Augustus Saint-Gaudens . acted for justified me in doing. In plac-ing most of the statues and medallions here illustratedI have followed indications given to me by the sculptorhimself. For permission to make use in this monograph ofmaterial previously contributed by me to The NorthAmerican Review, The Outlook, and The NewYork Tribune, I am indebted to the courtesy of theeditors of those publications. Royal Cortissoz. New York, November i, i 907. LIST OF ILLVSTRATIONS AMOR CARITAS Frontispiece HOMER SAINT/GAUDENS Page 3 RODMAN GILDER 5 PETER COOPER 9 BASTIEN/LEPAGE 13 GEORGE W. MAYNARD 15 THE C
Augustus Saint-Gaudens . acted for justified me in doing. In plac-ing most of the statues and medallions here illustratedI have followed indications given to me by the sculptorhimself. For permission to make use in this monograph ofmaterial previously contributed by me to The NorthAmerican Review, The Outlook, and The NewYork Tribune, I am indebted to the courtesy of theeditors of those publications. Royal Cortissoz. New York, November i, i 907. LIST OF ILLVSTRATIONS AMOR CARITAS Frontispiece HOMER SAINT/GAUDENS Page 3 RODMAN GILDER 5 PETER COOPER 9 BASTIEN/LEPAGE 13 GEORGE W. MAYNARD 15 THE CHILDREN OF JACOB H. SCHIFF 19 THE FAMILY OF RICHARD WATSON GILDER . 21 ROBERT LOUIS STEVENSON ^ ... 25 FRANCIS D. MILLET 27 THE ADAMS MONUMENT 31 DEACON CHAPIN 35 C. C. BEAMAN 37 MRS. SCHUYLER VAN RENSSELAER 41 MISS VIOLET SARGENT 43 ADMIRAL FARRAGUT 47 WILLIAM M. EVARTS 49 ABRAHAM LINCOLN 53 ROBERT GOULD SHAW 57 GENERAL SHERMAN 61 THE COLUMBUS MEDAL 65 DR. JAMES McCOSH 69 JOHN HAY 75 CARYATID 83 AVGVSTVS AVGVSTVS SAINT GAVDENS HEN modern sculpture was betrayedby its leading figures, early in thenineteenth century, through their ex^cessive devotion to the antique, a tra^dition was established which for a long time seemedbeyond all chance of death or change. Canova andThorwaldsen, in Rome, erected classical precedent intoa fetish. In France, which was later to be the scene of aplastic renaissance, anything that savored of personalidiosyncrasy or of romantic feeling was anathema tothe Emperor and to Louis David, his court painter,who possessed authority in the direction of public tastein every field. American sculptors, proceeding to Italyfor inspiration, were confronted by a kind of unwrittenlaw which left inspiration, in the strict sense, outside thepale of respectable things. In the studios all over Europemasters and pupils were united on the principle that tobe great it was absolutely necessary to be grand, andfor the true measure of the grand style they looked
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