The stranger's hand moved pretty quick for a side-pocket, but not quite quick enough. I saw a movement, I heard a blow, and the blood spattered surrounders slightly. In less time than such enterprises usually require, the stranger had fallen heavily on the marble floor, striking his head against an iron column, and remaining in a condition which rendered it desirable to have his friends look after him, if he had any.

The Western gentleman was congratulated,-when he apologized, "I didn't want to hurt the feller, and I didn't care about his bowie-knife going through me, nother. But the tarnal traitor must let the old country alone, and partickilarly that big river. We want to use that thar, out West."

Baker's body was brought across the Potomac the evening he fell. It rested all day, and then by ambulance was conveyed to Washington, and carried through the same hospitable doorway of his friend Colonel Webb from whose steps I had parted with him as he mounted his horse and gave us his warm, earnest hand only two or three mornings before! Oh, how radiant was his face! how athletic and symmetrical his form! how unsullied his ambition! how pure his devotion to God and country!

"God spare his life, at least!" we said, as we saw him disappear around the corner! This prayer Heaven could not grant.

The following day, when the last preparations for the tomb had been made, we went to gaze once more, and forever, on what of earth remained of the form which so lately enshrined the noble spirit.

California claimed her hero and statesman, and his ashes now repose on the calm shore of that ocean which washes the western base of the empire for whose glory he lived and died.

His body lies in Lone Mountain Cemetery, near the city of San Francisco, and over it will rise one of the most superb monuments which the genius of Art has ever erected in honor of human greatness.

California has committed this magnificent work to Horatio Stone. I have tried to give an exact description of the models and drawings, which I studied with some care.*

MONUMENT TO GENERAL BAKER.

This monument, designed to be constructed of white marble, in the general form of the triumphal arch, Ionic order of architecture, to be thirty feet in height; and, as shown by the drawings of each of the four views, to be embellished by two hundred and fifty figures, in processions, grouped compositions, series of single statues, and armorial supporters,-besides the colossal statue of Baker, which is designed to be eight feet high.

The estimated cost of the work is one hundred thousand dollars.

The Designs for the Monument to Edward Dickinson Baker, late U. S. Senator for Oregon, and Colonel of U. S. Volunteers for California. The comprehensive motive of this design has been to commemorate, through an elevated expression of sculptural language, the genius, patriotism, statesmanship, and valor of the eminent citizen whose memory it is intended to honor, as manifested in the chief public relations and actions of his career which entitle his memory to such historical honors; and the endeavor has been to make the sculptural reading (through single statues, groups, processions, and symbols) at once so comprehensive and definite as to obviate the necessity of inscribing in letters, little more than the name of the original of the statue, upon the walls of the structure.

The method pursued, as the designs will show, is to represent, upon the walls of the base of the structure, symbolic compositions and figures, in alto-relief, embodying the attributes, principles, and affections which at once inspire and are developed and protected by enlightened and valorous patriotism, and to make them appropriately expressive as to the life of the citizen representative, and the nation he serves. To represent upon and before the walls of the superstructure: first, in front, the statue of the citizen whose story is to be recorded; second, upon the end plane of the wall, at the left of the statue, to represent the civil service of Baker, in a basrelief of the U. S. Senate; third, upon the end plane of the wall, at the right of the statue, to represent the heroic service of Baker, in a bas-relief battle-scene; fourth, on the rear, standing, against the centre of the wall, in a position corresponding with the statue in front, and over the entrance to the vault, the cinereal vase, upon which is represented, in a series of

In the closing paragraph of the last speech of Baker in the Senate, provoked by the insulting words of the Catiline whom

groups, the chief lesson of immortality and glory,-namely, the women at the sepulchre,-and two other groups presenting votive wreaths to the Angel of Fame; and finally, upon the frieze of the structure, to represent the last honors to the hero, in the martial funeral procession.

Execution of the Plan, in detail.

The general form of the triumphal arch has been chosen for the structure, in view of its heroic associations, as well as its adaptation to the requirements of the sculptural illustrations; all of which are designed to be wrought in white statuary marble, from the same quarry and of the same quality as the whole mass of the structure.

The Ground-Plan of the base, with a projection from the centre of each side of the parallel walls, making the form of a cross, furnishes sixteen planes to receive the illustrative symbols and statues, and is so constructed in order to secure, from the angles of projection, variety and force of expression to the general mass, as well as the statues and groups, by the shadows they will throw upon them. The projection of the base in front also provides a pedestal for the statue, that in the rear the same for the vase of Immortality. A niche is cut in the walls of the superstructure behind each of these, to form a shadow for their relief. The projections of the base beneath the bas-relief of the Senate and of the battle are designed as proper supports to these compositions, and to furnish special planes for the armorial representations of Oregon and California.

Sculptural Story, in detail. Front View, No. 1.

The statue of the subject of the story, being the central object of regard, the initial letter of the sculptural biography, demands the embodiment and expression of all that it may be made to convey of the individuality and life of the original, with reference to his claims of commemoration, independently of associated records and symbols,—a requirement which the endeavor has been to fulfil, and with satisfactory success, in the modelled study of the statue, from which the imperfect outline is sketched.

The mantle and scroll will, through all ages, proclaim the civil eminence of him whom they shall represent, in sculpture, to have clothed and endowed.

The plumed hat, and the sword lying near, will declare the added function and dignity of martial leader.

The next question, Where was the public service rendered? is answered by the symbols of the nation, wrought upon the base of the statue, namely, the U. S. shield and eagle. In this composition the eagle holds in his

for a few days longer Heaven had condemned our patience to tolerate as a Senator of the United States, Colonel Baker, rising in his place, said,

talons the Union angle of the flag, which sweeps entirely around the U.S. shield and those of all the States, which stand behind and rest against the national shield, and thus indicate their subordinate and protected relation.

On either side, as supporters of the national shield, are wrought the ever-burning lamps of national affection, one of them twined with the oak, the other with the laurel wreath. These are also representative of the affection that will continue to cherish the memory of national defenders. Regarding the diffusion of light to be, if not the chief function of Freedom, his first duty, I have placed a torch in the talons of his eagle-herald. Upon the side plane of the base of the statue, at the left, stands the figure of Justice; upon the right, that of Liberty,—the comprehensive prinples defended by him whose statue stands above.

Upon the planes of the base of the structure, at the left and right of the last-named figures, are those representing comprehensively Patriotism and Valor, or the civic and heroic functions or divinities. They are each defending the symbol of the Union,-the fasces, and by their action indicating that the subject of the commemorative honors has merited the oak and the laurel wreaths.

Side View, to the left of Front No. 2.

Beneath the bas-relief of the U. S. Senate is wrought the arms of Oregon, the State represented by the Senator. Upon the planes of the base comprehended in this view are wrought the figures of History, Poetry, Eloquence, and Justice, some of the teachers, inspirers, and conservators of civilization. Poetry and Eloquence are here in the action of contesting for the supremacy of their influence upon the exertions of the senatorial orator. In this series, History, in the act of recording, stands as the first teacher; Poetry, the awakener of emotional life and of aspiration to civil excellence; Eloquence, the inspirer of efficient use of developed spiritual power; and Justice, as the embodied achievement.

Side View, to the right of Front No. 3.

Beneath the bas-relief of the battle-scene, which represents the hero leading a charge, is wrought the arms of California, the State he represented as military leader. Some modification has been made in this, to harmonize it with the composition of forms and lines around it, and because it appeared to me proper to bring the miner out of his reduced proportions on the field of the scutcheon, and to make him, as the representative of Labor, a companion of Wisdom and her fellow-supporter of the shield. But

"There will be some graves reeking with blood, watered by the tears of affection. There will be some privation. There will be some loss of luxury. There will be somewhat more need of labor to procure the necessaries of life. When that is

should this modification prove unsatisfactory, it can be restored to the accepted composition.

Upon the planes of the base, presented to view on either side of the California arms, is continued the series of statues which began with History and ended with Justice on the reverse view of the base. They are Liberty, Science, Religion, and Immortality, or the Angel of Spiritual Victory. In other words, they are placed in the order in which they are supposed to represent the successive stages of the progress of civilization up to its crowning development. They are at once the divine inspirers of heroism, and the most precious possessions of man, which heroism is called upon to defend. In this series Liberty is giving a torch to the eagle-herald, for the reason stated in another place. For obvious reasons, the discoverer of the electrical telegraph is made to personate Science.

Rear View, No. 4.

The vase of sentiment has wrought upon its front a group illustrating the chief lesson of immortality,-the women at the sepulchre, conveying the idea, "He is not here; he is risen." Upon either side are groups of mourners bearing wreaths of honor and affection, and of angels of victory receiving them, and indicating the glorification of the hero.

In the plane of the base, below the vase, is the door opening into the burial-vault. Upon the panel of the door is wrought the fasces and shield of the United States, and upon these are suspended the symbols and honors of civil and heroic service, namely, the scroll and the sword, with the oak and laurel wreaths. Upon the door-jambs, on either side, stand the ever-burning lamps of affection; here their stems are twined with the flowers, indicative of the affection of grief.

Upon the side planes of this projection of the base are the figures of Immortality and History.

The planes of the base of the structure, on either side of the door, are left vacant for inscriptions.

No. 5. The Frieze-procession.

The martial funeral procession starts over the battle-scene; in that section the flag is borne drooped and draped. In the section of the front, the caparisoned horse is led; in the section over the scene in the Senate, the bier is borne. In the section over the vault the procession stands at "rest on arms," while the chaplain is in the action of prayer.