. Review of reviews and world's work. ccom-plishment and with all the qualities of his art underj>erfect control. They have the fullest measure of hisgentle sobriety of manner, and yet they are amply vigor-ous and firm in execution. JOHN ROGERS: SCULPTOR OF AMERICAN DEMOCRACY. AN era in American sculpture is marked bythe career of the late John Rogers, de-signer of the famous groups which bear hisname, and which were known, a few years ago,from one end of the country to the other. Writ-ing in the Architectural Record for November,Mr. Charles H. Israels makes the assertion thatthe popular en
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. Review of reviews and world's work. ccom-plishment and with all the qualities of his art underj>erfect control. They have the fullest measure of hisgentle sobriety of manner, and yet they are amply vigor-ous and firm in execution. JOHN ROGERS: SCULPTOR OF AMERICAN DEMOCRACY. AN era in American sculpture is marked bythe career of the late John Rogers, de-signer of the famous groups which bear hisname, and which were known, a few years ago, from one end of the country to the other. Writ-ing in the Architectural Record for November, Mr. Charles H. Israels makes the assertion thatthe popular enthusiasm roused by this sculptorhas not been equaled by a single one of the hun-dreds of more talented and virile American art-ists who have succeeded him. This enthusiasm may not have been based upon anysound aesthetic principles; but it needs no apology.His homely works, given to the public at a time when m m EC ® ?v * T^m m . ^Jf ^H m • V i ^ / ? ~^- 4 .JP** ^^mm*0&~-- ** 1*. ?V 1 l *V ™ .SB ^?CXfi p*—*. *** ?. THE COUNCIL OF war.(One of the most famous of Rogers groups.) THE LATE JOHN ROGERS. an appeal to national sentiment found prompt response, went straight to the heart of the American people.They did not require the explanation of guide-books orcritics to be understood. They did not hark back to theclassics. Their subjects were to be found in the dailylife of the average man, and notwithstanding theirmany shortcomings in technique, artistic conception, and methods of treatment, they stood out boldly as thelirst popular appeal that sculpture had made to t In-American people. Rogers began to practise modeling about fiftyyears ago, when the tendencies in Americansculpture were all ultra-classic, —when Washington had to be dressed as a Roman Senatorand Chief Justice Marshall arrayed in a toga.But neither in America nor in the galleries ofEurope, where he passed a year in preparationfor his life-work, was Rogers influenced in theslightest degree by these classic tenden