WOMAN IN ART
chusetts. Her success, as expressed by Tuckerman, could not have been more satisfying to any artist. He has said, "It is unsurpassable and beyond praise!"
Miss Foley made a number of bas-reliefs of the poets, Bryant and Longfellow, and others.
Winnie Ream Hoxie, born in 1847, did, as we have seen, very little painting, and elated with her first efforts all too soon, embarked for Europe. Over there she discovered that sculpture was her workable gift. She was undoubtedly gifted, or she would never have received the order from Congress for a statue of Lincoln when she was but fifteen years of age. Though immature in some respects, it had strength enough to hold its place in Statuary Hall, Washington.
To touch more adequately on nineteenth century sculpture by women, we refer again to its use and display in the Woman's Building at the Columbian World's Fair in Chicago, as being the first use of note.
Mrs. Hoxie was represented in the Hall of Honor in that building by a bust typifying America, the stars and stripes draped over one shoulder. It is an exquisitely modeled head, commandingly set upon the shoulders, but it is the head of a Roman of high rank. "Miriam" and "The West" were also Mrs. Hoxie's work. The latter is a full length figure of a young woman, a sheaf of grain at her back, husked ears of corn at her feet, implements of industry in the right hand and left arm, armed as it were to promote progress in the West.
There were busts of some of America's most ardent workers for the uplift of humanity; women who have put brain and shoulder to the wheel of progress; strong charactered faces, gone already from earth, but whose influence pervades, and will long prevail in the civilization of this country and the world. Those busts represent Lucretia Mott, Elizabeth Cady Stanton, Dr. C. B. Winslow, Susan B. Anthony and others.
The building that housed the arts and crafts work of women of the world in 1893 should be considered under the head of woman in art, for architecture such as that was indeed a work of art.
Miss Sophia G. Hayden of Boston, a graduate of the School of Architecture of the Massachusetts Institute of Technology, was the designer and architect of the building. It was no amateur or student's work, but was selected for its skill of detail, no less than for its grace and harmony. Though she was unknown to the profession in general, they readily passed upon
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