IRISHMEN IN ART.

New Zealand Tablet, Volume II, Issue 80, 7 November 1874, Page 10

IRISHMEN IN ART.

A distinguished historian has -written s — " Brayed in a mortar for centuries, scourged by every English ministry, and traduced by almost every English writer, as Ireland has been, it is delightful to witntsi her unconquerable spirit, soaring with immortal pinions over the proudest pinnacles of art ard science owned by her heartless sister, and perching -wherever she willeth on those devoted to science, art, music, poetry, arms, eloquence, literature, and even, mechanism." These words were written many years ago (in 1857), when the artistic opportunities and educational facilities open to the Irish race were far more limited than at the present day. Yet, even seventeen years since, the words were literally true. Passing over the familiar fields of literature and science, and coming to the domain of art, we find that Hogan was then classed with Carnova, by' competent critics, for the grace and beauty of his sculptures. Oldham (a native of Dublin) was at the summit of his fame so fairly won by his marvellous mechanical inventions. He it was who invented the intricate machines for engraving, printing, and numbering bank-notes, thereby making forgery almost impossible. Without this apparatus, modern banking would be a pprpetual risk. Then, too, worked Maclise, " the greatest living master of the human figure," whose frescoes adorn the English, Parliament House, and one of whose pictures stands above the royal throne in the House of Lords. This Parliament house itself is a monument to Irish genius. When the old house was destroyed by fire, the committee advertised over the whole continent of Europe for plans and specifications. Three hundred plans were received from famous architects. That which was adopted, and which carried off the premium, had appended to it the name of Barry, a native of "Waterford. Then too, Martin A. Shea was president of the London Academy of Painting, and Doyle was convulsing the world with the trenchant satire of his pencil. Balfe, the composer, was just winning his way to a splendid reputation, which is in no danger of declining now, for his ballads and operas grow more popular every day. Fowler and Carew were working marble into life with their chisels ; as was Baily also, whose statue of " Eve at the Fountain " is a recognised masterpiece, fit to stand beside the finest relics of Grecian art. Haverty, Burton, Mulvany, Ingham, and many others were well known as painters. We might extend the list at will, but it is not our purpose now to exhaust it. Coming down to our own day, it is gratifying to know that the mantle of Hogan and Baily has fallen upon a worthy IrishAmerican successor in the person of Mr Flannery, of Washington, a young and talented sculptor. He is no mere copyist of other men's ideas, nor does he belong to that class of eager aspirants who work out crude ideas into meaningless groups and figures. On the contrary, there is evidence of healthy originality, vigour and thorough culture in his work ; and though yet a young man, he has won for himself a place among the brotherhood of genuine artists. la 1865, an association was formed for the purpose of erecting a statue to the memory of President Lincoln, and the best talent of the country was invited to furnish designs for the work. Among many competitors, Mr Flannery bore off the palm, and in due time completed the imposing figure of "Old Abe," now familiar to every visitor at the National capital. He has distanced' competition in several other trials of the same kind, and the creations of his hands are scattered over the country. His genius reflects credit on our element, and to no one else so appropriately as to him could be committed the execution of the statue which St. Louis proposes to erect to the memory of O'Oonnell. Such, a choice would make the work Irish-American in a double sense,