Archive for Ezra Cornell
1893 – Bust of Judge Douglas Broadman ~ Cornell Univerity
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Judge Douglas Boardman ~ 1893 ~ Cornell University (Photo Courtesy of Chris Carlsen)
Judge Douglas Boardman ~ Cornell Univerity 1893 ~ (Photo Courtesy of Chris Carlsen)
Judge Douglas(s) Broadman became the first Dean of the Cornell University Law School in 1887 when Hermon MacNeil was on the faculty. After the Judge’s death in 1891, MacNeil was commissioned to sculpt a bust of Professor Boardman for the University. This was one of MacNeil’s earliest works in marble. At the time he was residing in Chicago working on the 1893 World’s Columbian Exposition
MacNeil taught modeling of sculpture at Cornell from 1886-89. He would have known Broadman who came to teach Law in 1887 after a distinguished career on the bench
According to Cornell Archives:
Douglass Boardman graduated from Yale in 1842 and then studied law. He was admitted to the bar in 1845 and practiced law in Ithaca, New York. From 1848-1851 he served as District Attorney of Tompkins County, New York, and from 1852-1856 was County Judge. In 1856 he and Judge Francis M. Finch formed a law partnership which continued until 1866 when Boardman was elected a justice of the Supreme Court for the 6th district. He was a director of the First National Bank of Ithaca from its organization in 1864 and became its president in 1884; became a trustee of Cornell University in 1875; and was appointed Dean when the Cornell Law School was organized. Judge Boardman retired from the Supreme Court in 1887, and died in 1891. [ http://rmc.library.cornell.edu/EAD/htmldocs/RMM01622.html ]
For More history see:
“Guide to the Douglass Boardman Papers, 1839-1891;Collection Number: 1622. Division of Rare and Manuscript Collections of the Cornell University Library”
Hermon MacNeil include this sculpture of the 'original telegraph' into his tribute to Erza Cornell in 1917. (Photo courtesy of Chris Carlsen)
Original telegraph receiver, used in Baltimore for the receipt of the first telegraph message, May 24, 1844. (On loan from the Cornell University College of Engineering.)
Hermon MacNeil often included symbolic details in his sculptures and statues. Here is a prime example. MacNeil came to the Cornell University faculty twelve years after Ezra Cornell’s death. Teaching at Cornell for those three years, from 1886-1889, he had a first hand knowledge of Ezra Cornell’s story.
Hermon Atkins MacNeil chose the telegraph as the appropriate object to place “behind-the-man who was behind-the-University.” Compare MacNeil’s bronze relief work on the RIGHT to the Cornell Archives photo of the “Original telegraph receiver” on the LEFT. (On loan from the Cornell University College of Engineering). http://rmc.library.cornell.edu/Ezra-exhibit/EC-life/EC-life-5.html
In his lifetime Ezra Cornell made and lost several fortunes. He envisioned the telegraph as the most promising device of the immediate future of communication. Holding that vision through ups and downs, booms and busts, he rode the wave of communication technology into the future. In the end his wealth from his Western Union shares that evolved from the telegraph became the profit that made his dream of a University a reality. He continued to achieve success and failure as an entrepreneur and investor.
The short story goes this way:
Ezra made his fortune in the telegraph business as an associate of Samuel Morse, having gained his trust by constructing and stringing the telegraph poles between Washington, D.C. and Baltimore, Maryland, as the first ever telegraph line of substance in the U.S. To address the problem of telegraph lines shorting out to the ground, Cornell invented the idea of using glass insulators at the point where telegraph lines are connected to supporting poles. After joining with Morse, Cornell supervised the erection of many telegraph lines, including the Erie and Michigan Telegraph Company connecting Buffalo to Milwaukee. He earned a substantial fortune as a founder of the Western Union company. [ Wikipedia: http://en.wikipedia.org/wiki/Ezra_Cornell ]
The University’s website tells the story this way:
Ezra Cornell's Patent Picture of his "useful" trenching machine
While traveling in Maine, Ezra Cornell met F.O.J. Smith, editor of the Maine Farmer. When Congress appropriated $30,000 for the laying of a test telegraph cable between Washington, D.C. and Baltimore, Smith had taken a contract from the inventor, Samuel F.B. Morse, to lay the lead pipe which enclosed the telegraph wires. In the summer of 1843, on his second trip to Maine, Cornell visited Smith’s office and found him struggling to design a machine to lay the cable underground. At Smith’s request, Cornell created a plow that would both dig the trench and lay the cable. Morse came to Maine for a demonstration of the machine, approved it, and hired Cornell to lay the cable for the test line. In October 1843, Cornell went to Washington to begin work on laying the telegraph line. As the work proceeded, he became concerned that the insulation of the wires was defective. He notified Morse, who ordered the work stopped. Cornell then devised a machine for withdrawing the wires from the pipes and reinsulating them.
Cornell spent that winter in Washington studying works on electricity and magnetism in the Patent Office library and the Library of Congress. His reading convinced him that underground wiring was impractical and that the wires should be strung on glass-insulated poles. He was retained as Morse’s assistant at the pay of $1000 per year. In the spring of 1844, Cornell built the overhead line from Washington to Baltimore, and on May 24, Morse tapped out the historic message: “What hath God wrought.” Some of Cornell’s earliest telegraph communications relayed the results of the 1844 Whig and Democratic Conventions, which nominated Henry Clay and James K. Polk, respectively. http://rmc.library.cornell.edu/Ezra-exhibit/EC-life/EC-life-5.html
CORNELL’S COMMITMENT to the ‘TELEGRAPH’
Ezra Cornell's Patent for a "new and useful machine for cutting trenches."
Ezra Cornell’s commitment to his vision of the potential of this invention drove him forward. Again the Ezra Cornell’s university tells his story this way:
Ezra Cornell’s story is the story of the telegraph in America. Always confident of its great commercial future, he enthusiastically demonstrated it, enlisted capital, and built lines. Although doing so frequently left his family destitute, he always took a large part of his pay in stocks, and invested in the first telegraph company, which connected New York and Washington. He built lines from the Hudson to Philadelphia and from New York to Albany, as well as lines in New York, Vermont and Quebec, and west to Buffalo, Cleveland, Detroit, Chicago, and Milwaukee. He was involved in the rapid construction of subsidiary lines, especially in the midwest, where the telegraph preceded rather than followed the railroad.
The early days of the telegraph industry were tumultuous. Many companies were formed, operated briefly and died. Stronger companies managed to survive despite conflicts, deception, and numerous lawsuits. Service on the hastily built lines was frequently unreliable. In 1851, the New York & Mississippi Valley Printing Telegraph Company was organized in Rochester by Hiram Sibley and others, with the goal of creating one great system with unified and efficient operations. Meanwhile, Cornell had bought back one of his bankrupt companies and renamed it the New York & Western Union Telegraph Company. Originally fierce competitors, by 1855 both groups were finally convinced that consolidation was their only alternative for progress. The merged company was named The Western Union Telegraph Company at Cornell’s insistence. Western Union rapidly expanded operations to most parts of the United States and Canada. While Cornell now took a less active role, he continued to have great faith in the telegraph. He held on to his Western Union stock, and for more than fifteen years was the company’s largest stockholder. http://rmc.library.cornell.edu/Ezra-exhibit/EC-life/EC-life-6.html
CORNELL’S COMMITMENT to the “UNIVERSITY”
While Cornell’s commitment to the “telegraph” makes a fascinating story, his greater vision and commitment to the idea of a “UNIVERSITY” marks the zenith of his ingenuity.
His vision of co-education, free of sectarian coercion, open to all, is encapsulated in an open letter he wrote on the occasion of the the opening of Sage College. He addressed it to “The coming Man and woman” — those students of the nineteenth, twentieth, and now, twenty-first centuries that would grace the halls of Cornell:
Ezra Cornell to “The coming man and woman.”
Ithaca, May 15, 1873.
Autograph letter signed by Ezra Cornell
(read original HERE)
To the Coming man & woman
On the occasion of laying the corner stone of the Sage College for women of Cornell University, I desire to say that the principle [sic] danger, and I say almost the only danger I see in the future to be encountered by the friends of education, and by all lovers of true liberty is that which may arise from sectarian strife.
From these halls, sectarianism must be forever excluded, all students must be left free to worship God, as their concience [sic] shall dictate, and all persons of any creed or all creeds must find free and easy access, and a hearty and equal welcome, to the educational facilities possessed by the Cornell University.
Coeducation of the sexes and entire freedom from sectarian or political preferences is the only proper and safe way for providing an education that shall meet the wants of the future and carry out the founders idea of an Institution where “any person can find instruction in any study.” I herewith commit this great trust to your care.
Ezra Cornell
On the Arts Quadrangle Hermon Atkins MacNeil’s vision of Ezra Cornell can be seen in bronze. Behind this man behind the University, MacNeil has tucked away inconspicuously, a Samuel Morse style ‘telegraph.’ Cornell’s commitment to this little piece of nineteenth century technology provided the ‘seed-money’ for his “Dream of a University” which has encompassed this sculpture for nearly a century.
[ For a fascinating TIME-LINE of Erza Cornell's life and the Founding of the University, chick HERE. ]
MacNeil’s “Ezra Cornell” ~ New Photos
Posted by: | CommentsHere are the first nine photos of the statue of Ezra Cornell taken on a recent trip through New York state and Cornell University campus by my friend and a fellow history buff, Chris Carlsen and his son, Jensen. Chris was staying at “Old Stone Heap,” the home of his friend William Buckley “Buck” Briggs, an Adjunct Professor of Law at Cornell. Click on Buck’s name above to check out his bio and see his extensive NFL expertise. ( Buck can also be heard doing the “color” radio broadcasts for the “Big Red” Cornell Football team. “Uncle Ezra” would be proud! )
Anyway, quality photos of ‘Uncle Ezra’ like these by Chris are rare. Detail closeups of the signature, foundry mark, and image features have never been seen before on this website. Nor have I seen them on any other website either. We have them from a 360 degree perspective. [ Webmaster is Proud. "Uncle Ezra would be proud!" ]
MacNeil once told an interviewer that as he sculpted Ezra Cornell’s features, he realized the man’s resemblance to his own father, John Clinton MacNeil. After that insight, the sculptor said that his labors became a work of happy enthusiasm. [ "Papa John AND Uncle Hermon would be proud!" ]
This MacNeil work was begun in 1917. It’s public dedication was delayed until 1919 due to World War I. A photo of all the straw hats at the dedication can be seen at Chronicle On-Line: Nov 6, 2007
“Stay tuned more to come later.” ~ Webmaster
Thanks Chris 
H. A. MacNeil, Sc. 1917
Roman Bronze Works in NYC was the premire foundry used by MacNeil for its 'Lost Wax' process of casting.
Upon graduation from Massachusetts Normal Art School, MacNeil’s work was recognized with the award ‘first prize’ in his graduating class. This honor attracted the attention of Cornell University in Ithaca, New York. They invited him to teach as Instructor of Industrial Art. His discipline there was sometimes described as ‘modeling’ – meaning sculpturing from live models.
Hermon Macneil's 'green likeness' of Ezra Cornel is what most Cornell students visualize ads "Dear Uncle Ezra".
For three years (1886-89), he taught on the faculty. It seems a formative time. He saved his money, followed his dreams, and resigned in 1889 to travel to Europe studying art in Paris. The Cornell University, wanting to stay connected to this promising young sculptor, told him they would hold his faculty position for him.
Upon returning to the USA, MacNeil decided to settle in Chicago, instead. The reason was that the Chicago Worlds Fair was generating commissions for Sculpture as part of this ‘modern’ extravaganza.
Yet despite Hermon MacNeil’s decision to not return to Cornell University, the ties and the mutual affection, have remained over the years as evidenced in the following:.
- In 1893, he was commissioned to sculpt a bust of the first dean of the Law School Judge Douglas Boardman . The work remains in Myron Taylor Hall, inside of the Rare Book Room (as seen in the above link).
- In 1930 he was asked to make a sculpture of Ezra Cornell, the founder of the school to grace the campus. A moving account of his experience of this sculpture will be posted later on this website.
- Later, toward the end of his life, he chose to archive his personal papers in the library at Cornell where they remain the largest repository of his records and correspondence, to this day. See MacNeil Personal Papers
MacNeil’s fingerprints remain on Cornell University to this day.
The upcoming post, MacNeil Month #3, will feature “Studies in Paris.”
“Dear Uncle Ezra” : Live and Well on Cornell Website
Posted by: | CommentsHermon MacNeil’s ‘green likeness’ of Ezra Cornell on the Arts Quad is what most students visualaze.
Over two hundred years after his birth [See the Party], Ezra Cornell is advising students on-line at Cornell University. His statue, sculpted by Hermon A. MacNeil, offered some sense of the founders presence on campus when it was dedicated ninety-one years ago. But MacNeil’s figure like all other such art captured the benefactor as ‘frozen in time’ and non-interactive.
So, enter the digital world, circa 1986. Jerry Feist, Assistant Dean of Students and Steve Worona ’70, M.S. ’73 inaugurated Dear Uncle Ezra (DUE) as the world’s first online advice column. Feist became the first Uncle Ezra, answering questions for years many before passing the torch to his unknown successor. The creation has continued to answer “over 20,000 questions, ranging from the serious (“I’m stressing out big time — where can I get help?”) to the silly (“Why is there no chair lift on the slope?”).”
The site provides an interactive voice for Cornell students to meet their “Dear Uncle Ezra” (whose identity is kept strictly under wraps). Not only is it popular on Cornell but several universities have copied the idea for their own campus websites. “Uncle Ezra is the original, of which all others are copies.
![MacNeil’s said of this statue, “When I began to work on that, my heart fairly leaped within me. Mr. Cornell, I discovered, looked like my own father! … And so throughout it was a labor of love; it almost worked itself out.” [ J. Walker Mc Spadden, Famous Sculptors of America, pp. 319-320. ]](http://hermonatkinsmacneil.com/wp-content/uploads/2013/05/IMG_4698.jpg)
MacNeil’s said of this statue, “When I began to work on that, my heart fairly leaped within me. Mr. Cornell, I discovered, looked like my own father! … And so throughout it was a labor of love; it almost worked itself out.” [ J. Walker Mc Spadden, Famous Sculptors of America, pp. 319-320. ]
Resident Cornell history buff and former Sun columnist Corey Earle ’07 says “I think Dear Uncle Ezra is a phenomenal resource for the Cornell community,” noting that “with all the vast resources that Cornell students have available to them at Cornell, the most difficult thing is finding the right one to use. More than anything else, Uncle Ezra points people in the right direction.”
We at HermonAtkinsMacNeil.com have brought our own “Dear Uncle Hermon” into the digital age. Perhaps both Uncles would be proud. If Uncle Hermon’s art gave Ezra a three dimensional likeness on campus, then Dear Uncle Ezra (DUE) certainly gave him a voice. Ezra has come a long way from his telegraph technology days and Western Union fortune and empire that he used to build Cornell University. Thanks to both of our Uncles. You have provided quite an inheritance.
MacNeil’s said of this statue, “When I began to work on that, my heart fairly leaped within me. Mr. Cornell, I discovered, looked like my own father! … And so throughout it was a labor of love; it almost worked itself out.” [ J. Walker Mc Spadden, Famous Sculptors of America, pp. 319-320. ]
Weblinks:
Dear Ezra http://ezra.cornell.edu/
Cornell Daily Sun http://cornellsun.com/node/2726
See Also: [ J. Walker Mc Spadden, Famous Sculptors of America, Libraries Press: Freeport, New York, pp. 319-320. ]
Hermon MacNeil’s “Standing Liberty Quarter” Praised As Favorite
Posted by: | CommentsNinety-four years after its first minting, the MacNeil “Standing Liberty quarter” retains a strong following among coin collectors. Tom LaMarre of Coins Magazine calls it MacNeil’s “real masterpiece.”
That says a lot coming from a coin expert like LaMarre. In a fascinating article at NumisMaster.com, he offers the usual numismatic history of the SLQ mixed with new information and delightful humor. The author has studied enough about MacNeil to mention about a dozen of his other works in the article including, “Sun Vow”, “Pony Express”, and “Ezra Cornell.” So, the “real masterpiece” compliment seems more than just another ‘two-bit’ comment. Some of LaMarre’s words which laud MacNeil’s Standing Liberty quarter include:
“Rich in symbolism and finely engraved detail, the new quarter reflected the spirit of peace and preparedness just before the United States entered World War I. It also revived a classical style in sharp contrast to the abstract and modern trends that were sweeping the art world at that time.”
MacNeil's "Real Masterpiece" the Standing Liberty quarter design was one of the first US Coins created by an sculptor.
LaMarre gives a thorough history of the design development, the changes, the controversies and the over-involvement of the Director of the Mint. A previous post on this website describes Jay H. Cline’s research book on the Standing Liberty Quarter includes nearly forty pages of letters between MacNeil and the Mint. LaMarre, finds this humorous quote on the over-involvement Mr Woolley in MacNeil’s project:
Mint Director Robert W. Woolley was so involved overseeing the preparation of the quarter design at the Mint that the Gettysburg Times predicted it would be known as the “Woolley quarter” or simply the “Woolley.”
Jay Cline's 4th Ed. of Liberty Quarters has excellent information on Hermon MacNeil and this artwork piece minted from 1916- 33
The article offers some details of MacNeil history not seen before. He gives a discussion of the two women who served as models for the MacNeil’s art, namely Doris Doscher and Irene MacDowell. I had not known that Doris Doscher went public with her role in the SLQ on the TV show “I’ve Got A Secret” (or click HERE for second link).
Coin Collectors, especially SLQ fans and MacNeil enthusiasts alike, will enjoy Tom LaMarre’s article “MacNeil’s Standing Liberty Remains a Favorite.” It summarizes the importance of this art piece for collectors, it’s fascinating history, and MacNeil’s persistent creativity in developing the SLQ. LaMarre states:
The Standing Liberty quarter had a sculptural quality that set it apart from all previous quarter dollars. The Numismatist described it as “strikingly beautiful.” The New York Times called it a “silvern beauty.”
Coin collectors looking for more can graduate to Jay Cline’s book on Liberty Quarters. Cline’s book devotes Chapter 5 to telling the story of the two models that posed.
Either way the coin provides in interesting study in history, art and human nature. Treasury officials, namely Secretary William MacAdoo, had concerns about MacNeil’s delicate engraving not wearing as well in circulation as less artistic coin images of the past. But numismatists fine the delicate piece simply a treasure. Again LaMarre offers a good twist:
According to the Treasury secretary, it was a “fast-wearing” design that never quite worked out. In the opinion of collectors, it is a masterpiece that will stand in beauty forever.
