Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/catalogueofmemorOOcarn_0 
 
CATALOGUE OF A MEMORIAL 
 EXHIBITION OF THE WORKS 
 OF AUGUSTUS SAINT-GAUDENS 
 CARNEGIE INSTITUTE, APRIL 
 TWENTY-NINTH THROUGH 
 JUNE THIRTIETH, NINETEEN 
 HUNDRED AND NINE 
 
Entered According to Act of Congress, A. D. 1909, 
 By JOHN \V. BEATTY. Director. 
 In the Office of the Librarian of Congress, Washington, D 
 
TRUSTEES 
 
 WILLIAM N. FREW, President 
 ROBERT PITCAIRN, Vice President 
 JAMES H. REED, Treasurer 
 SAMUEL H. CHURCH, Secretary 
 
 Albert J. Barr 
 
 Rev. A. A. Lambing 
 
 George W. Baum 
 
 William McConway 
 
 Edward M. Bigelow 
 
 George A. Macbeth 
 
 Dr. F. C. Blessing 
 
 A. G. MacConnell 
 
 John A. Brashear 
 
 James R. Macfarlane 
 
 Joseph Buifington 
 
 Hon. William A. Magee 
 
 John Caldwell 
 
 Dr. A. C. Magill 
 
 Samuel H. Church 
 
 Andrew W. Mellon 
 
 George H. Clapp 
 
 *Charles C. Mellor 
 
 Josiah Cohen 
 
 George T. Oliver 
 
 F. H. Colhouer 
 
 Robert Pitcaim 
 
 A. J. Edwards 
 
 Henry K. Porter 
 
 Morris Einstein 
 
 James H. Reed 
 
 William N. Frew 
 
 W. Lucien Scaife 
 
 Durbin Home 
 
 John D. Shafer 
 
 James F. Hudson 
 
 Charles L. Taylor 
 
 *John B. Jackson 
 
 A. Bryan Wall 
 
 S. C. Jamison 
 
 Joseph R. Woodwell 
 
 ^Deceased. 
 
FINE ARTS COMMITTEE 
 
 JOHN CALDWELL 
 Chairman 
 
 WILLIAM N. FREW 
 
 JOSEPH R. WOODWELL 
 
 A. BRYAN WALL 
 
 WILLIAN McCONWAY 
 
 E. M. BIGELOW 
 
 DURBIN HORNE 
 
 GEO. W. GUTHRIE 
 
DIRECTOR OF FINE ARTS 
 
 JOHN W. BEATTY, M.A. 
 
^ There runs through the works of Augus- 
 tus Saint-Gaudens a dominant note — the 
 underlying, pervading quality of truth. In 
 many of his important works there is reveal- 
 ed another element, the theme or thought 
 expressed. In the Sherman monument, there 
 is expressed the glory of the triumphant con- 
 queror; in the Shaw Memorial, the courage 
 and devotion of the patriot ; and in the Lin- 
 coln, the patience, and solicitude or love of 
 the great President. This latter quality, the 
 thought expressed, is not less important than 
 the quality of truth — if expressed at all it is of 
 the highest importance. The sculptor, how- 
 ever, having chosen form as a means of ex- 
 pression, muSt, perforce, express his thought 
 with fidelity to the essential truth of nature. 
 Saint-Gaudens meets this requirement abund- 
 antly: whether the work be a simple por- 
 trait Study, an allegorical figure, or an imag- 
 inative composition, like the Sherman Vidory, 
 absolute truth in every detail seems to have 
 been a controlling motive in its execution. 
 •J In considering these two phases of Saint- 
 Gaudens' art, and, indeed, in estimating the 
 work of any sculptor, it should be borne in 
 
 7 
 
mind that the power to express a thought, or 
 to record an incident is not the peculiar prop- 
 erty of the sculptor or painter. It is com- 
 mon to all the arts. Writers in all ages have 
 clothed the sentiments of patriotism, devotion 
 and love with glowing, written words. 
 •I There is this distinction to be observed, 
 however; words may only be used to ex- 
 press thought, while form may express the 
 subtle qualities of truth and beauty, quite in- 
 dependent of Story or theme. It is the firSt 
 purpose of plaStic and pidorial art to call 
 forth the pleasureable sensations and emo- 
 tions, resulting from the simple enjoyment of 
 beauty for its own sake. 
 ^ Certain it is that in the pursuit of simple 
 truth, or perfedion, Saint-Gaudens knew no 
 renting place, but followed on, heedless alike of 
 fatigue or discouragement, until he attained 
 the completion and perfedion of the leaSt 
 and laSt detail. 
 
 •J He seemed ever ready to go back and 
 corred, add to or eliminate, that which to 
 him was unsatisfadory or untrue. If a 
 special sitting to Study the hand of Stevenson 
 was required, or the removal of the great 
 Sherman monument from Buffalo to Windsor 
 seemed desireable, for the purpose of making 
 slight changes in mane or drapery, he was 
 ready for the trouble and the task. Even after 
 the splendid Sherman was in place at the 
 entrance to Central Park, the writer recalls 
 the sculptor's willingness to make a replica, 
 smaller in size; the more especially, as he 
 
 8 
 
 \ 
 
said, because to do so would enable him to 
 make some slight changes in details of the 
 work. It was this never ending Struggle for 
 perfection which dominated his life, and en- 
 abled him to secure a high and abiding de- 
 gree of perfection in all his work. He knew 
 intimately and he executed faithfully. In 
 the presence of these masterpieces we are, 
 I fear, prone to forget the years of unremit- 
 ting labor they represent. 
 €J To understand fully the perfect flower, as 
 represented in the final and supreme consum- 
 mation of Saint-Gaudens' art, one must have 
 watched its growth; one must have sat be- 
 side the young Student in Paris, during days 
 of privation and labor, while he learned to 
 search out the essential qualities of things, 
 and while he labored to mold and fashion 
 the forms he approved. More than this, one 
 would have had to follow down the path of 
 time, during the succeeding forty years, and 
 to have observed the intense application, the 
 constant, thoughtful observation, and the ever- 
 lasting effort of the never resting Student as 
 he Studied, and Studied, and Studied nature 
 in her ever-varying moods and multitudinous 
 forms. It was because he did all this that 
 he was able, having comprehended Lincoln's 
 innermost character, to represent the great 
 President in form so true that it is Startling in 
 its simple and almost perfedt reality. 
 •J Saint-Gaudens did not create the character 
 of Lincoln ; it existed before he undertook the 
 work, but he muSt have devoted an infinite 
 
 9 
 
amount of Study to the life of the great Presi- 
 dent to have so fully comprehended and to 
 have so successfully represented him. 
 €J In the presence of this superb work, one feels 
 that the man who wrote the Gettysburg ad- 
 dress must have possessed all the dignity, pathos 
 and impressive distinction expressed by it. 
 1§ It was simply given Saint-Gaudens to com- 
 prehend the charadter of the patient, gentle 
 leader; and because he understood and had 
 the supreme ability to express his conception 
 in form, his work is imperishable, 
 tj Beside this work, all that remains to visibly 
 represent Lincoln are a few portraits and 
 photographs, and not all of these represent 
 the spirit of the man in full measure. Prob- 
 ably the tender and lovely print representing 
 him reading to little "Tad" more fully ex- 
 presses the chara&er of Lincoln, as Saint- 
 Gaudens seems to have felt it, than any other. 
 At leaSt, it represents Lincoln as we have, 
 through a hundred avenues of information, 
 learned to know and to love him. 
 ^ What is true of Saint-Gaudens' Lincoln is 
 equally true of his Sherman. He understood 
 the grim and resolute charadter of the great 
 general with certainty, and his portrait of the 
 victorious warrior is one of the marvelous 
 character Studies of modern sculpture. It is 
 at the same time one of the most inspiring, 
 intellectual representations of an exalted 
 theme, The Vidtor Triumphant, ever 
 recorded by art or literature. And as 
 this work represents the home coming of the 
 
 10 
 
battle-worn general, led by the spirit of vic- 
 tory, in like manner and with equal force does 
 the Shaw memorial represent the patriotic 
 spirit and devotion of the soldier, departing 
 for the scene of battle, led by the spirit of 
 duty. The martial tread of the colored 
 soldiers, the proud, confident bearing of the 
 youthful white officer, the suggestion of con- 
 flict conveyed by the accoutrements and arms, 
 are all expressed with power and fidelity. 
 The Shaw memorial is truly inspiring, and 
 eloquently expresses the sense of duty which 
 led the young officer and his men forth to do 
 battle in the cause of humanity. 
 ^ In each of these works there is combined 
 with the literary theme presented, the uncom- 
 promising, sympathetic, simple truth of nature. 
 It matters not which of these qualities you 
 place firft in importance, whether the qual- 
 ity of truth or the thought expressed, it is 
 absolutely essential that both be perfedtly 
 expressed in works of a subject character. 
 ^ Saint-Gaudens understood this perfedtly. 
 He combined, with a perfedt mastery, the 
 theme with the purely sculptural qualities of 
 form, in such manner as to appeal at once to 
 the aesthetic sense and to the mo£t potent 
 sentiments of the human mind. He pos- 
 sessed the power to portray an exalted 
 thought in truthful terms, as have few men in 
 the history of art. Truly, as Saint-Gaudens 
 said, "You can do anything you please. It's 
 the way it's done that makes the difference." 
 
 11 
 
HEAD OF VICTORY. 
 Number 85. 
 
AUGUSTUS SAINT-GAUDENS. 
 
 €J "You can do anything you please. It's the way it's done 
 that makes the difference." — Augustus Saint-Gaudens. 
 
 Augustus Saint-Gaudens, by birth half French and 
 half Irish, by nature and training American, came to 
 this country at his mother's breast in 1 848 when six 
 months old. His father, Bernard Paul Ernest Saint- 
 Gaudens, was born in the little village of Aspet in the 
 south of France. There he learned his trade of shoe- 
 maker, and thence he slowly travelled by way of 
 Paris and London to Dublin, Ireland, where he met 
 his future wife, Mary McGuiness, who bound slip- 
 pers in the shoe store for which he made boots. On 
 arriving in New York this hot-headed, eccentric 
 Frenchman, to the detriment of his trade, developed 
 infinitely more interest in organizing Fraternal Societies 
 than in selling shoes. Consequently, from the first, 
 Augustus Saint-Gaudens, the third of five sons, took 
 part in the family struggle for a livelihood. 
 €][ Until the age of thirteen the youngster received the 
 ordinary education of the New York boy of 1 850. 
 Those were the days of lickings at the hands of his 
 teacher, and of fights with the West Broadway "gang"; 
 and the struggle with these elements shaped the energy 
 which lasted him through life. Yet despite his prosaic 
 surroundings his artistic inclinations took shape early. 
 They originated with the representation of soldiers upon 
 
 13 
 
a school slate. They emerged through charcoal- 
 scrawled drawings upon the neighboring walls. And 
 finally they were recognized by Dr. Rea Agnew, a 
 customer of Bernard Saint-Gaudens, who found such 
 merit in the young man's sketches that he urged 
 the father to continue his son's education in this 
 direction. 
 
 <I In consequence the boy was apprenticed to a hard- 
 tempered man named Avet, one of the first stone cameo 
 cutters in America, who led Augustus a miserable life 
 for the next few years. At the same time the boy 
 entered the drawing school of the Cooper Institute. 
 There he studied evenings until in 1 864 he revolted at 
 the ill nature of his employer, and upon being dis- 
 charged, obtained a position with a more kindly 
 master, Jules LeBrethon, and at about the same time 
 left the Cooper Union to work from the life in the 
 National Academy of Design. 
 
 ^ This period of Saint-Gaudens* youth passed in the 
 excitement of the days of the Civil War. From his 
 window he looked down upon the New England Vol- 
 unteers marching along Broadway, in the city squares 
 he witnessed the recruiting ; and these sights, combined 
 with a glimpse of Lincoln driving through the city, 
 stirred his blood with that strong but restrained patri- 
 otism which finally he fused into his monuments of 
 Farragut, Lincoln, Shaw, Logan and Sherman, 
 tj But the New York life came to an end in 1 867 when 
 his father made possible for him a trip abroad. The 
 young man went at once to Paris, where, though still 
 earning his living by cutting cameos, he studied first at 
 the Petite Ecole and later under Jouffroy in the Ecole 
 des Beaux Arts. His master at that time led a revolt 
 against the bloodless classicism of the period. Yet as 
 the teacher never gave radical vent to his theories, so 
 14 
 
through later life the pupil tempered by a Steadying 
 restraint his desire for individual expression. 
 1$ In Paris Saint-Gaudens, a cheerful, athletic youth, 
 made his two great friends who stood close to him 
 all his life, M. Paul Bion and M. Alfred Gamier. 
 Because of their friendship he nearly enlisted in the 
 French army when the war with Prussia broke out. 
 But a tearful letter from his mother changed his plans, 
 so that instead he went to Rome, where, for about four 
 years, he struggled with poverty and debts in his efforts 
 to complete his training. At last, however, the cameo- 
 cutting brought him a few lucky commissions from the 
 family of Mr. Montgomery Gibbs, and gave Saint- 
 Gaudens an opportunity to finish his first statue of 
 "Hiawatha," to execute his first ordered monument, a 
 figure of "Silence," and to go back to America with 
 some prospect of definite work. 
 ^ The young man's career in the United States did 
 not stretch out before him immediately in any such 
 straight and easy manner as he may have expected. 
 First one hope and then another fell through, though 
 an occasional small task like that of the relief of Mr. 
 D. Maitland Armstrong, came to his hands. But at 
 last, after steady persistence, he obtained the order for 
 the Farragut statue now in Madison Square, New 
 York. From that day his position was assured, and 
 soon he secured the opportunity to aid Mr. John 
 LaFarge by modelling the sculpture for that painter s 
 scheme of "Angels Adoring the Cross" in St. Thomas' 
 Church on Fifth Avenue. So then, after founding the 
 Society of American Artists with a number of other 
 young men, and after his long-delayed marriage to 
 Miss Augusta F. Homer, he went back to Paris to 
 carry out his work. 
 
 ^ There in Paris he completed the Farragut and the 
 
 15 
 
Adoring Angels, though these larger commissions did 
 not represent the only important step which he took 
 at the time. He had long been interested in the subject 
 of Renaissance reliefs and medals, such as those by 
 Pisano, and Mr. LaFarge had already urged him to 
 try his hand at like efforts. Accordingly, here, at last, 
 he found an opportunity to begin upon a series of 
 medallions which through life he developed with 
 marked interest, among them those of Mr. William 
 Gedney Bunce, Mr. Charles F. McKim, Mr. George 
 W. Maynard, and especially that of M. Bastien 
 Lepage. 
 
 ^ At last, with the completion of the Farragut, Saint- 
 Gaudens definitely returned to New York to take up 
 his well-established career as an American sculptor. 
 For a time he lived in the Sherwood Studios at the 
 corner of Fifty-seventh Street and Sixth Avenue. But 
 soon he found a building at 1 48 West Thirty-sixth Street 
 which he altered to his taste. There he continued to 
 model for the next fifteen years, starting with the angels 
 for the tomb of Ex-Governor Morgan, a monument 
 which was burned in the cemetery while in process of 
 carving. 
 
 1^ Here, too, in the Thirty-sixth Street studio, Saint- 
 Gaudens gathered about him the friends of his life; 
 such men as Mr. Stanford White, Mr. Charles F. 
 McKim, Mr. Joseph Wells, and Mr. Thomas W. 
 Dewing. Here Mr. H. H. Richardson, the Boston 
 architect, brought Bishop Phillips Brooks whenever 
 the two men visited New York, giving the sculptor the 
 opportunity of meeting the preacher, a monument to 
 whom was to be one of his last completed works. 
 And here, as a boy to study art and to sweep the 
 floors, came Frederick William MacMonnies. 
 ^ Saint-Gaudens had always been a lover of the 
 16 
 
theatre and of music. Now he found others who 
 resembled him in their enthusiasm. Therefore, first 
 this group, as well as Mr. Francis Lathrop, formed 
 the habit of going to a little beer saloon on the East 
 side of Broadway, opposite Washington Place, to 
 listen to programmes furnished them by the peculiar 
 combination of a violin, a clarinet and a piano. Then 
 they employed the musicians to come on Sunday after- 
 noons to the Thirty-sixth Street Studio. And, a little 
 later, they developed more ambitious concerts which 
 were held there weekly during the winters while the 
 studio remained in Saint-Gaudens' hands. 
 €J The intimacy with Mr. Richardson, which sprang 
 up rapidly, led to Saint-Gaudens receiving the order 
 for the monument to Colonel Robert Gould Shaw, 
 which stands in front of the State House in Boston. 
 On first consideration, the artist planned a modest relief, 
 but, during the fourteen years devoted to it, the com- 
 position became a labor of love which consumed more 
 of the sculptor's energy than he ever put into any other 
 commission. The work upon the scaffolding before 
 the Shaw during the hot summers with scarcely a pause 
 to eat an apple for lunch undoubtedly hastened the 
 breakdown of Saint-Gaudens' health. Yet, on the 
 other hand, the monument furnished him with much 
 amusement — an amusement which he invariably ob- 
 tained from his art — both through the antics of the 
 horse which posed for him, and through the very 
 difficulties he encountered in hiring negro models, who 
 persisted in believing the studio to be the den of a 
 devil of vivisection. 
 
 tj Along in this early period, too, came the Lincoln for 
 Chicago, provided for in the will of Mr. Eli Bates, 
 and the relief of Dr. James McCosh for Princeton, 
 
 17 
 
New Jersey. In the case of the Lincoln the committee 
 first asked Saint-Gaudens to compete. But upon his 
 refusing, according to his principle, he received the 
 order outright and eventually produced the gaunt, 
 thoughtful figure now so well known. 
 CJ The statue to Deacon Samuel Chapin, popularly 
 known as "The Puritan," followed the Lincoln. It 
 has since acquired especial interest as in 1 903 the New 
 England Society of Pennsylvania commissioned the 
 sculptor to make for Philadelphia a variation of the 
 first work, and so therein Saint-Gaudens obtained one 
 of his few opportunities of modifying his earlier efforts 
 in accordance with his later ideas. The head he 
 changed from the round Gaelic face of Chapin to a 
 long New England profile, more typical of the austere 
 forefather, while the folds of the cloak, the Bible and 
 the base, he also altered to an extent. 
 C| After the Chapin statue, Mr. Henry Adams ordered 
 the figure for the Rock Creek Cemetery in Washington. 
 In giving the commission Mr. Adams would only 
 suggest that Saint-Gaudens consult with Mr. LaFarge, 
 who thoroughly understood Mr. Adams' oriental 
 thoughts. Therefore, the sculptor carried out his task 
 as well as he could with the advice of the painter and 
 ultimately, it seems, satisfied the wishes of Mr. Adams. 
 Though there have been a variety of names accorded 
 the result, Saint-Gaudens rarely expressed himself on 
 the subject. 
 
 €J During this time, while engaged upon the Rock 
 Creek figure, Saint-Gaudens, at the suggestion of his 
 friend, Mr. C. C. Beaman, first visited Cornish, New 
 Hampshire. There, soon afterwards, he bought an old 
 brick tavern which he altered into a summer home. 
 And there, sixteen years later, he went to live perma- 
 nently, much to the benefit of his last days. 
 18 
 
CJ About that date also, in 1887, the sculptor met 
 Robert Louis Stevenson through Mr. Will H. Low, 
 an intimate mutual friend. The author and the sculptor 
 at once admired one another, and the medallion, which 
 has since assumed so many forms, Saint-Gaudens 
 modelled in the Hotel Albert in Eleventh Street, 
 Stevenson propped up in bed and his wife reading 
 aloud. Only five sittings of two or three hours apiece 
 could be obtained then, though later Saint-Gaudens 
 had further opportunity when Stevenson lived at 
 Manisquan, New Jersey. 
 
 ^ Shortly after this Saint-Gaudens set at modelling the 
 figure for the "Smith" tomb in Newport, Rhode Island, 
 from which he developed the better known "Amor 
 Caritas." The first variation is now in the Luxem- 
 bourg, Paris, while a second stands as a memorial to 
 the daughter of Dr. S. Weir Mitchell in St. Stephen's 
 Church, Philadelphia. 
 
 €J In 1 892, when the idea for the World's Fair had 
 reached definite form, Saint-Gaudens, at the invitation 
 of Mr. Daniel H. Burnham, went to Chicago with 
 Mr. Richard M. Hunt, Mr. Charles F. McKim and 
 others, as one of the Committee on the laying-out of 
 the grounds. This was about the first of a long series 
 of like tasks which the sculptor undertook through his 
 life, hoping in such a way to aid the cause of art in his 
 country. Mr. Burnham desired that Saint-Gaudens 
 model a share of the sculpture. But the latter had so 
 many calls upon him that he gave his personal attention 
 only to the figure of Columbus in front of the Admin- 
 istration Building, which he carried out with the able 
 assistance of Mrs. Francois M. L. Tonetti, then Miss 
 Mary Lawrence, and to the Exposition Medal of 
 which he designed the obverse. Upon the reverse of 
 
 19 
 
the Medal he originally modelled a nude boy, which 
 raised a feminine hue and cry. At first he tried to 
 satisfy this in a number of ways, but failing, he relin- 
 quished the attempt in disgust. 
 
 ^ The statue of Peter Cooper now took the place of 
 the Rock Creek Cemetery figure upon the scaffolding 
 behind the Shaw relief, which seemed almost a fixture. 
 On the top floor of a large stable in Twentieth Street, 
 the sculptor began one monument to General Logan for 
 the Lake Front in Chicago, and another to President 
 James A. Garfield for Fairmount Park, Philadelphia. 
 While in a third and smaller studio, Saint -Gaudens 
 modelled the horse of the Sherman from the famous 
 high jumper Ontario, began the figure for the Sherman 
 Victory from the woman whom he always considered 
 to be the handsomest model he had ever seen, and 
 finished with great interest his bas-relief of Mr. Wil- 
 liam Dean Howells and his daughter, Miss Mildred 
 Howells. 
 
 €[ Before turning from his life in New York, mention 
 should be made of Saint-Gaudens' teaching at the Art 
 Student's League. His work there held a firm place 
 in his thoughts. Again and again in later years he said 
 regarding it that he always had felt surprised to see that 
 for the most part women learned more readily than 
 men, and that they copied what stood before them with 
 greater facility, but that in the end the men made the 
 further progress and composed and created to more 
 purpose. 
 
 t[ During these last years, however, the sculptor's 
 nervousness increased startlingly through overwork. 
 Also he became anxious to compare what he had 
 done with the sculpture recognized in Europe. So, as 
 the unveiling of the Logan and the Shaw allowed him 
 20 
 
to shift his studio paraphernalia, he left for Paris in 
 October, 1 897. There he hired a studio in a quiet, 
 garden-like alley at 3 bis Rue de Bagneux, where he 
 remodelled the Sherman Cloak, the figure of the Victory 
 and variations of the Stevenson for St. Giles Church 
 in Edinburgh, and where he began his studies for the 
 figures of the Boston Public Library. 
 €f For some time Saint-Gaudens seemed unhappy and 
 neurasthenic. But after a trip to his father's birthplace 
 with his old friend M. Alfred Gamier, he returned in 
 better spirits and took up his life in Paris and his in- 
 timacy with Dr. Henry Shiff and those others he had 
 known so well in younger days. He said later that 
 the three men who to him stood out before all the rest 
 at that time were James MacNeill Whistler, Paul 
 Dubois and Auguste Rodin. Saint-Gaudens regarded 
 Paul Dubois' Joan of Arc as one of the greatest statues 
 in the world. But Whistler in person most attracted 
 the sculptor. For the painter came often to the studio 
 in the evening and chatted with his usual wit, or 
 accompanied Saint-Gaudens and his friends to their 
 dinner at Foyot's, an old cafe opposite the Luxembourg. 
 So, with such surroundings, with the gay life of the 
 Parisian spring, with the benefit of a trip or two in 
 Spain, and with the success accorded him by the 
 French after his exhibitions in Paris, he regained his 
 buoyancy, until suddenly he learned that he was ill 
 and must go home. 
 
 €][ Saint-Gaudens* return to America in 1 900 marked 
 the last period of his life, a period which he spent for 
 the most part in Cornish, New Hampshire. There he 
 completed, besides lesser commissions, his monuments 
 to Sherman, Lincoln, Brooks and the Caryatids for the 
 Albright Art Gallery in Buffalo ; and there he renewed 
 his thoughts upon the groups to go before the Boston 
 
 21 
 
Public Library. At this time, too, his attention turned 
 more than ever before toward helping the cause of 
 American Art. Two objects in especial interested 
 him to a tremendous extent. One was the founding 
 in Rome of the American Academy to be devoted to 
 the Fine Arts much in the same manner as the Villa 
 Medici School has been devoted by the French 
 Government. The other was the artistic development 
 of the National Capitol at Washington ; where, in con- 
 nection with The Park Commission, he spent much 
 time and gave the best of his assistance in criticism 
 and advice toward establishing on an even firmer basis 
 the beauty of that city. Luckily, although ill, he 
 continued his work for longer than expected because of 
 his life in the open air. Skating, skeeing and golf 
 he kept up while his health held out. And, at last, 
 when he no longer could walk, he would sit by the 
 hour upon one of the porches, or he would have himself 
 carried from studio to studio in an improvised Sedan 
 chair. 
 
 tj His first serious occupation lay in the completion of 
 the Sherman monument, which he modified from the 
 model exhibited in Paris, studying the bronze after it 
 had been set up in the field back of the house and 
 changing it even then. On the Sherman also, he 
 gratified his ambition to follow the example set by the 
 statue of Marcus Aurelius on the Capitoline Hill in 
 Rome and to gild an equestrian monument. For, as 
 he expressed it, he was "sick of seeing statues look 
 like stove pipes/* 
 
 CJ Second in importance to him, he had by him in his 
 studio the studies for the Boston Public Library Groups, 
 constantly turning over the question of their develop- 
 ment. One pedestal would have borne four figures 
 symbolic of Executive Power, Law and Love. Upon 
 22 
 
the other base he planned three figures of Science, 
 Labor and Music. For his own purpose, the studies 
 were ready to be completed, and if he had lived he 
 would have finished them in short order. They had 
 long been upon his conscience. Yet to him the problem 
 seemed so difficult, since the figures were to stand 
 where they would force themselves upon the Library 
 visitor, that he felt unwilling to carry them through 
 until freed from financial considerations or the limita- 
 tions of ill health. 
 
 ^ The "Crerar" Lincoln, also for Chicago, was the 
 next vital commission which he set to work upon after 
 the Sherman, and therein he carried out his old desire 
 of representing the President seated. The first Lincoln 
 had been a standing figure of Lincoln the Man, and 
 now by way of contrast he wished to represent in 
 addition a seated Lincoln the Head of the State. 
 Therefore, to accomplish the purpose fittingly, he took 
 up one of his series of endless experiments with four- 
 foot models, composed in varying ways, and with 
 full-sized painted paper representations of the entire 
 composition erected out of doors. The monument is 
 yet to be unveiled, but it went to the bronze founder 
 some time before the sculptor's death. 
 ^Another statue which Saint-Gaudens attacked with 
 zest at virtually this same time, was of Charles Stewart 
 Parnell, for Dublin, Ireland. The artist took interest 
 here, because, as he often remarked, he had enough 
 Irish in his make-up to appreciate the character of his 
 subject. It is a peculiar coincidence that as few photo- 
 graphs of Parnell could be found, the sculptor turned 
 to a series of caricatures published in Punch and like 
 papers during ParneU's trial. So the very sketches 
 drawn to attack the patriot ultimately came to be used 
 in his honor. 
 
 23 
 
^ At this time, also, among his lesser commissions, 
 Saint-Gaudens completed such busts as that of the 
 Honorable John Hay and such reliefs as those of Mrs. 
 C. C. Beaman, Justice Horace Gray, the Honorable 
 Wayne MacVeagh and his Wife, and Justice and 
 Mrs. Stanley Matthews. Probably the commission 
 for the MacVeagh family absorbed him the most. The 
 sculptor had often dwelt upon the strong magnetic 
 power of the female sex as contrasted with the domi- 
 nation of the masculine intellect, and therefore here 
 delighted in giving rein to his theories. Yet all portraits 
 held his attention since he thoroughly enjoyed the 
 peculiarities of his sitters, attempting habitually to shift 
 his mental attitude to that of the person beside him, 
 whether it was a hyper -sensitive woman or a 
 rugged man. 
 
 €J It seems especially unfortunate, in view of his ill 
 health, that upon the night of October eleventh, 1 904, 
 his chief studio should have burned to the ground, not 
 only with all the sculpture in progress, but as well with 
 most of his portfolios containing the records of forty 
 years. But he bravely set about recovering his lost 
 ground, and before long had his commissions again 
 well under way. 
 
 €J Soon after this fire he returned to the Brooks 
 monument which he had studied since 1901, and 
 which he carried so far that only mechanical enlarge- 
 ment and casting was needed for its completion at the 
 time of his death. As finished, the figure of the preacher 
 stands to the front of an architectural canopy. His left 
 hand grasps a Bible that rests upon a lectern, his right 
 hand is raised in a gesture of emphasis, while the 
 swing of the gown and the direct look from the head 
 gives an atmosphere of energy and motion. Behind the 
 Brooks, and against a cross that rises by His side, is a 
 24 
 
figure of Christ, half shadowed, veiled, reposeful, who 
 touches the preacher on the shoulder with His right 
 hand as if inspiring the words to be spoken. The 
 complete monument Saint-Gaudens reached through 
 his usual succession of alterations. In his first efforts he 
 had an angel with the Brooks. Then he designed two 
 figures of the Christ in relief. And only after much 
 thought did he decide to make this ideal figure in 
 the round. 
 
 ^ Saint-Gaudens' work now drew to its close, and his 
 final tasks included solely the designs for three of the 
 United States coins, The Caryatids for the Albright 
 Art Gallery, and the bas-relief of his wife. 
 ^ The coins he undertook at the suggestion of Presi- 
 dent Roosevelt. But the confusion of the carrying out 
 of this commission often made him regret that he had 
 entered upon it. Finally, however, after a discussion 
 which lasted over a year and a half, it was settled that 
 the Cent should exhibit a profile head on one side and 
 lettering alone on the other; that the Ten-Dollar gold 
 piece should carry the same head with shifted inscrip- 
 tions and a standing eagle; and that the Twenty- 
 Dollar gold piece should show a full length figure of 
 Liberty and a flying eagle. The flying eagle Saint- 
 Gaudens developed from the bird on the 1857 white 
 Cent. The standing eagle, he re-altered from a design 
 he had used on such works as the Shaw Memorial, 
 the Roosevelt Inauguration Medal and the shield of 
 the Garfield Monument. Seventy or more models of 
 the bird were to be seen in the studio waiting for the 
 casual visitor to name his preference. The profile head 
 Saint-Gaudens modelled in relief from an unused bust 
 for the Sherman Victory, while the full length Liberty 
 he rendered from a scheme he had long had in mind. 
 It is most unfortunate that the Mint did not notify the 
 
 25 
 
sculptor when they abandoned the thought of a new 
 design for the Cent, as thereon he wafted precious 
 hours ; while the placing of the motto " In God We 
 Trust" on the gold coins by other hands than his, will 
 still further mar a composition which has already 
 suffered greatly in the process of reproduction. 
 €J The Caryatids, his final large commission, absorbed 
 him to a tremendous degree and marked his ultimate 
 tendency to draw away from the decorative in favor 
 of the monumental. As the building they were to 
 adorn is large and reposeful, the sculptor wished to 
 reflect these qualities. First he considered having 
 winged figures. Then he believed it might be well to 
 place garlands in their hands. Next he originated the 
 scheme wherein the four central Caryatids held 
 lettered tablets, those on the ends carrying palms. 
 Finally he decided to place palms in the hands of the 
 ones on the corners, while the middle figures should 
 bear objects which denoted Architecture, Painting, 
 Sculpture and Music. 
 
 The relief which he made of Mrs. Saint-Gaudens 
 was the last work which he touched with his hands. 
 The composition diverted him greatly as he could 
 work on it while seated. But his death came before 
 he could finish it. 
 
 1$ During the last few years Saint-Gaudens was ill for 
 much of the time, yet whenever pain left him for a few 
 hours, his courage and his hope returned and he con- 
 stantly repeated to his friends that life became more 
 and more worth living as each day passed. 
 
 H. ASPET. 
 
 26 
 
HONORS AND DEGREES 
 AWARDED TO 
 AUGUSTUS SAINT-GAUDENS 
 
 Corresponding Member, Institute of France; Officer of the 
 Legion of Honor, 1901; Member, Royal Academy of the 
 Sciences and Letters of the Beaux Arts, Belgium ; Member, 
 American Academy in Rome, 1905; Corresponding Member, 
 San Lucca Academy of Rome, 1905; Member, Royal Acad- 
 emy, London; Member, International Society of Sculptors, 
 Painters and Gravers, London; Medal of Honor, Paris, 1 900; 
 Special Medal of Honor, Buffalo, 1901; Grand Prize, St. Louis, 
 1 904 ; A Founder of the Society of American Artists; Mem- 
 ber of the National Academy of Design ; Honorary Degree, 
 LL.D., Harvard University, 1897; Honorary Degree, LH.D., 
 Princeton University, 1897; Honorary Degree, LL.D., Yale 
 University, 1905. 
 
 27 
 
 4 
 
HOMER SCHIFF SAINT-GAUDENS. 
 
 Number 25. 
 
MEMORIAL EXHIBITION 
 
 OF THE WORKS OF 
 
 AUGUSTUS SAINT. GAUDENS 
 
 1 
 
 BERNARD P. E. S AINT-G AUD ENS 
 
 Bronze bust, signed and dated 1867. H. 15 in. Three- 
 quarters size, directed and looking left. 
 
 Inscription 
 
 BERNARD P. E. SAINT-GAVDENS. 
 Signature 
 
 A. ST.G. FECIT. 1867. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. Father of the sculptor. 
 
 2 
 
 WILLIAM GEDNEY BUNCE 
 
 Bronze plaque, low relief, signed and dated Paris, 1877. 
 H. 6f in.; W. 5 J in. Head and shoulders, in profile, 
 directed to the right; wearing hat. Sailboat in lower right- 
 hand corner. 
 
 Inscription 
 
 MY FRIEND WILLIAM GEDNEY BVNCE. PARIS 
 MDCCCLXXVII 
 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS FECIT. 
 Lent by Mr. W. G. Bunce. 
 
 29 
 
3 
 
 GEORGE WI LLOUGH BY MAYNARD 
 
 Bronze plaque, low relief, signed and dated Paris, June, 1877. 
 H. 8i in.; W. 5f in. Head and shoulders, in profile, directed 
 to the left. 
 
 Inscription 
 
 PARIS JVNE MDCCCLXXVII. MON AMI GEORGE 
 WILLOVGHBY MAYNARD. 
 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS. 
 Lent by Mr. G. W. Maynard. 
 
 4 
 
 WILLIAM L. PICKNELL 
 
 Bronze plaque, in low relief, signed and dated 1877. H. 7f 
 in.; W. 4i in. Head and shoulders, in profile, turned and 
 looking to the right. Palette and brushes indicated in lower 
 left corner. 
 
 Inscription 
 
 WILLIAM L. PICKNELL, PAYSAGISTE. PARIS, JVNE 
 MDCCCLXXVII. 
 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 5 
 
 CHARLES FOLLEN McKIM 
 
 Bronze plaque, low relief, signed and dated Paris, August, 
 1 878. H. 7 i in.; W. 5 in. Head and shoulders, side view, 
 30 
 
head in profile, directed to the right. A palette with brushes 
 in lower right corner. 
 
 Inscription 
 
 MY FRIEND CHARLES MACKIM ARCHITECT. PARIS 
 AVGVST MDCCCLXXVIII. IN SOWENIR OF THE TEN 
 JOLLY DAYS PASSED WITH YOV AND THE 
 ILLVSTRIOVS STANFORD WHITE IN THE SOVTH OF 
 FRANCE. 
 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS FECIT, 
 Lent by Mr. C. F. McKim. 
 
 6 
 
 AUGUSTUS SAIN T-G A U D E N S 
 CHARLES F. McKIM AND 
 STANFORD WHITE. (CARICATURE) 
 
 Bronze medallion, dated 1878. D. 6 in. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 7 
 
 DOCTOR WALTER CARY 
 
 Bronze plaque, low relief, signed and dated Paris, 1879. 
 H. 9f in.; W. 6f in: Head and shoulders, side view, head 
 in profile, directed to the right; wearing hat. At left, coat of 
 arms. 
 
 Inscription (below) 
 
 WALTER CARY M. D. MDCCCLXXIX. 
 Signature (above) 
 
 AVGVSTVS SAINT-GAVDENS FECIT. PARIS. 
 Lent by Mr. Walter Cary. 
 
 31 
 
8 
 
 RICHARD WATSON GILDER, WIFE 
 AND INFANT SON 
 
 Bronze plaque, low relief, signed and dated Paris, 1879. H. 
 Si in.; W. 1 7 in. Quarter length, in profile, mother and son 
 at the left, directed to the right; Mr. Gilder at the right, 
 direded to the left. 
 
 Inscription 
 
 RICHARD WATSON GILDER HIS WIFE HELENA DE KAY 
 AND RODMAN DE KAY GILDER. PARIS MDCCCLXXIX. 
 
 Signature 
 
 A V G . SAINT- GAVDENS SCVLPTOR. 
 Lent by Mr. R. W. Gilder. 
 
 9 
 
 RODMAN DE KAY GILDER 
 
 Bronze plaque, low relief, signed and dated Paris, 1879. H. 
 1 2>\ in.; W. 1 5f in. Head of little boy, in profile, direded to 
 the right. 
 
 Inscription 
 
 RODMAN DE KAY GILDER. PARIS SEPTEMBER 1879. 
 Signature 
 
 F E (monogram: A ST G) C I T . 
 Lent by Mr. R. W. Gilder. 
 
 Note. A detail from the group described in Number 8, but more fully 
 carried out. 
 
 10 
 
 MISS MARIA M. LOVE 
 
 Bronze plaque, low relief, signed and dated Paris, 1879. 
 
 32 
 
H. 9f in.; W. 6$ in. Head and shoulder, side view, head in 
 profile, directed right, looking down. Upper left corner, coat 
 of arms; upper right, ribbon with legend OMNIA VINCIT 
 AMOR. 
 
 Inscription (below) 
 
 MARIA M. LOVE. PARIS MDCCCLXXIX. 
 Signature 
 
 (Monogram: A ST G) FECIT. 
 Lent by Mr. Thomas Cary. 
 
 11 
 
 FRANCIS DAVIS MILLET 
 
 Bronze plaque, signed and dated Paris, March, 1879. H. 
 10J in.; W. 6f in, Head and shoulders, side view, diredted 
 to the right, head in profile. Palette and brushes in lower right 
 corner. 
 
 Inscription 
 
 FRANCIS DAVIS MILLET. AETATIS SUE XXXII. PARIS, 
 MARCH MDCCCLXXIX. 
 
 Lent by Mr. F. D. Millet. 
 
 12 
 
 BENJAMIN GREENE" ARNOLD 
 
 Marble bus!, signed, not dated. [187?]. H. 2 1 in. Head 
 directed and looking slightly to the left. 
 
 Signature 
 
 A V G . S AINT-G A VDENS . 
 Lent by Mr. Henry Newton Arnold. 
 
 33 
 
13 
 
 ADMIRAL DAVID GLASGOW FAR- 
 RAGUT 
 
 Planter cast from a bronze Statue, signed and dated Paris, 
 1879-1880. Heroic size. Body directed to the front, head 
 and eyes a little to the right; uniform of United States Admiral, 
 sword at side, the skirt of the coat turned back on one side as 
 if blown by the wind; right arm straight at side, hand 
 closed; left raised to waist-line, with telescope in hand; feet 
 slightly separated as if steadying the poise on an unstable base. 
 Low rectangular plinth. 
 
 Signature (on bronze base) 
 
 MODELLED BY A V G. S A I N T - G A V D E N S 
 PARIS MDCCCLXXIX-MDCCCLXXX. 
 
 Lent by the Metropolitan Museum of Art. 
 
 Cast made by permission of Commissioner of Parks, Borough of Manhattan. 
 
 Note. The original monument stands at the northeast corner of Madison 
 Square Garden, New York City. The stone pedestal forms a semicircular 
 seat, divided by the pier upon which the figure stands, and terminating at 
 either end in carved dolphins. Upon the central pier is a symbolic sword, 
 plunged down through the waves which flow across it and over two seated 
 female figures carved in low relief at either side. The seat is raised three 
 steps from the level of the park, and the space about its foot is paved with 
 pebbles in which a bronze crab is sunk. The inscription which completes the 
 decoration of the stone seat-back reads in part as follows: 
 
 DAVID GLASGOW FARRAGVT. THAT THE MEMORY OF 
 A DARING AND SAGACIOVS COMMANDER AND GENTLE 
 GREAT-SOVLED MAN WHOSE LIFE FROM CHILDHOOD 
 WAS GIVEN TO HIS COVNTRY BVT WHO SERVED HER 
 SVPREMELY IN THE WAR FOR THE VNION MDCCCLXI- 
 MDCCCLXV MAY BE PRESERVED AND HONORED ... HIS 
 COVNTRYMEN HAVE SET VP THIS MONVMENT A. D. 
 MDCCCLXXXI. BORN . . . MDCCCI. (Follows a biographical sketch.) 
 DIED . . . MDCCCLXX. 
 
 This was the first statue commissioned from Saint-Gaudens for a public place. 
 It was modelled in Paris, exhibited there in the Salon of 1880, and unveiled 
 in New York in 1 88 1 , marking an epoch in American sculpture and decora- 
 tive art. 
 34 
 
14 
 
 ADMIRAL DAVID GLASGOW FAR- 
 RAGUT 
 
 Bronze cast of the model for the head, without signature or date. 
 Copyrighted 1908. H. 12 in. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. The statue as completed for the monument is dated 1 879- 1 880. See 
 Number 13. 
 
 15 
 
 MRS. EMELIA WARD CHAP IN 
 
 Bronze plaque, low relief, signed and dated Paris, 1879. H. 
 9y in.; W. 6 in. Head and shoulders, in profile, directed right. 
 
 Inscription 
 
 EMELIA WARD CHAPIN 
 Signature (above) 
 
 AVGVSTVS SAINT-GAVDENS FECIT 
 PARIS MDCCCLXXIX 
 
 Lent by Mrs. E. W. Chapin. 
 
 16 
 
 DOCTOR WILLIAM EDWARD 
 JOHNSTON 
 
 Bronze plaque, low relief, signed and dated Paris, 1879. H. 
 9f in.; W. 6f in. Head and shoulders, side view, directed right. 
 
 Inscription 
 
 GVLIELMVS EDWARDVS JOHNSTON . . . MRS. JOHNSTON 
 FROM DOCTOR CARY. 
 
 35 
 
Signature 
 
 (Monogram: A ST G) FECIT. PARIS, MDCCCLXXIX 
 Lent by Professor R. M. Johnston. 
 
 17 
 
 JOHN S. SARGENT 
 
 Bronze medal, low relief, signed and dated Paris, July, 1 880. 
 D. 2 1 in. Sketch of head, in profile, directed to the right. 
 
 Inscription 
 
 MY FRIEND JOHN SARGENT. PARIS JVLY MDCCCLXXX. 
 BRVTTO RITRATO. 
 
 Signature 
 
 FECE A ST G. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 18 
 
 DR. HENRY SCHIFF 
 
 Bronze plaque, low relief, dated Paris, May, 1 880. H. 1 Of 
 in., W. 1 1 i in. Half length, side view, head profile, directed 
 to the right. Figure of toad introduced at the right. 
 
 Inscription 
 
 ALL'AMICONE DOTTORE HENRY SCHIFF AETATIS XXXX- 
 VII. DEI ROSPI DI ROMA E DEI PVZZI ROMANI AMANTE. 
 DE FILOSOFIA E DI BELLE ARTI DILETTANTE. DEL TIPO 
 GAT TESCO INAMORATO: IN PARIGI NEL MESE DI MAG- 
 GIO DELL* ANNO MDCCCLXXX. 
 
 (TRANSLATION: To the dear friend Dodtor Henry Schiff at the age of 
 forty-seven. Lover of the toads and smells of Rome, dilettante in philosophy 
 and the fine arts, admirer of the feline type : in Paris in the month of May of 
 the year MDCCCLXXX.) 
 
 j6 
 
Signature 
 
 FECE AVGVSTVS S AINT-G A VDENS. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 Note. A redudion is in the Luxembourg. 
 
 19 
 
 JULES BASTIEN- LEPAGE 
 
 Bronze plaque, low relief, signed and dated Paris, 1 880. H. 
 1 A\ in.; W. 1 9\ in. Half length, directed to the left, head in 
 profile; palette in left hand, a brush in the right. 
 
 Inscription 
 
 JVLES BAST1EN-LEPAGE AETATIS XXXI. PARIS MDCCC 
 LXXX. 
 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS FECIT. 
 Lent by Mrs. Charles Homer. 
 
 Note. A reduction is in the Luxembourg. 
 
 20 
 
 JOSIAH GILBERT HOLLAND 
 
 Plaster cast of plaque (stained to resemble bronze), low relief, 
 signed and dated New York, 1 88 1 . H. \5\ in.; W. 1 Of in. 
 Head and shoulders, side view, head in profile, directed to the 
 right. 
 
 Inscription 
 
 ET VITAM IMPENDERE VERO. JOSIAH GILBERT HOL- 
 LAND AT THE AGE OF FIFTY-SEVEN. NEW YORK A. D. 
 MDCCCLXXVI 
 
 37 
 
Signature 
 
 FECIT (monogram: A ST G) 1881. 
 Lent by Mr. Bleecker Van Wagenen. 
 
 21 
 
 MRS. CHARLES CARROLL LEE 
 AND MISS LEE 
 
 Bronze plaque, low relief, signed and dated New York, 1 88 1 . 
 H. 14^ in.; W. 23| in. Two busls at either end of plaque, 
 side view, heads in profile; Mrs. Lee at right, directed left, Miss 
 Lee at left, directed right. Between them a shield, cresl, and 
 narrow ribbon scroll. 
 
 Inscription 
 
 (Upper left corner) SARAH REDWOOD LEE AETATIS XVI. (Upper 
 right corner) HELEN LEE AETATIS XXXVIII. (Below) NEW YORK 
 MDCCCLXXXI. MODELLED BY AUGUSTUS SAINT-GAU- 
 DENS FOR HIS FRIEND DOCTOR CHARLES CARROLL LEE 
 
 Lent by Mrs. Charles Carroll Lee. 
 
 22 
 
 MISS SARAH REDWOOD LEE 
 
 Bronze plaque, low relief, signed. [1881.] Three-quarters 
 length, three-quarters to the right, head in profile, hands clasped 
 before her. 
 
 Inscription 
 
 SARAH REDWOOD LEE. 
 Signature 
 
 (Monogram: A S T G) FECIT. 
 Lent by Mrs. Charles Carroll Lee. 
 
 Note. A reduction is in the Luxembourg. 
 
 36 
 
23, 24 
 
 CARYATIDS FOR RESIDENCE OF 
 CORNELIUS VANDERBILT, 
 NEW YORK 
 
 Two planter casts from models, without signature or date. 
 [ 1 88 1 ?] Total H. 3 ft, 111 in. Standing within shell-lined 
 niches, female figures in classic drapery supporting (in the origi- 
 nal) the ends of the mantel-piece with their uplifted arms; one, 
 with head bowed on breast, the other with head inclined to 
 the right. 
 
 Inscription above latter 
 AMOR. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. The latter caryatid is seen at the left of the portrait of Mr. Saint-Gau- 
 dens by Mr. Cox. 
 
 The marble mantel-piece of which the finished statues form a part was ex- 
 ecuted in collaboration with John La Farge about 1881. 
 
 25 
 
 HOMER SCHIFF SAINT-GAUDENS 
 
 Bronze, low relief, dated New York, February, 1 882. H. 20^ 
 in.; W. \6\ in. Infant, seated in armchair, half length, side 
 view, directed to the left, head in profile, looking left, hand on 
 arm of chair. 
 
 Inscription 
 
 TO MY FRIEND DOCTOR HENRY SCHIFF THIS PORTRAIT 
 OF MY SON HOMER SCHIFF SAINT-GAUDENS AT THE 
 AGE OF SEVENTEEN MONTHS. 
 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS NEW YORK. 
 FEBRVARY MDCCCLXXXII. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 39 
 
26 
 
 DOCTOR ALEXANDER HAMILTON 
 VINTON 
 
 Planter cast from bronze, middle relief, signed and dated 1 883. 
 Heroic size. Half-length figure, wearing doctor's gown, directed 
 to the right, head three-quarters and looking to the right; in the 
 right hand, under the arm, a book. The inscription covers the 
 background. 
 
 Inscription 
 
 ALEXANDER HAMILTON VINTON D. D. . . . RECTOR OF 
 EMANVEL CHURCH, FROM 1869 TO 1877 
 
 Signature 
 
 (Monogram: A S T G) 
 
 Lent by the Metropolitan Museum of Art. 
 
 Casl made by permission of the Trustees of Emanuel Church, Boston. 
 
 27 
 
 CHARLES TIMOTHY BROOKS 
 
 Plaster cast from memorial tablet; middle relief, signed and dated 
 1 884. H. 4 ft. 1 in.; W. 2 ft. 6 in. Within a rectangular tablet 
 a circular medallion containing life-size head and shoulders, side 
 view, directed to the left. 
 
 Inscription 
 
 (Above medallion) IN SACRED MEMORY OF THE FIRST AND 
 BELOVED MINISTER OF THIS SOCIETY, (wkhin medallion) 
 CHARLES TIMOTHY BROOKS BORN IN SALEM MASS. JUNE 
 20TH, 1813. DIED IN NEWPORT R. I. JUNE 4TH, 1883. (Below 
 medallion is a eulogy of some length.) 
 
 Signature 
 
 FECIT A ST G 1884. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. The original, in bronze, is in Channing Church, Newport, R. I. 
 40 
 
28 
 
 PROFESSOR ASA GRAY 
 
 Bronze plaque, low relief, signed and dated Cambridge, Mass., 
 1 884. H. 35i in.; W. 2 7 in. Head and shoulders, side view, 
 directed to the left. In upper right corner, within a wreath of 
 flowers, three miniature books with word VE | RI | TAS on 
 their pages. 
 
 Inscription 
 
 ASA GRAY MDCCCLXXXIV. 
 Signature 
 
 AVGVSTVS SAINT. GAVDENS FECIT 
 CAMBRIDGE MASS. 
 
 Lent by Harvard University. 
 
 29 
 
 SILAS WEIR MITCHELL 
 
 Bronze plaque, low relief, signed and dated New York, 1 884. 
 H. 20\ in.; W. 1 6f in. Three-quarters length, three-quarters 
 to the right, head in profile, directed right; right arm akimbo, left 
 at side with hat and gloves in hand. 
 
 Inscription 
 
 (Above) S. WEIR MITCHELL, PHILADELPHIA. (Within parch- 
 ment scroll bearing device of rod and serpent, the date) MDCCCLXXXIV 
 (Below) JOHN CADWALADER FROM S. WEIR MITCHELL. 
 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS FECIT 
 NEW YORK 
 
 Lent by Mr. John L. Cadwalader. 
 
 41 
 
i 
 
 30 
 
 MRS. LOUISE M. HOWLAND 
 
 Bronze high relief, signed. [ 1 884?] H. 39 J in.; W. 231 in 
 Three-quarters length figure, three-quarters to the left; head di- 
 rected and looking right, right arm resting on piano, hands clasped. 
 
 Inscription 
 
 LOUISE MILLER HOWLAND . . . MDCCCLXXXIV. 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS FECIT. 
 Lent by Judge Henry E. Howland. 
 
 31 
 
 DUNROBIN 
 
 Terra-cotta circular medallion, low relief, signed and dated 1 884. 
 D. 15 in. 
 
 Inscription 
 DUNROBIN. 
 
 Signature 
 
 A. 1884. ST. G. 
 Lent by Mr. John Gellatly. 
 
 Note. This is a portrait of the Scotch deerhound Dunrobin, the dog that was 
 used as a model by Mr. Saint-Gaudens in his relief of the Children of Jacob 
 H. Schiff. 
 
 32 
 
 WILLIAM EVARTS BEAMAN 
 
 Bronze medallion, signed and dated 1885. D (vertical) 18i 
 42 
 
in.; (horizontal) 1 9 in. Head and shoulders of little boy, di- 
 rected to the left. 
 
 Inscription 
 
 QVANTVM BONVM EST VBI SVNT PRAEPARATA PEC- 
 TORA IN QVAE TVTO SECRETVM OMNE DESCENDAT 
 QVORVM CONSCIENTIAM MINVS QVAM SVAM TIMEAS 
 QVORVM SERMO SOLLICITVDINEM LENIAT SENTENTIA 
 CONSILIVM EXPEDEAT HILARITAS TRISTRIAM DISSIPET 
 CONSPECTVS IPSE DELECTET. WILLIAM EVARTS BEA- 
 MAN IN HIS FOVRTH YEAR 1885. 
 
 Signature 
 
 FE (monogram: A ST G) CIT 
 Lent by Mrs. C. C. Beaman. 
 
 33 
 
 DOCTOR HENRY WHITNEY BELLOWS 
 
 Plaster cast from bronze memorial tablet, middle relief [signed 
 and dated New York, 1885.] Full-length figure, standing, 
 directed and looking three-quarters to the left; wearing gown, 
 right arm bent, holding book, left at side; right foot advanced. 
 Between pilasters supporting a round arch, the whole upon a 
 pediment-shaped tablet. H. 1 0 ft. 4 in.; W. 4 ft. 5| in. 
 
 Inscription 
 
 (Above) FORTY-THREE YEARS MINISTER OF THIS CHVRCH 
 TO WHICH HE GAVE THE NAME ALL-SOVLS PRESIDENT 
 OF THE VNITED STATES SANITARY COMMISSION FROM 
 1861 TO 1878. (Below) HENRY WHITNEY BELLOWS, D. D. 
 BORN IN BOSTON JVNE 1 1TH, 1814. DIED IN NEW YORK 
 J AN VARY 1882. 
 
 Lent by the Metropolitan Museum of Art. 
 
 Casl made by permission of the Trustees of All Souls Church, New York. 
 
 43 
 
34 
 
 AMOR CARIT AS 
 
 Planter cast from bronze high relief, signed and dated 18 [8 7]. 
 Total H. 8 ft. 9 in.; W. 4 ft. Within a shallow niche, a 
 standing female figure, with upward curving wings partly sur- 
 rounding a tablet which rests upon the head and is lightly held 
 by the upraised hands. The figure is directed front, the head 
 and eyes very slightly to the right, and the sandaled feet are 
 partly visible beneath the long robe. Girdle and crown of 
 passion-flowers. 
 
 Inscription (on tablet above head ) 
 AMOR CARIT AS. 
 
 Signature 
 
 AVGVSTVS S AINT-GAVDENS. 
 MDCCCLXX [XVII]. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. The original idea of this was embodied in the figures on the Morgan 
 tomb at Hartford, Conn., which were burned. From this spring the figure of 
 the Maria Smith tomb at Newport, and the Amor Caritas of the Luxem- 
 bourg, of which this is a replica. 
 
 35 
 
 CHESTER W. CHAPIN 
 
 Plaster cast of bust, without signature or date. [About 1 887.] 
 H. 2 1 in. Directed and looking front. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 44 
 
AMOR CARITAS. 
 
 Number 34. 
 
36 
 
 PORTRAIT OF A LADY 
 
 Planter ca& from unfinished clay sketch of oval medallion, not 
 signed, dated, or inscribed. D. (vertical) 16 in.; (horizontal) 
 13f in. Head and shoulders, three-quarters to the right, 
 directed right, head in profile, hand on chesl. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 37 
 
 WASHINGTON MEDAL 
 
 A replica of a bronze medal, low relief, copyrighted 1 889. 
 D. 4i in. 
 
 (Obverse) Bust of Washington, side view, head in profile, directed left. 
 Continental costume. At the right, the fasces of magistracy. Forming a 
 border about the edge, thirteen stars. 
 
 Signature 
 
 PHILIP MARTIN Y, MODELLER. DESIGN 
 AND COPYRIGHT BY AUGUSTUS SAINT- 
 GAUDENS. 
 
 Inscription 
 
 GEORGE WASHINGTON. PATER PATRIAE. 
 MDCCLXXXIX. 
 
 (Reverse) Upper half, an American eagle, with wings spread, claws holding 
 arrows and olive branch bearing shield with legend E PLVRIBVS VNVM. 
 Lower left, coat of arms of New York State. Thirty-eight stars forming 
 border. 
 
 Inscription 
 
 TO COMMEMORATE THE INAVGVRATION OF GEORGE 
 WASHINGTON AS FIRST PRESIDENT OF THE VNITED 
 STATES OF AMERICA AT NEW YORK APRIL XXX 
 MDCCLXXXIX. BY AVTHOR1TY OF THE COMMITTEE 
 ON CELEBRATION NEW YORK APRIL XXX MDCCC- 
 LXXXIX. 
 
 Lent by the American Numismatic Society. 
 
 45 
 
38 
 
 ABRAHAM LINCOLN (STANDING 
 FIGURE) 
 
 Planter casT: from bronze statue, signed and dated 1887. 
 Heroic size. Standing before a chair, figure directed to the 
 front, head slightly bent, right arm thrust behind him, left grasp- 
 ing lapel of coat, left foot advanced, in an attitude characteristic 
 of Lincoln when rising to make a speech. 
 
 Signature 
 
 AUGUSTUS SAINT -GAUDENS SCULPTOR 
 M D C C C L X X X V 1 1 . 
 
 Lent by the Metropolitan Museum of Art, 
 
 Cast made by permission of the Commissioners of Lincoln Park, Chicago. 
 
 Note. The original statue stands at the south end of Lincoln Park in 
 Chicago, the idea of an audience-chamber being further carried out in the 
 great circular stone exedra, sixty feet across, which surrounds the low pedestal, 
 in the design of which Mr. Saint-Gaudens collaborated with the late Stanford 
 White, architect. The inscription is on the pedestal and back of the exedra, 
 and includes among other things an extract from the Cooper Union speech of 
 1860: LET US HAVE FAITH THAT RIGHT MAKES MIGHT, 
 AND IN THAT FAITH LET US TO THE END DARE TO 
 DO OUR DUTY AS WE UNDERSTAND IT. 
 
 4b 
 
ABRAHAM LINCOLN. 
 Number 38. 
 
39 
 
 ROBERT LOUIS STEVENSON 
 
 Electrotype reduction from the model of the relief as originally 
 designed; in rectangular form; signed and dated New York, 
 September, 1887. H. 6# in.; W. 1 31 in. Full length figure, 
 seen in profile, looking left, reclining in a bed, the lower limbs 
 partly concealed by the coverlet; the left hand holding a man- 
 uscript, the knees being drawn up to support it, and the right 
 hand poised in air, with a cigarette between the fingers. A 
 border of ivy leaves and berries extends across the top of the 
 plaque, with the inscription and signature written horizontally 
 below it, the figure of the winged horse occurring between the 
 first two stanzas of the inscription. 
 
 Inscription (Stevenson's poem beginning) 
 
 YOUTH NOW FLEES ON FEATHERED FOOT 
 
 FAINT AND FAINTER SOUNDS THE FLUTE. 
 
 (ending) 
 
 LIFE IS OVER. LIFE WAS GAY. 
 
 WE HAVE COME THE PRIMROSE WAY. 
 
 TO ROBERT LOUIS STEVENSON FROM HIS FRIEND 
 AUGUSTUS SAINT-GAUDENS. NEW YORK SEPTEMBER 
 MDCCCLXXXVII. 
 
 Signature: As given above. 
 
 Note. The sittings for the head and shoulders took place in New York 
 while Stevenson was ill there on his way to the Adirondacks. The hands 
 were modelled from sludies made at Manasquan just before he left for 
 Samoa. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 47 
 
40 
 
 ROBERT LOUIS STEVENSON 
 
 Placer caft from rectangular bronze memorial tablet in Saint 
 Giles's Cathedral, Edinburgh, Scotland; low relief, signed and 
 dated 1887-1892. H. (of relief proper) 5 ft 7 in., (of 
 plinth) 1 ft. 10 in.; W. (of relief proper) 9 ft. H in., (of 
 plinth) 9 ft. 2 in. A variant of the same design, the figure 
 being the same, but shown in full length, covered with a travel- 
 ling rug in place of the coverlet, having a quill pen in hand in 
 place of the cigarette, and resting upon a couch in place of the 
 bed, with leaves of manuscript scattered upon the floor, and 
 instead of the ivy border, extending across the top and droop- 
 ing at sides of the relief a garland of laurel interwoven at the 
 ends with Scotch heather and Samoan hibiscus. The outline 
 of a ship is shown in the lower right corner. 
 
 Inscription 
 
 (Above, Stevenson's "Prayer") 
 
 GIVE VS GRACE AND STRENGTH TO FORBEAR AND 
 TO PERSEVERE. GIVE VS COVRAGE AND GAIETY AND 
 THE QVIET MIND, SPARE TO VS OVR FRIENDS, SOFTEN 
 TO VS OVR ENEMIES. BLESS VS, IF IT MAY BE, IN ALL 
 OVR INNOCENT ENDEAVORS. IF IT MAY NOT, GIVE 
 VS THE STRENGTH TO ENCOVNTER THAT WHICH IS 
 TO COME, THAT WE MAY BE BRAVE IN PERIL, CON- 
 STANT IN TRIBVLATION, TEMPERATE IN WRATH, AND 
 IN ALL CHANGES OF FORTVNE, AND DOWN TO THE 
 GATES OF DEATH, LOYAL AND LOVING TO ONE 
 ANOTHER. 
 
 (On plinth, below relief proper) 
 
 ROBERT LOVIS STEVENSON. BORN AT VIII HOWARD 
 PLACE EDINBVRGH, NOVEMBER XIII MDCCCL. DIED AT 
 VAILIMA, ISLAND OF VPOLV, SAMOA, DECEMBER III, 
 MDCCCXCIV. THIS MEMORIAL IS ERECTED IN HIS 
 HONOVR BY READERS IN ALL QVARTERS OF THE 
 WORLD, WHO ADMIRE HIM AS A MASTER OF ENGLISH 
 AND SCOTTISH LETTERS, AND TO WHOM HIS CON- 
 STANCY UNDER INFIRMITY AND SUFFERING, AND HIS 
 SPIRIT OF MIRTH, COVRAGE AND LOVE, HAVE EN- 
 DEARED HIS NAME. 
 
 48 
 
(Follows Stevenson's "Epitaph* written by himself) 
 
 VNDER THE WIDE AND STARRY SKY DIG THE GRAVE 
 
 AND LET ME LIE. 
 
 GLAD THAT I LIVE AND GLADLY DIE, AND I LAID ME 
 DOWN WITH A WILL. 
 
 THIS BE THE VERSE YOV GRAVE FOR ME: HERE HE 
 LIES WHERE HE LONGED TO BE; 
 
 HOME IS THE SAILOR, HOME FROM THE SEA, AND 
 THE HVNTER HOME FROM THE HILL. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 41 
 
 ROBERT LOUIS STEVENSON 
 
 Bronze circular medallion, low relief, signed and dated 1887. 
 D. (vertical) 35f in.; (horizontal) 34| in. Similar in design 
 and inscription to the model described under No. 39, but 
 differing as follows: foot of bed and lower quarter of figure 
 not visible; ivy border and verses of inscription made to con- 
 form to the circular shape of the medallion. Instead of dedi- 
 cation "To Robert Louis Stevenson," &c, the present example 
 reads: REPLICA MADE FOR CHARLES DEERING 
 BY HIS FRIEND AVGVSTVS SAINT-GAVDENS. 
 ASPET MCMVI. 
 
 Signature (below poem) 
 
 AVGVSTVS SAINT-GAVDENS. 
 MDCCCLXXXVII. 
 
 Lent by Mr. Charles Deering. 
 
 Note. The "dedication" varies with the name of the recipient, and the 
 earlier replicas differed in minor details of modelling. 
 A bronze reduction is in the Luxembourg. 
 
 49 
 
42 
 
 WILLIAM MERRITT CHASE 
 
 Bronze plaque, low relief, signed and dated New York, 
 August, 1888. H. 21f in.; W. 29i in. Three -quarters 
 length, three-quarters to the left, head in profile, directed left, 
 wearing artist's blouse and Tarn O'Shanter cap; in the left 
 hand are a pallette and brushes; the right arm, with paint-brush 
 in hand, is extended and rests on painter's slick. In the lower 
 left corner is a medallion with design of winged horse. 
 
 Inscription 
 
 WILLIAM MERRITT CHASE IN HIS FORTIETH YEAR 
 FROM HIS FRIEND AVGVSTVS SAINT-GAVDENS. NEW 
 YORK AVGVST MDCCCLXXXVIII. 
 
 Signature : As given above. 
 Lent by Mr. W. M. Chase. 
 
 Note. The clay model of this plaque, in somewhat different form, is 
 represented on the sculptor's easel in Mr. Kenyon Cox's portrait of Saint- 
 Gaudens. 
 
 43 
 
 EDWIN HUBBELLCHAPIN, D. D. 
 
 Plaster cast from the bronze relief in the Fourth Universalis! 
 Church, New York City. Signed, not dated. [188?] H. 
 36f in.; W. 32 j in. Head and shoulders, three-quarters to 
 the left, head in profile. 
 
 Inscription 
 
 EDWIN HVBBELL CHAPIN D. D. BORN DEC. 29TH, 1814. 
 DIED DEC. 26TH, 1880 HE BEING DEAD YET SPEAKETH. 
 PASTOR OF THE FOVRTH VN1VERSALIST SOCIETY OF 
 THE CITY OF NEW YORK FROM MAY 1848 VNTIL HIS 
 DEATH. 
 
 50 
 
Signature 
 
 (Monogram: ASTG) FECIT. 
 Lent by Mrs. Augustus Saint Gaudens. 
 
 44 
 
 GENERAL WILLIAM TECUMSEH 
 SHERMAN 
 
 Bronze bust, signed. [ 1 888] . Copyright by Augustus Saint- 
 Gaudehs, 1 892. Total H. 3 1 \ in. Shoulders directed front, 
 head and eyes right; United States military coat. The bust 
 rests upon a rectangular block bearing the inscription, and that 
 in turn upon a mass of ribbon-bound laurel supported upon a 
 rectangular slab. 
 
 Inscription 
 
 WILLIAM TECUMSEH SHERMAN. 
 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS. 
 Lent by U. S. Military Academy at West Point. 
 
 Note. Modelled from life in eighteen sittings. Served as the study for the 
 head of Sherman in the memorial statue unveiled in 1903. 
 
 45 
 
 MRS. SCHUYLER VAN RENSSELAER 
 
 Bronze plaque, low relief, signed and dated 1 888. H. 29J 
 in.; W. 7f in. Head and shoulders, side view, head profile, 
 directed to the left. 
 
 Inscription 
 
 ANIMVS NON OPVS. MDCCCLXXXVIII. TO MARIANA 
 GRISWOLD VAN RENSSELAER. 
 
 51 
 
Signature 
 
 AVGVSTVS S AINT-GA VDENS. 
 Lent by Mrs. Schuyler Van Rensselaer. 
 Note. A reduction is in the Luxembourg. 
 
 46 
 
 CHILDREN OF JACOB H. SCHIFF 
 
 Planter cast from bronze, low relief, signed and dated [New 
 York], 1888. H. 5 ft. 9i in.; W. 4 ft. 3. in. Figures of 
 little girl and boy, walking, accompanied by greyhound. Full 
 length, three-quarters to the right; the face of the girl seen in 
 three-quarters view, the boy's in profile. The former, some- 
 what the taller, placed at the right, leads the boy with her right 
 hand, and with the left holds the dog by the collar. The boy 
 holds cap in right hand. Sculptured frame effect of plinth, 
 columns and cornice hung with garlands. 
 
 Signature 
 
 AVGVSTVS S AINT -G A VDENS. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 Note. A bronze reduction is in the Luxembourg. 
 
 47 
 
 KEN YON COX 
 
 Bronze plaque, low relief, signed and dated New York, 1 889. 
 H. 19| in.; W. 7f in. Head, in profile, directed to the 
 right. 
 
 52 
 
Inscription 
 
 KENYON COX PAINTER IN HIS THIRTY-THIRD YEAR 
 BY HIS FRIEND AVGVSTVS SAINT-GAVDENS MDCCCL- 
 XXXIX. 
 
 Signature : As given above. 
 Lent by Mr. Kenyon Cox. 
 
 Note. Executed two years after the portrait painted by Mr. Cox of Mr. 
 Saint-Gaudens. 
 
 48 
 
 GEORGE HOLLINGSWORTH 
 
 Planter cast, low relief, signed and dated 1889. H. 5 ft. 
 9 in.; W. 2 ft. 94 in. Three-quarters length, three-quarters to 
 the right, head in profile, directed to the right; right arm akimbo, 
 left resting on book. Frame effect produced by modelled 
 cornice, plinth and moulding. 
 
 Inscription 
 
 GEORGE HOLLINGWORTH TEACHER OF THE LOWELL 
 INSTITVTE DRAWING SCHOOL FROM MDCCCLI TO MD- 
 CCCLXXIX. THIS BRONZE TESTIFIES TO THE LOVE 
 OF HIS MANY FRIENDS AND TO THE GRATITVDE AND 
 ESTEEM OF HIS MANY PVPILS. MDCCCXIII MDCCC- 
 LXXXII. 
 
 Signature 
 
 A ST G FECIT '99. 
 
 Lent by the Metropolitan Museum of Art. 
 
 CaSt made by permission of Boston Museum of Fine Arts. 
 
 Note. The original, in bronze, is in the Boston Museum of Fine Arts. 
 
 53 
 
49 
 
 DOCTOR JAMES McCOSH 
 
 Planter cast from bronze memorial tablet, middle relief, signed 
 and dated 1 889. Full-length figure, standing, directed front, 
 head three-quarters and looking right; wearing doctor's gown; 
 right hand extended, left resting upon reading-desk. H. 8 ft. 
 3i in.; W. 4 ft. 7f in. 
 
 Inscription (above) 
 
 JAMES McCOSH D. D. LL. D. FOR TWENTY YEARS PRES- 
 IDENT OF PRINCETON COLLEGE OCTOBER XXVII 
 MDCCCLXVIII. JVNE XX MDCCCLXXXVIII. ERECTED IN 
 HIS HONOR BY THE CLASS OF MDCCCLXXIX. JVNE 
 XVIII MDCCCLXXXIX. 
 
 Lent by the Metropolitan Museum of Art. 
 Cast made by permission of Princeton University. 
 
 50 
 
 MISS VIOLET SARGENT 
 
 Bronze plaque, low relief, signed and dated 1890. Full- 
 length seated figure, directed three-quarters to the right, head 
 in profile, holding in the hands a guitar, the limbs crossed. 
 H. 501 in.; W. 34i in. 
 
 Inscription (within ivy-wreath) 
 VIOLET SARGENT. 
 
 Signature 
 
 A. ST G MDCCCLXXXX FECIT. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 54 
 
51 
 
 SEAL FOR THE PUBLIC LIBRARY 
 BOSTON, MASSACHUSETTS 
 
 Planter cast from which the stone rectangular high relief was cut, 
 signed. [1891?] H. 4 ft.; W. 6 ft. A shield, bearing a 
 book, is supported on either side by nude figures of boys, each 
 carrying a torch. Above, a ribbon scroll. 
 
 Inscription 
 
 OMNIVM LVX CIVIVM. MDCCCLII MDCCCLXXXIII. 
 Signature 
 
 BY A. ST. G. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 52 
 
 THE HEAD OF THE FIGURE ON THE 
 ADAMS MONUMENT 
 
 This head was in the studio of Mr. Augustus Saint-Gaudens 
 when everything was destroyed in 1 904 with the exception of 
 this head and the portrait of his son, Mr. Homer Saint-Gaudens. 
 "The Adams Monument head was especially notable that dreary 
 morning after the fire when there was absolutely nothing else left 
 standing or saved." 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 55 
 
53 
 
 ADAMS MONUMENT, ROCK CREEK 
 CEMETERY, WASHINGTON, D. C. 
 
 Planter cast from bronze statue, unsigned and undated. [About 
 1 89 1 ] . A figure, enveloped in heavy drapery, which covers 
 the head and body with the exception of the face and right 
 arm, the hand of which supports the chin. Directed to the 
 front, eyes lowered. 
 
 Lent by the Metropolitan Museum of Art. 
 Cast made by permission of Mr. Henry Adams. 
 
 Note. The monument consists of a block of granite against which the 
 figure leans, and which forms one side of an hexagonal plot of about twenty 
 feet in diameter. Opposite and occupying three sides of the hexagon is a 
 massive stone bench. The figure has been variously interpreted, although 
 Saint-Gaudens gave no name to it. 
 
 56 
 
ADAMS MONUMENT. 
 Number 53. 
 
54 
 
 DIANA 
 
 Bronze cast from a study for the head, without date. Copy- 
 righted 1908. H. 9i in. 
 
 Signature 
 
 (Monogram: A ST G) 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 55 
 
 DIANA 
 
 Reduction in bronze from the Diana surmounting the Madison 
 Square Garden tower, with drapery omitted. Not signed or 
 dated. Total H. 4 1 f in. Attitude similar to that of Number 
 56, bow and arrow present, crescent omitted. No inscription. 
 
 Lent by Mr. Charles F. McKim. 
 
 Note. A large Statue of Diana, modelled in 1892, was exhibited in bronze 
 at the World's Fair in Chicago in 1893, and now forms the weathervane for 
 Montgomery Ward's tower on the Lake Front in Chicago. A smaller slatue, 
 which also has the drapery, was placed above the tower of Madison Square 
 Garden, New York. 
 
 56 
 
 DIANA 
 
 Bronze cast from early clay sketch, not signed. H. (of figure) 
 25 in.; (of pedestal) 5 in. Nude figure poised with one foot 
 upon a sphere. Head turned to left, crescent on brow; left arm 
 extended, right flexed, in attitude of archer shooting; bow and 
 arrow absent. No inscription. 
 
 Lent by Mr. John Gellatly. 
 
 57 
 
57 
 
 MRS. GROVER CLEVELAND 
 
 Planter cast from model in form of circular medallion, not signed 
 or dated. D. 1 7 in. Head and shoulders, three-quarters to the 
 left, head three-quarters and looking left. 
 
 Inscription 
 
 FRANCES FOLSOM CLEVELAND. 
 Lent by Mrs. Augustus Saint- Gaudens. 
 
 58 
 
 MRS. GROVER CLEVELAND 
 
 Bronze medallion, low relief, signed and dated 1892. D. 5f 
 in. Head and shoulders, three-quarters and looking left. 
 
 Inscription 
 
 FRANCES FOLSOM CLEVELAND MARION MASSACHU- 
 SETTS. AVGVST MDCCCXCII. 
 
 Signature 
 
 (Monogram: A ST G.) 
 
 Lent by Mrs. Grover Cleveland. 
 
 Note. A reduction rom Number 57. 
 
 58 
 
59 
 
 MEDAL OF WORLD'S COLUMBIAN 
 EXPOSITION, CHICAGO 
 
 Bronze medal, cast, low relief, signed. Date of inscription 
 1892-1893. D. 4 in. 
 
 (Obverse) Figure of Columbus in armor with sword and cloak; full-length, 
 body and head three-quarters, directed left, eyes raised, arms outspread, right 
 foot advanced. Background : portions of a ship, an unfurled banner, and 
 figures of three men visible in part; in distance a symbolic device of ships passing 
 the pillars of Hercules, and words PLVS VLTRA. 
 
 Inscription 
 
 CHRISTOPHER COLVMBVS OCT. XII MDCCCXCII. 
 
 Signature (below, partly effaced) 
 AVGVSTVS SAINT-GAVDENS. 
 
 (Reverse) Undraped figure of a youth Standing upon a hill-top, and sup- 
 porting a tall shield, directed and looking front, right arm extended, hand grasp- 
 ing a torch; left arm, with hand holding three wreaths, resting upon the shield. 
 The shield bears under the motto E PLVRIBVS VNVM, an American 
 eagle with arrows, olive branch and small shield. At the right of the large 
 shield is a young oak tree. 
 
 Inscription 
 
 THE COLVMBIAN EXHIBITION IN COMMEMORATION OF 
 THE FOVR HVNDREDTH ANNIVERSARY OF THE LAND- 
 ING OF COLVMBVS. TO AVGVSTVS SAINT-GAVDENS. 
 MDCCCXCII-MDCCCXCIII. 
 
 Signature 
 
 (Monogram: A ST G) 
 
 Lent by Mr. Louis Saint-Gaudens. 
 
 Note. Cast from the original study, reduced. 
 
 59 
 
60 
 
 MEDAL OF WORLD'S COLUMBIAN 
 EXPOSITION, CHICAGO 
 
 Two electrotype medallions from obverse and reverse of similar 
 design, with slight variation. D. 8 in. (encircled by one-half 
 inch rim left in electrotyping.) 
 
 Lent by the United States Mint in Philadelphia. 
 
 Note. Design of obverse same as the above. The design of the reverse (re- 
 jected by the Quadro-Centennial Committee of the United States Senate) re- 
 sembles the original sketch except in having a blank tablet for the name of the 
 recipient at lower left with three fleurets below it, and some minute changes 
 in the shield bearings. 
 
 61 
 
 MEDAL OF WORLD'S COLUMBIAN 
 EXPOSITION, CHICAGO 
 
 The medal as finally cast, with the obverse (a) as designated 
 by Saint-Gaudens, and in place of the nude figure, &c, of the 
 reverse (b), a design by Mr. Charles E. Barber of the United 
 States Mint. D. 4 in. 
 
 Lent by Mr. George F. Kunz. 
 
 62 
 
 STUDY OF A CHILD 
 
 Bronze medallion, low relief, unsigned, dated 1892. D. 2f in. 
 Head and shoulders, three-quarters to the right, head in profile, 
 directed right. 
 
 Inscription 
 
 . . . MDCCCXCII. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 60 
 
63 
 
 CHARLES COTESWORTH BEAMAN 
 
 Bronze plaque, low relief, signed and dated 1 894. H. 26^ in.; 
 W. 1 5i in. Figure half length, head in profile, directed and 
 looking to the right, right hand in pocket. 
 
 Inscription 
 
 MDCCCLXXXIV. CHARLES COTESWORTH BEAMAN BY 
 HIS FRIEND AVGVSTVS SAINT-GAVDENS. 
 
 Signature : As given above. 
 Lent by Mrs. C. C. Beaman. 
 
 Note. A reduction is in the Luxembourg. 
 
 64 
 
 GARFIELD MONUMENT, FAIR- 
 MOUNT PARK, PHILADELPHIA 
 
 Plaster cast from bronze bust of James Abram Garfield, unsigned, 
 dated 1895. Colossal size. Undraped; head directed and 
 looking front. Date inscribed below on tablet : MDCCCXCV* 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 65 
 
 GARFIELD MONUMENT, FAIR- 
 MOUNT PARK, PHILADELPHIA 
 
 Plaster cast from bronze statue of the "Republic", signed and 
 dated 1895. Heroic size. Standing female figure in flowing 
 robe and liberty cap; directed and looking front; in the left hand 
 a palm branch, the right resting on an oval shield held directly 
 before the figure. 
 
 61 
 
Inscription ( on shield) 
 
 JAMES ABRAM GARFIELD PRESIDENT OF THE VNITED 
 STATES MDCCCLXXXI. 
 
 Lent by the Metropolitan Museum of Art. 
 
 Cast made by permission of the Commissioners of Fairmount Park, Phila- 
 delphia. 
 
 Note. The monument proper is a tall marble quadrilateral slele with Doric 
 pilaslers at the angles, supporting an entablature upon which resls the bust, and 
 below which, filling a niche in the anterior face, stands the figure of the 
 "Republic." 
 
 66 
 
 MISS ANNIE PAGE 
 
 Bronze head, signed and dated 1 895, copyrighted 1908. H. 
 1 8i in. 
 
 Signature 
 
 MDCCC (monogram: A ST G) XCV 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 67 
 
 WILLIAM ASTOR CHANLER 
 
 Bronze bust, signed and dated 1896. H. I9i in. Head 
 and chest directed front. 
 
 Inscription 
 
 WILLIAM ASTOR CHANLER 
 
 62 
 
Signature (script) 
 
 AUGUSTUS ST. GAUDENS, 1896 
 Lent by Mrs. John J. Chapman. 
 
 68 
 
 PETER COOPER 
 
 Plaster cast, of heroic size, of head from bronze statue, the orig- 
 inal signed and dated 1897. H. 26 in. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. The monument of which this is a detail is at the side of Cooper 
 Union, New York City, in honor of its founder. Mr. Saint-Gaudens at- 
 tended school at the Union in his youth. 
 
 69 
 
 MEMORIAL TO COLONEL ROBERT 
 GOULD SHAW, BOSTON 
 
 Piaster cast of early sketch for bronze relief; without signature 
 or date. H. 1 A\ in.; W. 1 5-g- in. Equestrian figure of Shaw, 
 directed to the left, and surrounded by foot soldiers, the whole 
 surrounded by architectural frame. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. The commission for the memorial to Colonel Shaw, Commander of 
 the Fifty-Fourth Massachusetts Regiment (colored troops), who fell at Fort 
 Wagner, was given by the State of Massachusetts in 1884. The work, with 
 its many modifications, extended over an interval of twelve years, the com- 
 pleted monument being unveiled in 1 897. 
 
 63 
 
70 
 
 MEMORIAL TO COLONEL ROBERT 
 GOULD SHAW, BOSTON 
 
 Bronze cast for a study for the head of Colonel Shaw; without 
 signature or date. H. 1 0\ in. 
 
 Signature 
 
 (Monogram: A ST G) 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 71 
 
 MEMORIAL TO COLONEL ROBERT 
 GOULD SHAW, BOSTON 
 
 Six plaster casts of studies for the heads of negroes; without 
 signature or date. One-third life size. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 72 
 
 MEMORIAL TO COLONEL ROBERT 
 GOULD SHAW, BOSTON 
 
 Plaster cast of early study for female figure, low relief; without 
 signature or date. L. 37 in. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 64 
 
73 
 
 MEMORIAL TO COLONEL ROBERT 
 GOULD SHAW, BOSTON 
 
 Planter casl: of later Study for female figure, low relief ; without 
 signature or date. L. 1 0 ft. 7 in. 
 
 Note. The female figure, which seems to symbolize death and fame, is seen 
 in the finished relief, floating above and a little in advance of the figure of 
 Shaw, the position being nearly horizontal, directed to the right, the eyes, as 
 in the latter casl, being lowered, the left arm extended, palm upward, and 
 the right arm clasping to the breast poppies and a laurel branch, the whole 
 enveloped in sweeping draperies. 
 
 A large photograph of the finished relief is abo shown. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 74 
 
 SHERMAN MONUMENT: FIRST 
 SKETCH FOR HEAD OF VICTORY 
 
 Bronze bust on circular base ; signed and dated 1897. Total 
 H. 1 3 in. One-third life size, directed and looking front ; hair 
 in Grecian knot. 
 
 Inscription (on applied tablet below) 
 
 FIRST SKETCH OF HEAD OF VICTORY, 
 
 SHERMAN MONUMENT... 
 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS, 1897. 
 Lent by Miss Hettie E. Anderson. 
 
 75 
 
 CHARLES ANDERSON DANA 
 
 Bronze low relief, signed. [1 898.] H. 37f in.; W. 1 9f in. 
 Head and shoulders, side view, directed and looking to the left. 
 
 65 
 
Inscription 
 
 (At left within ivy-wreath) CHARLES ANDERSON DANA, (below 
 on tablet) MDCCCXIX-MDCCCXCV1I. 
 
 Signature 
 A ST G 
 
 Lent by Mr. William M. Laffan. 
 
 76 
 
 WILLIAM DEAN HOWELLS 
 AND MISS HOWELLS 
 
 A replica, with differing patina, of a bronze plaque, low relief, 
 signed and dated New York, 1 898. H. 8J in.; W. 1 3J in. 
 Two figures, three-quarters length, side view, heads in profile ; 
 Miss Howells at the left, looking right, her left arm resling upon 
 a small table, chin in hand ; Mr. Howells at the right, looking 
 left, with a manuscript in the left hand and eye-glasses in the 
 other. 
 
 Inscription 
 
 MILDRED AND WILLIAM DEAN HOWELLS NEW YORK 
 MDCCCXCVIII. FROM AVGVSTVS SAINT-GAVDENS. 
 
 Signature as given above. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 77 
 
 AMOR CARITAS 
 
 Bronze relief, signed and dated 1898. H. 39 J in.; W. 
 1 7i in. 
 
 Reduction of number 34. 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS MDCCCXCVIII 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 66 
 
78 
 
 MRS. CHARLES COTESWORTH 
 BEAMAN 
 
 Bronze plaque, low relief, signed and dated Cornish, N. H., 
 Odl., 1900. H. 23 in.; W. 21i in. Three-quarters length, 
 side view, seated, head in profile, directed and looking left. 
 
 Inscription 
 
 CORNISH NEW HAMPSHIRE OCTOBER NINETEEN HVN- 
 DRED. (Within ivy- wreath) HETTIE SHERMAN BEAMAN. 
 
 Signature 
 
 ( Monogram : A ST G ) 
 
 Lent by Mrs. Charles Cotesworth Beaman. 
 
 79 
 
 MRS. JOHN CHIPMAN GRAY 
 
 Bronze plaque, low relief, signed and dated October, 1902. 
 H. 35 J in.; W. 23# in. Three-quarters length, seated with 
 back partly turned, head in profile, directed to the left; hands 
 clasped on arm of chair; evening dress. The plaque is orna- 
 mented above with a palmette and scrolls. 
 
 Inscription 
 
 CORNISH NEW HAMPSHIRE OCTOBER MDCCCCII. 
 Signature 
 
 (Monogram: A ST G ) 
 
 Note. The carved wood tablet upon which the plaque is mounted is in- 
 scribed : ANNA LYMAN GRAY. 
 
 Lent by Mr. John Chipman Gray. 
 
 80 
 
 HENRY ADAMS (CARICATURE) 
 Bronze medallion, signed and dated 1 904. D. 1\ in. 
 
 67 
 
Signature 
 A ST G 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 81 
 
 JAMES WALL FINN (CARICATURE) 
 
 Bronze medallion, signed and dated 1 904. D. (vertical) 6£ 
 in.; (horizontal) 6J in. 
 
 Signature 
 
 (Monogram: A ST G ) 
 Lent by Mr. J. W. Finn. 
 
 82 
 
 CHARLES A. PLATT (CARICATURE) 
 Bronze plaque, signed and dated 1 904. H. 9 J in.; \V. 3J in. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 83 
 
 HONORABLE JOHN HAY 
 
 Bronze bust, signed and dated Washington, 1904. H. 25 
 in. Head directed and looking slightly to the right; wearing 
 overcoat. 
 
 Inscription 
 
 WASHINGTON MCMIV. 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS. 
 
 Lent by Mrs. John Hay. 
 68 
 
JOHN HAY. 
 Number 83. 
 
84 
 
 PLAQUE COMMEMORATIVE OF THE 
 CORNISH CELEBRATION 
 JUNE 23, 1905 
 
 Bronze plaque in low relief. H. 32f in.; W. 1 9 \ in. 
 
 Design : Temple of Love. 
 Inscription 
 
 (Names of participants.) (On altar) AMOR VINCIT ... IN AFFEC- 
 TIONATE REMEMBRANCE OF THE CELEBRATION OF 
 JVNE XXIII. MCMV. AVGVSTA AND AVGVSTVS SAINT- 
 GAVDENS. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. Occasioned by the "Masque of the Golden Bowl" given at Cornish, 
 N. H., to celebrate the twentieth anniversary of Saint-Gaudens' coming there. 
 
 85 
 
 HEAD OF VICTORY 
 
 Bronze medallion, low relief, signed. [1906.] Copyright by 
 Augustus Saint-Gaudens, 1907. D. (vertical) 9i in.; (hori- 
 zontal) 9 J in. Head of woman, in profile, with parted lips; 
 directed left; wearing olive wreath. 
 
 Inscription 
 NIKH-EIPHNH. 
 
 Signature 
 
 (Monogram: A ST G ) 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. From the model originally designed, but not used for the one- cent piece. 
 
 69 
 
86 
 
 FIGURE OF VICTORY FROM MON- 
 UMENT TO GENERAL WILLIAM 
 T E CUM SE H SHERMAN 
 
 "Before the horse and rider walks a winged female figure — 
 Nike-Eirene, or Vidtory- Peace — laurel crowned, right arm 
 extended and holding in her left hand a palm branch." 
 
 Lent by Mrs. Augustus Saint- Gaudens. 
 
 Note. This figure was firft exhibited with the whole plaster casl at the Paris 
 Exposition in 1 900. The Statue with alterations again at the Pan-American 
 Exposition, Buffalo, in 1901. Eleven years in all of Study and alterations 
 elapsed before the group was finished and unveiled on Decoration Day, 
 1903, at the south entrance to Central Park, New York. 
 
 70 
 
87 
 
 ALLEGORICAL GROUPS DESIGNED 
 FOR ENTRANCE TO BOSTON 
 PUBLIC LIBRARY 
 
 Two planter casts from models, without signature or date. 
 [1907.] Average H. 30 in.; W. 5 ft.; D. 18 in. One group 
 (a) represents, by means of three seated figures bearing em- 
 blems, Music, Labor and Science, while the other group (b) 
 represents Executive Power, Law and Love. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 88 
 
 STUDY FOR THE HEAD 
 OF CHRIST 
 
 Marble head, on square block of marble; signed, not dated. 
 [1907.] Total H. 16 in. About three-quarters life size, di- 
 rected front, looking down; face bearded, hair falling in long 
 locks to the base of the neck. 
 
 Signature 
 
 (Monogram: A ST G) 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 89 
 
 STUDY FOR THE HEAD 
 OF CHRIST 
 
 A replica in bronze of Number 88. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 71 
 
90 
 
 ABRAHAM LINCOLN (SEATED 
 FIGURE) 
 
 Placer casT: of bronze Statue, signed and dated 1907. Heroic 
 size. Seated in armchair, body and head directed to the front, 
 head slightly lowered as if in thought; right hand open, palm 
 down, on knee; left, closed and resting on arm of chair; feet, 
 set squarely on circular base. Across the back of the chair and 
 drooping to the floor a flag. 
 
 Inscription. (To be engraved on pedestal.) 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS MCMVII. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. This was one of Saint-Gaudens's las! statues, a gift to the south side 
 of the city of Chicago by bequest of the late John Crerar of that city. By 
 special courtesy of the Trustees of the Fund for its erection we are permitted 
 to view it for the first time here before it is transferred to its ultimate destina- 
 tion. Compare the standing statue of Lincoln, erected in 1887 (No. 38.) 
 
 91 
 
 MRS. AUGUSTUS SAINT-GAUDENS 
 
 Bronze relief, signed and dated 1907. H. 36 in.; W. 21 in. 
 Three-quarters length figure, in profile, turned to left ; in right 
 hand a bowl of flowers, the left holding up the skirt of dress. 
 Background of two Doric columns with landscape; dog roughly 
 sketched in lower left corner. Unfinished. 
 
 Signature 
 
 (Monogram: A ST G ) 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 72 
 
92 
 
 WHISTLER MEMORIAL, AT UNITED 
 STATES MILITARY ACADEMY, 
 WEST POINT, N. Y. 
 
 Plaster model for marble tablet, low relief, signed 1907. H. 
 1 1 ft. 1 in.; W. at base 36 in.; W.at top 31i in. A slender 
 stele surmounted by carved anthemion, the decoration being 
 chiefly furnished by the lettering which descends in lines of 
 irregular length between two Greek torches, with a small wreath 
 above and Whistler's butterfly device below. 
 
 Inscription 
 
 TO JAMES MCNEILL WHISTLER MDCCCXXIV. MCMVIII. 
 THE STORY OF THE BEAUTIFUL IS ALREADY COM- 
 PLETE HEWN IN THE MARBLES OF THE PARTHENON 
 AND BROIDERED WITH THE BIRDS UPON THE FAN 
 OF HOKUSAI. 
 
 Signature 
 
 (Right: Monogram, A ST G Left: HB ) 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. Done in collaboration with Mr. Henry Bacon, archited:. 
 
 93 
 
 WHISTLER MEMORIAL, AT UNITED 
 STATES MILITARY ACADEMY, 
 WEST POINT, N. Y. 
 
 Small sketch, without signature or date, of Number 92. H. 
 38i in.; W. at top 10J in., at base 14 in. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 73 
 
94 
 
 WHISTLER MEMORIAL, AT UNITED 
 STATES MILITARY ACADEMY, 
 WEST POINT, N. Y. 
 
 Plaster sketches, without signature or date. [1907 ?] H. 
 30 in.; W. at top 8 in., at base 1 4 in. Greek Steles. At 
 either side a torch ; three wreaths above, a palette below, with 
 the lettering of the inscription roughly indicated. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 Note. See also Number 92. 
 
 95 
 
 SKETCHES OF FIGURE OF PAINT- 
 ING FOR PROPOSED FREER 
 GALLERY, AT WASH- 
 INGTON, D. C. 
 
 Planter caSts of Stele. [1907 ?] (a) H. 48^ in.; W. at top 
 1 1 in., at base 1 7 in. (b) H. 23f in.; W. 8| in. Figure of 
 woman in classic robe, directed front; in right hand a paint 
 brush, in left a palette. Tree indicated at the right. 
 
 Lent by Mr. Charles Freer. 
 
 96 
 
 STUDY FOR A HEAD 
 
 Marble bust, about half life size, without signature or date. H. 
 1 1 in. Head slightly inclined to the left; hair in Grecian knot; 
 undraped. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 74 
 
97 
 
 MORRISON REMICH WAITE, 
 CHIEF JUSTICE OF THE 
 UNITED STATES 
 
 Planter cast of bust, without signature or date. H. 27 in. 
 Heroic size. Head directed slightly to the right; wearing robe 
 of office. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. The original, in marble, is in the Hall of Justice in Washington, D. C. 
 
 98 
 
 MODELS FOR UNITED STATES 
 GOLD COINS, 1907 
 
 SIX CIRCULAR RELIEFS, IN PLASTER 
 
 (0 
 
 Head of a woman, in profile, with parted lips ; directed left ; 
 wearing olive wreath. Above, thirteen stars. In exergue: 
 LIBERTY. D. 11| in. 
 
 Note. Unused design, originally intended for one-cent piece. 
 
 (2) 
 
 Similar to the preceding, with Indian head-dress substituted for 
 olive wreath, and with margin of relief lowered. D. 1 1 f in. 
 
 Note. Design for obverse of ten dollar gold piece. 
 
 (3) 
 
 American eagle, standing; arrows and olive branch in claws. 
 In upper right field, inscription: .E. PLURIBUS . UNUM. 
 
 75 
 
Legend: .UNITED. STATES. OF. AMERICA. Exergue: 
 .TWENTY. DOLLARS . D. 1 2i in. 
 
 Note. Design intended for reverse of the twenty-dollar gold piece, but used 
 for the ten. 
 
 (4) 
 
 Full-length figure of winged woman, Standing, directed front; 
 flowing hair, Indian head-dress, classic robe; torch in right 
 hand, olive branch in left; left foot raised on a rock against 
 which is an oak branch. In the lower left field a small sketch 
 of the Capitol building, with rising sun; lower right field, 
 MCMVII. Border of forty-six stars. Signature at lower left, 
 monogram A ST G. Edge beveled. D. 1 2^ in. 
 
 Note. Original idea for obverse of twenty-dollar gold piece. 
 
 (5) 
 
 Similar to the preceding, but without wings or head-dress for 
 the figure; Capitol building enlarged, rays of sun lengthened 
 and extended across from left to right. Border of stars nearer 
 center, leaving wider margin. Signature: in lower right field, 
 monogram A ST G. Edge: thirteen stars with legend 
 E . PLURIBUS . UNUM . D. 1 2i in. 
 
 Note. Design for obverse of twenty-dollar gold piece. 
 
 (6) 
 
 American eagle, flying, directed left. Below, rising 6un, with 
 rays extending to margin. Legend: . UNITED . STATES . 
 OF . AMERICA . TWENTY . DOLLARS . D. 1 3 \ in. 
 
 Note. Design intended for one-cent piece, but used for twenty-dollar piece. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 76 
 
99 
 
 UNITED STATES GOLD COINS, 1907 
 
 0) 
 
 TEN DOLLARGOLD PIECE, 1907 
 
 [a] (Obverse) Woman's head, in profile, lips parted, directed 
 left; wearing Indian head-dress. Above, thirteen stars. Border, 
 a hair line, sharply raised. Exergue, 1907. 
 
 [b] (Reverse) American eagle, standing, directed left; olive 
 branch and sheaf of arrows in claws. Border, a hair line, sharply 
 raised. Legend: \ UNITED . STATES .OF . AMERICA. 
 Field: . E . PLURIBUS . UNUM . Exergue: . TEN . 
 DOLLARS . Edge, forty-six stars. 
 
 Note. The coin as first sTruck ; not issued, as being in too high relief and 
 having too sharp an edge. 
 
 (2, aib) 
 
 Similar to the preceding, 1 but in lower relief, and having a 
 wider border. 
 
 Note. The second coin struck, but not issued for similar reasons. 
 
 (3/;>, b) 
 
 Similar to the preceding, but in still lower relief and with still 
 wider border. 
 
 Note. The coin as issued. 
 
 (4) 
 
 TWENTY-DOLLAR GOLD PIECE, 1907 
 
 [a] (Obverse) Figure of woman in somewhat high relief, 
 standing, directed and looking^front; flowing hair; torch in right 
 
 77 
 
hand, olive branch in left; left foot raised, resting upon a rock, 
 oak branch at lower right. Background, sun-rays; Capitol 
 building in lower left field. Border, a band somewhat more 
 than one-sixteenth of an inch in width, with inner border of 
 forty-six stars. Legend: LIBERTY. Field: MCMVII, and 
 Signature: (Monogram, A ST G). 
 
 [b] (Reverse) Flying eagle, directed left; rising sun below, 
 with rays extending to border. Border, a hair line. Legend : 
 . UNITED . STATES . OF . AMERICA . TWENTY . 
 DOLLARS . Edge: E (star) PLURIBUS (star) UNUM 
 (eleven stars). 
 
 Note. Struck in the medal-press. Not issued because in too high relief. 
 
 (5, a, b) 
 
 Similar in type to the preceding, but in low relief, with wider 
 border for reverse and date 1 907 in lower right field of obverse. 
 
 Note. The coin as issued. 
 
 Lent by the American Numismatic Society. 
 
 100 
 
 UNITED STATES GOLD COINS, 1908 
 
 (1) 
 
 TEN-DOLLAR GOLD PIECE, 1908 
 
 (a) Same as for 1907 (Number 3) with date 1908 in 
 exergue of obverse. 
 
 (b) Another example, to show reverse. 
 Lent by the American Numismatic Society. 
 
 78 
 
1* 
 
 (2) 
 
 TWENTY-DOLLAR GOLD PIECE, 1908 
 
 (a) Same as for 1907 (Number 5) with date 1908 in 
 exergue of obverse. 
 
 Lent by the American Numismatic Society. 
 
 101 
 
 MODELS OF DOUBLE EAGLE 
 
 Four planter models consisting of : 
 
 (a) the obverse for the double eagle. 
 
 (b) the reverse for the double eagle. 
 
 (c) the obverse for the eagle. 
 
 (d) the reverse for the eagle. 
 
 Lent by the U. S. Mint in Philadelphia. 
 
 79 
 
Copyright, l!» 5, de tt". C. Ward. 
 
 REVERSE OF COLUMBIAN MEDAL. 
 
 Number 59. 
 
REDUCTIONS 
 102 
 
 CHARLES COTESWORTH BEAMAN 
 Electrotype reduction from Number 63. H. 4f in.; W. 2f in. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 103 
 
 DEACON SAMUEL CHAPIN ("THE 
 PURITAN") 
 
 Bronze reduction, signed, from a plaster cast from original bronze 
 statue in Springfield, Massachusetts. H. 30f in. Stalwart 
 figure of a man walking; Puritan costume, with a peak- 
 crowned hat, long flowing cloak, and carrying a staff. Head 
 directed to the front, eyes down ; right arm extended and 
 thrown back, with hand grasping head of staff ; left arm flexed 
 with hand supporting book, the edges of which are to the fore. 
 Branches of pine needles scattered under foot. 
 
 Inscription (on tablet below) 
 THE PVRITAN 
 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 81 
 
104 
 
 PLAQUE COMMEMORATIVE OF THE 
 CORNISH CELEBRATION 
 
 Silver-colored reduction from Number 84. H. 3\ in.; W. 1 1 in. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 105 
 
 HORACE GRAY, ASSOCIATE JUSTICE 
 OF THE UNITED STATES 
 SUPREME COURT 
 
 Bronze reduction from bronze plaque, low relief, signed and 
 dated 19CH. H. 7 'I in.; W. 8| in. Three-quarters length, 
 seated, side view, head in profile, directed to the left ; left hand 
 resting on book, right on knee ; robe of office. In left upper 
 corner seal of the Supreme Court of the United States. 
 
 Inscription 
 
 HORACE GRAY IN HIS SEVENTY-FOURTH YEAR. WASH- 
 INGTON, D. C. APRIL MDCCCCI. MAJOR HAEREDITAS 
 VENIT A JURE ET LEGIBUS. 
 
 Signature 
 
 (Monogram: A S T G) 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 106 
 
 SARAH REDWOOD LEE 
 
 Electrotype reduction from Number 22. H. 8yV in.; W. 3\ in. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 82 
 
JUSTICE GRAY. 
 Number 105. 
 
107 
 
 JULES BASTI EN-LEPAGE 
 
 Electrotype reduction from Number 1 9. H. 6^ in.; W. 4|- in. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 108 
 
 MR. WAYNE MacVEAGH 
 
 Bronze reduction of head of Mr. MacVeagh from bronze low 
 relief of Mr. and Mrs. Wayne MacVeagh, signed and dated 
 1902. D. 3i in. 
 
 Inscription 
 
 WAYNE MACVEAGH WASHINGTON D. C. 
 MCMII 
 
 Signature 
 
 (Monogram : A S T G) 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 109 
 
 HOMER SCHIFF SAINT-GAUDENS 
 Electrotype reduction from Number 25. H. 7£ in.; W. 4iV in- 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 110 
 
 MISS VIOLET SARGENT 
 Electrotype reduction from Number 50. 
 
 H. 9 in.; W. 6i in. 
 
 83 
 
Signature 
 
 (Monogram: A ST G) MDCCCLXXXX FECIT. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 111 
 
 DR. HENRY SCHIFF 
 
 Electrotype reduction from Number 1 8. H. 3 tV in.; W. 3| in. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 112 
 
 CHILDREN OF JACOB H. SCHIFF 
 
 Electrotype reduction from Number 46. H. 8J in.; W. 6f in. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 Note. The reduction differs from the marble replica in having the names 
 Leo Mortimer Schiff and Fanny Frieda Schiff inscribed above the respec- 
 tive figures. 
 
 113 
 
 MISS GERTRUDE VANDERBILT 
 (MRS. HIARRY PAYNE WHITNEY) 
 
 Bronze reduction, in medallion form showing head only, from 
 bronze plaque, low relief, signed, not dated. [1882]. D. 3-J 
 in. Head three-quarters, directed left ; wearing hat. 
 
 84 
 
Inscription 
 
 GERTRVDE VANDERBILT. AETAT VII. 
 Signature 
 
 AVGVSTVS SAINT-GAVDENS FECIT. 
 Lent by Mrs. Augustus Saint Gaudens. 
 
 114 
 
 MRS. SCHUYLER VAN RENSSELAER 
 Bronze (?) reduction from Number 45. H. 5 J in.; W. 2 in. 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 115 
 
 SAMUEL GRAY WARD 
 
 Electrotype reduction from bronze plaque, signed and dated 
 New York, May, 1881. H. 6| in.; W.4|in. Three-quarters 
 length ; three-quarters to the right, head in profile, left hand 
 clasping right wrist. 
 
 Inscription 
 
 SAMVEL GRAY WARD. NEW YORK MAY MDCCCLXXXI 
 Signature 
 
 FE (Monogram: A ST G) C I T. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 85 
 
CAMEOS 
 
 116 
 
 ONYX BROOCH, WITH HEAD AND 
 SHOULDERS OF MARY QUEEN 
 OF SCOTS 
 
 Lent by Mrs. John Merrylees. 
 
 117 
 
 ONYX BROOCH AND EAR-RINGS, 
 WITH HEADS OF CERES, HERMES 
 AND APOLLO 
 
 Signature (on brooch) 
 A. ST. G. 
 
 Lent by Mrs. George H. Talman. 
 
 118 
 
 ONYX BROOCH, WITH HEAD 
 OF FLORA 
 
 Lent by Miss Lucille A. Le Brethon. 
 
 119 
 
 THREE TOPAZ CAMEOS SET IN 
 A PENDANT, WITH HEAD OF 
 A CHILD ON EACH 
 
 87 
 
 \ 
 
Signature 
 
 A. ST. GAUDENS 
 
 Lent by Mrs. Ernest A. Bigelow. 
 
 120 
 
 TOPAZ BROOCH, WITH FIGURE 
 OF A FLYING EAGLE 
 
 Lent by Miss Lucille A. Le Brethon. 
 
 i 
 
 88 
 
PORTRAITS OF SAINT GAUDENS 
 
 121 
 
 PORTRAIT OF AUGUSTUS SAINT- 
 GAUDENS BY KENYON COX, 
 1 908 
 
 Life size, half-length figure, seen from the back, head in profile, 
 directed right ; right arm extended, hand engaged in modelling, 
 left holding a lump of clay and a modelling tool. 
 
 Signature 
 
 KENYON COX 1908. 
 
 Lent by the Metropolitan Museum of Art. 
 
 Note. The original picture was painted, on a smaller scale, in the sculptor's 
 Thirty-sixth Street Studio in 1887. It was destroyed in the fire in his studio 
 in Cornish, N. H., in 1904. This replica was painted in 1908. The sculptor 
 is represented at work upon the relief portrait of William M. Chase. Behind 
 his head, to the left, is a solar print of one of the Vanderbilt caryatids. A 
 cast of the "Unknown Lady" of the Louvre stands beyond. Next is the 
 bronze relief of Homer Saint-Gaudens as an infant, and beyond that the plaster 
 relief of Miss Lee. The scaffolding behind the easel is the back of the Shaw 
 Memorial. [Signed] KENYON COX. 
 
 22 
 
 PORTRAIT OF AUGUSTUS SAINT- 
 GAUDENS BY HENRY HERING 
 
 Planter bus!, facing and looking full front. H. 1 7 in. (plinth, 
 H. 7 in.). 
 
 Lent by Mr. Henry Hering. 
 
 89 
 
123 
 
 HAND OF AUGUSTUS SAINT- 
 GAUDENS 
 
 Bronze cast from planter cast in the possession of Mr. George 
 W. Maynard. The original cast was made to assist Mr. May- 
 nard in representing a hand holding a flag for one of the figures 
 in his painting entitled " 1 776," new owned by Smith College. 
 
 Lent by Mr. Daniel C. French. 
 
 124 
 
 A PHOTOGRAPH OF AUGUSTUS 
 SAINT-GAUDENS AT ABOUT 
 SEVENTEEN YEARS OF AGE 
 
 Lent by Miss Lucille A. Le Brethon. 
 
 Note. The following is a transcription of an explanatory letter addressed to 
 the Secretary of the Saint-Gaudens Memorial Exhibition by Miss Lucille A. 
 Le Brethon: 
 
 I am in receipt of your letter of the 17th, and delayed answering as I wished 
 to procure from my niece, Mrs, Arnold Moser, 214 East 15th Street, a 
 topaz cameo, the very first piece of work made by Augustus Saint-Gaudens un- 
 der my father's tuition. The onyx cameo which I am also sending you for ex- 
 hibition is one of the last things made by him while with my father, Jules Le 
 Brethon. There can be no doubt of the authenticity of these two cameos 
 (which my father always kept and prized very much), as the accompanying 
 photograph T shows him at work in my father's studio. I am sending the two 
 cameos and photograph under separate cover by registered mail. 
 
 90 
 
PHOTOGRAPHS. 
 
 125 
 
 ANGEL FOR THE TOMB OF 
 GOVERNOR E. D. MORGAN 
 
 Bromide enlargement. 
 
 Lent by Mrs. Augustus Saint-Gaudens. 
 
 126, 127 
 
 CARYATIDS IN THE RESIDENCE 
 OF CORNELIUS VANDERBILT 
 
 Bromide enlargement. 
 
 128 
 
 PETER COOPER MONUMENT, 
 NEW YORK 
 
 Bromide enlargement. 
 
 129 
 
 HAMILTON FISH MONUMENT, 
 AT GARRISONS, N. Y. 
 
 Bromide enlargement. 
 
 9! 
 
130 
 
 ROS WELL P. FLOWER MONUMENT 
 AT WATERTOWN, N. Y. 
 
 Bromide enlargement. 
 
 131 
 
 HIAWATHA 
 Carbon. 
 
 132 
 
 STATUE FOR CHARLES STUART 
 PARNELL MONUMENT, 
 DUBLIN, IRELAND 
 
 Bromide enlargement. 
 
 92 
 
ACKNOWLEDGMENT 
 
 The Department of Fine Arts makes grateful acknowledgment 
 to those who have generously lent their works of sculpture for 
 exhibition. 
 
 The names of contributors appear in the text of the catalogue. 
 
 93 
 
BIBLIOGRAPHY 
 
 A FEW REFERENCES REGARDING 
 AVGVSTVS SAINT-GAVDENS 
 AND HIS WORK 
 
 BOOKS 
 
 Cortissoz, Royal : Augustus Saint-Gaudens. 1 907. 
 
 Hind, Charles Lewis : Augustus Saint-Gaudens. 1907. 
 
 Low, Will Hicok : Chronicle of Friendships. 1908. pp. 215-230, 273- 
 283, 387-395, 40 1 -402, 480-486, 499-506. 
 
 Stevenson, Robert Louis : Letters. 1899. v. 2, pp. 345-347, 364-365, 407. 
 Taft, Lorado : History of American Sculpture. 1903. pp. 279-309. 
 
 MAGAZINE ARTICLES 
 
 Art et decoration : June, 1898. v. 3, pp. 182-183. 
 
 Art et decoration : Feb., 1899. v. 5, pp. 43-49. Le sculpteur Augustin 
 Saint-Gaudens, by Gaston Migeon. 
 
 Atlantic monthly: March, 1908. v. 101, pp. 298-310. Augustus Saint- 
 Gaudens, by Kenyon Cox. 
 
 Atlantic monthly: March, 1908. v. 101, p. 311. Music beneath the 
 stars ; sonnet in memory of A. St.-G., by Richard Watson Gilder. 
 
 Century Magazine : March, 1908. v. 75, pp. 695-713. The later works 
 of Augustus Saint-Gaudens, by [his son] Homer Saint-Gaudens. 
 
 Century Magazine : March, 1908. v. 75, pp. 713-714. The special medal 
 of honor created for Augustus Saint-Gaudens, designed and modelled by 
 James Earle Fraser ; by Richard Watson Gilder. 
 
 Century Magazine : Jan.-Feb„ 1909. v. 77, pp. 395-413, 575-595. (To 
 be continued.) Reminiscences of Augustus Saint-Gaudens ; ed. by his son 
 Homer Saint-Gaudens. 
 
 Gazette des beaux-arts: Aug., 1898. v. 83, pp. 138-140. 
 
 95 
 
International Studio : Feb., 1 908. v. 33, sup. pp. 1 23- 1 38. Augustus 
 Saint-Gaudens, by Talcott Williams. 
 
 McClures Magazine: Oct.-Nov., 1908. v. 31, pp. 603-616; v. 32, pp. 
 1-16. Familiar letters of Augustus Saint-Gaudens; ed. by R. S. Nichols. 
 
 Nation: June 29, 1905. v. 80, pp. 519-520. An out-door masque in 
 New England, by K. K. 
 
 North American Review: Nov., 1903. v. 177, p. 725-738. Augustus 
 Saint-Gaudens, by Royal Cortissoz. 
 
 NEWSPAPER ARTICLES 
 Appeared at the time of his death 
 
 Boston Evening Transcript : Aug. 5, 1907. p. 10. Augustus Saint-Gaudens. 
 New York Daily Tribune: Aug. 4, 1907. pp. 1-7. 
 New York Evening Post : Aug. 5, 1907. pp. 4-5. 
 
 CRITICISMS OF SINGLE WORKS 
 
 Farragut Monument 
 
 Scribner's Monthly: June, 1881. v. 22, pp. 161-167. The Farragut 
 monument, by Richard Watson Gilder. 
 
 Lincoln Monument 
 
 Century Magazine: Nov., 1887. v. 35, pp. 37-39. Saint-Gaudens's Lin- 
 coln, by M. G. van Rensselaer. 
 
 Shaw Monument 
 
 The Monument to Robert Gould Shaw ; its inception, completion and un- 
 veiling, 1865-1897. 1897. 
 
 Century Magazine: June, 1897. v. 54. pp. 176-177, 179-186, 194-200. 
 Sherman Monument 
 
 Nation: June 18, 1903. v. 76, pp. 491-492. The Sherman Statue, by 
 Kenyon Cox. 
 
 Stevenson Memorial Tablet, Edinburgh 
 
 Overland Monthly : March, 1905. v. 45, pp. 235-239. Unveiling of 
 the Robert Louis Stevenson Memorial, by Betty Harcourt. 
 
 United States Coins 
 Century Magazine : March, 1908. v. 75, p. 799. 
 
 Memorial Exhibition 
 
 International Studio: Jan., 1909. v. 36, p. 90. Saint-Gaudens Memo- 
 rial Exhibition at the Corcoran. 
 96 
 
INDEX 
 
 Number. 
 
 Adams, Henry (Caricature) 80 
 
 Adams Monument _ 53 
 
 Adams Monument, Head of figure 52 
 
 Amor Caritas 34, 77 
 
 Arnold, Benjamin Greene - ]2 
 
 Bastien- Lepage, Jules - _ -19, 107 
 
 Beaman, Charles Cotesworth 63, 102 
 
 Beaman, Mrs. Charles Cotesworth 78 
 
 Beaman, William Evarts --------- 32 
 
 Bellows, Dodor Henry Whitney 33 
 
 Boston Public Library, Allegorical Groups for 87 
 Boston Public Library, Seal for ------- 51 
 
 Brooks, Charles Timothy - -- -- -- - 27 
 
 Bunce, William Gedney - -- -- -- -- 2 
 
 Cameos 116, 117, 118, 119, 120 
 
 Caricatures 6, 80, 81, 82 
 
 Cary, Dr. Walter ----- 7 
 
 Caryatids for Residence of Cornelius Vanderbilt - - 23, 24, 126, 127 
 
 Chanler, William Astor 67 
 
 Chapin, Edwin Hubbell --------- 43' 
 
 Chapin, Chester W. 35 
 
 Chapin, Mrs. Emelia Ward 15 
 
 Chapin, Deacon Samuel --------- 103 
 
 Chase, William Merritt 42 
 
 Christ, Study for Head 88, 89 
 
 Cleveland, Mrs. Grover - - - - 57, 58 
 
 Coins, United States Gold 99, 100, 101 
 
 Cooper, Peter - - 68, 128 
 
 Cornish Celebration Plaque 84, 104 
 
 Cox, Kenyon - 47 
 
 Dana, Charles Anderson - -- -- -- -- 75 
 
 Diana 54, 55, 56 
 
 Dunrobin - -- -- -- -- -- - 31 
 
 Finn, James V/all (Caricature) 81 
 
 Farragut, Admiral David Glasgow 13, 14 
 
 Fish (Hamilton) Monument 129 
 
 Flower (Roswell P.) Monument 130 
 
 Freer Gallery at Washington, D. C, Sketches of Figure of Painting 
 
 for Proposed - -- -- -- -- - 95 
 
 Garfield Monument 64, 65 
 
 Gilder, Richard Watson, Wife and Infant Son - - - - 8 
 Gilder, Rodman DeKay - -- -- -- -- 9 
 
 Gray, Professor Asa 28 
 
 Gray, Horace - -- -- -- -- -- 105 
 
 97 
 
Gray, Mrs. John Chipman - -- -- -- - 79 
 
 Hay, Honorable John - -- -- -- -- 83 
 
 Hiawatha ------ 131 
 
 Holland, Josiah Gilbert 20 
 
 Hollingsworth, George --------- - 48 
 
 Howland, Mrs. Louise M. 30 
 
 Howells, William Dean, and Miss Howells ----- 76 
 
 Johnston, Doctor William Edward - -- -- -- J6 
 
 LeBrethon, Letter from Miss Lucille ------ J 24 
 
 Lee, Mrs. Charles Carroll, and Miss Lee ------ 21 
 
 Lee, Miss Sarah Redwood - 22, 106 
 
 Lincoln, Abraham (seated figure) - -- -- -- 90 
 
 Lincoln, Abraham (standing figure) - -- -- -- 38 
 
 Love, Miss Maria M. - -- - |0 
 
 McCosh, Doctor James - -- -- -- -- 49 
 
 McKim, Charles Follen --------- 5 
 
 McKim, Charles F., Augustus Saint-Gaudens and Stanford White 
 
 (Caricature) - -- -- -- -- -- 6 
 
 MacVeagh, Mr. Wayne --------- 108 
 
 Maynard, George Willoughby - -- -- -- - 3 
 
 Millet, Francis Dsvis - -- -- -- -- - ]| 
 
 Mitchell, Silas Weir ---------- 29 
 
 Morgan, Angel for the Tomb of Governor E. D. - - - - 1 25 
 
 Nike-Eirene (see Victory) - -- -- -- -- 86 
 
 Page, Miss Annie - -- -- -- -- - 66 
 
 Paintings, Sketches and Figure of ------ 95 
 
 Parnell Monument - -- -- -- -- - 132 
 
 Photographs - - - 124, 125, 126, 127, 128, 129, 130, 131, 132 
 Picknell, William L. ---------- 4 
 
 Piatt, Charles A. (Caricature) - 82 
 
 Portrait of a Lady - -- -- -- -- - 36 
 
 Portraits --------- 121, 122, 123 
 
 Puritan, The ----------- - 103 
 
 Reductions 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 
 114, 115 
 
 Saint-Gaudens, Augustus, Charles F. McKim and Stanford White 
 
 (Caricature) - -- -- -- -- - 6 
 
 Saint-Gaudens, Mrs. Augustus - -- -- -- - 91 
 
 Saint-Gaudens, Augustus, Portraits of - - - - - 121, 122 
 
 Saint-Gaudens, Augustus, Hand of------ - 123 
 
 Saint-Gaudens, Augustus, Photograph of - - - - - - 124 
 
 Saint-Gaudens, References regarding Augustus, following number - 132 
 Saint-Gaudens, Bernard P. E. - -- -- -- - 1 
 
 Saint-Gaudens, Homer Schiff - -- -- -- - 25, 109 
 
 Sargent, John S. - -- -- -- -- -- 17 
 
 Sargent, Miss Violet - r - - - - - - - - 50, 110 
 
 Schiff, Doctor Henry - - - - - - - - - -18,111 
 
 Schiff, Jacob H., Children of - - - - - - - -46,112 
 
 98 
 
Shaw, Colonel Robert Gould, Memorial to 69, 70, 71, 72, 73 
 
 Sherman, General William Tecumseh, BusT: of 44 
 Sherman Monument : First Sketch for the Head of Victory - 74 
 Stevenson, Robert Louis - 39, 40, 41 
 
 Study for a Head - _ 95 
 
 Study of a Child - - 62 
 
 United States Gold Coins - - 99, 100, 101 
 
 Models - -- -- 93 
 
 Coins - - - 99, 100, 101 
 
 Vanderbilt, Cornelius, Caryatids for Residence of - 23, 24, 126, 127 
 
 Vanderbilt, Miss Gertrude 113 
 
 Van Rensselaer, Mrs. Schuyler - - - - - - - -45,114 
 
 Victory : Sherman Monument ------- - 86 
 
 Victory, Head of (Relief) - 85 
 
 Vinton, Doctor Alexander Hamilton 26 
 
 Waite, Morrison Remich - 97 
 
 Ward, Samuel Gray - - 115 
 
 Washington Medal - - 37 
 
 Whistler Memorial - - - - 92 
 
 Whistler Memorial : Small Sketch ------- 93 
 
 Whisller Memorial : Plaster Sketches ------ 94 
 
 WTiite, Stanford, Augustus Saint-Gaudens and Charles F. McKim 
 
 (Caricature) - -- -- -- -- - 6 
 
 World's Columbian Exposition, Medal of - - - - 59, 60, 61 
 
 99 
 
GETTY RESEARCH INSTITUTE 
 
 3125 01023 7366