The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1892-04-03
THE FINEST In THE WORLD
Architect Louis ii. Gibson Is Enthusiast
tic Over the Indiana MOnum ent.
Europe that Can Equal lt-Criticisms
Upon the Hendricks Statue.
Previous to going TO the old world across

taken great interest I'D tue INDIANA SOlQlerS
and sailors monument. He watched the
selection of the designs. and observed with
deli ght the wise course of the commission
in adopting methods which promised the
highest success. HIS visits, therefore. to
the famous monuments of Europe. were oc-
casions for critical comparison by one who
had given the subject o searching study.
not only with special regard to the In
diana monument. but also In the pursuit of
mis- profession as an architect.
when / was In Paris" said he, in con-
versatioD. yesterday. with o Journal re-
porter. IL used to. say to American and
other friends there that we were building
in Indiana the finest monument in the
world. My remark would invariably be
hooted at, and then / would show the pho
tograph of the column and ask: Where
can you find its superiorP The answer in
variably was: 1t certainly promises WELL"
THINKS IT THE BEST IN THE WORLD.
Ibid the progress made In the column
while you were absent realize your expecta-
tionsi" was asked.
"Yes," was the reply. eff the com-
missioners continue their work In the
same wise way that hey have carried
1t on thus far. we will surely nave
one of the most successful monuments in
the world. This may sound a little extrav-
agant. to say that we have here in Indian
spolis q monument quite as successful as
any that have been constructed IN the old
world. However. If there Is any thing bet
Ter than this promises to be, let me- ask
again. where Is i'll Certainly 1t is not in
London or any place IN Great Britain. 1t
so far as / know, not in Italy. 1t
is certainly more beautiful than the
Charing Cross monument in London. The
new Gambetta monument. in the Court OF
is more graceful and comprehensive than
either the Column of July or the Column
Vendome. 1t is greater In every way than
the Frederic William monument In Berlin.
In truth, i do not know of any monument
that is so ambitious as this one. 1t is
graceful, picturesque and altogether salts
factory as far as 1t has gone. This IS GER
tainly a pleasant thing to be able TO say or
our own monument. and that this is true
is largely owing to the course of our COM
missiOners in selecting competent advice
when it came to the matter of rendering
judgment in artistic matters"
L what do you referf" asked the re-
porter.
Let me explain. In the first place. they
selected Professor Ware. who has charge of
the architectural Departmental the Column
the competition. He did his work in a way
which brought out the best talent in this
country, and, ashas since been proved. one of
the best monumental designers OF Europe.
In response to the invitation for designs,
on the basis of Professor Wares programme,
seventy designs were submitted. and from
among that number Bruno Schmits's design
was selected, and he was called from Ber-
I'm to confer with the commissioners and
the award definitely made to him. 1t was
clearly shown. by this competition. that
our American architects are not capable OF
handling o strictly monumental problem.
49,. L. 49,. ~---ll =
architecture. In that which Is strictly and
decidedly monumental We find them OF
fault.
course in selecting their design for the
browning figure. They called in capable
experts TO aid them in the selection. The
result will prove that this was a success.
Now there are two other competitions to
be decided in the next two or three months,
and In this decision rests the fate of our
monument. If the commis sIoners pursue
the same policy OF selecting capable judges
and experts TO ad vise them as to the artistic
qualities of the designs submitted, we may
expect a good result. The experts and the
commissioners must have the courage. If
proper designs are not handed in, to throw
everything overheard and try again. This
sculpture work consists of two groups.
Peace and War, at the base of the monu-
ment. and the sculptural decorative work
around the shaft Immediately above the
base. If they make q good selection In
these. all that has been said as to the rela-
tive success of this design is true. and it's
promise is justified; otherwise 1t certainly
Will not be regarded as a success"
THE HENDRICKS y
"Do you not regard the Hendricks mon
ument as a successf"
by no means. The portraiture is bad,
the pose being clumsy and ungraceful. The
design offends ones sense of proportion.
The monument is sometimes called q good
thing because the sculptor is praised as a
great artist. But the people In general.
whose Judgment in such matters Is very
fair, can only say, If that is good art we
not able to appreciate it Those who Sc
lected the design. are well-educated and
talented gentlemen. They were successful
In their special work, and it may be
Parke's design was the best submitted.
But that being the case they should have
taken competent advice and thrown all the
designs overheard and called for new. One
thing is plain; we don't want any more of
that kind of monuments. They have a
harmful effect upon the public taste and
subject US 10 rldicule."
"Reverting to the soldiers and sailors
monument, can il. in your opinion, be fin
ished as designed with the available
meansf"
Al think So"
Can American foundries produce ss fine
q quality of bronze-wOrk in the two great
groups as the foreignp
81 see no reason why American bronze
WOrk SnOuIQ not equal Inc european.
American firms have been successful in
other castings, smaller perhaps. but the
principle Is the same. / am In hopes that
In selecting the designs for these two great
groups the commission will follow its
former successful methods. and insist on the
same high quality OF excellence. There is
danger of artistic loss In deviation from
this course. Another possible LANCER Is
that the groups shall fail to portray the
American spirit. L do not believe O Ger
man or French sculptor gets hold of the
American soldier idea. Certainly nothing
hat one sees in their sculptural work
any where has any suggestion of adaptable
ity. We may expect a good design from an
American who has studied In the French
school. which has now the most life. In
diana will have reason to be proud of this
monument. and 1t will draw thousands aud
thousands of people to the city and State"
What are the requisites of an artistic
"a monument should preserve or perpet-
nate history-this IS its first purpose. 1t
should do this in an attractive way this is
the artistic side of monumental work.
Thus We have first utility aud then beauty.
The character of the history determines the
general in all features. A monu-
ment TO the memory of q little child CON-
memorates one kind of history. one to the
soldiers and sailors of Indiana another.
The latter symboliZes great events. Thus
there must first be largeness, for the sake
of imnressiveness: beauty of outline, deli
cacy of detail, for the sake of attractive
ness, and, finally, directness and correc L
ness of narrative in indicating the purpose.
In our monument the narrative is symbol
lied in sculpture. It's success is dependent