atriot. The artist has shown him
at the supreme moment when, facing the scaffold, he uttered the
memorable words which still thrill the American heart, and expression
and sentiment were never more perfectly in accord. He struck the same
high note with his famous fountain at Chicago Exposition, where hundreds
of thousands of people suddenly discovered in this young man a national
possession to be proud of.

A year later his name was again in every mouth, when the Boston Public
Library refused a place to perhaps his greatest work, the dancing
"Bacchante," which has since found refuge in the Metropolitan Museum at
New York--a composition so original and daring that it astonishes while
it delights.

Like MacMonnies, George Gray Barnard began life as a jeweller's
apprentice, became an expert engraver and letterer, and finally, urged
by a ceaseless longing, deserted that lucrative profession for the
extremely uncertain one of sculpture. A year and a half of study in
Chicago brought him an order for a portrait bust of a little girl, and
with the $350 he received for this, he set off for Paris. That meagre
sum supported him for three years and a half--with what privation and
self-denial may be imagined; but he never complained. He lived, indeed,
the life of a recluse, shutting himself up in his studio with his work,
emerging only at night to walk the streets of Paris, lost in dreams of
ambition. That from this period of ordeal came some of the deep emotion
which marks his work cannot be doubted.

This quality, which sets Barnard apart, is well illustrated in his
famous group, "The Two Natures," suggested by a line of Victor Hugo, "I
feel two natures struggling within me." Two male figures are shown,
heroic in size and powerfully modelled, a victor half erect bending over
a prostrate foe.

Besides these men, who are, in a way, the giants of the American
sculptors of to-day, there are, especially in New York, many others
whose work is graceful and distinctive. Paul Wayland Bartlett, Herbert
Adams, Charles Niehaus, John J. Boyle, Frank Elwell, Frederick
Ruckstuhl, to mention only a few of them, are all men of originality and
power, whose work is a pleasure and an inspiration, and to whose hands
the future of American sculpture may safely be confided.

SUMMARY

GREENOUGH, HORATIO. Born at Boston, September 6, 1805; graduated at
Harvard, 1825; went to Italy, 1825, and made his home there, with the
exception of short visits