comprehension which disregards details, except in so far as they are essential to the action or the sentiment. And how characteristic are the details which he does introduce! Here, for example, is the figure of a horse, “tamed.” A saddle lies upon the ground. It is the object which excites, first the terror, then the anger of the untamed horse. But this one is conquered and hangs his head submissively over the instrument and badge of his defeat. He stands with front feet planted forward, the legs trembling, the hind ones limp and sluggish; the line of the ribs exposed as the flank heaves; the nostrils distended with the gasps of breath; the eye listless, the ear fallen. But, keenest touch of all, note how the saddle-cloth and girths have left a hot, glossy impress upon the body, the hair around their edges being clotted with sweat. It is detail such as this, full of character, that one finds in all these pieces of sculpture; and, for the rest, the modelling is broadly suggestive, yet always distinctly characteristic; not only rendering structure and action, but offering varieties of flesh texture, according to the condition and character of the horse represented. Borglum, in a word, is an impressionistic sculptor, untrammelled by formula or tradition, seeking nature direct, with an eye habituated to essentials and with a degree of sympathetic comprehension that corresponds with the range and reality of his life’s experiences. His work is, thus, truly original; a product of his own manhood, fashioned to artistic fitness. XI VICTOR DAVID BRENNER In this country, as elsewhere, prior to the establishment of the French Société des Amis de la Medaille, medal-making had sunk to a department of trade; or, if something artistic were attempted, there was a divorce between the designing and engraving. A sculptor or painter, with no practical knowledge of the possibilities and limitations of the cutting process, would be commissioned to produce the design, while its execution in the die was turned over to a more or less skilled operative. The barrenness of the result may be seen in the majority of medals produced during many years. Recognising that the work of the medallist had been and should be a special department of art, with very individual qualities of exquisite expression, the National Academy two years ago established a class in Coin and Medal Designing and put it in charge of Victor D. Brenner. Ten years previously the latter had arrived in New York, an expert die-sinker and engraver; now he had just returned from studying under Roty in Paris. The story of his progress from artisan to artist is not without a touch of romance.