New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1876-11-27
TIE STATUE OF WEBSTER.

The last monumental gift to Central Park is
admirably placed. The intersection OF the three high
ways opposite the entrance on Eighth
ave- furnishes the amount space. against all
encroachment which is required by its proportions
The only work Of art 1t is SimmOnd's "Faconer"
figure tho singular lghness and grace Of which present
the most obvious contrast to its massive strength and
power. One Ia the physical life Of man. in very Joyous
and sporve expression the other Is the burden OIL
great intellectual lfe saddened and almost Scarcely
it's labors and struggles
The SCULPTOR Mr. Thomas Ball, had already given eyt
dence Of his ability, through his excellent equestrian
statue Washington in Boston, he was also personally
acquainted with Mr. Webster aud familiar with his char
acterstic attitudes and gesures and the choice OF h
therefore, inspired confidence in his performance tho
task In his general conception and presentation Of the
man. we think Mr. Ball has justified this confidence. The
statue is recognizable far as it is clearly visible
will instantly recall websters imposing presence to the
many thousands still living TO whom that presence was
once familiar The attitude is which belonged spe-
ciay TO the man, and most distinguished him. In spite
OF the colossal sze his physical proportions are sug
gested in fact, tho sculptor Danneeker dscoVeredm
making the bust of Schiller, the portrait simply
becomes true when it is made colossal Webster
ia represented as standing erect the head aud
shoulders thrown back the right hand thrust inside the
coat and the left hanging at his side, as be hsd
lust closed some powerful passage OF an Grafton, and
were pausng q moment before hurting fresh tnnncefs
The head altogether grand and satisfactory The re
mendous dome OF BRAIN such as few men nave even
carried the jutng of the brows, the deep ego
sockets the cheekbones rising the haggard holoWs
below Them the hard. stern lines Of the mouth and ne
sensitive decacy OF the chin given unchanged me
expression Of the face would be gOOmiy mournfu tho
attitude Of the body did not make it half defiant 1t IN
dcates endless possibilities OF power and VIII and passion
and suffering.
The pose OF the figure may, perhaps be true to le p'
IL is not altogether agreeable in artistic sense "e
can hardly believe that OF Webscrs erect car
rage was in the habit of curyng his spine inward TO sun
degree. The abdomen, OF course Is protruded 10 cor
responding extent in spite Of the buttOned dresoas
and eect-especialy in approaching the statue o
the western sde-is quite unpleasantly pronounced An
inch or two less of curvature would have greatly I'M
proyed the figure without taking away from its charac-
ter The chest and arms simple, massive, and IA
every way good. But when we come to the lower nan
OF the body reach the customary despair and Iaue
OF sculpture No artist seems 20 be able to Keep IN ns
mind the difference between cloth and bronze Each ono
wrcstes with trousers in his way, and defeated
In the present instance makes difference 10 the
world whether Webster such baggy and impTactt
cable dual garmenture" ito use the term OF TIE Wo
mems Dress ReOrmeTs) he here, unfortunately mGst
wear for centuries. No such realism roquired simply
by cutting slightly closer pattern the artist might have
at least indicated the symmetrical forms OF flesh The
covering is thick shapeess mass, rdged on the inner
side with dozen large diagonal The left lex
drawn back to Just the right extent is t more unort
natey clothed The garment rises into ridge over inc
thigh barely touches the point Of the knee aud then
breaks into deep triangular lndentauoh'
"a IL some woodcutter had mistaken the orators leg Tor
sapling and had cut out the irst big chip. The fold
produced by this ndentation carry the swelling
muscle OF the calf far forward and to extend back
ward with sweep toward the ankle. lnsieadW
the natural leg OF man, is strangely deformed mem
Der which suggested by the strongly marked buges
and ho!lows Of the trousers This Is most apparent Oh
the right of the statue toward the lake. The best point
OF vie is little the right Of the front near the drink
lug fountain
Looking at the statue from the the hoownesso
tho back and the great rigdty Of the eoaais emery
strike eye Surely the latter might have fallen noo
hcxiby; but here where few croasos would be rehe
We can only think Of tho split shell OF Galapagos u
tie We confronted with the material, not tne 0
iect it is bronze and so stiff and hard that it secs "
be piece of defensive armor servioeable in case OF T
treat However the public takes little interest IN quo p
rear view OF statue and this feature will be hai"p
noticed. The Spanish mantle which Wooster "~o =
thrown over piece OF iuted plaster, The TOP al %"v
appears TO be broken: in front Of il the neyl'am0
books lie upon the ground. Although this dfapp
ia gracefully arranged except that corner OIL W
cloak is rather artlhcally twirled Ground DeJohN
the speakers left foob, canuo b1t hink ina. ".
statue would have been moro Simply imposing W'"V
any accessories whatever. Its Gomez Ion IS 50 goou
the artists conscientious endeavor present tae A
so apparent, that the artistic bems-cs sprinslng p
an oyerrealism the more TO be regretted Inc ~
esta of gray granite perhaps the finest posses'eu
any statue In city. 1t has tho correct hign'' a.
mrably proportional and the engaged pillars
corners wonderfully relieve its massiveneSs AS q VIZ.
the monument Is q great acquisition to the Centrai
and its generous donor deserves the fullest gratitude
the public