Evening star., 1951-09-07
The Sculptor Has Word for His Critics
no the Editor Of The Stor:

NdlS is IN reIutaClOn W LII. NlVyu IL
i Marvin's letter to The Star of August
Is. criticizing the groups for the Lincoln
Memorial Plaza to the effect that they
are foreign to the classical idea OF the
site. His views as expressed, regret to
say. lead one to believe that he confines
his formula as to what constitutes clas-
sicism within narrow circle; one that
is but skin-deep and not of the true
essence.
Wagner and Debussy in their time
gave so much of themselves to broaden
the understanding, scope and unlimited
possibilities for future compositions
within the framework of classical ex-
preston, that at first they were little
understood; for the margin of apprecia-
ton was limited at the time to the
cultured few. Yet today, no question is
raised as to their place among the great
est of the classics.
In sculpture, we have the counterpart
in Despieau and Maillol. They pene-
trated into the realm of the essence Of
classicism. . fusing strong personalities
with tradition. Their approach was not
archaeological but rather inspired by the
tradition that is subconsciously impaired
to all of us through the very blood
stream. They caused the works of Thor
valdsen and Canova, the neo-classicists,
to look like the products of dilettantism
by comparison.
Replying to the doctors injection Of
Lincoln, am wearied when political
orators endeavor to impress people by
assuming that their policies are Lin
colnian. In like manner. consider the
cliche: Classical mind of President Lin
coln" employed by the doctor, whether
used with good or unkind intentions, as
inadequate and superficial to justify his
contentious. Incidentally, within the
Lincoln Memorial itself there is an
anachronism. Would DR.. Marvin, per-
hapS for this reason, prefer to see Lin
coin clothed in a classical toga rather
than In the 10th century dress expressive
of his time?
Perhaps DR.. Marvin knows more about
the history Of the long delays before the
statues were erected land that they were
primarily intended to be granite. as the
editorial in THE Star of August Is in
dicated) and may recall that around
1884 full-size scale models were erected
on all four pedestals for study by the
National Commission of Fine Arts as to
their relationship to the environs. This
procedure was repeated on the Memorial
Bridge during February, 1850. The re-
suit of both studies were that they were
most satisfactory for the site. 1t should
be noted here that both Fine Arts Com
missions were very conservative in their.
views
The decision to gild the statues had
the approval Of the Fine Arts Commis-
sion, the architects, the National Park
Service and the sculptors. The process
of gliding followed an ancient Roman
formula used on the Marcus Aurelius
equestrian standing in front Of the
Capitoline Building in Rome. Italy.
AS to my part of the project. should
like to bring to the attention of your
readers that the group, "Valor," at the
left side of the entrance to the Memo
rial Bridge was designed by me, at a
scale of feet high. while held the
Grand Prix de Rome at the American
Academy in that city. This institution
was founded by the late and very emi-
nent architect of his day, William Fol-
sum McKim. for the distinct purposes Of
classical study This design and its
companion piece, Sacrifice" were Sc
1GCUGQ ny LIlE NdO1O1ldl NOn1AA1ooAOA Va
Fine Arts and the Arlington Memorial
Bridge Commission. The award was
made as the result of a contest against
the most outstanding sculptors in this
country. William Mitchell Kendall,
a devotee of classicism. as well as the
designer Of the Memorial Bridge and at
that time head Of the firm OF McKim,
Mead & White. heartily approved the
selection. The late Charles Moore, one
time chairman of the National CommiS-
sion of Fine Arts, and who for 35 years
prior to his death was connected with
the commission, once wrote about my
groups: "Soon they will become ma
tional treasure"
Following the installation of my groups
on the Memorial Bridge. James K.
Smith, the present head of the firm that
designed the bridge. wired me as fol-
lows: "Your groups look fine in place.
Congratulations"
Mai. Gilmore D. Clarke, who until
recently was the chairman Of the Ma
tional Commission of Fine Arts. and
who served on that board for Is years,
wrote me the following:
Your groups are among the great
sculptures of the world and viii mark
well the name of Friedlander in the
centuries to come. Warm regards"
Lee Lawrie, q pre-eminent sculp-
tor and for eight years member Of the
National Commission of Fine Arts, wrote
me:
Your groups have added magnifi-
cence to the Capital and the whole
Nation"
Ralph T. Walker, until recently
president of the American Institute of
Architects, and world-famous in his
field, told me that he has twice visited
the site and highly complimented me
upon the success of my groups. Having
been familiar with the many difficulties
I have encountered over the years in the
realization of these works, he climaxed
his remarks to me in recent talk by
terning the results as "a great victory"
In addition, the study for "Valor" was
awarded Medal of Honor at the Phila-
delphia Sesquicentennial Exposition.
Both "Valor" and Sacrifice" received