Edward Carew (1785-1868), John Henry Foley, R.A. (1818-1874), and Patrick MacDowell, R.A. (1799-1870), that Irish sculpture obtained more than local renown.  Fortunately, most of the best work of Hogan and Foley remains in Ireland; that of Carew and MacDowell is chiefly to be found in the Houses of Parliament and other institutions in London.  The incomparable “Goldsmith,” “Burke,” “Grattan,” and other statues by Foley, together with an almost complete collection of casts of his other works, are in his native country.  Hogan is represented in Dublin by his “Thomas Davis” and his “Dead Christ,” to name but two of his principal works.  The names at least of James Heffernan (1785-1847), of John Edward Jones (1806-1872), of Terence Farrell (1798-1876), of Samuel F. Lynn (1834-1876), and perhaps of Christopher Moore (1790-1863), an excellent sculptor of busts, may be set down here.  Sir Thomas Farrell (1827-1900) and the living sculptors, John Hughes, Oliver Sheppard, and Albert Bruce Joy, are responsible for some of the more admirable of the public monuments of Dublin.  It is much to be deplored that of the work of one of the greatest of Dublin-born artists, Augustus Saint Gaudens, we have only one example—­the statue of Parnell.  Ireland may surely claim him as one of her most gifted sons.  And perhaps a word might be said in this place of some of the other Irishmen who made their home in America:  of Hoban the architect who designed the White House at Washington, modelling it after Leinster House in Dublin; of painters like Charles Ingham, W.G.  Wall, William Magrath, the Morans, James Hamilton, and Thomas Hovenden; and of sculptors like John Donoghue, John Flanagan, Andrew O’Connor, John F. Kelly, Jerome Connor, John J. Boyle, and Martin Milmore.  But they belong rather to the history of American art than to that of Ireland.

Before leaving the subject of Irish sculpture, the work of the medallists, an allied branch of the art in which Irishmen did much valued work, should not be overlooked.  The medals of William Mossop (1751-1805), of his son, William Stephen Mossop (1788-1827), and of John Woodhouse (1835-1892), to mention only three of its chief representatives in Ireland, are greatly prized by collectors.

Most modern Irish art of high importance has been largely produced out of Ireland, which has been perforce abandoned by those artists who have learned how little encouragement is to be met with at home.  One can blame neither the artist nor the Irish public for this unfortunate result; there is sufficient reason in the political and economic condition of Ireland since the Union to explain the fact.  But for this cause men like Daniel Maclise, R.A. (1806-1870), William Mulready, R.A. (1786-1863), Francis Danby, A.R.A. (1793-1861), and Alfred Elmore, R.A. (1815-1881), might have endeavored to emulate the spirit of James O’Connor (1792-1841), the landscapist, Richard Rothwell (1800-1868), a charming subject painter, and Sir Frederic W. Burton (1816-1900), one of the most