models,--a very interesting process, and which I should think a doubtful
and hazardous one; but the artists say that there is no risk of mischief,
and that the model is sure to be accurately repeated in the marble.
These persons, who do what is considered the mechanical part of the
business, are often themselves sculptors, and of higher reputation than
those who employ them.

It is rather sad to think that Crawford died before he could see his
ideas in the marble, where they gleam with so pure and celestial a light
as compared with the plaster. There is almost as much difference as
between flesh and spirit.

The floor of one of the rooms was burdened with immense packages,
containing parts of the Washington monument, ready to be forwarded to its
destination. When finished, and set up, it will probably make a very
splendid appearance, by its height, its mass, its skilful execution; and
will produce a moral effect through its images of illustrious men, and
the associations that connect it with our Revolutionary history; but I do
not think it will owe much to artistic force of thought or depth of
feeling. It is certainly, in one sense, a very foolish and illogical
piece of work,--Washington, mounted on an uneasy steed, on a very narrow
space, aloft in the air, whence a single step of the horse backward,
forward, or on either side, must precipitate him; and several of his
contemporaries standing beneath him, not looking up to wonder at his
predicament, but each intent on manifesting his own personality to the
world around. They have nothing to do with one another, nor with
Washington, nor with any great purpose which all are to work out
together.