MILLS, CLARK, b. in Onondaga co., N. Y., 1815, of poor parents; learned the trade of plasterer; and practiced it in Charleston, S. C., for nine years. Developing a taste for sculpture, in 184-6 he completed a bust of John C. Calhoun, which was purchased by the city of Charleston for the city ball. In 1848 he furnished a design which was accepted, for an equestrian statue of geu. Jackson, to be placed in Lafayette square, Washington. There being no bronze-foundry for such work in the United States, Mills, after spending two years in modeling the statue, set to work to learn the art of such castings, and erected in Washington an experimental foundry, where, after many mishaps and trials he at last succeeded in Oct., 1852, in producing a perfect cast. It was accepted formally Jan. 8, 1853—the anniversary of the battle of New Orleans. Congress made an extra appropriation of $20,000 to cover his losses, and remunerate him for his time. He was next engaged on the colossal equestrian statue of Washington, which was formally received Feb. 22, 1860. For this he received $50,000. Mr. Mills's last great work was
the casting of the colossal statue of Liberty, finished in 1863, which crowns the dome of the capitol at Washington. This was modeled by Crawford. There has been much ' harsh criticisms of Mills's equestrian statues. Doubtless the work of one without school ing in the great art of sculpture compares unfavorably with that of masters. But there are now enough poor works in the United States by those who have had the highest advan tages to show that Mills had the genius for great and good work. His errors are mostly in endeavoring to render his subjects too striking, too expressive. This is especially the case with the statue of gen. Jackson, in which the horse is made to balance reared on its hind feet, and the gen. appears equally excited. Continued through many decennial periods, the pose becomes ridiculous.