This same sculptor was entrusted with the designs of the six spandrils over the entrance doors. The forms are graceful and repeat with pleasant variation the curve of the arch, but they do not adequately fill the space, and are wanting in architectonic character. Just what I mean can better be understood by comparing them with Warner’s spandrils, mentioned above. Then one can scarcely fail to notice how much more structural in feeling are the latter, organically related to the arches and to the space, truly architectural in their character. Pratt’s strongest point seems to be expression of sentiment, exemplified in his busts of Colonel Henry Lee and of Phillips Brooks; in some low-relief portraits of children and in the heroic figure of a soldier for St. Paul’s School, Concord, New Hampshire. In all of these it is not so much the characteristics preëminently sculptural that we are conscious of, as the quality of the sentiment; and this same quality, portrayed with graceful inventiveness, represents the measure of his architectural decoration. It is, therefore, in such examples as the medallions in the pavilions of the Library, personifying the four seasons, that he appears at his best; for in these the sentiment is expressed not only by suavity of line, but by a sensitive treatment of the various planes. Like his low-relief portraits they have very strongly the pictorial quality. That he has, however, a feeling as well for the sculptural quality of form is evident from two nude female figures which he has executed in marble, “Study of a Young Girl” and “Study for a Fountain,” in which the charm of sentiment and form are very happily united.