For when one studies the beauty of form, so strongly realised beneath the draperies, its fine expression and functional propriety, it is to feel that this work, despite a certain lack of Adams’s usual spirituality of sentiment, is the most important in a sculptural sense that he has yet done. For, regarded from the point of view of an architectural decoration it is unusually distinguished with admirable appropriateness of lines and masses to the space, a truly architectural feeling, and a distribution of light and shade, characterised alike by richness and by delicacy. It has the choiceness of style of his best portraits, reënforced by virility. And, if this latter quality, called into play by his coöperation with the architect, is maintained in future work, the result can scarcely fail to be a betterment of his art. For he will find a way of bringing it into complete harmony with the expression of his sentiment, since there is no necessary incompatibility between virility of style and delicacy of feeling. Indeed, the offspring of their union is a very special poignancy. VIII CHARLES HENRY NIEHAUS Charles Henry Niehaus is a conspicuous exception to the general rule that our sculptors are Paris-trained. After working as a youth at wood-engraving, stone-cutting and carving in marble, he became a student in the McMicken School of Design, in his native city, Cincinnati, Ohio, and thence proceeded to Munich. His German training was supplemented by extensive travel and later by a prolonged visit to Rome, during which he devoted himself to the study of the nude under the influence of the antique. But before the latter interlude in a life otherwise filled with the execution of commissions, he returned to America. For him the time was auspicious. President Garfield had recently been assassinated, and the State of Ohio had appropriated funds for a statue to be placed in the Capitol at Washington, and by public subscription another was to be erected in Race Street, Cincinnati. Both these commissions were awarded to the young Ohio sculptor. Each statue commemorates Garfield’s gift of oratory, but the one at Cincinnati in a more informal way, so that it probably represents very fairly Niehaus’s particular tendency at this time.