NOTES
1. The principal sources for the life and works of William Wetmore Story are Phillips, Mary E., Reminiscences of William Wetmore Story (Chicago: Rand, McNally, 1897), and James, Henry, William Wetmore Story and His Friends, 2 vols. (Boston: Houghton Mifflin, 1903). Documents relating to the friendship between Story and Browning can be found in Browning to His American Friends, ed. Hudson, Gertrude Reese (New York: Barnes and Noble, 1965). Quotations from Browning's poems are drawn from The Works of Robert Browning, ed. Kenyon, F. G., Centenary Edition, 10 vols. (London: Smith, Elder, 1912). The major portion of this paper was presented as a talk at the annual College Art Association meeting in New York on 25 Jan. 1973.
2. Browning to His American Friends, p. 3.
3. Letter to Miss Haworth, E. F., in The Letters of Elizabeth Barrett Browning, ed. Kenyon, F. G. (New York: Macmillan, 1897), II, 419.
4. Critic, 18 (16 05 1891), 265.
5. Browning to His A merican Friends, p. 37.
6. Review of Graffiti d'ltalia by Story, Fortnightly Review, NS 5 (1 01 1869), 118–19.
7. Story, , Poems, 3rd ed. (Boston: Houghton Mifflin, 1888), I, 167.
8. The statue was modeled in 1864–65 (Phillips, , p. 296; Browning to His American Friends, p. 151). It was repeated at least three times and replicas can be found in the Metropolitan Museum in New York and in Goldsmiths' Hall, London. It should be noted that the daggers in both the New York and Salem copies are broken.
10. In a letter to James Russell Lowell dated 11 Feb. 1853 (James, , I, 256; Browning to His American Friends, p. 272), Story mentions that the Arcadian Shepherd Boy will be his next work. In August of the same year, he informs Lowell that he managed to finish it “by strenuous working before the summer heat” (James, I, 265). See also the Boston Public Library Annual Report (1858), p. 35.
11. Calmette, Joseph, Francois Rude (Paris: H. Floury, 1920), p. 144; Eaton, Daniel Cady, A Handbook of Modern French Sculpture (New York: Dodd, Mead, 1918), p. 173.
12. Hawthorne, , Notes of Travel, Greylock Edition (Boston: Houghton Mifflin, 1900), III, 205.
13. Story, , Nature and Art (Boston: Little, Brown, 1844), p. 48.
14. In an unpublished and undated letter of Story to Enrico Nencioni in the Berg Collection, the New York Public Library, Story describes how he learned that Hawthorne had written about the statue of Cleopatra: he comments that one day he found a group of English people in his studio admiring Cleopatra while one of them read aloud from The Marble Faun.
15. Thorp, Margaret Ferrand (The Literary Sculptors [Durham, N.C.: Duke Univ. Press, 1965], p. 42) remarks that “the features and gestures of Story's figures expressed passions and emotions it was interesting to watch and analyze.… The laymen liked this kind of drama in his statues.” She considers Story's “romantic-dramatic quality” one of his contributions to American art.
16. According to Phillips, (pp. 296–97), Story executed three replicas of the earlier and two replicas of the later Saul.
17. 6th ed. (London: Chapman and Hall, 1871), p. 404.
18. Grace Greenwood (pseud, of Sara Jane [Clarke] Lippincott) describes the physiognomy of Jews in the Roman ghetto in a similar fashion in Haps and Mishaps of a Tour in Europe (Boston: Ticknor, Reed, and Fields, 1854), p. 203. For general discussions of the attitudes of Story's contemporaries toward Jews, see Higham, John, “Anti-Semitism in the Gilded Age,” Mississippi Valley Historical Review, 43 (1957), 559–78, and Wilson, Edmund, “Notes on Gentile Pro-Semitism,” Commentary, 23 (1956), 329–35.
20. Harriet Hosmer, Letters and Memoirs, ed. Carr, Cornelia (New York: Moffat, Yard, 1912), p. 336.
21. A particularly good example of the “pudicitia” type of female statue is the Lady from Delos in the Athens National Gallery. See Lawrence, A. W., Later Greek Sculpture (London: J. Cape, 1927), Pl. 72.
22. “Alcestis,” trans. Lattimore, Richmond, in The Complete Greek Tragedies, ed. Grene, David and Lattimore, Richmond, Euripides (Chicago: Univ. of Chicago Press, 1959), III, 52, 1.1143.
23. Ibid., p. 52, 11. 1144–46.
