Left: Early clay maquettes of panels 

 representing the Museum's four 

 departments. 



Below: Progressive stages In the 

 creation of (from left) "Science," "Re- 

 search," and "Record." All are clay 

 maquettes. 



Mr. Hering's work — a dignity unfettered by academic for- 

 mulae nor yet disturbed by a factitious realism. In the sane 

 mind of the trained sculptor these two extremes of classic- 

 ism and realism have been fused into an expressive whole 

 under the spell of his own individual approach. In this 

 particular problem there was opportunity for a variety of 

 treatment into which has been breathed much of the spir- 

 it of ancient Greece. 



There are many who will concur in the opinion that 

 the art of sculpture has reached and always will reach the 

 broadest expression of its purpose when conceived and 

 carried out with relation to architecture which it may be 

 designed to enhance. Of the greatest sculpture which has 

 come down to us from the past, by far the larger part is 

 permeated by qualities suggested, if not imposed, by the 

 architectural design of which it formed an essential part. 



Hering's career began as a silversmith's apprentice 

 in New York. At the age of 14 he was enrolled in the 

 Cooper Union School of Art, at 17 studied under 

 Philip Martiny (who did the exterior figures for the 

 Columbian Exposition's Palace of Fine Arts), and from 

 1894 to 1898 he worked at New York's Art Students' 



23 



