Sometime during that winter of 1860-61 Greeley himself paid us a visit in the _Journal_ office and volunteered a lecture on our misconduct of the paper, which he found the cause of its often infirmity. We listened with the inward disrespect which youth feels for the uninvited censure of age, but with the outward patience due the famous journalist (of such dim fame already!) sitting on the corner of a table, with his soft hat and his long white coat on, and his quaint child-face, spectacled and framed in long white hair. He was not the imposing figure which one sees him in history, a man of large, rambling ambitions, but generous ideals, and of a final disappointment so tragical that it must devote him to a reverence which success could never have won him. I do not know what errand he was on in Columbus; very likely it was some political mission; but it was something to us that he had read the _Journal_, even with disapproval, and we did not dispute his judgments; if we were a little abashed by them we hardened our hearts against them, whatever they were, and kept on as before, for our consciences were as clear as our hearts were light. No one at that time really knew what to think or say, the wisest lived from day to day under the gathering cloud, which somehow they expected to break as other clouds in our history had broken; when the worst threatened we expected the best.
Price was not the companion of my walks so much as Reed had been; he was probably of frailer health than I noticed, for he died a few years later; and I had oftener the company of a young man who interested me more intensely. This was the great sculptor, J. Q. A. Ward, who had come to the capital of his native state in the hope of a legislative commission for a statue of Simon Kenton. It was a hope rather than a scheme, but we were near enough to the pioneer period for the members to be moved by the sight of the old Indian Fighter in his hunting-shirt and squirrel-skin cap, whom every Ohio boy had heard of, and Ward was provisionally given a handsome room with a good light, in the State House, where he modeled I no longer know what figures, and perhaps an enlargement of his "Kenton." There I used to visit him, trying to imagine something of art, then a world so wholly strange to me, and talking about New York and the æsthetic life of the metropolis. My hopes did not rise so high as Boston, but I thought if I were ever unhorsed again I might find myself on my feet in New York, though I felt keenly the difference between the places, greater then than now, when literary endeavor is diffused and equally commercialized everywhere. Ward seemed to live much to himself in Columbus, as he always did, but I saw a great deal of him, for in the community of youth we had no want of things to talk about; we could always talk about ourselves when there was nothing else. He was in the prime of his vigorous manhood, with a fine red beard, and a close-cropped head of red hair, like Michelangelo, and a flattened nose like the Florentine's, so that I rejoiced in him as the ideal of a sculptor. I still think him, for certain Greek qualities, the greatest of American sculptors; his "Indian Hunter" in Central Park must bear witness of our historic difference from other peoples as long as bronze shall last, and as no other sculpture can. But the "Kenton" was never to be eternized in bronze or marble for that niche in the rotunda of the capital where Ward may have imagined it finding itself. The cloud thickened over us, and burst at last in the shot fired on Fort Sumter; the legislature appropriated a million dollars as the contribution of the state to the expenses of the war, and Ward's hopes vanished as utterly as if the bolt had smitten his plaster model into dust.