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Updated: June 19, 2025
Such marvels of rendering as Rodin could give us, before he lost himself in the effort to deserve that reputation as a profound thinker which has been thrust upon him, were not for Saint-Gaudens. The modelling of the morceau was not particularly his affair.
Saint-Gaudens gave me a cast of his medallion of Bastien-Lepage, and wrote to a friend of mine that "Bastien had 'le coeur au métier. So has Miss Terry, and I will place that saying in the frame that is to replace the present unsatisfactory one." He was very fastidious about this frame, and took such a lot of trouble to get it right.
I think a commonplace wreath and some lettering were substituted. Saint-Gaudens did the fine bas-relief of Robert Louis Stevenson which was chosen for the monument in St. Giles' Cathedral, Edinburgh. He gave my daughter a medallion cast from this, because he knew that she was a great lover of Stevenson. The bas-relief was dedicated to his friend, Joe Evans.
Augustus Saint-Gaudens was on the jury and immediately became interested in the talented boy who later on held the place of chief assistant in the Saint-Gaudens studio. He became instructor of the Art Students' League of New York in 1906, holding the position until 1911. He it was who made the new five-cent piece design the Indian head on one side, the bison on the other.
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. W.C. Ward. Plate 31. Saint-Gaudens.
I suppose a Saint-Gaudens might say that her mouth was too big and a Gibson might add that her nose hadn't the narrow rectitude of a Greek statue's, but she's a beautiful, a beautiful "woman" was the word I was going to write, but the word "animal" just bunts and shoves itself in, like a stabled cow insisting on its own stall.
Plate 26. Saint-Gaudens. But if the genius of Saint-Gaudens was primarily a decorative genius if it was, even, in his earlier work, a trifle picturesque, so that, as he said himself, he had "to fight against picturesqueness," his work was never pictorial.
Securing a great artist, Saint-Gaudens, to give us the most beautiful coinage since the decay of Hellenistic Greece was one such act. In this case I had power myself to direct the Mint to employ Saint-Gaudens.
Saint-Gaudens and the rest did their work as well as though the buildings were to endure for centuries instead of being burned in a year to save the trouble of pulling down! The World's Fair recalled to me the story of how Michelangelo carved a figure in snow which, says the chronicler Vasari who saw it, "was superb."
The figure is there beneath the drapery, but the drapery is expressive of the mood of the artist and of the sentiment of the work rather than especially explanatory of the figure. Plate 24. Saint-Gaudens.
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