It may be a quiet day at Gettysburg with only a few hundred visitors scattered through its tens of thousands of acres, while on other days the visitors are numbered by thousands. But the biggest group anywhere, any time, will more than likely be found around North Carolina’s memorial. That was the case on a day this summer. It was a quiet day, but there were dozens before the five bronze giants, silent dozens, studying the master’s work in reverent admiration. They were from Pennsylvania, New York, New Jersey, Ohio and Maryland, as their automobile licenses indicated. They murmured praise of the picture in stone and metal. The men doffed their hats unconsciously. All gazed into those faces of bronze--faces that seemed filled with life--and paid tribute to the likenesses of men--strong, purposeful, clean-limbed, clean-minded men--who had been their fathers’ and their grandfathers’ foes. Borglum had imagined them worthy foemen, indeed, and his genius had made his hands the servant of his thoughts. Borglum carves mountains into battle panoramas. Borglum will never carve anything to equal his Tar Heel heroes at Gettysburg. A year before the Gettysburg memorial was dedicated, a foreign-looking letter, postmarked Morges, Switzerland, came to Gutzon at San Antonio. As he was away at the time and it was Mrs. Borglum’s job to oversee his vast correspondence, she opened this letter with some curiosity. She uncovered a six-page autograph beginning, “My great, good friend,” and signed, “Affectionately, gratefully and devotedly yours, I. J. Paderewski.” The gist of the letter was that Paderewski’s compatriots desired to erect a monument “to the memory of Poland’s most generous benefactor, President Wilson”; that a competition had been staged; that the first prize had been awarded; that the prize winner’s model was “horrible”; and that, in despair of getting a satisfactory design at home, the committee had left the decision to the writer. The letter concluded: “My decision is that the statue of that great American should be done only by the greatest American artist, by the greatest living sculptor in the whole world.” By way of explaining Paderewski’s greeting and highly emotional signature, one should remember how close the two artists had become in their efforts to promote an association of mid-European republics.