The Sherman group (Pl. 32), though it has been more criticised than the
"Shaw Memorial," seems to me, if possible, an even finer work. The main
objection to it has been that it is not sufficiently "monumental," and,
indeed, it has not the massiveness nor the repose of such a work as
Donatello's "Gattamelata," the greatest of all equestrian statues. It
could not well have these qualities in the same degree, its motive being
what it is, but they are, perhaps, not ill exchanged for the character
and the nationalism so marked in horse and rider and for the
irresistible onward rush of movement never more adequately expressed. In
all other respects the group seems to me almost beyond criticism. The
composition--composition, now, in the round and to be considered from
many points of view--builds up superbly; the flow of line in wing and
limb and drapery is perfect; the purely sculptural problems of
anatomical rendering, equine and human, are thoroughly resolved; the
modelling, as such, is almost as fine as the design.
[Illustration: Copyright, De. W.C. Ward.
Plate 31.--Saint-Gaudens. "Shaw Memorial."]
To the boyish Saint-Gaudens Sherman had seemed the typical American
hero. To the matured artist he had sat for an admirable bust. The
sculptor had thus an unusual knowledge of his subject, a perfect
sympathy with his theme; and he has produced a work of epic sweep and
significance.
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