The Twelve Statues of Seafaring Nations
Introduction
In Cass Gilbert’s original competition submission, twelve statues were located above the cornice on the Bowling Green façade. In August 1901, the architect asked the Treasury to provide enough money to enable him to choose sculptors of eminence. The original estimate for sculptural work was $150,000 but was reduced to $127,000. Nevertheless, Gilbert was able to hire prominent artists and decided early on that the figures designed by these artists must represent the great sea going nations. After some shifting around to determine both the main maritime powers and the sculptors, Gilbert chose eight sculptors to carve the twelve figures. He attempted to match the sculptor’s country of origin to the figurative representation of the sea going powers.
Gilbert assigned much of the day to day work on the building to his subordinates and took personal charge of the sculpture. He was a tactful but active participant in the decision making process about the figures. He suggested the themes, the composition of the figures, and the arrangement of decorative details. He also meticulously fit the statues to their pedestals and coordinated their height and width to make sure the twelve figures would read as an entity. The sculptors had to adhere to the same process as French did: quarter-sized sketches, half-sized models, and photography from three sides. All these steps had to be approved by Gilbert before the sculptors could move to the next stage. The architect often made a request such as narrowing the width, changing a symbol, or in the case of Greece, draping the nude figure.
Statue Descriptions
The eleven feet high figures, like French’s Continents, were sculpted in Tennessee marble, each weighing 200 tons. Starting from the far left of the façade, Greece, represented by Palas Athens, who was the goddess of beauty and wisdom, was sculpted by Francis Edwin Elwell. Rome, also created by Elwell, is represented by a soldier at the time of Caesar. Phoenicia, symbolized by a woman leaning on a column holding many sacred vessels, was carved by F. Wellington Ruckstuhl. Genoa is represented by a masculine figure resembling Columbus, sculpted by Augustus Lukeman. Venice is represented by the Doge, in robes of state, created by Francois Michel Louis Toneti. Spain, also by Toneti, is fancifully portrayed by Queen Isabella, holding a globe of the new continent. Holland is symbolized by Admiral Van Trumo, who represents a typical Dutch adventurer of the Knicker bocker days and was carved by Louis St. Gaudens. Portugal, represented by a knight in armour, probably Prince Henry the Navigator, was also by St. Gaudens. Denmark, sometimes called Scandinavia, is portrayed by a Viking woman. She was the work of Johannes S. Gelert.
The next statue was originally conceived as Norway. Later, Gilbert decided to let Denmark represent the Norse people, giving the place to Germany. Germany was originally represented by an armed female leaning on an antique shield inscribed with the word “keil,” the insignia of Kaiser Frederick Wilhelm II. The statue was the work of Albert Jaegers, who was born in Germany in 1868. In September 1918, the public sentiment ran high against all things Germanic. Patriotic societies, among them the Sons of the American Revolution, protested the public display of the enemy insignia, and there was agitation to replace the statue. There were suggestions to change the name of the piece to Democratic Germany, but Jaegers refused to alter the statue. He had been decorated by Germany and did not wish to be disloyal. After some negotiation, Gilbert was authorized by Secretary McAdoo to remove all Germanic insignia, including the words keil, and WWI. This figure was renamed Belgium, Germany’s first victim.
France, a draped female holding a small bronze statue representing the Fine Arts was sculpted by Charles Graftly. The last sculpture all the way on the right of the façade is England resembling Queen Victoria represented wearing a crown and cuirass. She holds the wand of Hermes. This statue was also the work of Charles Graftly.
