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o cut wonderful heads of dogs, horses, and lions, for scarf pins. He made hundreds of lions' heads, and twenty years later, when he was helping his brother model the lion figures for the Boston Public Library, his hands fairly flew, he knew all the lines so well. When Augustus went in the evenings to the drawing classes at Cooper Union, he began drawing human figures and was so eager about his art that he would have forgotten to eat or sleep if his mother had not watched him. As he grew older, he loved art more and more. The only thing else that attracted his eye was the city-full of soldiers, at the beginning of the Civil War. He read the bulletin boards, heard groups of men telling about battles, and his heart ached with love for America. He wanted to go to war to show that love. But his father was now sure that Augustus was a genius and insisted upon his going to Europe to study. The father could not give him much money, hardly more than enough to get him across the ocean, but he could cut cameos to pay for his lessons. Augustus stayed in Paris a year. He made friends among the artists just as he had made them when a child in New York. Then he worked four years in Rome. He had a hard time there and grew thin for want of food and sleep, but he was as eager as ever and worked faster and harder than before. People began to visit his studio and always went away full of praise for the talented young man. Rich Americans visiting in Rome urged him to return to this country. They gave him orders, and he finally came back to America, where he was kept busy on busts and medallions until he began to have orders for monuments of great Americans. This was work he liked. He loved America, and he was proud of her heroes. Perhaps he loved Abraham Lincoln best of all. He had seen Lincoln a good many times, and he had read and studied about his beautiful life until every line of that man's face and figure was clear in his mind. Still, when he was asked to make a statue of Lincoln for the city of Chicago, he worked on it many years. On his statue of General Sherman which stands in Central Park, New York, he labored eleven years. On the beautiful Robert Gould Shaw monument which stands in front of the State House in Boston, he spent twelve years. This does not mean that he stood with clay in his hands all this time, but that from the time he began to plan what he would draw into the statue, what size it ought to be, and whether the m
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