Ingots from Robert E. Lee Monument
Charlottesville, Virginia
Ingots from the Robert E. Lee Monument, Charlottesville, Virginia, 2024
Bronze ingots
Small ingots: 3 x 11 x 3 in. (7.6 x 28 x 7.6 cm)
Large ingots: 4 x 28 x 3 in. (10.2 x 71.1 x 7.6 cm)
Installation dimensions variable
Jefferson School African American Heritage Center, Charlottesville, Virginia
Filed Under:
Ingots from Robert E. Lee Monument
Monument Sponsor: Paul Goodloe McIntire (1860-1952)
Dedicated: 1924
Removed: 2021
Ingot Sponsor: Swords Into Plowshares
Melted 2023
Demands for removal of Confederate memorials escalated after the 2015 shooting at Emanuel AME Church in Charleston. Several months later, in Charlottesville, a petition circulated by high school student Zyahna Bryant prompted the city council to take up the issue. The council convened the Blue Ribbon Commission on Race, Monuments, and Public Spaces (BRC). In its final report, the BRC recommended the removal of two equestrian statues, one of Robert E. Lee, the other of Stonewall Jackson, which the city council approved in February 2017. In response, a coalition of pro-monument groups filed a lawsuit, and a judge issued an injunction against removal. Throughout the summer of 2017, white-supremacist groups organized public marches and other events, culminating in the Unite the Right rally. On August 11, 2017, hundreds of white supremacists marched through the streets of Charlottesville and onto the University of Virginia campus with tiki torches, chanting “Jews will not replace us,” “you will not replace us,” “blood and soil,” and “white lives matter.” The following day, the scheduled rally organized by prominent white-supremacist and neo-Nazi groups faced significant counter-protests, leading to violence. Heather Heyer, a counter-protester, was killed when a self-proclaimed neo-Nazi drove his car into the crowd.
In the aftermath, neo-Confederate groups continued to “protect” the monuments with armed patrols in public parks. Despite the trauma these events caused city residents, the injunction remained in place. Following an April 2021 state supreme court ruling that concluded removal would not violate state law, the injunction was lifted, and five monuments across the city were dismantled in July of that year. In December 2021, the city gave ownership of the Lee monument to the Black-led Jefferson School African American Heritage Center for its Swords Into Plowshares (SIP) project. Through SIP, the bronze portions of the Lee monument have been melted down, and this material will be used to create a new work of public art informed by an extensive community engagement process with local residents.
By 1924, when the statue of Robert E. Lee was unveiled in Lee Park (now Market Street Park), the Confederate general had been thoroughly lionized. Within twenty-five years of the Civil War, Lee had gone from being pardoned as a traitor to a paragon of the civic ideals embodied in a military figure—bravery, heroism, and sacrifice. Though Lee was a competent tactician, his reputation was inflated in the years following the Civil War thanks to the efforts of men who served under him in the Army of Northern Virginia. Organizations like the Southern Historical Society and the United Confederate Veterans published recollections of the war that glorified Lee’s actions and repudiated any criticism of him as biased and unfair.
The memory of Lee was further whitewashed when it came to his views on chattel slavery. A staple of Lost Cause dogma is the denial that preserving slavery drove the Confederate cause. Accordingly, defenders of Lee argue that he hated slavery but had fought for the Confederacy because his home state of Virginia had seceded. In fact, Lee believed that white men bore the brunt of slavery’s “moral & political evil,” that “the blacks are immeasurably better off here than in Africa, morally, socially & physically. The painful discipline they are undergoing, is necessary for their instruction as a race . . .” As an enslaver, Lee broke up families and called for or personally oversaw the brutal beating of an enslaved man who had tried to escape. Lost Cause advocates point to Lee’s emancipation of enslaved people that worked on his plantation, omitting the fact that he did so only because his father-in-law, from whom he had inherited them, had stipulated in his will that they be manumitted after five years. Lee’s attempt to keep them enslaved beyond this period culminated in a court-mandated emancipation.
This mythical version of Lee—the righteous Christian warrior who despised slavery—crystallized into key iconography of the Lost Cause, based on which countless monuments were erected throughout the South. The most substantial of these memorials were built in New Orleans (1884) and Richmond (1890).
Paul Goodloe McIntire commissioned and financed several monuments in Charlottesville, including the one of Lee. McIntire was a proponent of the City Beautiful movement, a late nineteenth-century effort in which elite white philanthropists responded to urbanization, industrialization, and immigration by developing parks and museums in order to inscribe civic values in public space. He was also an archetypal Confederate monument patron. Born in 1860, he experienced the war and Reconstruction as a child. His family had owned both land and enslaved people in the antebellum period but by 1870 had lost two-thirds of their wealth. After leaving the South and amassing his own fortune in the North, McIntire returned to his hometown, donating land for green space like Lee and Jackson Parks, which were de facto segregated, and Rose Hill Park, “a public park and playground for the colored people.” This gesture exemplifies the entrenchment of Jim Crow practices, even in the white progressive movement that would build a park for Black city residents.
The Lee statue was sculpted by Henry Merwin Shrady, a self-taught member of the National Sculpture Society who had been recommended for the commission to McIntire by the preeminent artist Daniel Chester French. Ironically, Shrady is chiefly remembered for his monument to Ulysses S. Grant at the U.S. Capitol. He died before completing the Lee statue, and the project was taken up by Leo Lentelli, an Italian sculptor working in New York and San Francisco. Because Shrady’s clay model was unusable, Lentelli started from scratch, endowing Lee and his horse with a stern and solemn appearance that was not universally well received. Judge R. T. W. Duke, master of ceremonies at the unveiling, wrote in his diary: “In afternoon walked with Mary to look at the Lee Statue, which has just been set up. I do not like it.”
The 2.5 tons of ingots on view in MONUMENTS represent an interim stage of this object between its original form and its future transformation. Also on view is a slab from the monument’s base that was spray-painted in anticipation of its removal: “When white supremacy crumbles.”
Ingots from the Robert E. Lee Monument, Charlottesville, Virginia, 2024 Ingots from the Robert E. Lee Monument, Charlottesville, Virginia (detail) Granite fragment from the base of Robert E. Lee Monument, Charlottesville, Virginia, 1924
Bronze ingots
Small ingots: 3 x 11 x 3 in. (7.6 x 28 x 7.6 cm)
Large ingots: 4 x 28 x 3 in. (10.2 x 71.1 x 7.6 cm)
Installation dimensions variable
Jefferson School African American Heritage Center, Charlottesville, Virginia
Photo by Frederik Nilsen
Granite
106 x 55 x 13 in. (269.2 x 139.7 x 38.1 cm)
Jefferson School African American Heritage Center, Charlottesville, Virginia
Robert E. Lee monument, Charlottesville, Virginia, 1924
Henry Merwin Shrady, sculptor
Leo Lentelli, artist
Roman Bronze Works, fabricator
Walter Dabney Blair, architect
Bronze statue on granite base
Photo by Mark Summerfield
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Ingots from Robert E. lee Monument, Charlottesville, Virginia
Swords Into Plowshares
2023
Bronze
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Josephus Daniels
János Farkas
1985
Bronze
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1948
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1929
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Edward V. Valentine
1907
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1890
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