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 distinguished artists of his
time, who at least spent some of their active working career in their
native land. The same words apply to artists who succeeded in other
branches of the profession, men like John Doyle (1797-1868), a
caricaturist with all the power, without the coarseness, of his
predecessors; his son, Richard Doyle (1824-1883), a refined and
delicate artist; John Leech (1817-1864), the humorist, a member of an
Irish Catholic family; Paul Gray (1842-1866), who died before his
powers had fully matured; and Matthew James Lawless (1837-1864), who
also died too early. William Collins, R.A. (1788-1847) and Clarkson
Stanfield, R.A. (1793-1867), both eminent representatives of English
art, though of Irish extraction, more properly belong to England than
to Ireland.

Not discouraged by the melancholy history of many gifted Irish
artists, Ireland still produces men who are not unworthy of
association with the best who have gone before. Our most recent
losses have been heavy--notably those of Walter F. Osborne
(1859-1903) and Patrick Vincent Duffy (1832-1909), but we still have
artists of genius in the persons of Nathaniel Hone, a direct
descendant of