The artist who first met this new demand upon sculpture, and may be called the founder of a new style, was GIOVANNI LORENZO BERNINI (1598-1680), a very gifted man. When but ten years old this remarkable genius was known as a prodigy in art, and it was at this early age that his father took him to Rome. Pope Paul V. was soon interested in him, and Cardinal Barberini assisted him in his studies; from this fortunate beginning all through his life good fortune attended his steps. He lived through the pontificate of nine popes, and was always in favor with the reigning head of the Church. This gave him the opportunity to fill Rome with his works, and he imprinted himself upon the art of the Eternal City; no artist since the time of Michael Angelo held such sway, and Bernini acquired his power easily, while the grand Michael Angelo was disputed at every step, and fought a long, hard battle before he was allowed to take the place which was so clearly his by right. The fame of Bernini extended to other lands, and he was invited to France, where he went when sixty-eight years old, accompanied by one of his sons and a numerous retinue. He was loaded with favors, and received large sums of money and many valuable presents. In Rome, too, he was much favored; he held several church benefices, and his son was made a Canon of Santa Maria Maggiore; and it was in this church that Bernini was buried with great magnificence, as became his position and his wealth, for he left the immense fortune of four hundred thousand Roman crowns. Bernini had great versatility of talent, a remarkable imagination and power of conceiving his subjects clearly, and, more than all, he had marvellous power of execution and compelling his marble to show forth his thought. It has been said that marble was like wax or clay beneath his hand. He was subject to no rules; indeed, he believed that an artist must set aside all rules if he would excel. This sounds very fascinating, but a study of Bernini's works will show that it is a deceitful maxim. A man of small talent could do nothing in this way, and even Bernini, who without doubt had great gifts, often failed to make up in any way for the sins against rules of which he was guilty. Westmacott, in his writing upon sculpture, says it would have been better for art if Bernini had never lived; and it is true that in his struggle for effect he was an injury rather than a benefit to the art of his own day and the succeeding years.