Constantin Brancusi’s sculptures have not, I think, been seen before in England. His three heads are the most remarkable works of sculpture at the Albert Hall. Two are in brass and one in stone. They show a technical skill which is almost disquieting, a skill which might lead him, in default of any overpowering imaginative purpose, to become a brilliant _pasticheur_. But it seemed to me there was evidence of passionate conviction; that the simplification of forms was no mere exercise in plastic design, but a real interpretation of the rhythm of life. These abstract vivid forms into which he compresses his heads give a vivid presentment of character; they are not empty abstractions, but filled with a content which has been clearly, and passionately apprehended. * * * * * Futurist sculpture, like Futurist painting, starts with a fundamental departure. All sculpture, classic as well as Impressionistic and Post-Impressionistic, deals with an object or a group of objects. It models and reproduces them _detached_ from their environment. Futurist sculpture seeks to reproduce a figure or an object _attached_ to and a _part of_ its fleeting and flowing surroundings, its atmosphere, its _medium_. It goes further; it seeks to convey not only the impression of the truth that a figure is a part of its environment, but that its atmosphere and environment _flows through_ the figure and the figure _through_ the environment, that _nothing is segregated_ but everything _fusing_. The philosophical thought is old, as old as the earliest Greek philosophy, but the attempt to express the thought in stone, wood, bronze, is new. We may feel sure the attempt is futile, that it cannot succeed, but our scepticism is no reason why a sculptor in his enthusiasm should not make the attempt. * * * * * In June and July last a Futurist sculptor, Boccioni, exhibited some of his work in Paris. One example, “Head--Houses--Light,” was literally a conglomerate of a human bust of heroic size, with hands crossed in front, and the following accessories: On the top of the head the fronts of several small houses, with doors, windows, and all details just as the sculptor saw the houses _many blocks back_ of his model. The casual observer would be completely mystified on seeing several house fronts start out of the head of a bust; but when one understands that it is a fundamental belief of the Futurists that _all that is within the vision, actual or imagined, of painter or sculptor is a part of the picture or bust_, the reason why of the houses is plain. From one shoulder of the figure starts about eighteen inches of a wooden railing and iron grill work, part of a balcony, just as the sculptor glimpsed it a block or so down the street.