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to stand alone and unparalleled. In his work lies the transfiguration of all mystery. Vedder never paints nature, in the sense of landscapes, and yet one often feels that he has the key to the very creation of nature; that he has supped with gods and surprised the secrets of the stars. Do the winds whisper to him?—

      “The Muse can knit

       What is past, what is done,

       With the web that’s just begun.”

      How can he find the design to phrase his thought—this painter of ideas?

      “Can blaze be done in cochineal,

       Or noon in mazarin?”

      Whatever the Roman environment may have done for Allston, Page, and Story, there is no question but that to Vedder it has been as his soul’s native air. For him the sirens sing again on the coast; the sorceress works her spell; the Cumæan Sibyl again flies, wraithlike, over the plain, clasping her rejected leaves of destiny which Tarquin in his blindness has refused to buy. The Rome that lies buried under the ages rises for Vedder. His art cannot be catalogued under any known division of portrait, landscape, marine, or genre, but it is simply—the art of Vedder. It stands alone and absolutely unrivalled. The pictorial creations of Vedder are as wholly without precedent or comparison as if they were the sole pictorial treasures of the world. The visitor may care for them, or not care, according to his own ability to comprehend and to recognize the inscrutable genius there manifested; but in either case he will find nowhere else, in either ancient or contemporary art, any parallel to these works.

      One could well fancy that to any interrogation of his conceptions the artist might reply:—

      “I am seeker of the stone,

       Living gem of Solomon.

       But what is land, or what is wave,

       To me, who only jewels crave?

      *****

      I’m all-knowing, yet unknowing;

       Stand not, pause not in my going.”

      In the rich, weird realm of Omar Khayyam’s Persian poem, the Rubaiyat, Mr. Vedder found the opportunity of his life for translating its thought into strange, mystic symbolism. Never were artist and poet so blended in one as in Vedder’s wonderful illustrations for this poem. It has nothing in common with what we ordinarily call an illustrated work. It is a great treasure of art for all the ages. It is a very fount of inspiration for painter and poet. An exquisite sonnet suggested by “The Angel of the Darker Cup” is the following by Louise Chandler Moulton:—

      “She bends her lovely head to taste thy draught,

       O thou stern Angel of the Darker Cup!

       With thee to-night in the dim shades to sup,

       Where all they be who from that cup have quaffed.

       She had been glad in her own loveliness, and laughed

       At Life’s strong enemies who lie in wait;

       Had kept with golden youth her queenly state,

       All unafraid of Sorrow’s threat’ning shaft.

      “Then human Grief found out her human heart,

       And she was fain to go where pain is dumb;

       So Thou wert welcome, Angel dread to see,

       And she fares onward with thee, willingly,

       To dwell where no man loves, no lovers part—

       Thus Grief that is, makes welcome Death to come.”

      The sonnet, the stanza, and the pictorial interpretation all form one beautiful trio in poetic and graphic art.

      Writing of Mr. Vedder, Mr. W. C. Brownell speaks of the personal force in a picture and says that with Vedder this personal force is imagination—“the imagination of a man whose natural expression is pictorial, but who is a man as well as a painter; who has lived as well as painted, who has speculated, pondered, and felt much. … It is this,” he continues, “that places Vedder in the front rank of the imaginative painters of the day.” Of Mr. Vedder’s painting called “The Enemy Sowing Tares,” Mr. Brownell writes:—

      “… Here you note a dozen phases of significance. The theme is unconventional; the man has become the archenemy; the night is weird and awe-inspiring; the tares represent the foe of the church—money; they are sown at the foot of the cross—the symbol of the church. … Mr. Vedder has not passed his life in Rome for nothing. His attitude is in harmony with the spirit of the Sistine and the Stanze.”

      One of the interesting and mystical works of Vedder is “The Soul between Doubt and Faith,”—three heads, that of the Soul hooded and draped, looking before her with eyes that seem to discern things not seen by mortals; the sinister face of Doubt at the left, the serene, inspiring countenance of Faith at the right. It is a magical picture to have before one with its profoundly significant message. The works of Mr. Vedder will grow more priceless as the years pass by. They are pictures for the ages.

      In Mr. Ezekiel, another American artist whose almost lifelong home has been in Rome, is a sculptor whose touch and technique have won recognition. In a recumbent figure of Christ is seen one of the best examples of his art. It is pervaded by the classic influences in which he has lived. The studios of Mr. Ezekiel, in the ruins of the old Baths of Caracalla, are very picturesque and his salon, with its music, its wealth of books including many rare and beautiful copies, and its old pictures and bric-a-brac, is one of the fascinating interiors of the Eternal City.

      The visitor who is privileged to see the Story studios in the Via San Martino finds Mr. Waldo Story occupying these spacious rooms where the flash of a fountain in the court, a view of the garden, green-walled by vines, with flowers and shrubs and broken statues, make the place alluring to dreamer and poet. In these rooms may be seen many of the elder Story’s finest statues in cast or marble, the “Libyan Sibyl,” “Nemesis,” “Sappho,” the “Christ,” “Into the Silent Land,” and others, with many portrait busts, among which are those of Browning, Shelley, Keats, Theodore Parker, Mrs. Browning, Marchesa Peruzzi de Medici (Edith Story), John Lothrop Motley, one of Story’s nearer friends, and Lord Houghton.

      In the work of Mr. Waldo Story one admirable portrait bust is of Cecil Rhodes. A decorative work, a fountain for the Rothschild country estate in England, is charmingly designed as a Galatea (in bronze), standing in a marble shell that is drawn by Nereids and attended by Cupids. The happy blending of marble and bronze gives to this work a pleasing variety of color. Another decorative design is that of “Nymphs Drinking at the Fountain of Love.” These studios are among the most interesting in Rome.

      It was in 1868 that Franklin Simmons, then a young artist from Maine, turned to Rome as his artistic Mecca. Since then the Eternal City has always been his home, but his frequent and prolonged sojourns in America have kept him closely in touch with its national life. Mr. Simmons is the idealist who translates his vision into the actuality of the hour and who also exalts this actuality of the hour to the universality of the vision. In the creation of portrait busts and of the statues and monumental memorials of great men he infuses into them the indefinable quality of extended relation which relegates his work to the realm of the universal and, therefore, to the immortality of art, rather than restricting it to the temporal locality. Louis Gorse observes that it is not the absence of faults that constitutes a masterpiece, but that it is flame, it is life, it is emotion, it is sincerity. Under the touch of Mr. Simmons the personal accent speaks; to his creative power flame and life respond, and to no sculptor is the truth so admirably stated by M. Gorse more applicable.

      Mr. Simmons has been singularly fortunate in a wide American recognition, having received a liberal share of the more important commissions for great public works of sculpture. The splendid statue, al fresco, of the poet Longfellow for his native city, Portland, was appropriately the work of Mr. Simmons as a native of the same state; the portrait statues of General Grant, Gov. William King, Roger Williams, and Francis H. Pierrepont, all in Statuary Hall in the Capitol in Washington; the portrait busts of Grant, Sheridan, Porter, Hooker, Thomas, and other heroes of the Civil War; the colossal

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