appropriate, indefinably distinguished, one may detect it in his angels for the Clark monument, particularly in the treatment of the head and wings. But these panels are, perhaps, the only examples of his work in which a direct influence of his sojourn in Florence can be traced. They are imbued with the spirit of the Renaissance. When, as usually, he works in an atmosphere circumscribed by local considerations, I doubt if we shall find this added savour of style. He handles drapery with evident delight, but scarcely with an independent control of the material. Having arranged it upon the model with perfect taste, he copies the folds and volumes. They seldom display that touch of artistic arbitrariness which a master of style would give them, compelling them to yield to the precise shade of expression demanded by the subtle union of his hand and brain. In the “Death and the Sculptor” the drapery reaches a measure of style, but scarcely in the “Alma Mater”; and this is precisely one of the reasons of the suggestion that a woman has been suddenly metamorphosed into a statue. The drapery is not idealised. Yet, if it is only on rare occasions that French’s work evinces style, it is never without a very rare and fine distinction--the impress of a man who reverences his art and has yielded her the devotion of a refined and elevated spirit. If the localness of its range may have been at the expense of some desirable qualities, it has endeared it to the greater number of people and presented an invaluable incentive to many a young artist to seek his ideals in his own country. If it fails to touch the deeper chords of human emotion, it is always purifying and uplifting. With maturity it has lost nothing of its original freshness, and has had an abiding influence for good upon American art and life. V FREDERICK MACMONNIES Penetrating the American temperament is a strong vein of boyishness, alertness, elasticity of mind, a happy disregard of difficulty and a buoyant hopefulness; a predisposition to humour and a refusal, except in really serious matters, to take life seriously; a national grace of gaiety. It is this phase of Americanism that is reflected in the sculpture of Frederick Macmonnies. He is himself a remarkable example of maturity in youth. To-day, in this year 1903, he is but forty, yet in variety and quality the work accomplished has been prodigious, and he has long since reached a notable eminence both at home and in Paris. The latter has been pretty constantly his place of sojourn since 1884, and he has proved himself fully in touch with its spirit, at least with that exhalation of elegant materialism which hovers over its deeper qualities. For, except in the statues of Nathan Hale and James S. T. Stranahan, and possibly in his “Shakespeare” of the Congressional Library, Macmonnies has shown himself more alive to the external charm of form than to its expression of underlying qualities of deeper significance.