and had to pass into a fresh and marvellous material before its beauty came to its real flower and blossom of absolutely right expression and artistic effect. But, said Mr. Morris in conclusion, to have great work we must be worthy of it. Commercialism, with its vile god cheapness, its callous indifference to the worker, its innate vulgarity of temper, is our enemy. To gain anything good we must sacrifice something of our luxury--must think more of others, more of the State, the commonweal: 'We cannot have riches and wealth both,' he said; we must choose between them. The lecture was listened to with great attention by a very large and distinguished audience, and Mr. Morris was loudly applauded. The next lecture will be on Sculpture by Mr. George Simonds, and if it is half so good as Mr. Morris it will well repay a visit to the lecture-room. Mr. Crane deserves great credit for his exertions in making this exhibition what it should be, and there is no doubt but that it will exercise an important and a good influence on all the handicrafts of our country. SCULPTURE AT THE ARTS AND CRAFTS (Pall Mall Gazette, November 9, 1888.) The most satisfactory thing in Mr. Simonds' lecture last night was the peroration, in which he told the audience that 'an artist cannot be made.' But for this well-timed warning some deluded people might have gone away under the impression that sculpture was a sort of mechanical process within the reach of the meanest capabilities. For it must be confessed that Mr. Simonds' lecture was at once too elementary and too elaborately technical. The ordinary art student, even the ordinary studio-loafer, could not have learned anything from it, while the 'cultured person,' of whom there were many specimens present, could not but have felt a little bored at the careful and painfully clear descriptions given by the lecturer of very well-known and uninteresting methods of work. However, Mr. Simonds did his best. He described modelling in clay and wax; casting in plaster and in metal; how to enlarge and how to diminish to scale; bas-reliefs and working in the round; the various kinds of marble, their qualities and characteristics; how to reproduce in marble the plaster or clay bust; how to use the point, the drill, the wire and the chisel; and the various difficulties attending each process. He exhibited a clay bust of Mr. Walter Crane on which he did some elementary work; a bust of Mr. Parsons; a small statuette; several moulds, and an interesting diagram of the furnace used by Balthasar Keller for casting a great equestrian statue of Louis XIV. in 1697-8.