Evening star., 1925-02-22

tant art, is IN the SnlllnSOnlall, anu
in Lafayette Square is Clark Mills
Jackson, the first equestrian statue
by an American ever erected, in this
country. The Capitol within and
without, exhibits works by the men
of the early nineteenth century, who,
carried away by the classical spirit,
endeavored as sculptors to carry on
the traditions of Greece and Rome,
their great ambition but i'll mated TO
their modest capacity. And yet, con-
sidering their lack of background,
knowledge and training, it is quite
remarkable what they did.
Within the past week three addi-
tional works by one of the best
known of these early men nave ccme
to Washington and been placed per-
manently on view. These are figures
in marble by Randolph Rogers, the
sculptor of the Columbus bronze
doors at the Capitol, and are to be
seen in the main corridors of the new
Mayfiower Hotel. They are the Lost
Pleiad," "Nydia" and Boy and Dog,
the first two exceptionally we'll
known works. the last an evident
effort to throw off the conventional
and find natural expression.
Rogers was born in 1925 at Water
loo, n. Y; spent his youth at Ann
Arbor Mich; entered into business,
and not until the age OF % began
modelling. He had had no lessons
at that time and no opportunity to
see sculpture produced, but so eVl-
dent was his talent that his en-
ployers provided him with the means
to study in Rome. He arrived in
that city in 1S4S, spent five, years
there, studying under Bartolini, re-
turned to the United States for
short time, secured many commits
sions, and in 1855 established himself
in Rome for the rest OF his life. The
Lost Pleiad," "Nydia" and the Boy
and Dog all belong to his early
period.
The first two of these show the eff
fort of sculptors of that time-paint-
ers too, in fact-to give to their works
literary significance. The LOST
Pleiad" is a nude female figure floating
on clouds (very hard, marble clouds)
searching the heavens for her lost
sister stars" ''Nydia" is presenta-
ton of the blind girl in Bulwers
Last Days of Pompeii" and is reaIly
a sympathetic Interpretation, a pa
thetic little figure. dorado TART,
himself a sculptor, describes ana
comments on these works in his au-
thoritative History of American
Sculpture" as follows: The Lost
PIeiad' is graceful conception OF not
very robust individuality, but adm-
rably suited to the demands OF us
time When a work is so pure and
innocent. when it has such vogue as
had this figure, with it's sister, the
beloved 'Nydia,' it is evident that
there is a reason for it's existence IL
fills a long-felt want or even creates
a new one, which is still more lmpor
tant in the progress of art IL Is salo
that no fewer than 100 replicas OF the
'Nydia' were made in marble during
the authors lifetime, and possibly as
many more of the Lost Pleiad'-that
sweet, wayworn traveller OF the
heavens. 1t is safe to say that they
gave vast deal of pleasure in their
day, and still retain for many not
little of their pathetic charm. They
NAV not appeal to you and to. me like
the Nike the Venus of Milo or the
'Fates' They may seem too remInis-
cent of the thought of other men 10
thrill us; we scan them in vain Tor
token of originality and power; Dut
so long as our most costly homes are
adorned with modern Italian carvings
of laces and feathers, of silk ruff1es
and bathing suits, there remains
use, an educational mission even, for
an art as pure and ingenious as that
of Randolph Rogers. The youthful
ideals of this pioneer were both
sculpturally and POLITICALLY as lar
above these current denominations as
are the Shaw Memorial and the Angel
of Death above any dream that ever
came to him He did his best. Today
we know the best and too often
choose the worst"
x X
IN the same hall with the Lost
l. Pleiad" are two other large works
in sculpture, one by NJ. Denys Puech,
now director of the French Academy
in Rome, the other by William Cou-
per, the sculptor of the LongfelloW
and WitherspoOn statues on Connectl-
cut avenue, n cotemporary American,
born in Norfolk, Va; for many years
resident in Florence and now main
tanning a studio in Montclair, n. }.
Mr.. Couper is a son-in-laW' of Thomas
Ball one of our early American sculp-
tors whose Lincoln Emancipation
group is here in Stanton Square. his
work. "Flora,'' at the Mayhower, was
conceived apparently in the Italian
manner and in spirit is somewhat
similar to the Lost Pleiad," but by
no means is it as naive. Doubtless, IT
was intended to represent the spirit
of the flowers, but in this instance
there is less reason for the figure OF
the young woman to be hurting
through the air, and the fioweTy ped
estal, which is her one attachment 10
earth, is essentially overdone IN lts
incrustation of blossoms.
The Puech group, The Siren, is
nIastic in its conception and decora-
tive in effect. Presumably it was
originally intended for outdoor deco
ration. the center of some great foun-
tain, or placement with foliage back
ground. In such position it would un-
doubtedly be found attractive.
replica of this group is in the Luxem-
bourg, in Paris. Essentially French In
style, it has d florid picturesquenes
which is delightful under given CIR
cumstances and is an element Whlch
our American sculpture misses. we
are apt to be sober minded IN our ART
X x x x
TN the exhibition now occupying the
little room at the Phillips Memo
rial Gallery is a representative paint
ing by the late Maurice Prendergast-
a picture of throng of summer So
journers swarming along the quay
and over one of the bridges at Venice
Almost every one carries gay-colored
parasol, and these, in aggregation,
give the appearance of an olo-1ash-
ioned, bright bouquet.
Mr. Phillips has been for several
wears a great admirer of Mr.. Prender-
CASTS art, and has acquired numerous
examples. In the Prendergast memo
rial exhibition which has lately
opened in the Kraushaar Galleries,
New York, five works have been lent
by the Phillip Memorial Gallery, and
the introduction to the catalogue is
by Mr.. Phillips. The charm that ne
himself finds in this painters works
he here sets forth convincingly as
follows: His (Prendergast's) paint
ings are the perfect expression OF the
man and of the blithe and jocund
philosophy which kept him young at