Of the elaborate decoration of the rotunda clock by John Flanagan I cannot speak from knowledge; and, without having seen it in place, it is unfair to judge of the effect of the mingling of precise elegance in the lower part with the florid arrangement above of Father Time and two female figures. But before leaving the Library we may find in the corridors of the entrance hall four relief-panels, by R. Hinton Perry, personifying Greek, Roman, Persian and Scandinavian “Inspiration.” They seem to me to represent this sculptor at his best, displaying a gift of imagination and very charming treatment of form, regulated by reserve and taste; for these last qualities are not so conspicuous in some of his work. The fountain group, for example, which embellishes the terrace in front of the Library, is a clever exhibition of technical skill in the representation of form and movement, but pretentious. Its lack of cohesion as a group may have been less the affair of the sculptor than of the architect, since the latter had provided for the figures three equal-sized niches; but on the other hand the sculptor seems to have regarded them as features to be ignored. His central figure of Neptune is entirely outside the arch, while the sea-nymphs on their restive steeds seem to be trying to get clear of the architectural restraint. Restiveness, indeed, is the chief suggestion of the whole; an uneasy collocation of aggressive forms, out of keeping with the somewhat severe character of the Library façades. Yet one should not overlook the indubitable power and vigour of these figures, especially of the Neptune; only regretting that imagination has entered so little into its composition. In this respect the “Primitive Man and Serpent,” a later statue, is much more acceptable. It also has power, the more effective that its energy has been controlled, and the sculptor, in thinking out this conflict between creatures of such different forms, has produced a composition which is full of imagination and very statuesque. Again he exhibits his mastery of form in a statue of “Circe”; a finely poised, supple figure, with a superb action of voluptuous invitation. Moreover, the conception is satisfactorily idealised, a quality which does not always characterise his treatment of the female form. The one, for instance, in the group of “The Lion in Love” is a very ordinary reproduction of the model; nor can I find in his Langdon doors for the Buffalo Historical Society’s Building, the same imaginative control of form as in the Library reliefs. Perry, in fact, seems to be an impetuous, forceful person, drawing largely upon his temperament and with the unevenness of result very usual in such cases. Yet he has a mastery of technique so much above the average that, when he regulates it with reserve and kindles it from his imagination, he produces work which is full of interest.