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Updated: June 1, 2025
Davy is wonderfully improved since you saw him at Bristol: he has an amazing fund of knowledge upon all subjects, and a great deal of genius. Mr. Greenough has not, at first sight, a very intelligent countenance, yet he is very intelligent, and has a good deal of literature and anecdote, foreign and domestic, and a taste for wit and humour. He has travelled a great deal, and relates well. Dr.
The tragedy of Greenough's life was the fate of his great statue of Washington, of which we have already spoken. He conceived the work on a high plane, "as a majestic, god-like figure, enthroned beneath the dome of the Capitol at Washington, gilded by the filtered rays of the far-falling sunlight." Perhaps it was too high, but on its execution Greenough labored faithfully for eight years.
There was Ussher there also, sitting next to George Brown, who was a friend of his much more intent, however, on his own business than that which had brought the others here; and Greenough, the sub-inspector of police, from Ballinamore; and young Fitzpatrick, of Streamstown, who kept the subscription pack of harriers; and a couple of officers from Boyle, one of whom owned a horse, for which he was endeavouring to get a rider, but which none of those present seemed to fancy; and there was Peter Dillon, from beyond Castlebar, who had brought up a strong-looking, long-legged colt, which he had bred in County Mayo, with the hope that he might part with it advantageously in a handicap, to some of those Roscommon lads, who were said to have money in their pockets; and there were many others apparently happy, joyous fellows, who seemed not to have a care in the world; and last, but not least, there was Hyacinth Keegan, attorney at law, and gent.
SALOON. That eminent pioneer of American sculpture, brilliant talker, and accomplished gentleman, the lamented Horatio Greenough, was indignantly eloquent against the American abuse of this graceful importation from France, applied as it is in the United States to public billiard-rooms, oyster-cellars and grog-shops. SUBJECT-MATTER. A tautological humpback.
The other day I was awfully mortified. Mr. Longfellow, who teaches us literature, explained all about rhythm, measures, and the feet used in poetry. The idea of poetry having feet seemed so ridiculous that I thought out a beautiful joke, which I expected would amuse the school immensely; so when he said to me in the lesson, "Miss Greenough, can you tell me what blank verse is?"
He said I was so polite as to say so, and then was silent, sitting on his end of the stone bench and looking grim at the sea. "Well," I says, "I've got nothing to speak of, a little money, no relations, but I'd hate to give up the idea of seeing Long Island Sound again, and the town of Greenough." "Your hope is a possession excellent," he says very quiet.
"The quill and I are divorced," he wrote to Greenough in June, 1833, "and you cannot conceive the degree of freedom, I could almost say of happiness, I feel at having got my neck out of the halter." Longings for his old sea-life often came over him. "You must not be surprised," he wrote, half-jestingly, to the same friend, "if you hear of my sailing a sloop between Cape Cod and New York."
What do you think Banneker would do?" asked Mallory curiously, addressing Burt. "If he got an assignment too rich for his stomach? Well, speaking unofficially and without special knowledge, I'd guess that he'd handle it to a finish, and then take his very smart and up-to-date hat and perform a polite adieu to Mr. Greenough and all the works of The Ledger city room."
Cooper asked if the subject would not lend itself to sculpture; afterwards one of his daughters copied the figures, and the result of the mutual interest in the design was an order from Cooper for a group which in a few months Greenough executed in marble. It was exhibited in America under the title of "The Chanting Cherubs."
Akers was rather sharply critical of his more famous brother-artists, such as Greenough and Gibson, and was accused by them, apparently not wholly without justification, of yielding too much to the influence of other geniuses in the designing of his groups.
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