THE HISTORY OF THE LIONS AT THE ART INSTITUTE OF CHICAGO
The two bronze lions that flank the Michigan Avenue entrance were made for the Art Institute's opening at its current location in 1893. They were a gift from Mrs. Henry Field, sister-in-law to Marshall Field. They have unofficial "names," given to them by their sculptor, Edward Kemeys, that are more like designations. You'll notice that the lions are not identical and thus are named for their poses: The south lion "Standing in an Attitude of Defiance," while the north lion is "On the Prowl."
DIANA THE HUNTER HISTORY
Diana was commissioned by architect Stanford White as a weather-vane for the tower of Madison Square Garden, a theater-and-dining complex at 26th Street and Madison Avenue in Manhattan. He talked his friend Augustus Saint-Gaudens into creating it at no charge, and picked up the cost of materials. Model Julia "Dudie" Baird posed for the body of the statue. Its face is that of Davida Johnson Clark, Saint-Gauden's long-time model and mother of his illegitimate son Louis.
The first version – built by the W. H. Mullins Manufacturing Company in Salem, Ohio – was 18 ft tall and weighed 1,800 lbs. Saint-Gaudens' design specified that the figure appear to delicately balance on its left toe atop a ball. However, the Ohio metal shop was unable to pass the rotating rod through the toe, so the design was altered and the figure instead was poised (less-gracefully) on its heel.
Diana was unveiled atop Madison Square Garden's tower on September 29, 1891. The 304-foot building had been completed a year earlier, and was the second-tallest in New York City. But the addition of the statue made it the city's tallest, by 13 feet. The figure's billowing copper foulard (scarf) was intended to catch the wind, but the statue did not rotate smoothly because of its weight. Diana's nudity offended moral crusader Anthony Comstock and his New York Society for the Suppression of Vice. To placate Comstock and to increase the likelihood of its catching the wind, Saint-Gaudens draped the figure in cloth, but the cloth blew away.
Soon after installation, both White and Saint-Gaudens concluded that the figure was too large for the building, and decided to create a smaller, lighter replacement. Following less than a year atop the tower, the statue was removed and shipped to Chicago to be exhibited at the 1893 World's Columbian Exposition. New Yorker W. T. Henderson wrote a tongue-in-cheek poetic tribute – "Diana Off the Tower" – a play on both the statue's name and situation.
Saint-Gaudens served as head of the Chicago 1893 World's Colombian Exposition's sculpture committee. His initial plan had been to place "Diana" atop the Women's Pavilion, but the city's Women's Christian Temperance Union protested and insisted that the controversial nude figure be clothed. Instead, it was placed atop the Agricultural Building.
The original "Diana" does not survive. In June 1894, eight months after the World's Colombian Exposition's closing, a major fire tore through its buildings. The lower half of the statue was destroyed; the upper half survived the fire, but was later lost or discarded.
The Art Institute of Chicago was placed on the National Register of Historic Places in 1980.
Compiled by Neil Gale, Ph.D.
NOTE: Augustus Saint-Gaudens designed the official bronze medallion given to the top 20 percent of all "contests" at the 1893 World's Colombian Exposition. (There were no Gold, Sliver, or any type of Ribbons, blue or otherwise, officially given to contestants at the 1893 Chicago World's Fair.) source
Saint-Gaudens’ design for the reverse of this medal was not used, despite the sculptor’s eventual willingness to modify it. It was rejected by the United States Senate Quadro-Centennial Committee because the premature circulation of a photograph of the new design fostered criticism of the youth’s nudity. Saint-Gaudens attempted various modifications but ultimately refused to alter his design, and solicited public support for his cause. The art world supported him against the committee action, but to no avail. Saint-Gaudens made a model which eliminated the figure altogether, retaining only the inscription. This last model was the one adapted by Mint engraver Charles F. Barber for the final design. Saint-Gaudens’ design of Columbus for the obverse, however, was retained. Louis Saint-Gaudens assisted his brother with this commission.
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