leasure at times a rest from the strain of creation. This
heraldic work may be seen to perfection in the chapel of the tombs of
the Medici at Florence.

At the Pitti Palace are some tables which you may know where marble
intazzio can no further go. Alabaster does not appeal to me, it is
somewhat sugary in results. If you are fortunate enough to have a
sculptor who is a sort of nineteenth century Donatello, let him work his
will on statuary or such restful marble.

The celebrated monument in the church of S. Giovanni Paulo, at Venice,
which Ruskin says is the finest monument in the world, if my
recollection serves me correctly, is in white marble, and its beauty
comes entirely from the sculptor's art. Such monuments give you much
better than any words of mine ample suggestions for marble treatment. I
may quote such names as Nicolo Pisano and Verocchio.

Photos of some of their work I have brought. Note Pisano's beautiful
white altar at Bologna, and Mina de Fiesole's work in Florence. They all
show the sculptor as supreme. Why should not we encourage individual
young sculptors more? Give them portions of your work in which they can
put all the fervor and enthusiasm of young manhood. Their powers may not
be ripe, but they possess a verve and intensity that may have forever
fled when in later years the imagination is less enthusiastic and the
pulses slower. I am sure there are many young sculptors now wanting
commissions who have been trained at the academy, and better still, in
the best French schools. I maintain that the contemporary French school
of sculpture is in its line equal to any school of sculpture that has
ever existed, not excepting that of Phidias or that of the Italian
Renaissance of the fifteenth and sixteenth centuries. I believe history
will confirm this. Why not give these men an opportunity, and help on
the movement to found a truly English school of sculpture, rather than
give all such work to trading firms of carvers, who will do you any
number of superficial feet, properly priced and scheduled, and in the
bills of quantities, of any style you please, from prehistoric to
Victorian Gothic? Of course, this is our British way of founding a great
school.

There is one method of treatment that appeals to me very strongly, and
that is the application of colored metals to marble, more especially
bronze and copper. I may quote as a successful example near the
Wellington Memorial at St. Paul's. Another sugg