First, I think there are evident marks of stratification in the stone. The left eyebrow and the top of the nose are the parts most elevated. These correspond exactly, both being composed of a white layer. On the chest is a squarish layer of a dark tinge; around, and slightly below this, is another layer corresponding exactly with the ins and outs of the first. Beyond, and below this, another and another all alike, seeming to be simply lines of stratification. The level seems exactly kept. Follow with your eye any two adjacent lines, and you will see that where they are close to each other the surface has an abrupt change of level; where they are further apart the surface is nearly horizontal. Where the surface approaches the perpendicular, as on the sides, the dark line showing the separation of the strata is thin, because it has been cut through nearly at right angles. Where the surface is more horizontal the dark line is broader, because it has been cut through obliquely, the breadth varying steadily with the angle of inclination. The same can be plainly seen along the right leg. Another strong reason for its being a statue lies in the fact that not a single limb is detached. The right arm is not merely glued to the body throughout, as well as the hand, but it has the appearance of only being cut into the stone to a depth sufficient to give due relief. This is equally true of the left arm, and of the two legs, which are joined to each other throughout. The sculptor has not wasted a stroke of the chisel. I would add here, that between the third and fourth fingers of the right hand, the slit is carried too far toward the wrist, seemingly by a slip of the chisel. Who did it? A trained sculptor; one who had seen, studied and probably reproduced many a work of art; one who was thoroughly acquainted with human anatomy. One, too, who had noble original powers; for none but such could have formed and wrought out the conception of that stately head, with its calm, grand smile, so full of mingled sweetness and strength. He appears, however, to have worked under certain disadvantages. He had not such command of materials as a civilized country could have afforded him. He had to put up with the best stone he could find. I think that the peculiar posture of the statue can be fairly explained by supposing that the original block tapered away toward the feet, and was only just about the breadth of the statue as we now see it. This seems fairly to explain the curious position of the left arm. The artist had to put it there because there was not breadth enough to put it in any other position. So of the position of the feet--one over the other. The stone may not have been wide enough to have admitted of any other position. Who was he? Let us analyze a little.