“The government of the State of Texas has never secured or preserved but one memento of the Alamo. A small but finely executed monument was made from the stones of the fortress in 1841 by an artist named Nangle, and after lying long neglected it was purchased by the State. It now stands in the hall of the capitol at Austin; but neither at the Alamo itself, nor at the forgotten grave of its defenders, does any legend or device, like the stones of Thermopylae, remind the stranger of those who died for their country's rights.” 122
In the conflagration of the capitol on November 9, 1881, perished wholly or in part the State library and many valuable documents and relics. A fragment only of the Alamo monument was saved from the ruins. Fortunately, however, that fragment has on its sides, unobscured and perfectly legible, all the heroic inscriptions. It is now kept with the historical relics in the State library.
On the evacuation of San Antonio by the Mexicans in May, 1836, the Alamo was dismantled and many of the stones from its walls were scattered over the adjoining plaza, thus affording the material for the monument.
I think it proper to state here, though somewhat anticipating the documentary evidence, that two men wrought in the construction of the monument, one Nangle, a lapidary, and Joseph Cox, a stone-cutter.
On the next page is a reproduction of a lithographic view 123 of the Alamo monument.
The following was the list of names inscribed thereon:
M. Autry, R. Allen, M. Andress, Ayres, Anderson, W. Blazeby, J. B. Bowman, Baker, S. C. Blair, Blair, Brown, Bowin, Balentine, J. J. Baugh, Burnell, Butler, J. Baker, Burns, Bailey, J. Beard, Bailess, Bourn, R. Cunningham, J. Clark, J. Cane, Cloud, S. Crawford, Cary, W. Cummings, R. Crossan, Cockran, G. W. Cottle, J. Dust, J. Dillard, A. Dickinson, C. Despalier, L. Davell, J. C. Day, J. Dickens, Devault, W. Dearduff, J. Ewing, T. R. Evans, D. Floyd, J. Flanders, W. Fishbaugh, Forsyth, G. Fuga, J. C. Goodrich, J. George, J. Gaston, J. C. Garrett, C. Grimes, Gwyn, J. E. Garwin, Gillmore, Hutchason, S. Hollaway, Harrison, Hieskell, J. Hayes, Horrell, Harris, Hawkins, J. Holland, W. Hersie, Ingram, John, J. Jones, L. Johnson, C. B. Jamison, W. Johnson, T. Jackson, D. Jackson, Jackson, G. Kemble, A. Kent, W. King, Kenney, J. Kenny, Lewis, W. Linn, Wm. Lightfoot, J. Lonly, Lanio, W. Lightfoot, G. W. Lynn, Lewis, W. Mills, Micheson, E. T. Mitchell, E. Melton, McGregor, T. Miller, J. McCoy, E. Morton, R. Mussulman, Millsop, R. B. Moore, W. Marshall, Moore, R. McKenny, McCaferty, J. McGee, G. W. Main, M. Querry, G. Nelson, Nelson, J. Noland, Nelson, Wm. G. Nelson, C. Ostiner, Pelone, C. Parker, N. Pollard, G. Paggan, S. Robinson, Reddenson, N. Rough, Rusk, Robbins, W. Smith, Sears, C. Smith, Stockton, Stewart, A. Smith, J. C. Smith, Sewall, A. Smith, Simpson, R. Star, Starn, N. Sutherland, W. Summers, J. Sumerline, Thompson, Tomlinson, E. Taylor, G. Taylor, J. Taylor, brothers; W. Taylor, Thornton, Thomas, J. M. Thruston, Valentine, Williamson, D. Wilson, Walsh, Washington, W. Wells, C. Wright, R. White, J. Washington, T. Waters, Warnall, J. White, D. Wilson, J. Wilson, A. Wolf, L. J. Wilson, Warner.
The following description of it is taken from Baker's Texas Scrap Book, 114:
“This monument is ten feet high, and made from stone taken from the ruins of the Alamo. The style of architecture is the Composite, and is divided into ten sections. The 1st section, or base of the monument, is one solid piece, bearing the whole structure. The 2d section is a square plinth, neatly empaneled. The 3d section is a sub-plinth, with Gothic molding and roped bead, symbolical of binding the whole structure firmly. The 4th section is the die, or main body of the monument, consisting of four panels in recess, supported by rude fluted pilasters at each corner. On two of these panels are raised shields, on which are inscribed, in raised letters, the names of every man who fell at the ever-memorable battle of Alamo. Each shield is suspended from a beautiful wreath, in the center of which is a bouquet of flowers. The shields and wreaths sustaining them are encircled by honeysuckles and vines. On the other panels of section 4th is represented the skull and bones crossed. Above the skull are two angels facing each other, blowing trumpets. Below the cross bones are the symbols of Time—the hour-glass, scythe, and wings. Section 5 is a solid cap resting on the main body, projecting with Gothic moldings handsomely carved, representing oak leaves at the corners. On the top of the cap is a square facia forming recesses in which is inscribed, in large raised Gothic letters, the names of the gallant spirits who fell at the head of the heroes of the Alamo. Each name—that of Crockett, Bonham, Travis, and Bowie—stands out singly in bold relief, on each of the four fronts. From the center of this cap springs the main shaft or spire, and upper structure.
“Section 6 is a Corinthian base, forming four square angles. At each angle is a dolphin, in solid carved work. On each side, in the center, is a bomb-shell of full size, and made of solid stone. Section 7 is the base of the shaft, with raised fluted corners, and rests upon the Corinthian base, supported at the corners by the tails of the dolphins, and at each side by the bomb-shells. In the panels on the base and over the bomb-shells, are raised hands in the grasp of friendship. Section 8 is the 1st division of the shaft, with raised fluted corners and panels in recess. At the base of each panel are cannon crossed in bold relief. Above these cannon, on each panel, is the Cap of Liberty, surrounded by branches of oak and laurel. Immediately above these, in raised letters, is inscribed, on each of the four fronts, March 6th, 1836, the date of the memorable battle. On top of this section of the shaft is a cap, with raised fluted corners and recess panels. In two of these panels stand in relief, the heads of angels with wings. On one of the other panels is, in relief, a heart pierced with two crossed daggers; and on the other panel is a skull with twigs crossed underneath. Section 9 is the second division of the shaft, with the devices in raised Gothic letters, as printed on each side of the wood-cut of the monument above. Section 10 is a cap on top of section 9, forming four Gothic points; and in each, in a recess panel, stands in bold relief The Lone Star of Texas. Underneath the stars are raised daggers. In the center of the cap above the stars stands an urn with flame issuing from it; and at each corner of the cap on which the large urn rests, are four smaller urns, out of which also issues flame.
“This monument was made in the Republic of Texas by American artists. Viewing the work as a whole, both as to boldness and appropriateness of design and beauty of execution, it would reflect credit on any artist of ancient or modern times.”
The first notice of the monument after its construction in San Antonio to meet my eye is the following from The Morning Star, 124 published in the city of Houston:
“MONUMENT OF THE ALAMO.
“Mr. Cox has recently set up the monument of the Alamo in this city for exhibition. It is doubtless the most beautiful and impressive piece of sculpture ever completed in the Republic, and will be found one of the most interesting objects that has even been exhibited in this city. It is formed entirely of stones taken from the walls of the Alamo, which are arranged in the form of a monument, consisting of a pyramid resting upon a square pedestal and ornamented with beautiful and well executed carved work and appropriate inscriptions. It is impossible, however, to give any description that will give an accurate idea of the work. It must be seen to be appreciated, and we recommend our fellow citizens who are desirous to encourage domestic artists or who feel a single emotion of respect for the martyred heroes of the Alamo, to go and view it in person. It is a relic hallowed by the blood of martyrs, and as we gaze upon its inscriptions we feel that the very stones cry out against the inhuman murderer of our heroic countrymen.”
The subjoined card appeared in four successive issues of the same paper, beginning July 25th.
“THE ALAMO MONUMENT.
“The proprietor takes this opportunity of informing the inhabitants of the city of Houston and its vicinity, that in consequence of the present hard times, he has determined on lowering the price of admission to 25 cents.
“Joseph Cox.”
The monument must have come on a wagon from San Antonio to Houston, as that was the only practicable way then for moving heavy freight overland. There is evidence further on to show that Cox with his monument was at Galveston also in 1842 or 1843. Then it is lost to view for eight or nine years.
In The State Gazette, 125 published in Austin, we find the following extract from The New Orleans Crescent:
“THE ALAMO . . . AN INTERESTING MONUMENT.
“Passing by St. Patrick's yesterday, our attention was attracted to a white, freestone monument, on which are carved many military emblems. On stopping to examine it more carefully, we learned it was intended to be placed over the grave of those who fell at the Alamo. The rock was taken from the walls of the Alamo. It was chiseled on the spot by an English and a German artist who had fought in the battles of Texas and who after the virtual peace which followed the battle of San Jacinto spent several months in this pious labor. It was purchased by the Republic of Texas; but the artist claimed the privilege of exhibiting it in the United States. It was brought here but did not prove attractive. The artists had no money and it was sold for the charges of exhibition. For several years it has been lying among the rubbish of a marble yard. Of course it is valuable only as a local monument. We trust the citizens of San Antonio de Bexar will pay a fair price for it and return it to its proper locality. The monument is of white freestone, composed of a pedestal on which rests an obelisk. On two sides of the pedestal are escutcheons containing the names of the soldiers—while those of Travis, Bowie, Bonham and Crockett are inscribed on the upper lines. The faces of the obelisk have these inscriptions in alto relievo, arranged in the usual urnlike form. Upon the east side of the obelisk is inscribed in raised characters: `To the God of the Fearless and Free is dedicated this Altar made from the ruins of the Alamo.'
“Upon the south side is the following inscription: `Thermopylae had her Messenger of Defeat; but the Alamo had none.'
“Upon the west side is the following: `Be they enrolled with Leonidas in the Host of the Mighty Dead.'
“Upon the north side is the following: `Blood of Heroes hath stained me; let the Stones of the Alamo speak that their Immolation be not forgotten.' ”
The original article in the Crescent, which appeared weeks before it was copied into The State Gazette, called forth the following letter, also published in the Crescent 126 and copied into The Texas Monument, 127 published at La Grange, whence it is taken:
“INTERESTING MONUMENT.
“Messrs. Editors: An article appeared in the Crescent of Wednesday, calling the attention of the public to a splendid monument which is to be seen in Camp street near St. Patrick's Church in the yard of a stone-cutter.
“You will not, I presume, take offence at the following questions from one who knew the artist while in Galveston, and who took a deep interest in supplying the wants of his sick and starving family.
“Questions—1. How did the monument get into the stone-cutter's yard in Camp Street? 2. Where has it been since the summer of 1842? 3. What has become of poor Cox, the genius who combined the rare qualities of sculptor, poet, and historian? 4. On what authority is it asserted that the monument was purchased by the Republic of Texas?
(Signed) “An Inquirer.”
The next communication is an attempt to answer the above. It is evidently from Captain R. M. Potter as shown by the initials in the signature. Captain Potter is a most painstaking and conscientious writer, and his statements may be accepted as entirely trustworthy. The letter appeared first in The New Orleans Crescent, 128 and was copied into The Texas Monument 129 along with that of “Inquirer”:
“From the N. O. Crescent, Mar. 28, 1851. “THE ALAMO MONUMENT.
“The Alamo monument, which is now to be seen in a marble yard, near St. Patrick's Church, seems to be attracting the attention it merits, both on account of the artistic skill of its construction, and the heroic associations with which it is connected; and, as any information touching it may be acceptable, you will, I trust, permit me to correct a wrong impression entertained by our Thursday's correspondent, `An Inquirer,' as to the name of the artist by whom that monument was made. I passed the summer of 1841 at San Antonio, and found there two men, an artist and a stone-cutter, engaged in manufacturing, from the stones of the Alamo, various small mementos, such as vases, candle-sticks, seals, etc. The artist was a Mr. Nangle, who, as he told me, had formerly been established in Philadelphia as a seal cutter and jeweler; but had left there on an imprudent enterprise, in which he had been plundered and ruined by the man who had induced him to embark in it. Being unwilling to return in poverty to his former associates, he had come to Texas, and, after a few years of campaigning and other occupations, had turned his professional skill to account in the manner above mentioned. His productions were, many of them, executed with rare beauty, the fine work being done by him, and the first roughing out by his companion.
“At the time referred to, a gentleman, then in San Antonio, suggested to Nangle by way of bringing his skill into better notice, the idea of making and presenting to the Government of Texas a miniature monument, of a fit size for a mantle or table ornament, and also suggested inscriptions and devices for it. Nangle acted on the idea, and commenced the small monument, but afterwards adopted a larger and more elaborate plan, which resulted in producing the beautiful work now to be seen in Camp street. Three of the inscriptions, and some of the devices originally suggested were made use of in executing it.
“The artist was probably induced to expend so much labor on it, as he did by the hope that it would be bought by the Republic of Texas; but I never heard there that it was ever purchased, conditionally or otherwise, by that government.
“Mr. Nangle died in Texas, as I understand, at the time, soon after completing the monument, which, after being exhibited there, was brought to this city for exhibition by his partner, the stone-cutter.
“The object of this communication is not to answer your correspondent's queries as to the possession, etc., of the monument, which I know nothing about, but to correct an error as to the identity of the sculptor, whose skill in design or execution ought not not to be ascribed to the wrong person, whether the right one be living or dead. Before closing, let me, however, express the earnest wish that steps be taken by those interested to restore this monument to the locality where it properly belongs, and which alone can invest it with the interest to which it is entitled by the names and events it commemorates. Though the Government of Texas was too poor to purchase it in 1841, I have no doubt the needful amount could now soon be raised among the people of that State by subscription, if the matter were properly brought to their attention.—R. M. P.”
The fate of the monument is for awhile wrapt in mystery, and we know nothing of its vicissitudes. But four years later The Texas State Times of Austin (Col. John S. Ford's paper) has this to say on our subject in its issue of December 8th, 1855:
“ALAMO MONUMENT.
“This work of art, executed in commemoration of the fall of the Alamo, is now standing in the vestibule of the new capitol. The names of many of those fell at this modern Thermopylæ are inscribed on the monument. It is a work of much merit, prompted by a deep sense of patriotism and a profound love of liberty. It is one of those productions which reflect upon the originator a degree of honor highly creditable. As a work upon a national subject—as a vestige of nationality—a memento of one of the proudest achievements of a people struggling for freedom—as a tangible proof of gratitude for the heroes who consecrated that spot with their blood, made the Alamo a battle cry upon other fields, as an heirloom rich in recollections of the past—of the mighty dead—this monument should belong to Texas, it should stand at her capitol to remind all future generations of the services these patriots rendered their country in the dark hour of peril, and that they should ever feel grateful to these martyrs of liberty for the enjoyment of the republican institutions they so nobly aided in rearing in this land `of love and sunny skies.' ”
Meanwhile public sentiment was aroused, and in 1858 the Leglature passed the act, the terms of whch are as follows:
AN ACT FOR THE PURCHASE OF THE ALAMO MONUMENT.
section 1.Be it enacted by the Legislature of the State of Texas, That the sum of twenty-five hundred dollars be and the same is hereby appropriated out of any money in the Treasury, not otherwise appropriated, for the purchase of the Alamo Monument.
section 2.That the Governor be and he is hereby authorized and required to draw the above sum from the Treasury, and pay out of the same the sum of one thousand five hundred dollars to the present owners of the Alamo Monument; and the remainder of the appropriation he shall pay to the widow and children of — Nangle, deceased, the sculptor who executed the work. Provided, That for the above consideration, the owners of the Alamo Monument shall transfer all their right and title to the same to the State of Texas.
section 3.That this Act take effect from its passage.
Approved February 6, 1858.
This precious memento of the heroism of Travis and his band, once domiciled in the capitol, remained unnoticed amid the exciting times of the Civil War, and the unspeakable horrors of Reconstruction. But with the restoration of Democratic rule in 1874 came a revival of patriotic feeling, which made legal holidays of March 2d, Independence Day, and April 21st, San Jacinto Day. Miniature flags of the Republic were everywhere in requisition and on display. Nor were the heroes of the Alamo any longer forgotten. They came in for a share of recognition, as shown by the legislative appropriation of two hundred dollars for the “inscription of the names of those who fell at the Alamo on bronze plates, or other durable material, to be inserted for preservation in Alamo monument in the portico of the Capitol.”
A revision of the list of the names of the heroes of the Alamo was now deemed necessary, and Adjutant General William Steele had an extensive correspondence with many prominent men, supposed to be well informed on the subject.
Among these were ex-Governor E. M. Pease, W. P. Zuber, Rufus Grimes, Frank W. Johnson and Captain Reuben M. Potter. Each of these distinguished gentlemen furnished to the Adjutant General of Texas what, in his judgment, was a true list of the Alamo dead. There was a wide margin of difference in the lists of names submitted. They agreed, however, on one point: that the current lists were all defective. A true list can hardly be expected now, and it may not have been practicable then.
I submit the following extract from Captain Potter's letter of July 10, 1874, to Adjutant General Steele:
“The Alamo Monument was made in 1841, and, as I have understood, the names of the ill-fated garrison was obtained by the artist from Mr. Sutherland, then well known as a member of the Congress of Texas from the lower Colorado....
“As you have alluded to my rumored share in originating this monument, it may not here be amiss to state in what my limited claim to it consists. I suggested the first crude idea of such a memento, made from the stones of the Alamo and furnished some of the inscriptions and devices. In 1841, I found in San Antonio a man named Nangle, a lapidary of unusual skill, then engaged in making from the material above mentioned, for sale, divers small tokens, such as vases and pipes and candlesticks. I advised him to construct a monument of size suitable for decoration of the interior of some public building and offer it for sale to the government of Texas, unless he should prefer to make a present of it by way of advertising his artistic ability. The form I suggested was that of a Roman altar having on the upper entablature of one side, a heart pierced with two crossed faulchions, significant of immolation; on the opposite, a skull with two crossed palm leaves below it; typical of victorious death and on the other two upper fronts, a lone star and a liberty cap, each supported by branches of oak and olive. Those emblems are found on some part of the actual memento. The inscriptions I proposed were: For one side of the main body, the names Travis, Bowie, Crockett, Bonham—and for the other sides, three of the epitaphs which have been adopted. The artist disposed of he four principal names more tastefully on the four fronts of the entablature, and put on the side I had allotted to them, an inscription better than any of mine. “Thermopylae had her messenger of defeat—the Alamo had none.” Where he got it, 130 I know not. The expression occurred in some public address of that day, but I cannot say whether the orator borrowed from the monument or the reverse.
“The altar shape is alluded to in one of my inscriptions, which now seems out of place on an ornate obelisk; but a form so simple and stern as that I recommended, though suitable for a massive structure on the scene of slaughter, was less fitting for an inside decoration; and the artist did well to amplify the primitive idea which I gave him.
“I left San Antonio after the monument was begun, and never saw it till it suddenly turned up in New Orleans in, I think, 1852.
“Nangle died soon after he finished it, and his partner took it to the city aforesaid. He too disappeared and the monument after several years of burial among rubbish, was sold for storage and bought for a trifle by a man named Cavanaugh, whom I persuaded to offer it for sale to the State government of Texas. This eventually led to its being placed where it now is.”
A few years later, and before a proper list of the names of those who fell in the Alamo could be made out, there perished in the flames, almost entirely, this unique little monument—the priceless memento of the most heroic event in Texas history, or, for that matter, in all history.
123. Under date of July 7, 1874, at Fort Wood, N. Y., Captain R. M. Potter, in correspondence with William Steele, adjutant general of the State of Texas, relative to the Alamo Monument, said that the owner, to expedite its sale to the State, published a print of the monument fifteen or twenty years before. In another letter from Potter to Steele a few days later was sent a print of a lithograph of the monument with a list of the names of the Alamo dead and a minute description of the monument probably made in San Antonio by Nangle the artist. Mr. Baker may have borrowed this print and description for insertion in his Texas Scrap Book, issued in 1875, though he does not say so.
The cut used for this article was made from the print in the Texas Scrap Book. The description of the monument with the names thereon was also taken from the same source.
This list is copied from Baker's Texas Scrap-Book, 113. It evidently contains many errors, but it is reprinted without any attempt at correction.
124. For July 22, 1843.
125. For April 12, 1851.
126. For March 17, 1851.
127. For April 23, 1851.
128. For March 28, 1851.
129. For April 23, 1851.
130. In December, 1898, in Austin, Col, Guy M. Bryan told me on the authority of Gen. Hugh McLeod that Gen. Thomas Jefferson Green was the author of the inscription beginning “Thermopylae.” `General McLeod informed me' said Col. Bryan, `that the authorship of the inscription was freely discussed at a banquet in Galveston during the Republic and that it was positively stated without contradiction that General Green dictated the sentiment to Nangle.'—C. W. Raines.
How to cite:
Raines, C. W., "THE ALAMO MONUMENT ", Volume 006, Number 4, Southwestern Historical Quarterly Online, Page 300 - 310. http://www.tsha.utexas.edu/publications/journals/shq/online/v006/n4/article_2.html
[Accessed Mon Dec 1 23:48:08 CST 2008]
