Evening star. [volume] (Washington, D.C.) 1854-1972, 1890-01-18
IN A PARIS STUDIO.
The Lafayette Monument and the
Sculptors who Designed 1t

Sculptors who Designed 1t
An INTERVIEW WITH NJ. FALGUIERE-wAITrNa
FOB MODEL TO PREPARE FOR coMPANY-rHE
ARTIST AND HIS sTUDIo-How THE MONUMENT
WAS pEsrGNED--A VIEW OF THE STATUES
Stat Correspondence Of The EVENING STAR.
PARIS, December 90. 1889.
This gentleman who is approaching US is
M. Falguiere," said the guide who was show
ing me through rEcole des Beaux Arts in Paris
The name sounded very familiar and in a mo-
ment it occurred to me that he was the man
who is making the Lafayette monument for
Washington. L therefore stopped him with a
view of obtaining some information about the
progress OF his work. He turned. raised his
hat politely and evidently wondered what was
wanted. took it for granted that such an ac-
complished man would speak English fuently,
but never word could he either utter or I'M
derstand. 1t became necessary therefore to
make the effort in French. Asking for some
thing to eat or directing a cab man in foreign
tongue is ono thing and interviewing an artist
Is another. But the victim in this instance
was so affable and polite. overlooking gram
NAUTICAL blunders and jumping ready at
the meaning of involved sentences that
the ordeal was not an unpleasant one. had no
trouble in making him understand my interest
IN the work and he showed a perfect willing
ness to tell me all about it if l could under
stand him and if could make him understand
what wanted. He told me that the monument
was practically completed; that the statues had
been cast and were then or would be in few
days ut a ware house at the other side of the
city in the direction of Pere La Chaise. where
they would await the action of the authorities
in Washington. The Secretary of War had
been informed. he said of their completion
and as soon as the foundation is ready the
statues will be forwarded. The conversation
ended with a cordial invitation to visit him in
his studio.
CHRISTMAS VISIT.
1t was Xmas day when jumped into cab
and directed the driver to take me to No. 50
Rue dAssas, the address given me by NJ Fall
guiere. II was the other side of the Seine
not far from the Luxembourg palace that was
deposited. high gate way leading into what
looked like wide alley paved with large cobblc
stones had the number 50 over it, but there was
no building of any professions in sight. / en-
tered the alley and inquired of the concierge
inside for NJ Falguieres studio. and was di-
rected to turn to the right. This wide alley
way had low one-story buildings on both sides.
which looked like sheds, but none of them
seemed occupied, much less dignified by
being the studio OF such noted man
as the artist l was in search Of
l wandered aimlessly up the alley until my
steps were arrested by call from the con-
cierge to turn to the right / looked around
and spied an opening between sheds, which |
entered. l walked up this side alley. turned
another corner and came to blank wall by
the side of which a man mixing plaster
In reply to my inquiry he accompanied me
back to the first turning and pointed to door
in the shed which l had overlooked. 1t was
heavy oak. low hung door. knobless and
latchless. but 1t had II key hole. A vigorous
knock brought no response but after second
one the bolts were withdrawn. the door was
partially opened and the artist peered
cautiously out. He recognized me at once,
gave me hearty invitation to enter. and then
said suddenly, wait q moment | have a
model" Then he called back to the model to
prepare for company. While standing at the
door had an opportunity to study the eminent
artist. He Is man below the middle height
with rather broad shoulders, and at first glance
his appearance is not particularly striking. But
his face Will bear study and proves upon exami-
nation to be strong one. He is about fifty
years OF age and his thick black hair is slightly
tnged with gray. as Is also his closely cropped
mustache His hair Is not parted, but is com5ed
straight down to his forehead and neatly
trimmed. His head is unusually long and his
brow is deeply marked with parallel wrinkles
HIS eyes are BRIGHT and in conversation his
countenance brightens and he i'm presses the
observer with the fact that he is surveying a
genius, for NJ. .Falguiere stands very high
amo ng the artists in this land OF art. After a
moments delay was ushered into the sacred
precincts.
IN THE PRESENCE OF THE MODEL.
Naturally looked for the model and nv first
thought was that she had not required even all
the time that had been allowed her to prepare
for company A chemise and q skirt had been
hastily thrown on, one after the other. and she
had not even taken the trouble to button the
top button of the former. There she sat on a
divan near a warm stove with her bare legs
he har tnna
one another to pass away the time. Her arms
anu shapely shoulders were white as the
garment which partially covered them and the
outlines OF her form showed plainly that her
physical charms were worthy of being por-
trayed on her employers canvas. / thought it
proper to no tice her presence verbally, and in
my best French asked her "if it made cold
With pleasant smile she replied that it
didn't and continued twirling her toes Then
glanced at the large canvas which occupied
the middle or the room and was satisfied that
the model was much warmer than she had been
before my intrusion and that my inquiry was
superhuous.
WORKING OUT A PICTURE.
The subject was but family sketched as the
work had only been commenced Two wood
land nymphs nearly life size, both of whom
were the young woman present in different
attitudes, were disputing a dead fawn.
One held hind leg of the fawn, who was hang
branch raised as if to emphasize her claim to
the game by blows There was nothing to show
how the fawn had met its death. as neither of
the fair huntresses had anything with them or
on them except the branch. which was leafless
This fact was what made me realize that ii the
model was cold at all it was before my entrance
NJ. Falguiere explained that be was only work.
ing out the idea which was an amusing one
and had not yet decided on the details of the
picture.
SUCCESSFUL PAINTER.
He is as successful as painter as q sculptor.
Two OF his efforts adorn the walls OF the IA
nous Luxembourg gallery. One OF them |
noticed particularly. 1t was called Revenge"
a beautiful Spanish girl stood behind a pillar
In what seemed to be a corridor, with her veil
thrown back and her eyes intently fixed on a
distant point. Tightly clasped in her right
hand, only partially concealed by her drapery
was cleaning dagger. while the fan whose
USUAL place 1t usurped, had been allowed to
fall to the floor. Her eyes were fixed like a
Wild animal waiting for its prey, and the ex-
preston OF the countenance was fierce and
determined. 1t was capitally done and the
idea was so clearly expressed that one did not
need to Look at the title to understand the
whole story.
THE ARTISTS STUDIO.
just then NJ Faiguierc was devoting his
whole attention to painting, and this studio
that was visiting "a workshop and not a
show place. 1t was not at all luxuriouslv
furnished or decorated. A good stove, an