Augustus Saint-Gaudens . e years residence in Rome. In all that formativeperiod he appears to have worked patiently toward theexpression of a temperament which outside influencescould stimulate but could not mould to their own like^ness. He was perhaps fortunate in studying under Jouf-froy, a safe master, who, for all his classicism, was never^theless near enough to such men as Rude to have seen,and turned away from, the quicksands of commonplacein which the conventional classicist is sooner or laterlost. He was enough of an individualist in his art to keepSaint-Gaudens from falling into routi
Augustus Saint-Gaudens . e years residence in Rome. In all that formativeperiod he appears to have worked patiently toward theexpression of a temperament which outside influencescould stimulate but could not mould to their own like^ness. He was perhaps fortunate in studying under Jouf-froy, a safe master, who, for all his classicism, was never^theless near enough to such men as Rude to have seen,and turned away from, the quicksands of commonplacein which the conventional classicist is sooner or laterlost. He was enough of an individualist in his art to keepSaint-Gaudens from falling into routine, and enough ofan academician to nourish in his pupil the sense of mea^sure which might have slumbered if he had fallen intothe hands of a more naturalistic teacher. He set him onthe right path, helped him to develop his technique along8 PETER COOPER Modelled in New York and erected beneath the shadow ofCooper Union in 1897. In his boyhood the sculptor studiedin the institution founded by the celebrated good lines, and did not for a moment attempt to repressor warp his ideas. In Rome the frigid influences predom^inating did the young sculptor no harm. The classicaltradition fertilized his taste, but it did not lure him intoimitation of classical forms. The style which SaintsGaudens brought back with him on his return to thiscountry was remarkable for its blending of polish withfreedom. Here was an American who could remain longin contact with the forces of European art and only takefrom them that which suited him. The special note of the medallions which are conspic^uous among his first productions is one of delicacy, andin the character of that delicsicy lies a source of strengthwhich was from first to last of immense service to SaintGaudens. It is a delicacy that leaves the door open, so tosay, for the raciest realistic impression. The medallionsof the modern French school are apt to be so brilliant a master as Chaplain could not quitediv
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