File:Augustus Saint-Gaudens (1907) (14596925310).jpg

Identifier: augustussaintgau00cort (find matches)
Title: Augustus Saint-Gaudens
Year: 1907 (1900s)
Authors: Cortissoz, Royal, 1869-1948 Rogers, Bruce, 1870-1957
Subjects: Saint-Gaudens, Augustus, 1848-1907
Publisher: Boston : Houghton, Mifflin and Company
Contributing Library: Wellesley College Library
Digitizing Sponsor: Boston Library Consortium Member Libraries

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more of living grandeur than belongs to the marble of any antique hero — we have the Lincoln of Lowells lines,— How beautiful to see Once more a shepherd of mankind indeed, Who loved his charge, but never loved to lead; One whose meek flock the people joyed to be,Not lured by any cheat of birth,But by his clear/grained human worth, And brave old wisdom of sincerity! They knew that outward grace is dust;They could not choose but trust In that surefooted minds unfaltering skill,And supple^tempered will That bent Like perfect steel to spring again and thrustHis was no lonely mountain^peak of mind,Thrusting to thin air oer our cloudy bars,A sea/mark now, now lost in vapors blind;Broad prairie rather, genial, leveWined,Fruitful and friendly for all human kind, Yet also nigh to heaven and loved of loftiest stars.Nothing of Europe here, 52 ABRAHAM LINCOLN Modelled in New York in the eighties, and unveUed inChicago in 1887. The pedestal and exedra were designedby the late Stanford White.
Text Appearing After Image:
Or, then, of Europe fronting mornward still, Ere any names of Serf and Peer Could Natures equal scheme deface And thwart her genial will; Here was a type of the true elder race,And one of Plutarchs men talked with us face to face. Lowell, gathering up into his Commemoration Odethe traits which all men have learned to see in Lincoln,gives us a portrait with an accent of its own. Saint^^Gaudens does the same thing. We think first of Lincolnwhen seated in the stately exedra with which StanfordWhite partly enclosed the statue, but one of the manythoughts with which we leave the work is of its originnality, of the way in which Saint-Gaudens has stampedhis own individuality upon the bronze. I come back tothe question of his style, its polish that is never hard, itsfreedom that never passes into license. In the treatmentof the hopelessly commonplace costume in the statue,all depended upon an avoidance of anything like selfassertion. When occasion requires it, Saint-Gaudenscan beguile us with

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