Footnote #1 to Paul M. Pruitt’s essay on Chief Justice Elisha Peck in the July 2013 number of the Review contained an unfortunate transposition, one which dedicated the piece to the “memory” of Malcolm MacDonald rather than to the late Malcolm C. McMillan as was intended. The editorial staff greatly regrets this error, which was theirs and not Dr. Pruitt’s, and assures subscribers that Mr. MacDonald is indeed well, and continues to enjoy his retirement in McLean, virginia.
In footnote #119 of Pruitt’s essay, the second line should end as “…the Court determined about eighty cases per term.”
In Michael Panhorst’s July 2012 (65:3) article, Devotion, Deception, and the Ladies Memorial Association, a typesetting anomaly resulted in the inadvertent deletion of several lines of text from a paragraph running across pages 171-73. The corrected paragraph reads as follows:
Alexander Doyle was a leading sculptor and monument maker in late nineteenth-century America. Doyle was born into the monument business. His father had roots in the New England granite industry in Hallowell, Maine, and owned a prosperous limestone company in Bedford, Indiana (Figure 5), still today the center of limestone production for building stone in the United States. At age 12, Doyle’s family moved to Italy, where he studied music, painting, and sculpture. After three years they returned to the U.S., and he graduated from high school in [End Page 251] Louisville, kentucky. In 1874 he went back to Europe to study sculpture. In 1878 he settled in New york City and opened a monument company, Doyle and Moffitt, with an English sculptor. He soon attained prominence and garnered several important commissions, including components for three large monuments: the National Revolutionary Monument (1884) at Yorktown, Virginia; the national Monument to the Forefathers (built 1853-89) at Plymouth, Massachusetts; and a portrait of General Philip Schuyler on the Saratoga Battle Monument (built 1885-1912) in New York. Three of his full-length portraits were commissioned by state legislatures for Statuary Hall in the U.S. Capitol. His work is also on display in the state capitols of Iowa and Indiana. He made the marble portrait of President James Garfield (1890) that is the centerpiece of that president’s massive Richardsonian Romanesque tomb in Cleveland. He also made monuments for New York City (Horace Greeley, 1889-94), New Orleans (General Albert Sydney Johnston and the Louisiana Division of the Army of Tennessee, 1877; Washington Artillery Monument, 1880; Robert E. Lee, 1884; Marguerite Haughery, 1884; The Confederate Soldier, 1885; Volunteer Fireman’s Monument, 1887; General P.G.T. Beauregard, 1915), Atlanta (Henry Grady, 1891), Savannah (Sergeant Jasper, 1888), and other cities (Toledo, Terra Haute, New Haven, and Frederick, Maryland). Doyle designed the Alabama Confederate Monument, modeled the finial figure and bronze relief of a generic battle scene that surrounds the base of the column, and coordinated the monument’s construction, but he did not create the statuary installed around the monument’s base.7
7. Doyle is not discussed by Craven in Sculpture in America, and Taft, History of American Sculpture, mentions him only in passing. Allen Johnson and Dumas Malone, Dictionary of American Biography (New York, 1928), 3: 420-21 says Doyle studied sculpture “in the national academies at Carrara, Rome, and Florence.” The Art of the United States Capitol (Washington, 1978) illustrates Doyle’s Thomas H. Benton (1895-97, p.231), Francis P. Blair, Jr. (1895-97, p.232), (1897-1901, p.248). The Smithsonian’s online Inventory of American Sculpture lists twenty-four works by Doyle. See also National Cyclopedia of American Biography, vol. 10 (Ann Arbor, 1967), 371. [End Page 252]