The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1901-08-26
IN MAD HOUSE.
Noted Sculptor is Driven Insane by
Want

Boston, Mass aug. Zb-AdOlpn flOD-
ert Kraus. one of Americas greatest
sculptors, and one which Massachusetts
has especially honored, is now an in
mate of one of her institutions-the in
sane asylum at Danvers.
In the above statement is the harsh
denouement of an unhappy story. In
a city whose public park boasts his
work. in bronze. whose statehouse has
placed one of his marble creations in a
niche to forever memorabilia a great
man. whose citizens in the years but
shortly flown honored and feted him,
he went poor and forgotten about the
streets, without the pittance that would
have prevented what was to have been
his masterpiece from falling into shape
less clay. The city is Boston, the sculp
tor is Adolph Robert Kras. designer
of the CriSpuS Attacks monument on
the commons, sculptor of the state
house bust in marble of Oliver Ames, of
that at Mechanics building of Paul
Revere, and among many others the
one not yet known to the public of eX-
Mayor Lincoln.
AS the clay of what was to have been
the greatest work of his life crumbled
away, so, seemingly, crumbled the
artists brain At last, when the ere
alton was ruined hopelessly, the brain
of the man went with it, and early last
week he was found sitting in the chill
of early morning babbling insane
words. So they sent him away.
Named a master by artists and crit
les of art, his past work praised and
his future greatness seemingly assured
him, he set to work on what was to be
his masterpiece. But the tickle public
forgot him, and the creation that, seen
in the clay, promised all that is great
est in art, cracked, and is now falling
pitifully to destruction. Its ruins are
still in the artists old studio at Win
ter street. With no work to do. with a
large family at home to whom he could
not take the food they needed, it was
not in Kraus' heart to work on the
shape in clay which, perpetuated in
marble. was to have made him great.
So, as he sought for work through the
streets, for help in his great stress, his
creation cracked and dropped away
and when it was gone hopelessly-so
was the creators mind.
During a hull in work, which he
thought would not long continue, early
last summer Mr.. Kraus began work on
a clay model of an image of heroic size,
q representation of BelschaZzar at the
moment of seeing the handwriting on
the wall The figure is seated, the head
turned to the left as the monarch looks
over his shoulder, and upward with an
expression of establishment and fear.
The hands grasp the arms of the sculp-
tured chair, and there is great signif-
icance in the muscular strain of the at
titude of the figure. The costume and
the arrangement of the hair and beard
are very novel and interesting in a
plastic work.
The opportunity for fine lines in the
drapery, as well as for attractive de-
tails in the way of embroidered orna-
ment, jewelry, etc, is especially inVit-
ing The bas reliefs carved on the side
and back of the kings chair are
sketched from prints in Layard's cele-
brated work on the excavations of
Ninevah. the figures representing sol
diers, musicians and priests in Baby
lonian attire, with strange manners of
dressing hair and beard. When he was
forced to cease work on this statue,
the sculptor had it well along, not only
in the outlines and masses, but in many
Of the details which demanded study
and research. But as the clay was al
lowed to dry toward ruination, little
parts of the figure fell off. the limbs
cracked, the whole mass sank forward
Finally. the head. upon whose hair and
beard the artist had spent much time,
had to be removed, and when later Mr..
Kraus tried to replace it with a new
one, he found. as he admitted, that the
inspiration for a. time had left him
Kraus was born in Zeulenroda, Ger
many, in 1850, and began work as a
boy of IA as a stone and wood carver,
and doing decorating work