In the year 1887 General William Tecumseh Sherman gave Saint-Gaudens eighteen sittings for a bust. Sherman had served with distinction in the Mexican War in 1846, and in May, 1861, at the outbreak of the Civil War, was appointed colonel of the Thirteenth U.S. Infantry. Rapidly promoted, he took part in many famous campaigns, and in 1864 became commander of the military division of the Mississippi. Assembling in 1864 his three armies, comprising over one hundred thousand men, near Chattanooga, he began an invasion of the State of Georgia, and finally, with 60,000 picked men, made his celebrated “March to the Sea,” from Atlanta to Savannah. The statue of Sherman was begun in 1890, but it was not until 1903 that it was finally erected at the entrance of Central Park in New York City. Led by a symbolic figure of Victory, the general rides forward on his charger. A speaking likeness of Sherman, the statue at the same time seems infused with the spirit of the great struggle, a spirit of invincible determination. It is a monument which may be included among the great equestrian statues of the modern world. “His horse is obviously advancing, and Sherman’s body, tense with nervous energy, is at one with the body beneath him, equally impressive of movement. The winged victory in every fibre quivers with the rhythm of oncoming resistless force.” In the Rock Creek Cemetery near the City of Washington is a figure which is not only one of the greatest productions of Saint-Gaudens, but unquestionably his most imaginative composition. This is the memorial erected by Mr. Henry Adams to his wife. The figure is seated and concealed by a loose garment which half veils the face. Saint-Gaudens once spoke of the figure as symbolic of “The Mystery of the Hereafter; it is beyond pain, and beyond joy.” Of this monument Henry Adams wrote to Saint-Gaudens: “The work is indescribably noble and imposing ... it is full of poetry and suggestion, infinite wisdom, a past without beginning and a future without end, a repose after limitless experience, a peace to which nothing matters—all are embodied in this austere and beautiful face and form.” The world now began to pour its offerings upon Saint-Gaudens. From Harvard University came the honorary degree of LL.D. and the tribute of Dr. Eliot, its president, who said in conferring it: “Augustus Saint-Gaudens—sculptor whose art follows but ennobles nature, confers fame and lasting remembrance, and does not count the mortal years it takes to mould immortal forms.” Degrees from the Universities of Yale and Princeton followed his Harvard honor; at Paris in 1900 he was awarded the medal of honor, “and at Buffalo in the following year a special medal was bestowed upon him, an enthusiastic tribute from his fellow artists, who sought lovingly to exalt him above themselves as the one man they regarded as the master of them all.”