WOMAN IN ART
frankly shows that her subject and method were classic. Mr. Lorado Taft points out, with no less appreciation than justice, that the slippered foot and iron ring indicating her a prisoner are brought out in strong relief, which in present day method would be merely hinted, giving the quality of a thought rather than a hard fact. The "Sleeping Faun" is considered her best work. She remained in Rome for seven years, returning in 1859.
A few other names suggest woman's efforts in the sculptural art, and are noteworthy because they form an initial group and pave the way in marble and clay for younger women who are bound to lift ideals and results higher for each generation into a field yielding more and more of originality.
Emma Stebbins was one of that initial group to handle mallet and chisel. Born in 1815, and Charlotte Cushman the year following, it is not known that they were neighbors or friends till they met in Rome, but the fact is that while one was making her reputation before an audience the other was making her reputation by being in the audience and studying the actress; for the bust of Charlotte Cushman made the reputation of Emma Stebbins as a sculptor. "The Boy Joseph" seemed resurrected in stone in response to her will and determination. The life-work of Horace Mann for and among children will be brought to the mind of anyone who views the statue of the world's pioneer educator, his fatherly arm around the shoulder of a small boy. This work by Miss Stebbins was charmingly placed on the grounds at St. Louis for the Louisiana Exposition of 1904. It belongs in front of the State House in Boston.
In Central Park, New York, is another work of her hand, one of the figures of the beautiful fountain called "The Angel of the Waters." Her work ended in 1882. She was forty-two before attempting sculpture.
Margaret Foley, another of that early group, exhibited at the Centennial Exposition at Philadelphia, 1876, a beautiful fountain of gracefully formed children playing in the water beneath tall-stemmed, overhanging leaves. The whole was most artistically placed in the Horticultural Hall. The basin of her fountain represented overlaying leaves, and one of the children stood in the water up to her knees. The whole is a dainty and perfectly natural idea.
In marked contrast to the children of the Now was a powerfully strong head presenting the artist's idea of "Jeremiah the Prophet." Margaret Foley was working hard as an artist during the years that Charles Sumner was doing splendid work as a statesman, and naturally the young woman from Vermont put her best power on the bust of the powerful man of Massa-
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