New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1879-05-03

dilaed nostrils Great repose and dignity come from
the solid planting all Of the horses feet upon the
ground and from the quiet OF the rider IN MS shC
die while animation and picuresqueuess are gained Oy
the upward swing OF the lines IN the horses body, ana
the alert INTEL gence of his head We DO not recall any
equestrian of modern times that il content WIN
tins simplicity and small praise IN this " when
of attitude and gesture stingy Of ne"
motive to say that sir Ward has ~ composition
striking merits is it, freshness FRESHNESS
that amounts TO originality. TIE Old Roman
equestrian statues. the Babus Of the Naples Museum
the Marcus Aurelms Of the Capitol, adopted conyen
tona attitude which nature NOT attempted to be
suggested but what might be called symbolic tr' at-
OF the horse sought for, attitude, not I'M
possible OF course. but improbable, chosen as e&
pressIve OF and or notion ana the
rider mounted on his monumental steed as st'id
and monumental the horse himself The antique
Uanters II may Judge by the g:eat mosaic OF the
battle OF Issus in the Naples Museum INDUCED in more
freedom OF action and indeed OF the small eques-
trian bronzes OF The antique time that the conven
tonal practice not oil gatOry But even In these
the action though animated not studied with
much reference to nature.
The early italian painters copied these Ro-
man horses OF tho imperial period IN their
pictures, only painter whom remember. the
author OF the resco OF Triumph OF Death in the
Campo San0 OF Pisa departing from the accepted con
ventona treatment. out OF the three four horses
which stand by the open graves " the dead kings only
Is startled out Of his proprety OF mmObiity as
with strained and airing eye. he snus al death
Nor did any painter break through the tacit rule that
made unnecessary 10 give any signs Of life 20 the
horses In a picture until Leonardo ia Ynci made the
cartoons FOR his Batte If he Standard" and followed
up his innovation in The field OF painting, OF champing
rearing kicking horses by seeking after attitude TOR
the horse IN hs great equestrian statue OF Francesca
Sforzl that should be unlike not only That OF
the horse OF Marcus Aurenus. but OF the horses
81 Donatel.os Gat.amelata and Yerocchi0'- CO'leon
the two great achievements 81 MS own
age. Then came in the time OF naturalsm.
and since Leonardo's day scnlptors have, as rule
tried strike happy mean between the formality OF
the Romans and the extravaganza INTO which Leou-
ardo was dan gerously tempted We have produced in
America only few equestrian statues, but we may say
with honorable pride those few Will not be found
wanting when compared with the works OF modern
sculpt1rs ia Europe. NeW-YOrk has reason 10 be
ashamed Of Henry K. Browns Washington in Union
square. work whose striking exceences far outnum-
Der It's shortcomings and which It may he remarked
| in passing. Mr. Ward served industrious and fruit
fu apprenticeship Boston too. is content with her
Washington" elegant ana decorous. by Mr. Ball ;
and Mr. Henry X. Browns " General Scott
| IN Washington. is 50 fine as to make II
| almost possible to forget the existence Of
| Mr. Clark YIlps Polichinello his caracolling
R0snante. Mr. Ward has now earned cordial praise
by another triumph IN the same field with Brown and
Ball and 10 much TO DE wished that Ncw-NOrh ana
rof Was6in-ton we're 10 he mo possess0r II MIS- nohly
beautiful statue Of one OF Americas most heroic men,
with the last line reversed might describe the statue
IN the words OF Shakespeare IN the Venus and Adoiis;
"Round-hoOfd short ionted fetlocks shay and long,
Broad breast, full eve. small mead ana hostfll "ue,
High crest short ears, straight egsand passing sroh
Thin name, thick tail, broad buttocE, tender qiie;
Look. what q horse should have be dld NOT llcA,
save proud rider on 80 pIOuu a Dach