February 5, 1913.

Mr. Henry Bacon,

160 Fifth Avenue, New York

My dear Mr. Bacon:

I suppose it is useful to an artist who has a
work like the Yale Memorial, in which he is not told to
make a representation of a specific object, but to make
such a design as will best carry out an ideal, to receive
all possible suggestions and criticisms. I write you
with that idea. Any suggestions I may make are therefore
purely tentative. They do not express my reasoned con-
clusions, and it is quite possible I might, myself, on
further consideration give them up entirely.

Since the meeting in your office I have considered
the thought I presented concerning two of the figures. The
old engraving referred to was a picture of the Past and the
Future. The one idea was symbolized by a woman of mature
age, with a certain gravity and sadness depicted in her face.
The other was a young woman with a hopeful expression, her
eyes fixed upon the remote distance. If it were worth while
I think I could dig up the old engraving and make a sketch or
photograph of it.

As to the utilization of this idea; I speak with
diffidence about matters of art, as I pretend to no special
knowledge, but in productions of this sort it is not well to
present the idea too definitely. If it requires some thought
on the part of the spectator to catch the meaning, the effect

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upon him is greater. The ideas, therefore, should be
suggested rather than definitely depicted.

It is not a fault, but rather a virtue, in the
object that it may represent, or be understood to represent,
several thoughts. The figure of the Past might have a
suggestion of Alma Mater, also of memory and of sadness, in
view of the great sacrifices of life. The Future may suggest
not only the future itself, but vision and peace and hope,
possibly also union. The eyes should be directed to the far
distant future, and there should be something approaching to
ecstacy in the expression, as of one who sees a vision not only
of material greatness, but of a land realizing the hopes of the
race under freedom regulated by law, all of which has been
assured by the sacrifice of those to whom the memorial is
erected.

On thinking over the representation of Peace with
the child in the photograph of your sketch, it appears too crude
and definite, and perhaps too conventional. If my idea is
carried out an olive branch or something of that sort in the
hand of the figure would be quite sufficient to suggest the idea.
What we desire to represent in the figure is something infinitely
greater than mere peace, which is after all not sufficiently
inspiring.

As to the figure of the Knight, of course no complete
idea could be got from the crude sketch, but his attitude seemed
to me that of a sentinel. Could not more be worked into that?

My thought still recurs to the designs in the Boston Library
of the Knight of the Holy Grail. The figure, as I recollect
it, is not completely armed, although there is enough to
plainly indicate what it is. I am attached to the thought
of representing, not a mature, armed, knight, but a young man
just going forth. Of course you will remember that those
who went out from College were boys in early youth.

I do not know whether all this will be at all
helpful, the fact is, it may all be impractical, but I send
this letter in the hope that it may possibly stimulate your
imagination, which may produce something better.

I think all of these ideas are expressed in Lowell's
Commemoration Ode, which I trust you will carefully study.

Yours very sincerely,

Sept. 5, 1917.

Professor Henry S. Gulliver,
51 Walnut Street,
Waterbury, Connecticut.

Dear Sir:

Mr. Beers has referred your letter of
July 21st, addressed to Mr. Russell, to me for
reply.

The name of Captain William Wheeler,
was omitted from the tablet in Memorial Hall at
the request of his family. I am told that the
Committee on the Memorial, and the University
authorities, hope that the objection will be with-
drawn at some future time, and that the name may
be added.

Yours very truly,