When making a statue or a portrait bust in marble, he would first model it in clay from life. Then a plaster cast from the clay figure was made by the studio help. The stone cutter used the plaster figures to measure from and, with the aid of a pointing machine (with three points), he would cut the stone to within an inch of the finished surface in some parts. Then Mr. Borglum would take over, working with mallet and chisel direct from the model upon the marble. If a defect in the marble showed up (which in my experience occurred only in the cream-colored Maryland marble), he would cut deeper and set the whole figure back or change the pose slightly to escape the flaw. To do the finishing he used fine tools and sandpaper, every now and then wetting the marble with a sponge to help bring out the lifelike effect he was striving for. His high ideals inspired me to do my best to express in the pose the spirit of the idea he was portraying in the marble. I consider it an honor and a great privilege to have worked for him. An entertaining character who worked in the studio and slept there was a Japanese called “Humbo” by the others; and there was another student from Japan, scholarly Takamura, who was admitted by an introduction from Daniel Chester French and a somewhat exceptional letter written by himself. This notice had begun: If you will not take me, I must greatly disappoint myself. I must have no work, no study, no hope, no pleasure. My coming to this country must end by all in vain. Please, please let me have your favor, just like Mr. Honpo. I do not care much of money. I shall be quite satisfied with only a little, if you could. I will do anything you order. Pray accept my request, sympathising with a lonely little soul from a far country over the sea. Other models included young Lieutenant Phil Sheridan, who spent many hours posing for the equestrian statue of his father in Washington. Among the horses were Smoke, a Virginia hunter, and Halool, a thoroughbred Arab imported by Walter Davenport, the cartoonist. These horses wandered about the studio on the days they were needed, and were perfectly gentle. They were kept at a riding academy in the park where Gutzon occasionally rode bareback with a group of army men. Edith Wynne Matthison, the actress and a dear friend, posed for the heroic-sized figure called “Rabboni” in Rock Creek Cemetery at Washington. That figure is in startling contrast to the beautiful, brooding figure of the Adams Memorial by Augustus Saint-Gaudens in the same place. The “Rabboni” expresses joy and hope, while the other is complete negation. Still others who came to pose were the Mortimer Schiff children of whom the sculptor made a portrait relief to accompany the portrait of the Jacob Schiff children made in the previous generation by Saint-Gaudens.