In the “Hoyt Memorial” two angels, floating in the air, support a tablet with inscription. Emphasis is given to the heads and arms and, in a less degree, to the wings; but the rest of the form is indicated little more than is necessary to explain the arrangement of the streaming folds of light drapery. The result is a delicate pattern of light and shade, a decoration of sweetly refined imagination, corresponding with the gracious refinement of the expression in the faces. A similar appreciation fits the “Pratt Memorial Angel” which he modelled for the Baptist Emmanuel Church in Brooklyn, although the figure is in the round. In the “Pratt Memorial” tablet, executed some years later, Adams reveals how exquisitely he can use flower forms as motive for decoration. The design forms the border of a long, narrow panel. At the top is a winged head, symbolising the Angel of the Resurrection, and at the foot a head without wings, representing the Sleep of Death. The latter is enfolded with poppy-flowers and leaves, these forms being carried up the sides of the panel, until at the middle distance they become interspersed with lily-forms which finally assert themselves at the top. The modelling is in very low relief with the exception of the heads, to the lower of which a modest emphasis is given, while to the upper a much stronger one. Both these faces are very beautiful, the expression being chiefly centred in the eyes. The lids in the one case are half-raised, as in the act of awakening before consciousness has fully dawned; in the other lying as softly over the eyeballs as folded petals. The exquisite chastity and serenity of these ripe, rounded faces are echoed in the floral borders; so richly patterned, yet with such reserve and tender piquancy. And, in contrast with the usual tedious reiteration of time-wearied ornamental motives, how refreshing the novelty and imagination in these borders! The artist has gone to nature for his models, and, while reproducing the character of Renaissance ornaments, has used the natural forms with so delicate an exuberance of fancy that no motive is repeated, the whole being quick with fragrant and fresh appeal. Indeed, so far as my knowledge goes, no plastic decoration has been produced in this country which can approach it in beauty; perhaps not even in the actual beauty of the ornamental forms, certainly not in the sentiment of pure and holy calm which it exhales.