WELCOME to the “Hermon A. MacNeil” — Virtual Gallery & Museum !

~ This Gallery celebrates Hermon Atkins MacNeil,  of the Beaux Arts School American classic sculptor of Native images and American history.  ~ World’s Fairs, statues, monuments, coins, and more… ~ Hot-links ( lower right) lead to works by Hermon A. MacNeil.   ~ Over 200 of stories & 2,000 photos form this virtual MacNeil Gallery stretching east to west  New York to New Mexico ~ Oregon to S. Carolina.   ~ 2021 marks the 155th Anniversary of Hermon MacNeil’s birth. ~~Do you WALK or DRIVE by MacNeil sculptures DAILY!   ~~ CHECK it OUT!

DO YOU walk by MacNeil Statues and NOT KNOW IT ???

Archive for Alexander Stirling Calder

Hermon Atkins MacNeil, American Sculptor (1866-1947)

MacNeil’s bronze of Blackpipe, a Sioux warrior he befriended in 1893 (source Smithsonian Archives)

December of 1895 was an exciting time in the life of Hermon A. MacNeil — A time when he was described as “the most happy young man I know.”

Chicago. In fact, 1985, in general, had been a productive year for the sculptor.  Following the 1893 Chicago World’s Fair, times had been tough for both artists and Fair workers.   MacNeil had found Black Pipe, (the Sioux from Buffalo Bill’s Wild West Show), cold and hungry on the streets of Chicago.  He took him in as studio help and a model for future sculptures. 

Marquette.  During 1895, Hermon had completed the four bronze panels depicting the life of Fr. Jacques (Père) Marquette.  They were put in place over the four entry doors of the Marquette Building (CLICK HERE) where he and his artist friend, Charles F. Browne, shared a studio. 

Panel 4 – “The de Profundis was intoned ..

According to information from the MacArthur Foundation (current owner and curator of the Marquette Building), Amy Aldis Bradley wrote in 1895 to Peter Brooks:

After commissioning MacNeil for the exterior bronzes, Aldis wrote to Peter Brooks, “McNeil’s [sic] panels are being placed in position. It is greatly to their and his credit that these bas-reliefs have won for him the Roman [Reinhart] Fellowship. The Commission, choosing him as the best of the very young men…The young sculptor was married on Christmas Day, and sailed for Rome on Wednesday, and is, on the whole, the most happy young man I know. He is very grateful to the owners of the Marquette Building.” (http://marquette.macfound.org/slide/herman-macneil/ )

 Rinehart Prize. In December,  he received news that he had been named as recipient of the Rinehart Roman Scholarship for study in Rome.  Newspapers such as the Nov. 25, 1895 Chicago Tribune (CLICK HERE), and the Dec. 22, 1895 -New York Sun, (CLICK HERE) (columns 5 & 6), contained the news of the selection of this 29 year-old western artist to receive the Prix Rome.

H.A.MacNeil ~1895 sketch - Chicago-Sun
H.A.MacNeil ~1895 sketch – The Sun (New York City)

The sculptors on the committee that selected MacNeil for the  award were the ‘giants’ among American sculptors of the 19th century. As mentioned in the above newspapers, the Rinehart Roman committee included Augustus Saint Gaudens, John Quincy Adams Ward, and Daniel Chester French

These famous sculptors were in the prime of their careers.  Saint Gaudens, at 47, had been the sculptural advisor for the 1893 World’s Columbian Exposition in Chicago.  One tradition suggests that MacNeil asked Saint Gaudens for a letter of reference to Phillip Martiny that got him work on the  that Exposition in  1893. John Quincy Adams Ward, at age 65 was the ‘grandfather’ of American sculptors, and the founder as well as standing president of the National Sculpture Society. Daniel Chester French, age 45, was also a founding member of the National Sculpture Society, and sculpted the colossal sixty-foot golden “Republic” centerpiece statue for the Chicago Fair. ( A thirty foot tall miniature golden replica of which still graces Jackson Park in Chicago today.)


On Christmas Day 1895, in Chicago, he married Carol Louise Brooks, also a sculptor. Earlier MacNeil was informed that he had won the Rinehart Roman Scholarship. Following their wedding, the pair left for Rome, passing three years there (1896-1899) and eventually spend a fourth year in Paris where their first son, Claude, was born.  During those years they study together under the same masters and  live on the shared income of Hermon’s Rinehart Scholarship.  (Carol  had also studied sculpture with both Lorado Taft and Frederick William MacMonnies and been a member of “The White Rabbits” ~ a self christened group of women sculptors called in to complete the massive work load of ‘staff’ statues needed for the Chicago Fair in 1893. )


Other events from 1895 would later unfold into sculpture-opportunities for Hermon MacNeil. In May in Greenwich Village, New York City, Stanford White, with assistance from both Frederick MacMonnies and Phillip Martiny, completed a permanent Washington Arch. 

1895 photo of Empty pedestals on the new Washington Arch with New Yorkers strolling into the popular park.  The skyline includes Judson Memorial Church tower to the right of the Arch.  NYC Citizens would wait more than twenty years before the MacNeil and Calder tributes to George Washington as Commander-in-Chief and as President would be commissioned and put in place in 1916 and 1918. (Photo credit: NYC -Architecture.com: ~  http://nyc-architecture.com/GV/GV046WashingtonSquareArch.htm)

The first one, made in 1889 of paper and wood, commemorated the centennial of  the inauguration of  George Washington.  Received with great popularity, the citizens of NYC demanded a permanent Arch monument for their first President.  White’s design was dedicated on May 4, 1895 with two empty pedestals, meant for statues of Washington.  These niches on the north face of the monument remained empty for almost two decades before MacNeil’s statue of Washington as Commander-in-Chief would fill one pedestal (east side, in 1916), and Alexander Stirling Calder’s statue of Washington as Statesman would fill the other (west side, in 1918).

"Column of Progress" with MacNeil's "Adventurous Bowman" as the finial figure on top. (postcard image courtesy of Gib Shell)

Of the many spectacular architectural creations that towered over San Francisco at the Pan-Pacific Exposition in 1915, perhaps “The Column of Progress” was one of the more unusual, at least by American standards.

MacNeil’s finial sculpture, “The Adventurous Bowman” atop the column was regarded as “the most splendid expression of sculpture and architectural art in the Exposition.”

The Exposition was a celebration of American achievement in the completion of the Panama Canal, thus the ‘Pan-Pacific’ designation.

In her 1915 book,  “Sculpture of the Exposition: Palaces and Courts” author Juliet Helena (Lumbard) James  stated:

The prototype of this column is seen in Trajan’s Column in the Forum of Trajan or in the Column of Marcus Aurelius, in Rome.

Both of these ancient prototypes are ‘old world’ symbols of imperial pride for military conquests.  Both are in Rome within a mile of each other.  Both would be in the familiar  foreground during MacNeil’s studies in Rome (1896-99).  Perhaps the same could be said for many other sculptors who designed the PPIE and also studied in Rome.

Note  the Column’s resemblance to Tragan’s Column in Rome. Also read more on this famous piece of Roman architecture.

In addition the Column of Marcus Aurelius bears a prototypical resemblance, though perhaps less spectacular.

For video of the Art of Exposition pictured in James’ book see: Juliet Helena (Lumbard) James, Art of the Exposition

Karl Bitter, a longterm colleague of MacNeil’s, organized the overall planning of sculpture for PPIE .

“After working as a sculptor at the World’s Columbian Exposition in Chicago in 1893 and as director at the Pan-American Exposition in Buffalo, New York in 1901, Bitter’s extraordinary organizational skills led him to be named head of the sculpture programs at both the 1904 St. Louis Exposition in St. Louis, Missouri, where Lee Lawrie trained with his guidance, and the 1915 Panama-Pacific Exposition held in San Francisco, California. In 1906/1907, he presided the National Sculpture Society.”

[ Source: Wikipedia http://en.wikipedia.org/wiki/Karl_Bitter ]

Both Bitter and MacNeil were based in New York City.  They worked on at least  four world’s fairs together.  Both were elected president of the National Sculpture Society – Bitter in 1906-7, MacNeil in 1910-12 and again 1922-24.

While Karl Bitter was the designated the “Chief of Sculpture of the Exposition,” A. Stirling Calder, another one of MacNeil ‘s colleagues and former students, was called, The man at the wheel in the management of all the works of sculpture at the Panama-Pacific International Exposition.” Bitter was tragically struck by a car in NYC and killed before the PPIE work was completed.  Leadership for the completion of the Exposition sculptures then fell on the shoulders of his young assistant, A. Stirling Calder .

MacNeil's 'Adventurous Bowman' atop the "Column of Progress." None the structures and sculptures seen here remained after the PPIE closed in 1915. (Postcard courtesy of Gib Shell)

Architect – Symmes Richardson, one of the junior partners of the firm of McKim, Meade and White of New York designed the column structurally.   This was the architectural firm of “The White City” of the Chicago World’s Fair of 1893. That event jump-started MacNeil’s career as well as those of many  artists and sculptors of that era.

The postcard pictured above identifies the Column sculptor as Alexander Stirling Calder. He and MacNeil would later collaborate on their paired statues of George Washington “at War” and “at Peace” for the Washington Arch in New York City. By 1914 MacNeil  had already begun working on his ‘General Washington’ statue erected in 1916. Calder’s ‘President Washington’ would be placed on the Arch two years later. Stanford White, another architect from McKim, Mead and White designed the Washington Arch.

Juliet James offers a detailed interpretation and description of the “Column of Progress” in her book.

“The Column of Progress”

The bas-reliefs at the base are by Isadore Konti of New York.
The sum of all human effort is represented. Man’s spiritual progress is seen on the four sides of the base.
Atlas rolling the heavens suggests the passage of time.
Men with their different ideals in the long procession of progress are seen. Some go manfully on, some fearfully, some feel the need of the sword to win their way, others find companions necessary, but all of these men and women must have faith (represented by the two meaningful women at the door), the hope of the palm of victory, and hear the bugle call as they go on their upward climb.
They pass before us, these men and women of different aspirations, and disappear from view.
Up, up they climb.
At the top of the column is Hermon A. McNeil’s Burden Bearers, supporting his Adventurous Bowman.   “All must toil to win” and some must bend their backs that others may rise. Has it not been so at the Panama Canal?
Have not many done the labor that the United States, the Adventurous Bowman, may win?  This purposeful type of manhood, with magnificent decision, has just drawn the bow, and on has sped the arrow of success.
The bowman looks to see it hit the mark.  The man on the right possibly is one of his aids.
The little woman at his side will know by his eyes if the arrow has gone home, and she will then bestow upon him the laurel wreath and the palm of victory which she holds in her hand. She stands ready to help him.
See the group from the sea-wall directly in front of the Column of Progress for the splendid purpose expressed in the figure and on the face of the “Adventurous Bowman.”
Many San Franciscans would like to have this wonderful group duplicated in bronze to remain permanently with the city of the Exposition of 1915.”

While not a part of the Column of Progress, MacNeil’s “Signs of the Zodiac” were also an appreciated part of his contribution to the Exposition.  This sculpture was destroyed as well. [This is the only surviving photo that I have found to date – Webmaster.]



MacNeil's 12' 8" statue Washington (left ) from the other side of the Arch.

George Washington

 February 22, 1732

Pictured below is Hermon A.  MacNeil’s sculpture of General Washington in the uniform of the General in Chief of the Continental Army placed on the easterly pedestal base of the memorial Arch on May 27, 1916.

H. A. MacNeil's "Washington at War" balances the east side of the Arch in Washington Square while Alexander Stirling Calder's "Washington as President" graces the west side. Both sculptors studied at the Ecole des Beaux-Arts in Paris and represent that art style.

The first Washington Arch was constructed to commemorate the centenary of George Washington’s inauguration as the first President of the United States.  That Memorial Arch was a temporary structure meant only for the celebration in 1889.

“The first arch was made of wood, designed by Stanford White, great architect of the age of opulence. It was originally constructed for the Centennial of Washington’s Inauguration. The celebration took place on April 30, 1889. Festooned with papier mache wreaths and garlands of flowers, lit up with hundreds of newly invented incandescent lights, the whole thing cost a whopping $2700. The arch was the hit of the ceremonies. Two days later the Marble and final version was commissioned. White also designed that. By April of 1892 the last block was in place, though the arch wasn’t dedicated until May 4, 1895!”

“Washington’s likenesses were not added until 1916 when the east pier’s “Washington at War” by Herman MacNeil was unveiled. Two years later the west pier’s “Washington at peace” by A. Stirling Calder was dedicated. Both have suffered erosion during the age of the automobile and the formerly fine features of Washington are pitted and broken down so, he is no longer really recognizable. Perhaps it’s time to redo them in bronze. For the next century. Why not?”  


Calder's "George Washington as President" as it appeared before restoration.

Stanford White, of the architectural firm of McKim, Mead and White, (click name to see their work) was one of the first to be associated with the City Beautiful and the Beaux Arts movements dedicated to cleaning up American cities and planning them with order and artistic beauty.  The Arch stands at the end of Waverly Place and Fifth Avenue. The neighborhood was lined with mansions of the wealthy in the gilded age before World War I.

“The Gilded Age was a time of pomp and peace and prosperity. Never before were the gaps between the rich and poor so sharply divided as they were in those quiet years before The Great War of 1917. Without personal income tax to curtail immense fortunes in America’s burgeoning industries, millionaires flourished and paraded their wealth for all the world to see. The magnificent mansions of John D. Rockefeller, J.P. Morgan and Andrew Carnegie stand like faded peacocks along New York’s Fifth Avenue to this day, bearing silent tribute to a luxurious past long faded into time.”

 Marjorie Dorfman at http://www.nyc-architecture.com/ARCH/ARCH-McKimMeadandWhite.htm

According to the Daily Planet, Washington Square ARCH is one of the great place to celebrate Washington’s Birthday:

George Washington Sculptures at Washington Square Arch, Washington Square Park
Designed by architect Stanford White, the Arch was dedicated in 1895. Washington as Commander-in-Chief, Accompanied by Fame and Valor was designed by Hermon Atkins MacNeil and was installed in 1916. Washington as President, Accompanied by Wisdom and Justice was designed by Alexander Stirling Calder and installed in 1918. A major restoration of the arch was completed in December 2004.



NOTE: February 22nd marks the 279th Birthday of George Washington.
February 27th is the 145th Birthday of Hermon A. MacNeil.
The Arch in Washington Square Park, NYC, contains TWO separate statues of Washington



[Continued from the February 12th posting:]

While Washington "Refused to Be King" many personal factors as
well as the expectations of the people were put upon him.

1) As a large man with great physical bearing, he was an embodiment of authority all his life.

2) At 6′ 4″ and slightly over 200 lbs, he was a full head taller contemporaries.

3) Washington was not a handsome man but when he set in motion, his full package conveyed a sheer majesty.  Benjamin Rush observed, “He has so much martial dignity in his deportment that there is not a king in Europe but would look like a valet de chambre by his side.

4) As a fledgling nation that had only known “ROYALTY” prior to independence.  So any leader who looked royal was eligible, so to speak, for coronation.

5) “John Adams claimed that the reason Washington was invariably selected to lead every national effort was that he was always the tallest man in the room.” (Ellis, p. 124)

6) It did not help that he often portrayed a royal style of dress, designed his own uniforms and had them tailor-made to fit his striking frame.
7) As one of his biographers put it, “his body did not just occupy space, it seemed to organize space around it.“ (Ellis, p. 124)

Given all the above, Ellis adds the 'crowning' observation:  
He had no compunction about driving around Philadelphia in
an ornate carriage drawn by six cream-colored horses; or, when
on horseback, riding a white stallion with a leopard cloth and
gold trimmed saddle; or accepting laurel crowns at  public
celebrations that resembled coronations. (Ellis, p. 127)
No wonder the majestic man became regarded as 
"His Majesty."

The TWO Washington Statues
MacNeil's sculpture of Washington as "Soldier" was the
first of the two done in stone.  It was intended to set off the
companion piece of Washington as President, by Alexander
Stirling  Calder on the supporting walls of the Washington
Arch, on Fifth Avenue, New York.
One shows “The President,” and the other” “The Soldier.”  

MacNeil told McSpadden in 1924:
"We had to work together on those statues, Calder and I," said
Mr. MacNeil, "and we had some hot arguments over them,
though we are good friends.  Of course, each of us had his own
statue to do, but we had to treat them in the same restrained
manner, to fit each other and the Arch itself."

In order to fit the the Arch's 77 foot stature, MacNeil's
Washington was sculpted twice life-size.  So while 6 foot
4 inches in life, in MacNeil's hands,Washington became 
12 foot and 8 inches tall.  Despite this size the greater
massiveness of the Arch almost  dwarfs the figures.  In a
similar manner, the revolution and the resulting
republic appear to dwarf any ONE person or group
of Founders.  Perhaps that is the essence of the
heritage of the United States of America as a
republic.   A heritage recaptured by the immortal words
of another President, Mr. Abe Lincoln (also born in
this month) as he closed his comments over the grave sites at Gettysburg.

The statue and plinth dwarf the man below.

                                    "that government of the people,
                                                  by the people, for the people, 
                                                             shall not perish from the earth."

After Washington finished his second four year term as
President, he stepped down. He returned to his beloved Mount
Vernon Estate.  He lived only three more years and died in 1799
in the third year of the Presidency of John Adams. 

Yes, "we have a republic, if we can keep it."
And the man who could have been King, chose instead, to be a
First a citizen-soldier and then a citizen-President.  And so it
has been ever since. 

Presidents Day, the rule of law and the TWO 
twelve-foot eight-inch statues of Washington by 
Hermon Atkins MacNeil and Alexander Stirling
Calder remind us of that heritage.  

As well as the absence of any likeness of anything or
anyone resembling:      

For Mr. Washington was:   "A Man Who Refused to BE KING!"

The Arch when traffic was still allowed in the Square.
For further Reading and research see:
  1. Kurt Soller, Newsweek, “The Man who Would Be King” Oct. 8, 2008 (click on title for link)
  2. Joseph J. Ellis, Founding Brothers, Knopf: NY, 2001.  p. 120-161 (especially 124-127).
  3. http://www.newsweek.com/2008/10/07/the-man-who-would-be-king.html

Related Posts on this website:

  1. https://hermonatkinsmacneil.com/2010/05/11/new-york-washington-square-arch/
  2. https://hermonatkinsmacneil.com/2010/09/26/washington-square-nyc/
    Here's an informative video on the nature of the
    American "republic." While a bit harsh on its
    characterization of 'democracy," it is well
    worth watching.
  • TITLE: "A Republic if you can keep it."  
  • LINK:  http://www.youtube.com/watch?v=YGL8CiUtXF0
  • Comments on this video include: Uploader Comments (aliunde)
  • “Entertaining video, but this is a gross misrepresentation. The author doesn’t note, for example, that the U.S. Constitution replaced the catastrophic “limited government” under the Articles of Confederation, and that a desire to tax Americans directly & regulate interstate commerce were the two chief motivations behind the U.S. Constitution. The size & role of a government is not the issue; it is a government’s internal structure – its checks & balances – which are the key to its success. AboveAllNations 7 months ago”

  • @AboveAllNations: The Constitution was one of strictly limited and enumerated powers. You need but read The Federalist Papers (authored by Madison, Jay, and Hamilton) to secure passage of the Constitution by the respective states) to understand that.  A quick quote: “The powers delegated by the proposed Constitution to the federal government are few and defined. Those which are to remain in the State governments are numerous and indefinite.” –James Madison, Federalist No. 45    –  aliunde 7 months ago 7

The familiar George Washington in your wallet

Hermon A. MacNeil Commemorative by Artist C. Daughtrey is available at http://www.cdaughtrey.com/

February 22nd marks the 279th Birthday of George Washington.

February 27th is the 145th Birthday of Hermon A. MacNeil.

The Arch in Washington Square Park, NYC, contains TWO separate sculptures of Mr. Washington.  The presence of two distinct representations of this remarkable American rather than ONE, is remarkable.

So, why TWO statues? Well, the first statue created by Hermon A. MacNeil represented General Washington, as the soldier, the Commander of the Continental Army of the American Revolution. The second created by Stirling Calder portrayed Mr. Washington as the statesman, the President. BOTH sculptures are necessary to portray George Washington’s TWO essential roles in the creation and establishment of the American republic.  

Throughout his entire career Washington (like his founding brothers and sisters) believed, worked, fought, governed, and served the ideals of a republic as the form of government for the United States.  After the Constitutional Convention, Benjamin Franklin was asked by a woman, “What form of government have you given us?” Franklin is said to have replied, “A Republic, ma’am, if you can keep it.” A Republic is can be defined as:

a form of government in which the people, or some significant portion of them, retain supreme control over the government.  http://en.wikipedia.org/wiki/Republic

At virtually every transition of his life, Washington assumed the power necessary to accomplish the next task, THEN gave that power back when the task was done. History notes that:

When the Second Continental Congress assembled in Philadelphia in May 1775, Washington, one of the Virginia delegates, was elected Commander in Chief of the Continental Army. On July 3, 1775, at Cambridge, Massachusetts, he took command of his ill-trained troops and embarked upon a war that was to last six grueling years.

Source:  http://www.whitehouse.gov/about/presidents/georgewashington

After the surrender of the British at Yorktown in the summer of 1781, Washington remained encamped with the skeletal Continental Army until the Treaty of Paris was ratified by King George III in September 1783.  Before it was ratified by the Continental Congress in January 1784, Washington submitted a letter of resignation as Commanding general.  He said in part:

[To the Continental Congress]

[Annapolis, Md. 23 December 1783]

Mr President

The great events on which my resignation depended having at length taken place; I have now the honor of offering my sincere Congratulations to Congress & of presenting myself before them to surrender into their hands the trust committed to me, and to claim the indulgence of retiring from the Service of my Country. …

I consider it an indispensable duty to close this last solemn act of my Official life, by commanding the Interests of our dearest Country to the protection of Almighty God, and those Who have the superintendence of them, to his holy keeping.

Having now finished the work assigned me, I retire from the great theatre of Action—and bidding an Affectionate farewell to this August body under whose orders I have so long acted, I here offer my Commission, and take my leave of all the employments of public life.


Washington longed to retire to his fields at Mount Vernon. But he soon realized that the Nation under its Articles of Confederation was not functioning well, so he became a prime mover in the steps leading to the Constitutional Convention at Philadelphia in 1787. When the new Constitution was ratified, the Electoral College unanimously elected Washington President.

Source:  http://www.whitehouse.gov/about/presidents/georgewashington

 Washington served two terms as president.  "The main charge levied against
Washington," according to Joseph J. Ellis, "was that he made himself into a
quasi king." 
Yet history records that while England had King George III, the newly United
States would NOT have a King George IV in George Washington.  Mr W was:

"The Man Who Refused to Be King!"

TO BE CONTINUED in next post ...

Hermon A. MacNeil’s sculpture of George Washington on the Arch in Washington Square, Greenwich Village, has become a fixture in the background of New York City. That is a reality.

I recently saw a glimpse of the Arch over Will Smith’s shoulder during a race scene from the 2007 film “I Am Legend.” Smith plays Robert Neville, a character based on the apocalyptic novel of the same name by Richard Matheson. Washington Square provides the setting for 100s of New York scenes in the cinema.  See forty popular examples HERE.

H. A. MacNeil's "Washington at War" framed by figures of "Fame" and "Valor" in the background balances the east side of the Arch in Washington Square while Alexander Stirling Calder's "Washington as President" graces the west side. Both sculptors studied at the Ecole des Beaux-Arts in Paris in the 1890's and represent that art style.

In the nearly 100 years since its installation, MacNeil’s marble depiction of George Washington as Commander of the Continental Army has undergone acclaim, abuse, neglect, appreciation, decay, and finally in 2004, restoration.   Fortunately, neither the statue or NYC have experienced the epidemic level of decay depicted in the disturbing “I am Legend” novel and film mentioned above.  That novel was fiction. Repair of both MacNeil’s Washington and Calder’s Washington were part of the Arch restoration proposal of NYC Dept of Parks and Recreation. That part is reality. Renovations to the entire Park are ongoing. Citizens groups like the Washington Square Association and Friends of Washington Square Park help to lead the way.

The original MacNeil piece was added to the Arch twenty years after its initial construction in 1892.  The artist accompanied his Washington with the allegorical figures of “Fame” and “Valor” in the background of the panel framing his work.  Alexander Stirling Calder added the figures of “Wisdom” and “Justice” to his Washington as President on the west leg of the arch.  Before the renovation LIFE magazine did a feature article on the weather-beaten figures.

Calder's "George Washington as President" as it appeared before restoration.

For a Video Tour and narration Greenwich Village, Washington Square, and the Arch with MacNeil’s Washington and the other sculptures (Calder, MacMonnies) see this MuseumPlanet site:  http://www.museumplanet.com/tour.php/nyc/wv/15

For another view of MacNeil’s Washington as Commander-in-chief and an amazing virtual tour of the Washington Square Park and Greenwich area check out WorldFlicks also.

While decay and apocalyptic fears abound in every generation, we can be thankful for the good people of NYC, their Department of Parks and Recreation, and Citizens groups like the Washington Square Association and Friends of Washington Square Park for maintaining the heritage and beauty our everyday history as US citizens.

Visit this MacNeil Statue in Washington Square, Greenwich Village, New York City.  Use the Google Map guide below for directions: —>



Here is ONE place to go to see sculpture of Hermon A. MacNeil & his students. Located in cities from east to west coast, found indoors and out, public and private, these creations point us toward the history and values that root Americans.

Daniel Neil Leininger ~ HAMacNeil@gmail.com
Hosting & Tech Support: Leiturgia Communications, Inc.           WATCH US GROW


1. Take digital photos of the work from all angles, including setting.
2. Take close up photos of details that you like
3. Look for MacNeil’s signature. Photograph it too! See examples above.
4. Please, include a photo of you & others beside the work.
5. Tell your story of adventure. It adds personal interest.
6. Send photos to ~ Webmaster at: HAMacNeil@gmail.com