But all great artistic revivals are two-sided. There must be a spiritual stimulus as well as a technical. If the first may be credited to Leighton as far as the revival of English sculpture is concerned, the improvement in technique is undoubtedly traceable to Jules Dalou, the French sculptor. Our readers will remember how Dalou fled from Paris, on account of his connection with the Commune. During his stay in England he was persuaded to conduct the modelling class at South Kensington. The influence of his technical example and forceful personality began to show itself at once. Dalou made South Kensington one of the first centres of sculptural training in the world. When he returned to Paris, he was succeeded by Professor Lanteri—the sculptor of the virile “Head of a Peasant,” in the Tate Gallery—whose influence has since rivalled that of Dalou. Both were magnificently facile workers in clay. By continued practical demonstration they proved to the younger English sculptors the inestimable value of ease in modelling. The English school, as a whole, is still behind the French in facility of execution, but Dalou and Lanteri have done very much to remedy the defect. The Dalou influence was continued in the second great training school of London—the Lambeth School of Art—by his pupil, W. S. Frith. The success of Mr. Sparks’ school may be judged from the fact that Alfred Gilbert, Frampton, Goscombe John, Harry Bates, Pomeroy and Roscoe Mullins all graduated there. Indeed, at one time, studentship at Lambeth seemed a necessary preliminary for all sculptors of ambition. Year after year, the gold medal at the Royal Academy and the £200 travelling scholarship were taken by Lambeth students. [Illustration: LORD LEIGHTON ATHLETE STRUGGLING WITH PYTHON Tate Gallery, London] If South Kensington and Lambeth have shared the honour of laying the foundations of the art education of the younger English sculptors, there are few cases in which the Academy schools cannot claim to have completed the task. The fact is often forgotten by the Academy’s many detractors. Under the present system, any sculptor of real promise can practically command a complete art education. The schools are free, the professors being the members of the Academy, who take monthly turns in the schools. Admission is by examination—that for a sculptor entailing the presentation of an anatomical drawing, showing bones and muscles, a model in the round of an undraped antique, and a life-sized medallion from the living model.