The advocates of free trade, on the other hand, present the following arguments in its favor, and objections against protection: (1) Free trade is said to be the method of nature. (2) It is objected that protection violates the right of every man to do what he will with his own. (3) It is said to be of the nature of a tax on all the other industries for the support of those protected. (4) It is objected that the restrictive system causes a diminution of exports from the protected country, on the principle that if the latter does not buy of the former, then the former can not pay for the goods of the latter. (5) Another argument is that “infant industries” under protection never come to maturity. (6) Finally, the case of the United States is cited as an instance of free trade on a large scale between widely remote sections, with the most satisfactory results. READINGS IN ART. III.—MODERN SCULPTURE. The ten centuries following the second have no sculptural remains of value. The dark ages threw their shadow over art, as over literature and society. No doubt the feeling prevalent in the early Church that the “graven image” might become an idol, hindered the progress of the plastic art quite as much as the general decay that pervaded every form of human undertaking. In the first half of the thirteenth century lived Nicola Pisano, the founder, one might say, of modern sculpture. Nicola is supposed to have been influenced by his study of the remains of Greek sculpture to be seen at Pisa, his home. Applying the principles of the Greek work to the modern subjects, his sculpture inaugurated the Italian renaissance. Church decoration was the field of labor to which all artists of those centuries betook themselves, and Pisano executed his best work, bas-reliefs, on the façades and pulpits of the churches of Pisa, Siena, and other Italian cities. A marble urn of St. Dominic, now at Bologna, is among his celebrated works. Pisano had many followers, among whom were his son (more famous, however, as an architect), and Andrea Orcagna. The latter belonged to Florence, to whose churches he devoted his genius. His masterpiece in sculpture is the tabernacle of the Virgin in the church of San Michele, at Florence. It is a pyramid-shaped altar in white marble; the profusion of reliefs which cover it represent the life of the Virgin. A little before the time of Orcagna lived Giotto, at one time a leader of artistic activity in Florence. He is known well by his beautiful campanile, or bell-tower, and the bas-reliefs with which it is decorated are his best-known sculptures. The basement story is decorated, and, says a writer, speaking of these ornamentations, “This rich cycle of works represents with perfect clearness, and in simple and truly artistic treatment, the whole progress, from the creation of the first man, through the successful conflict with the forces of nature, up to the climax of a life illumined by learning and art, and secured under the