Evening star. [volume] (Washington, D.C.) 1854-1972, 1896-04-11

LIKED memcry and Interpretation of great
man. 1t has been my pleasure, in several
talks with Mr.. Partridge, to learn some~
thing of the infinite pains that were taken
in making the horse alone, of castings
taken from the living animal, of horses
brought into the studio and taught to pose
there, Of a special railroad constructed to
carry the statue back and forth from the
studio-in short, of new methods in the art
of sculpture. ,..-..s. -.. =.
When he received his commission Mr..
Partridge vas in Paris firishng his Shake
speare statue for Chicago. At once he be-
gan to put in practice plans he had long
had in mind for doing an equestrian statue
on lines of artistic realism never before at
tempted. Getting permission from the min
lister Of war and from the military gov
ernor Of Paris, he made many visits to the
barracks of the famous French Cuirassiers,
and day after day he watched and studied
them in and out of the saddle. until the
various pesos and movements of horse and
rider were perfectly familiar to him.
Then. having in mind his general concep-
ton of the statue of Grant and his charger
the chief effects he wished to produce, the
sculptor began working en- small four
foot model This preliminary but essential
part of his work occupied many weeks. In
doing 1t he made casts from dead horses
sometimes fayed, sometimes with the hide
on. and in this he followed the best meth
DDS Of the great animal sculptors of Paris
AS he worked this thought came to him
many times:
What pity always to make casts from
dead animals and to get our guiding sug-
gestions from stiffened, distorted muscles.
Would it not be a fine thing to take casts
from the living horse?"
But such thing had never been attempt
ed and. therefore. was pronounced impos-
sible: "Nevertheless. I shall try it some
day." said Mr.. Partridge; and the follow
ing ye2r, when he returned to America
with his finished and accepted model, he
proceeded to carry out the idea.
Taking Casts of Live Horses.
"You will get your brains kicked out, -
said an artist friend 'if you try to cast
the leg Of live horse
But with his devoted helper. Giovanni
Rapetti, who is at once plaster maker,
skilled caster and CHEEKY philosopher, with
Italys sunshine in heart and face. Mr.. Par
fridge withdrew to his studio among the
elms of Milton, Mass. There live rich men
with great estates and scores, sometimes
hundreds of horses in their stables. Here
may be seen the peerless Sunol, Nancy
Hanks and other animals Of price owned
by the sculptor's neighbor friends and
readily placed at his disposal.
Work was begun with Dante, a coal black
saddle horse Of perfect lines. almost an
ideal charger, that Mr. Partridge had
bought in Kentucky for model.
Hes just like Grants Cincinnatus," was
Gen. Horace Porter's comment when he
saw Dante. The gentlsst, most intelligent
of horses he was. and fortunately so, or 1t
might have Jared i'll with Giovanni and his
sculptor employer.
For weeks they worked at the horse with
the wet plaster, and many were their dis
couragements at the start. Dante literally
lived In the studio, stall for him being
built at one side of the large room, with
only plank to keep him in his place. and
leaving the horse free to wander about as
he pleased among the busts and easels. He
grew so accustomed to this constant posing
that he rarely made trouble. only occa-
sionally, In mischfevous mood, going I'D to
some cast and licking 1t, as If to show his
appreciation of art. For weeks and months
Dante and Giovanni and the sculptor pass
ed both days and nights together in the
combination studio and stable, and many
times Mr.. Partridge, weary after q long
stretch OF work. would doze in his easy
chair with Dante before him In his stall
his head reaching out into the studio, dog
ing also.
A Task Requiring Great Patience.
Whoever attempts to make plaster casts
from living horse will find that It is a
work requiring almost infinite patience. It
Is hardly necessary to say that the animal
must be trained to stand perfectly still or
everything is spoiled. Many were the de-
vices Mr.. Partridge had to employ; many
were the ingenious schemes invented BY
Giovanni to keep Dante from growing rest
less as the plaster hardened about one part
or the other Of his body. When the left leg
was being nodded. fpr.ipstancav -GiovanRi
would hold up the right foreleg while his
master took the impression. the result be-
ing that Dante, finding himself poised on
three legs. could scarcely move the single
front one that supported his weight But
fnding even this plan insufficient to pre-
vent little nervous movements, such az 4
twitching or shive-ing of the skin, Mr..
Partridge hit upon q ruse for occupying
Dante's attention which worked admirably.
He had Giovanni hammer unon the hoof nc