comment of a sculptor, looking at a modernist figure whose drapery was made by strings. [Illustration: THE GOLDEN HOUR BY RUDOLPH EVANS] CHAPTER VI OUR EQUESTRIAN STATUES Our forefathers’ first fond national desire in sculpture was for an equestrian statue of Washington, by Houdon; a wish never to be fulfilled. The Congressional impulse of 1783 was sobered on counting up the cost. It came to nothing until two generations had passed; and it came to very little even then. Today, our country is sometimes called the paradise of the equestrian statue. If any such paradise exists among us, it has been created since 1853, when Clark Mills, “never having seen General Jackson or an equestrian statue,” at last succeeded, after heart-breaking difficulties, in casting in bronze the first equestrian statue ever made here. With what passionate dithyrambs Benvenuto Cellini would have told the world of such a feat, had it been his! How breathlessly he would have described the breaking of cranes and the bursting of furnaces and the six tragic failures in the body of the horse before the old cannon captured by Andrew Jackson were finally translated into the supposed immortality of the equestrian group in bronze! General Jackson and his horse are still balancing themselves at leisure in front of the White House; it is perhaps needless to report their aspect as a thing more strange than beautiful. No one thinks this work a triumph of art, but every serious student knows it as a much needed initial victory over the hard conditions of bronze casting. You may call the group bizarre and unsophisticated in effect, as well as wholly mechanistic by first intention; but you cannot take from it the honor of being first in our long procession of equestrian statues, some of them forms of the very highest distinction. And you will not fail to observe the amazing improvement in style that has somehow taken place by the time our second equestrian appears; Brown’s Washington, though coming but three years after the Mills Jackson, remains among our fine examples in sculpture. Not so number three, the Mills Washington, belated and inadequate response to the Congressional resolve in 1783; least said, soonest mended. Better fortune came with number four, the Ball Washington, long the pride of Boston. II