ence, particularly in regard to political appointments, created friction, and although Professor Fuchs was victorious in the struggle, he was wearied by it and willing to accept a call in 1883 to the directorship of the Maryland Institute in Baltimore, where unrestricted freedom was admitted from the start in regard to appointments and control of the curriculum. The school was the same in which the sculptor Rinehart had received his first instruction. It had about two hundred and fifty pupils when Professor Fuchs took hold of it; in his charge the number grew to fourteen hundred. Many of his pupils won gold or silver medals in Paris in the annual competitions.' When Baltimore was burned in 1904 the Maryland Institute art rooms and all the models that had accumulated for years were totally destroyed. Otto Fuchs was not disheartened but rose equal to the occasion, and started at once to gather subscriptions for a new building with greater facilities and a larger endowment. In carrying out this great purpose he undermined his constitution, but the certainty of success comforted him upon his death-bed. The unusual honor of memorial resolutions by the General Assembly of Maryland' was conferred upon the deceased public

servant.

The intellectual exchange of professors between Germany and America has undoubtedly suggested the plan of an exchange in the province of art. In January, 1909, there was opened in the new wing of the Metropolitan Museum of New York City an exhibition of the works of modern German painters under the auspices of the Ger

1 For example, Hans Schuler (of German parentage), sculptor in Baltimore, whose "Adam and Eve" and "Ariadne are works showing marked talent and promise.

2 Cf. German-American Annals, New Series, vol. iv, pp. 158-160.

man Government. The artistic direction was in charge of Wilhelm Bode, director-general of the Royal Museum of Berlin; Arthur Kampf, president of the Royal Academy of Fine Arts in Berlin; and Carl Marr, professor of the Royal Academy of Fine Arts in Munich. On this side the exhibition owed a great deal to the untiring efforts of the art connoisseur, Hugo Reisinger. His Majesty the German Emperor sent his portrait by Kampf and a number of famous modern paintings by Lenbach, Böcklin, Menzel, and others, loaned from the Royal Art Galleries of Berlin, an example which was followed by the museums of Munich, Dresden, Weimar, Karlsruhe, and others. The collection undoubtedly served its purpose of a better acquaintance with modern German art, and made a strong impression, though far removed from commonplace approval. It was discovered that the German artists did not belong to any one school, but were individuals striving to express their individual genius, men of wonderful force, directness, and sincerity, frequently incurring the danger of crudity through their vigor, and of marring the line of beauty through their bold simplicity or their lofty aspiration. The exhibition is to visit other American cities, and some time in the future an exhibition of American art is to take place in Berlin.

An influence of a more permanent kind will undoubtedly result from the establishment of the Germanic Museum at Harvard University in 1903. The beginnings of a great collection were made by the generous gifts of the German Emperor, which included casts of German sculptures of the Middle Ages and the Renaissance to be found in no other museum in the world. Galvanoplastic reproductions of German metal-work from the twelfth to the eighteenth century were added later by German friends, and gifts came

from the King of Saxony and the town council of Nuremberg, illustrating Saxon art of the thirteenth century and the workmanship of the Nuremberg sculptor, Adam Krafft. The collection promises to become one of the most complete and valuable in the world, and a constant source of interest alike to laymen and artists.'

C. Sculpture

If the beginnings of music and painting in the United States were difficult, the case for sculpture seemed well-nigh hopeless. The Puritan and Quaker horror of the flesh and a peculiar unfathomable prudishness that held sway all over the country,' compelled whatever talent there was in the land to seek refuge in fair Italy. From the very persecutors of the art, however, sprang its first great votaries, Hiram Powers (1805-1873), a Quaker, and Horatio Greenough (1805-1852), whose mother was born in New England.

3

There were undoubtedly some Germans laboring at the art in the early period, for when Powers went to Cincinnati in 1826 he frequently visited the studio of a German artist, and there discovered in himself those talents which culminated in the production of the "Greek Slave." There is a record of a German by the name of Korwan, "who executed several monuments which show conscientious labor and good taste." The more than gifted Francis Dengler (born in Cincinnati) was of German descent. He died

1 Thanks to the untiring efforts of the curator of the museum, Professor Kuno Francke, and the generous beginning of a fund by Adolphus Busch ($150,000), the institution may look forward to occupying, in time, a permanent home. Three hundred thousand dollars will be necessary for this purpose.

Cf. Mrs. Trollope, Domestic Manners of the Americans, vol. ii, pp. 85-87, and vol. i, pp. 220-221.

3 Cf. Hartmann, A History of American Art, vol. ii, p. 19.

Hartmann, vol. ii, p. 18.