ves
to be more than equal to the demand made upon them."

On the death of Mr. Crawford, Thomas William Parsons wrote a memorial
poem in which this stanza occurs:--

"O Rome! what memories awake,
When Crawford's name is said,
Of days and friends for whose dear sake
That path of Hades unto me
Will have no more of dread
Than his own Orpheus felt, seeking Eurydice!
O Crawford! husband, father, brother
Are in that name, that little word!
Let me no more my sorrow smother;
Grief stirs me, and I must be stirred."

Thomas Ball, who went in early manhood to Florence, where he remained
until when nearly at the age of fourscore he returned to his native
land, still continues, at the age of eighty-five, to pursue the art he
loves. He has created works, as his equestrian statue of "Washington" in
the Public Gardens and his "Lincoln Freeing the Slave" in Park Square,
both in Boston; his great Washington Memorial group in Methuen,
Massachusetts; his "Christ Blessing Little Children," and many other
historic and ideal sculptures, that seem endowed with his beautiful and
winning spirit as well as with his rare gifts. Larkin G. Mead chose
Florence rather than Rome for his home and work. His noble "River God,"
placed at the head of the Mississippi near St. Paul, as well as other
interesting creations, link his name with that of his native land.
Randolph Rogers, a man of genius; Rinehart, Paul Akers, and Thompson all
died before the full maturity of their powers; Akers at the early age of
thirty-six, leaving, as his bride of a year, the poet, Elizabeth Akers
Allen, who, under the _nom de plume_ of "Florence Percy," has endeared
herself to all lovers of lyric art. In a monograph on Paul Akers,
written after his death, the writer says of his studio in Rome:--

"Linked with this studio is Hawthorne's tale of 'The Marble Faun,'
as Kenyon's studio was none other than Paul Akers's. Though
Hawthorne in his romance saw fit to lay the scene in the rooms once
occupied by Canova, it was in the Via del Crecie that he wove the
thread of his Italian romance.

"Paul Akers's growing reputation and increase of work ere long made
it necessary for him to seek a more commodious studio, and he took
rooms once occupied by the famous Canova. Here he had made under
his supervision copies in marble of many of the famous works of the
Vatican and the Capi