“I, too, can make a stone man,” she said to herself; and at once she went to visit William Lloyd Garrison, and told him what she knew she could do, and asked him how she should set about doing it. Struck by her enthusiasm, Garrison gave her a note of introduction to Brackett, the Boston sculptor, and after a little talk with her, Mr. Brackett gave her a piece of clay and a mould of a human foot, as a study. “Go home and make that,” said he; “if there is anything in you, it will come out.” Alone in her own room, the young girl toiled over her clay, and when she had done her best, carried the result to her master. He looked at her model, broke it up, and said, “Try again.” She did try again, modelled feet and hands, and at last undertook a medallion of the head of John Brown, which was pronounced excellent. The next essay was the bust of a young hero, Colonel Shaw, the first man who took the command of a colored regiment, and whose untimely and glorious death, and the epitaph spoken by the South, “Bury him with his niggers,” have made him an immortal name in the history of our civil war. The family of this young hero heard of the bust which the colored girl was making as a labor of love, and came to see it, and were delighted with the portrait which she had taken from a few poor photographs. Of this bust she sold one hundred copies, and with that money she set out for Europe, full of hope and courage. Arriving at Rome, Miss Lewis took a studio, and devoted herself to hard study and hard work, and here she made her first statue--a figure of Hagar in her despair in the wilderness. It is a work full of feeling, for, as she says, “I have a strong sympathy for all women who have struggled and suffered. For this reason the Virgin Mary is very dear to me.” The first copy of Hagar was purchased by a gentleman from Chicago. A fine group of the Madonna with the infant Christ in her arms, and two adoring angels at her feet, attests the sincerity of her admiration for the Jewish maiden. This last group has been purchased by the young Marquis of Bute, Disraeli’s Lothair, for an altar-piece. Among Miss Lewis’s other works are two small groups, illustrating Longfellow’s poem of Hiawatha. Her first, “Hiawatha’s Wooing,” represents Minnehaha seated, making a pair of moccasins, and Hiawatha by her side, with a world of love-longing in his eyes. In the marriage, they stand side by side with clasped hands. In both, the Indian type of features is carefully preserved, and every detail of dress, etc., is true to nature. The sentiment is equal to the execution. They are charming hits, poetic, simple, and natural; and no happier illustrations of Longfellow’s most original poem were ever made than these by the Indian sculptor.