The singularly choice discretion which governed Warner’s appreciation of form is shown equally in his Portland fountain: a circular bowl with broad, flat brim, supported upon a rectangular pedestal and balanced by two caryatides. The design is almost severely simple, yet tempered with a grace of fitness in every detail, so chaste and noble as to produce an impression of perfect repose. It has, indeed, just that suggestion of being firmly rooted, of strong growth upward and of natural spread at the top, which exactly befits its architectural character, while in the contour and details it is as delicate as a lily. We have traced this feeling for the monumental side of sculpture in Warner’s reliefs, where it is revealed in the thoroughly plastic treatment of form, so that it quivers on the edge between immobility and life; in his fountain, that presents a conspicuous immobility quickened with animation, and in his busts, wherein the form [Illustration: DIANA By Olin Levi Warner] is made the foundation of lifelike character. It remains to note how this last combination is carried to its highest conclusions in his heroic statues. A standing figure could scarcely be planted on its feet or mount with more inevitableness of free, strong growth than the statue of General Devens, while in the carriage of the whole body, more especially in that of the alert, intellectual head, the type of the citizen-officer is convincingly expressed. But a sitting figure offers a more complicated problem, owing to the number and variety of planes which it presents and to the necessity of harmonising these contrasted items into a completely balanced _ensemble_. Warner, in the statue of Garrison, has united such a variety of lineal directions and opposing planes into a stately, stable mass; has mingled with the dignity of repose an energy of character and gesture all the more impressive that it is kept in control, and has made every detail of movement respond to the suppressed fire of character in the head. The latter is modelled with a touch as tenderly appreciative as will be found in any of his busts or reliefs, so that this statue of the great abolitionist, perhaps the most important work of his career, sums up the diverse characteristics of his art. How noble that was in sentiment and expression, how thoughtfully taken up and with what a loving gravity pursued, even the least of his works declare. X SOLON HANNIBAL BORGLUM It was five years ago that Solon H. Borglum was first represented at the Salon; he also received a silver medal at the Universal Exposition of 1900 and another at the Pan-American Exhibition in Buffalo; quite recently a fuller display of his work has been seen at the Keppel Gallery in New York. Yet, although he is probably the most original sculptor that this country has produced, he is still but little known to the American public.