The daily dispatch. [volume] (Richmond [Va.]) 1850-1884, 1875-10-26

realistic striving alter the baeglness If his
trowsersand the yulgarity OF hts r. ..lal i,nes
dlsfgures the public squares Of nnv A moi
can cities. Everywhere there. % fendsnnn
In aiming at exaggerated free of ACTON ~
at exaggerated fidelity Of portraiInre to sink
the nobler conception of sculpture "a y t,na.
arr into the mere Vulgarity OF heavy and
colossal carlca'u..e. Between fAshiness and
leeo'eness our American sculptors have left
US geneIaiii sorry alternative. But Fole,'s
WORK tak',s us, all at once, into purer and
h'eher atmosphere of art. His Jackson.
Overlapping contemporary art, takes its place
Worthily beside the noble Washington of
doudon. There Is In both the same simple
dignity. the same grand severity of treatment.
There is the same self-controI in subordina.-
ing all details, 10 holding fast. not to the un-
"avering lines Of Photographic portraiture,
but to the higher expression of character
and individuality as idealzed in form. When
these great statues differ, it is difference of
century, difference in mankind itself as
modified by the circumstances of the time.
in Houdon's work there is a quaint touch of
thegrays, old-tashioned manners, of the stately
dignity and somewhat artificial precision of
the eighteenth-century grandee. In Foley 3
there Is freer, a more robust an d outspoken
personality there Is, indeed, an equal dig
nifty, but 1t is dignity derived rather from
inward nobility Of character than from an
artificial training in manners.
Even at first sight, the statue shows US that
the sculptor has scorned all trick and mau-
nerism. His work is simple and true. Like
all the greatest sculptors, Foley has wisely
abstained from representing violent action or
bodily excitement. There is poise, and
strength, and selfcontrcI, most heroic OF all
virtues, in every line of the calm, easy f.
ure. The soldier is standing with his right
arm a-kimbo. The body is not stiff and up
right, as in selfconscious attitudinizing, but
it sways easily upon the hips. The barred
head, neither droopiug nor thrown back,
but turned 4 little to the right, is look
ing keenly, but without excitement, into
the distance; it is as if he were watch
ing, with confidence in his subordinates,
for the fulfilment of al order already
level Of his left shoulder, is holding
the hilt of a sword, whose point, without
bearing any weight, is resting lightly upon
the top OF the low stone1caH that symbol
ICES the heroic name. The legs, encased in
military boots, are wonderful in the perfect
naturalness of their attitude and movement.
The left leg is thrown slightly forward, is
bent at the knee, and relaxed by the absence
of weight upon it. The right leg comes
down straight and strong, bearing the bur-
den Of the body, but free from every sign Of
muscular strain or fatigue. The attitude
combines ease and dignity; it has, more
over, the high merit OF endurance. 1t is an
attitude not, indeed. for a second or min.
ute-but one that a healthy man might main-
tain for hours without welriness and with.
out essential change.
10 the treatment Of the costume there is
the same freedom from conventionalty on
the one hand and from yulsari:y on the other
The uniform Of Confederate general is un-
mStakably expressed, but there is no mil
liner eXaggeration of the details. The coat
is Duttoued. but it Is not stiff with piddlr e
nor putf.d. 1t bulges aud wrinkles, so Is TO
reveal the figure OF Il man healthy iudech, but
far from atLl .tic. The bel, too, is buclIed so
loosely as not to dent the waist it droops
comfortably on the left, TO show the weight
of the scibbard. The boots, the gloves, the
chevrons, the army cap that hangs in the
crook of the left elbow, all speak Of real
work and hard service. Every detail is
homcly. yet the general effect is graceful and
dignitcd.
It is the face, however, that Is worthicst Of
study; Worthest, too, OF admiration. The
lines of that countenance are so dear and so
familiar to our remem brance that it would be
unfair to demand Of foreign artist, working
solely from bad photographs, so perfect a
piece Of realistic portraiure us many Il c1Ii-
citurSt could furnish. But the bearing aud
expression are perfect; the face rises above
mrIe portraiture into the physical type Of
those pecularities, both moral and iuttllcc-
tual. that made mp the great soul Of Jackson.
1t is not beautiful; 10 bastard notion of
Greek lines has been allowed to change the
proportions, to s'raighlen up the nose, to de-
tress the check-bones Of the hard-teatured
English fee. Yet, without such superficial
beauty of feature, the higher beauty OF mo-
raj force ard of intellectual 1'i!Seor has been
seized with transcendent skill. There Is
earnestness in the face, deep calm
of soul, stcadiness Of resolution
that rises high above excitement
There is tenderness and goodness, too. Ii
is the face Of man wise and dutiiul, sublime
IL unconscious, and heroically modest.
There is enormous power OF will, and OF that
self control which passes so easily into the
power Of controlling others. Such face
will harmouize we'll with all the traditions OF
the war and with al his achievements. 1t
will speak to coming ages of the high motives
under which he took up arms for the South,
of the Christian spirit in which he led
our armies, of the daring sagaclty with
which be planned and executed our VIC
tories. This bronze will thus be part
of our history. 1t becomes pricee:s
treasure for our people, at once model OF
art aud monument of our glory. AS we
look at it we cannot but feel deep sorrow
that the great sculptor died before lie saw
his work completed. Yet With Foley as
with Jackson the last achievement was the
greatest. For as Charlottesville was 10 the
soldier so is this Jackson to the sculptor-his
life's masterpiece, sealed and glori6ed by
death. The statue will stand among statues
as Jackson stood among men, simple, heroic,
and sublime.
THE INSCRIPTION.
The following is the inscription adopted
by the commissioners, who have used que
diligence to keep it secret until the moment
the statue is unveiled:
Presented by English gentlemen as
tribute of admiration of the pa.
triot and soldier
THOMAS J. JACKSON,
and accepted by Virginia in behalf
of the southern people. Done in
the huudredth year of the Common
wealth.
Look there stands Jackson like stone
wall.
THE PEDESTAL.
The pedestal is located on smooth piece
If ground about one hundred yards from
and directly northward of the Capitol build
.ho,,t h,Ie not Donp tho Wash.