DOI chapter:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Page / Citation link:https://doi.org/10.11588/diglit.61295#0254
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CRAWFORD — CREDI.
fore sufficient to establish Crawford’s claim to eminence to say that,
at the time of the casting of his two great statues, that German city
expressed its enthusiasm by the celebration of impromptu festivals.
At the completion of the Beethoven, some of that composer’s grand-
est music was performed under the united auspices of the court and
the artists. When Crawford went to Munich to see his Washington
in bronze, on the evening of his arrival, he was surprised to find it in
the midst of a large and gloomy arena; but suddenly, as he ap-
proached, numberless torches flashed their light upon his work, and a
hundred German voices greeted him in a triumphant song. For years
the studio of Crawford was one of the homes of travellers in Rome,
and he became, through his works and the charm of his manners, the
friend of the lovers of art in every country in which the word art is
used. The following are his principal works and the places where
they may be found : The statue of Beethoven, Boston Music Hall;
statue of James Otis, Chapel of Mount Auburn; the “ Indian,” New
York Historical Society; the “ Orpheus,” “ Adam and Eve after the
Expulsion,” a “ Shepherdess,” and a bust of Josiah Quincy, Boston
Athenaeum; a statue of “ Flora,” New York Central Park; “ Chil-
dren in the Wood,” owned by Hon. Hamilton Fish, New York;
“ Boy Playing Marbles,” by Hon. Stephen Salisbury, Worcester,
Mass.; the bust of his wife when a bride, and several busts of
Washington were owned by the late John Ward, of New York. His
most elaborate monumental works are in Washington, D. C., and
Richmond, Va.; while his “Pandora,” “Dancing Jenny,”—for
which his daughter, now deceased, was the model,— “Cupid,”
“ Genius'of Mirth,” “Flora,” “Indian Woman,” “Hebe and
Ganymede,” “Mercury and Psyche,” “Daughter of Herodias,”
“Aurora,” “Peri,” etc., as original or repetitions, are widely dis-
tributed. Crawford executed no less than twenty-two bas-reliefs
from classic, Scriptural, and other subjects. Eighty-seven plaster
casts of his works were presented by Louisa W. Crawford to the
commissioners of the Central Park, and are now arranged in a building
where they can be seen by visitors. His works embody the history
of his life, in which there were few remarkable events. The disease
of which he died was extremely painful, a tumor on the inner side of
the orbit of the eye. The pressure on the brain was removed by
medical skill, and he retained his mind until his last moment. His
remains were brought to New York and interred at Greenwood. As
we consider his life, it wrnuld almost seem from the intensity of his
application and the results of his labor, that the time of his early
death had been revealed to him and urged him on to work while his
day lasted.
Credi, Lorenzo di, died 1537. A fellow-pupil with Leonardo da
Vinci under Andrea Verocchio. He surpassed his teacher, but not
Leonardo. His favorite subjects, and those in which he best sue-
CRAWFORD — CREDI.
fore sufficient to establish Crawford’s claim to eminence to say that,
at the time of the casting of his two great statues, that German city
expressed its enthusiasm by the celebration of impromptu festivals.
At the completion of the Beethoven, some of that composer’s grand-
est music was performed under the united auspices of the court and
the artists. When Crawford went to Munich to see his Washington
in bronze, on the evening of his arrival, he was surprised to find it in
the midst of a large and gloomy arena; but suddenly, as he ap-
proached, numberless torches flashed their light upon his work, and a
hundred German voices greeted him in a triumphant song. For years
the studio of Crawford was one of the homes of travellers in Rome,
and he became, through his works and the charm of his manners, the
friend of the lovers of art in every country in which the word art is
used. The following are his principal works and the places where
they may be found : The statue of Beethoven, Boston Music Hall;
statue of James Otis, Chapel of Mount Auburn; the “ Indian,” New
York Historical Society; the “ Orpheus,” “ Adam and Eve after the
Expulsion,” a “ Shepherdess,” and a bust of Josiah Quincy, Boston
Athenaeum; a statue of “ Flora,” New York Central Park; “ Chil-
dren in the Wood,” owned by Hon. Hamilton Fish, New York;
“ Boy Playing Marbles,” by Hon. Stephen Salisbury, Worcester,
Mass.; the bust of his wife when a bride, and several busts of
Washington were owned by the late John Ward, of New York. His
most elaborate monumental works are in Washington, D. C., and
Richmond, Va.; while his “Pandora,” “Dancing Jenny,”—for
which his daughter, now deceased, was the model,— “Cupid,”
“ Genius'of Mirth,” “Flora,” “Indian Woman,” “Hebe and
Ganymede,” “Mercury and Psyche,” “Daughter of Herodias,”
“Aurora,” “Peri,” etc., as original or repetitions, are widely dis-
tributed. Crawford executed no less than twenty-two bas-reliefs
from classic, Scriptural, and other subjects. Eighty-seven plaster
casts of his works were presented by Louisa W. Crawford to the
commissioners of the Central Park, and are now arranged in a building
where they can be seen by visitors. His works embody the history
of his life, in which there were few remarkable events. The disease
of which he died was extremely painful, a tumor on the inner side of
the orbit of the eye. The pressure on the brain was removed by
medical skill, and he retained his mind until his last moment. His
remains were brought to New York and interred at Greenwood. As
we consider his life, it wrnuld almost seem from the intensity of his
application and the results of his labor, that the time of his early
death had been revealed to him and urged him on to work while his
day lasted.
Credi, Lorenzo di, died 1537. A fellow-pupil with Leonardo da
Vinci under Andrea Verocchio. He surpassed his teacher, but not
Leonardo. His favorite subjects, and those in which he best sue-