Although Dr. Johnson undervalued sculpture,--partly because of an inadequate sense of the beautiful, and partly from ignorance of its greatest trophies, he expressed unqualified assent to its awe-inspiring influence in "the monumental caves of death," as described by Congreve. Sir Joshua truly declares that "all arts address themselves to the sensibility and imagination"; and no one thus alive to the appeal of sculpture will marvel that the infuriated mob spared the statues of the Tuileries at the bloody climax of the French Revolution,--that a "love of the antique" knit in bonds of life-long friendship Winckelmann and Cardinal Albani,-- that among the most salient of childhood's memories should be Memnon's image and the Colossus of Rhodes,--that an imaginative girl of exalted temperament died of love for the Apollo Belvidere,--and that Carrara should win many a pilgrimage because its quarries have peopled earth with grace. To a sympathetic eye there are few more pleasing tableaux than a gifted sculptor engaged in his work. How absorbed he is!--standing erect by the mass of clay,--with graduated touch, moulding into delicate undulations or expressive lines the inert mass,--now stepping back to see the effect,--now bending forward, almost lovingly, to add a master indentation or detach a thin layer,--and so, hour after hour, working on, every muscle in action, each perception active, oblivious of time, happy in the gradual approximation, under patient and thoughtful manipulation, of what was a dense heap of earth, to a form of vital expression or beauty. When such a man departs from the world, after having thus labored in love and with integrity so as to bequeathe memorable and cherished trophies of this beautiful art,--when he dies in his prime, his character as a man endeared by the ties of friendship, and his fame as an artist made precious by the bond of a common nativity, we feel that the art he loved and illustrated and the fame he won and honored demand a coincident discussion.