In this brief analysis we must include in one group Mr. Niehaus’s _Moses_ and _Gibbon_, Mr. French’s _Herodotus_, and Mr. Potter’s _Fulton_. All of them are rich in characterization, extremely picturesque, and yet sober and controlled in contour. We shall find examples of exquisite technique in modelling in Mr. French’s _History_, Mr. St. Gaudens’s _Homer_, and Mr. Macmonnies’s _Shakespeare_. In Mr. Ruckstuhl’s _Solon_ and Mr. Bauer’s _Religion_ and _Beethoven_ characterization seems the foremost thought. Mr. Macmonnies’s door is very noble, with increased richness and emphasis in the lunette. In thus giving a sense of greater elevation and dignity by lifting the eye upwards, it is interesting to note how he has adopted a form of composition similar to that introduced by Mr. Vedder for the same purpose over the entrance to the Rotunda. The main composition is a square, modelled in such bold relief that the attention is immediately arrested and directed upwards. Yet there is no sense of emptiness in the accessory portions of the lunette, which are richly encrusted with ornament. To assist this elevation the figures in the panels are in low relief, broadly and simply treated. But the comparatively emphatic folds of the drapery on each side strengthen the figures, while the torches seem as a bold frame to the design, with pronounced accent at the four corners. Somewhat similar must have been the motive of Mr. Warner. He has made the interest of his doors ascend, but on reaching the top has spread it throughout the lunette. In the latter the balance of raised and hollow parts, and the mingled repetition and contrast in the direction of his lines are admirable. THE PAINTING.