ADAMS

QUINCY

JOHN

WARD
APPRECIATION

AN

WRITTEN

THE

FOR

SCULPTURE

NATIONAL

SOCIETY

BY

ADELINE

ADAMS

NEW

YORK

H3
X

I912,

COPYRIGHT,

NATIONAL

SCULPTURE

BY

THE

SOCIETY

37

NON

HA

CH'uN

OTTIMO

MARMO

COL

LA

SUO

MAN

solo

SOVERCHIO,

CHE

OBBEDISCE

ARTISTA

ALCUN

SE

in

NON

SOLO

CONCETTO

CIRCOSCRIVA

QUELLO

ARRIVA

ALL'iNTELLETTO.

MICHELAGNOLO

M32552

BUONARROTI

CONTENTS
PAOB

List

xi

Illustrations

of

List

Chronological

Chapter

xiii

Works

of

I
...

His

farewell

His
and

"

He

Ancestry

art
"

and

opportunity

studio.

Brown's

enters

in

environment

Early

birth.

service

long

"

"

Chapter

H
of

Significance
of

Dark

middle

C.
of

opportunities

"

Chapter

on

"

Ward's

genius

Three

period

middle

the

ment
developperiods

"

sculptural

Jefferson

compared

in

"

B.

design

The

"

period

Contemporary

"

difficulties
chio

of

Ages

period

Ward

sculpture

American

The

A.

and

Brown

liar
Pecu"

and

Brown

Veroc-

"

Canova

Brown's
"

in

studio.

Brown's

15

HI
and

Qualities
and

busts

equipment

modeled

"

there

in

Stay
Return

Washington,
to

York

New

"

Portraits

Indian

"

Hunter

and

Freedman
"

"

Election

to

Chapter

in

Academy

1863.

19

IV
His

peculiar

Views

as

message

casting

sculptor
Technical

Breadth

of

view

Brown's

Bronze
"

"

in

"

esses
proc-

"

Patriotism
"

American

criticism

contemporary

on

an

studio
"

ix

Feeling

for

the

classic

CONTENTS
PAGE

Chapter

Continued

IV.

"

Masculine
welcome

the

to

Society

Chapter

The

quality

"

Thomas

"

Words

"

members

women

of

the

of

Sculpture

Personality.

"

27
of

Modeling

small

objects

Arts

Rodin
"

over-correlated

of

golden

"

architectural

His

conception

"

The

related
un-

Ward's

"

mean

Beauty

"

of

example

the

of

"

Ward's

Farragut

work

generosity

"

spirit.

Chapter

VI

32

Statues

the

along

Park

The

with

Shakespeare

Soldier

Regiment

Comparison

The

"

the

Puritan

Pilgrim

Other

New

"

especially

statues,

Beecher

The

the

Garfield

The

Washington

"

busts.

Portrait

"

Chapter

Central

The

"

Seventh

York

Hunter

"

"

"

seaboard
"

statues

The

Atlantic

"

VII

45

Review

of

works

typical

Three
"

the

Hunter,
memorial
and

Chapter

the

Garfield,

addresses

Hancock
"

by

Adams,

the

statues,

Century
Cary,

Mather,

Sloane.

53

VIII
Activities

in

different

organizations

Committees

Advisory

"

Arch

Dewey

Lincoln

Library

clients
"

toward

Honors
art

upon

of

Congress

Relation

letter

"

Work
"

"

toward

"

received
"

and

life.

Honors

due

tude
Atti"

LIST

Portrait

Quingy

John

of

AT

John

END

OF

Ward

in

1905

Ward,

Adams

THE

Adams

Quingy

ILLUSTRATIONS

OF

THE

his

Frontispiece

BOOK

studio

1907
.

Indian

The

bronze

Hunter,

Peace

Pledge,

1857-

statue

in

group

relief

-1864

1872
.

bronze

Shakespeare,

1872

statue
....

General

Thomas,

General

Lafayette,

equestrian

bronze

bronze

statue

1878

1883

statue
.

General

The

bronze

Washington,

Garfield

1883

statue

bronze

Monument,

1887
.

Horage

bronze

Greeley,

1890

statue
...

Alexander

Henry

Lyman

Ward

bronze

Holley,

bust

1890

bronze

Beegher,

1891
.

General

August

John

bronze

Hangogk,

Sr.,

Belmont,

Quingy

Adams

equestrian

bronze

Ward's

statue

Studio

statue

1911

1911

1891

equestrian
New

Square,

Hunter,

Indian

WARD

Union

Washington,

General

unveiled

York,
K.

H.

to

of

statue

OF

WORKS

THE

ADAMS

QUINCY

JOHN

Bronze

OF

LIST

CHRONOLOGICAL

Brown,

sculptor.)

bronze

statue,

ant
(Assist-

1856.

4,

July

Illustrated.

1857-1864
Alexander

bronze

Freedman,

The
Commodore

The

C.

unveiled

October

Good

Samaritan,

Peace

as

anesthetic.

Public

bronze

in

group

Illustrated.

relief.
.

bronze

General

Israel

York,

New

Park,

Illustrated.
bronze

Reynolds,
31,

Central

statue.

1872

23,

Central

statue,

1869-1873.

Pledge,

May

den,
Gar-

1868.

Memorial,
York,

Shakespeare,

statue,

Gettysburg,

August

1872.

Putnam,

bronze

statue,

Hartford,

Conn.,

June

1874.
General

Thomas,
D.

I.,

commemorating

granite,

an

26,

September

New

Park,

in

ether

Regiment

R.

Newport,

statue,

group
of

Boston,
Seventh

Perry,

1868.

2,

discovery

1865.

statuette,

Matthew

the

The

1858.

bust,

Hale,

1858.

bust,

Stephens,

H.

Senator

York,

New

Park,

Central

C,

bronze

equestrian

statue,

Washington,
Illustrated.

1878

xiii

18,

CHRONOLOGICAL

William

LIST

Gilmore

WORKS

S.

Charleston,

statue,

C,

11, 1879.

June
General

Morgan,

Daniel

S.

bronze

Simms,

OF

bronze

Spartanburg,

statue,

C., 1881.

General

Washington,

General

Lafayette,

bronze
bronze

General

Illustrated.
bronze

Washington,
November

York,

Illustrated.

Central

statue.

New

Sub-Treasury,

statue,

1883

26,

bronze

Pilgrim,

Vt., June

Burlington,

statue,

1883

26,

Mass.

Newburyport,

statue,

New

Park,

York,

June

6,

1885.
The

Garfield

Monument,

bronze,

Illustrated.

1887
William

E.

Horace

bronze

Dodge,

bronze

Greeley,

Square,

New

Tribune

statue,

Building,

New

Illustrated.

1890

York,
Alexander

Lyman

Square,
Henry

Herald

statue.

1885.

York,

bronze

Holley,

New

bust,

Illustrated.

Beecher,

N.

Brooklyn,

bronze,

of

Library

statue.

of

cupola

State

Conn.

Hartford,

Capitol,

the

around

Statues,

Emblematic

Poetry,

June

Y,,

Illustrated.

1891

24,

Washington

1890

York,

Ward

Five

C,

D.

Washington,

Congress,

D.

Washington,

C,

1897.
William

H.

bronze

Fogg,

statue.

National

of

Academy

Design.
Henry

B.

Hyde,

bronze

statue,

Equitable

Building,

New

York.
Naval
George

William

Curtis,

New
Governor

St.
Vice-President
Dr.

Valentine

York,

1899.

bronze

bust.

New

Fairbanks,

Johnsbury,
Hamlin,
Mott,

Public

brary,
Li-

Public

brary,
Li-

1903.

York,

Horace

New

Arch,

Dewey

Victory,

Yt.
bust.
bust.
xiv

marble

bust,

LIST

CHRONOLOGICAL

T.

James

colossal

Cowles,
H.

William
Colonel

Mr.

marble

Orville

H.

Conkling,

Roscoe

bust.

Washington,
C.

D.

Washington,

bust,

C.

D.

Washington,

marble

Dewey,

J.

Ohio.

bust,

bust,

Drexel,

marble

Columbus,

marble

Jones,

Joseph

Shepard,

bust,

Corcoran,

N.

bust.

F.

Goodale,

Newark,

bust,

Vanderbilt,

Elliott

Dr.

Dr.

bust.

Brady,

Abraham

WORKS

bust.

Giddings,

Joshua

OF

C.

D.

bust.
bronze

Madison

statue,

Square,

New

marble,

1903.

York.
Pediment

on

General

Hancock,
Park,

Soldiers'
General
August

New

bronze

Philadelphia,
and

Belmont,

Exchange,

equestrian

Fairmount

statue,

1911

Sailors'

Sheridan,

Stock

York

Illustrated.

Syracuse,

Monument,

equestrian
Sr.,

bronze

statue,

N.

Y.,

1907.

1908.
Illustrated.

statue.
.

WILL

"TT

encloses

words

These
the

end

They

Lopez.
the

to

kind

the
and

word

outlast

long

rendering

its

shattered

and

Keats,

seem

but

been,

beautiful

promise,

had

to

time

or

the
what

achievement

early

touchingly
and

broken;

truth

of

will

that

the

fair

whom

Such

their
have

they
and

proverb
the

men

for

things
away;

harsh

our

Raphael

them

love

hurried

were

like

hope.

we

that

things

creators

their

for

as

Those

such

of
bud

of

gross,

harmonies

nimbus

no

ward,
after-

long

not

matter

at

get,
for-

we

concerning
love

gods

ah,
"

because

of

they
too

of

themselves

well

as

as

sculptor,

imagined

story

summer

of

ripe.

soon

exquisite

But

the

before

aside

cast

fruit

do

young

personality

of

as

the

messengers

as

Ward

mold.

envelops
in

Adams

but

brother
"

indeed

is

memory.

figure,

was

us

broken,

my

farewell

to

charm,

off

cut

of

the

that

my

in

own

tribute

wistful

have

might

of

craft,

own

asked

in

certain

has

he

justice,

his

have

Quincy

Ward's

use

been

word

of

mold

waste

to

words

to

of

men

have

memory

indeed

mold,

waste

significant

in

were

shall

John

by

address

an

the

kind

say

spoken

were

of

and

here,

meet

when

than

honor

greater

no

sculptors

personality

my

ask

And

adieu.

say

'.,^/^\.^\'^^H

CHAPTER

and

men

of

Ward;
constant

remain

must

die

young!

incompleteness
the

unusual

good
1

covered,
undis-

forever

lingers
and
fruit

happy
was

around

the

conjunction
granted

to

his

In

genius.
than
of

half

the

him,

Indian
and

1857,
and

which

four

bears

of mastery

later

years

of

his

and

apprentice;

last

'F'^rk; shows

mount

the

ancestor

once

the

instance.
the

in

Even

typical

"young

the

its

and

its best.

at

his

later
for

man

is

ern
mod-

much

as

"old

the

as

that

yet

is almost

he

years,

Fair-

art, he

precursor,

war,"

trian
eques-

hand

sure

the

of

the

American

In

"

Park,

timidity
1911,

in

1864,

Philadelphia's

mind

strong

in

Central

in

for

figure

form

the

unveiled

more

first studies

York's
or

youth;
bronze

present

arrogance

descendant

and

made

Hancock,

"h^pe(^;W^'t^ls'inessage
at

That

New

work,

General

st,atw,e ; of

in

placed

either

trace

no

in

of

his.
he

finished

was

promise

was

which

for

Hunter,

WARD

the

performed

age

century

ADAMS

QUINGY

JOHN

for

man

counsel."
Times
to

most

individual

in

color

of you,

it may

each

Columbus-like
with

he

"His

I want

see

says

"something

every

statue

each

general

ress,
prog-

by

some

he

sically
whim-

speaking
in

to

the

own

But

the

the

desire

critic

yet"
that

was

for

and

the

always
has

ever

I
For

way.

and

cation
appli-

roundly!

in your

Curiosity,

of

above

artistic, which

the

like

the

scene

the

in

past

bridge

when

things

America

Caffin

writes

"connects

long interval

mounting

"

it

curse
on

for

stuff,"

your

place in art,

to

of

ordinary
extra-

been

muses.

Sculpture,"

make

their

career,"

condition

it, keep
yet.

tide

experimenting
"I

"

that

horizon

expansion,

been

curiosity for the

"

Ward.

made,"

with

on

something

to

have

beauty

had

is given

consciousness

curse

of

sculpture

to

his

"I

art.

who

keep

lead

into

with

the

the

on

instant

an

sculptor
of

beg

in

attempt

younger

borne

than

moment

always,

them;

rocket-like

cries,

the

whether

tossed

longer

his, scanning

of

eye

art-problem,
or

with

changed

men,

mind's
new

he, for

and

changed,

: one

with

and

"American
the

inspiration
to, and

before
2

present,

sculptors

the

spanning
in the

first

old

began

to

art, its arch

of their

ignorance

influence

of

Masters

pier, embedded

American

indifference

prevailed

his

of

of, things

European

APPRECIATION

AN

began

art

into

the

Only

our

hesitating

our

present

in

Mr.

bridge,

it is

flowed.

exactly

not

Who

the

They
Virginians

This

and

French

the

frontier

in

until

from

Northwest

the

of

tracts

laid

of

Champaign

and

out

attracted

what

In

County.

of
be

farmers,

said

that

It is true

of

favorable

in

such

stock

youth

1830,

of

came

and
born

of

that

resembling
his

Urbana,

nostrils.

Powers;

it

and

call

we

Urbana

of that

towns

counted

which

least

the

not

an

art

not

period.

Even

in

view

the

"when

to

this

statue

of

any

atmosphere

different

was

dissipation

whilY

liberal
Greek
was

air

it

the

near

let

ing
grow-

town

his

become

to

be

farm

1805,

born

was

Ward

may

large

county-seat

constructors:

on

of

In

destined

artist

no

Ohio.

Thus

day.

lived

he

of

the

in

on

William

owner

of

Ward,

his

Ward's

the

town,

during

conditions

Urbana,

fighters, creators,
of

that

this

Adams

Quincy

where

of

stantly
con-

Indians

fighting

state

town

Ward,

Kentucky,

the

tion.
planta-

expeditions

became

now

the

sculptor-laureate

stock

he

the

Norfolk,

of

Colonel

the

by

is

named

John

grandson,
the

in

to

story.

that

son.

grandson's

Territory,

land

he

this

are

ance?
continu-

stock

James

killed

was

Virginia

when,

1789,

War,

1774:

moved

Ward,

not

Indian

for

type

established

surveying

sculptor,

W'ard,

Colonel

and

military

the

John

and

grandson.

the

American

English

1632,

In

Jamestown,

settler's
in

in

hardy

of.

at

active

the

of

they

characterizes

molded

to

already

has

still short,

sturdy

this

of

mind,

made

landed

the

in

were

were

England,

forbears

and

body

in

action

rapid

and

idea

likened

be
water

are

and

ago

national

our

much

annals

art

of

and

separates

century

indeed

which

under
our

half

may

career

bridge

were

strong

Ward's

that

space

expression

articulate

simple;

of

initiative

and

the

utterance

though

For

traversed

have

fairly

force

exceptional

of

artistic

If

art.

pier firmly incorporated

its other

order."

could

power

and

here,

new

artist

an

staying

felt

be

to

remotely
reached

ever

from

other

ing
grow-

New

York,

youth

Slave,
first

by

Hiram

exhibited

in

JOHN

Cincinnati,
whether

settled, and

"had

creative

able

spite of
and

and

the

on

written
his

farm,
as

Ward

and

have

Editorial
the

Claire."

c'est

lumiere
un

beau

under

grass
broken

wing

come

Of

she

in the

leve,

Ton

sent

bien

Yes,

the

that

instead

of

letters."

man

sub-

nous

c'est

et

"Marie

to

qui

ce

reading

on

preface

interieure,
se

its

belief

mind,

to

"for

literature

surtout,

flock
daub

leisurely
the

back

fed

la

toute

le soleil

comme

souvent

sur

la

passer

phrase

me

of

the

great

spotted
among

eye

and

the
with

boss

tall
4

the

on

gander

back
the

who

passing

strong

peculiar

the

iron

freshness
muffled
weeds

of

of

their

struggling
dragged

any

on

"The

cow":
the

paint

close-plucked

place, nipping

old

wary

now

murderously

red

the

the

flower
to

of

of

over

fennel,

keeping

"Flago's
as

"A

with

daisy-shaped

fennel

calls

of

the

says

the

to

in

Ward's.
thus:

moved

one

ecrivains."

grands

of

life

qui

Et

happenings

contributed,

the

nature

certain

leads

words

chantante

of

early

Reminiscences

dean

Taction

d'ete.

marked

heads,

de

his

In

remarkable,"

which

art

own

the

was

etonne

nous

force
et

writes

geese,

bell

la

is often

He

little

Mirbeau's

matin
des

writers

chosen

aside,

qui

douce

phrase

he

Octave
"Ce

sketch

America's

enthusiasms

sketch,

jugue,

been

had

from

is

English,

its

observation

after

years

the

paper

sculpture,

learned

boy's

ing
fort-build-

produced

loving

later,

the

from

ready-made.

narrative

vigorous

might

and

be

may

"The

whose

beautiful

close

seventy

boyhood.
to

found

was

gone

day!"
time,

derived

made

years

that

of the

forefathers,

Ward

by

editor

conditions

sible
pos-

have

he,

sculptor

instinct,

none

developed,

was

hard

town-making
where

the

to

as

Ward

I would

said

This

far

as

young

statue.

privation,"

constructive

atmosphere,
years

the

concerned,

the

speak

to

safe,

'*

judge

to

people."

declared

was

sent

was

Christian

by

morals

saw

WARD

clergymen

seen

imaginable

I been
in

be

Powers
and

any

Yet

of

public

from

pilgrimage,

through

of

fit to

were

danger

ADAMS

delegation

it

point

the

QUINCY

The

boy.
odor

of the

yesterday."
clank

always

of
set

her
me

APPRECIATION

AN

of

dreaming
hoped

sordid

the

ash

in

white
old

; and

alligators
about

shoes

something

"

the

on

the

banks

on

the

edge

in

reading

of the
of

the

Ganges,

blackened
and

crocodiles

children

placed

and

pond,

ning
grin-

book

Sunday-school

their

sacrificing

of

teeth

the

The

and

warped

and

heads

after

mothers

of

the

suggested

iron

machinery.

soles

parted

"Around

mind:

old

of

their

have

topography

complicated

the

once,

Hindoo

bits

queer

suggested

farm

growing

boy's

and

in

pegs

boots

the

dumps
of vast

possibilities

of the

details

poetic significance
flattened

life

far-off

feared."

for, yet

Even

and

different

some

odiles
croc-

old

of these

some

babies

mud

put

the

to

in

their

mouths."
The

classic

soldiers, and
the

childhood

He

created

from

of every

clay,

The

local

brink
have

workshop.

him
At

and

the

in any

not

do, hoping

against

the

of

desires

his

nature

words

dignified

here

may

the

studying
had

story
for

of

his

the

art,

or

youth,

martyr's

minor
never
crown

his

showed
; you

the
are

would

the

on

farm,
within

began

His

duty.
tried

he

his

romantic

of

opposed

minor

asked

in

the

tions
aspira-

own

my

Ward

kindly."
and

to

with

early struggle,

friends

not

very

convictions

tendency

him,

dom
free-

physician.

of work

of

the

family

assist

reasonably,
about

him

or

own

rigors

find.

could

and

"My

poet

made

sculpture's

concerning

gently,

figures

youth

it is the

remembered:

the

to

kinds

square

the

of

whose

ambitious

As

world

merchant,

different

to

little

hands

to

youth

school

Greenough

but

him

case.

the

gave

inclination

exaggerate

be

of

nothing

hope

of

between

family.

to

for

of

of the

and

brings

from

struggle

his

friend,

This

taken

struggle

was

human

his

farmer,

was

world-old

"

heart

he

sixteen,

the

him

become

all sorts

to

grants

in Ward's

and

material

perilous position

"

with

whatever

"

tradition

existed

really

peopled

"became

potter

of his

he

naive

beeswax

rabbits,

dough

atmosphere,

art

or

wax,

which

sculptor

own

therein

enveloped

babies,

horses

putty

his

mud

of

troop

telling

poet's
to

the

ing
yearn-

drop

the

sentimental
his

neither

was

him

permitted

given

that

Kirke

nearest

sculpture
you

"you

may

It is

but

"

think

have

order";

him

believe
the

to

had

plaster,

marble,

aroused

his

natural

such

against

the

work

assistant,
his

own

In
and

the
York

and

as

his

you

sister,

the

as

health
all

clay,
genius

of

the

overcame

it is to

noted

be

of art

prejudice

nineteen,

he

began

fortunate

seven

continued

as

fitted

well

sculptor

young

of

sight

"

was

Brown's

to

go

he

remained

pupil,

not

persuasion

natural
of

went

accomplished.

to

art

age

he

paying

did

end,

of the

at

his

apphances

against

permit

not

he

inspiring

the

In

of the

"genius

some

sacred

where

emerged

study

to

paid
win

to

way.

his

case,

as

against
backward

particular
needed

of his friend,

in that

Ohio

exceptional

another

many

reaction
return

began

ject
sub-

gifted, and

himself

the

family

studio,

and

bring

the

and

"

in

"If

would

after

himself,

little is said

family

He

years.

his

as

was

again.

of

cases

Brown's

in

supremely

could

all

ambition

gested.
sug-

the

on

wrote

for

modesty

however,

and

prejudice

in

that

in

there,

Once

studio.

calls

which

Brooklyn

he

Brown

encouraging.

Nevertheless,

before

health

studio

opportunity

not

he

was

had

highest order,''

thus

confidence

required

now

the

youthful

to

His

Brooklyn

with

"

contract

himself

in

this,

in which

period.

sculptor,

talked

was

seeing

he

study."

Ward's

visit

lost

the

the

and

farm.

the

improve,
He

genius

of

large

rather

highest

back

result

on

sister

heart

boy's

family,

brief

but

farm,

of medicine,

had

the

come

to

the

to

to

Brown,

sister

Ward's

city.

his

study
for

visit

way,

Henry

the

up

himself

engaged

thereupon

having

take

Probably

the

on

successful:

nor

to

remained

he

years

happy

misunderstood.

him.

for

three

WARD

genius

young

good

were

nearly

For

for

tear

labors

ADAMS

QUINGY

JOHN

the
upon

place
Ward;

"westward

boy, there

and

of

pressure

civilization's
that

needed
aside
6

Dean

William

steps,
him

from

and
brief

was

the

his
visits

natural

races"

the

in

Howells,

search

gifts.
to

"

for
New

Europe

APPRECIATION

AN

for

and

travel

in

the

in

New
and

studio.
in

recreation

in
hard

the

Catskills,

outdoor
worker

and

life
and

rest

prosperity

acquired

He

the

passed

when

Here,

home

summer

he

South,

York.

house

was

and

West

memorable

certain

and

study,

good

also

there.

sportsman.

his
he

life

him

his

beloved
rest

necessary

All

working

built
and

beautiful
his

finding
sport

of

came,

trips

hunting

days,

and
he

CHAPTER

BRIEF

understand
and

and

rough

in

of

studies

of

that
the

and
of

artists
them

they

Thus

of

art

behind

her

since

sculpture

the

is

might
and

century

before

modern

in

act

enough

far
A

first

their

had

been

colonists

be

may

easily

more

other

produced
civilization's

luxury,
8

the

of

painting,

by

her

material

for
than

little

art

examples
a

statue.

half

than

Ages

of

consisting

output,

time

Ceracchi.

and
Dark

of

more

us

Houdon

slender

early

picture

to

came

national

our

lagging

yearning
a

American

our

but

weighted

import

sculptors,

period,

the

sister,

limners

the

for

the

on

centuries

excused

colonist,

wealthy

of

two

heavily

more

filched

thinking

drama

through

that

own,

for

the

lightly-stepping

more

Smybert

design,

first

sculpture

accoutrements.

Our

truth

yet

American
of

have

might

languidly

moves

art,

for

the

never

"

Beautiful.

of

of

us

have

The

genial

continued

reminded

troubles

had

time

the

the

world.

the

the

whose
have

American

the

already

bestride

to

ambassador,

lately

has

as

"

help

and

has

Brown

redemption.

and,

peoples

to

us

achievement

Colossus

the

like

national

our

help

men

artistic

our

periods,

three

British

years,

Englishman

Heaven

art

of

English-speaking

the

great

away

Our

forty

the

of

sufficiently

was

these.

than

more

it

grant

Ward

two

scheme

the

of

significance

true

will

sculpture

classification

might

said,

last

in

ready

sculpture

been

the

Ward

American

of

survey

II

portrait,

sculptural
chiefly
and

of
her

APPRECIATION

AN

artistic

of

historic,

and

and

inscriptions

naive
on

in

around
itself

of
after

the

incident
first

War

Crawford

magic

other

as

American
exhibited

reminders

of
that

Most
of

the

forties, the
must

Early

their

desired

young
have

opportunity

art's

Exodist

had
for

great

was

the

might

but

remained

or

else,

period
have

men

curred
in-

in sober

seen

could

hardly

unsuitable

; their

In

independence

world

we

middle

that

country.

production

that

The

These

something

who

the

people.

environment

sculptor

selves
our-

and

Bryce,

ultra-patriotic;

better

saw

Without

important

our

is

Hegira

Mr.

variety.

of the

Their

like

stant
in-

between

progress.

chosen
of

almost

we

from

sublime

Fair, in 1893!

observers

sculptors

helped.

art-impulse

his work

the

displeasure

perspective,
been

not

are

ing,
Awaken-

Centennial

of such

capable

us

and

dates

difference

the

at

our

successful

Great

was

it

by
a

World's

thoughtful

we

of

the

have

shown

Chicago

supposed

not

forget

the

at

; and

less

period
It

only

Greenough

that

1876.

What

us.

sculpture

with

force

new

not

or

with

tion
decora-

Washington

us

more

started

year

light

great

of

showed

and

at

gave

more

centred

gained

contemporary

the

see

the

great

far

which

destruction

ended

Our

which

host

it

and

moment,

of

activities

building

period

groups;

the

and
the

but

Powers,

beheld

in

second

Centennial.

: we

were

and

and

the

and

1812,

statues,

figures,

traffic

naturally

early

its

way)

one

This

equestrian

of

crumbling

now

consciousness,

Capitol,

thereto.

busts,

had

of

variety

national

national

our

classic

study

the

by

had

sculpture

and

but

of

(to speak

with

States.

in

struggling

our

by
stones

in

hemmed

United

color

burial

For

knowledge

acquaintance

supplemented
slate

or

period

and

movement

the

on

the

second

Our

is

hillsides,

forgotten

cities, here

that

forms

Renaissance

his

his

perfect

to

both

value,

beginnings.

meager

desires

it that

to

without

not

these

who

look

will

lettering,

Yet

were

American

the

instance,

tombstone.

the

early necessity,

the
in

America

of mind
as

the

and

thirties
to
or

smug

do

tional
excep-

little

JOHN

Stevenson

the

observes,

boy

few

were

and

casts

excellent

In
at

the

in
of

plan

marble

than

until

the

bronze
remarkable
of

1847

and

material

by

Brown's

America!

It

the

of

in

of

has

"Recast
the

been
Gruet

by

before

year

ible
incred-

after

Mills,

his

casting

and

song

Auburn

1852,

its

Hughes:

Ball

Clark

begun,

result

Bowditch,

bronze"

In

in

statue

Doctor

legend

not

was

the

was

Mount

1886."

large

to

involved

marble

Englishman,

replica bearing

the

equestrian

his

of

statue

Too

often

the

Some

Henry
The

crossed

Kirke

Brown
of

career

Verocchio,

whose

Verocchio,

Brown

Verocchio's

equestrian

Italy,

but

never

affords

Brown
race

may

was

be
is

of

made
of

one

was

name

statue

search

were

the

run

called
known

great
10

best

upon

in

however,

men,

way

seas

the

found

artist

the

written

be

may

imagination,

own

against

back

of
of

him,
meet

to

them

forever.

many

gifted

favoring

skies.

found

self.
him-

really
of

in

sculpture

warring

that

his

turn

is all that

who

materials

of

art

his

save

concluded

to

was

venit"
man

and

sculptor

difficulties

"ItaUam

stimulus

tools

very

the

against

were

little

young

young

odds

With

with

many

As

difficult

Jackson.

Decidedly

his

more

nor

was

in

was

American

of

America;

was

bronze.

Italian

casting

cast

difficulties, succeeded

and

the

out

sculptor

disappointment.

the

Paris,

the

even

"imperishable

Washington

Andrew

of

statue

original

Fondeur,

Jne.,

and

use

in

by
the

the

point

us

ever
how-

engravings,

work,

then

the

The

not

since

replaced

the

that

was

was

his

was

frequent

success.

Boston,

story,

and

accomplished

was

teach

to

scarcely

marble

sculpture

and

year

steel

could

to

as

it is now;

delay,

expense,

and

art;

reproducing

both
for

photographs

no

There

poor."

was

papa

salvation.

of

matter

suitable

obtain

World

artistic

WARD

dear

themselves,

disadvantage,

"his

practically

Old

of

splendors

whole

ADAMS

QUINCY

stuff, and

stouter

these.
certain

four
a

to

parallel

the

of

one

world

condottiere,

that

earlier.

centuries
man

to

of

Like

masterpiece.
through
Bartolommeo

his

APPRECIATION

AN

CoUeoni,
of

statue

which

had
ardent

the

limitations,

and

the

in
at

men

for

work.

the

shaping,

great

Had
whom

we

rather

or

John

Paul

this

great

French

he

might

Houdon's

counsel

but

this

maxim

does

indicate

the

real

worth

of

assimilate

Brown,
and
to

But
his

was

robust

be

sentimental

side

Thomas

light

and

in

our

early

Jefferson,

this

day

Commission.

Monticeilo

in

conditions

This
on

we,

juste"

of

his

own

sufficiently

failed

sculpture
the

of

appearance

influences
as

to

of

people,

Canova
said

are

art.

lately published

Historical

1816,

to

the

some.
whole-

eighteenth-century

until

by

from

tradition

copiez

means

in

to

Franklin,

artists
any

in

ture.
sculp-

assuredly

surtout

work

dominated
Even

on

his

quality,

mainly

Thorwaldsen.

but

by

forces

derived

perhaps,

not

great

Houdon,

naturalistic

nineteenth-century

our

from

have

young

"

nevertheless

Washington,

et

cised
exer-

American

vigorous

the

to

not

strong

our

perhaps

toujours,

country;

sculpture.

of

mind,"

influence.

he

the

visit

longer

Veroc-

have

was

that

of

gift

of

men

decided

of

their

prosaic

"few

one

that

to

supreme

speaks

Brown

was

the

and

reshaping

we

copiez

had

observe

to

exalted,

not

"Copiez,
was

that

sculptor

tradition

states

equal

assert

whatever

And

more

more

to

means

part

that
a

received

Jones,

no

manner,

moment

the

by

Symonds

sterling portraits

owe

and

"

hour.

Surely

country

our

Verocchio

hastens

sculptor, invariably
a

and

declares

who

is

of

man

on

is responsible,

genius

man,

played

meager

critical

critic

did

this

masterpiece

own

younger

Colleoni.

breath

same

very

equestrian

Washington.

the

his

the

the

powers,

the

So, too,

of

in

Brown

"limited

chio's

which

Washington,

both

the

being

the

General

stamp,

though

Leopardi

to

for

assistance

in

Ward,

ascribed

of

rests, and

his

of

because

artists, in framing

temperament:

that

endure

different

these

of

fame

his

of

soldier

each

Again,

will

Brown's

so

the

by

the

North

by

letter

subject
11

is thrown

of

was

the

Carolina

written
statue

letter

of

from
General

of

JOHN

Washington
ordered

which

procured.

"Who

should

make

this:

Old

Canove
in

place himself

without

as

line

delivers

the

he

has

Carolina

but

one

in

considered

and

packed

able

to

be

to

answer

would

years,

within

all

Europe

by

blocks

had

Europe

thirty

for

his

not

am

be

and

been

compleat

statue

North

artist

draws

He

Rome.

at

him

of

can

No

with

rival.

There

Rome.

knowledge,

own

my

it?

of

WARD

legislature

the

be

to

ADAMS

QUINCY

from
for

Carara,

and

transportation

exact

the

to

as

price.

...

We

gave

Houdon

for

this

state;

against the
it

and

the

his

cost

in the

whole

in the

it makes

style

the
of

which

is

have

that

have

should

would

be

advanced,
The

statue

to
one

and

from

Canove

was

he

were

the

half

of
other

ordered,

charges
the

of

half

made,
12

paid
and

10000

bringing

price would
on

person

and

this

kind
Ca-

but

in

price.
would

you

D.

to

which

and

over

delivery.

and

D.

8000

ting
set-

have

probably

delivered.

of

boots

Paris;

or

of

to

effect

of

plain pedestal,

require

to

size

As

the

ingredient

it

difference

Our

7000

one

which

up,

every

Works

at

of

conceived.

than

sensible
with

add

the

statue,

surprised

have
The

be

guineas,

The

order.

Rome

We

therefore

Roman,

effect.

have

to

it

artist, and
the

for

at

of

model

expenses

larger.

the

puny

cheaper

bargain

be

not

up.

such

for

good

very

will

eminence

think

you

the

only of the

was

different

in

I suppose
this

sure

first artist

500

set

scarcely be

be

of

third

one

am

the
and

more.

can

would

undoubtedly

about

nove's

about

paid

something

be

undertook

employment.

over

D., but

impression

Europe

regimentals
are

8000

his

made

protested

Canove

got

over

guineas

costume,

or

in

taste

100

come

take

to

on

we

the

was

have

not

he

one

evidently

over

done

was

should

Yours

come

the

feelingly

He

coming

to

be

life.

the

statue

perhaps
us

to

for

under-workmen

might

alone.

decided

additionally

when

and

price, and

could

we

circumstance

him

paid

of the

for

guineas

solemnly

willing

which

that

done,

he

1000

reputation

being

General,

the

of

of

and

France,

but

inadequacy

motives

on

Paris

at

to

"

In

1822,

AN

in

obedience

to

APPRECIATION

resolution

Governor

Carolina,

of

Holmes

the

writes

legislature

of

Canova

the

to

of

North
pleted
com-

work:
commands

'*It

the
and

Hemisphere,
of the

Phidias,

and

what

favorite

and

admiring

have

the

of

and

classick

American

Brown

stile,

indeed

of

time

of

Born

in

twenty-eight

world's

Italy, but

his

seven

Ohio

certain

matters

he

tion
admira-

he

of

age

carried

the

lifeless

the

ideals

enthusiastic

and

years

boy's

to
a

spent

development

there

sore

was

whole

lump
to

duce
pro-

have.

early; but

he

had

not

spent

for

plan
become

yet
four

was

in

years

of

pseudo-classicism.

Canova

in

the

and

had

found

disciple,

out-Brown

against

this
as

13

sculptor
man

and

them

ready

Brown
the

balance

of

to

himself,
emasculate

were

invaluable

artist.

his

wanting.
both

naturally,

was

circumstance,

protest
with

in

lacking

tradition

of

from

stage.

long-cherished

Paris

young

and

artist"

enough

we

Brown

brain,

"the

generation

the

studies
his

out.

rejected

was

statues

when

school.

world

initiative

art

on

imitative

leaven

to

ciated
appre-

enterprising

for

mediate
im-

Ward's

and

and

by

his
be

Canove"

elsewhere,

as

his

art

registering

the

had

began

"old

of

only

with

influence

1822,

initiative

great

example,

in

equestrian

it is

may

still in his

was

America
of

Brown

"young

Brown

temperament

in

the

was

of

throughout

philosopher's

Brown's

The

but

In

years

weighed

Yankee

from

imitative
of

because

strong

death

best

1814,

like

World's

art.

the

abroad

Ward,

and

models

comparison

man

a
course

Canova's

in

upon

by

examples

New

force.

of

had

by

the

and

of

little leaven

one

He

had

sculpture

imitation

the

"

of

creative

study

artist

their

to

chaste

sculpture,

that

developing,

afterward,

need

did

Greece,

Western

of Praxiteles

labors

dwell

to

conditions

Fortified

career.

real

of

thus

in

history

the

sublime

the

enthusiastic

young

spectators,

predecessors

At

the
sons

ventured

study

was

the

to

of

applause

perfection."

ancient
a

and

prove

those

brethren

will

World,

New

wonder

follow
if

essary,
nec-

in

art.

for

JOHN

Besides
its

receiving

the

meeting
in

men

enjoyed
in

uncommon

which

master

model.

had
chose

in

work
Far

of

much

Ward

Ward's

him

and

gift

of

the

the

and

day

his

wonder-working

those

selection

is

instinct

whether

that

material

offered

be
every

daily
growth

strong

plant

unerringly

of

just

what

directed

subject

in

or

priceless
mislaid

for

qualities,

its

the
of

studio.

garden,

native

Instinct

toward

Brown's

for

during

tangled

and

in

was

fortunate

him;

goodly

it needed

14

realize,

can

years

the

in art,

found
a

finds

friend.

precious

around

pours

his

or

toward

the

years

criticism

his

most

latter
Ward

apprenticeship.

artist's

in

five

was

lost

not

was

the

of

elements
a

by
life

influences

like

of

the
while

mature

that

friendship

but

to-day

It

country

years

one

the

of

of

his

during

vision

independent

that

generation.

of

art

Vermonter,

was

sculptor

young

later

Mead,

than

1855

who

present-day

spirit

production

his

for

in

in

living

to

interesting

Ward

but

dates,

to

the

1853

workground,

country.

own

another

and

permanent

class

sculptor,

An

of the

advantage

from

from

joined

between

than

of

advance

he

leading

drawing

together

Vermont

young

modern

more
more

worked

Powers.

according

elder,

evening

privilege

One
an

"

and

art

the

"

pupils

Hiram

his

country

Brown's
an

his

the

statesmanship.

was

where

his

the

had

fellow-students

the

for

Italy

he

and

"

Ward's

up

remained

and

students

Mead,

sprung

mind,

and

sculptor,

veteran

by

fifties

Florence,

to

went

of

in

training

processes,

men

the

Among
Larkin

his

leading

WARD

ideal

well-nigh

letters, art, science,

advantages

was

ADAMS

technical

supplementary

of

in

QUINGY

chose

highest

of

web
less
count-

the

ferent
dif-

Ward's

eagerly
ment.
develop-

CHAPTER

choice

WARD'S
his

of

evident

give

of

historic

by

their

differing

generous

relation
loses

real

desirable
his

the

the

to

destruction

pleasant
work

placed

before

master's
the

To

man

Ward
rude

could
in

ever

him

as

of

work

formed
and

The

lute
abso-

test

of

of

in

being
tional
educa-

more

soul

like

many

advantage

acid

and

for

pushed

were

often

work

in

not

permits
the

of

how
in

the

experience

contract.

heart

discovering

he

hand,

to

sort

learned

soon

after

men,

necessity

experience

an

ably
inevit-

countrymen;

had

Entering
he

gaze,

light
the

to

enjoyable.

public

piece

it.

public,

projects,

studio

student's

subjected

than

according

of
that

market-place,

of

spiring
in-

men

almost

varied

the

of

peculiarly

youth,

and

for

supplies

camaraderie,

own

large

schools

with

other

his

young

Paris

contact

the

the

of

between

which

about

the

On

fairly

end,

of

illusions

seeing

no

in.

destined

bitter

their

of

integrity

productions

"

art,

in

among
a

base

stimulus

by
rally
natu-

of

the

the

their

its

set

once

included

clay-bin

through

is

of

productions

on

in

inviolate

which,

that

that

near

their

types,

acquaintances

work

all

confirmed

equipment

from

environment,

has

training

artistic

examples

something

struggle

His

situation

intellectual

early

was

excluded

It

untransplanted

widely

career

somewhat

to-day.

to-day

ability.

differed

sculptor

III

into

his

searchlight
flaws

art

that

reveal.
well

as

15

to

the

artist,

he

owed

the

JOHN

the

recognition

common

ability

to

La

in

painter's

"never

to

belong

influence

the

to

"

human

beginnings

pioneer's

He

therefore

his

fellow-men.
from

quotes

trades

of

the

expressed,

humbug

wish

which

dwelt

merited

time
less

the

and

the

always

did

carried

on

he

in

busts.

Those

conflict

preceding

Joshua
of

farther

sessions

Stephens;

the

R.

in

and

principles

Georgia

home,

twenty

while

Stephens,

in

of

yielded
the

Ward

of

and

16

for

two

several

mind

less
doubt-

ton.
Washing-

New

of

shire,
Hamp-

Alexander

imagine

H.

two

men

Giddings

than

abolitionist

and

member

made

it the

chief

object

of

question

for

debate,

both

in

though
to

was

saw

In

intellectual

of

Hale

view

time.

life in

them

at

first

in

finished

slavery

the

opposing
end,

The

Confederacy.

Washington,

where

Ward's

Western

years

burning

secession,

Vice-President

first

of

studio,

modeled

and

scarcely

can

with

remained

supreme

Ohio,

ter
bit-

wholesomely

short

the

Senator
of

The

Brooklyn

stimulus

points

the

up

out,

begun

of

One

the

for

bring

of

the

Giddings

Giddings,

life to

War,

under

their

had

of

or

fastened

once

and

Congress,

days

Civil

our

Georgia.

Congress,

of

portraits

apart

season

he

greatly

of

Stephens

where

any

more

engagement

the

Washington,

were

made

leave

for

the

during

his

finishing

there

own

the

experiences

work

his

winters

On

at

Macmonnies.

early

immediately

to

He

his

cedented
unpre-

never

which

journalism

sculptor,

of

not

went

matured

intensive

other.

he

Brown,

success.

to

as

He

"meteoric,"

young

sweet

each

tempered

1859

of

brilliant

the

but

adjective

headlines

happy

upon

unmeasured

or

either

phenomenal,

not

were

struggles

his

the

fervently

similar

race.

asm,
enthusi-

mind.

His

of

wish,

those

of

of

Delacroix,

pious

any

vigor,

emergency.

of

writing

journal

honesty,

confidence

ing
work-

practical

"

physical

an

the

in

French

of

The

his

were

and

case

retained

Farge,

man

WARD

bring.

to

mental

emerge
and

Ward's

of

sense,

engaged
John

began

years

quaUties

heroic

ADAMS

QUINCY

bust
in

in its milder

and
of

the
came
bephens,
Ste-

Stephens's
aspects.

APPRECIATION

AN

experiences,

such

From

two

next

opened

he

1861,

In

breadth

in

greatly

gained

three

or

time

and

great

from

his

never

in

for

which

It

slave

interpreted

may

be

may

also

be

said

broken

great

to

soberness

and

this
conceived

the

appeal

foreshadow

the

His
his
of

work

the

to

of the

completion

by

with

the

successful

the

Hunter

at

the

"

the

the

said

because

formative

the

of

National

Hunter

Central

Park

of

prologue

can

to

rather
sane
never

17

gested
sugis

works,

supplemented
imagination,

of

Design

1864,

the

acceptance

together
and

definitely

1867,
his

1863,

in

Freedman

the

than

career.

"formative

development
be

has

is

achievement.

both
of

It

these

Commissioners,

Exposition

large and

period

in

his

at

Freedman

of
fact

Academy

Indian

the

Both

later

scarcely

next.

artist

it

day,

looking

sympathetic

Ward's

the

has

do

Freedman

of

the

of

ure
meas-

simply,

the

the

Hunter,

statement

"prologue"
in

is to

that

beholder's

Paris

he

spirit.

exhibition

brilliantly conclude
purposely

like

quality

election

that

the

negro,

restraint

objective
to

the

what

classic

true

broad

their

by

for

inquiry,
in

their

with

ask

seems

in

which

question,

ure
fig-

nevertheless

and

question

finitely
in-

The

was

If

one

present;

become

it

gravely

bonds.

his

another
the

to

up

fetters,

with

ask

had

size;

heard

had

Washington.

very

answering

as

to

answered

been

burst

he

its timeliness

represents,

has

who

which

larger

The

is Ward's

1865,

which
in

sojourn

executed

responsible.
seated

his

sensation,

and

up,

and

surgeon.

in

appearing
question

this

at

clergyman

famous

the

Freed-

his

sitters

Unitarian

mental
orna-

probably

Hunter,
his

the

for

busts,

what

also,

Among
the

time

portrait

to

Indian

Mott,

youth

his

York,

and

his

upon

national

during

grave

created

given

statuette

the

to

was

being

Dewey,

bronze

discussed

in New

Valentine

Dr.

Freedman,
answer

studio

compositions.
Orville

Dr.

have

must

man

young

view.

designing,

and

other

were

writer,

best, study

him

and

man,

of

years

modeling
pleased

thoughtful

considered

like
as

and
have
riod,
pe-

Ward's,
a

closed

JOHN

incident.
his

fellow
with

fortunate
without

He

by

was

and

beings,

His

life.
few

ADAMS

QUINGY

who

nature
to

give

destiny

WARD

man

peculiarly

and

take

called

throughout

ceasing.

13

him

long

fitted

largely
to

be

life-cycle

in
one

may

meet

to

his

tact
con-

of

the

grow

CHAPTER

IN

later
of

warned

that

conceited

nevertheless

need

of

the

was

What

sculptor?

Wherein

lately

been

other

that
broken

Ward
"

Lopez,
shall

another.

This
of

is

high

us

may

the
of

of

any

his

is

of

the

ground;
even

not?
has

transcend

his

with

point

own

the

day.

be

of

view

so

painter,

has

an

individuality
of

the

ject,
sub-

different

and
"

perilously

greatest

value;

artist

an

the

different
would

doubtful

contemporaries,

if

as,

sculptor,

young

always

compared

it

one

sculptor,

greatest

be

that

our

mold"

or

"

this

say,

is

something

us

had

men

"waste

inasmuch

takes

interesting,

so

to

Some

gives

to

resemble

or

with

absurd,
cannot

American

an

other

concerning

him

Each

and

yet

it

that
whose

criticism

be

as

What

time?

said,

compare

would

he

from

the

Contemporary
not

this

of

himself

individuality,
of

differ

works

contribution

"personality"

personalities
Mr.

had

the

lands.

Ward

of
individual

gifts

that

other

we

country

our

know

in

mind,

in

what

we

valued

his

What
did

and

message

was

history?

art

for

peculiar

duly
of

into

''dropping

warning

sculpture,
are

Academy
directness,

against

ashamed

be

sculptors

best

our

then

in

accomplished

has

body

This

not

National

characteristic

august

security."

the

of

with

Ward,

Design,

once

President

as

years,

IV

near

that

ness
foolish-

one

the

"

all

not

believe,

with

19

of

us

the

can

critic,

attain
that

unto

"progress

it.

JOHN

of

the

and

mind

will
To

no

he

QUINCY

consists

go

our

other
to

the

noblest

been

of

false

bear

herself

that

on

the

on

some

forces

last

Ward's

"they

that

United

the

initiated

uncle

could

made

drawings,

to

trip

in the

passion

daily

ters
mat-

of

relation

the

water-colors,

finish.

infinite

by and

auxiliary
bronze-

things better
them
work

writes

models

relations
of

the

spoken
each.

with
of
Mr.
where
of

the

grace

than
Brown

had

Bush-Brown,
made

Indians;

He

do, here

we

marble-cutting

he

easy

"

in France.

better

not

are

spirit underlying
with

by,

indestructible,

either

the

start,
Nature

with

which

his

accept

20

the

at

sculptor's

whom

frontier,
and

conditions

stone-cutters,

mysteries

1849,"

the

marble,

The

or

never

difficulties

the

"

itself, inevitable,

arrange

the

to

at

quarrymen,

His

"In

works

concealing

nose.

these

arrange

into

bronze-casting.

in

practical

understanding,

States.

him

by

contract,

ought

we

his

aliens, with

perfect

patriotism

proverb,
knew

present

written

the

him

him

blot

often
of

period

the

flights, cripple him

sculptured

are

the

or

all

against

black

one

those

always

in

against

lap, will

"

over

of any

vision,

of

passed
sur-

But

only in the

not

the

ever

act.

artists

so

for

"

other

and

of

hope

American

will

No

purpose

with

highest

plaster-molders,

"

founders

word,

his

witness

hero's

his

you

larger business

sculptor

conspires

cunning

in

in

truthful

idea, the

things, few

familiar

too

the

even

the

its

life.

but

beset

which,

in

but

human

are

which

and

art,

technical

anchored

he, in greatness

as

for

art.

feeling for proportion,

to

art

We

gifted

in

his

virility of
these

various

bias, if

"

nation's

our

beyond

the

American

than

manfully

more

ever

basis

of

sheer

so

truth,

that

American

and

above

have
for

in

of the

important,

yet

depends

other

no

value

development
him

differentiation,"

moment,

country

sculpture

Further,

standpoint,

in

part

worked

ever

own

which

he, in the

as

his

in

upon

most

thing of lesser

sculptor

presentation.

and

the

encourage

firmly

the

WARD

differentiating.

American

processes

for

way,

with

begin

ADAMS

the

early
and

"my
series
Indian

of

APPRECIATION

AN

and

heads

statuettes

by

studio,
These

this

The

country.

later, when

years

famous
for

struck

Washington
up

their

satisfactorily.

Once

Ward

took

tradition:

"I

inside

did

the

That
as

at

Ward,

like

doing,

and

they
can

need

not

But
far

into

come

the

beyond
he

believed

article

of

the
of

relaxing
school

late
the

'*

Ward.

strong
modern

"The

that

has

man

living thing,
soul, he

must

clearly

live

in

that

of

extended

in

him
in

magazine

the

suave

sculptor

working

at

home."

abroad,

but

not

to

will

antique

he

with

fresh

himself

He

advised

stay

there.

of
and

and

if art

from

had

is

man's
An

his

young

so

him.

treats.

every

He

is

statues

out

deal

in

atmosphere,"

manhood

which

21

the

nor

depicted

cursed

thing,

serve

roundings
sur-

Florence,

American

Like
of American

treat

forth

the

to

earnest

of

yet

processes.

set

"A

themes

serious,

so

craftsman;

naturally

marvelously

sculptor's

modern

the

should

for

so

magnetism
a

By

Victorian-American-Italian

the

Faun."

it draws

hands

own

difficulties, and

art

art

Rome,

Marble

who,

those

stone.

with

expatriates

of

well

as

excuses.

Not

of

of

and

his

in

seventies.

at

Jonah

wot-k

their

reproductive

are

colony

it

makes
than

their

with

out

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go

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JOHN

QUINGY

of

appreciation
best

draughtsmen

year

1878;

"

adds,

sculpture,

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best
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and

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22

masculinity
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APPRECIATION

AN

artistic

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contribution
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23

French,

sculpture

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ern
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JOHN

freshly is

of

art

General's

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works

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with

in
or

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the

evanescent.

24

The

former
in

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cer-

significance

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genre,
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QUINCY

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APPRECIATION

AN

His

gelo's sibyls,
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few

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certain

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was

"methinks"
25

in
as

old

which

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manners,

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genial dictum,

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himself,

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JOHN

about

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Ward,

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him,
he

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good
Mr.
felt

mind
midst

that

the

asleep.

26

and

Taft
rest

and

bering
remem-

the

of

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therefore

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in

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world

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always

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he

in

poetry."

hearers.

kindness

then

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men.

audience

know

WARD

period,

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drop

his

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one

ADAMS

QUINCY

he

dealt

after
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talk
half

CHAPTER

Ward's

IN

Cellini-like

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in

cast

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art

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Oglesby.
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judged

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ness

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design

and

figures

hand

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in

designing

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Greeks,

and

rather

than

attracted

was

of
rather

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shaping

simple,

to

facts
than

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of

to

the

after

enveloping
27

silver,

of

for

His

man
clergy-

Sultan.

from

of

of

modeling

beauty.

the

painter's;

integrity
form,

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delicate

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have

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table-bell

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from

in

of

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pure

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monumen-

by

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high
as

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dollars

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workmanship

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in

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mountings

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through

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eral
Gen-

comparatively

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sentation
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for

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en-

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1861,
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Company,

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by

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struggle,

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JOHN

so-called

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WARD

manner.

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QUINGY

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matic
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be

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create

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Rodin,

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a

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point

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of

view

merits:
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days

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of

type

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about
and

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ments
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less
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successful

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archi-

past

presumably

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since

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impassioned

united

be

concerning

isolated,

over-correlated
28

of

noblest

symphony
speak

undeniable
extremes

and

this
to

future,

evasive

apart,

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an

"

to

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set

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Rodin

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architecture:

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fine

purposely

hope

beauty

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body

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landscape

two

human

of

in

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received

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and

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in

art

interest

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decidedly

with

sculptured

present.

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complete

far

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was

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hope

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valued

sculptor

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sympathies,

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Rodin,

French

great

of

well-known
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as

to

and

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satisfying

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Rodin's

sculpture
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APPRECIATION

AN

unrelated
the

it

Greeks,

middle

than

men,

for

art,

work

of art

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his

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blaze
Ward

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Gar-

lines

in

of

such
what

sculpture

architects

worked

works

binding
imply

of

widely

Richard

American

Morris

in

born
29

sculptor,

the

his

destiny

design

genius

in

the

and
of

the

to

we

us,

mony
har-

peculiar

know

now

architecture.
Saint-Gaudens

direction.

1830,

ception
con-

reveal

to

which

sculpture

this

Ward

"architectural

architect,

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novelty

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called

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and
in

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any
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of work":

noble

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or

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to

famous

had

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he

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of

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stantly,
Conhe

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rigidity

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Shakespeare

until

sculpture

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book.

the

"

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memorial,

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architecture

collaboration

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with

drawing,

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instances,

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relation

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as

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in

which

JOHN

QUINGY

Charles

Bulfinch,

his
it would
time

work

on

have

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and

of

have

Gaudens
and

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were

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would

have

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told

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the

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setting.
the

the

real
:

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fact

Frenchman

shows
of

serious

consideration

for
all the

of

architecture,

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world

against
reveals

conditions,
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may

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of

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such

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from

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the

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here

be

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large

extent

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of

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improve
that
30

when

inated
dom-

it, is

above

ment
move-

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works

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more

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wonders
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with

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the

in the

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ment
state-

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to

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tural
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example

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earlier

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its

prevailed.

architecture
will

in

uproar"

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day

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these

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pedestal

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tects
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statement

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the

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origin

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guise;

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statue

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fount

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sculpture.

unveiled

monument,

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to

precedence

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calmed

and

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his

were

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old

are

French

with

pedestal,

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who

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were

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Ward,

thought

properly

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world

only

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than

this

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impossible
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izing
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which

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construction
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of

art

departures

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affairs:

decoration.

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chronologically

were

revealed

the

serious

give

to

the

architects

great

take

to

monument.

later

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sculptor's

him

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as

years

two

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introduced

larger

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toward

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eighteen

McKim,

comrades,
a

born

the

realize

we

had

movement

ished
fin-

architect,

permitted

architecture,

with

begun

was

White

and

miracle

art

such

American

Washington,

at

than

any

sculpture

to

Capitol

American

in

part

WARD

first

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place

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the

ADAMS

monu-

the

AN

ment

was

have

Mr.

first

projected,

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He

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sculptor,
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at

which

than
their

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elders

"

to

while

Give

more

others
of

blood;

held

decisive

31

his
the
and

to

man

In

spirit

Mr.
Mr.

career.

helped

petty

its value.

that

his

young
no

wished

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of mind,

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influence,
He

committee

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the

largeness

saying,

the

of

some

characteristic

difficulty by

prevented

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as

Saint-Gaudens,
Ward,

APPRECIATION

to

solve

chance.

"

considerations
the

art

inclusive

was

newer

efficient

izations
organ-

men

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action.

CHAPTER

"ANY

cities
states

is

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far

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is

have

vitality.

and

the

at

has

the

Public

Garden

statue

of

in

bronze

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its

bronze

1872.
of
defeated

Tarleton

is

two

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our

But

of

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William
had

along

country's
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in

the

Atlantic

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and

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burg
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the

in

bronze

ure
figwho

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erected

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the

historian
From

Morgan.
these

seaboard,

date

Its

Cowpens.

deeds

figures

history.
all

our

New

cities.
32

York

the

completed
is

Simms,
the

in

secured

1874,

Charleston,

Gilmore
related

is

General

nearby

ite,
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anesthetic

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fight

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to

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tell

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as

date
in

Revolutionary

in

country

group

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erected
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he

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to

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gallant

the

1881;

of

erected

brimming

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as

interesting

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ether

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statue

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In

bronze

Israel

second

of

Perry,
treaty

of

statue

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having

Of

and

figure

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works,

1868.

commercial

famous

of

earlier

sculpture.

particularly

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discovery

ern
South-

Vermont,

as

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the

Ward's

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Boston

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bronze

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north

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middle-aged

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Carolina.

1883,

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England,
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in

sort

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the

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represented

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statue

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VI

and

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APPRECIATION

AN

the

hand:

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influences
in

which

1872,

the

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1885

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and

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has

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33

of

we

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and

Ward

the

sixties

Shakespeare

set

sculptors

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ing
com-

is

easily

that

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believe

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placed
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pre-

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the

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sculpture

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of

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munici-

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sculptures

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works

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large

canons

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reach

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less

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huge

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peoples.

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suggested

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than

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during

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in

out

doing

Pilgrim,

the

of time

English-speaking

among

wonder

laid

of

beauty.

point

in

ground

1857;

was

year

being

as

the

intellectual

natural

valued

Regiment

pioneer,

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of

Seventh

commemorates

third,

cumstances
cir-

genial

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the

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is noted

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Society

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history.

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year;

theme

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were

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Shakespeare,

all

day;

England

has

statues

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following

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the

in

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things

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public

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ment
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of

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wonderfully

JOHN

harmonious

QUINGY

natural

branches
stride
As

of
the

to

modern

has

both

said
the

by

Soldier

this

the

It
that

is

natural

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is

them

noble

old

in

too

expression,
appreciated
uments;
mon-

also

pedestal"

with

be

might

relationship
masterly

in
to

warrant

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in

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writing

made

from
tion,
abstrac-

an

least

such

is the

malice.
you,

of

and

His
when

him

prevents
of

it

he

walks
34

Pilgrim
Norfolk.

from

views

of

bones

his
of

from

tors
ances-

blood-

adding

to

is

man

abroad

who
!

makes
Woe

his

touch

infinitely delightful

an

Puritan

men

his

consciousness

no

it

are

Saint-Gaudens

the

detachment;

touched

stayed

forefather

own

with

perhaps

worship;

ancestor

temperament

subject

is

crete
con-

subject

sculptors

hand

Ward's

his

to

his
has

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idea

abstract

approached

like

very

an

Saint-Gaudens

question,
his

given

has

humor;

characterization

sportive

stir, I

of

greater

not

and
poses

man.

philosophy.

complex
with

are

he

while

cousin

first

solved

Taft,

men

parison
com-

incomplete.

have

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figures

Institute;

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modern

has

Pilgrim

feeling

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case

his

sense

certain

these

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statues,

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both

genius

says

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Park

the
of

observe

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men

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it into

reverence,

more

than

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Puritan,

while

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casts

Greeks,"

Possibly

deeper

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two

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of

form.

of

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develops

Ward

the

in

abstractions;

and

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our

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"high

his

earlier
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the

of

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problem!

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years

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of

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standpoint

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competence

had

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Springfield.

at

stand

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1884,

Puritan

gift

the

means

question

Pilgrim,

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of

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have

we

vexed

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for

ing
droop-

here.

enters

is

because

public,
and

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speaking
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that

the

WARD

httle

ideal

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sculptors,

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setting,

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ADAMS

grim

betide

the

APPRECIATION

AN

urchin

culprit

reverend

that

wise

no

injured

nevertheless

itself

lend

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result

and

Ward

be

insistence
colonial

life

the

dramatic

and

horrible

of

in

Europe,

is

picturesque

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the

whole

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behind

lessened

class
so

Pilgrim,
by

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in
the
on

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than

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rich

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of

pioneer

not

one

or

by
Lord

conception

in

sour

the

should

art,

no

characteristic.
35

will.

In

particular
The

in

sense,

stress

Pilgrim,

on

land

and

the

of

the

fearless
it may

man,

die
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erance.
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England.

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those

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in

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having

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did

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highly

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boots,

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civilized

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poor

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our

verdict
the

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England

of
of

deprived

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phases

fundamental.

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called

justified

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play

self-repression,

grim

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recall

colonies,

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truthful

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what

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else

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hands

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of the

conception

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imitation,

in

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by

lese

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itself

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**part,"

in

caught

ready
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to

bed

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work

laid
of

JOHN

QUINGY

home-trained

imitator

is the

Another
his

of

ready

for

depicting

Word

of God

cloak

on

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repose,

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boots,

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hand

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inform

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this. Ward

as

and

us;

of

Ward's

me

own

Criticism

the

eternal
or

conviction,

of

the

as

sort

that

creator

loves
36

for

dignity

well

as

either.

shallow
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from

high

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Its

conceit;
of

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triple

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WARD

excellent

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schools;

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academic
French

ADAMS

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mes-

statue,

language
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APPRECIATION

AN

tions

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certain

classed

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completed

will

is

William

of

Commerce

1890,
is not

of

by

has

its

receive

our

the
seated

commission

the
37

unique

in

passing,

E.

Dodge,
in

be

1885.

due

meed

flippant
figure

human

of
and

properly

with

monuments

from

will

time

the
its

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instance.

note

we

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noble

of

will

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of

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statue

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Printing

subjects;

contributed,

and

Street,

Chamber

prophecy

appreciation,

now

ideal

those

idealist;

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to

able

it is

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portrait

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this

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Sub-Treasury

Park

very

statues

and

of the

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this

when

sharply
which

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voice

public

realist

Square

by

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come

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way

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in front

Washington

ever-increasing
of

in

years

slow

casting.

both

himself

shows

of

largely

has

improve

to

opportunity

of

an

frequently

himself

he

endeavors

bronze

of

process

which

to

need

everywhere

is

the
Yet

twenty

stages

The

respect.
it

later

and

immortalize

to

but

been

the

bronzes,"

"small

in

interest

time

his

pletely
com-

loved

little

left him

portraiture

this

desire

public's

his

in them.

gloried

he

or

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nature,

passionately

and

the

he
has

artist's

the

Ward

witnessed

with

but

continues,

opportunity

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sculpture.

later, he

of

them

regretted

its heroes
for

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of form;

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in

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label.

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ment
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a-gumming:

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for

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labor

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sooner

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men

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luckily,

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result

defects

and

merits

his

assigned.

thus

qualities

Often

both

that

assume

and

subjective,

than

rather

idealistic, objective

realistic

work

Ward's

call

will

pigeon-hole

and

unobserver.
of
the

Horace
Tribune

example

of

JOHN

QUINCY

spiritual greatness

in

that

sage

American

our

homely

offered
difficult

by

is

glass

artist, has

true

his

fme
man

know

and

benefit

reveal

of

the

up

in Wall

dignity
in

absolute

is

placed
in

hand

envelopment

which

ness

His

than

Houdon,

great

man's

the

with

there

to

or

is

nothing

unfashionableness

able

to

without

figure,

in

the

and

not

so

in

the

yet

promoted
38

picturesque
Father

of

full

tide

to

the

at

of the

an

ple
exam-

it is

ideals,

dated

Ward's,

Washington
of

as

neo-classiand

as

merit

as

sculptor;

obscures

of

innocent

plow

our

of

American

completely

dapper-

eighteenth-

As

will, in

statue

yet

and

complained

Washington

of

deep,

such

some

placed

if you

oath

its harmonious

the

regimentals."

first

of

many-statued

Jefferson

conceived

the

inherently

to

gurated
inau-

composition,

the

pitfalls of

well-known

which

take

silk-stocking

himself

and

statue

was

gives by

to

dress

then

This

gesture

ness,
correct-

best,

very

President
to

back

of the

of

treated.

remembered,

our

their

ing,
build-

ton,
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qualities

first

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this

was

impressive

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lent

compare

Greenough

the

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one

progress,

Zeus,

of

shown

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silhouetted

even

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Olympian

cism.

is

boots

our

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interesting
1883,

of

be

heels, and
of

has

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at

seen

amplitude

often

it will

effect

he

whiskers;
a

plate

opportunities:

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the

our

at

form

"

has

ruse:

of

are

sculpturesque.

Country

"puny

fine

sculpture

costume

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cloak

quality

his

has

and

is extended

unusually

in

Ward's

the

suggestion

in

century

which

where

spot

feeling;

that

in

Washington

right

restrained

beautiful

with

the

temporaries,
con-

of

he

us

of

steps

simplicity

1789.

office; the

prevents

broad

harmony
near

given

his

characterization.

figure

and

the

of

background

into

but

admitted

many

Ward,

saw,

has

Street, is the

standing

be

made

nothing;

behind

he

sculptured

Half-way

hero

the

like

conditions

world

silhouette,

in

triumph

But

extenuated

the

it will

problem

So, too,

matter.

has

whom

outer

sculptural

transmuted

honesty

and

journalist,

externals.

mere

WARD

guise;

and

perplexing

ADAMS

real

antiquity,

it

is

APPRECIATION

AN

his

work

the

for

difficult

really is;

the

of

and

the

of

"classick

some

disappointment;

stile"

and

in

from

but

Everett,
for

modern

difficulties.

The

suited

and

Houdon,

he

as

and

in

trey, in

far

The

as

is

made

by
It

seen.

dressed

hair
stiff

with

curls

ear

Chan-

by

was

it

senator;

now

is

insuperable

with

Roman

statue

sculpture

never

was

nings.
begin-

culture,

was

statue

next

first, but

at

the

etc.

coat

cloathed

house,

commended

highly

figure

its

this

of

presents

picturesque

behind.

State

our

from

and

Washington

old-fashioned

an

club

heavy

of

statue

unpleasant

it, but

wore

dress

the

subjects;

between

taste

that

the

was

in

defence

of

convinced

not

first

of

man

sort

you

am

more

represented

is

send

"I

1841,

architect,

statue

then

was

is
and

us

controversy

ideas"

comfortable
un-

chest

leaves

the

seen,

the

"modern

the

Bulfmch,
writes

first

good

feel

we

whose

Washington

when

Even

days,

these

"semi-drapery"

Greenough

the
cold.

wearer

cause

presence

in

how

understand

to

Washington
in

exposed,

generation

present

perfect

with

seen

was

indifference."
would

It

had

classic

the

nor

pendulum

Houdon's
not

clothes'

sake

that

the

his
had

great

also

the

simply.

like

other

with

and

work

human

"perfect

against
and

die

by

costume

of

art

is

to

its risk

of

indifference"
And

oblivion,

heroic, which

Washington.
39

equally

for

rejected

by

he

because

being

anything

it

is

that
and

greatly

can

large

future'

the

sometimes

if

had

Sculpture,
in

seen

counted
ac-

Ward

because

live?

shall

But

it is not

thoughts

those

pervades

or

live

which

The

day.

sculptors

and

what

many

man,

present
say

alone

will

modern

classicism.

accepted
by

great

shall

accepts

commendation."

artist's

skill

who

Yet

work,

that

"high

once

about

the

protests

Ghantrey's

portrait statue,

thoughts

and

Bulfinch

Washington,

noblest

genius

and

the

neither

really gained

and

work

Ward's

world.

time

that

swinging.

live

does

that

extract

realism

statue

at

still

was

against

this

from

seem

follows
insure

the

interest,

vitalizes

Ward's

at

JOHN

One

of

avoided

figure had

the

notes

the

duty,

but

Washington

his

to

not

and

fitting, I take

of the
nor

design

suggested

the

that

the

the

stands

statues

that

in

works

"

far

work

of

from

Exchange.
in

this

it

Integrity

to

an

and

work,

all

an

the

outstretched,

at

of

two

foresees

the

the

40

at

nificanc
sig-

which

it

trian
equesto

say

have

ury
Sub-Treas-

another

important

the

this

in

on

building

unless

of

center

feet;

in

Man,

the

is not

is shown

stands
on

ception
con-

beginning,
of

part

it.

study

"architectural
end

the

fact,

in

to

pediment

every

her

Stock

New

steps;

Works

austere

genii

our

Washington

opportunity

In

In

of

much

advantage,

the

sight of it, and

rest."

life

harmony

the

position

an

excellent

treatment.

which

the

countries

Sub-Treasury

Ward's

in

of

of

of

its

Protecting

degree

loses

never

of
arms

classical

unusual
of

has

the

Set

exemplar.

of
seen

with

national

too

four

tympanum

nature

from

Its

to

and

ideas
power;

Leaving

statues

least

at

and

front

Washington

it is not

himself

unsuited

of

marble

Washington
subject,

portrait

our

the

the

views

spectator

in

stately figure is yet

the

street,

narrow

of

The

faultless

it is not

"

From

in

consideration,

fitting type

Ward's,

is

accent

an

business

it rests.

on

nor

splendid

building

the

harmony

accomplished

the
a

called

beautiful

attribute.

of

that

speaking

whole

calm

been

style

sculptors

the

has

has

changed.

see

and

struggle

idea

the

plane

negative

of

the

which

line

which

remains

to

ideas

of

themselves

expressed

Not

and

of

long

in

wish

nor

figure maintains

out

the

line

mere

lines

in

of

both

on

myself,

lover

consecration

pedestal

the

For

mere

the

convey

the

purposely

considered,

pleasure

not

largeness

classic

and

such

no

strain

Its
with

is

city, the

greatest

as

of these

rendering

of

but

of

to

position.

I would

those

are

order

that

has

sculptor

deliberately

I find

that

perfection

midst

critic

that

gesture

and

as

wish

squarely

more

the

in

faint

planted
that

high

humbly
the

been

placing,

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WARD

expressing

possibility

ambition,

not

ADAMS

critics, in

our

of the

weight
feet,

QUINCY

each

it is

scious
con-

Integrity,
side

are

APPRECIATION

AN

four

figures,

difficult

angle

acute

the

connect

whether

the

is

always

Parthenon,

spirit, descended

the

Forum

well

filled, but

prove

shadow

of

of

old

of

that

Across

and

believed

strong

loved

not,

leaves

its

true

and

therefore

In

the

central

by

certain

the

the

in

the

ness
busi-

until

very

ings
build-

famous
fire that

intact

lately
tor's
sculp-

our

in

standing

formerly

the

of

work

the

themselves

of

the

to

freer

and

more

allow.

portraiture
41

Ward

the

of

the

meet

human

"

he

which

people.
wants

heart."

ton,
Washing-

his

important

therefore

governed

surround

supplementary
idealistic
The

mission,

d'elite,

in

monument

rules), with
a

mass

portrait, and

Though

distinction

"will

to

Ward's

etre

ordinary

Garfield

the

opportunity

to

of

kind

critics

artist's

the
"un

declared,

he

defined

work.

be

feelings of the

in

as

used

well

that

art,

many

of

should

unintelligible
art,"

by

Beecher

beloved

her

popular

artist

the

of

has

sacredness

the

stir the

laws

the

left

has

called

1891,

figure (necessarily

lending
than

work

has

of

miracle,

Brooklyn

of

that

Beecher,

he

forms

York's

might,

one

Hyde,

certainly

message

"A

of

honored

New

Ward's

of

some

B.

in

sense

in

anced,
bal-

this

over

duly
of

heart

the

Building

Bridge,

and

masterpiece,

than

rather

building.

erected

had

By

Henry

the

monument,

in

within

Equitable

is

sculpture

work

spot.

of

statue

and

found

been

the

of

art

another

famous

destroyed

arcade

the

yet

gravely

composition

intricate

not

Trinity

have

here,

broods

Louvre,

Flora,

round.

that

world,

recently,

the

in

practically
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the

from

or

ment
pedi-

Carpeaux's

Acropolis

the

from

to

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large style suited

of

vein

joyous

to

as

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idea.

the

in

often

(too

composed

so

sufficiently baffling proposition;

classical
from

in the

or

solved

be

to

ever

intention

central

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fill that

to

good

being

two

with

groups

corner

problem,
to

other

the

and

arrangement),

artist's

the

varied,

are

poses

pediment

the

of

base

the

at

the

lengthwise

grouped

blocks

that

impasse

an

draped

some

figures being

the

of

two

nude,

some

negro

figures
treatment

girl busy

JOHN

with

her

branch

palm

garland

rather

than

erected
of

Army
Garfield

and

architecture

the

Of

life.

should

endeavored

close

of

observation

and

characteristic

his

suggest
or

from

is to

characteristics
He

does

many

anecdote,

his

at

or

of

portions
comparing

the

perceives

that,

quite

be

preacher,

struggles

President,
realm

of

leave

as

to

his

the

In

been

no

in

moment

broadly

to

his

memory

of

life; in
and

universal

the

Garfield,

thought,

to

the

memorial

architecture

42

to

than

are

of

the

popular

the

carried
the

changed,
sion
expres-

ground
to

In

the

their

figures and

avoid

to

accessory

has
if

monument

as

immediately

artist

of

close

but,

reliefs.

or

one

the

the

the

it to

figures

his

subject.

his

prefers

he

theme,

rather

of

statue

personal

the

interest,

of

onus

the

the

portrait

both

show,

bronze

intimate,

in

human

the

whether

scale

the

aim

patrons

with

suit

to

sculpture
the

to

Beecher

all is human,

daily

his

permitted.

both

his

of

one

or

significance

out

monument,

naturally,
may

historical

to

least

the

the

personal

meant

conviction

and

leave

to

letters

Ward's

seen.

the

wish

at

has

as

This

From

interpretation

"It

that

him

chosen

is

statue

such

dignity

and

not

of

been

with

express

the

work

the

incident

field's
Gar-

writes,

There

gestures.

the

in

speaking.

I have

by

heroic

phases

speech.

of

allow."

may

already

has

but

Warrior,

represent

to

particular

any

spectator

imagination
As

and

career,

each

to

rather,

or

the

in
of

act

information,

represent

oratorical

the

delivering

attitudes

to

attempt

do,

to

period, while

interested

in

three

itself, W^ard

statue

of those

Garfield

represent

have

portrait

desire

general

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was

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the

designed

for

important

three

of

statue

pedestal

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ment
monu-

Society

bronze

oak

work.

Garfield

spaces

the

their

whole

the

the

by

granite

"

symbolizing

"

of

colossal

affording

reclining figures in bronze

Statesman

1887

circular

with

impressive

in

Cumberland.

the

children

lyric appeal

Washington

in

WARD

two

lyric is the

surmounts

Hunt,

the

largely in the

count

Epic

ADAMS

QUINCY

ting,
set-

stone

and

to

the

martyred
into

intimate

the

and

APPRECIATION

AN

personal

conceived

be

one

as

upon

the

and

declare

For

Ward,

who

loved

Garfield's

value

his

makes

like

Hawthorne
their
in
but

above

of

busts

list

of

of

of

interesting by
of

New

works

steel

workers

erected

in

some

sort, the

with

its

scorn

people,

the
but

of

industry,
by

make

voice
his

situation
where

sculptures

Garibaldi
of

the

vigorous

against

be

which

people,
mind

was

43

architectural
further

hard

worker
wonderof

"engineers
in

Washington
of humble

background

of old

of

Holley,

bust
said

the

eloquently

statue

portrait

is made

The
may

later

his

swarms

seen

portrait

bronze

the

bust;
be

of its subject,

its

protest

may
many

work

memories.

emphatic

as

its fine

donors,

1890,

themselves

among

its

holiday

in

Square

the

This

all

with

bronze

is the

with

breathing-space

dignified

triviality

art

personality

aristocratic
the

his

of

Beecher's

or

made

Notable

of

and

now

York's

Ward,

given,

Holley,

vivid

beautiful

here

tor
sculp-

Americans,

marble

we

comeliness.

perpetuate

and

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hemispheres,"

Square,
alien

the

of

Greeks;

like

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to

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character

head

that

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persisted,

Lyman

the

of

singular

branch

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by

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importance.

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Alexander

setting

two

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leonine

hidden

American

3^et homely

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to

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indestructible

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far

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traiture.
por-

be

art,

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being

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found

love

the

We

Ward

loved

his

the

in

must

he

by

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made

looks

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an

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of

it gave

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And

man,

mystery

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to

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way,

characterization

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portraiture.

to

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way,

fellow-men.

good

individuality

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Abou

his

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truly

modern

like

sheath

outer

within.

virile

for

its

and
said

be

may

in

spirit; yet

broader

properly

monument

its very

in

opportunity

fine

Garfield

classic

the

equestrian

Thomas

for

in

is

background

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important.

more

historical

the

Arch

Washington

against

utters

by.

Ward

especially

the

impatient

of

in

second,

to

did

the
not

American
the

namby-

JOHN

pamby

and

matter

how

by
busts,

as

QUINCY

the
well
the

in his

ADAMS

unconstructed

"

constructed,
student
statues

as

and

as

WARD

well

as

if conceived

in

"pompier."
monuments,

prevails.

44

of

the

In
a

work,

any

virile

no

style stigmatized

his

portrait

simplicity

VII

CHAPTER

WARD'S
standards.

if

this

by

and

term

defend

such

money

to

world.

Studio

for

their

of

fifty

Latin

of

with

be
the

remembered.
look

present-day

us.

as

an

of

we

But

analysis.

the
is

port
im-

higher
the

boiler
pot-

Ward's
revised

was

by

published

was

in

International

the
list

without

is

scarcely

omission

itself

to

the

McKim,

Each

great
45

here

monument,

something

of
which
artist

of

and

may

essence

fortunate

fame

the

architect,

or

real

that

epitaph,

Ward's

seek

the

work.

sculptor

memory

artist

such

Wren's

lending

he

If

around

quality

of

years

freely

artist-builder,

in

recite

can

Christopher

Sir

Surely
line

artists

few

complete;

of

Adams

and

Ward

Naturally,

artists
need

they

given

death,

upon

1910.

June,

Some

Quincy

here

his

only,

indefensible,

John

of

pot-boiler,

revenue

that

or

works

of

article

Walton's

William

tale

before

shortly

sculptor

the

list

The

commissions.

story

in

figure

not

defensible

But

artist

certainly

enterprises

artistic

other

to

called
for

ground

high

normal

any

but

conscience.

with

the

on

justice

do

does

the

and

of

be

may

by

say

undertaken

work

products

the

to

mean

to

ever

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judged

masterpiece

could

conviction

from

not

is

produced

we

idle

be

touched

has

Ward

that

nothing

would

It
he

everything

that

if

wealth,

accounted

be

even

and

honor

him

brought

labors

many

lately
once

we

may

be
well

living

forever

stands,

ciated
asso-

more

man's

any

an

eludes

world-

candidate

for

done,

the

bestow

nor

his

"

begun

General

fair

Indian

of

guild
by

of

reason

more

serious

view

Indian

is neither

died

and

inhabitant

epic.
for

that

the

Hunter,

he

and

habits,

"

far
excellent
Arts
the

making

Certainly
more

Ward
and

vital

argument)

lasting

Indian

(his

existence

whose

chief

of

American

national

our

first studies

of

assumed
of

west
Norththat

"he
their

since

Hunter
found

be

Indian

acter.
charthing
some-

in

the

Beaux

young
for

been

and

form

to

as

the

to

have

talented

some

quished
van-

studying

would

knowledge
46

whose

research

Indian

his

than

being

well

and

in

men,

that

into

put

might

proposition.

the

delineation

in truthful

ronment
envi-

sacrifice; and

Red

models

wax

academic

sculptor

the

But

early

the

journey

little

sacred

man

further

the

speak,

to

vanished

made

of

need

no

To

the

having

among

marvels

pronounced

at

his

significance

that

types;

months

several

the

and

of

folly

proof.

academic

of

to

figure

once

as

Indians,

mere

poetic
after

felt

accomplished

was

spent

his

long

aboriginal

genuine

nor

while

so

images

case.

with

quality

"

read

We

the

are

youthful

civilization,

our

in conflict

heroic

the

of

joke

of

of

these

piece,

ancestry,

Indian

three

that

adduced

are

pioneer

outposts

lived

knew

his

the

fathers

Ward

tobacconists

of

each.

of

wooden

it

statue

it is worth

inevitable

the

the

and

necessary

an

is

These

harmless

into

between

making

in

volume

1887.

declared

and

oats;

the

amid
a

value

equestrian

jestingly

sculptor,

wild

of intellectual

take

is

the

to

been

American

Ward,

went

ment,
judg-

put

large

Midway

production,

all that

American

the

1910.
dated

Ward's

sometimes

of every

in

has

chapter

last, the

the

of

is of

he
the

In

neither

sort

work

what

important

finished

of

here

It has

to

1857,

of

them.

monument,

examples

consider

an

in

man's

all's

can

arithmetical

sum

of

use

first

Garfield

the

that

the

to

the

Hancock,

rude

when

which,

criticism

contemporary

say

his

work,

Hunter,

is

and

WARD

immortality

By

according

gifts

Ward's

of

indeed

may

of

gift

withhold.

world,

the

that

voices

we

ADAMS

QUINCY

JOHN

the

sake

types

of
has

APPRECIATION

AN

been

gained

So
born

one

year

and

with

that
himself

in his

of

Garfield's
he

part

that
he

its

of

the

and

is

should

perhaps

presentments

wholly

tailored

of

with

wrestling
of
force
his

domination

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as

not

Muses;

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one

of

Garfield's

calm

of

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ready

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shall

mind

to

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suggest

man,

but

form

not

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the

the

to

Student
bility
sensi-

pliant

force

meet

by

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ancestry,

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by

sturdy

that

the

sculptural

us

the

to

only

of

the

orator;

human

to

of

land
Cumber-

the

not

the

add

bearing,

it's
that
in

subject
man's

one

unlocks
be
and

done

but
the

since

often

sculptors

our

subject

should
message;

have

way

another's

Warrior

and

garb
the

things

derided

the

alertness,
of

which

recall

and

and

the

as

study

yields

of

intention

shall

his

his

intellectual

suggest

conscious

its

of

own

rectitude.

the
the

us

and

and

power

that

and

dignity

Ward's

problem

remind

courage

"It's

his

youth,

shall

classic

is

It

steeps

ardent

by

Army

of

divinity,

its

he

treats;

significant phases

also, being

monument.

the

the

maxim

own

sculptor

figures

which

the

his

his

poetic inferences;

represented

with

more

out

to

characteristics,

of
be

orator

adapted

he

The

self,
him-

as

from

supplemented

physical

man

differing

possible

its

State

well

which

of

Committee

Garfield
the

the

rather

Garfield,

same

greatly

as

history.

our

the

suggestions,

and

in

far

that

mental

surrounds

other

in

Garfield

wish

general

live

in

not

as

with

plays

of

boulevard

to

sympathy

follows

theme,

acquaintance

studies

whose

monument

himself,

natural

must

man

Parisian

than

by

He

enterprise.

the

environment

an

is

and

on

undertaking
later

Ward

own.

show,

frontier.

American
in

too,

West

made

been

the

on

Wild

have

Apache
than

at

that

counts:

the

choose

the

for
the
normal

say

gives

you

the

brief

you

gates
and

mind

It

battered

most

Industry

and

only

weariness,

of

the

Paradise.

welcome

way

gory;
alle-

Buffon,

difference."

beautiful

should
47

of

beginning

said, paraphrasing

makes

existence,
work

the

is

and
nine
while

ism
Symbolof
any

giving
imagery

JOHN

bringing

fresh

days

Michael

of

the

of

three

broadly,

Houdon

spoke

when

he

said

no

in

methods

had

particular

for

avoiding

and

of

the

yet

surpassed

have
and

existence

of the

Hancock,

the

here

William

M.

characteristic

fine

who

Sloane;

be

been

from

the

speaks

the

Century

48

by
sulted,
con-

every

antiquity
have

not

that

and

ica
Amer-

sculpture;
of the
of the

completion
addresses

the

Club
Frank

by

Herbert

Adams,

Centurions,

in

feeling

livered
de-

Century

made

and

his

tribute

Association.

of

sake

because

four
of

were

Gary,

rendered
of

that

finer

the

as

of

equestrian

of

these

and

had

for the

as

works

meeting

of

he

of

the

its

made

marvels

all the

addresses

each

well

as

Germany,

of

one

Edward

love

forgotten, however,

Concerning

manner,

thus

to

examples

The

Jr.,

the

of

of Hancock,

time,

well

as

its

sculptor

lifelong

that

France,

have

suffice.

the

researches

modern

the

Memorial

Ward

to

reproductions

"

Thomas,

words

Vice-President

sculptor

world

Thomas.

Mather,

At

It is not

the

speak

statue

the

example,

and

may

few

at

First

of

of them

Jewett

the

in

produced

some

must

and

to

horsemanship,
from

with

day,

not

his

reminiscence,

these.

date

of

Thomas.

warning

than

more

own

equestrian

and

have

generation

make

casting, grants

the

Garfield

they

by

mean.

the

and

to

Our

advantage

Renaissance,

the

hope

effort,

resulting
the

statue

of

day

lifetime.

horse

unconscious

equestrian

golden

base

own

could

In

of the

studying
both

his

bronze

advantage

when

for

emerge

guided

was

the

led

otherwise.

not

human

general

understanding

since

in

the

he

the

has

generally

of

love

around

"

of

opportunity.

Ward

figures

could

the

monument

symbolic

his

since

Renaissance

Ward

man

statue

improved

him

it

wisely

specializing

wider

the

and

wish

increased

Yet

power.

sculpturally, decoratively

that

equestrian

one

or

difficulties, because

proportion

tell if you

WARD

supplementary

such

to

story

and

allegorical figures

treated

are

beauty

difficulties.

from

sense

The

of

into

triumphant

of

Angelo

use

sculptor

his

visions

the

builders,

ADAMS

QUINGY

own

to

It

the

is the

APPRECIATION

AN

the

that

believe

"I

equestrian

stand

achievement.
seldom
of

what

their

of advanced

all his
for

oldtime

his

him.

the

After

of

man,

finishing

the

sculptor

of

ill to

solicitude

that

to

should

of

was

his

with

desire

he

words,

my

in

failed.
scant

his

might

long
not

his

work

his

to

works

The

valley

of

his

and

wife

of

hands.

with

then
wish

farewell
model

equestrian
the

shadow
and

suffering,

work

was

look,

when

still in

his

hearing

on

murmured,

of

we

his

his
in

may

'Now

last, his

can

consecration

generation

labors,

that

he

the

nothing

that

of

to

his

in

or

may

all

never

may

generation

present

himself

first, and

judge

measure

of

spirit

future

testimony
scanted

Ward's,

His

some

approval
its

last

come
be-

even

heroic

this

his

had

his

mind,

forget

soon

before

glazed

younger

but

the

size,
the

expressed

that

sleep, yet

between,

Whether

recorded

my

were

eyes

three

of

its

to

him

masterpiece.

the

stands

works

tell

that,

turned

these

which

the

to

had

days

full

Ward

stages,

He

Two

to

Mr.

pleted,
com-

entrust

horse

rank.

upon

"

peace.'

From
that

him

to

the

love

been
the

not

has

the

performance

generous

equipment

give.

It may
each

not

of

be
the

out

other

place

memorial

49

quote

here

addresses

few
made

with

was

had

him

final

enterprise

best

in

to

up

passionate

finished

of

times

worked

he

his

for

keenest.

work.

I shall

model

these

the

size

highest

the

His

for

thoughts.

from

was

near.

very

the

and

completed,

statue

of

to

doing

it necessary

of

see

of

enlargement

his
has

live

to

this

all his

General

of the

supervise

was

I went

us

was

go

figure
made

too

his

one-quarter

health

declining
work

the

artists

failing health,

habit

of

swift-moving

fellow

conviction,

lifelong

His

and

of

strength

art.

and

yet

as

examples

struggle throughout

years

not

impressiveness
these

his

lifetime,

work

finest

very

in

to

is his

ideals

highest

spite

And

Ward's
a

monumental

large

example

an

of

Hancock,

of the

surpassed.

been

ours,

In

Its

General

one

as

work

latest

very

of

statue

will

unveiled,

the

sentences
at

the

JOHN

Club

Century
and

in

beautiful
"Such

honor

art,"

said

of

aim,

clearness
It is not

my

even

and

meritorious

high

and

especial

hysteria

and

Ward's

life

effective

who

are

doubly

of
"I

was

touch

but

of

unusually
he

was

the

of

and

His
.

to

Centurion
as

he

He

fidelity
chosen

his
he

took

to

by

such

no

art,
stood

from,

always
the
his

life and

He

ideas

his

had

seemed

older

the

grand

did

he
the

latter

talk

and

his

sturdy,

range,

the

output

Club

of

the

fine.

the
in

all ways
an

various
"

fellow-members.
50

least

had

the

the

offices

test

He

ing
workas

which

seemed
of

gave

best
but

to

that

tions.
convic-

One

unobtrusive

an

former

it

very

of

were,

doubt.

were

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conduct

etrating,
pen-

distinctness,

deliberate

as

faithful,

dinarily
extraor-

wide

parade

not

and

types,

mind.

open

ditions
con-

judgments,

prejudices.

and

but

me

as

the

was

had
a

to

unusually

manifested

duties

work

of Ward

Century

in his

They

without
the

us

the

thing;

like

me,

speak

are

or

indignation

righteous

all

and

both;

is

shrewd

was

antipathies

assortment

of

any

recall

satisfactory.

most

He

"to

there

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and

vigorous

artistic

tragedy.

that

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there

really

candor,

without

inward

artist; such

Cary,

distinction.

of

with

expressed

life

an

self-directing discipline

artist.

Mr.

said

complex.

one

the

the

independent,
a

of

are

life artistic."

interesting.

and

it suggests

to

the

typical Centurion,

Ward

the

because

life with

terms.

work

that

that

convertible

and

least

notions

well-balanced

fallacy

have

to

me

prevailing
are

its

of

singularly

persistent, intelligent endeavor,

sane,

too

of

to

seems

pline,
disci-

part

Ward's

melodrama

intellectual

living

are

view

the

exemplary,

at

It

temperament

overt

tempted,"

am

in

against

precious
of

manner

impressive

an

the

on

appraise

to

purpose

value

brothers

traditions

is

"presupposes

self-knowledge

purposeful

the

pursue

little

each

Mather,

production.

and

life is

for

Ward,

Mr.

artistic

between

Such

are

the

protest

ranges

of

WARD

appreciation.

an

creator.

ADAMS

QUINCY

the

to,

cable.
practi-

complete
he

was

AN

Referring
Howells

Ohio

to

and

born

advance

what

it

he
of

him

present

and

now

fine
in

frame,

his

there
the

later

was

play

which

he

held.
his

that

differences

types,

the

of

able

all his

and

mind

erect

in

which

his

but

his

argued
beliefs

the
and

arms

the

limit

give

and

broad,

uphold

limbs

in

massive,

was

chin

to

He

supple

characteristic,

most

the

remarked

in

supposed

Ward's
due

pugnacious

have

head
the

to

parenthesis

exist

to

artists

many

resemblance

nose,

were

be

between
a

of
the

behests

here

may

Latin

full

man

stood.

always

nostrils
and

here

ticularly
par-

hands

and

portion
pro-

its ideals."

to

the

of

but
brow

mouth

his

and

His

around

make

can

imagination,
sat

bowed,

his

selects

illustrious

but

us

vigorous,

observant,

hands

often

bearing.

Perhaps

the

obey

It

in

readiness

nervous

trifle

years

and

and

so

movement

and

of

one

American,

an

self-reliant

keen

eyes

of

he

two

thus:

memory

table, where

of

were

metropolis

splendid

is not

our

certain

the

the

the

association

Ward

into

there
of

eye

figure

and

spirit

describes

that

as

time

this

whereby

dead,

the

of

typified

: we

passed

our

this

at

Ohio

well

as

said, "For

secretary

He
has

to

Sloane

recession

use."

can

community

in

and

"Though

was

the

birthplace

own

Mr.

and

Yorkers

of

his

as

of Ward,

vice-presidents
New

APPRECIATION

between

the

observed

and

of

Celtic

and

blance
resem-

Michael

Angelo,

keen

eye,

the

firmly

and

chin,

and

the

mouth

of

spite

strong

that

in

that,

modeled
cheek

high

bones.
Mr.

Sloane'
of

largest
the

had

outline

and
its

in

ages

the

is
of

an

"The

of

objective

heroic

struggle
which

and
can

of

between

emotions

masses,

effort

there

the

expression

be

grasped

message

of

all

form,

of the

evolved
in

its

its

to

by

Orient

The

promise

was

in

suggestion

perfection.
its

ciation
appre-

sculpture
the

and

intentional

51

scholarly

history

oscillation

impressional,

round,

with

indefinite

Cyclopean,

of

continues

art.

proportion

subjective,
By

Ward's

beholder

limit

address

the

its

beyond.
statue

beauty

by

JOHN

secular
a

minds:

is the

there

of

though
and
to

of

even

combine

during

not

But

and

understands,
arouse

period,

and

familiar

when

he

with

is himself
to

aspirations

excite
which

the

romantic

eclecticism

it

52

could

address

an

are

realized."

and

with
to

he

obedient

singularly

the

audience
not

do

classical.

were

craft

was

in their

statues

objective

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CHAPTER

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and

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53

the

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JOHN

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APPRECIATION

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JOHN

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APPRECIATION

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JOHN

those

QUINCY

artistic

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of

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APPRECIATION

AN

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speech

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JOHN

but

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62

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of

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than

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QUINCY

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in

APPRECIATION

AN

rivaled

have

France

the

medalists

master

of

the

Italian

Renaissance.
vivid

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as

artist

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included

but

upon

and

honors
and

honors

of

"

France,
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her

life,

soldiers;
and

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is

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doubt,

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German

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confer

polysyllabic

the

and

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re-

cumbrous

worthy

pretend

usefulness

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later

of

years

for

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possessors

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name

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impress

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lived

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civilization,

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of

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of

consciousness

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in

arts

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of

men.

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which

during

mere

"waste
in

his
63

life

quaint

he

was

work

has
of

but

heroes,

lifetime
"

well

of mind."

dead

man's

may

phrase

"personality"

mold"
work

his

nobleness

monuments

living

because

the

Ward

has

"

that
be

must

to-day

greatly

able

JOHN

to

lay

aside

ADAMS

QUINCY

which

that

often

we

WARD

think

of

personality,

as

self.
his

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spirit

of

labors

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in which

age

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will

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we

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call

great

intensely
dearer

speak,

work

is the

American

puts

of

constantly

else
on

or

that

realist

life

immortality.

64

an

could

idealism
as

istic.
material-

him,

of

idealist
to

higher

ically
(paradox-

awakened

talk

sculptor

vision,

which

deplore

our

and

better
age

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voice

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aught

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lived,

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practical

than
his

it

us)

matter

this

reflected

see

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whom

give.

whether

gifted
ideals
While

ILLUSTRATIONS

THE

JOHN

QUINCY

ADAMS

WARD

IN

HIS

STUDIO,

I907

FRAGMENT

FROM

PEACE

PLEDGE

SHAKESPEARE

GENERAL

THOMAS

GENERAL

LAFAYETTE

GENERAL

WASHINGTON

"

THE

GARFIELD

MONUMENT