Urbana union. [volume] (Urbana, Ohio) 1862-1872, 1871-07-26

Ward went to work at once, and re-
mained with H. K. Brown for nearly
seven years.
He speaks in the most grateful way
of the masters kindness, of his most ex-
cellent counsel, aud of the encourage
ment he ever gave him; nor is he stinted
in his admiration of the sculptor's gen
ius and Of his thOroughness as teacher.
With Brown he learned not only how
to model in clay, but in wax likewise;
/ to set up large figures, also to cut in
marble and to work in bronze. In all
the mechanical work, in fact, he receiv-
ed the most thorough drilling.
Quincy began as a paying pupil, but
before the first year was out he was re-
ceiving wages for modelling. He then
/ felt that he must stand alone, and that
the struggle of his lie had begun in
deed.
During his stay with Brown, the
sculptor received his commission for the
equestrian statue of Washington for I'm
ion Square, New York. At this Ward
worked as a skilled assistant.
When Mr.. Brown left Brooklyn,
which he did about the close of Wards
seventh year as his pupil, the latter con-
tinued to occupy the studio, where he
received commissions for portrait busts
and other work, more or lees routine in
character. While here he also made
his studies for the the Indian Hunter
the Pioneer Simon Kenton, and sever
al other compositions. But it was still
uphill work as far as money-getting
was concerned, and our artist was yet
unknown to fame.
In 1S59he went to Washington, and
modelled several busts there. Just about
this time the Art Commission to super
intend the decoration of the Capitol was
appointed The young sculptor dared
to hope that there was some chance for
him, and made several designs which
he submitted to the Commissioners, but
nothing came of them. His time in
Washington was not lost, however,
even if he knew the proud mans con-
tumeIy,' the insOlence of office and
the spurns which patient merit from
the unworthy takes, which we do not
say he did, whatever we may think
about it. Certainly he makes no COM
plaint. On the contrary, he has CRATE
full remembrance of the patronage he
received; for while there he made busts
of J. B. Hale, Joshua Giddings, Alex
ander H. Stephens, and others. His
bust of the latter was not finished, how
ever, until some time after, when he
visited Mr.. Stephens in his home in
Georgia, and there completed it. Here
also he made copies, in bronze, of his
statuette model of the Indian Hunter,
which were fiatteringly received and
well paid for. This was the first ap-
pearance Of this design, and its recep-
ton encouraged him to essay the life
size figure on his return to New York.
He did not return that year, however,
but spent the winter in Columbus, Ohio,
where he modelled a bust of Governor
DennisOn.
In New York again, i'll 1860, Ward
rented a studio in Dodworth building,
where he was chiefly occupied during
that year at portrait busts, giving all
his spare time to study. During the
year following he made an engagement
with Messrs. Ames & Co. to model de-
signs for presentation swords for them
exclusively. This was fairly profitable
work, for the demand for these costly
gifts was good during the early portion
of the war. Among his designs were
those for swords for Admiral Foote and
General Oglesby. The mounting of
these swords were of solid gold, and
they cost each about So, 900. During
this year he made a study for his figure
of the Freedman, and during this and
the following he made busts of Rev. DR..
Dewy, DR.. Mott, DR.. Webster, and 9TH
ers. This was season of hard work
and of but limited income; but the time
was nearing, fruitful of reward for all
this patient toll and noble effort. Ward
was elected an Academician i'll 1861
He now felt that it was due to himself
to make struggle to set up his Indian
life size, but he saw the necessity of
special study for the work before COM
mencing it in earnest. So, as soon as
possible, and even then at no little sac
rifice of his means, he left for the North
west, where he spent several months
with the Red men, studying their hab-
its and making wax models of them,
which have since been pronounced
marvels in truthful delineatiOn of form
and character.
It was not until 1864, therefore, that
THE Indian Hunter was finished in the
clay. The artist felt that on its recep-
ton, favorable or otherwise, his imme-
diate future in great measure must de-
pend; so he spared neither thought nor
labor to realize his ideal.
1t was exhibited in plaster at the gal
leTy of John SnedicOr, on Broadway,
where, as all interested in the growth of
art and acquainted with its later history
know, it received an enthusiastic recep-
tion from art lovers generally, and won
unqualified admiration from the critics.
1t was exhibited here but few days
when the proposition was made, by sew
eral of our wealthy citizens, to purchase
it for the Central Park.
In the mean time Ward, thus warmly
encouraged, proceeded to have the stat
ue put in bronze, at his own expense.
The work was finished before the Open-