The nationalization of classic types, which was attempted by Thorwaldsen in his later works, illustrates that desire for national expression which the patriotism of the 19th century demanded. David d'Angers, called upon to create in the streets of French cities many representations of famous Frenchmen, not only gave these a contemporary costume but also gestures and expressions in harmony with their characters and activities. His "Corneille" at Rouen, "General Drouot," at Nancy, and "Thomas Jefferson," at Washington, are examples. Francois Rude shared this effort to nationalize French sculpture, as his "Marshal Ney," in Paris, demonstrates. Rauch, in his famous equestrian "Frederick the Great," in Berlin, not only renders realistically the costume and features of the king, but surrounds the pedestal with the por traits of his contemporaries. In America, John Quincy Adams Ward, in such monuments as the "Washington," in front of the sub-treasury in New York, succeeds admirably in adding a touch of national feeling to figures essentially classic.
The search for nationalism led inevitably to the revival of national styles. Carpeaux, in his spirited "Fountain of the Four Races," in the Luxembourg gardens, recaptures the pictorial warmth of French baroque masters ; Jules Dalou, in his "Triumph of the Republic" and his "Silenus Monument" carries these tend encies still farther. Henri Chapu recalls in his "Tomb of Re gnault," Ecole des Beaux-Arts, Paris, the exquisite grace of Goujon, and the "Tomb of General Lamoriciere," in Nantes, by Paul Dubois, illustrates also this tendency to turn to the national renaissance—a tendency equally noticeable in Germany and in Italy. In America this movement found expression in such ad
mirable monuments as General Sherman in New York, by Augus tus Saint-Gaudens.
Contemporary Monuments.—The period since 1875 has been prolific in commemorative art. This has been due, in part at least, to the development of realism and to the romantic and pictorial, and therefore popular, character which sculpture assumed towards the end of the 19th century. The growing tendency to wards naturalism in monumental art, exemplified by the work of Rude, Carpeaux and Bayre, culminated in Rodin, whose "Monu ment to the Burghers of Calais" is the negation of classic form. The realism of this monument, which recalls that of the i 5th cen tury Gothic and its narrative and emotional power, have made it the prototype of a world of memorials both in Europe and in America. "The Monument to Victor Hugo" is less literal and achieves something of the strength of Michelangelo. The impres sionistic technique and the "popular mysticism" which this mon ument exemplifies have also been widely imitated. Bartholome in his fine "Monument to the Dead," in the Cemetery of Pere Lachaise, Paris, embodies not only his freedom from the Hellenic rule, but also the realism, and the mysticism, the pictorial treat ment, which Rodin had made popular. The monuments which continue the tradition are innumerable : the "Fountain of Time," in Chicago, by Lorado Taft ; the "Burden of Life," in Harrisburg, Penn., by George Grey Barnard ; and the lovely "Bacchanale," by Malvina Hoffman, are American examples. (See also EFFIGIES, MONUMENTAL ; MONUMENT; TOMB; SCULPTURE TECHNIQUE.)