The National Sculpture Society’s ideals, to be valuable and enduring, must concern themselves with the ethical as well as the artistic side of various questions brought before the body. On the ethical side, it has, not without inherent difficulties, established its Code governing Competitions, the Code itself being governed by the Society’s avowed principle of fostering art with integrity. Year by year, the good work of this Code is shown by the larger clarity of purpose and of statement, and the larger conscientiousness in endeavor now expected alike from committees, competitors, and juries of award. Some of the thoughtful idealists of the Society have long wished that it could undertake as part of its work an enterprise that might prove of untold value in the arts. “If instead of wrangling so long and so devotedly over our Code,” said one of these idealists, “we could have given the time to establishing a workshop for scientific experiments with our various materials, what immense practical good might have been accomplished! But it would take money, more money than our Society has ever had at its disposal.” The field for such experiment is boundless. Science properly applied could help the sculptor at every step. Think what it would mean to the sculptor if he had a _plastic_ material which by the magic of chemistry could be at once converted into an _imperishable_ material, exactly as it leaves his hands; or if the metallurgist would find him an alloy of metals which would take on, or even hold, a beautiful _patine_ when exposed to our atmosphere; or if the chemist could explain some of the strange antics and prevent the misbehavior of that go-between, common plaster, which plays such a vital part in a sculptor’s work from the clay model to the final marble or bronze. Plaster is indispensable, in spite of its shortcomings; could not this lifeless, chalky stuff be transformed into a substance both durable and interesting? And marble, that sovereign among materials, is there no way by which its fine white crystals could be made to take on other tones than those nature has given? The questions are legion. With the amazing advance of practical chemistry within the last few years, many of them might be definitely settled by scientific experiment. It is to be hoped that in the near future the National Sculpture Society will acquire its needed research workshop, and put out publications of the results obtained, so that science may assist art as generously as in an allegory of mural decoration.