Giuseppe Moretti (3 February 1857 – February 1935) was an Italian émigré sculptor who became known in the United States for his public monuments in bronze and marble. Notable among his works is Vulcan in Birmingham, Alabama, which is the largest cast iron statue in the world. On a personal level, Moretti was "known for his eclectic personality and for always wearing a green tie," but professionally, is claimed to be "the first man to use aluminum in art." Moretti enjoyed some celebrity in his lifetime, and was a friend of famed Italian tenor Enrico Caruso. It is even reported that the singer repeatedly praised Moretti's voice. Early years Giuseppe Moretti was born in Siena, Italy, on 3 February 1857, the nephew of Vincenzo Cardinal Moretti, a noted art patron. He began studying marble sculpting at the age of 9 with the monks of San Domenico and with sculptor Tito Serrochi, whose studio was in the cloister of the church in Siena. Moretti's precocious nature is emphasized in an anecdote about his early fascination with becoming an artist. Apparently aware that distant Florence was the nexus of Italian art, the young Moretti set off down the road in search of a career in the art world. An alert neighbor returned the would-be runaway, and soon after, Moretti was placed under the tutelage of Serrochi. Training and career in Europe Moretti later studied at the Accademia di Belle Arti di Firenze (Academy of Fine Arts of Florence), working in the studio of Giovanni Dupre. Intrigued by the medium of marble, Moretti moved to Carrara to perfect his skill. In about 1879, a Dalmatian sculptor, Ivan Rendić, who saw his work was impressed and invited Moretti to assist him in his studio in Zagreb, Croatia. Moretti set up shop in Zagreb and made several important commissions before a large earthquake devastated the area. Moretti decided to leave, moving to Vienna, Austria, where he worked on the Rothschild palace and executed a marble bust of the Emperor Franz Josef which was to be exhibited in the Paris Exposition of 1900. Moretti's next residence was in Budapest, Hungary, where he executed some works to commemorate the city's history. However, a dispute with German authorities over a marble field that Moretti wanted to use for his projects and as an incentive to local sculptors frustrated Moretti and in the summer of 1888, he decided to