full-sized statue of Kamehameha, late King of the Sandwich Islands. In the ideals of this artist we notice a powerful originality, and an attempt to render in marble effects usually left to the higher orders of pictorial art. Allegory he treats with marked power, and such ideal conceptions as the heads of Christ and of Satan suggest possibilities scarcely yet touched by sculpture. Another of our sculptors, working near the quarries whence comes the marble into which he stamps immortality, was W. H. Rinehart, of Baltimore, one of the truest idealists whom this country has produced. Criticism is almost disarmed as one gazes at his "Sleeping Babes," or the tender grace of "Latona and her Infants." [Illustration: BUST OF WILLIAM PAGE.--[WILLIAM R. O'DONOVAN.]] In all these artists we find more or less dexterity of execution and delicacy of sentiment, but are rarely impressed by a sense that any of them indicate great reserve force. In William W. Story this idea is more clearly conveyed. No American in the art world now occupies a more prominent position or shows greater versatility. Possessed of an ample fortune, and originally a lawyer, and preparing legal tomes, he then devoted himself to poetry, the drama, and general literature, and has succeeded as a sculptor to a degree which has caused a leading London journal to call him the first sculptor of the Anglo-Saxon race since the death of Gibson. He certainly occupies a commanding place, fairly won, among the prominent men of the age. But here our praise must be qualified; for it may be seriously questioned whether we are not dazzled by the sum of his abilities rather than by any exceptional originality and daring in anything Story has done. Of his sculpture it may be said that it indicates the work of a rich and highly cultivated mind; it is thoughtful, thoroughly finished, and classically severe. But it commands our respect rather than our enthusiasm. There is in it nothing inspirational. It is talent, not genius, which wrought those carefully executed marbles--talent of a high order, it is true. "Jerusalem Lamenting," "The Sibyl," and "Cleopatra" and "Medea," are works so noble, especially the first, that one is impatient with himself because he can gaze upon them so unmoved. The "Salome" is, perhaps, the most perfect work of this sculptor, who might have done greater things if he had not depended so exclusively upon foreign inspiration.