an African Methodist minister; he studied at the
Academy of Fine Arts in Philadelphia and be¬
came a photographer in Atlanta. Afterward he
taught at Clark University in Atlanta. In all this
time he had sold less than $200 worth of pictures;
but finally he got to Paris and was encouraged by
Benjamin Constant. He soon turned toward his
greatest forte, religious pictures. His “Daniel in
the Lion’s Den” was hung in the salon in 1896
and the next year the “Raising of Lazarus”
was bought by the French government and hung
in the Luxembourg. Since then he has won medals
in all the greatest expositions, and his works are
sought by connoisseurs. He has recently received
knighthood in the French Legion of Honor.
In sculpture we may again think of two points of view,—-first, there is the way in which the Negro type has figured in American sculpture as, for instance, the libyan Sybil of W. A. Story, Bissell’s Emancipation group in Scotland, the Negro woman on the military monument in Detroit, Ball’s Negro in the various emancipation groups, Ward’s colored woman on the Beecher monument, the panel on the Cleveland monument of Scofield, Africa in D. C. French’s group in front of the Custom’s House in New York City, Calder’s black boy in the Nations of the West group in the Panama-Pacific exhibition and, of
