The record-union., 1899-10-01

''It was the desire of the committee
to have the statue made with hatch
ct in the hand of Captain stephen F.
Brown. Accordingly, / made a mooei
in this form, but the Federal Govern
ment would not approve it and permit
its erection as designed. A seconu
model was made, showing Captain
Brown holding a sabre and belt In ms
left hand, the hatchet lying at his feet'
as if just dropped. This model was
approved, and the work is now belnS
executed. The sabre depicted in the
statue is an exact representation OF the
one captured, which Captain Brown
still has In consideration of his sal
liant conduct in the battle, no action
was afterward taken IN regard to
violation of orders
Miss Enid Yandell, a New York art
list, has been awarded the prize offer
ed for the best design for fountain, TO
be erected in Providence, r. l., by Paul
Painotti of Turin, Italy. in honor OF
the memory Of Carrie Mathilde Brown
Pajnotti A commission selected Miss
YandelPs model in preference to nu-
merous Others submitted by sculptors
of New York, Boston and Providence.
The central group Of figures in Miss
Yandell's design represents '.The
Struggle of Life" and their admirable
arrangement at once attracted the
committees attention.
Miss Yandell is a Kentucky girl and
began her art education in the Cincin-
natl Art School. She completed her
Dc hoy
from Europe has done much notable
work. She is the only woman mem
ber of the National Sculptors' Society
of America
Miss Yandell is, in a way, one of
Mrs. Potter Palmer's discoveries;
though probably her light wouldn't
have been hidden under a bushel long,
even if Mrs. Palmer had not removed
the bushel
1T was the opportunity of a life
time" said the young sculptor, as she
stood in her studio before a portrait
bas-relief on which she had been work
ing. "I had been working away on
this sort of thing ever since I could
remember. When I had to choose a
life work l did not hesitate a moment.
l began studying at the Cincinnati Art
School and was graduated there. After
that l went to Chicago and worked
there under Martiny Though Martiny
was my master, I worked in Mr. Taft s
studio.
well, the Worlds Fair came along,
and Mrs. Palmer wanted the sculpture
on the woman's building done by wo-
man. but she couldn't find any one who
would undertake it. There were plenty
of women with ability, but it was such
a big piece of work that none of them
had the nerve to assume the RESPONSE
bility. One day she sent for me and
asked me if I would take the commits
sion. You can imagine how I felt about
it, but knew it was such an opportu-
nifty as wouldn't come twice in a life.
time, and seldom comes at all to a
young worker. I simply couldn't af-
ford to say no, so / took the plunge
and agreed to do the work Work !?
Well, l certainly did. You know the
scale on which those designs had to
be done. I spent three months on the
grounds, working with all the force
ing the thing. It taught me lots of
things that l wouldn't have found out
in years of ordinary experience, and,
of course, it gave me some reputation
| One of the seventy-three medals given
| to the designers of the Worlds Colum-
| bian Exposition fell to me and l am
very proud of it. Only two others out
| of the seventy-three went to women
Most of my fellow workers in Mr.
TaftS studio went abroad after the