Of all the monuments that have graced Madison Square that which first comes to mind is one that has gone.  Twenty years ago a splendid white arch spanned the Avenue, with one pier close to the sidewalk in front of the Fifth Avenue Hotel, and the other touching the edge of the opposite Park.  It was in direct line with Washington Arch seventeen blocks away.  Under it, on September 30, 1898, passed the victor of Manila Bay, whose name it bore, bowing right and left to the city’s riotous welcome.  For months it remained there, and then disappeared.  Why was the beautiful structure not made permanent?  The Worth Monument, in the centre of the triangular piece of ground bounded by Fifth Avenue, Broadway, Twenty-fourth and Twenty-fifth Streets, dates from 1857.  By order of the Common Council the plot was set apart for the erection of the shaft in December, 1854.  Major-General William J. Worth, of Mexican War fame, died at San Antonio, Texas, June 7, 1849.  The monument was dedicated with a parade and a review November 25, 1857, and the General’s remains interred under the south side.  In bands around the obelisk are recorded the names of the battles in which Worth took part.  On the east face, cut in the stone, may be read “Ducit Amor Patriae" and on the west face, “By the Corporation of the City of New York, 1857—­Honor the Brave.”  At the moment of writing the building beyond the Worth Monument, at the corner of Fifth Avenue and Twenty-fifth Street, is in the process of demolition.  At one time the New York Club was housed there, and there, for years, the sign of the Berlitz School for Languages stretched across the southern face of the structure.

“Were all the statues in New York made by St. Gaudens?” was the recent naive and ingenuous question of a visitor from the West who had just completed the first two days of his stay.  “Most of the good ones were,” was the laughing rejoinder of an artist.  “At least that is the way it seems.  And nearly all the pedestals for them were made by Stanford White.”  In query and response there is a certain amount of justice.  It is Augustus St. Gaudens’s benevolent presentment of Peter Cooper that stands within the little park enclosed by Cooper Square.  The name of St. Gaudens is associated with those of John La Farge, White, MacMonnies, MacNeil, and Calder in the making of the Washington Arch.  To St. Gaudens belongs the equestrian statue of William Tecumseh Sherman in the Plaza.  And here, in Madison Square, the Farragut statue is his.  Unveiled in 1881, executed in Paris when the sculptor was thirty years of age, and exhibited in the Paris Salon of 1880, the Farragut is, in the opinion of Miss Henderson, the base upon which St. Gaudens’s great reputation rests.  “And while,” she writes, “in New York its merits are often balanced with those of the Sherman equestrian group, at the entrance to Central Park; the Peter Cooper, in Cooper Square; and the relief of Dr. Bellows, in the All-Souls’ Church—­all later works—­it