Except Guinness's stout, the nineteenth century has little to show that is local and characteristic and excellent. It can best afford to be judged by Foley's admirable statues of our Irish worthies. Burke and Goldsmith stand outside Trinity College, to which they belonged--though poor Goldsmith had even less cause than Swift to love the stepmother of his studies. Doubtless Goldsmith was not easily distinguished from the ruck of troublesome undergraduates, and that dignity with which the sculptor has invested his odd and appealing ugliness was not evident except to the eye of genius. Grattan holds the centre of College Green, a dominating figure near those walls which he filled with stately eloquence. O'Connell, the great tribune of a later day, stands lifted on an elaborate monument in the street, and facing the bridge, which now bear his name--at the other end of that broad promenade and thoroughfare (which part of Ireland still calls Sackville Street, not so much out of love for a forgotten Viceroy as out of dislike to the change) there will stand from 1911 onwards a newer memorial to a later leader--the monument which Augustus Saint Gaudens designed to commemorate Parnell. The famous American sculptor has set his bronze figure, of heroic size, on a low pedestal; but behind it rises an obelisk of brown Galway granite, inlaid with bronze and crowned with tripod and leaping flame. Thus Dublin possesses the only work by this artist (Dublin born, of a French father and an Irish mother) which the United Kingdom can show, save for the small medallion of Stevenson in Edinburgh. In America, where he lived and worked, his fame is established by many examples. Moore, a national hero hardly less popular in his day than even O'Connell or Parnell, has been much less happy in his statue. It faces the Bank of Ireland in Westmorland Street, and is, in truth, very absurd and ugly. But Moore's volatile charm of countenance, which a hundred contemporaries describe, did not lend itself to reproduction in bronze. More interesting by far is the tablet in Aungier Street, which marks the little shop where he was born and bred, and from which he issued forth on the most amazing career of social conquest recorded in the annals of society. The earliest and best of the _Irish Melodies_ were written in Dublin about 1810; but Moore's parents had before then moved to a little house near the Phoenix Park, where the son's influence procured his father a sinecure. [Illustration: THE PORT OF DUBLIN] The group of poets who succeeded Moore--writers of the Young Ireland Movement in 1848--find their commemoration in the bust of James Clarence Mangan, recently erected in Stephen's Green--almost as unobtrusive as was in life that strange and unhappy genius.