embling him somewhat in development. Born on a
Maryland farm, his early years were those of the average farmer's boy,
but at last some blind instinct led him to abandon farming for
stonecutting, and he became assistant to a mason and stonecutter of the
neighborhood. As soon as he had learned his trade, at the age of
twenty-one, he went to Baltimore, where there was work in plenty, and
where he could, at the same time, attend the night schools of the
Maryland Institute. This sounds much easier than it really was. To
devote the evenings to study, after ten and often twelve hours of the
hardest of all manual labor, required grit and moral courage such as few
possess.

He was soon trying his hand at modelling, and convinced, at last, that
sculpture was his vocation, he managed, by the time he was thirty, to
save enough money for a short period of study at Rome. Three years of
work at Baltimore, after that, gave him some reputation, and he then
returned to Rome, to spend the remainder of his life there.

If you have ever visited the Metropolitan Museum of Art in New York
City, you have seen, in the hall of statuary, one of Rinehart's most
characteristic groups, "Latona and Her Children." The mother half
seated, half lying upon the ground, gazes tenderly down at the two
sleeping children, sheltered in the folds of her mantle. The whole work
possesses a serene poetic charm and dignity very noteworthy; and this
and other groups are among the most beautiful that any American ever
turned out of an Italian studio.

Rinehart was one of the last American disciples of the classic school.
Certainly no art could have been more opposed to his than the frank and
vivid realism of his immediate successor, John Rogers. Born in Salem,
Massachusetts, the son of a family of merchants, he was educated in the
common schools, worked for a time in a store, and then entered a machine
shop as an apprentice, working up through all the grades, until finally
he was in charge of a railroad repair shop.

During all these years he had no suspicion of artistic talent within
himself, but one day in Boston he happened to see a man modelling some
images in clay. In that instant, the artist instinct clutched him, and
procuring some clay and modelling tools, he spent all his leisure in
practice. This leisure was scant enough, for his trade kept him employed
fourteen hours of every day; but at the age of twenty-nine he was able
to secure an eight months' vac