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PAUL MANSHIP  Page 2.
bolstered his ego with tenderness and understanding.
The technical problems of sculpture facinated Manship and he did not rest until he mastered them and could direct with authority even the bronze founders. For relaxation he made small portrait medallions of his friends and decorated the reverse side of the portraits with humorous designs symbolic of their tastes or character. The study of Oriental Art in the Museums was another relaxation but he believed his early and best inspiration came from the study of Greek vases inItaly.
Manship delighted in drawing or modelling birds and animals and his lordly bronze gates to the Bronx Zoo are rich in feline strength, the sad absurdity of Apes and the amusing pomp and solemnity of the Ibis, the Crane and the Heron. He kept no pets at home or in studio from apprehension that their fur or feathers might provoke his recurring asthma. 
The happiest and most fertile of his friendships was with Eric Gugler whose energy and genius in architure was a mate to his own in sculpture. Laughing, smoking and drinking, together, they planned many imaginative and handsome projects. Their two most successful collaborations were the American War Memorial at Anzio near Rome and the National Memorial to Theodore Roosevelt in Washington, D.C. At Anzio the Memorial, long, low and white, shimmers among a grove of stone pine, its exterior decorated with relidfs by Manship and in the interior under a central dome stand twin figures of youthful soldiers typifing comradeship in
War.
The Theodore Roosevelt Memorial is on a small island in the Potomac below the Georgetown bridge. Its only access is a narrow causeway for pedestrians and the island will be a bird sanctuary.