Issue link: https://www.e-digitaleditions.com/i/216603
Fig. 1. This portrait of Thomas Crawford by Allyn Cox is in the Hall of Capitols mural in the ground floor of the House wing of the United States Capitol. ARCHITECT OF THE CAPITOL the stranger, who knew nothing of the accident during its shipping, might not dream that it was not fresh and whole from the artist's chisel. It is an exquisite work of art."5 Crawford's first show in the United States established his reputation and led to other commissions to sculpt mythological and religious figures. Unfortunately, because he was still a starving artist in Rome, he was unable to attend the opening of this first exhibit.6 Earlier in 1841, Charles Sumner visited his brother in New York City and met three intriguing young women: Julia, Louisa, and Annie Ward. The three daughters of Samuel Ward and Julia Rush Cutler were considered exceptionally beautiful and were known as "The Three Graces of Bond Street."7 Their home school education, liberal for the day, included ancient and modern languages. After their mother's early death, the young girls were raised by their strict Calvinist father, yet were free to pursue their particular personal interests and individual styles. On April 23, 1843, Sumner stood by his close friend Dr. Samuel Howe (physician, abolitionist, and educational reformer) when Howe married Julia Ward, who later gained fame as the author of the "Battle Hymn of the Republic" and the "Mother's Day Proclamation." Through his friendship with Sumner and Greene, Crawford met all three sisters. Annie traveled with the newlyweds on their honeymoon voyage to Europe. Middle sister Louisa Ward set sail for Rome in December 1843, accompanied by her father's cousin, George Washington Greene, Crawford's old friend and patron who was now the American ambassador to Italy. Crawford's studio was the family's first point of interest in Rome. They immediately became part of Crawford's social circle and attended many of the same cultural gatherings and salons where he had the opportunity to meet, court, and fall in love with Louisa. Later that year, Crawford returned to New York City to pursue his courtship. In November 1844, Crawford married the New York heiress, much to the chagrin of her uncle and guardian, John Ward.8 Crawford did not have the wealthy background or the education that Ward envisioned for the husbands of his nieces. In Rome, the following year, Crawford carved a graceful marble bust of Louisa that was the expression of his undying love for his SUMMER 2013 Fig. 2. Senator Charles Sumner, photograph by Julian Vannerson, published in McClees' Gallery of Photographic Portraits of the Senators, Representatives and Delegates of the Thirty-Fifth Congress (Washington, D.C., 1859). LIBRARY OF CONGRESS new bride (fig. 6). The bust looked as though it was made of delicate porcelain and was carved with exquisite flowers gracing her flowing veil. Crawford gave it as a kind of peace offering to her uncle John. The gift helped the sculptor gain greater recognition when the remarkable bust was exhibited in New York at the American Art-Union in 1849 and at the New York Crystal Palace exhibition in 1853.9 Thomas and Louisa returned to the United States in 1849 when a Boston paper announced the competition for a monument in Richmond, Virginia to honor George Washington. With the deadline fast approaching, Crawford modeled an equestrian Washington and sent it off to Virginia. The Virginia commissioners also wanted to honor six of their most prominent statesmen with statues around the base of the monument.10 Knowing that he had competition, Crawford made a special trip to Richmond to further his case. His efforts paid off and he was awarded the commission.11 The monument includes a realistic, historical figure of Washington mounted on his horse,12 six full-length statues, shields, and thirteen wreaths and stars (fig. 7). Crawford worked mainly in marble, but realized bronze was the best material for outdoor sculpture.13 Work for his first bronze casting began in 1850 and was completed by February 22, 1856.14 Before his death in 1857, Crawford completed only the equestrian Washington and the figures of Patrick Henry and Thomas Jefferson and the plaster casts of John Marshall and George Mason; sculptor Randolph Rogers oversaw the casting of Marshall and Mason and supplied his own statues of Thomas Nelson and Andrew Lewis.15 American sculptors were needed as the Capitol building progressed in the 1850s. Captain Montgomery Meigs, the engineer and officer in charge of Capitol commissions, requested the names of potential sculptors from Sen. Edward Everett (MA), a former THE CAPITOL DOME 17