MORRISON HECKSCHER: The renowned sculptor Augustus Saint-Gaudens was a notorious perfectionist. And this bronze sculpture represents the epitome of an enchanting female figure that appeared over and over in his work. Here, the sculptor’s ideal beauty stands upon a semicircular plinth. Between her curving wings, she holds an acanthus-ornamented tablet that is inscribed “Amor Caritas,” or Love and Charity. Her stance is proud and her gaze is outward. Passionflowers form her crown and belt.

Saint-Gaudens first experimented with this classicizing figure in 1880, with three draped angels for a tomb. Like Amor Caritas, these early figures were full-sized, frontally posed, and wore free-flowing garments. Further exploration of this form can be seen in the figures for the Vanderbilt mantelpiece to your left. But Saint-Gaudens' concept of this angelic figure reached its ultimate state of refinement with Amor Caritas. The Metropolitan commissioned its bronze gilt cast from the artist’s widow in 1918.