each man.

The face and figure of Washington were studied from the Peele portrait and the Houdon bust; those of Greene, from the medal presented him by Congress. There was no portrait or miniature of Poor in existence, but it happened that one Sunday, shortly before the General's death, Kosciuszco, the Polish volunteer, made a pencil sketch of him in his hymn-book during the church service. Mr. Kelly used this sketch to base his representation upon.

There are three bas-reliefs upon the Monmouth monument besides the two mentioned above-" Wayne's Charge," Washington Rallying His Troops," and Molly Pitcher." The fine, clean-cut face and dashing character of "Mad

Anthony" Wayne are very positively expressed in the bronze. This incident was the final charge of the day.

The face of Ramsay was studied from the miniature by Charles Wilson Peele, who was his brother-in-law, and from an old silhouette. The sword, a curious short cutlass, was loaned to Mr. Kelly by the family at the time he was working upon the figure. The arms on the hat of the British soldier, a skull and crossbones and the motto "Death or Glory," was copied from a breastplate of the Seventeenth Dragoons, which, by a curious coincidence, was unearthed at Harlem Heights just at the time that Mr. Kelly was working upon the relief.

The story of Molly Pitcher is interest

ing. She was a gunner's wife, and during the battle of Monmouth was in the act of bringing water for the sponge to clean out the gun, when her husband was killed before her eyes. But before the order was given to withdraw, she sprang to the gun, took her husband's place, and so made it possible for the gun to be kept in action throughout the engagement. For this act Washington afterward gave her the rank of sergeant in the army, so that she might draw pay. She used to wear a cocked hat and soldier's coat, and in the bills of the regiment are recorded items of tent-cloth for skirts for Molly. For the figures of the two gunners Mr. Kelly used his friendsThomas Edison, the inventor, and E. A. Bell, the painter, as men having a fine characteristically American facial type.

In his Civil War subjects Mr. Kelly has been able to put into his portraits an intimate knowledge of the personalities of the men, as he has known nearly all the heroes of the Civil and Spanish Wars. Besides his monuments, he has made portraits of all the prominent army and navy men for a private collection.

One of the three bas-reliefs from the Porter monument, which is already completed, is illustrative of the charge at Malvern Hill, which was during the seven days' battle under McClellan, in July, 1862, and resulted in the first victory of the war. When, upon this occasion, General Porter had given the order, " Forward !" he yet charged his men to "ride over the wounded soldiers without hurting them.' Such a thought in such an hour is, as Mr. Kelly commented, as clear a definition of the character of the man as could be given.

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Mr. Kelly was a student at the old Academy of Design, and was one of the group of artists who founded the Art Students' League. Students' League. But as a sculptor he has worked out his own salvation. lier in his career he did a great deal of illustrating for the old "Scribner" and for "Harper's Magazine," and he was the inventor of an important improvement in the process of wood-engraving. His first equestrian statue-" Sheridan's Ride "-grew out of the desire to represent in the round a sketch originally made for an illustration for Bryant's History of the United States." This

bronze was the first to be made with the horse's four legs off the ground. When Mr. Roosevelt was a young man just out of college, he happened to see a replica of it in Tiffany's window, and, with that promptness of decision which now is so familiar a characteristic, went in at once and bought it. He told the clerk he liked it for its Americanism. A number of years later, on his return from Cuba, he gave Mr. Kelly two sittings for the statue of himself reproduced here. Both Both bronzes are now in the President's possession.

It would not be making a just comment on Mr. Kelly or his work to fail to refer to his marvelous sympathy with and knowledge about horses. Horses from whom he has worked have actually in many cases learned to pose for himalthough one not intimately acquainted with the animal might be inclined to smile at the idea.

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Yet neither Mr. Kelly's most favored opportunities nor his deepest success have come from his ability to make spirited and dramatic representation of heroes and horses, but because of the quality of his own unobtrusive yet vital personality, which inspires confidence in all who come in contact with it. Because of this, military and naval heroes with an unconquerable repugnance to "having their picture taken" have gladly given him sittings. him sittings. Mr. Kelly is an optimist of that rare variety which brings out the very best in others by believing in it.

In all his work, whether it be a single figure, a portrait, or the pictorial repre sentation of a heroic incident, Mr. Kelly defines it as his aspiration to record in it a page of history. And in all his historical sculpture the thing that he seeks to express is the individuality of the man and the use he has made of it in the service of his country.

STUDENT who is versed in physiognomy might be tempted to find in the changes in facial expression between the earlier and later pictures of Mr. James the record, in a vague but yet in an authentic way, of the change in his point of view and his style; for in his case pre-eminently the style is the man, and his manner of writing to-day is subtly suggestive of the nature of his experience and the habit of mind which he has formed in dealing with it. A New Englander of the New Englanders; inheriting the best traditions of the somewhat austere cleanliness of the old New England life; the minimizing of the furnishings, the emphasis upon the higher conditions of living; bound to integrity by the habit of generations; representing, in a word, the most cultivated tendency of what Dr. Holmes called the Brahmin caste, Mr. James is the product of the modification of this purely distinctive American type by the concentrated and sustained pressure of the most searching and subtle foreign influences. Emerging from a province, he felt constantly, and he has reflected permanently, the persuasive and modify

ing atmosphere of an older society, and has been changed and colored by the fascinating, delicate, unescapable forces that emerge from an ancient civilization when a sensitive subject is exposed to them.

His own pencil is an exceedingly delicate one. He has made himself what the French would call a little master in the art of social and spiritual portraiture. He has rarely chosen to take an impression of a temperament which has followed its own line of development without the recognition of a qualifying environment. His choice has uniformly been, and his skill has curiously fitted his choice, to record the most elusive changes wrought in temperament by juxtaposition with other temperaments. trays the absolute character; it is the relative character, so to speak, which engages him; the character in process of disintegration or of reintegration in response to a new group of influences. He will be recognized years hence as one of the most skillful artists of his time in detecting and preserving the more delicate impressions of a period in which the provincial, not only in America, but in Europe, passed over into something

He rarely por

which simulated, if it did not really secure, cosmopolitanism. It is the American under English, French, or Italian influences who appears in the later stories, or the Italian thrown into relief by striking contrasts with the American temperament. He is the painter of the villager suddenly transported to the capital. His portraits belong, therefore, not in the gallery of the great primitive or natural types, such as Balzac, Thackeray, and Tolstoy have given us, but rather with the works of those lesser but extraordinarily skillful painters who have, so to speak, surprised the soul of their sitters in transition and have shown them modifying their own type; or where, as in a few cases, the type remains fixed, he has brought out with extraordinary skill those aspects and traits which stand in the broadest contrast with the character and quality of moral or social life in a new situation.

His biography of Mr. Story is a textbook of these subtle shiftings and re

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adjustments for which this period has given such ample opportunity. It may be suspected that it is in a certain sense autobiographical, and that the limitations which are hinted at as the result of long expatriation, of constant response to influences alien from those which played upon temperament in youth, may be traced in his own career and work. Certainly between the author of "The Passionate Pilgrim," "Roderick Hudson,' "The American," and the other fresh, clear, and beautiful works of the youth of Mr. James's art, and "The Wings of a Dove," "The Golden Bowl," and the other works of the maturity of his art, there are changes which are suggestive of limitation. Whatever may be the final judgment as to the authenticity of his portraiture and its permanent value, it is quite certain that no American has been better equipped nor has any made a more exacting study of his materials and his methods than has this accomplished writer.