He had had a long life of work--hard, incessant toil--from six to sixty, though it had been work that he had loved. It may be he had overtaxed his strength, for as age crept on he grew less robust. In his sixty-eighth year he had a slight stroke. He feared a gradually clouding brain. "The shadow must lengthen as the sun goes down," he said to himself. But this distress was spared those dear to him, and with not much suffering, on the 28th October, 1792, he passed away. They buried him in the old church of Whitkirk, and raised a tablet to his memory, naming in it that great work of his that will "convey to distant ages, as it does to every nation of the globe, the name of its constructor." The world looks still upon John Smeaton as a wonderful engineer--a great mechanic--a man who climbed to the top of his profession, and the sound of whose fame spread over Europe; but he will ever be best remembered by the light of the Eddystone, that memorial monument that stood firm for more than a century, sometimes hid in blinding spray, anon gleaming out clear and steady, a rescuer from shipwreck and death. Till 1877 storms continued to beat upon it without avail. Then, owing to the undermining of a portion of the reef, it was thought well to build a new house on another part of the rock. The old base still stands on the old place, and the upper rooms have been put on the Hoe at Plymouth. These are, after all, the best monuments we could have of the builder. Welded into the stones, it seems to us we can trace, not alone genius and great mechanical power, but a patience in difficulty, a courage in danger, and in face of long, wearing months of anxiety. It is these, perhaps, more than all else, for which we honour the name of Smeaton. JOHN FLAXMAN Had we passed along one of the poorer streets of the city of London some 150 years ago, we might have chanced on a humble shop displaying in the window plaster-casts and figures in clay, and had we lifted the latch and entered, in the cramped space behind the counter we should have found the child who was one day to become England's greatest sculptor, John Flaxman. A ricketty, weakly baby in a high stuffed child's chair, so that his little pale face might be on a level with the counter; the sweet dreamy eyes looked out on the world, all unthinking that a day was coming when the fame of his name would reach wherever men knew and loved his art.