Fellow-Citizens, and Gentlemen,
Professors and Cadets of the

Virginia Military Institute. We come up to perform the duty of placing on its pedestal a copy in solid bronze of Houdon's marble statue of George Washington, which the Commonwealth has dedicated to her Military Institute.

As Virginia's Chief Magistrate, here in this beautiful mountain place, called by a name which reverberates the reports of the first guns of the Revolution; this day of Independence, a political Sabbath fit for the solemn rites-I devoutly inaugurate this ceremony of pious patriotism.

We come not either to bury or to praise a Cæsar:-we come not like Romans to solemnize the apotheosis of an Emperor, or the canonization of a Saint; but as Christians, as citizens of the United States; as more than citizens--as children of the family of the State where he was born and is buried; as sons and daughters of the Liberty his valor and wisdom won: to bow reverently before the Virtue which hallows and embalms the memory of our country's Father!

Virginia was not unmindful of the grateful duty of transmitting to posterity the personal image of the greatest and best of her sons. Her Legislature resolved as early as 1784 that her Executive should be charged with the trust of procuring "a statue of Gen. Washington, of the finest marble and best workman

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ship, with an inscription on its pedestal in these words:

"The General Assembly of the Commonwealth of Virginia have caused this statue to be erected as a monument of affection and gratitude to George Washington, who, uniting to the endowments of the hero the virtues of the patriot, and exerting both in establishing the liberties of his country, has rendered his name dear to his fellow-citizens, and given the world an immortal example of true glory."

This inscription, which we are told was written by James Madison, is as simple in its language as it is sublime in its sentiment. It was to be a monument of 'affection and gratitude," erected-not to the man-but to the 66 endowments of the hero;" and not to the qualities alone, but to their 'exertion' also-the labors, the action "in establishing the liberties of his country" and rendering his name-not immortal, not famous even, but-"dear to his fellow-citizens." That which it speaks of as "immortal" is not the man nor his name, but "the example of true glory" which he had given the world ;—that, that alone true piety and good taste could dare to call "immortal !"

The Governor, Ben: Harrison, selected the two fittest agents, Thomas Jefferson and Benj. Franklin, then in Paris, to employ the best artist in Europe and to ornament the monument with proper and fit devices and emblems. The eminent

statuary, M. Houdon, was sent to the U. States "to see Gen. Washington." Nothing short of ocular inspection would suffice; no painting by Peale would do; the statuary alone, not the limner, could make the proper and fit devices and emblems to ornament the work of his own chisel. With the artist as well as the State the undertaking was not so much one of contract as it was "a labor of love." The master of fine arts was a lover of liberty, and venerated him who was the greatest champion of the rights of man and the freedom of States. He retired from a royal court; declined imperial patronage and princely orders; denied himself the profits of the most extensive European orders for "every thing which was capital;" left a family poor and dependent; incurred a certainty of loss; and made a pilgrimage, purely of inspiration, to America, to perpetuate the mouldering form. of him who alone among men had won the fair title to be called a country's Father. His life was insured, and in the event of his death before his return to Paris 10,000 livres were secured to be paid to his father, mother and sisters. He was about 35 or 40 years of age; but he was an invalid, and this sum to his family was a sine qua non, for they had no resource but in his labor; and, though without rivalship in his art, his chief excellence was that he was "disinterested, generous, candid and panting for gloryhe was one of the BEST men in the world." These were the winning characteristics which made him "in every circumstance meriting the good opinion of Washington" in the testimony of Mr. Jefferson.

About August or September, 1785, he arrived at Philadelphia, in company with Dr. Franklin. His materials not having reached Havre when the ship sailed, he was compelled to remain for a time to supply himself in Philadelphia, and thus did not reach Mount Vernon until after September. Washington saluted him immediately on his arrival. He said he was informed of the occasion of his visit, and, though his modesty disclaimed seeking the cause of it, he frankly expressed that he felt "the most agreeable and grateful sensations;" he complimented

him by wishing "his mission had been more worthy of the masterly genius of the first statuary in Europe; welcomed him to the seat of his retirement, and promised him every aid in his power." He was at Mount Vernon, probably, in the month of October or November, 1785, and returned to Paris before the 4th January, 1786. There and then, he modelled the model man by actual admeasurement ! He applied the callipers to and made a cast of the entire person. Washington, it is said, was annoyed by the particularity of the copy, but Houdon faithfully persisted, and the hero and the sage, the man of supreme dignity, of spotless purity and the most veiled modesty, laid his sacred person bare and prone before the eyes of art and affection. An actual, exact copy of the material man, Washington, was made by the master modeller, M. Houdon. Thus, the work was original and authentic in the highest and truest sense.

This, though, was but mechanical and mathematical. This was but art collecting its materials, drawing its outlines, framing its skeleton, measuring length of limb, clothing bone with muscle and muscle with skin, so that

"From lines drawn true our eye may trace A foot, a knee, a hand, a face."

may

But more was wanting; for, as in painting the picture may want the colouring, the Titian stroke, the Guido air, the je ne scais quoi of beauty; so in statuary, the form may be there, but it may not be a breathing form, it may not act, it not speak, it may not glow with warmth. Deity had breathed into the man the breath of life and given to him the "countenance sublime," and the genius of the divine art had to give to the marble the countenance of the man. He, Houdon, did it, and there in the Capitol of Virginia stands Washington! In Houdon's marble we have the form and feature, the limb and lineament, the configuration and proportion, the stature and posture, and we have, enlivening all, illumining all, the mien and manner and majesty of the man:-the breath as well as the body, the grandeur of the moral

greatness of the very soul and spirit of the living Washington! The very original person, so exactly moulded; the very spirit and intellect and moral man, so caught warm from flesh and blood and so transfused to marble as to make it glow with life and likeness, were taken; the cast of the body was left to the care of his workmen, to be carried to Europe, and that of the face was taken in his own care, he saying, as the story is, "that if that went down in the deep he would go along with it." The figure was in the nude state, it needed costume and drapery and to be decorated with emblems. This is inferred from the fact that Mr. Jefferson, in a letter of the 4th of January 1786, wrote to Gen. Washington to ascertain his wishes respecting the particular dress and attitude to be adopted. It was not until the 1st of August of the same year that the General replied. The letter is remarkably characteristic of the man. It is diffident-disclaims "sufficient knowledge in the art of sculpture to oppose his judgment to the taste of connoisseurs; he would be perfectly satisfied with whatever might be judged decent and proper," these were words of peculiar import in his meaning:- he would scarcely venture to suggest the inexpediency of a servile adherence to the garb of antiquity as opposed to some little deviation in favor of the modern costume, if he had not learned from Col. Humphreys that this was hinted in conversation by Mr. West to Mr. Houdon. He understood that this taste, introduced in painting by West, was received with applause and prevailed extensively." This, doubtless, mainly decided the character of the costume, which has been so badly criticised by a false taste. Houdon had seen Washington; "decent and proper" were his ideas of the mode. West had conversed with Houdon. Two genuine Americans, of pure, patriotic taste, Jefferson and Franklin, were superintendents of the work. These circumstances and the fact that Houdon was a true master determined the dress, the attitude and the emblems. The figure is preserved by the tight fit of the dress, so as to display the outlines of the body and of every limb. The State

resolves were looked to and the Governor it is seen was ordered to procure a statue of "Gen. Washington;" and in the order to Mr. Peale, he was to take a copy of the picture" of the late Commander-inChief," to be transmitted to Mr. Jeffer

son.

The "General," the "Commanderin-Chief" was to be represented; the costume, therefore, is that of the military man. He is in the regimentals of Gen'l Washington. But he was more than military, he was citizen too-a citizen-soldier-General and Commander-in-Chief; he, therefore, has not the sword belted on; but, though in military coat and epaulettes, though booted and spurred and gloved for service, he has a citizen's cane in his right hand, and the unbelted sword hangs in view but not on his person. Peace was the end of his warfare-the conquest of right his aim-the sword was irksome to him, and he laid it aside whenever and wherever he could rest for a moment on a stay of civil life.

The costume is "decent and proper," and the emblems are as significant as they are simple. They tell their own meaning. I have not been able to find any record of their design, by Houdon himself or by Mr. Jefferson or other person, and I, therefore, am left to give my own interpretation of them. Washington stands on the mother earth, the plough-share placed on the left by his foot. These signify the idea of "Coun try"-that most endearing and precious word of patriotism. They imply also the favorite, Cincinnatus-like occupation of the man, agricultural tillage, the arts of husbandry and humble industry and labor, the foundations of prosperity, of plenty and providence, and independence for a people; and they point higher up to God, reminding us of the source whence we came, and of our lot in life, and to what we must return; man's origin, his duties, his dependence and his end. Upright on the ploughshare rests the baggage roll of a tent or marqueé, in a bundle of fasces bound around by broad canvass straps, forming a pillar, denoting Union and Strength-the idea of the "E pluribus unum." On that pillar hangs the sword at rest; over it is thrown

Washington's military mantle, and over all he leans upon that pillar with his left arm. God! Man! Mother earth! Country! Dependence upon Industry, Labor and Union! These are the ideas conveyed to me by these emblems.

The attitude of the person is that of a mood of high thought, calm but elate and roused to attention, taking a far-seeing survey of distance and expanse before him. His expression is grave, but serene; composed, but earnest and intense; still, but prepared for action; waiting, but ready at a moment; he is in standing repose and cooling the brow with bare front, with no chapeau in sight, but with sword within reach. Wisdom and providence are in his look, and a consciousness of collected strength in his whole posture and presence. Firmness sits upon his lip and chin, fortitude on his cheek, thought on his brow; and, yet, a surpassing sweetness pervades the whole face which makes us feel

"How awful goodness is and see Virtue in her shape how lovely."

In 1783 Congress resolved upon a Washington statue, equestrian, in bronze. This M. Houdon expected to be employed to execute. In his letter of July 12th, 1785, to the Virginia delegates in Congress, Mr. Jefferson presented Mr. Houdon, with the assurance that he would not have undertaken the voyage for the pedestrian statue, had he not been assured of his "recommendations for the greater work." The equestrian has never been begun. Another, which Congress ordered to be erected on the spot of the sur render of Cornwallis, at York Town, to be ornamented with the arms of France and of the United States in alliance, has never been more than resolved upon. The statue, by Canova, for North Carolina, was burnt. Chantrey's, at Boston, is like that of Canova, only the ideal Washington of the artist. The monument at Baltimore is but a magnificent pile of marble. The colossal, by Greenough, in Washington City, is naked-olympic, not

earthly-heathenish, not Christianwould not have done for Rome, because inscribed with bad Latin, and is not fit for the capitol of the United States, because it is not American. It is a monstrous imitation of something mythological-what, no classics tell of. It is an undefinable "Simul Istud."* Our statuary in the United States is curious in its history. The Italian who wrought the four basso releivos of the rotundo of the capitol, told a story of our settlement which he wotted not of until they were interpreted by an Indian. Over the East door is the old world coming to the new: an old man landing from a boat on a shore where stands an Indian offering him an ear of corn. Over the north door is Wm. Penn treating with Indians under the oaks of the virgin forest. Over the west door is Pocahontas saving Captain Smith. Over the south door is Daniel Boone in the act of slaying one Indian warrior, with his foot upon another slain. "True, true, true!" exclaimed the Red Man-"there," pointing to the east door, "you came and we gave you corn:""there," pointing to Penn, "you met us in treaty and cheated us of our lands." "There," pointing to Capt. Smith, we saved your life; and, there," pointing to Boone, "you take our lives as well as our lands !!!!" The "old man eloquent," Tristam Burgess of Rhode Island, speaking on Indian relations on one occasion in the House of Representatives, alluded to Boone in contest with the two Indian chiefs, and in reference to the fact that the fallen chief is very crowded in posture for want of room in the panel, he said "Mr. Speaker! the very statuary of your rotundo shows that you have not left the Indian ground enough to die on." Persico, the sculptor of Peace and War, and of the discovery by Columbus, told me that he once visited Richmond to see this statue of Houdon. A foreigner, and brought up in the meretricious school of Italian art, he was not prepared for the costume and drapery, which was thought "decent and proper"

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for America. He entered the vestibule of the State capitol where the statue stands, and whilst beholding it, turned to a friend and said in a foreign accent:"Ah! that head is sublime, it is grand, magnifique! but it does not belong to that shad-coat-that head ought to be cut off from that body!" One of the Virginia Guard standing near, thought an Italian, or Frenchman was saying Washington's head ought to have been cut off, and he immediately and violently seized the supposed culprit and was forcing him out of the door, when an explanation was made which avowed a bad taste, but no bad motive. So let it forever be with the Virginia guard! whether enlisted in the service or always standing sentinel at the gates of her honor and renown, let it never permit an irreverent allusion to George Washington!

The Houdon copied nature and followed truth, and will bear comparison with any single figure of the Italian or Greek school. Whilst it is simple in its taste of costume, drapery and emblems, it is most cunningly wrought; it is original and real, not imaginary; it is Christian, not heathenish; it is American, not classical; it is human, not mythological. Such is Houdon's Washington, so well did that one among the best of men and most eminent of artists transmit the form of the greatest human benefactor to posterity.

And its genius gave it attributive virtue. It has caused art in another. Houdon has transmitted Washington, and our own Virginia artist, Hubard, has transmitted Houdon. The bronze copy which we this day put upon its plinth is exact, and but little lower in the dignity of art than the great original in marble. Time and its mutilation had assailed the marble, pieces had already been broken off, fire was hourly threatening to destroy the work of the Master's hand and the only exact and authentic form of the mighty original, when the poetry as well as piety and patriotism of our own artist sought to insure the perpetuation to posterity, by a perdurable copy in bronze! Like Houdon's, Hubard's was a passionate performance. He is both a painter, and modeller in statua

ry, and artist-like is poor, with a wife to cherish and family of children to nurture and educate. He too "panted for glory," and saw the chance to snatch it in a cast from Houdon, as Houdon had caught it from Washington. The difficulties were almost insurmountable. No bronze statue had been cast whole in the United States. He had no furnace like that for the statue of Louis XV. There were no experienced men of Munich in our country to mix and melt and mould the metal; and to make the section moulds, such as Italians use, was itself almost an art. With these obstructions and but small means, nothing daunted, generously he essayed the pious undertaking. He superintended the making of the moulds in person at considerable cost of labor, money and time. This was but the beginning of his expense. He had to build a furnace, now unfit for any other operation than that of the fine arts. This was not the end of the beginning of the trial, risk and outlay. He had to employ workmen who came from abroad and to procure materials. The advances took near

ly all of his available means. But at last the furnace was heated; the metals were mixed and molten; the moulds were embedded; the glowing flood was poured into them, and-the cast was a failure! The first was broken up, and again the same was done, with a like result-a second failure! This would have stopped the efforts of an ordinary man. Not so with Hubard. He had spent thousands, had lost all. His family was made anxious, and he was much embarrassed. But the word "fail" was not written in his vocabulary. A friend in Richmond-I wish I had pe: mission to mention the name of this benefactor of the arts, for all honor as long as the bronze shall last!a friend in Richmond advanced the means of a third trial. The day, the 23d February, A. D., 1856, arrived for it to be made; the anxiety of the artist was intense; a few friends were present, to mingle their hopes and fears with his, and to witness the opening of the iron flood-gate of the furnace. Two failures had taught the necessary precaution; the mould of Washington lay firmly waiting,