The Madisonian. [volume] (Washington City [D.C.]) 1837-1845, 1841-11-13
GRENoUGH'S STATUE OF WASH
INGTON.
By EDw. EVERETT Minister to Great Britain.

This statue Is Seattu uSufc VI heioiS5 W
rather colossal, size, being twice the dimensions
If life Were il erect, il would consequently
stand about twelve feet high. II represents the
great hero, statesman, and citizen, with the
right hand pointed to Heaven and the lett hand
holding a sword with the handle turned from
the person. The upper part of the figure is bare;
from the middle of the body down 1t is covered
with senatorial drapery. very pleasing Ell
feet is produced by the manner In which the
back of the chair is carved in open work, so as
to display the back of the figure. The sides OF
the chair are wrought in low reliefs symbolical
of the character and fortunes Of North and South
America and on the top Of the chair, right and
left, are figures of Columbus and OF native OIL
our continent. The face is composed from that
of Houdon, with ludicious comparison OF the
other contemporary authorities. 1t represents
all the elevation, benignity, and force OF wash,
ington's character his hrmness, tempered
with pure benefcence and 1t possesses an ad-
vantage, not shared in an equal degree by that
of Chantrey, and still less by that of Canova,
in faithfully reproducing the well known fea-
lures, with which every American claims per
sonal acquaintance, as of familiar friend or
venerated parent 1t will be seen, however,
that Mr.. Grenough has BY no means slavishly
copied Houdon.
This grand work is of one single piece Of
marble, not Of pure white, which i is impossl'
bic to procure in masses OF sufhcient size Tor
such a statue without stains fatal to its beauty,
but of blush tinge highly favorable to the effect
of work of art. The marbles of this kind are
now preferred for works of this description.
There are two points, in reference to which
we have heard Of Mr.. Grenough's Washington
criticised, and on which we beg leave to state
our impressions. One is the absence of drape-
ry from the upper part OF the figure; the other
is the precise significance or meaning OF the
ord ri iatu n a
The first topic, that of the costume of works
of art, is, of course, too extensive to be exhaust
ed on an occasion like this. II presents, un-
doubtedly, some difficulties. There are two
schools among artists in this respect, and two
opinions among Judges of art. Without en-
gaging in the discussion, we may with safety
saw, that to confine the sculptor, in great
monumental work like the statue OF Washing
ton, to the exact imitation OF the clothes and
the manner in which the hair was dressed, is
greatly to limit the field in which the creative
skill Of the artist is to be exercised and to reduce
to low point the standard OF the art 1t rests
upon the false assumption, that the closest pos
sible imitation of life is the object OF the art OF
sculpture 1t leaves little but the face which
would not be purely mechanical imitation, and
not only so, but the imitation OF the most gro
tesque and fantastical of human inventions
The caprice of man has certainly never wan
az in the department of the tailor and hair.
dresser. With all due respect even for these
personages, as they existed and hourished in re-
volutionary times, we must boldly say, that
ehere are few things more ungainly than the
powder and pomatum, the ear-locks and dubbed
hair, the coat and small clothes Of continent
tai major-general of that period. II It were
deemed desirable to perpetuate them, and it the
imitation Of nature were, without qualification,
~, III of - WI
they do in the wax-work museums, instead OF
torturing the marble, to put bona tide peruke
and cloth uniform, faithfully fashioned, after
the model of 1776, upon the head and shoulders
of the statue.
Mr.. Chantry, who. belongs to what the En-
glish considered the school of historical imita-
ton, in the English costume, has given Wash
ington drapery destitute OF the only merit
such drapery can have, that OF resemblance to
the costume of the time-Canova gave to Wash
ington the Roman military costume, bearing no
resemblance to the modern, covering the upper
part of the person, but leaving portion of the
leg bare, conforming to ancient usage IN militia
nv statues but as unlike as possible to any dress
actually worn in America and Europe in mod
ern times. Mr.. Greenough has adopted dra-
perry which meets all the requirements oil dell
cacy, which is sanctioned by the authority OF
the greatest masters Of art in ancient and mod
ciled and famiarized in busts, which are almost
invariably made either wholly nude, or with an
artistica drapery unlike any thing actually worn.
This drapery, in the statue OF Washington,
gives the artist the opportunity Of displaying
the nervous arm, the broad shoulders, the full
throat, the arching breast, and swelling muscles
of an heroic figure in all their beautiful and man
ly proportions and symmetry. That some Cd
sections to this rode of representing Washing.
TON will be fell by those who have not reflected
much on the subject, nor traced the necessary
details and consequences OF any other system,
we the less doubt, as we have already heard
them made. and have at former period felt
them ourselves. We have, however, a conf
dence, founded on experience, that the more the
subject is weighed, the more these objections
will be found to lose their force; and we are
strongly inclined to the oplnlon' tnat me PUBIC
taste will finally settle down in the conclusion,
that Mr.. Grenough has, in this respect, adopted
the plan most consistent with the dignity of the
work to be performed, and most likely to afford
a refined pleasure, independent OF the caprlces
of fashion, in all future time; for the period
can never arrive so long as there is any taste or
fondness for the beautiful creations OF art, when
the skilful delineation and idealization of 81 the
human form divine" will not be considered one
of the highest efforts OF initiative Skill
The other point on which we presume Mr.. CTS
statue will be criticised, because we know it has
been, regards the congruity Of sitting posture
with the action supposed to be indicated-that
is, the resignation of Washington's command
at the close Of the war. We emphasize the
word suppose, inasmuch as this idea, however
current, and even natural on hasty inspection
of the work, is wholly groundless. That mill
try officer would not perform the act of resign
ing his command in sitting posture, is so ex-
ceedingly obvious that il could not have escaped
an intelligent artist. Common politeness re-
auires the performance of every such act in
standing posture. Again, in point Of fact
Washington resigned not his sword, but his
commission. 1t is not to be supposed that an
artist. undertaking to record a specific event,
would have wandered so far from the well known
historical truth, as to substitute sword for a
roll of parchment The object OF the work is
inexperienced, when it is supposed to record
the performance of any specific deed. II Is de-
signed to represent character, not an action.
- - L. nall