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Annapolis news]
--The history
pedigree

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fond of decorating those melancholy figures with gold paint.
Many other objects of artistic value beautify the rooms, but most interesting of all is the first piece of modeling ever done by George Gray Barnard.
This is a bust of his sister, made when the sculptor was only sixteen. It is remarkably good for so young an artist. Of the same period are several panels of the head and figure in low relief. Mrs. Barnard recalls how he used to coax her to post a hand or arm to aid him in modeling. Previously to this he had studied taxidermy and drawing with Mr. Terry and Batty Bros. of Muscatine, Ia. Afterward, his talent unmistakably proved, he atteded the Chicago Art Institute from 1881 to 1883, before going to Paris. But all his earlier opportunities to follow his art were gained only by rigorous self-denial.
Underneath the pedestal of the clay bust, in his father's house, are photographs of all his work, and a photograph of his beautiful wife, to whom he has been married only a short time. There are various positions of the "Boy," the Walking Man," "Fragments of a Norwegian Stove," "Brotherly Love," "Je suis deux hommes en moi," regarded by many as his best work; "Primitive Man," mentioned by his mother as his "life" work, and other less important pieces. They bear touching inscriptions in the sculptor's handwriting. On the "Norwegian Stove" one sees "To Home"; on the "Two Natures," "To My Beloved Parents from their son George, with a deep sigh for what he ought to have done- infinite sorrow for the little done." This sentiment, coming from a man who has been called the greatest living sculptor, is rather affecting. But, perhaps, it explains the victories of his personal and professional experiences, and the unapproachable note in the moral altissimo to which all his works are keyed. The minutest incident relating to his person
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in's, but Barnard himself denies any admiration for or sympathy with Rodin's methods. He has been called a symbolist in marble. But probably a few words written long ago in tribute to that same Schwanthaler, of Bavaria, are as fitting a key to George Barnard's genius-"With the grandeur, and simplicity, and power of the antique, the sculptor has united a fresh element, a wild, mysterious poetry. His figures disclose a grand intellectuality in creation that kindles the soul as does a rude and jagged peak of the Alps, the sound of thunder, or the sight of the roaring sea."
As his whole life is a continuous existence or force, so his work reflects the same quality. It proves again that it is the experience of human life-life bravely lived, that gives value to any work. And one can not help wondering where, in his varied experiences, he found the ideals for his sculpture. Was the "Boy" an embodiment of some phase of his own youthful thought? Was "Friendship" the expression of his sense of the limitations of that purest of relationship? Was the "Two Natures" symbolical of his own clarified feeling? Did he find "Pan" while wandering about the lonely woods of Muscatine as a boy, learning with an abandoned sympathy, the wildness and nearness of nature in every mood? These unsatisfied queries are hardly to be called impertinent. In so far as an artist identifies himself with the universal and absolute, so far he becomes a participator in them, and is regarded as a common benefactor, whose development and whose purposes are demanded to be revealed by the great aspiring world of souls. But one waits for the revelation with that irresistible confidence and repose with which one waits for a prophet to recognize his own divinity. OLIVE SANXAY
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INDIANA TO THE FRONT.
Yesterday The News spoke of the authorship of "When Knighthood was in Flower" as something for the whole State to be proud of, an event emphasizing the goodly reputation Indiana is achieving. A pleasant interview with the author of this famous book, which accompanies an excellent likeness of him elsewhere in this issue of The News, adds interesting information about this interesting event. But the warship Indiana seems also to have been at the front. Yesterday we presented the official report of the commander of thr Resolute, which shows that the Indiana was the first to receive the fire of the Spanish fleet as each of the boats came out of the harbor, and that it was her own effective fire that first reached the Maria Teresa and the Vizcaya, while it was one of her shells that "did" for the torpedo-boat Furor; and all the while her secondary battery was playing havoc. The Spanish officers, who were prisoners from the Colon and Vizcaya, have since said that the fire from the Indiana and the Oregon as they {the Spaniards} passed from the harbor, was deadly in its destructiveness, and that although the Colon escaped with small injury, due to her greater speed, and being in a measure covered by other ships, the Vizcaya was hopelessly crippled before she had gone a from the Morro.
In short, the vastly important part that our namesake bore in this great battle was something to cause additional pride. A supplemental support of this kind from a correspondent of The News is given elsewhere in to-day's issue - in a story of a visit to the Indiana as she lies in the Brooklyn navy-yard. Her captain is a fighter, not a talker, and a modest man withal. So the glory which has come to the Oregon and the Brooklyn, while it may not be diminished, can have for companionship the glory which the Indiana won in the same battle. Thus the goodly State seems to be forging ahead.
The noted sculptor, George Grey Barnard, whose great work is so known and recognized on both sides of the sea that he has been called the greatest of living sculptors, is identified with Indiana in a way, as is told in the very interesting account of the homes of his parents at Madison. When it comes to good things, from authors and artists to battleships, Indiana seems to be at the front and up and doing.
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