Then may we not see in “Pan” an embodiment of his experiences of passionate youth? Truly it is also the reincarnation of the spirit of the old golden legend of the world, before it was burdened with seriousness, still irresponsible and sportive; when the woods and streams were haunted by creatures close akin to the animals, but gifted also with something of man’s higher opportunities: lazy, sensuous and luxuriously content. But this is only to refer back to a mythological type the perennial characteristics of the birth of passion in a youth. It seems to me quite one with the philosophic bent of Barnard’s mind that he should have comprehended both intentions in his “Pan.” It is as if he had analysed himself and then exorcised his vagrant desires by imprisoning them in bronze. As an artist he takes his opportunity in the recumbent figure of enforcing the sensuous charm of the long, sinuous limbs, and once more indulges in the luxuriousness of firm, soft fleshiness; this time, however, with muscles not relaxed in sleep but unstrung in the sweet lassitude of lazy ease. Then what a subtle insinuation of contempt for the type as he conceives it! He sets one long asinine ear acock, and lets the other droop ridiculously, while in the slanting eye there is a leer of mischievous, foolish wantonness. I do not forget that this is later work, executed after Barnard’s return to America; yet his point of view is so subjective that he can scarcely fail sooner or later to express the struggles of his own soul. But apart from these psychological considerations the statue is one of extraordinary artistic interest; the composition highly original and to a grand degree sculpturesque. It has, that is to say, qualities peculiar to sculpture; the impressiveness of bulk, of form in the round, with vigorous appeal to our tactile sense in its bossy elevations and deep hollows, and with that aptitude for changing effects of light and shadow, bold in parts, in others mysteriously subtle. Moreover, it is remarkable in its expression of character in pose and gesture; for subtle expressiveness could scarcely be carried further in the line of this conception and it is continuous throughout the figure and harmoniously complete. These, moreover, are the traits conspicuous in all Barnard’s work.