not effaced his debonair demeanour and whose clothes set gracefully to his person. Yet the person is unmistakably enforced. The man is not lost in the millinery, as one may have noticed in some costume statues; and it is in this respect that Ward has shown his true appreciation of the significance of clothes. They not only envelop the figure as naturally as a skin, and with no hindrance to the imagining of the body inside them, but they adapt themselves completely to the character of the man as shown in the pose of the body and expression of the head. They have been reduced, in fact, to an abstraction corresponding to the sculptor’s conception of the man. In the “Washington” statue, which stands upon the steps of the Sub-Treasury Building in Wall Street, the sculptor had the advantage of a picturesque costume, and he has treated it with the same masterful ease. Yet on this occasion our attention is not divided between the significance of the clothes and that of the figure. The latter represents Washington in the ceremony of taking the oath of office in 1789, an event which happened near the spot now occupied by the statue. The pose is entirely free from heroics: that of a noble, true-hearted gentleman, conscious of the dignity and responsibility of the occasion. One could have wished that the legs were planted more squarely on the ground, as it would have increased the statuesque assertiveness of the figure; but it is quite possible that the sculptor intentionally avoided this, in the desire to suggest that it was at the call of duty and not of personal ambition that Washington accepted office. So he has taken the weight off the right foot and advanced it slightly, thus giving a pliant, curving motion to the body, and with it a touch of hesitancy to the pose. Backed by the classic façade of the Sub-Treasury Building the statue is very happily placed, and amid the turmoil of the neighbourhood strikes a note which is refreshingly true and noble.