AVGVSTVS
SAINT-GAVDENS MEMORIAL
EXHIBITION

THE ART INSTITUTE
OF CHICAGO
MCMIX

I

Sa23l

YALE UNIVERSITY
LIBRARY

Given in Memory of
CHARLES J. MORSE, Yale 1874S
and
JARED K. MORSE, YaU 1908S

Copyright, 1905, de \V. C. Ward.

Ouu&~*~

THE ART INSTITUTE OF CHICAGO

CATALOGUE

SCULPTURED WORKS

AUGUSTUS SAINT-GAVDENS

BIOGRAPHICAL SKETCH

"Augustus Saint-Gaudens ivko needs not mortal years in doing
immortal •work." — Charles W. Eliot.

AUGUST, SEPTEMBER
1909

FULLERTON MEMORIAL HALL
THE ART INSTITUTE OF CHICAGO

Memorial Meeting
in Appreciation of
AUGUSTUS SAINT-GAVDENS

August 3, 1909, at 3 P. M.
the Second Anniversary of his Death

Addresses by
L/ORADO TAFT
Jenkin Lloyd Jones Daniel H. Burnham
Charles L. Hutchinson
Glenn Brown

Trustees of the Art Institute of Chicago

Edward E. Ayhr
Adolphus C. Bartlbtt
John C. Black
Chauncey J. Blair
Clarence Buckingham
Edward B. Butler
Daniel H. Burnham
Clyde M. Carr
Charles Deering
Henry H. Getty

I9O9-IO

John J. Glessner
Frank W. Gunsaulus
Charles L. Hutchinson
Bryan Lathrop
Frank G. Logan
R. Hall McCormick
John J. Mitchell
Samuel M. Nickerson
Martin A. Ryerson
Howard Van D. Shaw

Albert A. Sprague

Ex Officio

Fred A. Busse,
Mayor
Walter H. Wilson,
Comptroller

Henry G. Foreman,
President South Park Commit tirtncri
William Best,
Auditor South Park Commissioners

Officers

Charles L. Hutchinson,
President
Ernest A. Hamill,
Treasurer
William M. R. French,
Director

Martin A. Ryerson,
Vice-President
William A. Angell,
Auditor
Newton H. Carpenter,
Secretary

Executive Committee

Charles L. Hutchinson John C. Black
Martin A. Ryerson Albert A. Sprague
Frank G. Logan Howard Van D. Shaw
Clarence Buckingham

Art Committee

Charles L. Hutchinson
Martin A. Ryerson
Howard Van D. Shaw

Bryan Lathrop
R. Hall McCormick
Frederic C. Bartlett

AUGUSTUS SAINT-GAUDENS.
"You can do anything you please. It's the way it's done that makes the
difference." — Augustus Saint-Gaudens.
^Augustus Saint-Gaudens, by birth half
French and half Irish, by nature and training
American, came to this country at his mother's
breast in 1848 when six months old. His
father, Bernard Paul Ernest Saint-Gaudens,
was born in the little village of Aspet in the
south of France. There he learned his trade
of shoemaker, and thence he slowly travelled
by way of Paris and London to Dublin,
Ireland, where he met his future wife, Mary
McGuiness, who bound slippers in the shoe
store for which he made boots. On arriving in
New York this hot-headed, eccentric French
man, to the detriment of his trade, developed
infinitely more interest in organizing Fraternal
Societies than in selling shoes. Consequently
from the first, Augustus Saint-Gaudens, the
third of five sons, took part in the family
struggle for a livelihood.
•lUntil the age of thirteen the youngster
received the ordinary education of the New
York boy of 185c. Those were the days of
lickings at the hands of his teacher, and of
fights with the West Broadway "gang;"
and the struggle with these elements shaped
the energy which lasted him through life.
Yet despite his prosaic surroundings his

artistic inclinations took shape early. They
originated with the representation of soldiers
upon a school slate. They emerged through
charcoal-scrawled drawings upon the neigh
boring walls. And finally they were recog
nized by Dr. Rea Agnew, a customer of
Bernard Saint-Gaudens, who found such merit
in the young man's sketches that he urged
the father to continue his son's education in
this direction.
<LIn consequence the boy was apprenticed to
a hard-tempered man named Avet, one of the
first stone cameo cutters in America, who led
Augustus a miserable life for the next few
vears. At the same time the boy entered the
drawing school of the Cooper Institute.
There he studied evenings until, in 1864, he
revolted at the ill nature of his employer,
and, upon being discharged, obtained a posi
tion with a more kindly master, Jules Le
Brethon, and at about the same time left
the Cooper Union to work from the life in the
National Academy of Design.
CThis period of Saint-Gaudens' youth passed
in the excitement of the days of the Civil War.
From his window he looked down upon the
New England Volunteers marching along
Broadway, in the city squares he witnessed
the recruiting; and these sights, combined
with a glimpse of Lincoln driving through
the city, stirred his blood with that strong
but restrained patriotism which finally he
fused into his monuments of Farragut, Lin
coln, Shaw, Logan and Sherman.
8

CBut the New York life came to an end in
1867, when his father made possible for him
a trip abroad. The young man went at once
to Paris, where, though still earning his living
by cutting cameos, he studied first at the
Petite Ecole and later under Jouffroy in the
Ecole des Beaux Arts. His master at that
time led a revolt against the bloodless classi
cism of the period. Yet as the teacher never
gave radical vent to his theories, so through
later life the pupil tempered by a steadying
restraint his desire for individual expression.
CIn Paris Saint-Gaudens, a cheerful, athletic
youth, made his two great friends who stood
close to him all his life, M. Paul Bion and M.
Alfred Garnier. Because of their friendship
he nearly enlisted in the French army when
the war with Prussia broke out. But a tear
ful letter from his mother changed his plans,
so that instead he went to Rome, where, for
about four years, he struggled with poverty
and debts in his efforts to complete his train
ing. At last, however, the cameo-cutting
brought him a few lucky commissions from
the family of Mr. Montgomery Gibbs, and
gave Saint-Gaudens an opportunity to finish
his first statue of "Hiawatha," to execute his
first ordered monument, a figure of "Silence,"
and to go back to America with some prospect
of definite work.
CThe young man's career in the United States
did not stretch out before him immediately
in any such straight and easy manner as he
may have expected. First one hope and then .
9

another fell through, though an occasional
small task like that of the relief of Mr. D.
Maitland Armstrong came to his hands. But
at last, after steady persistence, he obtained
the order for the Farragut statue now in Madi
son Square, New York. From that day his
position was assured, and soon he secured
the opportunity to aid Mr. John LaFarge by
modelling the sculpture for that painter's
scheme of "Angels Adoring the Cross" in St.
Thomas' Church on Fifth Avenue. So then,
after founding the Society of American Artists
with a number of other young men, and after
his long -delayed marriage to Miss Augusta F.
Homer, he went back to Paris to carry out
his work.
C There in Paris he completed the Farragut
and the Adoring Angels, though these larger
commissions did not represent the only im
portant step which he took at the time. He
had long been interested in the subject of
Renaissance reliefs and medals, such as those
by Pisano, and Mr. LaFarge had already
urged him to try his hand at like efforts.
Accordingly, here, at last, he found an oppor
tunity to begin upon a series of medallions,
which, through life, he developed with marked
interest, among them those of Mr. William
Gedney Bunce, Mr. Charles F. McKim, Mr.
George W. Maynard, and especially that of
M. Bastien Lepage.
CAt last, with the completion of the Farragut,
Saint-Gaudens .definitely returned to New
York to take up his well-established career
10

as an American sculptor. For a time he lived
in the Sherwood Studios at the corner of
57th Street and Sixth Avenue. But soon he
found a building at 148 West Thirty -sixth
Street which he altered to his taste. There
he continued to model for the next fifteen
years, starting with the angels for the tomb
of Ex-Governor Morgan, a monument which
was burned in the cemetery while in process
of carving.
CHere, too, in the Thirty-sixth Street studio,
Saint-Gaudens gathered about him the friends
of his life; such men as Mr. Stanford White,
Mr. Charles F. McKim, Mr. Joseph Wells, and
Mr. Thomas W. Dewing. Here Mr. H. H.
Richardson, the Boston architect, brought
Bishop Phillips Brooks whenever the two men
visited New York, giving the sculptor the
opportunity of meeting the preacher, a monu
ment to whom was to be one of his last com
pleted works. And here, as a boy to study
art and to sweep the floors, came Frederick
William MacMonnies.
CSaint-Gaudens had always been a lover of
the theatre and of music. Now he found
others who resembled him in their enthusiasm.
Therefore, first this group, as well as Mr.
Francis Lathrop, formed the habit of going
to a little beer saloon on the East side of
Broadway, opposite Washington Place, to
listen to programmes furnished them by the
peculiar combination of a violin, a clarinet
and a piano. Then they employed the musi
cians to come on Sunday afternoons to the
11

Thirty-sixth Street studio. And, a little
later, they developed more ambitious con
certs, which were held there weekly during
the winters, while the studio remained in
Saint-Gaudens' hands.
CThe intimacy with Mr. Richardson, which
sprang up rapidly, led to Saint-Gaudens
receiving the order for the monument to Colo
nel Robert Gould Shaw, which stands in front
of the State House in Boston. On first con
sideration, the artist planned a modest relief,
but, during the fourteen years devoted to it,
the composition became a labor of love which
consumed more of the sculptor's energy than
he ever put into any other commission. The
work upon the scaffolding before the Shaw
during the hot summers, with scarcely a
pause to eat an apple for lunch, undoubtedly
hastened the breakdown of Saint-Gaudens'
health. Yet, on the other hand, the monu
ment furnished him with much amusement —
an amusement which he invariably obtained
from his art — both through the antics of the
horse which posed for him, and through the
very difficulties he encountered in hiring
negro models, who persisted in believing the
studio to be the den of a devil of vivisection.
<1 Along in this early period, too, came the
Lincoln for Chicago, provided for in the will
of Mr. Eli Bates, and the relief of Dr. James
McCosh for Princeton, New Jersey. In the
case of the Lincoln the committee first asked
Saint-Gaudens to compete. But upon his
refusing, according to his principle, he re-
12

ceived the order outright and eventually
produced the gaunt, thoughtful figure now
so well known.
dThe statue to Deacon Samuel Chapin, popu
larly known as "The Puritan," followed the
Lincoln. It has since acquired especial inter
est, as in 1903 the New England Society of
Pennsylvania commissioned the sculptor to
make for Philadelphia a variation of the first
work, and so therein Saint-Gaudens obtained
one of his few opportunities of modifying his
earlier efforts in accordance with his later
ideas. The head he changed from the round
Gaelic face of Chapin to a long New England
profile, more typical of the austere forefather,
while the folds of the cloak, the Bible and the
base, he also altered to an extent.
€1 After the Chapin statue, Mr. Henry Adams
ordered the figure for the Rock Creek Ceme
tery in Washington. In giving the commis
sion, Mr. Adams would only suggest that
Saint-Gaudens consult with Mr. LaFarge,
who thoroughly understood Mr. Adams' ori
ental thoughts. Therefore, the sculptor
carried out his task as well as he could with
the advice of the painter, and ultimately, it
seems, satisfied the wishes of Mr. Adams.
Though there have been a variety of names
accorded the result, Saint-Gaudens rarely
expressed himself on the subject.
CDuring this time, while engaged upon the
Rock Creek figure, Saint-Gaudens, at the
suggestion of his friend, Mr. C. C. Beaman,
first visited Cornish, New Hampshire. There, 13

soon afterwards, he bought an old brick tav
ern, which he altered into a summer home.
And there, sixteen years later, he went to live
permanently, much to the benefit of his last
days.
CAbout that date also, in 1887, the sculptor
met Robert Louis Stevenson through Mr.
Will H. Low, an intimate mutual friend.
The author and the sculptor at once admired
one another, and the medallion, which has
since assumed so many forms, Saint-Gaudens
modelled in the Hotel Albert in Eleventh
Street, Stevenson propped up in bed and his
wife reading aloud. Only five sittings of two
or three hours apiece could be obtained then,
though later Saint-Gaudens had further oppor
tunity when Stevenson lived at Manisquan,
New Jersey.
C.Shortly after this Saint-Gaudens set at
modelling the figure for the "Smith" tomb in
Newport, Rhode Island, from which he de
veloped the better-known "Amor Caritas."
The first variation is now in the Luxembourg,
Paris, while a second stands as a memorial
to the daughter of Dr. S. Weir Mitchell in St.
Stephen's Church, Philadelphia.
Cln 1892, when the idea for the World's Fair
had reached definite form, Saint-Gaudens,
at the invitation of Mr. Daniel H. Burnham,
went to Chicago with Mr. Richard M. Hunt,
Mr. Charles F. McKim and others, as one of
the Committee on the laying-out of the
grounds. This was about the first of a long
series of like tasks which the sculptor under-
14

took through his life, hoping in such a way
to aid the cause of art in his country. Mr.
Burnham desired that Saint-Gaudens model
a share of the sculpture. But the latter had
so many calls upon him that he gave his per
sonal attention only to the figure of Columbus
in front of the Administration Building,
which he carried out with the able assistance
of Mrs. Francois M. L. Tonetti, then Miss
Mary Lawrence, and to the Exposition Medal,
of which he designed the obverse. Upon the
reverse of the Medal he originally modelled a
nude boy, which raised a feminine hue and
cry. At first he tried to satisfy this in a num
ber of ways, but failing, he relinquished the
attempt in disgust.
CThe statue of Peter Cooper now took the
place of the Rock Creek Cemetery figure upon
the scaffolding behind the Shaw relief, which
seemed almost a fixture. On the top floor of
a large stable in Twentieth Street, the sculp
tor began one monument to General Logan
for the Lake Front in Chicago, and another to
President James A. Garfield for Fairmount
Park, Philadelphia. While in a third and
smaller studio, Saint-Gaudens modelled the
horse of the Sherman from the famous high
jumper Ontario, began the figure for the Sher
man Victory from the woman whom he
always considered to be the handsomest
model he had ever seen, and finished with
great interest his bas-relief of Mr. William
Dean Howells and his daughter, Miss Mildred
Howells. is

CBefore turning from his life in New York,
mention should be made of Saint-Gaudens'
teaching at the Art Students' League. His
work there held a firm place in his thoughts.
Again and again in later years he said regard
ing it that he always had felt surprised to see
that for the most part women learned more
readily than men, and that they copied what
stood before them with greater facility, but
that in the end the men made the further
progress and composed and created to more
purpose.
^During these last years, however, the sculp
tor's nervousness increased startlingly through
overwork. Also he became anxious to com
pare what he had done with the sculpture
recognized in Europe. So, as the unveiling
of the Logan and the Shaw allowed him to
shift his studio paraphernalia, he left for
Paris in October, 1897. There he hired a
studio in a quiet, garden-like alley at 3 bis
Rue de Bagneux, where he remodelled the
Sherman cloak, the figure of the Victory and
variations of the Stevenson for St. Giles
Church in Edinburgh, and where he began his
studies for the figures of the Boston Public
Library.
CFor some time Saint-Gaudens seemed un
happy and neurasthenic. But after a trip to
his father's birthplace with his old friend M.
Alfred Garnier, he returned in better spirits
and took up his life in Paris and his intimacy
with Dr. Henry Shiff and those others he had
known so well in younger days. He said
16

later that the three men who to him stood out
before all the rest at that time were James
MacNeill Whistler, Paul Dubois and Auguste
Rodin. Saint-Gaudens regarded Paul Dubois'
Joan of Arc as one of the greatest statues in
the world. But Whistler in person most at
tracted the sculptor. For the painter came
often to the studio in the evening and chatted
with his usual wit, or accompanied Saint-
Gaudens and his friends to their dinner at
Foyot's, an old cafe opposite the Luxembourg.
So with such surroundings, with the gay life
of the Parisian spring, with the benefit of a
trip or two in Spain, and with the success
accorded him by the French after his exhibi
tions in Paris, he regained his buoyancy, until
suddenly he learned that he was ill and must
go home.
CSaint-Gaudens' return to America in 1900
marked the last period of his life, a period
which he spent for the most part in Cornish,
New Hampshire. There he completed, be
sides lesser commissions, his monuments to
Sherman, Lincoln, Brooks and the Caryatids
for the Albright Art Gallery in Buffalo; and
there he renewed his thoughts upon the
groups to go before the Boston Public Library.
At this time, too, his attention turned more
than ever before toward helping the cause of
American Art. Two objects in especial inter
ested him to a tremendous extent. One was
the founding in Rome of the American Acad
emy to be devoted to the Fine Arts, much in
the same manner as the Villa Medici School 17

has been devoted by the French Government.
The other was the artistic development of
the National Capitol at Washington; where,
in connection with the Park Commission, he
spent much time and gave the best of his
assistance in criticism and advice toward
establishing on an even firmer basis the beauty
of that city. Luckily, although ill, he con
tinued his work for longer than expected, be
cause of his life in the open air. Skating,
skeeing and golf he kept up while his health
held out. And, at last, when he no longer
could walk, he would sit by the hour upon one
of the porches, or he would have himself car
ried from studio to studio in an improvised
Sedan chair.
CHis first serious occupation lay in the com
pletion of the Sherman monument, which he
modified from the model exhibited in Paris,
studying the bronze after it had been set up in
the field back of the house and changing it
even then. On the Sherman, also, he gratified
his ambition to follow the example set by the
statue of Marcus Aurelius on the Capitoline
Hill in Rome and to gild an equestrian monu
ment. For, as he expressed it, he was "sick
of seeing statues look like stove pipes."
CSecond in importance to him, he had by him
in his studio the studies for the Boston Pub
lic Library Groups, constantly turning over
the question of their development. One pedes
tal would have borne four figures symbolic of
Executive Power, Law and Love. Upon the
other base he planned three figures of Science,
18

Labor and Music. For his own purpose, the
studies were ready to be completed, and if he
had lived he would have finished them in
short order. They had long been upon his
conscience. Yet to him the problem seemed
so difficult, since the figures were to stand
where they would force themselves upon the
Library visitor, that he felt unwilling to carry
them through until freed from financial con
siderations or the limitations of ill health.
CThe "Crerar" Lincoln, also for Chicago, was
the next vital commission which he set to
work upon after the Sherman, and therein he
carried out his old desire of representing the
President seated. The first Lincoln had been
a standing figure of Lincoln the Man, and
now, by way of contrast, he wished to repre
sent in addition a seated Lincoln the Head of
the State. Therefore, to accomplish the pur
pose fittingly, he took up one of his series of
endless experiments with four-foot models,
composed in varying ways, and with full-sized
painted paper representations of the entire
composition erected out of doors. The mon
ument is yet to be unveiled, but it went to the
bronze founder some time before the sculp
tor's death.
^Another statue which Saint-Gaudens at
tacked with zest at virtually this same time,
was of Charles Stuart Parnell, for Dublin,
Ireland. The artist took interest here, be
cause, as he often remarked, he had enough
Irish in his make-up to appreciate the char
acter of his subject. It is a peculiar coinci- 19

dence that as few photographs of Parnell
could be found, the sculptor turned to a series
of caricatures published in Punch and like
papers during Parnell's trial. So the very
sketches drawn to attack the patriot unti-
mately came to be used in his honor.
CAt this time, also, among his lesser commis
sions, Saint-Gaudens completed such busts
as that of the Honorable John Hay and such
reliefs as those of Mrs. C. C. Beaman, Justice
Horace Gray, the Honorable Wayne Mac
Veagh and his wife, and Justice and Mrs. Stan
ley Matthews. Probably the commission for
the MacVeagh family absorbed him the most.
The sculptor had often dwelt upon the strong
magnetic power of the female sex as con
trasted with the domination of the masculine
intellect, and therefore here delighted in giv
ing rein to his theories. Yet all portraits held
his attention, since he thoroughly enjoyed the
peculiarities of his sitters, attempting habit
ually to shift his mental attitude to that of
the person beside him, whether it was a hyper
sensitive woman or a rugged man.
Clt seems especially unfortunate, in view of
his ill-health, that upon the night of October
eleventh, 1904, his chief studio should have
burned to the ground, not only with all the
sculpture in progress, but as well with most
of his portfolios containing the records of
forty years. But he bravely set about recov
ering his lost ground, and before long had his
commissions again well under way.
CSoon after this fire he returned to the Brooks
20

monument which he had studied since 1901,
and which he carried so far that only mechan
ical enlargement and casting were needed for
its completion at the time of his death. As
finished, the figure of the preacher stands to
the front of an architectural canopy. His
left hand grasps a Bible that rests upon a lec
tern, his right hand is raised in a gesture of
emphasis, while the swing of the gown and
the direct look from the head gives an atmos
phere of energy and motion. Behind the
Brooks, and against a cross that rises by his
side, is a figure of Christ, half shadowed,
veiled, reposeful, who touches the preacher on
the shoulder with His right hand as if inspir
ing the words to be spoken. The complete
monument Saint-Gaudens reached through
his usual succession of alterations. In his
first efforts he had an angel with the Brooks.
Then he designed two figures of the Christ in
relief. And only after much thought did he
decide to make this ideal figure in the round.
CSaint-Gaudens' work now drew to its close,
and his final tasks included solely the designs
for three of the United States coins, the Cary
atids for the Albright Art Gallery, and the
bas-relief of his wife.
CThe coins he undertook at the suggestion of
President Roosevelt. But the confusion of
the carrying out of this commission often
made him regret that he had entered upon it.
Finally, however, after a discussion which
lasted over a year and a half, it was settled
that the Cent should exhibit a profile head on
21

one side and lettering alone on the other ; that
the Ten Dollar gold piece should carry the
same head with shifted inscriptions and a
standing eagle; and that the Twenty-Dollar
gold piece should show a full length figure of
Liberty and a flying eagle. The flying eagle
Saint-Gaudens developed from the bird on
the 1857 white cent. The standing eagle he
re-altered from a design he had used on such
works as the Shaw Memorial, the Roosevelt
Inauguration Medal and the shield of the Gar
field Monument. Seventy or more models
of the bird were to be seen in the studio wait
ing for the casual visitor to name his prefer
ence. The profile head Saint-Gaudens
modelled in relief from an unused bust for
the Sherman Victory, while the full length
Liberty he rendered from a scheme he had
long had in mind. It is most unfortunate
that the mint did not notify the sculptor when
they abandoned the thought of a new design
for the Cent, as thereon he wasted precious
hours; while the placing of the motto "In
God We Trust," on the gold coins by other
hands than his, will still further mar a compo
sition which has already suffered greatly in
the process of reproduction.
«[The Caryatids, his final large commission,
absorbed him to a tremendous degree and
marked his ultimate tendency to draw away
from the decorative in favor of the monu
mental. As the building they were to adorn
is large and reposeful, the sculptor wished to
reflect these qualities. First he considered
22

having winged figures. Then he believed it
might be well to place garlands in their hands.
Next he originated the scheme wherein the
four central Caryatids held lettered tablets,
those on the ends carrying palms. Finally
he decided to place palms in the hands of the
ones on the corners, while the middle figures
should bear objects which denoted Architec
ture, Painting, Sculpture and Music.
CThe relief which he made of Mrs. Saint-
Gaudens was the last work which he touched
with his hands. The composition diverted
him greatly, as he could work on it while
seated. But his death came before he could
finish it.
CDuring the last few years Saint-Gaudens
was ill for much of the time, yet whenever pain
left him for a few hours, his courage and his
hope returned and he constantly repeated to
his friends that life became more and more
worth living as each day passed.
H. ASPET.

23

A TRIBUTE to
AUGUSTUS SAINT-GAUDENS
By GLENN BROWN
C Augustus Saint-Gaudens, the great artist
of the age, was a charming companion, a true
friend, and a citizen leading to ideal life.
His affable manner, quiet humor, quick appre
ciation, broad culture, and perfect taste
made his companionship sought and enjoyed.
A sympathetic, candid nature and high aspi
rations made his friendship earnastly desired.
His unselfish assistance to committees, insti
tutions, and the government has been a guid
ing factor toward purity of taste and nobility
of life.
CHis thorough equipment, sincerity of pur
pose, grasp of composition, knowledge of
detail, understanding of mass, natural genius,
brilliant imagination, and poetic nature, com
bined with infinite patience, untiring energy,
and effacement of self, have produced the
greatest sculpture of the age.
CHis artistic light shines in refined low relief
and bold monumental composition. The re
lief portraits of Robert Louis Stevenson and
Justice Gray are exquisitely delicate, har
monious, restful, dignified, and beautiful.
Portrait bust have attained a new dignity in
24

his hands. The busts of John Hay and David
J. Hill, while full of repose and individual
expression, possess high sculptural value.
CHe has made single figures impressive, some
thing rarely accomplished. The Puritan, a
work of art in line and pose, vividly typifies
the honest, untiring, unbending energy of the
Reformation. Farragut stands alert, pre
pared for any emergency, serious, as the
destiny of the fleet depends upon his action,
commanding, endowed with life and art. Lin
coln, a hopeless model in the hands of other
sculptors, is a great work of art as depicted
by the mind and wrought by the hand of
Saint-Gaudens. Lincoln's kindly nature,
brotherly love, honesty of purpose, clear and
far-seeing vision, grave with the destiny of
the nation, firm in the salvation of the Union,
are shown in these wonderful pieces of por
trait sculpture.
COur admiration of Saint-Gaudens' genius
reaches the highest point when we study his
great compositions with their wonderful re
strained movement, full of life, yet dignified
and statuesque; natural, but glowing with
imagination, poetry and inspiration. The
Shaw Memorial is a great composition in
relief, ideal in its sense of movement, natural
in its depiction of types, and imaginative in
its expression of sentiment. A spiritual figure
which inspires the group to deeds of bravery
and self-renunciation makes this memorial a
brilliant and satisfactory combination of the
ideal and real. The Sherman statue, guided 25

by the spirit of victory and peace, vividly
portrays the sense of motion — positive, resist
less, forward motion. This is one of the great
compositions of the world, full of realism,
imagination and poetry, happily combined,
graceful in all its lines, dignified and imposing,
restrained and beautiful.
Cit is fitting that Saint-Gaudens, one of the
immortals, should have1 conceived the poetic,
mysterious, and elevating figure of immor
tality which rests calmly for evermore in
Rock Creek Cemetery, an expression of his
genius, imagination, poetry, and eternal fame.

26

HONORS AND DEGREES
awarded to
AUGUSTUS SAINT-GAUDENS
Corresponding Member, Institute of France; Officer
of the Legion of Honor, 1901 ; Member, Royal
Academy of the Sciences and Letters of the Beaux
Arts, Belgium; Member, American Academy in
Rome, 1905 ; Corresponding Member, San Lucca
Academy of Rome, 1905 ; Member, Royal Academy,
London ; Member, International Society of Sculptors,
Painters and Gravers, London; Medal of Honor,
Paris, 1900 ; Special Medal of Honor, Buffalo, 1901 ;
Grand Prize, St. Louis, 1904; A Founder of the So
ciety of American Artists; Member of the National
Academy of Design ; Honorary Degree, LL.D., Har
vard University, 1897; Honorary Degree, L.H.D.,
Princeton University, 1897; Honorary Degree, LL.D.,
Yale University, 1905.

27

MEMORIAL EXHIBITION
of the Works of
AUGUSTUS SAINT-GAUDENS i
BERNARD P. E. SAINT-GAUDENS
Bronze bust, signed and dated 1867. H. 15 in.
Three-quarters size, directed and looking left.
Inscription BERNARD P. E. SAINT-GAVDENS.
Signature
A. ST.. G. FECIT. 1867.
Lent by Mrs. Augustus Saint-Gaudens.
Note. Father of the sculptor. 2
WILLIAMMAXWELL EVARTS
Plaster cast from marble bust, signed and dated 1874.
H. 23 in. Head directed and looking two-thirds to
the left; undraped; shoulders undercut to form
square pedestal.
Signature (in script)
AVG. SAINT-GAVDENS, ROMA, 1874.
Lent by Miss Mary Evarts.
Note. The order was given in Rome, the modelling being
done in New York immediately after Mr. Saint-Gaudens's
return from Italy. It was his first commissioned portrait
bust 29

3
WILLIAM GEDNEY BUNCE
Bronze plaque, low relief, signed and dated Paris,
1877. H. 6?4 in. ; W. ^Va m- Head and shoulders,
in profile, directed to the right; wearing hat. Sail
boat in lower right-hand corner.
Inscription
MY FRIEND WILLIAM GEDNEY BVNCE. PARIS
MDCCCLXXVII.Signature
AVGVSTVS SAINT-GAVDENS FECIT.
Lent by Mr. W. G. Bunce. 4
DAVID MAITLAND ARMSTRONG
Bronze plaque, low relief, signed and dated New
York, June, 1877. H. 7 in.; W. 4% in. Head in
profile, directed to the right. Palette in upper right-
hand corner.
Inscription
DAVID MAITLAND ARMSTRONG. NEW- YORK
JVNE MDCCCLXXVII.
Signature
AVG. SAINT-GAVDENS SCVLPTOR.
Lent by Mr. D. Maitland Armstrong.

MISS HELEN MAITLAND ARM
STRONG
Bronze plaque, low relief, signed and dated 1878.
H. 6^4 in. ; W. sj4 in. Head and shoulders of little
30

girl, side view, head in profile, directed and looking
left. Coat of arms in upper left corner.
Inscription
TO D. M. A. SOWENIR OF THE SCVLPTOR. HELEN
MAITLAND ARMSTRONG.
Signature
AVG. SAINT-GAVDENS FECIT 1878.
Lent by Mr. D. Maitland Armstrong.

6
GEORGE WILLOUGHBY MAYNARD
Bronze plaque, low relief, signed and dated Paris,
June, 1877. H. 8% in.; W. 5J4 in. Head and
shoulders, in profile, directed to the left.
InscriptionPARIS JVNE MDCCCLXXVII. MON AMI GEORGE
WILLOVGHBY MAYNARD.
Signature
AVGVSTVS SAINT-GAVDENS.
Lent by Mr. G. W. Maynard. 7
WILLIAM L. PICKNELL
Bronze plaque, in low relief, signed and dated 1877.
H. 7f£ in. ; W. 4% in. Head and shoulders, in pro
file, turned and looking to the right. Palette and
brushes indicated in lower left corner.
Inscription
WILLIAM L. PICKNELL, PAYS AGISTE. PARIS, JVNE
MDCCCLXXVII. Signature
AVGVSTVS SAINT-GAVDENS.
Lent by Mrs. Augustus Saint-Gaudens. 31

CHARLES FOLLEN McKIM
Bronze plaque, low relief, signed and dated Paris,
August, 1878. H. 7^ in.; W. 5 in. Head and
shoulders, side view, head in profile, directed to the
right. A palette with brushes in lower right corner.
Inscription
MY FRIEND CHARLES McKIM, ARCHITECT.
PARIS AVGVST MDCCCLXXVIII. IN SOWENIR
OF THE TEN JOLLY DAYS PASSED WITH YOV
AND THE ILLVSTRIOVS STANFORD WHITE IN
THE SOVTH OF FRANCE.
Signature
AVGVSTVS SAINT-GAVDENS FECIT.
Lent by Mr. C. F. McKim.

AUGUSTUS SAINT-GAUDENS
CHARLES F. McKIM AND
STANFORD WHITE. (CARICATURE)
Bronze medallion, dated 1878. D. 6 in.
Lent by Mrs. Augustus Saint-Gaudens.
IO
DOCTOR WALTER CARY
Bronze plaque, low relief, signed and dated Paris,
1879. H. g3/& in.; W. 6%. in. Head and shoulders,
side view, head in profile, directed to the right ; wear
ing hat. At left, coat of arms.
Inscription (below)
WALTER CARY M. D. MDCCCLXXIX.
32

Signature (above)
AVGVSTVS SAINT-GAVDENS FECIT,
PARIS.
Lent by Dr. Walter Cary.

II
RICHARD WATSON GILDER, WIFE
AND INFANT SON
Bronze plaque, low relief, signed and dated Paris,
1879. H. d,y2 in. ; W. 17 in. Quarter length, in
profile, mother and son at the left, directed to the
right; Mr. Gilder at the right, directed to the left.
Inscription
RICHARD WATSON GILDER HIS WIFE HELENA
DE KAY AND RODMAN DE KAY GILDER. PARIS
MDCCCLXXIX. Signature
AVG. SAINT-GAVDENS SCVLPTOR.
Lent by Mr. R. W. Gilder.

12
RODMAN DE KAY GILDER
Bronze plaque, low relief, signed and dated Paris,
1879. H. 13^ in.; W. 15^ in. Head of little boy,
in profile, directed to the right.
InscriptionRODMAN DE KAY GILDER. PARIS SEPTEMBER 1879.
Signature
F E (monogram : A ST G) CIT.
Lent by Mr. R. W. Gilder.
Note. A detail from the group described in Number 11,
but more fully carried out. 33

13
MISS MARIA M. LOVE
Bronze plaque, low relief, signed and dated Paris,
1879. H. g}i in.; W. 6-Hs in. Head and shoulder,
side view, head in profile, directed right, looking
down. Upper left corner, coat of arms; upper right,
ribbon with legend OMNIA VINCIT AMOR.
Inscription (below)
MARIA M. LOVE. PARIS MDCCCLXXIX.
Signature (Monogram: A ST G) FECIT.
Lent by Mr. Thomas Cary. 14
FRANCIS DAVIS MILLET
Bronze plaque, signed and dated Paris, March, 1879.
H. 10^ in. ; W. 6% in. Head and shoulders, side
view, directed to the right, head in profile. Palette
and brushes in lower right corner.
Inscription FRANCIS DAVIS MILLET. AETATIS SILE XXXIL
PARIS, MARCH MDCCCLXXIX.
Lent by Mr. F. D. Millet. 15
BENJAMIN GREENE ARNOLD
Marble bust, sighed, not dated. [187?.] H. 21 in.
Head directed and looking slightly to the left.
Signature
AVG. SAINT-GAVDENS.
Lent by Mr. Henry Newton Arnold.
34

i6
ADMIRAL DAVID GLASGOW
FARRAGUT
Plaster cast from a bronze statue, signed and dated
Paris, 1879-1880. Heroic size. Body directed to the
front, head and eyes a little to the right ; uniform of
United States Admiral, sword at side, the skirt of
the coat turned back on one side as if blown by the
wind; right arm straight at side, hand closed; left
raised to waistline, with telescope in hand; feet
slightly separated as if steadying the poise on an un
stable base. Low rectangular plinth.
Signature (on bronze base)
MODELLED BY AVG. SAINT-GAVDENS
PARIS MDCCCLXXIX-MDCCCLXXX.
Lent by the Metropolitan Museum of Art.
Cast made by permission of Commissioner of Parks, Bor
ough of Manhattan.
Note. The original monument stands at the northeast cor
ner of Madison Square Garden, New York City. The stone
pedestal forms a semicircular seat, divided by the pier upon
which the figure stands, and terminating at either end in
carved dolphins. Upon the central pier is a symbolic sword,
plunged down through the waves which flow across it and
over two seated female figures carved in low relief at either
side. The seat is raised three steps from the level of the
park, and the space about its foot is paved with pebbles in
which a bronze crab is sunk. The inscription which com
pletes the decoration of the stone seat-back reads in part
as follows :
DAVID GLASGOW FARRAGVT. THAT THE MEM
ORY OF A DARING AND SAGACIOVS COMMANDER
AND GENTLE GREAT-SOVLED MAN WHOSE LIFE
FROM CHILDHOOD WAS GIVEN TO HIS COVNTRY
BVT WHO SERVED HER SVPREMELY IN THE WAR
FOR THE VNION MDCCCLXI-MDCCCLXV MAY BE
PRESERVED AND HONORED. ..HIS COVNTRY-
MEN HAVE SET VP THIS MONVMENT A. D.
35

MDCCCLXXXI. BORN...MDCCCI. (Follows a bio
graphical sketch.) DIED. ..MDCCCLXX.
This was the first statue commissioned from Saint-Gau
dens for a public place. It was modelled in Paris, ex
hibited there in the Salon of 1880, and unveiled in New
York in 1881, marking an epoch in American sculpture and
decorative art.

17
ADMIRAL DAVID GLASGOW
FARRAGUT
Bronze cast of the model for the head, without signa
ture or date. Copyrighted 1908. H. 12 in.
Lent by Mrs. Augustus Saint-Gaudens.
Note. The statue as completed for the monument is dated
1879-1880. See Number 16.

18
MRS. EMELIA WARD CHAPIN
Bronze plaque, low relief, signed and dated Paris,
1879. H. gy2 in. ; W. 6 in. Head and shoulders, in
profile, directed right.
Inscription
EMELIA WARD CHAPIN
Signature (above)
AVGVSTVS SAINT-GAVDENS FECIT
PARIS MDCCCLXXIX
Lent by Mrs. E. W. Chapin.

36

19
DOCTOR WILLIAM EDWARD
JOHNSTON Bronze plaque, low relief, signed and dated Paris,
1879. H. ofii in.; W. 6% in. Head and shoulders,
side view, directed right.
Inscription
GVLIELMVS EDWARDVS JOHNSTON. ..MRS. JOHN
STON FROM DOCTOR CARY.
Signature (Monogram: A ST G) FECIT. PARIS, MDCCCLXXIX
Lent by Professor R. M. Johnston.

20
JOHN S. SARGENT
Bronze medal, low relief, signed and dated Paris,
July, 1880. D. 21/% in. Sketch of head, in profile,
directed to the right.
Inscription MY FRIEND JOHN SARGENT. PARIS JVLY
MDCCCLXXX. BRVTTO RITRATO
Signature
FECE A ST G.

Lent by Mrs. Augustus Saint-Gaudens.

21
DR. HENRY SHIFF

Bronze plaque, low relief, dated Paris, May, 1880.
H. 10M in-; W. 11% in- Half length, side view,
37

head profile, directed to the right. Figure of toad
introduced at the right.
Inscription
ALL'AMICONE DOTTORE HENRY SHIFF AETATIS
XXXXVlt. DEI ROSPI DI ROMA E DEI PVZZI
ROMANI AMANTE DE FILOSOFIA E DI BELLE
ARTI DILETTANTE. DEL TIPO GAT TESCO IN
AMORATO: IN TARIGI NEL MESE DI MAGGIO
DELL'ANNO MDCCCLXXX.
(TRANSLATION: To the dear friend Doctor Henry
Shiff at the age of forty-seven. Lover of the toads and
smells of Rome, dilettante in philosophy and the fine arts,
admirer of the feline type : in Paris in the month of May
of the year MDCCCLXXX.)
Signature
FECE AVGVSTVS SAINT-GAVDENS.
Lent by Mrs. Augustus Saint-Gaudens.
Note. A reduction is in the Luxembourg.

22
JULES BASTIEN-LEPAGE
Bronze plaque, low relief, signed and dated Paris,
1880. 11. \4y2 in.; W. iy>i in. Half length, di
rected to the left, head in profile, palette in left hand,
a brush in the right.
Inscription
JVLES BASTIEN-LEPAGE AETATIS XXXI. PARIS
MDCCCLXXX.Signature
AVGVSTVS SAINT-GAVDENS FECIT.

Lent by Mrs. Charles Homer.
Note. A reduction is in the Luxembourg.

38

23
CHILDREN OF PRESCOTT HALL
BUTLER
Plaster, low relief, signed and dated New York, Octo
ber, 1880-March, 1881. H. 24 in.; W. 35^ in. Fig
ures of two little boys in Highland costume; three-
quarters length, three-quarters to the right, heads in
profile; right arm of elder boy about shoulders of
younger. In upper left corner, an endless knot with
legend DABIT DEVS HIS QVOQVE FINEM.
Inscription (Left) CHARLES STEWART BVTLER IN HIS FOVRTH
YEAR. (Right) LAWRENCE SMITH BVTLER IN HIS
SLXTH YEAR. (Below) TO MY FRIEND PRESCOTT
HALL BVTLER SLXTH OF JULY EIGHTEEN HVN
DRED AND EIGHTY. MARCH TWENTY SIXTH
EIGHTEEN HVNDRED AND EIGHTY ONE.
Signature (Upper right corner, monogram A ST G) FECIT.
(Below) MODELLED BY AVGVSTVS SAINT
GAVDENS NEW YORK OCTOBER EIGHT
EEN HVNDRED AND EIGHTY. MARCH
EIGHTEEN HVNDRED AND EIGHTY
ONE.
Lent by Mrs. Augustus Saint-Gaudens.

24
JOSIAH GILBERT HOLLAND
Plaster cast of plaque (stained to resemble bronze),
low relief, signed and dated New York, 1881. H.
1514 in.; W. 10% in. Head and shoulders, side
view, head in profile, directed to the right.
InscriptionET VITAM IMPENDERE VERO. JOSIAH GILBERT
HOLLAND AT THE AGE OF FIFTY-SEVEN. NEW
YORK A. D. MDCCCLXXVI. 39

Signature
FECIT (monogram: A ST G) 1881.
Lent by Mr. Bleecker Van Wagenen.

25
MRS. CHARLES CARROLL LEE
AND MISS LEE
Bronze plaque, low relief, signed and dated New
York, 1881. H. 14^ in. ; W. 23^ in. Two busts at
either end of plaque, side view, heads in profile ; Mrs.
Lee at right, directed left; Miss Lee at left, directed
right. Between them a shield, crest and narrow rib
bon scroll.
Inscription (Upper left corner) SARAH REDWOOD LEE AETATIS
XVI. (Upp - right corner) HELEN LEE AETATIS
XXXVIIL (Below) NEW YORK MDCCCLXXXI. MOD
ELLED BY AUGUSTUS SAINT-GAUDENS FOR HIS
FRIEND DOCTOR CHARLES CARROLL LEE.
Lent by Mrs. Charles Carroll Lee.

26
MISS SARAH REDWOOD LEE
Bronze plaque, low relief, signed. [1881.] Three-
quarters length, three-quarters to the right, head in
profile, hands clasped before her.
InscriptionSARAH REDWOOD LEE.
Signature (Monogram: A ST G) FECIT.
Lent by Mrs. Charles Carroll Lee.
Note. A reduction is in the Luxembourg.
40

27. 28
CARYATIDS FOR RESIDENCE OF
CORNELIUS VANDERBILT,
NEW YORK
Two plaster casts from models, without signature or
date. [1881?] Total H. 3 ft. 11 y2 in. Standing
within shell-lined niches, female figures in classic
drapery supporting (in the original) the ends of the
mantel-piece with their uplifted arms ; one, with head
bowed on breast, the other with head inclined to the
right. Inscription above latter
AMOR.
Lent by Mrs. Augustus Saint-Gaudens.
Note. The latter caryatid is seen at the left of the por
trait of Mr. Saint-Gaudens by Mr. Cox.
The marble mantel-piece of which the finished statues form
a part was executed in collaboration with John La Farge
about 1881.

29
HOMER SCHIFF SAINT-GAUDENS
Bronze, low relief, dated New York, February, 1882.
H. 2oy2 in. ; W. i6y2 in. Infant, seated in armchair,
half length, side view, directed to the left, head in
profile, looking left, hand on arm of chair.
Inscription
TO MY FRIEND DOCTOR HENRY SCHIFF THIS
PORTRAIT OF MY SON HOMER SCHIFF SAINT-
GAUDENS AT THE AGE OF SEVENTEEN MONTHS.
Signature
AVGVSTVS SAINT-GAVDENS NEW
YORK FEBRVARY MDCCCLXXXII.
Lent by Mrs. Augustus Saint-Gaudens. 41

30
MISS GERTRUDE VANDERBILT
(MRS. HARRY PAYNE WHITNEY)
Plaster cast from bronze plaque, low relief, signed,
not dated. [1882.] H. 16^ in.; W. 23^ in. Half
length, three-quarters to the left, head three-quarters,
directed left; wearing hat; hands raised, gathering
roses, branches of which compose the background.
GERTRUDE VANDERBILT AT THE AGE OF SEVEN.
Signature
MODELLED BY AVG. SAINT-GAVDENS.
Lent by Mrs. Augustus Saint-Gaudens.

31
DOCTOR ALEXANDER HAMILTON
VINTON
Plaster cast from bronze, middle relief, signed and
dated 1883. Heroic size. Half-length figure, wear
ing doctor's gown, directed to the right, head three-
quarters and looking to the right; in the right hand,
under the arm, a book. The inscription covers the
background. Inscription
ALEXANDER HAMILTON VINTON D. D.... RECTOR
OF EMANVEL CHURCH, FROM 1869 TO 1877....
Signature (Monogram: A ST G)
Lent by the Metropolitan Museum of Art.
Cast made by permission of the Trustees of Emanuel
Church, Boston.

42

32
CHARLES TIMOTHY BROOKS
Plaster cast from memorial tablet; middle relief,
signed and dated 1884. H. 4 ft. 1 in. ; W. 2 ft. 6 in.
Within a rectangular tablet a circular medallion con
taining life-size head and shoulders, side view, di
rected to the left.
Inscription (Above medallion) IN SACRED MEMORY OF THE
FIRST AND BELOVED MINISTER OF THIS SO
CIETY. (Within medallion) CHARLES TIMOTHY
BROOKS BORN IN SALEM, MASS. JUNE 20TH, 1813.
DIED IN NEWPORT R. I. JUNE 4TH, 1883. (Below
medallion is a eulogy of some length.)
Signature
FECIT A ST G 1884.
Lent by Mrs. Augustus Saint-Gaudens.
Note. The original, in bronze, is in Channing Church,
Newport, R. I.

33
PROFESSOR ASA GRAY
Bronze plaque, low relief, signed and dated Cam
bridge, Mass., 1884. H. 35J4 in.; W. 27 in. Head
and shoulders, side view, directed to the left. In
upper right corner, within a wreath of flowers, three
miniature books with word VE | RI | TAS on their
pages. InscriptionASA GRAY MDCCCLXXXIV.
Signature
AVGVSTVS SAINT-GAVDENS FECIT
CAMBRIDGE MASS.
Lent by Harvard University. 43

34
SILAS WEIR MITCHELL
Bronze plaque, low relief, signed and dated New
York, 1884. H. 20J4 in. ; W. i6-Hj in. Three-quar
ters length, three-quarters to the right, head in pro
file, directed right; right arm akimbo, left at side
with hat and gloves in hand.
Inscription (Above) S. WEIR MITCHELL, PHILADELPHIA.
(Within parchment scroll bearing device of rod and ser
pent, the date) MDCCCLXXXIV. (Below) JOHN CAD-
WALADER FROM S. WEIR MITCHELL.
Signature
AVGVSTVS SAINT-GAVDENS FECIT
NEW YORK
Lent by Mr. John L. Cadwalader. 35
MRS. LOUISE M. HOWLAND
Bronze high relief, signed. [1884?] H. 39^ in.;
W. 23^ in. Three-quarters length figure, three-quar
ters to the left; head directed and looking right,
right arm resting on piano, hands clasped.
Inscription
LOUISE MILLER HOWLAND. ..MDCCCLXXXIV.
Signature
AVGVSTVS SAINT-GAVDENS FECIT.
Lent by Judge Henry E. Howland.

44

36
MRS. STANFORD WHITE
Plaster cast from marble, middle relief, signed and
dated February 7, 1884. H. 23 in.; W. I2j4 in.
Three-quarters length ; three-quarters to the left, look
ing left; right hand raised, left holding flowers.
Inscription
FEBRVARY VII MDCCCLXXXIX.
Signature
AVGVSTVS SAINT-GAVDENS FECIT
Lent by Mrs. Augustus Saint-Gaudens.

37
DUNROBIN
Terra-cotta circular medallion, low relief, signed and
dated 1884. D. 15 in.
InscriptionDUNROBIN. Signature
A. 1884. ST. G.
Lent by Mr. John Gellatly.
Note. This is a portrait of the Scotch deerhound Dun-
robin, the dog that was used as a model by Mr. Saint-
Gaudens in his relief of the Children of Jacob H. Schiff.

38
WILLIAM EVARTS BEAMAN
Bronze medallion, signed and dated 1885. D. (verti
cal) i8y2 in.; (horizontal) 19 in. Head and shoul
ders of little boy, directed to the left. 45

Inscription
QVANTVM BONVM' EST VBI SVNT PRAEPARATA
PECTORA IN QVAE TVTO SECRETVM OMNE DE-
SCENDAT QOVRVM CONSCIENTAM MINVS QVAM
SVAM TIMEAS QVORVM SERMO SOLLiaTVDINEM
LENIAT SENTENTIA CONSILIVM EXPEDEAT Hl-
LARITAS TRISTRIAM DISSIPET CONSPECTVS IPSE
DELECTET. WILLIAM EVARTS BEAMAN IN HIS
FOVRTH YEAR 1885.
Signature
FE (monogram: A ST G) CIT
Lent by Mrs. C. C. Beaman.

39
DOCTOR HENRY WHITNEY
BELLOWS
Plaster cast from bronze memorial tablet, middle re
lief [signed and dated New York, 1885]. Full-
length figure, standing, directed and looking three-
quarters to the left; wearing gown; right arm bent,
holding book; left at side; right foot advanced. Be
tween pilasters supporting a round arch, the whole
upon a pediment-shaped tablet. H. 10 ft. 4 in.; W.
4 ft. 5^ in.
Inscription (Above) FORTY-THREE YEARS MINISTER OF THIS
CHVRCH TO WHICH HE GAVE THE NAME ATI.
SOVLS, PRESIDENT OF THE VNITED STATES
SANITARY COMMISSION FROM 1861 TO 1878 (Be
low) HENRY WHITNEY BELLOWS, D D BORN IN
BOSTON JVNE 11TH, 1814. DIED IN NEW YORK
JANVARY 1882.
Lent by the Metropolitan Museum of Art.
Cast made by permission of the Trustees of All Souls
Church, New York.

46

'¦111. WM ' 1 1 il II i'  M"..;— ' !

AMOR CARITAS.

40
AMOR CARITAS
Plaster cast from bronze high relief, signed and
dated [1887]. Total H. 8 ft. 9 in.; W. 4 ft. Within
a shallow niche, a standing female figure, with up
ward curving wings partly surrounding a tablet,
which rests upon the head and is lightly held by the
upraised hands. The figure is directed front, the
head and eyes very slightly to the right, and the
sandaled feet are partly visible beneath the long robe.
Girdle and crown of passion-flowers.
Inscription (on tablet above head)
AMOR CARITAS.
Signature
AVGVSTVS SAINT-GAVDENS.
MDCCCLXX [XVII].
Lent by Mrs. Augustus Saint-Gaudens.
Note. The original idea of this was embodied in the fig
ures on the Morgan tomb at Hartford, Conn., which were
burned. From this spring the figure of the Maria Smith
tomb at Newport, and the Amor Caritas of the Luxem
bourg, of which this is a replica.

41
CHESTER W. CHAPIN
Plaster cast of bust, without signature or date.
[About 1887.] H. 21 in. Directed and looking
front.Lent by Mrs. Augustus Saint-Gaudens.

47

42
PORTRAIT OF A LADY
Plaster cast from unfinished clay sketch of oval
medallion, not signed, dated or inscribed. D. (verti
cal) 16 in. ; (horizontal) 13% in. Head and shoul
ders, three-quarters to the right, directed right, head
in profile, hand on chest.
Lent by Mrs. Augustus Saint-Gaudens.

43
WASHINGTON MEDAL
A replica of a bronze medal, low relief, copyrighted
1889. D. 454 in.
(Obverse) Bust of Washington, side view, head in profile,
directed left. Continental costume. At the right, the fasces
of magistracy. Forming a border about the edge, thirteen
stars. Signature
PHILIP MARTINY, MODELLER. DESIGN
AND COPYRIGHT BY AUGUSTUS SAINT-
GAUDENS.
InscriptionGEORGE WASHINGTON. PATER PATRIAE.
MDCCLXXXIX. (Reverse) Upper half, an American eagle, with wings
spread, claws holding arrows and olive branch bearing
shield with legend E PLVRIBVS VNVM. Lower left,
coat of arms of New York State. Thirty-eight stars form
ing border.
Inscription
TO COMMEMORATE THE INAVGVRATION OF
GEORGE WASHINGTON AS FIRST PRESIDENT OF
THE VNITED STATES OF AMERICA AT NEW
YORK APRIL XXX MDCCLXXXIX. BY AVTHORITY
48

OF THE COMMITTEE ON CELEBRATION NEW
YORK APRIL XXX MDCCCLXXXIX.
Lent by the American Numismatic Society.

44
ABRAHAM LINCOLN (STANDING
FIGURE)
Plaster cast from bronze statue, signed and dated
1887. Heroic size. Standing before a chair, figure
directed to the front, head slightly bent, right arm
thrust behind him, left grasping lapel of coat, left
foot advanced, in an attitude characteristic of Lincoln
when rising to make a speech.
Signature
AUGUSTUS SAINT-GAUDENS
SCULPTOR
MDCCCLXXXVII.
Lent by the Metropolitan Museum of Art.
Cast made by permission of the Commissioners of Lincoln
Park, Chicago.
Note. The original statue stands at the south end of Lin
coln Park in Chicago, the idea of an audience-chamber be
ing further carried out in the great circular stone exedra,
sixty feet across, which surrounds the low pedestal, in the
design of which Mr. Saint-Gaudens collaborated with the
late Stanford White, architect. The inscription is on the
pedestal and back of the exedra, and includes among other
things an extract from the Cooper Union speech of i860:
LET US HAVE FAITH THAT RIGHT MAKES
MIGHT, AND IN THAT FAITH LET US TO THE
END DARE TO DO OUR DUTY AS WE UNDER
STAND IT.

45
ROBERT LOUIS STEVENSON
Plaster cast from rectangular bronze memorial tab
let in Saint Giles's Cathedral, Edinburgh, Scotland;
low relief, signed and dated 1887-1892. H. (of re
lief proper) 5 ft. 7 in., (of plinth) 1 ft. 10 in. ; W.
(of relief proper) 9 ft. \y2 in., (of plinth) 9 ft. 2 in.
A variant of the same design, the figure being the
same, but shown in full length, covered with a travel
ing 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 bor
der, 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 corner.
Inscription (Above, Stevenson's "Prayer")
GIVE VS GRACE AND STRENGTH TO FORBEAR
AND TO PERSEVERE. GIVE VS COVRAGE AND
GAIETY AND THE QVIET MIND, SPARE TO VS
OVR FRIENDS, SOFTEN TO VS OVR ENEMIES.
BLESS VS, IF IT MAY BE, IN ALL OVR INNOCENT
ENDEAVORS. IF IT MAY NOT, GIVE VS THE
STRENGTH TO ENCOVNTER THAT WHICH IS TO
COME, THAT WE MAY BE BRAVE IN PERIL, CON
STANT IN TRIBVLATION, TEMPERATE IN WRATH,
AND IN ALL CHANGES OF FORTVNE, AND DOWN
TO THE GATES OF DEATH, LOYAL AND LOVING
TO ONE ANOTHER.
(On plinth, below relief proper)
ROBERT LOVIS STEVENSON. BORN AT VIII HOW
ARD PLACE EDINBVRGH, NOVEMBER XIII
MDCCCL. DIED AT VAILIMA, ISLAND OF VPOLV,
SAMOA, DECEMBER III, MDCCCXCIV. THIS ME
MORIAL IS ERECTED IN HIS HONOVR BY READ
ERS IN ALL QVARTERS OF THE WORLD, WHO
ADMIRE HIM AS A MASTER OF ENGLISH AND
SCOTTISH LETTERS, AND TO WHOM HIS CON-
SO

STANCY UNDER INFIRMITY AND SUFFERING,
AND HIS SPIRIT OF MIRTH, COVRAGE AND LOVE
HAVE ENDEARED HIS NAME.
(Follows Stevenson's "Epitaph" written by himself)
VNDER THE WIDE AND STARRY SKY DIG THE
GRAVE AND LET ME LIE.
GLAD THAT I UVE AND GLADLY DIE, AND I
LAID ME DOWN WITH A WILL.
THIS BE THE VERSE YOV GRAVE FOR ME: HERE
HE LIES WHERE HE LONGED TO BE;
HOME IS THE SAILOR, HOME FROM THE SEA,
AND THE HVNTER HOME FROM THE HILL.
Lent by Mrs. Augustus Saint-Gaudens.

46
ROBERT LOUIS STEVENSON
Bronze circular medallion, low relief, signed and
dated 1887. D. (vertical) 35^ in.; (horizontal)
34J4 in. Similar in design and inscription to the
model described under No. 39, but differing as fol
lows: Foot of bed and lower quarter of figure not
visible; ivy border and verses of inscription made tQ
conform to the circular shape of the medallion. In
stead of dedication "To Robert Louis Stevenson,"
etc., the present example reads: REPLICA MADE
FOR CHARLES DEERING BY HIS FRIEND
AVGVSTVS SAINT - GAVDENS. ASPET
MCMVI.
Signature (below poem)
AVGVSTVS SAINT-GAVDENS.
MDCCCLXXXVII.
Lent by Mr. Charles Deering.
Note. The "dedication" varies with the name of the re
cipient, and the earlier replicas differed in minor details
of modelling.
A bronze reducton is in the Luxembourg. SI

47
ROBERT LOUIS STEVENSON
Electrotype reduction from the model of the relief
as originally designed ; in rectangular form ; signed
and dated New York, September, 1887. H. 6-M? in.;
W. ij,y2 in. Full-length figure, seen in profile, look
ing left, reclining in a bed, the lower limbs partly
concealed by the coverlet; the left hand holding a
manuscript, 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.
Inscription (Stevenson's poem beginning)
YOUTH NOW FLEES ON FEATHERED FOOT
FAINT AND FAINTER SOUNDS THE FLUTE.
(ending)
LIFE IS OVER. LIFE WAS GAY.
WE HAVE COME THE PRIMROSE WAY.
TO ROBERT LOUIS STEVENSON FROM HIS
FRIEND AUGUSTUS SAINT-GAUDENS. NEW YORK
SEPTEMBER MDCCCLXXXVII.
Signature : As given above.
Note. 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.
Lent by Mrs. Augustus Saint-Gaudens.

47a
DEACON SAMUEL CHAPIN
("THE PURITAN")
Plaster cast from bronze statue at Springfield, Mass.
See No. 112.
Property of the Art Institute.
52

48
WILLIAM MERRITT CHASE
Bronze plaque, low relief, signed and dated New
York, August, 1888. H. 21^ in.; W. 29^ in.
Three-quarters length, three-quarters to the left, head
in profile, directed left, wearing artist's blouse and
Tam O'Shanter cap ; in the left hand are a palette
and brushes ; the right arm, with paint brush in hand,
is extended and rests on painter's stick. In the lower
left corner is a medallion with design of winged
horse. Inscription (
WILLIAM MERRITT CHASE IN HIS FORTIETH
YEAR FROM HIS FRIEND AVGVSTVS SAINT-GAV
DENS. NEW YORK AVGVST MDCCCLXXXVIll.
Signature : As given above.
Lent by Mr. W. M. Chase.
Note. The clay model of this plaque, in somewhat differ
ent form, is represented on the sculptor's easel in Mr.
Kenyon Cox's portrait of Saint-Gaudens.

49
EDWIN HUBBELL CHAPIN, D.D.
Plaster cast from the bronze relief in the Fourth
Universalist Church, New York City. Signed, not
dated. [188?] H. 36% in. ; W. 32^ in. Head and
shoulders, three-quarters to the left, head in profile.
InscriptionEDWIN HVBBELL CHAPIN D. D. BORN DEC. 29TH,
1814 DIED DEC. 26TH, 1880 HE BEING DEAD YET
SPEAKETH. PASTOR OF THE FOVRTH VNIVER
SALIST SOCIETY OF THE CITY OF NEW YORK
FROM MAY 1848 VNTIL HIS DEATH. 53

Signature (Monogram: A ST G) FECIT.
Lent by Mrs. Augustus Saint-Gaudens.

50
GENERAL WILLIAM TECUMSEH
SHERMAN
Bronze bust, signed. [1888.] Copyright by Augus
tus Saint-Gaudens, 1892. Total H. 31^ in. Shoul
ders directed front, head and eyes right; United
States military coat. The bust rests upon a rec
tangular block bearing the inscription, and that in
turn upon a mass of ribbon-bound laurel supported
upon a rectangular slab.
Inscription
WILLIAM TECUMSEH SHERMAN.
Signature
AVGVSTVS SAINT-GAVDENS.
Lent by U. S. Military Academy at West Point.
Note. Modelled from life in eighteen sittings. Served as
the study for the head of Sherman in the memorial statue
unveiled in 1903.

51
MRS. SCHUYLER VAN RENSSE
LAER
Bronze plaque, low relief, signed and dated 1888.
H. 29% in.; W. 7% in. Head and shoulders, side
view, head profile, directed to the left.
Inscription
ANIMVS NON OPVS. MDCCCLXXXVIll. TO MARI
ANA GRISWOLD VAN RENSSELAER.
54

Signature
AVGVSTVS SAINT-GAVDENS.
Lent by Mrs. Schuyler Van Rensselaer.
Note. A reduction is in the Luxembourg.
52
CHILDREN OF JACOB H. SCHIFF
Plaster cast from bronze, low relief, signed and dated
[New York], 1888. H. 5 ft. gy2 in.; W. 4 ft. 3 in.
Figures of little girl and boy, walking, accompanied
by greyhound. Full length, three-quarters to the
right ; the face of the girl seen in three-quarters view,
the boy's in profile. The former, somewhat the taller,
placed at the right, leads the boy with her right hand,
and with the left holds the dog by the collar. The
boy holds cap in right hand. Sculptured frame effect
of plinth, columns and cornice hung with garlands.
Signature
AVGVSTVS SAINT-GAVDENS.
Lent by Mrs. Augustus Saint-Gaudens.
Note. A bronze reduction is in the Luxembourg.

53
KENYON COX
Bronze plaque, low relief, signed and dated New
York, 1889. H. igy2 in. ; W. 7% in. Head, in pro
file, directed to the right.
Inscription „ „ „
KENYON COX PAINTER IN HIS THIRTY-THIRD
YEAR BY HIS FRIEND AVGVSTVS SAINT-GAV
DENS MDCCCLXXXIX. 55

Signature : As given above.
Lent by Mr. Kenyon Cox.
Note. Executed two years after the portrait painted by
Mr. Cox of Mr. Saint-Gaudens.

54
GEORGE HOLLINGSWORTH
Plaster cast, low relief, signed and dated 1889. H.
5 ft. 9 in. ; W. 2 ft. gy2 in. Three-quarters length,
three-quarters to the right, head in profile, directed
to the right; right arm akimbo, left resting on book.
Frame effect produced by modelled cornice, plinth
and moulding.
Inscription
GEORGE HOLLINGSWORTH TEACHER OF THE
LOWELL INSTITVTE DRAWING SCHOOL FROM
MDCCCLI TO MDCCCLXXIX. THIS BRONZE TESTI
FIES TO THE LOVE OF HIS MANY FRIENDS AND
TO THE GRATITVDE AND ESTEEM OF HIS MANY
PVPILS. MDCCCXIII MDCCCLXXXII.
Signature
A ST G FECIT '99.
Lent by the Metropolitan Museum of Art.
Cast made by permission of Boston Museum of Fine Arts.
Note. The original, in bronze, is in the Boston Museum
of Fine Arts.

55
DOCTOR JAMES McCOSH
Plaster cast from bronze memorial tablet, middle re
lief, signed and dated 1889. Full-length figure, stand
ing, directed front,- head three-quarters and looking
56

right ; wearing doctor's gown ; right hand extended.
left resting upon reading-desk. H. 8 ft. y/? in. ; W.
4 ft. 724 in.
Inscription (above)
JAMES McCOSH D. D. LL. D. FOR TWENTY YEARS
PRESIDENT OF PRINCETON COLLEGE OCTOBER
XXVII MDCCCLXVIII. JVNE XX MDCCCLXXXVIll.
ERECTED IN HIS HONOR BY THE CLASS OF
MDCCCLXXIX. JVNE XVIII MDCCCLXXXIX.
Lent by the Metropolitan Museum of Art.
Cast made by permission of Princeton University.

56
MISS VIOLET SARGENT
Bronze plaque, low relief, signed and dated 1890
Full-length seated figure, directed three-quarters to
the right, head in profile, holding in the hands a
guitar, the limbs crossed. H. 50K in-; W. 34K in-
Inscription (within ivy-wreath)
VIOLET 'SARGENT.
Signature
A. ST G MDCCCLXXXX FECIT.
Lent by Mrs. Augustus Saint-Gaudens.

57
SEAL FOR THE PUBLIC LIBRARY
BOSTON, MASSACHUSETTS
Plaster cast from which the stone rectangular high
relief was cut, signed. [1891?] H. 4 ft- ; W. 6 ft.
A shield, bearing a book, is supported on either side
by nude figures of boys, each carrying a torch.
Above, a ribbon scroll. 57

InscriptionOMNIVM LVX CIVIVM. MDCCCLII MDCCCLXXXIII.
Signature
BY A. ST. G.
Lent by Mrs. Augustus Saint-Gaudens.

58
THE HEAD OF THE FIGURE ON
THE ADAMS MONUMENT
This head was in the studio of Mr. Augustus Saint-
Gaudens when everything was destroyed in 1904, with
the exception of this head and the portrait of his
son, Mr. Homer Saint-Gaudens. "The Adams Mon
ument head was especially notable that dreary morn
ing after the fire, when there was absolutely nothing
else left standing or saved."
Lent by Mrs. Augustus Saint-Gaudens.

59
ADAMS MONUMENT, ROCK CREEK
CEMETERY, WASHINGTON, D. C.
Plaster cast from bronze statue, unsigned and un
dated. [About 1 89 1.] A figure, enveloped in heavy
drapery, which covers the head and body with the
exception of the face and right arm, the hand of
which supports the chin. Directed to the front, eyes
lowered. Lent by the Metropolitan Museum of Art.
Cast made by permission of Mr. Henry Adams.
Note. The monument consists of a block of granite against
which the figure leans, and which forms one side of an
58

hexagonal plot of about twenty feet in diameter. Opposite
and occupying three sides of the hexagon is a massive
stone bench. The figure has been variously interpreted,
although Saint-Gaudens gave no name to it.

60
DIANA
Bronze cast from a study for the head, without date.
Copyrighted 1908. H. gy2 in.
Signature (Monogram: A ST G)

Lent by Mrs. Augustus Saint-Gaudens.

61

DIANA

Reduction in bronze from the Diana surmounting
the Madison Square Garden tower, with drapery
omitted. Not signed or dated. Total H. 41^ in.
Attitude similar to that of No. 62, bow and arrow
present, crescent omitted. No inscription.
Lent by Mr. Charles F. McKim.
Note. A large statue of Diana, modelled in 1892, was
exhibited in bronze at the World's Fair in Chicago in
1893. A smaller statue, which also has the drapery, was
placed above the tower of Madison Square Garden, New
York.

62
DIANA
Bronze cast from early clay sketch, not signed. H.
(of figure) 25 in.; (of pedestal) 5 in. Nude figure
poised with one foot upon a sphere. Head turned 59

to left, crescent on brow ; left arm extended, right
flexed, in attitude of archer shooting; bow and arrow
absent. No inscription.
Lent by Mr. John Gellatly.

63
MRS. GROVER CLEVELAND
Plaster cast from model in form of circular medal
lion, not signed or dated. D. 17 in. Head and
shoulders, three-quarters to the left, head three-quar
ters and looking left.
Inscription
FRANCES FOLSOM CLEVELAND.
Lent by Mrs. Augustus Saint-Gaudens.

64
MRS. GROVER CLEVELAND
Bronze medallion, low relief, signed and dated 1892.
D. 5^3 in. Head and shoulders, three-quarters and
looking left.
InscriptionFRANCES FOLSOM CLEVELAND MARION MASSA
CHUSETTS. AVGVST MDCCCXCII.
Signature (Monogram: A ST G)
Lent by Mrs. Grover Cleveland.
Note. A reduction from Number 63.

60

C.jpjniht. 1905. ir \V. f. Ward.
REVERSE i )E CUEUMBIAN MEDAL.

65
MEDAL OF WORLD'S COLUMBIAN
EXPOSITION, CHICAGO
Bronze medal, cast, low relief, signed. Date of in
scription 1892-1893. D. 4 in.
(Obverse) Figure of Columbus in armor with sword and
cloak; full-length, body and head three-quarters, directed
left, eyes raised, arms outspread, right foot advanced.
Background: portions of a ship, an unfurled banner, and
figures of three men visible in part ; in distance a symbolic
device of ships passing the pillars of Hercules, and words
PLVS VLTRA.
InscriptionCHRISTOPHER COLVMBVS OCT. XII MDCCCXCII.
Signature (below, partly effaced)
AVGVSTVS SAINT-GAVDENS.
(Reverse) Undraped figure of a youth standing upon a
hill-top, and supporting a tall shield, directed and looking
front, right arm extended, hand grasping a torch; left arm,
with hand holding three wreaths, resting upon the shield.
The shield bears under the motto E PLVRIBVS VNVM,
an American eagle with arrows, olive branch and small
shield. At the right of the large shield is a young oak
tree. Inscription
THE COLVMBIAN EXHIBITION IN COMMEMORA
TION OF THE FOVR HVNDREDTH ANNIVERSARY
OF THE LANDING OF COLVMBVS. TO AVGVSTVS
SAINT-GAVDENS. MDCCCXCII-MDCCCXCIII.
Signature (Monogram : A S T G)
Lent by Mr. Louis Saint-Gaudens.
Note. Cast from the original study, reduced.

61

66
MEDAL OF WORLD'S COLUMBIAN
EXPOSITION, CHICAGO
Two electrotype medallions from obverse and reverse
of similar design, with slight variation. D. 8 in.
(encircled by one-half-inch rim left in electrotyping) .
Lent by the United States Mint in Philadelphia.
Note. Design of obverse same as the above. The design
of the reverse (rejected by the Quadro-Centennial Com
mittee of the United States Senate) resembles the original
sketch except in having a blank tablet for the name of the
recipient at lower left with three fleurets below it, and
some minute changes in the shield bearings.

67
MEDAL OF WORLD'S COLUMBIAN
EXPOSITION, CHICAGO
The medal as finally cast, with the obverse (a) as
designed by Saint-Gaudens, and in place of the nude
figure, etc., of the reverse (b), a design by Mr.
Charles E. Barber of the United States Mint. D.
4 in.
Lent by Mr. George F. Kunz.

68
STUDY OF A CHILD
Bronze medallion, low relief, unsigned, dated 1892.
D. 2$$ in. Head and shoulders, three-quarters to
the right, head in profile, directed right.
Inscription ...MDCCCXCII.
Lent by Mrs. Augustus Saint-Gaudens.
62

69
CHARLES COTESWORTH BEAMAN
Bronze plaque, low relief, signed and dated 1894.
H. 26^2 in.; W. 15J4 in. Figure half length, head
in profile, directed and looking to the right, right
hand in pocket.
Inscription
MDCCCLXXXIV. CHARLES COTESWORTH BEAMAN
BY HIS FRIEND AVGVSTVS SAINT-GAVDENS.
Signature : As given above.
Lent by Mrs. C. C. Beaman.
Note. A reduction is in the Luxembourg.

70
GARFIELD MONUMENT, FAIR-
MOUNT PARK, PHILADELPHIA
Plaster cast from bronze bust of James Abram Gar
field, unsigned, dated 1895. Colossal size. Undraped;
head directed and looking front. Date inscribed be
low on tablet: MDCCCXCV.
Lent by Mrs. Augustus Saint-Gaudens.

71
GARFIELD MONUMENT, FAIR-
MOUNT PARK, PHILADELPHIA
Plaster cast from bronze statue of the "Republic,"
signed and dated 1895. Heroic size. Standing fe
male figure in flowing robe and liberty cap; directed
and looking front; in the left hand a palm branch, 63

the right resting on an oval shield held directly be
fore the figure.
Inscription (on shield)
JAMES ABRAM GARFIELD PRESIDENT OF THE
VNITED STATES MDCCCLXXXI.
Lent by the Metropolitan Museum of Art.
Cast made by permission of the Commissioners of Fair-
mount Park, Philadelphia.
Note. The monument proper is a tall marble quadrilateral
stele with Doric pilasters at the angles, supporting an
entablature upon which rests the bust, and below which,
filling a niche in the anterior face, stands the figure of the
"Republic."

72
MISS ANNIE PAGE
Bronze head, signed and dated 1895, copyrighted
1908. H. i8y2 in.
Signature
MDCCC (monogram: A ST G) XCV
Lent by Mrs. Augustus Saint-Gaudens.
73
WILLIAM ASTOR CHANLER
Bronze bust, signed and dated 1896. H. 19*4 in.
Head and chest directed front.
InscriptionWILLIAM ASTOR CHANLER
Signature (script)
AUGUSTUS ST GAUDENS, 1896
Lent by Mrs. John J. Chapman.
64

74
PETER COOPER
Plaster cast, of heroic size, of head from bronze
statue, the original signed and dated 1897. H. 26 in.
Lent by Mrs. Augustus Saint-Gaudens.
Note. The monument of which this is a detail is at the
side of Cooper Union, New York City, in honor of its
founder. Mr. Saint-Gaudens attended school at the Union
in his youth.

75
MEMORIAL TO COLONEL ROBERT
GOULD SHAW, BOSTON
Plaster cast of early sketch for bronze relief; with
out signature or date. H. 1414 in.; W. 15^. in.
Equestrian figure of Shaw, directed to the left, and
surrounded by foot soldiers, the whole surrounded
by architectural frame.
Lent by Mrs. Augustus Saint-Gaudens.
Note. The commission for the memorial to Colonel Shaw,
Commander 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.

76
MEMORIAL TO COLONEL ROBERT
GOULD SHAW, BOSTON
Bronze cast for a study for the head of Colonel
Shaw; without signature or date. H. ioy2 in. 65

Signature (Monogram: A ST G)
Lent by Mrs. Augustus Saint-Gaudens.

77
MEMORIAL TO COLONEL ROBERT
GOULD SHAW, BOSTON
Six plaster casts of studies for the heads of negroes ;
without signature or date. One-third life size.
Lent by Mrs. Augustus Saint-Gaudens.

78
MEMORIAL TO COLONEL ROBERT
GOULD SHAW, BOSTON
Plaster cast of early study for female figure, low re
lief ; without signature or date. L. 37 in.
Lent by Mrs. Augustus Saint-Gaudens.

79
MEMORIAL TO COLONEL ROBERT
GOULD SHAW. BOSTON
Plaster cast of later study for female figure, low re
lief; without signature or date. L. 10 ft. 7 in.
Note. The female figure, which seems to symbolize death
and fame, is seen in the finished relief, floating above and
a little in advance of the figure of Shaw, the position being
nearly horizontal, directed to the right, the eyes, as in the
latter cast, being lowered, the left arm extended, palm up
ward, and the right arm clasping to the breast poppies and
66

a laurel branch, the whole enveloped in sweeping draperies.
A large photograph of the finished relief is also shown.
Lent by Mrs. Augustus Saint-Gaudens.

80
SHERMAN MONUMENT: FIRST
SKETCH FOR HEAD OF VICTORY
Bronze bust on circular base; signed and dated 1897.
Total H. 13 in. One-third life size, directed and look
ing front; hair in Grecian knot.
Inscription (on applied tablet below)
FIRST SKETCH OF HEAD OF VICTORY,
SHERMAN MONUMENT...
Signature
AVGVSTVS SAINT-GAVDENS, 1897-
Lent by Miss Hettie E. Anderson.

81
CHARLES ANDERSON DANA
Bronze low relief, signed. [1898.] H. 37^ in.; W.
1956 in. Head and shoulders, side view, directed
and looking to the left.
Inscription (At left within ivy-wreath) CHARLES ANDERSON
DANA, (below on tablet) MDCCCXIX-MDCCCXCVII.
Signature
A ST G

Lent by Mr. William M. Laffan.

67

82
WILLIAM DEAN HOWELLS
AND MISS HOWELLS
A replica, with differing patina, of a bronze plaque,
low relief, signed and dated New York, 1898. H.
8xf% in.; W. 13J4 in. Two figures, three-quarters
length, side view, heads in profile; Miss Howells at
the left looking right, her left arm resting upon a
small table, chin in hand. Mr. Howells at the right,
looking left, with a manuscript in the left hand and
eye-glasses in the other.
InscriptionMILDRED AND WILLIAM DEAN HOWELLS NEW
YORK MDCCCXCVIII. FROM AVGVSTVS SAINT
GAVDENS. Signature as given above.
Lent by Mrs. Augustus Saint-Gaudens.

83
AMOR CARITAS
Bronze relief, signed and dated 1898. H. 39J4 in.;
W. i?y2 in.
Reduction of Number 34.
Signature
AVGVSTVS SAINT-GAVDENS
MDCCCXCVIII

Lent by Mrs. Augustus Saint-Gaudens.

68

84
WILLIAM DEAN HOWELLS AND
MISS HOWELLS
Bronze plaque, low relief, signed and dated New
York, 1898. H. 8H in.; W. 13}$ in. Two figures,
three-quarters length, side view, heads in profile;
Miss Howells at the left, looking right, her left arm
resting upon a small table, chin in hand ; Mr. Howells
at the right, looking left, with a manuscript in the
left hand and eye-glasses in the other. Reduction
from large-sized model.
Inscription
MILDRED AND WILLIAM DEAN HOWELLS NEW-
YORK MDCCCXCVIII. FROM AVGVSTVS SAINT
GAVDENS.
Signature as given above.
Lent by Mrs. Augustus Saint-Gaudens.
Note. A replica is in the Luxembourg.

85
MRS. CHARLES COTESWORTH
BEAMAN
Bronze plaque, low relief, signed and dated Cornish,
N. H., October, 1900. H. 23 in.; W. 21% in. Three-
quarters length, side view, seated, head in profile,
directed and looking left.
InscriptionCORNISH NEW HAMPSHIRE OCTOBER NINETEEN
HVNDRED. (Within ivy-wreath) HETTIE SHERMAN
BEAMAN.Signature (Monogram: A ST G)
Lent by Mrs. Charles Cotesworth Beaman. 69

86
HORACE GRAY, ASSOCIATE
JUSTICE OF THE UNITED STATES
SUPREME COURT
Plaster cast from bronze plaque, low relief, signed
and dated 1901. H. 29^ in.; W. 32^ in. Three-
quarters length, seated, side view, head in profile,
directed to the left; left hand resting on book, right
on knee ; robe of office. In left upper corner seal of
the Supreme Court of the United States.
Inscription
HORACE GRAY IN HIS SEVENTY FOURTH YEAR.
WASHINGTON D. C. APRIL MDCCCCI. MAJOR
HAEREDITAS VENIT A JURE ET LEGIBUS.
Signature (Monogram : A ST G )
Lent by Mrs. Horace Gray.

87
MRS. JOHN CHIPMAN GRAY
Bronze plaque, low relief, signed and dated October,
1902. H. 35,}^ in.; W. 23^5 in. Three-quarters
length, seated, with back partly turned, head in pro
file, directed to the left, hands clasped on arm of
chair; evening dress. The plaque is ornamented
above with a palmette and scrolls.
Inscription CORNISH NEW HAMPSHIRE OCTOBER MDCCCCII.
Signature (Monogram: A ST G)
Note. The carved wood tablet upon which the plaque is
mounted is inscribed: ANNA LYMAN GRAY.
Lent by Mr. John Chipman Gray.
70

JOHN HAY

88
HENRY ADAMS (CARICATURE)
Bronze medallion, signed and dated 1904. D. 7yA in.
Signature
A ST G
Lent by Mrs. Augustus Saint-Gaudens.
89
JAMES WALL FINN (CARICATURE)
Bronze medallion, signed and dated 1904. D. (verti
cal) 6% in. ; (horizontal) 6J4 in.
Signature (Monogram: A ST G)
Lent by Mr. J. W. Finn.
90
CHARLES A. PLATT (CARICATURE)
Bronze plaque, signed and dated 1904. H. gy2 in.;
W. 3y2 in.
Lent by Mrs. Augustus Saint-Gaudens.

91
HONORABLE JOHN HAY
Bronze bust, signed and dated Washington, 1904.
H. 25 in. Head directed and looking slightly to the
right; wearing overcoat. 71

InscriptionWASHINGTON MCMIV.
Signature
AVGVSTVS SAINT-GAVDENS.
Lent by Mrs. John Hay.

92
PLAQUE COMMEMORATIVE OF
THE CORNISH CELEBRATION
JUNE 23, 1905
Bronze plaque in low relief. H. 32^ in.; W. 19^3
in.
Design: Temple of Love.
Inscription (Names of participants.) (On altar) AMOR VINCIT. ..
IN AFFECTIONATE REMEMBRANCE OF THE CEL
EBRATION OF JVNE XXIII. MCMV AVGVSTA AND
AVGVSTVS SAINT-GAVDENS.
Lent by Mrs. Augustus Saint-Gaudens.
Note. Occasioned by the "Masque of the Golden Bowl"
given at Cornish, N. H., to celebrate the twentieth anni
versary of Saint-Gaudens' coming there.

93
HEAD OF VICTORY
Bronze medallion, low relief, signed. [1906.] Copy
right by Augustus Saint-Gaudens, 1907. D. (verti
cal) gy2 in.; (horizontal) 9^ in. Head of woman,
in profile, with parted lips; directed left; wearing
olive wreath.
InscriptionNIKH-EIPHNH. 72

Signature (Monogram: A ST G)
Lent by Mrs. Augustus Saint-Gaudens.
Note. From the model originally designed, but not used
for the one-cent piece.

94
FIGURE OF VICTORY FROM MONU
MENT TO GENERAL WILLIAM
TECUMSEH SHERMAN
"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."
Lent by Mrs. Augustus Saint-Gaudens.
Note. This figure was first exhibited with the whole plas
ter cast at the Paris Exposition in 1900. The statue with
alterations again at the Pan-American Exposition, Buffalo,
in 1901. Eleven years in all of study and alterations
elapsed before the group was finished and unveiled on
Decoration Day, 1903, at the south entrance to Central
Park, New York.

95
ALLEGORICAL GROUPS DESIGNED
FOR ENTRANCE TO BOSTON
PUBLIC LIBRARY
Two plaster casts from models, without signature or
date. [1907.J Average H. 30 in.; W. 5 ft.; D. 18
in. One group (a) represents, by means of three
seated figures bearing emblems, Music, Labor and
Science, while the other group (b) represents
Executive Power, Law and Love.
Lent by Mrs. Augustus Saint-Gaudens. 73

96
STUDY FOR THE HEAD
OF CHRIST
Marble head, on square block of marble; signed,
not dated. [1907.] Total H. 16 in. About three-
quarters life size, directed front, looking down; face
bearded, hair falling in long locks to the base of the
neck. Signature (Monogram: A ST G)
Lent by Mrs. Augustus Saint-Gaudens.

97
STUDY FOR THE HEAD
OF CHRIST
A replica in bronze of Number 88.
Lent by Mrs. Augustus Saint-Gaudens.

98
ABRAHAM LINCOLN (SEATED
FIGURE)
Plaster cast of bronze statue, signed and dated 1907.
Heroic size. Seated in armchair, 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.
Inscription. (To be engraved on pedestal.)
74

Signature
AVGVSTVS SAINT-GAVDENS MCMVII.
Lent by Mrs. Augustus Saint-Gaudens.
Note. This was one of Saint-Gaudens' last statues, a gift
to the south side of the city of Chicago by request of the
late John Crerar of that city. By special courtesy of the
Trustees of the Fund for its erection we are permitted
to view it here for the first time before it is transferred
to its ultimate destination. Compare the standing statue of
Lincoln, erected in 1887 (No. 44.)

99
MRS. AUGUSTUS SAINT-GAUDENS
Bronze relief, signed and dated 1907. H. 36 in.;
W. 21 in. Three-quarters length figure, in profile,
turned to left; in right hand a bowl of flowers, the
left holding up the skirt of dress. Background of
two Doric columns with landscape; dog roughly
sketched in lower left corner. Unfinished.
Signature (Monogram: A ST G)
Lent by Mrs. Augustus Saint-Gaudens.

IOO
WHISTLER MEMORIAL, AT UNITED
STATES MILITARY ACADEMY,
WEST POINT, N. Y.
Plaster model for marble tablet, low relief, signed
1907. H. 11 ft. 1 in.; W. at base 36 in.; W. at top
3 1 14 in. A slender stele surmounted by carved an-
themion, the decoration being chiefly furnished by
the lettering, which descends in lines of irregular 75

length between two Greek torches, with a small
wreath above and Whistler's butterfly device below.
Inscription
TO JAMES MCNEILL WHISTLER MDCCCXXIV.
MCMVIII. 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.
Signature (Right: Monogram, A ST G Left: HB)
Lent by Mrs. Augustus Saint-Gaudens.
Note. Done in collaboration with Mr. Henry Bacon, archi
tect.

IOI
WHISTLER MEMORIAL, AT UNITED
STATES MILITARY ACADEMY,
WEST POINT, N. Y.
Small sketch, without signature or date, of Number
ioo. H. 38^ in. ; W. at top ioy2 in., at base 14 in.
Lent by Mrs. Augustus Saint-Gaudens.

102
WHISTLER MEMORIAL, AT UNITED
STATES MILITARY ACADEMY,
WEST POINT, N. Y.
Plaster sketches, without signature or date. [1907?]
H. 30 in.; W. at top 8 in., at base 14 in. Greek
steles. At either side a torch; three wreaths above,
a palette below, with the lettering of the inscription
roughly indicated.
Lent by Mrs. Augustus Saint-Gaudens.
Note. See also Number 100.
76

103
SKETCHES OF FIGURE OF PAINT
ING FOR PROPOSED FREER
GALLERY, AT WASH
INGTON, D. C.
Plaster casts of stele. [1907?] (a) H. 48^ in.;
W. at top 11 in., at base 17 in. (b) H. 2354 in.;
W. 8y2- in. Figure of woman in classic robe, di
rected front; in right hand a paint brush, in left a
palette. Tree indicated at the right.
Lent by Mr. Charles Freer.

104
STUDY FOR A HEAD
Marble bust, about half life size, without signature or
date. H. 11 in. Head slightly inclined to the left;
hair in Grecian knot; undraped.
Lent by Mrs. Augustus Saint-Gaudens.

105
MORRISON REMICH WAITE,
CHIEF JUSTICE OF THE
UNITED STATES
Plaster cast of bust, without signature or date. H.
27 in. Heroic size. Head directed slightly to the
right; wearing robe of office.
Lent by Mrs. Augustus Saint-Gaudens.
Note. The original, in marble, is in the Hall of Justice in
Washington, D. C. 77

io6
CARYATIDS FOR THE ALBRIGHT
ART GALLERY, BUFFALO, N. Y.
Plaster casts of four Caryatids for the Albright Gal
lery in Buffalo. There are to be two porticos on
the exterior of the Albright Art Gallery. Each portico
has four Caryatids. The one exhibited has corner
figures bearing palms and wreaths. The two central
figures are symbolical of Sculpture bearing a winged
victory, . and Painting holding a palette and brushes.
On the corresponding portico, the corner figures bear
palms and wreaths. The central figures are sym
bolical of Architecture bearing a Corinthian capital,
and Music holding a lyre. They are about 7 ft. 7J4
in. in height and stand about 8 ft. above the floor
level. These figures are among the last pieces
modelled by Mr. Saint-Gaudens and are now to be
carved in marble for the portico.
Lent by Mr. J. J. Albright.

107
MODELS FOR UNITED STATES
GOLD COINS, 1907
SIX CIRCULAR RELIEFS IN PLASTER
(I)
Head of a woman, in profile, with parted lips; di
rected left; wearing olive wreath. Above, thirteen
stars. In exergue: LIBERTY. D. 11 74 in.
Note. Unused design, originally intended for one-cent piece.
(2)
Similar to the preceding, with Indian head-dress
78

substituted for olive wreath, and with margin of re
lief lowered. D. H24 in.
Note. Design for obverse of ten-dollar gold piece.
(3J
American eagle, standing; arrows and olive branch in
claws. In upper right field, inscription : . E . PLURI-
BUS . UNUM. Legend : . UNITED . STATES . OF .
AMERICA. Exergue. . TWENTY . DOLLARS.
D. i2y2 in.
Note. Design intended for reverse of the twenty-dollar
gold piece, but used for the ten.
(4)
Full-length figure of winged woman, standing, di
rected front; flowing hair, 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. Signature at lower, left,
monogram A ST G. Edge beveled. D. 12^ in.
Note. Original idea for obverse of twenty-dollar gold piece.
(5)
Similar to the preceding, but without wings or head
dress for the figure; Capitol building enlarged, rays
of sun lengthened and extended across from left to
right. Border of stars nearer center, leaving wider
margin. Signature: In lower right field, monogram
A ST G. Edge: Thirteen stars with legend
E . PLURIBUS . UNUM. D. 12}$ in.
Note. Design for obverse of twenty-dollar gold piece.
(6)
American eagle, flying, directed left. Below, rising
sun, with rays extending to margin. Legend: 79

.UNITED . STATES . OF . AMERICA . TWENTY.
DOLLARS. D. 13^ in.
Note. Design intended for one-cent piece, but used for
twenty-dollar piece.
Lent by Mrs. Augustus Saint-Gaudens.

108
UNITED STATES GOLD COINS, 1907
(I)
TEN DOLLAR GOLD PIECE, 1907
[a] (Obverse) Woman's head, in profile, lips parted,
directed left ; wearing Indian head-dress. Above,
thirteen stars. Border, a hair line, sharply raised.
Exergue, 1907.
[b] (Reverse) American eagle, standing, directed
left; olive branch and sheaf of arrows in claws.
Border, a hair line, sharply raised. Legend:
. UNITED . STATES . OF . AMERICA. Field: . E.
PLURIBUS . UNUM. Exergue : . TEN . DOL
LARS. Edge, forty-six stars.
Note. The coin as first struck; not issued, as being in too
high relief and having too sharp an edge.
(2, a, b)
Similar to the preceding, but in lower relief, and hav
ing a wider border.
Note. The second coin struck, but not issued for similar
reasons.
(3. a, b)
Similar to the preceding, but in still lower relief and
with still wider border.
Note. The coin as issued.
80

(4)
TWENTY-DOLLAR GOLD PIECE, 1907
[a] (Obverse) Figure of woman in somewhat high
relief, standing, directed and looking front; flowing
hair ; torch in right hand, olive branch in left ; left
foot raised, resting upon a rock, oak branch at lower
right. Background, sun-rays ; Capitol building in
lower left field. Border, a band somewhat more than
one-sixteenth of an inch in width, with inner border
of forty-six stars. Legend: LIBERTY. Field:
MCMVII, and Signature: (Monogram, A ST G).
[b] (Reverse) Flying eagle, directed left; rising sun
below, with rays extending to border. Border, a hair
line. Legend. . UNITED . STATES . OF . AMER
ICA . TWENTY . DOLLARS. Edge: E (star)
PLURIBUS (star) UNUM (eleven stars).
Note. Struck in the medal-press. Not issued because in
too high relief.
(5. a, b)
Similar in type to the preceding, but in low relief,
with wider border for reverse and date 1907 in lower
right field of obverse.
Note. The coin as issued.
Lent by the American Numismatic Society.

109
UNITED STATES GOLD COINS, 1908
(I)
TEN-DOLLAR GOLD PIECE, 1908
(a) Same as for 1907 (Number 107, 3) with date
1908 in exergue of obverse.
(b) Another example, to show reverse.
Lent by the American Numismatic Society. ol

TWENTY-DOLLAR GOLD PIECE, 1908
(a) Same as for 1907 (Number 5) with date 1908
in exergue of obverse.
Lent by the American Numismatic Society.

no
MODELS OF DOUBLE EAGLE
Four plaster models, consisting of:
(a) the obverse for the double eagle.
(b) the reverse for the double eagle.
(c) the obverse for the eagle.
(d) the reverse for the eagle.
Lent by the U. S. Mint in Philadelphia.

noa
MR. & MRS. WAYNE MacVEAGH
Bronze low relief, signed and dated 1902. H. 3 ft.
2.y2 in. ; W. 4 ft. 9 in. Two figures at either end of
long bench placed under a pine-tree. Three-quarters
length, Mr. MacVeagh at left, three-quarters to the
right, head profile, directed right, book in right hand ;
Mrs. MacVeagh at right, three-quarters to the left,
head profile, directed left, right arm resting on back
of bench, with gloves in hand, left caressing a
small dog.
Signature
MDCC (monogram: A ST G) CCII.
Lent by Mr. Wayne MacVeagh.

82

REDUCTIONS hi
CHARLES COTESWORTH BEAMAN
Electrotype reduction from Number 69. H. 4^ in •
W. 2y4 in.
Lent by Mrs. Augustus Saint-Gaudens.

112
DEACON SAMUEL CHAPIN
("THE PURITAN")
Bronze reduction, signed, from a plaster cast from
original bronze statue in Springfield, Massachusetts.
H. 30^ in. Stalwart figure of a man walking; Puri
tan costume, with a peak-crowned hat, long, flowing
cloak, and carrying a staff. Head directed to the
front, eyes down ; right arm extended and thrown
back, with hand grasping head of staff; left arm
flexed with hand supporting book, the edges of which
are to the fore. Branches of pine needles scattered
under foot.
Inscription (on tablet below)
THE PVRITAN
Signature
AVGVSTVS SAINT-GAVDENS.
Lent by Mrs. Augustus Saint-Gaudens.

83

H3
PLAQUE COMMEMORATIVE OF THE
CORNISH CELEBRATION
Silver-colored reduction from Number 92. H. 3^
in. ; W. 1 J4 in-
Lent by Mrs. Augustus Saint-Gaudens.

114
HORACE GRAY, ASSOCIATE JUS
TICE OF THE UNITED STATES
SUPREME COURT
Bronze reduction from bronze plaque, low relief,
signed and dated 1901. H. 75^ in.; W. 8% in.
Three-quarters length, seated, side view, head in pro
file, directed to the left; left hand resting on book,
right on knee; robe of office. In left upper corner
seal of the Supreme Court of the United States.
InscriptionHORACE GRAY IN HIS SEVENTY-FOURTH YEAR.
WASHINGTON, D. C. APRIL MDCCCCI. MAJOR
HAEREDITAS VENIT A JURE ET LEGIBUS.
Signature (Monogram: A S T G)
Lent by Mrs. Augustus Saint-Gaudens.

"5
SARAH REDWOOD LEE
Electrotype reduction from Number 26. H. 8^ in.;
W. iy2 in.
Lent by Mrs. Augustus Saint-Gaudens.
84

n6
JULES BASTIEN-LEPAGE
Electrotype reduction from Number 22. H. dy2 in.;
W. 4^ in.
Lent by Mrs. Augustus Saint-Gaudens.

117
MR. WAYNE MacVEAGH
Bronze reduction of head of Mr. MacVeagh from
bronze low relief of Mr. and Mrs. Wayne MacVeagh,
signed and dated 1902. D. 3J4 in.
Inscription
WAYNE MACVEAGH WASHINGTON D. C.
MCMII Signature (Monogram : A S T G)
Lent by Mrs. Augustus Saint-Gaudens.

Il8
HOMER SCHIFF SAINT-GAUDENS
Electrotype reduction from Number 29. H. 7% in.;
W. 4^ in.
Lent by Mrs. Augustus Saint-Gaudens.

119
MISS VIOLET SARGENT
Electrotype reduction from Number 50. H. 9 in.;
W. 6ys in. 85

Signature
(Monogram: A ST G) MDCCCLXXXX FECIT.
Lent by Mrs. Augustus Saint-Gaudens.

120
DR. HENRY SHIFF
Electrotype reduction from Number 21. H. 3^ in. ;
W. zsA in-
Lent by Mrs. Augustus Saint-Gaudens.

121
CHILDREN OF JACOB H. SCHIFF
Electrotype reduction from Number 46. H. 8j£ in.;
W. 6}i in.
Lent by Mrs. Augustus Saint-Gaudens.
Note. The reduction differs from the marble replica in
having the names Leo Mortimer Schiff and Fanny Frieda
Schiff inscribed above the respective figures.

122
MISS GERTRUDE VANDERBILT
(MRS. HARRY PAYNE WHITNEY)
Bronze reduction, in medallion form, showing head
only, from bronze plaque, low relief, signed, not
dated. [1882.] D. 3% in. Head three-quarters,
directed left; wearing hat.
Inscription
GERTRVDE VANDERBILT. AETAT VII.
86

Signature
AVGVSTVS SAINT-GAVDENS FECIT.
Lent by Mrs. Augustus Saint-Gaudens.

123
MRS. SCHUYLER VAN
RENSSELAER Bronze (?) reduction from Number 51. H. 5^ in.;
W. 2 in.
Lent by Mrs. Augustus Saint-Gaudens.

124
SAMUEL GRAY WARD
Electrotype reduction from bronze plaque, signed and
dated New York, May, 188 1. H. 6}4 in.; W. 4H in.
Three-quarters length; three-quarters to the right;
head in profile, left hand clasping right wrist.
Inscription
SAMUEL GRAY WARD. NEW YORK MAY
MDCCCLXXXI. Signature
FE (Monogram: A ST G) CIT.
Lent by Mrs. Augustus Saint-Gaudens.

87

CAMEOS 125
ONYX BROOCH, WITH HEAD AND
SHOULDERS OF MARY QUEEN
OF SCOTS
Lent by Mrs. John Merrylees.

126
ONYX BROOCH AND EAR-RINGS,
WITH HEADS OF CERES, HERMES
AND APOLLO
Signature (on brooch)
A. ST. G.

Lent by Mrs. George H. Talman.

127
ONYX BROOCH, WITH HEAD
OF FLORA
Lent by Miss Lucille A. Le Brethon.

89

128
THREE TOPAZ CAMEOS SET IN
A PENDANT, WITH HEAD OF
A CHILD ON EACH
Signature
A. ST. GAUDENS
Lent by Mrs. Ernest A. Bigelow.

129
TOPAZ BROOCH, WITH FIGURE
OF A FLYING EAGLE
Lent by Miss Lucille A. Le Brethon.

90

PORTRAITS OF SAINT GAUDENS
130
PORTRAITS OF SAINT-GAUDENS
PORTRAIT OF AUGUSTUS SAINT-
GAUDENS BY KENYON COX,
1 908
Life size, half-length figure, seen from the back, head
in profile, directed right; right arm extended, hand
engaged in modeling, left holding a lump of clay and
a modelling tool.
Signature
KENYON COX 1908.
Lent by the Metropolitan Museum of Art.
Note. The original picture was painted, on a smaller scale,
in the sculptor's Thirty-sixth Street Studio in 1887. It
was destroyed in the fire in his studio in Cornish, N. H.,
in 1904. This replica was painted in 1908. The sculptor
is represented at work upon the relief portrait of William
M. Chase. Behind his head, to the left, is a solar print
of one of the Vanderbilt caryatids. A cast of the "Un
known Lady" of the Louvre stands beyond. Next is the
bronze relief of Homer Saint-Gaudens as an infant, and
beyond that the plaster relief of Miss Lee. The scaffold
ing behind the easel is the back of the Shaw Memorial.
[Signed] KENYON COX.

131
PORTRAIT OF AUGUSTUS SAINT-
GAUDENS BY HENRY HERING
Plaster bust, facing and looking full front. H. 17 in.
(plinth, H. 7 in.).

Lent by Mr. Henry Hering.

91

132
HAND OF AUGUSTUS SAINT-
GAUDENS
Bronze cast from plaster cast in the possession of Mr.
George W. Maynard. The original cast was made' to
assist Mr. Maynard in representing a hand holding a
flag for one of the figures in his painting entitled
"1776," now owned by Smith College.
Lent by Mr. Daniel C. French.

133
A PHOTOGRAPH OF AUGUSTUS
SAINT-GAUDENS AT ABOUT
SEVENTEEN YEARS OF AGE
Lent by Miss Lucille A. Le Brethon.
Note. The following is a transcription of an explanatory
letter addressed to the Secretary of the Saint-Gaudens
Memorial Exhibition by Miss Lucile A. Le Brethon :
I am in receipt of your letter of the 17th, and delayed
answering, as I wished to procure from my niece, Mrs.
Arnold Moser, 214 East 15th Street, a topaz cameo, the
very first piece of work made by Augustus Saint-Gaudens
under my father's tuition. The onyx cameo which I am
also sending you for exhibition is one of the last things
made by him while with my father, Jules Le Brethon.
There can be no doubt of the authenticity of these two
cameos (which my father always kept and prized very
much), as the accompanying photograph shows him at work
in my father's studio. I am sending the two cameos and
photograph under separate cover by registered mail.

92

PHOTOGRAPHS 134
ANGEL FOR THE TOMB OF
GOVERNOR E. D. MORGAN
Bromide enlargement.
Lent by Mrs. Augustus Saint-Gaudens.

135, 136
CARYATIDS IN THE RESIDENCE
OF CORNELIUS VANDERBILT
Bromide enlargement.

137
PETER COOPER MONUMENT,
NEW YORK
Bromide enlargement.

138
HAMILTON FISH MONUMENT
AT GARRISONS, N. Y.
Bromide enlargement.

139
ROSWELL P. FLOWER MONUMENT
AT WATERTOWN, N. Y.
Bromide enlargement.

140
HIAWATHA Carbon. 141
STATUE FOR CHARLES STUART
PARNELL MONUMENT,
DUBLIN, IRELAND
Bromide enlargement.

94

BIBLIOGRAPHY
A FEW REFERENCES REGARDING
AVGVSTVS SAINT-GAVDENS
AND HIS WORK

BOOKS
Cortissoz, Royal: Augustus Saint-Gaudens. 1907.
Hind, Charles Lewis: Augustus Saint-Gaudens. 1907.
Low, Will Hicok: Chronicle of Friendships. 1908. pp.
215-230, 273, 283, 387-395, 401-402, 480-486, 499-506.
Stevenson, Robert Louis: Letters. 1899. v. 2, pp. 345-
347, 364-365, 407-
Taft, Lorado: History of American Sculpture. 1903. pp.
279-309.

MAGAZINE ARTICLES
Art et decoration: June, 1898. v. 3, pp. 182-183.
Art et decoration: Feb., 1899. v. 5, pp. 43-49. Lesculpteur
Augustin Saint-Gaudens, by Gaston Migeon.
Atlantic monthly: March, 1908. v. 101, pp. 298-310. Au
gustus Saint-Gaudens, by Kenyon Cox.
Atlantic monthly: March, 1908. v. 101, p. 311. Music be
neath the stars; sonnet in memory of A. St.-G., by Richard
Watson Gilder.
Century Magazine : March, 1908. v. 75, pp. 695-713. The
later works of Augustus Saint-Gaudens, by [his son] Homer
Saint-Gaudens.Century Magazine : March, 1908. v. 75, pp. 713-714. The
special medal of honor created for Augustus Saint-Gaudens,
designed and modelled by James Earle Fraser; by Richard
Watson Gilder.
Century Magazine: Jan.-Feb., 1909. v. 77, pp. 395-413,
575-595- (To be continued.) Reminiscences of Augustus
Saint-Gaudens; ed. by his son, Homer Saint-Gaudens.
Gazette des beaux-arts: Aug., 1898. v. 83, pp. 138-140.
International Studio: Feb., 1908. v. 33, sup. pp. 123-138.
Augustus Saint-Gaudens, by Talcott Williams. 95

McClure's Magazine: Oct.-Nov., 1908. v. 31, pp. 603-616;
v. 32, pp. 1-16. Familiar letters of Augustus Saint-Gaudens;
ed. by R. S. Nichols.
Nation: June 29, 1905. v. 80, pp. 519-520. An out-door
masque in New England, by K. K.
North American Review: Nov., 1903. v. 177, pp. 725-738.
Augustus Saint-Gaudens, by Royal Cortissoz.
NEWSPAPER ARTICLES
Appeared at the time of his death
Boston Evening Transcript: Aug. 5, 1907. p. 10. Augus
tus Saint-Gaudens.
New York Daily Tribune: Aug. 4, 1907. pp. 1-7.
New York Evening Post : Aug. 5, 1907. pp. 4-5.
CRITICISMS OF SINGLE WORKS
Farragut Monument
Scribner's Monthly: June, 1881. v. 22, pp. 161-167. The
Farragut monument, by Richard Watson Gilder.
Lincoln Monument
Century Magazine: Nov., 1887. v. 35, pp. 37-39. Saint-
Gaudens's Lincoln, by M. G. van Rensselaer.
Shaw Monument
The Monument to Robert Gould Shaw; its inception, com
pletion and unveiling, 1865-1897. 1897.
Century Magazine: June, 1897. v. 54, pp. 176-177, 179-186,
194-200. Sherman Monument
Nation: June 18, 1903. v. 76, pp. 491-492. The Sherman
Statue, by Kenyon Cox.
Stevenson Memorial Tablet, Edinburgh
Overland Monthly: March, 1905. v. 45, pp. 235-239. Un
veiling of the Robert Louis Stevenson Memorial, by Betty
Harcourt. United States Coins
Century Magazine: March, 1908. v. 75, p. 799.
Memorial Exhibition
International Studio: Jan., 1909. v. 36, p. 90. Saint-Gau
dens Memorial Exhibition at the Corcoran.
96

INDEX Number.

Adams, Henry (Caricature)   58

 m t QQ
Adams Monument 

Adams Monument, Head of figure 
Albright Art Gallery, Caryatids. . . ............ .' ' ' " ' .' .'

Amor Caritas.
Armstrong, David Maitland  4°' 3
Armstrong, Miss Helen Maitland  i
Arnold, Benjamin Greene 
Bastien-Lepage, Jules  ."'.'.' .'.".'.'. V.V.V. '.'.'.' 22 116
Beaman, Charles Cotesworth  . 69
Beaman, Mrs. Charles Cotesworth  .85 in
Beaman. William Evarts  ' ?8
Bellows, Doctor Henry Whitney  ,g
Boston Public Library, Allegorical Groups for  95
Boston Public Library, Seal for  S7
Brooks, Charles Timothy  32
Bunce, WiUiam Gedney  „  ,
Butler, Prescott Hall, Children of  23
Cameos  125, 126, 127, 128, 129
Caricatures  8j g> g^ ^
Cary, Dr. Walter  I0
Caryatids for Residence of Cornelius Vanderbilt... 27, 28, 135, 136
Caryatids — Albright Art Gallery  106
Chanler, William Astor  73
Chapin, Edwin Hubbell  4g
Chapin, Chester W  41
Chapin, Mrs. Emelia Ward  18
Chapin, Deacon Samuel  47a, 112
Chase, William Merrirt  48
Christ, Study for Head  96, 97
Cleveland, Mrs. Grover  63, 64
Coins, United States Gold  107, 108, 109, no
Cooper, Peter  74, 137
Cornish Celebration Plaque  92, 113
Cox, Kenyon  53
Dana, Charles Anderson  81
Diana  ,60, 61, 62
Dunrobin  37
Evarts, William Maxwell  2
Finn, James Wall (Caricature)  89
97

Farragut, Admiral David Glasgow  16, 17
Fish (Hamilton) Monument  r38
Flower (Roswell P.) Monument  J39
Freer Gallery at Washington, D. C, Sketch of Figure of
Painting for Proposed  I03
Garfield Monument  70, 71
Gilder, Richard Watson, Wife and Infant Son  n
Gilder, Rodman DeKay  I2
Gray, Professor Asa  33
Gray, Horace  86, 114
Gray, Mrs. John Chipman  87
Hay, Honorable John  9*
Hiawatha  x40
Holland, Josiah Gilbert  24
Hollingsworth, George  54
Howland, Louise Miller  35
Howells, William Dean, and Miss Howells  82, 84
Johnston, Doctor William Edward  19
Lady, Portrait of a  4s
Lee, Mrs. Charles Carroll, and Miss Lee  25
Lee, Miss Sarah Redwood  26, 115
Lincoln, Abraham (seated figure)  98
Lincoln, Abraham (standing figure)  44
Love, Miss Maria M  13
McKim, Charles Follen  8
McKim, Charles F, Augustus Saint-Gaudens and Stanford
White (Caricature)  9
McCosh, Doctor James  55
MacVeagh, Mr  117
MacVeagh, Mr. and Mrs. Wayne  noa
Maynard, George Willoughby  6
Millet, Francis Davis  14
Mitchell, Silas Weir  34
Morgan, Angel for the Tomb of Governor E. D  134
Page, Miss Annie  72
Parnell Monument  141
Photographs  134, 135, 136, 137, 138, 139, 140, 141
Picknell, William L  7
Piatt, Charles A. (Caricature)  90
Puritan, The  47a, 112
Saint-Gaudens, Augustus, Charles F. McKim and Stanford
White (Caricature)  9
Saint-Gaudens, Mrs. Augustus  99
Saint-Gaudens, Augustus, Portraits of  130, 131, 133
Saint-Gaudens, Augustus, Hand of  132
Saint-Gaudens, References regarding Augustus 
 following Number 141
98

Saint-Gaudens, Bernard P. E  I
Saint-Gaudens, Homer Schiff  29, 118
Sargent, John S  20
Sargent, Miss Violet  56, 1 19
Shiff, Dr. Henry  21, 120
Schiff, Jacob H., Children of  52, 121
Shaw, Colonel Robert Gould, Memorial to  75, 76, 77, 78, 79
Sherman, General William Tecumseh, Bust of  50
Sherman Monument: Study for the Head of Victory  80
Stevenson, Robert Louis  45, 46, 47
Study for a Head  104
Study of a Child  68
United States Gold Coins  107, 108, 109, no
Models  107
Coins  108, 109, no
Vanderbilt, Cornelius, Caryatids for Residence of .27, 28, 135, 136
Vanderbilt, Miss Gertrude  30, 122
Van Rensselaer, Mrs. Schuyler  51, 123
Victory : Sherman Monument  94
Victory. Head of (Relief)  93
Vinton, Doctor Alexander Hamilton  31
Waite, Morrison Remich  105
Ward, Samuel Gray  I24
Washington Medal  43
Whistler Memorial  I00> I01
WTiistler Memorial : Plaster Sketch  102
White, Stanford, Augustus Saint-Gaudens and Charles F.
McKim (Caricature)  °
White, Mrs. Stamford  36
World's Columbian Exposition, Medal of  65, 66, 67

99

3 9002 01366 0502

I