The _Moses_ of Mr. Niehaus holds the Table of the Law, and, like Michael Angelo’s famous figure, is horned--a curious convention which crept into art from an ancient mistranslation of a passage in Exodus. The _St. Paul_ is a bearded figure, one hand on the hilt of a great two-edged sword, and the other holding a scroll. Mr. Ruckstuhl has conceived his _Solon_ as the typical law-giver of the ancient world. He is represented as stepping forward, clothed in all the power of the state, to announce at a solemn gathering of the people the supremacy of Law over Force. A fold of his garment is drawn over his head with a certain priestly suggestion, as if the laws he proclaimed were of divine origin. He holds aloft, in his left hand, a scroll bearing the Greek words _OI NOMOI_, which, though meaning simply “The Law,” were understood as referring especially to Solon’s enactments. His right hand rests upon a sheathed and inverted sword, which is wreathed with laurel. The idea is that law has supplanted force, but that force is always ready to carry out the mandates of the law. _Homer_ is represented with a staff in his hand and a wreath of laurel crowning his head. Mr. French represents _Herodotus_ as a traveller, searching the known world for the materials of his histories. His garments are girt up, he bears a long staff in one hand, and shades his eyes with a scroll as he gazes into the distance to discover his destination. The _Fulton_ carries a model of a steamboat, and the _Henry_ an electro-magnet, for discoveries in electrical science. The _Beethoven_ shows the composer with his hand uplifted as if to beat the measure of the harmony which has suddenly come into his mind--so suddenly that in the eagerness of his movement he has pulled the pocket of his greatcoat inside out. Mr. Macmonnies’s _Shakespeare_ is a somewhat novel study, so far as the head is concerned; it is a composite of the portrait in the first collected edition of the Plays and of the Stratford bust. The figure of _Kent_ wears the judicial ermine; he carries in one hand the manuscript of his _Commentaries_, and holds a pen in the other. Of the other figures, some, like the _Gibbon_, carry a book or pen; but in most instances the sculptor has sought merely to give his subject an appropriately noble and contemplative attitude and expression, without trying to introduce any special symbol of his work.