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[396] Mr. Valentine did not wait in idleness. He modeled various ideal heads—among others The Samaritan Woman, with its striking face and remarkable down-dropt eyes. The Penitent Thief, a wonderful presentment of agonizing pain and awful entreaty, belongs to this period. Lee's bust was modelled, a very superior piece of bust portraiture, and many a well-known Virginian's followed—Maury's, Stuart's, Albert Sidney Johnston's, Joseph E. Johnston's, and still others. General J. E. B. Stuart he modelled in so life-like a manner that one almost expects to hear the bold cavalier ring out one of his characteristic snatches of song. For the Humboldt Festival, inaugurated some time later by the German citizens of Richmond, in honor of the great scientist, he made the collossal bust of him which has been so much admired.

The power Valentine has of portraying the varied type of the negro never has been equaled. The Nation's Ward is matchless in its absolute verity; Uncle Henry will go down to posterity as the only correct type of ‘de ole Virginny darkey, sah;’ while Knowledge is Power, a negro boy clothed in tatters, who has fallen asleep with his dog-eared book dropping from his limp hand, is, we surely think, the best piece of good-humored satire that was ever modelled.

After patient waiting, a handsome commission did come to our artist. The trustees of the Washington and Lee University, Lexington, Virginia, ordered a statue of General Lee, offering for it $15,000, and leaving all details to the sculptor. A recumbent figure was chosen, suggested perhaps, by the exquisite one at Charlottenbourg over the tomb of the queen of Prussia, by Rauch, or the less celebrated one of the Duchess of Nassau at Wiesbaden, by Hoffgarten. But there is no resemblance, whatever, beyond the mere fact that it is recumbent. As well might it be said that Rauch took his idea from a sleeping knight stretched upon a tomb in some mediaeval cathedral. It is in this exquisite piece of statuary that we have the first real gauge of our sculptor's range of power. It is cut from one block of flawless marble, and is to occupy a place in the Lee Mausoleum, at Washington and Lee University, not yet complete.

Mr. S. Teakle Wallis, of Baltimore, in an address at the Baltimore Academy of Music, thus speaks of the great work: ‘The statue, which is of marble, and of rather more than life-size, received the last touches of the chisel but a few days since, and was exhibited to the public in Richmond, where it created the profoundest ’

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