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Another is a chimney-piece for Lady Ashburton, illustrating the death of the Dryads.
It also is to be sixteen feet high.
The figures are of life size in alto relievo.
The cost is twelve thousand five hundred dollars.
The Bridge of Sighs, so named, was ordered two years ago by a literary gentleman of London.
It illustrates in marble Hood's popular poem descriptive of a drowned woman.
In 1860 Miss Hosmer sent to her friend, Mr. Crow, at his request, the drawing of a monument for a cemetery.
The cross as a symbol has been virtually surrendered to the Catholics, though Protestants may employ it with perfect right and propriety; and we trust the use of it will return.
Like others, Mr. Crow had felt the incongruity with Christian faith of the heathen symbols,--the inverted torch, the Egyptian gateway, the Grecian temple,--which occur so frequently in our burial-places, and desired something new and appropriate, which should express a Christian's hopes.
The design consists of a marble pedestal, of elaborate and beautiful construction, surmounted by a group of statuary,--Christ restoring to life the daughter of Jairus.
The prostrate form and the countenance of the dead maiden vividly present the fact of our mortality.
The noble figure of the Saviour is full of tenderness, but without sorrow: he is doing a work of joy. On the entablature of the pedestal are the inscriptions, on the one side, “I am the resurrection and the life:” on the opposite side, “he that beleveth in Me, though he were dead, yet shall he live.” On the broad spaces beneath, the family names are to be carved.
This design has not yet been put into marble; but it is eminently desirable that the conception should be realized.
The subject is not hackneyed; it is sculpturesque, appropriate, and Christian.
When adequately accomplished it will be a noble testimony, not only to the artist, but also to the friend whose Christian sentiments called for it; and the community
S. M. Betts and Company. Hartford, Conn. 1871.
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