The Sculptor Who Brought Dead Civil War Heroes to Life

Augustus Saint-Gaudens's masterful statues allow Americans to come face to face with Lincoln, Sherman, and other legendary figures as they stroll through city parks.

Shortly after the Civil War, Memorial Day was established to remember the Union dead.

The cemeteries of those killed at Antietam, Cold Harbor, Gettysburg, and other hallowed grounds are evocative of the great conflict, but so are the statues of Civil War heroes created in the late 19th century by Augustus Saint-Gaudens, considered by many the greatest American sculptor.

These huge works in bronze -- of Lincoln, Sherman, Farragut, Logan, and the war's first black regiment and its colonel -- occupy prominent public spaces on the Boston Common, New York's Central and Madison Parks, and Chicago's Grant and Lincoln Parks. For those able to transcend hot dogs, beer, car races, and spring frolics on Memorial Day, they stimulate powerful remembrance and reflection on a tumultuous epoch that spawned a second American Revolution -- one that, in the words of Lincoln, was truly "dedicated to the proposition that all men are created equal."

Saint-Gaudens was born in 1848 in Dublin, but immigrated to New York with his Irish mother and French father the next year, where his father plied his trade as a shoemaker. The young boy experienced the Civil War era in ways that stirred strong emotions. He saw Lincoln speak at Cooper Union in the 1860 presidential campaign. From his window, he watched as volunteers from New England marched south to join the Army of the Potomac singing "John Brown's Body." He witnessed the bloody New York draft riots of 1863. And, in 1865, he paid respects to the slain president lying in state on a bier at City Hall -- only to return to the end of the long line to view the body again.

After studying at art schools in New York and apprenticing as a stonecutter of small cameos, in 1867 Saint-Gaudens was sent by his parents to Paris, where he studied at the prestigious Ecole des Beaux Arts, which was then challenging the ideals of classic sculpture with more realistic forms from the Renaissance. (Despite his French father and French training , his name is pronounced in the American, not the French, idiom: Saint Gaw-dens.) Saint-Gaudens is a central figure in David McCullough's delightful account of American artists in France in the second half of the 19th century, The Greater Journey: Americans in Paris (Simon & Schuster). He also studied Greek, Roman, and Renaissance figures in Rome before receiving his first great public commission in 1877.

That work was a huge statute of Admiral David Farragut, commander of the Union fleet at the battle of Mobile Bay and famed for exclaiming , while lashed to the mast so he could see and command his ships, "Damn the torpedoes, full steam ahead!" The statue was unveiled on Memorial Day 1881 in New York's Madison Square and won Saint-Gaudens instant fame for its naturalistic depiction of the admiral standing as if on deck, flinty and weather-beaten, one hand grasping field glasses, his coat blowing open in the wind.

After this striking debut, Saint Gaudens was for the next 20 years the sculptor of choice for larger-than-life public statues of great Civil War leaders.

In 1887, his "standing Lincoln" was unveiled in Chicago's Lincoln Park. Inspired by a newly discovered life mask of Lincoln, it shows the president standing before a chair with a pensive expression, one hand on his lapel,,about to speak. Again, the work is striking for the realism of the personality, which cut through the hagiography that had accumulated since the assassination, and is considered the finest sculptural rendering of Lincoln's face. A replica stands in London's Parliament Square.

His portrayal of General John A. Logan, unveiled in 1897 in Chicago's Grant Park, is a dramatic equestrian statue, with his horse pawing the ground and the general, back arched, holding a battle flag high in his right hand. Logan served under Sherman. After the war, he was head of the Grand Army of the Republic, the organization of Northern war veterans, and was an early advocate of a memorial day to honor the war dead.

In the Grand Army Plaza at 59th Street and Fifth Avenue in New York stands Saint-Gaudens' powerful statute of General William Tecumseh Sherman, unveiled on Memorial Day 1903. The indomitable scourge of the South rides hatless with a look of iron purpose on his face.

But the fifth of Saint-Gaudens' public Civil War monuments -- considered by some art historians to be the finest piece of American sculpture -- is not of the president nor his military leaders. Rather, it is a tribute to Colonel Robert Gould Shaw and the 54th Massachusetts Infantry, the first Union regiment made up solely of African-Americans. This black unit, 900 strong, gained fame and glory by its attack on Fort Wagner outside of Charleston in 1863. Shaw was killed leading his men up the parapets, and more than half the soldiers were killed or wounded. The striking bronze relief was dedicated on Memorial Day 1897 on the Boston Common, near the site where Colonel Shaw and his men had marched off to their destiny. Saint-Gaudens was so consumed by the power of these events (the subject of the 1989 movie, Glory) that he made models of 40 African-Americans so he could represent each of the black soldiers as a distinct, dignified individual.

Presented by

Ben W. Heineman Jr.

Ben Heineman Jr. is is a senior fellow at the Belfer Center for Science and International Affairs, in Harvard's Kennedy School of Government, and at the Harvard Law School's Program on Corporate Governance. He is the author of High Performance With High Integrity.

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