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_Sculptor, and Author of “History of American Sculpture”_
The story of American sculpture is a brief one compared with the chronicles of other lands. Our first professional sculptors, Horatio Greenough and Hiram Powers, were both born in 1805. In European countries the records of the last hundred years are but fragments, brief sequels to the story of ages of endeavor. It is difficult to realize that our actual achievement, from the very kindergarten stage of an unknown art to the proud eminence held by American sculpture in the Paris Exposition of 1900, was the work of but three score years and ten--was seen in its entirety by many living men.
[Illustration: BIRTHPLACE OF J. Q. A. WARD
_Ward was born in 1830, on a farm in the neighborhood of Urbana, Ohio._]
The beginnings of all arts in this country have been timid and imitative. Literature, music, and painting had something to found themselves upon in the national tradition; but sculpture was never abundant in England, and this art, usually one of the earliest, was the last to appear in America. Its first inspirations were Italian, and for half a century American sculpture was a crude parody on the art of Canova and Thorvaldsen. Many of our sculptors, like Powers, Greenough, Crawford, Story, Randolph Rogers, Rinehart, Ball, Mead, and Harriet Hosmer, made their homes in Florence and Rome, and welcomed the ever swelling tide of American travel with wistful greetings. Perhaps their influence was greater there upon the receptive travelers than it could have been at home; but one cannot help feeling a high regard for men like Palmer, John Rogers, and Ward, who “held the fort,” developing the native material of their own land.
About the time of the Centennial, France was suddenly discovered by our young sculptors. Her opportunities were appreciated, and soon the entire stream of students was diverted thither from Italy and Germany. Saint Gaudens was the first important product of the American-French school of sculpture, and his talent and training together offered an irresistible argument for the new methods.
[Illustration: PAUL WAYLAND BARTLETT AND JOHN QUINCY ADAMS WARD]