recognized power and remunerated sacrifice; but few have emerged from the shadow to the sunshine, by such manly steps and patient, cheerful trust. It was not the voice of complaint that first attracted towards him intelligent sympathy,--it was brave achievement; and from the day when a remittance from Boston enabled him to put his Orpheus in marble, to the day when, attended by his devoted sister, he paid the last visit to his crowded studio, and looked, with quivering eyelids, but firm heart, on the silent but eloquent offspring of his brain and hand, the Artist in him was coincident with the Man,--clear, unswerving, productive, the sphere extending, the significance multiplying, and the mastery becoming more and more complete through resolute practice, vivid intuition, and candid search for truth. In the fifteenth century, and earlier, the lives of artists were adventurous; political relations gave scope to incident; and Michel Angelo, Salvator Rosa, and Benvenuto Cellini furnish almost as many anecdotes as memorials of genius. In modern times, however, vicissitude has chiefly diversified the uniform and tranquil existence of the artist; his struggles with fortune, and not his relations to public events, have given external interest to his biography. It is the mental rather than the outward life which is fraught with significance to the painter and sculptor; consciousness more than experience affords salient points in his career. How the executive are trained to embody the creative powers, through what struggles dexterity is attained, and by what reflection and earnest musing and observant patience and blest intuitions original achievements glimmer upon the fancy, grow mature by thought, correct through the study of Nature, and are finally realized in action,-- these and such as these inward revelations constitute the actual life of the artist. The mere events of Crawford's existence are neither marvellous nor varied; his early love of imitative pastime, his fixed purpose, his resort to stone-cutting as the nearest available expedient for the gratification of that instinct to copy and create form which so decidedly marks an aptitude for sculpture, his visit to Rome, the self-denial and the lonely toil of his novitiate, his rapid advancement in both knowledge and skill, and his gradual recognition as a man of original mind and wise enthusiasm are but the normal characteristics of his fraternity. Circumstances, however, give a singular prominence and pathos to these usual facts of artist-life. When Crawford began his professional career, sculpture, as an American pursuit, was almost as rare as painting at the time of West's advent in Rome; to excel therein was a national distinction, having a freshness and personal interest such as the votaries of older countries did not share; as the American representative of his art at Rome, even in the eyes of his comrades, and especially in the estimation of his countrymen, he