1907, death had released him from long-drawn-out sufi^ering. He worked almost to the end at his home in Cornish, New Hampshire, for to him working and living were synonymous terms. His brain still continued to plan and design when, too weak to walk or to use his hands, he was carried across the garden from house to studios to direct and counsel his assistants who were making enlargements from the models of his last works that, in spite of bodily pain, he had been able to complete in the peace of the uplands of New Hampshire. In the intervening months since his death comrades and friends, with Mr. Daniel Chester French as controller, had been collecting originals and casts of his work and arranging for a memorial exhibition to be held at the Metropolitan Museum. The lay service was a prelude to the opening of that exhibition. Never before, I think, has sculptor been so honoured; never before, in my experience, has the spiritual presence of an artist whose place is empty seemed so near as during those two hours consecrated to his memory with music, poetry and quiet-spoken words of affection, praise and prophecy. The harmonies of Chopin's Funeral March swelled from lamentation into the passages of triumph as if the heart of the composer were crying: "O Death, where is thy sting!" And as the familiar music quickened our senses, the white cast of one of the sculptor's creations, a standing virginal figure with upraised wings and hands rising from the back of the dais in a tracery of flowers, seemed to submit a spiritual communication from XV AUGUSTUS SAINT-GAUDENS him to us. This young figure, this Angel of Peace, Love and Purity, he modelled again and again for the commemoration of fresh sorrows, making in each essay shght alterations, as if saying: "I can change the blossoms, but not the structure of roots and stems — those are integral and unalterable." One of the early reincarnations is familiar to all — the Amor Caritas of the Luxembourg Gallery. The last I saw the other day in St. Stephen's Church, Philadelphia, embedded in the wall by the chancel, still and white, a monument to a girl who died young, and the words engraved on the tablet held aloft by this angel, into whose face has crept a sweeter radiance and in whose girdle you note some fresher flowers, are: "Blessed are the Pure in Heart for they shall see God." When the quartet played certain numbers from Beethoven, Bach and Schubert, the echo of his presence in the hearts of many listening friends must have been very insistent, for Schubert's Quartet in D Minor, Bach's Jir from Suite in D, Beethoven's Quartet m F Major, op. 59, had often been his choice on those musical Sunday afternoons in his big white studio in Thirty-sixth Street. As I did not know Saint- Gaudens in life, the music of his choice brought the man no nearer to me; but when my eyes travelled downward from that white angel among the flowers on the dais to the seated, shrouded figure reproduced on the cover of the programme, I felt that his art, which was so essentially the expression of himself, reached its profoundest expression in this woman, shrouded and quiescent, without name or inscription, so detached, so content with her loneliness, who sits awaiting an ultimate awakening in the cemetery of Rock Creek above the city of Washington. II "He left the world a httle better than he found it." Take the word "better" in its widest acceptation and can we say more for any man, woman, child or dumb creature that has lived and died ? Art is not divorced from life, as certain shrill prophets would have us believe. It is a part of lite, like the movement of clouds, the ways of insects, the energy from food, and the idea of righteousness. Art is life in life, and the part can tincture and sanctify the whole. The artist by being himself, his best sell, can make the road for others living long after him not only smoother but a highway of recurring joys. We walk our stages of the journey and the best that we assimilate comes often from the letters written to us in terms of paint, print and marble by those whose insight and power of expression are greater than our own. We take the sustenance that our souls need, and as we grow in knowledge the food should also become finer, rarer and simpler in quality, as in the case of a learned Greek archaeologist and lecturer of my acquaintance, who knows all there is to be known about Greek sculpture — a past master in it — but whose voice drops only into a reverent intonation when he speaks the name of the austere Scopas. Some, doubtless, have xvi AN APPRECIATION found sustenance in Canova and Hiram Powers. If those academic and uninspired craftsmen have helped others to live; if they have given one moment of relief from sorrow 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. HI All great art is simple and any attempt to analyze the effect of a work of art upon the beholder should be simple. May we not just ask ourselves these questions: Does it quicken the emotions? Does it stir the slumber of the soul ^ Does it spur the brain .? Does it open a window, as Jan van Eyck opened an early fifteenth century window to the beauty of the world of landscape art, although he did not dare to make Our Lady and Chancellor Rolin look through it at the winding river and little islands ? Does it add something to our lives which we cannot find for ourselves, or which, having once found, we have lost in the stress and obsession of daily details ? Does it give the thrill of the glory of a sunset seen suddenly through a window after a day of cloud, the mental joy of a piercing passage in Shakespeare, the ecstasy of a Mozartian melody, the inward comprehension of the mystery of life on hearing a child say its first prayers in its mother's arms ? Remembering the street sculpture that, with certain brilliant exceptions, reduces thoroughfares and in- teriors in the Old World, as well as the New, to a level of almost incon- ceivable platitudinous ugliness, the answer, as regards the average level of modern sculpture, must be in the negative. There is little to choose between England and America. England has her terrible monu- ments crowded in Westminster Abbey, America has her awful effigies of chosen sons crowding one another in the National Hall of Statuary in the Capitol. We have our execrable Achtlles in Hyde Park, our eye- sores of Stephenson in Euston Road, Cobden in Kentish Town, and the monument to Queen Victoria in High Street, Kensington, at which even the drivers of omnibuses jeer. You have your — but a guest must be courteous. I would gild my criticism in the form of an interrogation. Has any American citizen ever derived one instant's pleasure or encouragement from, say, the Horace Greeley planted against The Tribune building, frock-coated Roscoe Conkling in Madison Square, fVashington Irving in Bryant Park, or the full-sized cast of Michael- angelo's egregious David in the park adjoining the Albright Gallery at Buffalo ? When a classical model is borrowed, it should be chosen from the master's highest achievement. The "American Society of the Fine Arts," which is about to extend its sphere of influence, should agitate for a law to the effect that no public monument shall be erected in honour of the dead which does not minister to the pleasure of the living. XVI 1 AUGUSTUS SAINT-GAUDENS IV The answer as regards the work of Augustus Saint-Gaudens is in the affirmative. Naturally it does not always pass the test. Since the nameless draughtsman ot the quaternary period engraved the mam- moth on the wall of the cave of Combarelies, the artist has not lived who would be awarded full marks in such an examination. Saint-Gaudens produced so much in his forty years of working life (glance over the pages of the chronology of his works), and sometimes a commission was not entirely sympathetic to him. Sometimes in modelling a bust or a relief of one who was no longer living he had only a photograph for guidance. Occasionally his work lacks that raison mystique of which Maeterlinck speaks; occasionally it does not evoke emotion in the beholder. I am cold before his Peter Cooper seated heavily in the em- brasure of a heavy canopy by the Cooper Institute. The figure is picturesque in its uncouthness, but it lacks the splendid sense of per- sonality that distinguishes the Lincoln. The mere idea of Lincoln is an inspiration in itself. The idea of Peter Cooper, admirable citizen and good man, does not inspire us, and it did not inspire Saint-Gaudens. The artist must feel before he can express. Perhaps it is the canopy, in which the sculptor was assisted by Messrs. McKim, Mead & White, that deadens my appreciation of the Peter Cooper. If this be so, it is the single instance in which that remarkable firm who collaborated with Saint-Gaudens in the architectural setting of many of his monuments, and to whom New York and America are indebted for a series of beautiful buildings, failed to add a distinguished architectural setting to the sculptor's design. But with the exception of Peter Cooper and a few others, such as the Garfield in Fairmount Park, Philadelphia, the many works of Saint-Gaudens triumphantly answer the question: "Do we give pleasure to the living?" If I were asked to catalogue the works by him from which I have derived the keenest delight and which continue to delight, I would name the Sherman, the Farragut, the Lincoln, the Shaw, the figure in Rock Creek Cemetery, the Puritan, the Pilgrim, the series of standing angels to which the Amor Caritas belongs, and among the reliefs, the Butler Children, the Schiff Children, the Bastien Lepage, the little Homer Saint-Gaudens and the early Robert Louis Stevenson, not the memorial in Saint Giles's, Edinburgh, which is too large, but the original small relief in rectangular form, showing the head and foot of the bed, that long bed, the long lines of the figure, the long, sensitive face, seemingly doomed but happily reprieved, and on the background the winged horse, the ivy leaves and berries, and the verse ending: " Life is over, Life was gay, We have come the primrose way." XVUI AN APPRECIATION I count myself fortunate in having, by the chances of travel, reached the point of approach to the work ot Saint-Gaudens suddenly. He came almost newly to me. Nothing was discounted by advance paragraphs and studio discussions. I saw two of his finest works, the Sherman and the Farragut, for the first time on the day of my arrival in New York. I walked up Fifth Avenue and encountered with a thrill of joy Sherman the soldier riding to victory, signalling a paean of triumph among the trees at the south entrance to Central Park. I walked down Fifth Avenue and found Farragut the sailor, balancing himself as if still standing upon the quarter-deck of his good ship, comfortably grounded in Madison Square. I looked up above his bluff, strong face, high up through the brilliant clarity of the light that makes New York, five out of seven days in the week, one of the pleasantest winter resorts in the world, and there, on the pinnacle of the Garden tower, was slim Diana, one of Saint-Gaudens's few nudes, " Diana of the Cross Winds," as she has been called, shooting an imaginary arrowat the Flatiron Building that dominates the windiest corner in all New York. One grows very fond of this little Diana (she is many feet high), as she is always present and always contented and pretty. I see her from the room where I write these lines, a beautiful silhouette against a luminous white cloud, poised on her pinnacle, ready to shoot and fly away, not in the least disturbed at the gigantic marble tower 658 feet high, with 48 stories, " the highest office building in the world," that will overtop but will not subjugate her. She recalls, too, the labour of infinite pains that Saint-Gaudens always gave to his work. Perfection was his only goal. His artistic conscience knew no rest even after a work was cast in bronze, unveiled and placed in situ. He was never satisfied, and so fearful of letting anything but his best go forth to the world that many experiments never left his studio. He desired to alter the Shaw monument that rises from the terrace above Boston Common. Permission was refused; but he worked again upon the original sketch, remodelled the floating figure of Death or Fame and replaced her at a different angle. One day he announced his determination to refashion the drapery of the figure in Rock Creek Cemetery, and desisted only when his assistant, Mr. Fraser, said: "You may make it different; you cannot make it better." After Diana had been placed on the tower in Madison Square Garden he came slowly to the conclusion that the figure was too large. Stanford White con- curred, so Diana was taken down, at their own expense, and replaced by the present smaller version. VI Subjective impressions may, or may not, be of interest to the reader, but the greatness of the subject or theme may excuse the record of them. xix AUGUSTUS SAINT-GAUDENS When I recall the various impressive, startling, interesting and amusing episodes of my five months' sojourn in America, the dominating impression is of my first glimpse of Saint-Gaudens's Sherman, the colour of gold, a happy warrior in the flush of his "vigourous and eccentric years," eager, intent, his stern face touched with idealism, symbolically marching through Georgia to the sea, localised by the broken pine branch beneath the horse's feet, led by Victory, laurel- crowned, bearing a palm branch, man, horse and Victory sweeping onward "that the Union might be saved, and that then forever there might be peace." Here is inspiration for the youth of America; here Art passes from the exhibition room into the arena of life, where shine the unsoiled fabrics of which immortal things are made. Saint-Gaudens wished to place this group, his ultimate great work, the last canto, as Mr. McClellan finely called it, of his epic of the Civil War near Grant's tomb on Riverside Drive. The authorities decided otherwise, wisely I think. It would be hard to imagine a finer site for this incentive towards ideal patriotism than the widening land where the palaces of Fifth Avenue merge into the pleasances of Central Park. There, on an oasis in the traffic, Sherman rides eternally forth to Victory. In journeying about New York one often passes the Sherman, and always at the sight of this fusion of the real and the ideal, the seen and the unseen, the real warrior and the warrior's ideal — Nike-Eirene — the heart leaps as to a war chant, or to great deeds told in great verse. There is an extraordinary suggestion of a light-footed forward movement in the advancing group: the travail of the way is forgotten in the glory of the mission. The feet of the Victory seem hardly to touch the ground, and the inspiration of her presence, the aura of her spirit, sweeping out from her unfurled wings, sweeping forward through her outstretched arm, touch and refine the clay of horse as well as of man to something rich and rare. It is that uncommon thing in art, an ideal made concrete and actual without loss of verisimilitudeandwithno hint of sentimentality. This lyrical epic in bronze honours the dead and delights the living. Incidentally it pleads for colour in public monuments as sanctioned by the ancients from Phidias to Jan van Eyck. Who will deny that the group gains greatly in beauty from the two layers of gold leaf that Saint- Gaudens placed upon it, and, if we are to judge by the Marcus Aurelius on the Capitoline Hill, the weathering of the centuries will but add to the charm of its patina .? VII "Whatever you do, have the appearance of doing it without toil," was the sage counsel given to the gentlemen of Urbino's court. The Sherman bears no more hint of the signs of toil than when Tetrazzini warbles Donizetti, yet no fewer than eleven years ot study and alteration passed before the group was unveiled on Decoration Day, 1903. For 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 him three years of actual labour. An important article in the Century Magazine (March, 1908) by his son, Mr. Homer Saint-Gaudens, who is to write the official life of his father, supplies interesting details of the work done by the sculptor on the Sherman during the last years of his life. When he left the hospital in 1900 and settled at his country home in Cornish, his first serious occupation was "the completion" of the Sherman monument. I must quote a few lines from Mr. Homer Saint- Gaudens's article to show what the word "completion" signifies: "At this time (1900) one cast of the Sherman stood in the Paris Exposition, while a plaster duplicate had gone to the French foundry. My father, however, still dissatisfied with the result, and yet dreading a trip abroad, set up a third replica in Cornish, and engaged assistants, in order to send his alterations to Paris, where they might be inserted in the bronze. And here, in a shed placed around the statue to keep out the snow, but not the cold, he remodelled sections of the cloak until he enlivened it with a possible floating movement. He modified such portions of the Victory as her wing and her 'Germanic' hair at the back of her neck. He emphasized the tiny angles and stiff marks of age upon the horse to increase the nervous snap. He restudied the mane, and, at a fortunate suggestion of an assistant, lifted the end of the tail. And he changed the oak branch on the base to one of pine. . . . " But the troubles with the Sherman were not over after these [and other] alterations. My father betrayed too great an interest in this combination of the real with the ideal to let the statue escape him then. So he set up the bronze himself in the field back of his house, to the delight of the farmers, that he might experiment with a pedestal and supervise the appHcation ot the patina." VHI Lest it be thought that my enthusiasm for the Sherman is too un- bridled, I give myself the pleasure of quoting Mr. Kenyon Cox, who has written much, always with insight and knowledge, on Saint- Gaudens. Some years ago he expressed the conviction that the Sherman monument is third in the rank of the great equestrian statues of the world, the first two being Verrocchio's Colleoni and Donatello's Gat- tamelata, a handy piece of criticism, as it has been used as an original commentary by almost every writer and speaker on Saint-Gaudens. In his latest essay on Saint-Gaudens {Atlantic Monthly, March, 1908), Mr. Kenyon Cox writes: "To-day I am not sure that this work of an American sculptor, just dead, is not, in its own way, equal to either of them." IX Taste and sobriety were the characteristics of Saint-Gaudens's work. He had a horror of the melodramatic, or extremes of any kind. xxi AUGUSTUS SAINT-GAUDENS His prepossession was with grace, sweetness, spirituality, refinement, whatsoever you choose to call his essential quahty. Emotion in marble made no appeal to him. I believe he was quite out of sympathy with the passion and pathos of Rodin's later work. He was a draughtsman, a designer, who expressed himself with equal feeling for the ensemble whether he worked in the round or in relief. He was a true impressionist who saw a work as a whole before he began, and who kept the im- pression before him until the end. Although he laboured at detail, he always strove to keep the detail subservient to the ensemble. In studying his work we feel that it is completely under control, impulse is chastened by consideration. He was an eclectic with, if the term be allowed, more individualism than eclecticism, yet he never allowed his individuality to master the temperament of his sitter. Facile 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 silent and sagacious man was evolved from a French father and an Irish mother, with Paris as his art pedagogue, and New York, still a little raw in those days, as the scene of his working years, I leave to students of heredity to determine. X If we agree that personality is the life-giving principle in art, the essence which produces the aesthetic and spiritual aura of great work, it should not be difficult to find a word to express the personality of every significant artist. Recall a great name and his epithet should trip to the tongue — the splendour of Titian, the curiosity of Leonardo, the mysticism of Blake, the taste of Whistler. For Saint-Gaudens I would coin a compound, and speak of his austere-sensitiveness. His artistic antennae explored the nature of his model, while his austerity re- strained him from dwelling overmuch on the intimacies that he had discovered. This sympathy is well shown in such divergent pieces as the Doctor Shiff of 1880, the Miss Sarah Lee of 188 1, the Professor Asa Gray of 1884, the Dr. Bellows of 1 885, the Bastien Lepage of 1880, the Mr. and Mrs. Wayne MacVeagh of 1902 and the Phillips Brooks of 1907. Consider his five heroes of the Civil War — Farragut 1880, Lincoln 1887, Shaw 1897, Logan 1897 and Sherman 1903. How individual they are, how minutely and delicately felt, yet how large in conception. Even the General Logan, which his most sympathetic critics agree in dispraising, can be defended on the ground that the sculptor could not escape from the fact that he had to render the bravura and braggadocio of " Black Jack Logan." It is difficult for an artist working for his living, as well as for fame, to refuse commissions that he may feel are antipathetic. xxn I AN APPRECIATION XI But Farragut was a man after his own heart, ahhough I suspect that bluff sailor would chortle at sight of the delicate designs of the pedestal upon which his effigy stands, and would smile, the way of a ship upon the sea being his particular knowledge, if he could be told that the seat curving round his monument is shaped like the classic elliptic exedra. You must see this monument in situ; indeed, the only way to study a monument is in the place for which the sculptor ana architect designed it. The very back of this sailor, hard-trained, equal to any fortune, is the very symbol of them that go down to the sea in ships, that back rising doggedly above the curt command engraved beneath, " Stick to the Flag." Farragut faces the street, standing easily, but firmly, seaman fashion, the real man towering above the dainty unreality of the pedestal of New River bluestone compact of fancy and imagery. A sword, plunging down through the waves, is flanked by figures in low relief ot Courage and Loyalty; and the arms of the seat are formed by the curving backs of dolphins. On the ground beneath are pebbles of the beach, and embedded in them is a bronze crab, on whose back may be read the half-obliterated name of Stanford White, who collaborated with the sculptor in the architectural setting. I can never pass this monument. I must always pause. Others too. One snowy night I watched a ragged Italian family forget cold and hunger in their interest. The mother and the children listened while the father explained in soft Italian the merits of the American sculptor's work. XII The Italian father passed his fingers affectionately over the low relief figures of Courage and Loyalty on the pedestal of the Farragut statue. Perhaps he, as a remote descendant of that wonderful period in Florence when rare Donatello, and those others whose names are like flowers, worked in low relief, felt some dim ancestral memory stir. Perhaps the Italian father, like others whom I could name, enjoyed these soft figures in low relief more than the sturdy statue of Farragut. Low relief to many has a peculiar fascination, appealing more as a method of drawing than of modelling, and demanding from the artist a far greater sensitiveness in the rendering of light and shade than work in the round. The title sculpture has even been denied to low relief: it has been claimed as a form of graphic design in stone or metal, so akin to painting that connoisseurs of the Renaissance would hang reliefs and paintings together. Saint-Gaudens was intrigued with low relief. Indeed, he may be said to have revived the art which flowered in the era of Donatello to such a degree of delicate beauty that certain Florentine low reliefs seem like whispers in marble, so elusive that sometimes one fancies a breath will blow the delicate modelling away. Think of Donatello's Youthful xxiii AUGUSTUS SAINT-GAUDENS St. John in the Bargello, and his head of a cherub in the cathedral at Florence; of Mino da Fiesole's Madonna, Child St. John; and in the round of Andrea della Robbias's Bust of a Child in the Bargello, and Desiderio da Settignano's bust of Marietta Palla Strozzi in the Berlin Museum. Saint-Gaudens attempted and nearly always succeeded in his many experiments in this art " standing between sculpture and painting," from lowest relief to the highest, from the Bunce and Cary heads, pictorial and tentative, made in Paris in 1877 and 1879, to the con- summate mastery of the Shaw memorial; from the simple head of his infant son to the command of composition shown in the Butler and Schiff children. XIII How does a bronze low-relief portrait group look, usurping the place of a picture in a modern drawing-room ? I was fortunate in seeing the relief of the Butler Children in its rightful place in the house of the mother of the two little boys whose young beauty it perpetuates, enclosed in the hammered oak frame designed for it, hanging on the wall of a panelled room above a wood fire which cast shifting reflections upon the patina of the bronze. No picture could seem more suitable to the place, or give a more enduring pleasure than the surfaces of this low relief, hiding and revealing themselves under the influences of the ruddy light from the fire and the pale light from the window. Saint-Gaudens, like Romney, was an instinctive maker of beautiful patterns, a man who saw life picturesquely, who knew it, and who confessed that he had "to fight against picturesqueness." Whatever he may have fought against and omitted in making this relief, the result is charming, an alluring picture of child life, two little boys in Highland costume, the elder holding his arm affectionately over the shoulder of the younger, the two hands clasped. Equally pleasing is the low relief of the Schiff Children, of which a marble replica hangs in the permanent collection of the Metropolitan Museum and a bronze reduction in the Luxembourg Gallery. The figures of the little boy and girl are knitted together by the graceful lines of the shaggy greyhound's body. They are in the marble and yet not of the marble; they draw one to low relief, the most diflncult of all sculptural methods, making, even when not particularly well done, an appeal more intimate than sculpture in the round. XIV In one of his essays Mr. Kenyon Cox says: "I believe Saint- Gaudens the most complete master of relief since the fifteenth century." Since the fifteenth century! Yes! The fifteenth century still stands unapproachable. In appraising the work of Saint-Gaudens, distin- guished modern, whose genius has isolated him, and who was the first xxiv AN APPRECIATION sculptor in America to vitalise the art, there may be a temptation in our pride in his prowess to overemphasize his achievement. Art never dies, it slumbers only, reawakening when a child of genius is born to influence and educate his contemporaries, and by his achievement once more to spill that blessed word Renaissance over the pages of art histories. The achievement of the ages in sculpture is so tremendous that there is hardly an era since civilization began when we cannot say of examples of plastic art: "These are unapproachable." You can say it half a dozen times during one afternoon in any museum in the world. I said it yesterday at the Metropolitan Museum of New York standing before a series of sculptors' small models, heads, torsos and feet of queens, birds, etc., made 2,500 years ago — perfect; before a Greek low relief of a Toung Horseman of the fourth century b. c. — perfect; before a bronze Panther rolling on its back, early Imperial Roman — perfect. One has only to close the eyes and make memory pictures of master- pieces by craftsmen of Egypt, Assyria and mighty Greece; of Gothic figures carved by unknown craftsmen for cathedrals when sculpture and painting were the handmaids of architecture; of works by Donatello and Michelangelo, to be reminded that a modern must be very gifted to stand up among these great memorials of the past and win any meas- ure of our approbation. XV Again and again has Saint-Gaudens been called a child of the Italian Renaissance, to which he was drawn through the example of certain French sculptors, through the virile Rude, maker of the Marseil- laise group on the Arc de Triomphe, through Dubois, and in a lesser degree through Chapu, Carpeaux and Mercie, who heralded what I suppose I must call the midnineteenth century French Renaissance in sculpture. Claux Sluter, Pilon, Goujon, Houdon and Pigalle do not seem to have influenced these Frenchmen much. Their eyes pierced back to Italy in her lovely youth of art where around the miraculous Donatello, early and later masters group themselves, or follow on like flowers in a garden walk, each beautiful in itself, each offering its perfume to the aroma of that supreme flowering time — Jacopo della Querela, the della Robbias, Ghiberti, Desiderio da Settignano, Bernado and Antonio Rossellino, Mino da Fiesole, Benedetto da Majano. When in 1867 Saint-Gaudens, a youth of nineteen, went to Paris to study art, sculpture was awakening from one of its recurrent slumbers. Ardent spirits had cast off the shackles of pseudo classicism, broken away from formal or informal reverence for second-rate antiques, those smooth nymphs with pitchers and smoother angels with harps, coy Venuses and heroic personages doing nothing trivially, all the dreary statues that block the corridors of a bored academicism. Instead, they looked at Donatello and his kin, and, looking, had the inspiration to do what Donatello did, what all strong souls do at the appointed time — to make XXV AUGUSTUS SAINT-GAUDENS that return to Nature that recurrently revivifies art. Saint-Gaudens arrived in Paris in 1867. The year before Paul Dubois's Florentine Singer had received a medal of honour in the Salon. In 1868, the year of the Universal Exposition, Saint-Gaudens saw the Florentine Singer at the Exposition. That statue we are told "marked an epoch for him as it did for modern sculpture." The new movement had begun. Saint- Gaudens crossed the threshold of classicism and stepped out into the radiant air of the return to nature. Paul Dubois, nineteen years his senior, became his friend and remained his friend for life. Falguiere and Saint Marceau had just left Jouffroy's studio. Mercie was his fellow-student. Saint-Gaudens participated in the excitement, saw visions and began to prepare himself for the visitations of the muse. One wonders in what direction his art would have evolved had he never gone to Paris, but remained in America; had he never seen the Florentine Singer, never met those ardent young French sculptors and shared their enthusiasm. XVI In a way he was more fortunate than his companions in Jouffroy's studio. He was already a craftsman, and he was able to support himself during those four years of study in Paris by his trade of cameo-cutting. As a boy he had served six years' apprenticeship to two cameo cutters in New York, "one of the most fortunate things that ever happened to me," he said in later life. From his practical knowledge of the art of gem-cutting and the years he spent studying drawing at the Cooper Union and at the National Academy of Design in New York, he came to Jouffroy's studio equipped with a practical knowledge, and with habits of close application, that made a splendid foundation for his imaginative flights of later years. The collection of his works at the Metropolitan Museum contained a glass case showing a photograph of him at the age of seventeen seated at his work table, looking up from the cameo which he has been cutting. In the case were topaz and onyx brooches that he had carved in those long past days, the first steps of the small craftsman who became a great artist. It is a long journey from minute work upon a topaz brooch to the large and masterly achievement of the Sherman memorial. What effort, what striving towards perfection hide in those forty years! XVII Surveying this life of loved labour, I see it in three divisions, which I will call Prelude, Interlude and Postlude. The Prelude ends with his first visit to Rome in 1870 at the age of twenty-two, whither he was driven from Paris by the outbreak of the Franco-German War. The Interlude extends from 1870 to 1900, thirty years of activity and absorption in his art. The Postlude begins in igoo, when he returned from Paris an ill man to settle in Cornish, where he remained, with occasional visits to New York, until the end came in 1907. XXV i AN APPRECIATION As regards the Prelude and Interlude, there is Httle to add of external interest to the bald details given in the chronology of his life printed in this volume. His youthful productions, a bust of his father made when he was nineteen and the bust of William M. Evarts, sug- gestive of Roman influences, produced after his return from Italy, are not noteworthy; they betray neither originality nor temperament. Neither do his marble statues oi Hiawatha and Silence, completed before he was twenty-four, show promise of the distinction of his later achieve- ment, although some may detect in the Silence a foreshadowing ot the figure in Rock Creek Cemetery. Any competent and industrious young man could have produced them; but there was promise in the Angels Adoring the Cross, in high relief, for the Church of St. Thomas, New York, unfortunately destroyed by fire. A man of no professed religious belief, he did his best work when the subject was invested with a mystical or spiritual significance. Then some slumber of flame within him leaped up and kindled that "something more" into his work which makes art significant. From actual flame and fire he sufi^ered in spirit and in pocket. In addition to the group in St. Thomas's Church, his Angels on the Tomb of ex-Governor Morgan were consumed by flames, and in the disastrous burning of one of his Cornish studios in 1904 there perished models, casts, drawings, household furniture, bric-a-brac and paintings, including the prized portrait that Bastien Lepage had made of him. The end of the first decade of the Interlude period was crowned by the low reViei oi the Butler Children, and the unveiling of the farra^u?, which proclaimed him a master. XVIII The years between 1880 and 1900, which saw the completion in 1887 of the Lincoln and The Puritan, and the Shaw ten years later, were interlude only as the life of man may 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 filling the part of onlooker rather than participator. I have heard him described as a nevrose, but with his nerves well under control; often indiff^erent to opposition, but capable of sudden outbursts, as when he ground a plaster medallion beneath his feet when the criticism of the subject had irritated him to exasperation. Work calmed him. An assistant tells me that sometimes he would arrive at the studio in a state of suppressed nervous excitement, but that the moment his hands touched the clay and began to shape and press the material, he would gradually become quite calm and intent. One of the intimate friend- ships of his life was with Robert Louis Stevenson, who sat for him in New York when delayed in that city by illness on his way to the xxvii AUGUSTUS SAINT-GAUDENS Adirondacks in 1887. The Puritanic, mystical part of Stevenson, com- bined with his charm, ease of expression and the range of his froHc imagination, fascinated Saint-Gaudens. He was forever quoting him, the prayers as well as the poems. Readers of the " Letters' know what Stevenson thought of "My dear godlike sculptor." Stevenson's philosophy of happiness in the shadow of death must have affected Saint-Gaudens, who disliked speaking of death, although suggestions of our common end by symbol or by implication are not infrequent in his works, but always as triumphant or consolatory, never, as in Albert Diirer, as a menace. XIX It was in 1887 when he knew Stevenson intimately that he produced The Puritan, a. statue in which he has expressed not only the personality of a type, but also the spirit of a world-moving movement. If any modern effigies deserve the appellation great, this statue is in the category. I saw it on a day of deep snow, standing dourly on its little hill in Springfield, the very essence of rigid Puritanism. Its correct name is Deacon Samuel Chapin, who was one of the founders of Springfield, but the world has agreed to call it The Puritan. A bust Saint-Gaudens made of Chester W. Chapin, a descendant of the deacon, served as a model. Eighteen years later, in 1905, he was asked by the New England Society of Pennsylvania for a replica to be placed in Philadelphia. The sculptor consented, but gave them more than the contract demanded. The new statue was to stand against the City Hall, conterminous to the traffic, not on a hill above the sight-line, as at Springfield. The sculptor, taking the model in hand again, made certain changes which he deemed necessary for its new environment. The head was remodelled and changed, the flying cloak was altered, the hand grasping the cudgel was advanced and the Bible was reversed so that the lettering "Holy Bible" was seen. Thus The Puritan, sojourning for years in the craftsman's brain, shaped itself into The Pilgrim. Saint-Gaudens, as I have said, also wished to change a detail in the Shaw Monument, but the alteration in the position of the figure of Death or Sleep was made from the original model. The bronze relief at Boston remains as it was when unveiled in 1897. It is the most learned and accomplished of his works — he gave to it twelve years of labour. Some of the heads he remodelled many times, and no one can look at it without wonder at the characterization of the rapt negro faces. This black regiment, the light of a sudden patriotism trans- figuring their faces, sweeps impetuously forward, led by their commander, Colonel Shaw, to a death that is to give all, through the genius of the sculptor, immortal life so long as bronze lasts. Above floats the symbolic figure clasping poppies and a laurel branch to her breast, interknitting, at this supreme moment, the two xxviii I AN APPRECIATION races. The relief, framed in old trees, stands on a terrace built out from the roadway above Boston Common just beneath the State House. Even to those ignorant of the life and death of Shaw and his faithful band of the despised race, and there are some such who pause and gaze at it, this concrete symbol of devotion to a cause provokes tears which are all the more poignant because they will not flow. Perhaps it is the sight of that compassionate angel, the bearer of poppies, who knows the end and loves the brave condemned, that makes this martial monument so affecting. XX The period which I have called Postlude began when Saint- Gaudens settled in Cornish in 1900. He had still some fruitful years of work which were bestowed upon the completion of the Sherman for New York, the reconstruction of the Stevenson for Edinburgh, and the production of the Seated Lincoln for Chicago, the Caryatides for the Bufi^alo Art Gallery, the Whistler Memorial for West Point, the Parnell for Dublin, the allegorical groups for the Boston Public Library, the Phillips Brooks Monument, the Baker Monument and the designs for the new coinage; but he knew in his heart that death was but delayed. She tarried nearly seven years. The Postlude period brings me, a stranger, near to him, as shortly before the opening of the exhibition of his works at the Metropolitan Museum, it was my privilege to spend a few days at his Cornish home. 1 roamed through his haunts, lingered in his studios, and sleighed over the beautiful upland country which he loved. It was good to hear of the enjoyment he derived trom open air relaxations — skating, skeeing, tobogganing and sleighing. More than once he turned out the whole studio of assistants, crying: "Sculpture isn't in it with tobogganing." His son has published in the Century Magazine extracts from two letters he wrote to friends in Paris expressing his newly aroused love for the out-of-doors: "I would never have believed it, nor do I suppose you will believe me now, but I am enjoying the rigorous young winter up here keenly. Snow over all, sun brilliant and supreme, sleighs, sleigh-bells galore, and a cheerfulness that brings back visions of the halcyon winter days of my boyhood. "We skate, and I play games upon the ice as I played them thirty- seven years ago. I am a little more stiff, but that makes no difference, since 1 still feel young. ... It is very far from the terrible, black, sad days of the winters of London and Paris, and even New York." When the shadow of the end began to stretch towards him, I do not think that he found the twilight so gloomy as he imagined it might be in the days of his robust health. The downward ways to the valley were gradual, and the desire to work continued through the vicissitudes of that via dolorosa. When too weak to stand, he would sit by his xxix AUGUSTUS SAINT-GAUDENS assistants sketching his ideas upon a pad; when too weak to sit, he was carried in an improvised sedan chair from one studio to another, where he rechned on couches directing and suggesting. Inward con- solation came to him, as to all fine spirits. I think I realized what that consolation was as I sat in a room of his Cornish home, surrounded by mementoes of his presence. XXI I sat in the room at night with the flames from the wood fire inter- mittently revealing the objects. Sometimes, when a log fell and the blaze leaped, I could distinguish hanging on the wall of the next cham- ber the portrait that John S. Sargent painted years ago of Mrs. Saint- Gaudens and their son Homer. I sat in the room at night and three heads steeped the atmosphere with their presence. The first was his own portrait, a reproduction of which is printed as the last illustration to this volume, a strong, beautiful face, a noticeable head, doer as well as thinker, touched with the sadness that marks the lineaments of all who create, v^'restling to release beauty of form or of the fancy trom the stubborn storehouses of the world. The eyes are small and piercing, the forehead square, downward stretches the straight Greek line from brow to nose, of which he made amusing use in a caricature he drew of himself. The second head was a study of the Victory of the Sherman statue, and from it there seemed to ^hine a refulgence as if the parted lips were proclaiming the ultimate triumph of spirit over matter. I looked from this head to the head of the man who fashioned it, and in the silence of the room the ancient promise of victory over the grave seemed new, as if just uttered. Then I turned to the third head — a head of Christ. This and the low-relief plaque of his wife were the last pieces of sculpture worked upon by Saint-Gaudens with his own hands. The everlasting appeal that the life of the Founder of Christianity makes to all, whatsoever their shade of religious belief, or unbelief, may be, is so universal that it is with no surprise we learn that during his long illness the sculptor brooded with, I imagine, gleams of mystical elation upon that life, and strove to express all he felt of its beauty, wonder and pathos with the means of expression nearest to him — his craft. On the tables of the room were books interpreting the life of Christ, and in his working- studio across the lawn I was next day to see his monument to Phillips Brooks wherein the standing figure of Christ plays so significant, so touching a part; and another memorial, commissioned by a bereaved family, where Christ is seated beneath hovering angels whose hands are folded in prayer. XXII In one of the studios which I visited next day his assistants were enlarging certain models. Standing on a platform rising and spreading XXX AN APPRECIATION out like a gallery above the entrance to the studio was the figure of Phillips Brooks, large, domineering, the left hand grasping a Bible, the right raised in exhortation. Three fingers, without a hand, without an accompanying body, rest upon and caress his left shoulder. A few feet away stands the figure of Christ. By himself the man looks too dramatic; by himself his Master looks too ideal. But when I saw a model of the two figures placed together under a pillared canopy, I had a quick object-lesson in Saint-Gaudens's genius for merging the real and the ideal, for touching the clay with spirit, for giving a work something of that unseen world of mystery which encompasses our material activities. You see the preacher, the man, the fighter for Christ, and if you look very closely, you also see in the shade of the canopy, resting three fingers upon the shoulder of this modern shepherd of his flock, the figure of his Lord with veiled head, sufi^ering yet not sorrowful, that the sculptor's fingers had hardly ceased reverently to fondle, when his spirit was released. XXIII In his private studio the personality of the sculptor seemed even closer. Approaching it I made a little detour, and saw, far below, in the lower part of the groves of Aspet, the altar with the columned canopy which served as a background for the masque played by the residents of Cornish on June 23, 1905, to celebrate the twentieth anniversary of the year when Mr. and Mrs. Saint-Gaudens first made their summer home in New Hampshire. A golden bowl was presented, and the sculptor designed a plaque in low relief to commemorate the celebration, which he purposed to perpetuate in marble. I passed on to the studio, fiausing to admire a reproduction of a section of the Parthenon frieze, aintly coloured, decorating the wall of the loggia, from which a view outstretches over the New Hampshire Highlands. I entered the studio, which is unchanged, untouched since he last sat there. In fine weather the wide doors would be thrown apart; he loved sun and air; he loved swimming in deep pools, and the sound of running waters. I saw copies of certain great memorials of the past with which this eclectic of fine taste liked to surround himself — Michelangelo's The Eternal Creating Man, Donatello's St. George, and the naive portrait of a Mother and Daughter of A. D. 79 from the villa of Boscoreale, near Vesuvius; and among modern things an etching of himself by Zorn, and a group, modelled by Sargent, of a portion of his Dogiua of the Redemption in the Boston Public Library. Behind a screen I saw a bronze head, corroded, severed from the body, one of the few objects saved from the fire in 1904. It seemed familiar, intimate as a face one has known for half a lifetime, but I did not at once realise that it was a cast of the head of the woman in Rock Creek Cemetery, known as the Adams Memorial, the hooded, brooding figure that some call Nirvana, some The Peace of God, but to which the sculptor gave no xxxi AUGUSTUS SAINT-GAUDENS name, that semiconscious figure, the sad music of humanity still moaning in her ears, contemplative but not complaining, awaiting the Awakening, resigned to the stillness of the pause which is her present Eternity. XXIV I sat in the silent studio, and recalled the day when I went out from Washington to seek this monument in Rock Creek Cemetery. It is not easy to find; indeed, I have heard of some who have sought and have failed to discover her, hidden in a clump of pines, laurels and evergreens. The background of the statue, a plain granite slab, faces outward. It is half hidden in the trees which arch above it and tangle about the base. There is nothing upon this obverse side of the monument but two intertwined laurel wreaths, with a row of bound sheaves be- neath, suggesting, perhaps, that they who sow in tears shall reap in joy. One might pass that way and fail to perceive the little path that admits to the cloistral bower where she sits. I pushed my way through the hedge of foliage, and entered this little open-air temple of silence and reconciliation. All was very still. No sound from the outside world reached to this fastness. I ascended two steps and stood upon a hexa- gonal paved plot, with a massive stone bench filling three sides of the hexagon. On the fourth side sits the nameless figure — waiting. XXV I saw her again, in a cast, among the sculptor's collected works at the Metropolitan Museum, New York, still holding her secret close, still emouvant even without the architectural setting, the protecting trees and the surrounding solitude. I did not see her immediately on entering the sculpture-hall for facing me towered the heroic figure of Lincoln, that consummate work wherein, for the first time in history, the frock coat has been forced to garb a personality with beauty and romance. It is idle to say that it was impossible for a sculptor to fail with such a subject as Lincoln. Some have failed; others have been successful in varying degrees, but only Saint-Gaudens has caught the very idea of the national and beloved hero, the rugged power and sweetness of the face, the emotional angularities of the long body, and the sense of will controlled by simple nobility of character. Does he not seem to be waiting to utter the words that are inscribed on the pedestal: " Let us have faith that right makes might, and in that faith let us to the end dare to do our duty as we understand it" ^. Still grander looks the statue in Lincoln Park, Chicago, of which this is a cast, for there the idea of an audience chamber is suggested by a circular stone exedra, sixty feet across, which surrounds the low pedestal; but at the Metropolitan Museum it was not difficult to imagine that the whole of the vast hall was his audience chamber, and that we xxxii 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 Lincoln. From the standing Lincoln I turned to Lincoln seated in his arm- chair, the head lowered as if in thought, modelled twenty years later; thence to the allegorical groups for the Boston Library, rough but instinct with character and idealism; thence to the plaster models for the new coinage, delightful designs, but which required a considerable reduction of the relief before practical use could be made of them; thence to Mr. Kenyon Cox's portrait of him, working, the happy artist, twice happy, doing the work he loves, and leaving the world better for that work. I looked around for a final survey of his achievement, ranging from the head of his father, his first work, to the head of Christ, his last; from the minute cameo brooch cut by the boy to the stupendous Sherman modelled by the man in his prime; from the small plaque of Bastien Lepage to the heroic figure of Lincoln; from the light-touched gaiety of the Sargent medallion to the learned mastery of the Shaw monument; from the formal and uninspired Silence of 1871, with finger on lips, to the subtlety of the eloquent and inspired Silence of 1891 in Rock Creek Cemetery — proclaiming the sure and silent evolution of the artist. Let the rest be silence — and gratitude. xxxui AUGUSTUS SAINT-GAUDENS HIS WORKS: CHRONOLOGY [In the following pages an attempt has been made to record chrono- logically all the works produced by Augustus Saint-Gaudens from 1867 to 1907. / am indebted for information to members of the sculptor s family, to his friends and assistants, and to the official catalogue of the Memorial Exhibition.^ His Father, Bernard P. E. Saint-Gaudens 1867 Bronze bust. 15 in. high. Signed and dated. Miss Belle Gibbs 1870 Miss Florence Gibbs 1870 Hiawatha 1871 Marble. Seated figure. This early work, which had been lost sight of for fifteen years, stands on the lawn of a house near Saratoga Springs, N. Y. Fisher Boy 1871 Statue. Edward W. Stoughton 1872 Marble bust Edwards Pierpont 1873 Marble bust. Mrs. Pierpont 1873 Marble bust. Silence 1874 Marble statue. Heroic size. Masonic Temple, New York. William Maxwell Evarts 1874 Marble bust. Saint-Gaudens's first commissioned portrait bust. Theodore Dwight Woolsey 1 875-1 879 Marble half statue, dated 1875-1879. Yale University. Benjamin Greene Arnold 1876 Marble bust. XXXV AUGUSTUS SAINT-GAUDENS Fresco Painting 1876 Trinity Church, Boston. Henry E. Montgomery, D.D 1876 Bronze medalhon. Church of the Incarnation, New York. George W. Maynard 1877 Bronze plaque. 8| x 5I in. David Maitland Armstrong 1877 Bronze plaque. 7 x 4I in. William L. Picknell 1877 Bronze plaque. 7! x 4I in. William Gedney Bunce 1877 Bronze plaque. 6f x 5I in. Angels Adoring the Cross 1878 Groups in high relief in collaboration with John La Farge. St. Thomas's Church, New York. Destroyed by fire. Miss Helen Maitland Armstrong 1878 Bronze plaque. 6J x 5! in. Charles F. McKim 1878 Bronze plaque, jh ^ 5 in. Augustus Saint-Gaudens, Charles F. McKim and Stanford White (Caricature) 1878 Bronze medallion. Richard Watson Gilder, Wife and Infant Son 1879 Bronze plaque. 8^ x 17 in. Rodman Gilder 1879 Bronze plaque. 13! x 15I in. Le Roy King Monument 1^79 Slab with oak branches carved upon it. Newport, R. I. Emilia Ward Chapin 1879 Bronze plaque. 92 x 6 in. Dr. William E. Johnston 1879 Bronze plaque. 9I x 6^ in. F. D. Millet 1879 Bronze plaque. loj x 6| in. xxxvi HIS WORKS: CHRONOLOGY Dr. Walter Gary 1879 Bronze plaque. 9I x 6| in. There is also a variation of this relief without the hat. Miss Maria M. Love 1879 Bronze plaque. 9lx6i in. Dr. Henry Shiflf 1880 Bronze plaque. lof x 11^ in. A reduction is in the Luxembourg. John S. Sargent, R.A. . 1880 Bronze medal. 2| in. diameter. Tomb of Ex-Governor Morgan 1880 Three angels at the foot ot a Greek cross rising above the tomb. The height of the entire monument was 40 feet. These figures were destroyed by fire at Hartford (Conn.) Cemetery, while the models were being put into marble. They were the first of the series of figures re- peated with variations in the Amor Caritas, the angel on the tomb of Anna Maria Smith, at Newport, and the memorial to a young girl in St. Stephen's Church, Philadelphia. William Oxenard Mossley 1880 Medallion and bust. Prescott Hall Butler's Two Children 1881 Bronze. Low frelief. 24 x 35I in. Dated 1880-1881. On the wall of Mrs. Butler's dining-room, in New York, in an oak frame designed by Stanford White. Admiral David Glasgow Farragut. Unveiled 1881 Madison Square, New York City. This was the first statue commissioned from Saint- Gaudens for a public place. It was modelled in Paris, exhibited in the Salon of 1880, and unveiled in New York in 1881, "marking an epoch in American sculp- ture and decorative art." Signed and dated Paris, 1879- 1880. M. McCormick 1881 Plaque. Leonie Marguerite Lenoble 1881 Plaque. Circular, about 9 in. Mrs. Charles Carroll Lee and Miss Lee 1881 Bronze plaque 14^x231 in. xxxvii AUGUSTUS SAINT-GAUDENS Miss Sarah Redwood Lee 1881 Bronze plaque. Josiah Gilbert Holland 1881 Bronze plaque. i5§xio|in. Samuel Gray Ward 1881 Bronze plaque. i8|xi4| in. Saint-Gaudens considered this one of his best reliefs. A reduction is in the Luxembourg. Two Caryatides 1881 For marble mantelpiece in the house of Cornelius Vander- bilt, New York Sculpture Decoration in Villard House, New York .... 1882 Homer Saint-Gaudens 1882 Bronze plaque. 202Xi6|in. A low relief of the sculptor's son, aged seventeen months. Ex-President Chester Allen Arthur 1882 Bust. Commodore Vanderbilt 1882 Bronze plaque. Two Sons of Cornelius Vanderbilt 1882 Bronze plaque. 16x26^ in. Miss Gertrude Vanderbilt at the age of seven 1882 Bronze plaque. i6|x23|in. Dr. Alexander Hamilton Vinton 1883 Bronze. Heroic size. Middle relief. Half-length figure. Emmanuel Church, Boston. Robert R. Randall 1884 Bronze statue. Sailor's Snug Harbor, Staten Island. Mrs. Stanford White 1884 Marble relief. 23 x i2| in. Professor Asa Gray 1884 Bronze plaque. Low relief. 35^x27 in. Botanic Gardens, Cambridge, Mass. Dr. Holland Monument 1884 Springfield, Mass. Dr. Silas Weir Mitchell • • .- 1884 Bronze plaque. 20^xi6f in. xxxviii HIS WORKS: CHRONOLOGY Portrait of a Lady 1884 Bronze high reHef. Three-quarter length figure. Right arm rests upon a piano. Charles Timothy Brooks 1884 Memorial tablet in Channing Church, Newport, R. L Two Angels Seated 1885 Bronze. Stewart tomb at Greenwood Cemetery, Brooklyn. Dr. Henry W. Bellows 1885 Bronze memorial tablet. Pull length, middle relief, lettered, with decorated background. The Dr. McCosh, modelled later, is akin in design. Church of All Souls, New York. William Evarts Beaman 1885 Bronze medallion. i8| in. diameter. Chief Justice Waite . Bust. Hall of Justice, Washington, D. C. Son of Joseph H. Choate 1886 Marble bust. Henry P. Haven Bronze medallion. New London Library. Angel on Tomb of Anna Maria Smith 1886 A variation of the Morgan tomb angels and the Amor Caritas. Island Cemetery, Newport, R. L Fountain in Lincoln Park, Chicago 1886 Abraham Lincoln. Standing figure Unveiled 1887 Bronze statue, signed and dated 1887. Heroic size. Stand- ing before a chair in an attitude characteristic of Lincoln when rising to make a speech. The statue stands at the south end of Lincoln Park, in Chicago, the idea of an audience chamber being further carried out in the great circular stone exedra, sixty feet across, which surrounds the low pedestal, in the design of which Saint-Gaudens collaborated with Stanford White. Amor Caritas 1887 Bronze. High relief. 8 ft. 9 in.; 4 ft. Luxembourg Gallery. The original idea of this was embodied in the figures on the Morgan tomb at Hartford, Conn. xxxix AUGUSTUS SAINT-GAUDENS Deacon Samuel Chapin ("The Puritan") 1887 Bronze statue in Springfield, Mass., signed and dated 1887. Heroic size. Puritan costume, with a peak- crowned hat, long flowing cloak and carrying a staff. Inscription: " 15^5 Anno Domino 1675. Deacon Samuel Chapin. One ot the founders of Springfield." A similar statue (not a replica) called " The Pilgrim " was made for the New England Society of Pennsyl- vania in 1905 and stands in City Hall Square, Phila- 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 Chapin who was his ancestor and the prototype of the "Puritan" statue. Robert Louis Stevenson 1887 Relief in rectangular form; signed and dated New York, September, 1887. Full-length figure, seen in profile, looking left, reclining in a bed, the lower limbs partly concealed by the coverlet; the left hand holding a manu- script, the knees being drawn up to support it, and the right hand poised in air, with a cigarette between the fingers. A border of ivy leaves and berries extends across the top of the plaque, with the inscription and signature written horizontally below it, the figure of the winged horse occurring between the first two stanzas of the inscription. The sittings for the head and shoulders took place in New York while Stevenson was ill there on his way to the Adirondacks. The hands were modelled from studies made at Manasquan just before he left for Samoa. Robert Louis Stevenson 1887 Bronze circular medallion. Low relief. Signed and dated 1887. Diameter (vertical) 35I in.; (horizontal) 34I in. Similar in design and inscription to the model de- scribed above, but differing as follows : Foot of bed and lower quarter of figure not visible ; ivy border and verses of inscription made to conform to the circular shape ot the medallion. A bronze reduction is in the Luxembourg. xl HIS WORKS: CHRONOLOGY Robert Louis Stevenson 1 887-1 902 Rectangular bronze memorial tablet in Saint Giles's Cathedral, Edinburgh, Scotland. Low relief. Signed and dated 1887-1902. Height of relief, 5 ft. 7 in.; width, o ft. i^ in. A variant of the former design, the figure Deing the same, but shown in full length, covered with a travelling rug in place of the coverlet, having a quill pen in hand in place of the cigarette, and resting upon a couch in place of the bed, with leaves of manuscript scattered upon the floor ; and instead of the ivy border extending across the top and drooping at sides of the relief, a garland of laurel interwoven at the ends with Scotch heather and Samoan hibiscus. The outline of a ship is shown in the lower right-hand corner. Mrs. Grover Cleveland 1887 Bronze medallion. Two Lions in Siena Marble 1887 Boston Public Library. William M. Chase 1888 Bronze plaque. 2if X29§ in. Children of Jacob H. Schiff 1888 Bronze. Low relief. A marble replica is in the Metro- politan Museum, New York, and a bronze reduction in the Luxembourg. William M. Evarts 1888 Bronze plaque. 23 x lol in. Bust of General Sherman 1888 Eighteen sittings were given in 1887. The bust supplied material for the head of Sherman on the equestrian statue at the entrance to Central Park, New York. Edwin Hubbell Chapin, D.D Bronze relief. 36I x 32I in. Fourth Universalist Church, New York. Mrs. Schuyler Van Rensselaer 1888 Bronze plaque. A reduction is in the Luxembourg. Oakes Ames 1888 Large medallion. Judge Tracy 1888 Plaque. xli AUGUSTUS SAINT-GAUDENS Kenyon Cox 1889 Bronze plaque. 19^ x yf in. Executed two years after the portrait painted by Mr. Kenyon Cox of Saint-Gaudens. Washington Medal 1889 Bronze medal. Low reliet. To commemorate the inaugura- tion of George Washington as first President of the United States. Dr. James McCosh 1889 Bronze memorial tablet. Full length, left hand resting upon reading desk. Princeton University. Jules Bastien Lepage 1889 Bronze plaque. 14^ x 19^ in. Modelled when Bastien Lepage was finishing his "Joan of Arc." In return the artist painted a portrait of Saint-Gaudens, which was burnt at the fire in his Cornish studio in 1904. A re- duction is in the Luxembourg. Hollingsworth Memorial 1889 Bronze. 5 ft. 9 in. x 2 ft. 9I in. Boston Museum. Miss Violet Sargent 1890 Bronze plaque. Full length. Playing a guitar. Adams Monument, Rock Creek Cemetery, Washington, D. C. . 1891 Bronze statue. Unsigned and undated. A female seated figure. The monument consists of a block of granite against which the figure leans, and which forms one side ot an hexagonal plot of about twenty feet in diameter, enclosed in a clump of trees. Opposite and occupying three sides of the hexagon is a massive stone bench. Seal for the Public Library, Boston, Mass 1891 Stone rectangular high relief. A shield bearing a book is supported on either side by nude figures of boys, each holding a torch. Study for the Head of "Diana" 1891 On Madison Square Garden tower. Peter Cooper 1891 Tablet in Cooper Union. Monument to Mrs. Hamilton Fish 1892 Two figures adoring cross. In collaboration with Stanford White. xlii HIS WORKS: CHRONOLOGY Diana 1892 Bronze figure on the tower of Madison Square Garden. One ot his few nudes. Originally the figure was much taller. Thinking it too large, Saint-Gaudens and Stan- ford White replaced it by the present smaller version. A large statue of Uiana, modelled in 1892, was exhibited in bronze at the World's Fair in Chicago in 1893, and ncjw forms the weathervane for Montgomery Ward's tower on the Lake Front in Chicago. The Columbus Medal 1 892-1 893 Modelled tor the Chicago Exhibition of 1893 in commemo- ration of the 400th anniversary of the landing of Colum- bus. Charles Cotesworth Beaman 1894 Bronze plaque. 262 x 15^ in. A reduction is in the Luxem- bourg. President Garfield Monument 1895 Bust of Garfield and allegorical figure of the "Republic." Fairmount Park, Philadelphia. In collaboration with Stanford White. Tomb for Mr. Henry Nivins. Mount Auburn 1895 Miss Annie Page 1895 Bronze head. William Astor Chanler 1896 Bronze bust. Martin Brimmer 1896 Marble bust and medallion. Memorial to Colonel Robert Gould Shaw. . . . Unveiled 1897 Bronze relief opposite the State House, Boston, Mass. Equestrian figure of Shaw surrounded by his black foot- soldiers, who are marching forward. A female figure, symbolising Death and Fame, floats above and a little in advance of the figure of Shaw, the position being nearly horizontal. The left arm is extended, palm upward, and the right arm clasps to the breast poppies and a laurel branch, the whole enveloped in sweeping draperies. The commission for the memorial to Colonel Shaw, com- mander of the Fifty-fourth Massachusetts Regiment (colored troops), who fell at Fort Wagner, was given by the State of Massachusetts in 1884. The work, with its many modifications, extended over an interval of twelve years, the completed monument being unveiled in 1897. xliii AUGUSTUS SAINT-GAUDENS General John A. Logan 1897 Bronze equestrian statue. Chicago Lake Front. Peter Cooper 1897 Seated bronze statue under canopy at the side of Cooper Union, New York. WiHiam Dean Howells and Daughter 1898 Bronze plaque. A reduction is in the Luxembourg. Miss Mildred Howells 1898 Bronze medallion. Charles A. Dana 1898 Bronze low relief. 37I x 19! in. Maxwell Memorial Tablet on boulder in Prospect Park, Brooklyn. Mrs. Charles Russell Lowell 1899 Marble. Low relief. Mrs. Charles C. Beaman 1900 Bronze plaque. Hon. David Jayne Hill 1901 Marble bust. Jacob Crowninshield Rogers 1901 Medallion. Justice Horace Gray, United States Supreme Court .... 1901 Bronze plaque. Governor Roger Wolcott 1 901-1902 Marble relief. Robert Charles Billings 1901 Medallion. Boston Public Library. Mrs. John Chipman Gray 1902 Bronze plaque. Senator Macmillan 1902 Bust. Mr. and Mrs. Wayne MacVeagh 1902 Bronze plaque. Governor Roswell P. Flower 1903 Bronze statue. Watertown, N. Y. xliv HIS WORKS: CHRONOLOGY Monument to General William Tecumseh Sherman. . Unveiled 1903 Gilt bronze group. At the south entrance to Central Park, New York. Heroic size. Figure of General Sherman on horseback, in uniform. Before the horse and rider walks a winged female figure — Nike-Eirene, or Victory-Peace — laurel-crowned, right arm extended and holding in her left hand a palm branch. The studies for the head of Sherman were made from life in 1888, the commission for the group being received and work begun about 1892 and continued in Paris in 1897, and in 1901 at Cornish; the horse and rider, without the Victory, being exhibited at the Salon of the Champ de Mars in 1899, the whole in plaster at the Paris Exposition of 1900, and, with altera- tions, at the Pan-American Exposition, Buffalo, in 1901. Eleven years in all of study and alteration elapsed before the group was finished and unveiled on Decoration Day, 1903, at the south entrance to Central Park, New York. Mr. and Mrs. Stanley Matthews 1904 Plaque. Mrs. Charles W. Gould 1904 Marble bust. 15I in. high. This bust was the result of studies of the same subject extending over several years, a marble relief being exe- cuted between the years 1884 and 1894, and a marble bust in the round in 1894-1895. Hon. John Hay 1904 Marble bust. Dean Sage 1904 Caricatures of Henry Adams, Charles A. Piatt and James Wall Finn 1904 Bronze medallions. Marcus Daly 1905 Bronze statue. Butte, Montana. Bronze Plaque 1905 Low relief. 32I x 19^ in. Commemorating the masque of "The Golden Bowl," given at Cornish to celebrate the twentieth anniversary of Saint-Gaudens's coming there. Greek Victory 1905 Bronze head. Metropolitan Museum, New York. Greek Victory 1905 Medal (head). xlv AUGUSTUS SAINT-GAUDENS The Pilgrim 1905 Bronze statue. Philadelphia. (See page XXVIII) Charles Stewart Parnell 1906 For Dublin, Ireland. Bronze statue, with right hand upraised standing in front of a lofty obelisk. Designs for the New United States Coinage 1907 Double eagle, eagle and one cent piece. Frederic Ferris Thompson 1906 Marble medallion. Teachers College, New York. William C. Whitney 1907 Bust. Marcus A. Hanna 1907 Bronze statue for Cleveland, Ohio. Sketch of Figure of Painting for Proposed Freer Gallery at Washington 1907 Whistler Memorial at United States Military Academy, West Point, N. Y 1907 Marble tablet. Low relief. Height, 21 ft., 2 in.; width, 3 ft. In collaboration with Mr. Henry Bacon. Abraham Lincoln (Seated Figure) 1907 Bronze statue. Heroic size. Seated in arm-chair, body and head directed to the front, head slightly lowered as if in thought; right hand open, palm down, on knee; left, closed and resting on arm of chair; feet, set squarely on circular base. Across the back of the chair and drooping to the floor, a flag. This was one of Saint- Gaudens's last statues, destined for Chicago by bequest of the late John Crerar of that city. Two Groups for Entrance to Boston Public Library . . . 1907 One of four figures, the other of three. 1. Law, Executive Power and two figures representing Love. 2. Music, Labour and Science. The models were complete at the time of Saint-Gaudens's death, but not the enlargements. Eight Caryatides 1907 For the Albright Gallery, Buffalo. Six were completely finished at the time of his death; two almost finished. xlvi HIS WORKS: CHRONOLOGY Magee Fountain, Stele, Basin and Statue of Plenty .... 1907 For Carnegie Institute, Pittsburgh. Rev. Phillips Brooks 1907 For exterior of Trinity Church, Boston. The figure of Christ, half concealed in the shadow of a canopy, rests his fingers upon the shoulder of the preacher. The Baker Monument 1907 Seated figure of Christ, with attendant angels. The sculptor was at work upon this during his last illness. Mrs. Augustus Saint-Gaudens 1907 Bronze relief. 36 x 21 in. Three-quarters length figure, in profile, turned to left ; in right hand a bowl of flowers, the eft holding up the skirt of dress. Background of two Doric columns with landscape; dog roughly sketched in lower left corner. Study for the Head of Christ 1907 Marble head on square block of marble. 16 in. high. About three-quarters life size. xivii PHOTOGRAPHIC REPRODUCTIONS OF THE WORKS OF AUGUSTUS SAINT-GAUDENS i874 WILLIAM MAXWELL EVARTS Marble bust. Height 2^ in. This was his first commissioned portrait bust. The order was given m Rome, the modelling bemg done m New York minie- diately after his return from Itah'. In the possession of Miss Mary M. Evarts. Copyright igo8 by tic U . c\ IV.ird i877 WILLIAM G E D N E ^' B U N C E Bronze plaque. Low relief. Height bj in.; widtli ^{ in. Boat in lower right-hand corner. In the possession of Mr. W. G. Bunce. Copyright igoS by de \V . C. Ward i879 RODMAN D E K A \' GILDER Bronze plaque, low relief. Height 13J in.; width 15J in. A detail from the group of" Richard Watson Gilder, Wife and Infant Son," but more tully carried out. INSCRIPTION: RODMAN DE KAY GILDER. PARIS, SEPTEMBER, 1879. In the posstssion of Mr. R. W. Gilder. ^^ m * /'/ / / -^ ' r . / i Copyright igoS fry (/e H'. G. Ward i879 DOCTOR \\' A L T E R CAR Y 13ronze plaque, low relief. Height gf in.; width 6^ in. At left, coat of arms. In the possession of Mr. Thomas Carv". Copyrighl 1008 /)V aMip HPiai y ..■n.^w*. -cittm'mKi Copyright igos liy the Detroit Phologrnphic Company i888 WILLIAM MERRITT CHASE Bronze plaque, low relief. Height 2i| in.; width 295 in. In the lower left corner is a medallion with design of winged horse. The clay model of this plaque, in somewhat different form, is represented on the sculptor's easel in Mr. Kenyon Co.x"s portrait of Saint-Gaudens. (See Frontispiece.) In the possession of Mr. W. M. Chase. i888 CHILDREN OF JACOB H. SCHIFF Bronze low relief. Height 5 ft. 9} in.; width 4 ft. 3 in. Sculptured frame effect of plinth. Columns and cornice hung with garlands. A marble replica w-as presented to the Metropolitan Museum of Art b\- Mr. Jacob H. Schiffin 1906. A bronze reduction is in the Luxembourg. v:^ ~ V V 1 '■:» r Copyrighl lyoS /A .^i- mwm^ nS? I'M 1902 MR. & MRS. WAYNE MacVEAGH Bronze low relief. Height 3 ft. 2^ in. ; width 4 ft. 9 in. Two figures at either end of long bench placed under a pine tree. 1903 MONUMENT TO GENERAL WILLIAM T E C U M S E H SHERMAN Bronze group. South entrance to Central Park, New ^'ork. Figure of Gen- eral Sherman on horseback, in uniform. Before the horse and rider walks a winged female figure — Nike-Eirene, or Victory- Peace — laurel-crowned, right arm extended and holding in her left hand a palm branch. The studies for the head of Sherman were made from life in 1888, the com- mission for the group was received and work begun about i8q2 and continued in Paris in 1897; the horse and rider without the Victory were exhibited at the Salon of the Champ de Mars in 1899, the whole in plaster at the Paris Exposition of 1900, and, with alterations, at the Pan-American Exposition, Buffalo, in 1901. Eleven years in all of study and alteration elapsed before the group was finished and unveiled on Decoration Day, 1903, at the south entrance to Central Park, New York. Copyrtghl 1905 .'(V ilt IT. C'. Wiinl 1905 SHERMAN MONUMENT: LATER STUDY FOR THE HEAD OF VICTORY Bronze head. Height of head 8J in. ; of pedestal 4^ in. INSCRIPTION: NiKH-EiPHNH ( victory-peace) Although Saint-Gaudens had a preference for this head, he did not consider that it accorded so well with the statue as the first study. The latter was used tor the equestrian statue, and the profile of this second study was later repro- duced in relief as the model for the new cent and the ten-dollar coin. Copyright 1908 by dc W. C. War,/ 1905 THE PILGRIM Erected in City Hall Square, Philadelpliia, in ig05. A commission from the New England Society of Pennsylvania, which asked for a replica of The Puritan; but the sculptor gave it what is virtually a new work, which he called The Pilgrim. The head was remodelled and changed and the staff was advanced; changes were also made in the cloak, and the book was reversed so that the lettering "Holy Bible" on the back is seen. 1905 PLAQUE COMMEMORATIVE OF THE CORNISH CELEBRATION JUNE 23, 1905 Bronze plaque in low relief. Height 32! in. ; width igj in. Design : Tem- ple of Love. INSCRIPTION : (Names of participants.) (On altar) amor vincit ... IN AFFECTIONATE REMEMBRANCE OF THE CELEBRATION OF JUNE XXIII, MCMV. AUGUSTA AND AUGUSTUS SAINT-GAUDENS. In the possession of Mrs. Augustus Saint-Gaudens. The "Masque of the Golden Bowl" was performed by the residents to cele- brate the twentieth anniversary of the year Mr. and Mrs. Saint-Gaudens first made Cornish their sunnner home. Copyrigli.' igoS /.,v i/r II . C. II ,:r,t 1907 PLASTER MODELS FOR UNITED STATES NEW COINAGE (I) Head of woman, in profile, wearing olive wreath. Above, thirteen stars. Diameter of plaster model ll| in. Unused design, originally intended for one-cent piece. Copyright igoS by Jc If. C. Wurrl 1907 PLASTER MODELS FOR UNITED STATES NEW COINAGE (ContimifJ) (2) Similar to No. I, with Indian liead-dress substituted for olive-wreath, and with margin of relief lowered. Depth 1 1 j in. Design for obverse of ten-dollar gold piece. ,_3lDi?( _ Copyright looS by i/c W. C. Ward 1907 PLASTER modp:ls FOR unitf:d STATES NEW COINAGE {Contiuucd) (3) American eagle, standing; arrows and olive branch in claws. In upper right field, INSCRIPTION: E PLURiBUs UNUM. Legend: united states OF AMERICA. Depth 12J in. Design intended for reverse of the twenty - dollar gold piece, but used for the ten. Copyright igoS by de W. C. WayJ 1907 PLASTER MODELS FOR UNITED STATES NEW COINAGE (Continued) (4) Full-length figure ut winged woman, standing; flowing liair, Indian head- dress, classic robe; torch in right hand, olive branch in left; left foot raised on a rock against which is an oak branch. In the lower left field a small sketch of the Capitol building, with rising sun; lower right field, mcmvii. Border of forty-six stars. Edge bevelled. Depth I2i in. Original idea for obverse of twenty-dollar gold piece. Copyright 190S by tie W . C. Ward 1907 PLASTER MODELS FOR UNITED STATES NEW COINAGE (ContimirJ) (5) Similar to No. 4, but without wings or iiead-dress tor the figure; Capitol building enlarged, rays of sun lengthened and extended across from left to right. Border of stars nearer centre, leaving wider margin. Edge, thirteen stars, with legend e pluribus unum. Depth izl in. Design for obverse of twent\-dollar gold piece. Copyright igo8 by dc II'. C. Ward 1907 PLASTER MODELS FOR UNITED STATES NEW COINAGE {Continued) (6) American eagle, flying. Below, rising sun, with rays extending to margin. LEGEND: UNITED STATES OF AMERICA, TWENTY DOLLARS. Depth I3j in. Design intended for one-cent piece, but used for twenty-dollar piece. From plaster models in the possession of Mrs. Augustus Saint-Gaudens. -^-':.";f%-j^v y-H Copyright igoS hy ilc W . C Wtird iqoj WHISTLER ME M () R I A L AT UNITED STATES MI L I T A R \' A C A D E M Y \V E ST POINT, N . Y . MarMt tahlct, low relief. Height 21 ft. 2 in. ; width 5 ft. (Jreek tiirelies at sides, with a small wreath above and Whistler's hutterfly device helow. INSCRIPTION [cxtrnct from IVhntler's "Ten O'Clock"): TO JAMKS MCNEILL WHISTLER, M DCCCX .\.\ I V-M C MI II . THE STORY OF THE BEAUTIFUL IS ALREADY COMPLETE, HEWN IN THE MARBLES OF THE PARTHENON AND BROIDERED WITH THE BIRDS UPON THE FAN OF HOKUSAI. Copyright iqoS hy ilc U'. C. Warii 1907 STUDY FOR IHE HKAD OF CHRIST Marhlf 1u-;k1, cm s<|Liart- block of niarblf. Total luiglit 16 in. In tlie possession of Mrs. Augustus Saint-Cjaudens. This, and tliL- low-rt-litf plac|U(.' of his wife, were the Inst pieces of sculptnre worked upon by .Saint-( laudens with his own hands. Cipyriglil loo.S hy ,/,■ II'. C. Il'ilrr/ AUGUSTUS SAINT- GAUD ENS From a photograph hy de W. C. Ward Copyrislll igoS by dc II'. C. ]V,ir,t DATE DUE SEP 2 5 IMH u m ? Vm^ ! CAYLORD PRINTEDIN U.S.A. D 000 900 878 3 2.HSS'