Part 4 (1/2)
was the laughing rejoinder of an artist. ”At least that is the way it seems. And nearly all the pedestals for them were made by Stanford White.” In query and response there is a certain amount of justice. It is Augustus St. Gaudens's benevolent presentment of Peter Cooper that stands within the little park enclosed by Cooper Square. The name of St.
Gaudens is a.s.sociated with those of John La Farge, White, MacMonnies, MacNeil, and Calder in the making of the Was.h.i.+ngton Arch. To St. Gaudens belongs the equestrian statue of William Tec.u.mseh Sherman in the Plaza.
And here, in Madison Square, the Farragut statue is his. Unveiled in 1881, executed in Paris when the sculptor was thirty years of age, and exhibited in the Paris Salon of 1880, the Farragut is, in the opinion of Miss Henderson, the base upon which St. Gaudens's great reputation rests. ”And while,” she writes, ”in New York its merits are often balanced with those of the Sherman equestrian group, at the entrance to Central Park; the Peter Cooper, in Cooper Square; and the relief of Dr.
Bellows, in the All-Souls' Church--all later works--it has never had to yield precedence to any, but holds its own by force of its splendid vigour and youthful plasticity. It has the essential characteristics of the portrait, but so combined with the att.i.tude of the artist that the figure stands as much more than a portrait, having in it something more living, more typical, deeper than the mere outward mould of the man. St.
Gaudens's Farragut has the bearing of a seaman, balanced on his two legs, in a posture easy, yet strong. He is rough and bluff with the courage and simplicity of a commander; his eye is accustomed to deal with horizons, while the features are clean-cut and masterful. The inscription is happy: 'That the memory of a daring and sagacious commander and gentle great-souled man, whose life from childhood was given to his country, but who served her supremely in the war for the Union, 1861-1865, may be preserved and honored, and that they who come after him and who will love him so much may see him as he was seen by friend and foe, his countrymen have set up this monument A.D.
MDCCCLx.x.xI.'”
There are other statues in the Square besides the n.o.ble one commemorating the deeds of the hero of ”Full steam ahead, and d.a.m.n the torpedoes!” At the southwest corner there is a bronze one of William H.
Seward, Lincoln's Secretary of State, the work of Randolph Rogers. The effigy of Roscoe Conkling, by J.Q.A. Ward, is at the southeast corner.
Cold and proud is the stone as the man was cold, and proud, and biting.
What chance had haranguing abuse against his icy: ”I have no time to bandy epithets with the gentleman from Georgia”? Then there is the drinking fountain by Emma Stebbins, given to the city by the late Catherine Lorillard Wolfe, and the Bissell statue of Chester A. Arthur.
No other structure in the city is so many different things to so many different people as the Madison Square Garden. To the old-time New Yorker, who likes to babble reminiscently of the past, the site recalls the railway terminus of the sixties, when the outgoing trains were drawn by horses through the tunnel as far north as the present Grand Central.
To one artistically inclined the creamy tower, modelled on that of the Giralda in Seville, suggests the collaboration of St. Gaudens and White, and the surmounting Diana the early work of the former inspired by Houdon's Diana of the Louvre. To the more frivolous, the sportingly inclined, the seekers after gross pleasures, the Garden has meant the Arion Ball, or the French Students Ball, the Horse Show, Dog Show, Cat Show, Poultry Show, Automobile Show, Sportsman's Show, the Cake-Walk, the Six-Day Bicycle Race, or events of the prize-ring from the days of Sullivan and Mitch.e.l.l to those of Willard and Moran; Buffalo Bill and his Wild West Show, or the circus, the Greatest Show on Earth, with its houris of the trapeze and the saddle, and its animals, almost as fearful and wonderful as the menagerie of adjectives that its press-agent, the renowned, or notorious, Tody Hamilton, gathers annually out of the jungles of the dictionary. Also the interior of the vast structure echoes in memory with political oratory, now thunderous and now persuasive. Through the words directed immediately at the thousands that fought their way within the walls Presidents and candidates for president have sent ringing utterance throughout the land.
Opposite the Garden, at the southeast corner of Twenty-sixth Street, is the Manhattan Club, in a house that was formerly the home of the University Club, and adjoining it to the south, is the Appellate Court House, architecturally one of the city's most distinguished buildings.
Designed by James Brown Lord, it was completed in 1900, at a cost of three-quarters of a million dollars. Among the men whose work is represented in this home of the Appellate Division of the Supreme Court for the City and County of New York are Maitland Armstrong, Karl Bitter, Charles Henry Niehaus, Charles Albert Lopez, Thomas s.h.i.+elds Clarke, George Edwin Bissell, Philip Martiny, Robert Reid, Willard L. Metcalf, Henry Augustus Lukeman, John Donoghue, Henry Kirke Bush Brown, Edward Clark Potter, Henry Siddons Mowbray, Frederick W. Ruckstuhl, Herbert Adams, George Willoughby Maynard, Joseph Lauber, Maximilian M.
Schwartzott, and Kenyon c.o.x.
The old home of the Madison Square Presbyterian Church was in the block between Twenty-third and Twenty-fourth Streets. Then, on the northeast corner of the latter street stood one of the last surviving residences recalling the days when the Square was the possession of Flora McFlimsey and her kind, the old brown-stone dwelling of Catherine Lorillard Wolfe.
The Wolfe property, offered for sale, was purchased by an official of the Metropolitan Company, and an exchange was effected by which the church relinquished its old site and moved to the northern corner. The present church was designed by Stanford White, who met his death in 1906, the year before the formal dedication. With its grey brick exterior, showing repeatedly the Maltese Cross, its interior following the spirit of the Mosque of Santa Sophia in Constantinople, and its mural paintings and windows, many of them the work of Louis C. Tiffany, it is one of the most beautiful of all the city's edifices for religious wors.h.i.+p. But to the casual eye it is quite lost on account of its proximity to its gigantic neighbour.
The traveller approaching Paris can see from miles away, the apex of the Eiffel Tower outlined against the sky. The eye of one nearing New York, whether his point of observation be the deck of an incoming steamer, or a car-chair in a train arriving from the West, is met first by the cl.u.s.ter of skysc.r.a.pers at the southern end of the island, and then by a shaft vastly more conspicuous by reason of its isolation, the tower of the Metropolitan Building. Whatever artists may think of it--and there is division of opinion--that tower is, structurally, one of the wonders of the world. Rising seven hundred feet above the sidewalk, topping the Singer Building by ninety feet and being outclimbed only by the Woolworth Building (seven hundred and ninety-two feet), the tower is seventy-five feet by eighty-five at its base, and carries the building to its fifty-second story. Exactly half-way between sidewalk and point of spire is the great clock with the immense dials of reinforced concrete faced with mosaic tile, each twenty-six and a half feet in diameter, with the hour hand thirteen and a half feet long, weighing seven hundred and fifty pounds, and the minute hand seventeen feet long and weighing one thousand pounds. At night the indicating flashes, the hours in white, the quarters in one, two, three, or four, red, may be seen at a distance of twenty miles.
But nearer at hand, as the hours creep one by one towards the dawn, are the derelicts of the Square, dozing fitfully on the park benches. In waking moments their dull eyes watch the illuminated face, and the hands pus.h.i.+ng forward to another day. The spectacle moved one of them, Prince Michael, heir to the throne of the Electorate of Valleluna, in O.
Henry's ”The Caliph, Cupid, and the Clock,” to pessimistic utterance.
”Clocks,” he said, ”are shackles on the feet of mankind. I have observed you looking persistently at that clock. Its face is that of a tyrant, its numbers are false as those on a lottery ticket; its hands are those of a bunco-steerer, who makes an appointment with you to your ruin. Let me entreat you to throw off its humiliating bonds and to cease to order your affairs by that insensate monitor of bra.s.s and steel.”
Sang Sara Teasdale:
”We walked together in the dusk To watch the tower grow dimly white, And saw it lift against the sky, Its flower of amber light.”
CHAPTER VI
_Some Great Days on the Avenue_
Some Great Days on the Avenue--Pictures and Pageants--When a Prince Came Visiting--A Regiment Departs--Honour to the Captains--Funeral Processions--Receptions--Dinners--The Orient and the Avenue--When Admiral Dewey Came Home--Greeting a Marshal of France--The Roar of the City and the Guns of the Marne.
In the stirring times in which we are living, it seems as if every day is a great day on the Avenue. Take a single example: The morning broke dark and threatening. Heavy clouds presaged showers. But after an hour or two they pa.s.sed from the heavens, and warmth and golden suns.h.i.+ne came. In the course of various activities the writer made his way to points between the Battery and Fifty-ninth Street, and the means of travel employed included three journeys on top of Fifth Avenue buses. If one of the early settlers could only have seen the proud and amazing thoroughfare!
The air vibrant with excitement. Flags everywhere. Tens of thousands of the Stars and Stripes. Thousands of Union Jacks and Tricolours of France. Hundreds of pavilions of Italy and Belgium. Every few yards gaily decorated booths from which smiling women or l.u.s.ty-lunged men harangued the pa.s.sers-by to ”come across or the Kaiser will.”
On a platform erected on the steps in front of the Public Library a slight figure in kilts addressing a swaying, surging crowd. As the bus, held up for a minute by the cross-town traffic, stopped, we could hear the pleasing burr of Harry Lauder. Two hours later; a mile and a half farther downtown. The sound of a band in the distance. The horses of the mounted policemen forcing back the curious thousands to the curb. A regiment of regulars, two regiments of militia, and then, swinging along lightly in loose step, a handful of men in soiled blue, Cha.s.seurs a pied of France, who, at Verdun, in the Vosges Mountains, and on the Picardy front, had lived splendidly up to the traditions of the men with the hairy knapsacks and the hearts of steel whose tramp had shaken the continent of Europe one hundred years before.