To complete this analysis it is well to add, that the statue of the Curé d'Ars recalls an element that the author has not taken from our own school. Every one conversant with art will remember the figure of San Diego in Murillo's picture vulgarly called the Kitchen of the Angels. The saint prays to God for the actual necessities of the abbey, and God sends his angels to prepare the repast of the monks. Several gentlemen, visiting the convent, look on with astonishment at the saint raised from the earth, ravished with ecstasy, his hands joined, his eyes uplifted to heaven, while the angels are getting ready the dinner. The natural and supernatural were never more widely separated. Murillo has painted the personages working a miracle as he would any person in any ordinary action of life; yet who that has seen this picture will ever forget it? It is evident that our artist was struck by it, and that the San Diego of Murillo has occurred to him more than once when he represented the Curé d'Ars. He has been inspired by it as a true artist, guarding his own originality. His hero has very much the same simplicity that characterizes the saint of the Spanish painter, the same natural in the supernatural, the same ease of vision and ecstasy. Both see, and in seeing they evidence none of the fear or surprise which could actuate the less assured believer. They see; they are in heaven with God and his angels; they converse with them, and their faces express no other sensation than the tender and deep joy of the man who has discovered his ideal. Delicate and profound characteristic! shade difficult to seize, and which constitutes the true essence of men living in God, and beginning on earth their immaterial existence. It needs more than an artist to fix this and give it form. Only a simple and pious Christian could crown the heads of our blessed ones with the mystical aureole that the believer alone discovers; only a Christian could give to the figures of which we speak the attitude and life so manifestly stolen from regions of beatitude. The great difficulty of the work consisted in this shade, and that may be said to form the perfect whole. The artist's title to glory is in his having known how to comprehend and realize this, and so give to his statue the freedom of none other.