For, as I have said before, Adams’s work does not usually impress one by its qualities of form, but rather by its sentiment and expression. Even in the portrait-statue of Joseph Henry in the Library of Congress and the “Channing,” recently unveiled at Boston, one does not feel the form and character of the bodies. Both figures are represented in gowns and count mainly as decorative masses. In the statue of Richard Smith, however, which is one of his latest, he has shown the professor in his laboratory, clad in shirt and trousers, with no accessory except an apron caught up on one side; and in the treatment of the head and body and more especially in the carriage of the hands, as one holds a specimen and the other a magnifying glass, has obtained a considerable measure of structural character. Nor do I forget the tympanum, executed in 1896, for the Senate Reading-Room in the Library of Congress, a design of two mermaids supporting a cartouche. The nude forms display a thorough knowledge of the figure and a truly sculptural appreciation of the charm of muscular movement rippling over firmly constructed bodies. It seems to prove, if it were necessary, that the preference which Adams has shown for the pictorial possibilities of sculpture is due only to his particular temperament; to a reticence of feeling that shrinks from too exact an expression of the idea, around which in his own imagination also he preserves a certain zone of vagueness. So, in the tympanum for Saint Bartholomew’s Church, illustrated on an accompanying page, he is divided between the motives of expressing a sentiment of tender adoration and of giving the figures at the same time an architectonic force. In the latter direction we may feel that he has been the more successful; for in the attention paid to form he seems to have become preoccupied in the model. The same face appears in each of the three figures and with a self-consciousness in the eyes that contradicts the devotional expression of the mouth; a self-consciousness that I find myself connecting with the little niceties of arrangement with which the hair is prinked. I conclude by wondering if this tympanum will prove a turning-point in the artist’s career!