improve his situation, rent a studio, purchase marble, and hire models. Danish sculptor Bertel Thorwaldsen said to him, "My son, you are the best sculptor I leave after me in Rome". In 1829, Hogan visited Ireland, bringing several works with him. The Royal Arts Society provided a venue for an exhibition. The Dublin Society awarded him a gold medal. Hogan's best known work and masterpiece are the three versions of the statue of The Dead Christ or The Redeemer in Death. Created in flawless Carrara marble, the first version (1829) is located in St. Therese's Church, Dublin, Ireland, the second (1833) in St. Finbarr's (South) Church, Cork, Ireland and the third and final version (1854) is located in the Basilica of St. John the Baptist, Newfoundland. Other works by Hogan include the Sleeping Shepherd and The Drunken Faun. Hogan assured his international reputation in 1829 with The Dead Christ; thereafter, his creations were snapped up by Irish bishops visiting his Rome studio. In 1837 he was elected a member of the Virtuosi del Pantheon. During the next several years, he had several works in hand, including a marble statue of Daniel O Connell, for the Repeal Association. The statue stands today at City Hall Dublin, the same spot where O'Connell gave his first speech against the Act of Union in 1800. In 1840, a monumental group in memory of Bishop Doyle, founder of Carlow Cathedral was brought to Dublin and exhibited at the Royal Exchange. the statue of Bishop Doyle is in the Cathedral of the Assumption, Carlow, as is a second Hogan work depicting the Holy Family. Later life and death Hogan married Cornelia Bevignani in Rome in 1838. The figure of Hibernia, in Hogan's work Hibernia with the Bust of Lord Cloncurry (1844), was reportedly modelled on his wife. (A representation of this work was later used as the watermark on all Series A banknotes printed in Ireland from the 1920s to the 1970s.) The couple had four sons and eight daughters. With the revolutionary movement growing in Italy during the 1840s, and after spending twenty-four years in Rome, Hogan returned with his family to Ireland in 1848. At first, he found little work in the aftermath of the Great Famine, but gradually commissions increased. Hogan could be impatient with ignorance, intolerant of professional inferiority, and independent. He held aloof from other artists and refused to join the