International studio . Rocke-feller, who posed for it at the age of ycarsi In the one we have probably theyoungest infant ever delineated by the sculp-tors chisel. It is an amazing piece of the immaturity, the almost uncanniness,of a newly born babe is there depicted. Howhelpless it lies there in its swaddling clothes!It is quite impossible for one to realize thatit is marble so manipulated as to simulate theextreme softness and delicacy of infant humanflesh. We believe that this work stands alonein its realism among child sculptures. Indeed, the manner in which the artist
International studio . Rocke-feller, who posed for it at the age of ycarsi In the one we have probably theyoungest infant ever delineated by the sculp-tors chisel. It is an amazing piece of the immaturity, the almost uncanniness,of a newly born babe is there depicted. Howhelpless it lies there in its swaddling clothes!It is quite impossible for one to realize thatit is marble so manipulated as to simulate theextreme softness and delicacy of infant humanflesh. We believe that this work stands alonein its realism among child sculptures. Indeed, the manner in which the artist hasset this unique creation, giving to it as hedoes, something of the dignity which medie-val artists gave to their representations of theChrist Child, is evidence of the great loveand devotion which, as a father, he bearstoward his first born child. It is little wonderthat it was purchased and presented to theMetropolitan Museum of Art, where it occu-pies a prominent place. In the second work we have a most realistic. JOHN D. ROCKEFELLERPAUL MANSHIP Two Amazing Portraits portrait of an old man, a very old man. Wehave never before seen such a convincing pic-ture of senility as this portrait of the OilKing. To attempt to describe it is not with-in the limits of the present paper, much lesswithin the powers of the writer. It must beseen and studied to be fully appreciated. Inthe sagging cheeks and shrunken throat theextreme age of the subject is seen. There isthe shrewdness and determination which areknown to be characteristic of the modelling of the mouth and chin indicatethese qualities. There is foresight, and pene-tration and organizing power in the cast ofcountenance. There are traces of that benevo-lence and philanthropy which have made thename of Rockefeller a synonym for great giv-ing. Over all the artist has thrown a veil ofreligious expression. Perhaps there are others among our sculp-tors who might produce a portrait bearing allthese characteristics. It is
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