The placing of tablets or other forms of memorial marking the scenes of Revolutionary incidents has occurred chiefly, of course, in the vicinity of such battlegrounds and in some cases restoration of the redoubts and fortifi cations where famous episodes of war trans pired has been attempted and tablets, often of considerable artistic merit, have been erected. A case worthy of mention is the restoration of Fort Ticonderoga which has been done at great expense and with high regard for the artistic character of the historical markers.
The monuments and other works of the nature of sculpture occasioned by the cen tenary of the War of 1812 were wholly or in part the outcome of celebrations like the Oliver Hazard Perry Centennial in Ohio, Pennsyl vania and New York in 1913, the "Star Span gled Banner" Centennial at Baltimore in 1914, the centenary of the battles of Plattsburg and Lake Champlain in the same year, the pageant at New Orleans in 1915 in honor of Andrew Jackson's great victory over the British a hun dred years before, and the commemoration at the Jefferson Memorial, Saint Louis, in Feb ruary 191g, of the centenary of the ratification of the Treaty of Ghent. As a result of or ill connection with such incidents we have the splendid memorial at Put-in-Bay, Ohio, ,in honor of the heroes of the battle of Lake Erie and the bronze statue of Perry himself ; the Perry monument at Buffalo by Charles H. Niehaus; the statue of Gen. Alexander Ma comb at Detroit by A. A. Weinmann; the bas relief in honor of the heroes and pioneers of the 1812 period at the Jefferson Memorial, Saint Louis, by R. P. Bringhurst and Mary E. DeGarmo; the Malmette monument at New Baltimore, designed by Niehaus, and but cently finished.
The Hudson-Fulton celebration in New ork State in 1909 and the Champlain Ter !ntenary in New York State and Vermont in bout the same period furnished occasion for ome records in art of characters and events ommemorated, including a monument to :hamplain with sculpture by C. A. Heber.
The Mexican War provided the motives or comparatively few notable works of sculp ure aside from statues of generals like Win field Scott who belong also to other periods if history. Among works of recent date as iociated with the history of this war is a relief it the National Museum, Washington, by Isi lore Konti, picturing the incident of Kit Car son, the scout and Edward F. Beale, after ward a general, hailing Commodore Stockton's flagship at the conclusion of their adventurous trip through the desert and the Mexican lines to bring news of re-enforcements to the be leaguered Americans. Kit Carson has also been pictured in a group by Augustus Luke man and F. G. R. Roth showing the scout mounted and in picturesque pose and costume. It is at Trinidad, Col.
The Civil War has occasioned more histori cal and commemorative art projects than any other event in the nation's history, not even excepting the Revolution. Some of these achievements are crude, or at least archaic, as viewed from the art standpoint, yet are the out come of a national impulse in which patriotic sentiments were mingled with artistic ambition.
And while there may be a degree of monotony in the long list of statues of heroes of that period, there are not a few which rise above the mediocre in conception and execution and form noble and enduring achievements,— land marks by which the progress of the nation in its aesthetic development may be noted. This is particularly true of the equestrian statues, which are often instinct with life and action. The finest example, no doubt, is the statue of Gen. William Tecumseh Sherman by the late Augustus Saint Gaudens at the Fifth Avenue entrance to Central Park, New York, which many regard as the noblest product of his re markable genius. On the other hand, while the patriotic instinct- has found its most frequent expression in this connection in the erection of statues of individual soldiers like Grant and Sherman and Lee and Sheridan and naval officers like Farragut, some of these memorials have taken the form of groups and reliefs in which a greater range has been afforded the artist's imagination. An instance in which there is dramatic character in superlative de gree is the artillery group done recently by Henry M. Shrady for the splendid Grant monu ment at Washington, D. C. Mr. Shrady's equestrian statue of Grant for the same memo rial should also be mentioned. Herman A. MacNeil's Soldiers and Sailors' Memorial at Albany, N. Y., is an instance of a composition in which a very poetic scheme has been carried out and which conforms remarkably to artistic requirements. A man of the extraordinary genius of Saint Gaudens was very naturally called upon frequently during that period of his career falling from 10 to 30 years after the Civil War for the performance of tasks asso ciated with it, and beside his Sherman monu ment special mention should be made of an other of his great works occasioned by it, the Shaw Monument on Boston Common, one of the most famous and meritorious of all Ameri can achievements of the kind, and his statue of Admiral Farragut, Madison Square, New York, with its sculptured pedestal. Reference may also be made in speaking briefly of the best known of such works to MacMonnies' equestrian statue of Gen. George B. McClellan, Gutzon Borglum's equestrian figure of Gen. Philip H. Sheridan, both at Washington, and the equestrian statue by Niehaus of Gen. Nathan B. Forrest at Memphis, Tenn., all of which stand out as especially fine examples of such work.