This principle, applied to decoration, is most successfully represented in the artist’s last completed work, the bronze doors of the Library of Congress. In the lunette-shaped spaces above the doors the figures are in very high relief, and the background is modelled with forms of mountains and clouds, producing an effect of great richness, while upon each valve of the door is a single figure in low relief; the flesh parts having an emphasis of roundness, the draperies being flattened, yet amply indicating the dignity of the form beneath. The left-hand figure with the lyre (how I wish that it were possible to reproduce it here!) is supremely beautiful in its poise between life and art, in its exquisite rhythm of lines and in the alternate ebb and flow of the planes of surface. But it was in his rendering of the nude that Warner exhibited the loveliest qualities of his art. He viewed it, as one views a flower, with single vision for its exquisite abstract beauty. Flower-like and fragrant, the “Psyche,” the “Dancing Nymph” and “Diana,” have the quivering sensibility of contour that one finds in the free growth of nature; united, however, to a firmness of texture and strength of structure and to a conscious play of movement, responding to the play of spirit, which in their perfect alliance are only to be found in the human form. The spirit which animates these figures is, of course, the sculptor’s, and it reveals itself most choicely in the serenity of the “Diana,” in the suspense between absolute repose and projected movement. For the figure seems about to rise; the carriage of the head and body alike suggest the activity inherent in the languor. One may believe that in the precision of beauty displayed in this statue, in the complete adjustment, that is to say, of every one of its qualities of beauty to the supreme idea of discovering that imaginary line upon which life merges into art, the mobile into the immobile, Warner reached most nearly his ideal. For in his busts and heroic statues, as in the fountains and decorative subjects, he was more or less constrained to a point of view. But in his nudes, and particularly in this one, the product of his maturity, he could work in the full liberty of his imagination. And the latter is found to be the ideal expression of those qualities of character which I have already attributed to him: intellectual stability, moral balance and spiritual serenity.