studies the technical rules on these wonderful remains, but forgets that these works were not always thus constellated; that they are the contributions of many ages and many countries; that each came out of the solitary workshop of one artist, who toiled perhaps in ignorance of the existence of other sculpture, created his work without other model save life, household life, and the sweet and smart of personal relations, of beating hearts, and meeting eyes of poverty and necessity and hope and fear. These were his inspirations, and these are the effects he carries home to your heart and mind. In proportion to his force, the artist will find in his work an outlet for his proper character.

He must not be in any manner pinched or hindered by his material, but through his necessity of imparting himself the adamant will be wax in his hands, and will allow an adequate communication of himself, in his full stature and proportion. He need not cumber himself with a conventional nature and culture, nor ask what is the mode in Rome or in. Paris, but that house and weather and manner of living which poverty and the fate of birth have made at once so odious and so dear, in the gray un= painted wood cabin, on the corner of a New Hamp43 shire farm, or in the log-hut of the backwoods, or in the narrow lodging where he has endured the constraints and seeming of a city poverty, will