The attractions of a city so rich in artistic resources, so generous to artists, have allured many to extend their sojourn there beyond the years of studentship, and Paris has been in these days, only in a still greater degree, what Florence and Rome were half a century ago--a resort for self-expatriated Americans. But, with a few exceptions, the sculptors have escaped this tendency; not so much perhaps from inclination as from circumstances. For commissions have been plentiful in America, and the need of being on the spot in order to secure them drew the sculptors home--on the whole to the betterment of their art. For it is the same with Paris, a university of the arts, as with Harvard, Yale or any other university of letters and science. The atmosphere is most congenial to the quick development of student years; but, for the further, more gradual development that grows out of the stuff which a man has in him, not to be compared to the rough-and-tumble contact with the larger world. For there are some elements of technique which can be imparted; others, however, are of personal growth. It is a distinction largely of manners and feeling. Manners can be imparted and acquired; feeling, at best, mainly guided. Its finer manifestations are the outcome of self-development. Thus in the matter of modelling, in which the Parisian student usually excels, the hand can be trained to express with exquisite precision and delicacy the surface of flesh and fabric, the form and texture of each; and the feeling for the esthetic charm of these things can be aroused and refined. So, too, can that larger feeling for the construction of the form and the organic relation of its parts, up to the point at least of securing accuracy and truth to nature. But the still larger feeling, which finds in the structure and organic arrangement an expression of emotion and manifests itself most amply in composition, cannot be taught. To certain general principles the student may be directed, just as any school of manners may lay down rules of conduct, which will be admirable in securing propriety and decorum. So far can feeling be instilled and regulated; but the freer, deeper, really significant feeling has its origin in character, in the moral and mental _ego_ of the individual, to be further deepened and broadened by the experiences of life. In sculpture this significant feeling manifests itself appropriately in the large field of the general design; in the weight, stability and harmonious unity of the mass, which make the composition monumental; and in the manifestation of character and sentiment, sustained through every part of the whole, which renders the composition expressional. For convenience one separates the disposition of the form from the expression, but really they are one and the same act, the sculptor composing his plastic material as the musician does his chords and harmonies, to give expression to the