When the "Marble Faun" was first published the art criticism in it, especially of sculptors and painters who were then living, created a deal of discussion, which has been revived again by the recent centennial celebration. Hawthorne himself was the most perfect artist of his time as a man of letters, and the judgment of such a person ought to have its value, even when it relates to subjects which are beyond the customary sphere of his investigations, and for which he has not made a serious preparation. In spite of the adage, "every man to his own trade," it may be fairly asserted that much of Hawthorne's art criticism takes rank among the finest that has been written in any language. On the other hand, there are instances, as might be expected, in which he has failed to hit the mark. These latter may be placed in two classes: Firstly, those in which he indicates a partiality for personal acquaintances; and secondly, those in which he has followed popular opinion at the time, or the opinion of others, without sufficient consideration. American society in Rome is always split up into various cliques,--which is not surprising in view of the adventitious manner in which it comes together there,--and in Hawthorne's time the two leading parties were the Story and the Crawford factions. The latter was a man of true genius, and not only the best of American sculptors, but perhaps the greatest sculptor of the nineteenth century. His statue of Beethoven is in the grand manner, and instinct with harmony, not only in attitude and expression, but even to the arrangement of the drapery. Crawford's genius was only too well appreciated, and he was constantly carrying off the prizes of his art from all competitors. Consequently it was inevitable that other sculptors should be jealous of him, and should unite together for mutual protection. Story was a man of talent, and not a little of an amateur, but he was the gentlemanly entertainer of those Americans who came to the city with good letters of introduction. Hawthorne evidently fell into Story's hands. He speaks slightingly of Crawford, and praises Story's statue of Cleopatra in unqualified terms; and yet there seems to have been an undercurrent of suspicion in his mind, for he says more than once in the "Marble Faun" that it would appear to be a failing with sculptors to speak unfavorably of the work of other sculptors, and this, of course, refers to those with whom he was acquainted, and whom he sometimes rated above their value.