Evening star., 1942-08-23
Art
Notes
Value of Statues
Here Cannot Be
Measured in Metal
By Florence S. Berryman.


subject which recurs to the conster.
nation of art lovers. The first sug-
gestion of such a sacrifice to the
metal scrap drive came the end o1
June from War Production Boaro
Chairman Donald Nelson. 1t was
the Presidents press conferences
and silenced a day or so later when
Edwin Barringer, head of the In
stitute of Scrap Iron and Steel
warned that due to lack of knowl-
edge of scrap, our "lrreplaceable
monuments" might become neces-
sary sacrifices in view of the fact
that statues are principally cast
from non-ferrous metal alloys, OF
which there is now surplus. One
may hope this statement will end
the discussion.
However, the Unsuitable steel fur
naces may call attention again to
the statues in Washington's parks,
should the present surplus of that
type Of metal disappear. The Ma
tional Park Service and the Com
mission of Fine Arts undoubtedly
are prepared to name the monu-
ments which would be given gladly
which could be spared land later
replaced), and which should be pre-
served under all circumstances. The
recommendations of these authori-
ties might be reinforced by the sup
port of an enlightened public.
The fact that the Andrew jackson
statue to cite a clear example) Is
invariably mentioned In the dis
cussions about statue -scrapping
and that the reasons given for pre-
serving it are seldom convincing
seem to indicate that this statues
major Importance. which is intangi-
BILE, has been overlooked. Perhaps
to many people, newcomers to
Washington, its history is unknown.
jackson Monument
The Andrew jackson monument Is
a very important one in the history
of American sculpture; 1t was the
first equestrian statue by an Amer
lean sculptor produced in the United
States, and the first erected here.
Not only is it a monument to an
outstanding American hero and
President, it is also memorial to
American resourcefulness, audac-
ity, patience and determination to
succeed against apparently hope
less odds. The story of Clark Mills,
the sculptor of this statue. is a
classic example of dauntless Ameri-
can youth. starting at scratch with
no assets save his wits and natural
vigor, and working his way to the
top by honest industry: his type Is
the American legend.
Clark Mills, fatherless boy OF 13
Tin 1929 ran away from his uncles
harsh treatment, and thencefor-
ward made his own way. He won
bare living at first by hard manual
labor on a farm, on canal and
cutting cedar posts in a swamp. He
learned to be a cabinet-maker, be-
came a millwright, then overseer.
Wandering from one city to another,
he learned to do stucco work, be-
gan to model busts in clay; with
no art training, he had to invent
his own method Of taking cast
from the living face, and turned
out portrait busts which became
very popular. He then attempted
cutting in marble, inventing his own
tedious system in this, as he knew
no other.
However, the results were salts
factory to Mills contemporaries.
The city council of Charleston, S. c.,
purchased his bust Of John c. CAL
houn< and awarded him a medal "as
an incentive to further exertions. "
Patrons offered money to enable him
to study in Europe, and not only
paid for commissioned work, but
also paid his travelling expenses.
Thus he came to Washington
(about 100 years ago. to see
the "statuary" before he should
sail for Europe. He was introduced
to the Hon. Cave johnson, then
Postmaster General and president
of the jackson Monument Commit
tee, who invited him to submit a
design for bronze equestrian
statue. At first Mills modestly re-
fused, for he had not seen an eques-
trian statue, nor Gen. jackson. He
later reconsidered and spent nine
months making miniature mode!
necessarily inventing his owr
method.
Equilibrium was his chief concern;
he brought the hind legs of the
horse directly under the center of
its body, producing a perfect bal
ence, and the model was accepted
by the commission. After two more
years of hard labor, he completed
the full sized plaster model. Nearly
q year later, Congress appropriated
for the statue, the old cannon which
Gen. jackson had captured at the
Battle of New Orleans. Then Mills
had to cast the bronze, a process OF
which he knew nothing save what
he had taught himself. The history
of this job is story of triumph
over heart-breaking difficulties
Cranes broke, furnaces burSt, ne
failed six times to cast the body o1
the horse.
Congress Pleased
But his final victory was all TIN
greater. Congress was overwhelmed
with the originality of the statue
and with the marvel of the horse 81
firmly balanced on its hind legs
Upon its dedication in 1858, on the
38th anniversary of the Battle OF New
Orleans, Congress bestowed upor
Mills the sum of $4,000 in addition
to the original fund of $4,000. Tht
city of New Orleans ordered 6
replica at higher price. Congress
voted an appropriation of $50,O00 fol
an equestrian statue of Washington
(Which now occupies the centra