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THE CAPITOL DOME 39 earlier. Flanagan, who had trained with Saint-Gaudens, was based in Paris when he carried out the work, and his sculpture breathes the influence of French art, whereas Crawford's, which by comparison is stiff and formal, remains rooted in the Italian. A contemporary news- paper article, commending Flanagan's sculpture for the LOC and offering some biographical information to the reader—including his being the son of a master stone- cutter—claimed him to be an Irish-American sculp- tor. 45 e clock was installed in its location in a piece- meal fashion over several years until its completion in 1902, causing some irritation to Superintendent of Construction Bernard Green. In a journal entry in that year, he noted: "Flanagan present and nosing about, talking irrelevantly, asking questions and giving direc- tions as usual." 46 However, it was apparent from the beginning of the Flanagan/Green association that Green, formerly of the U.S. Army Corps of Engineers, was easily exasperated. In one of the early letters from the sculptor to the engineer, Flanagan makes passing reference to Green's pique, 47 and there was a continu- ing dissonance underlying their correspondence, with money occasionally the issue. A contemporary of Flanagan's, John Donnelly Fig. 12. Rotunda Clock, by John Flanagan (1865–1952), installation completed 1902