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 suggestion--although it is
not used in combination with marble, but it nevertheless suggests what
might be done in the way of bronze panels--that is, the Fawcett
Memorial, by Gilbert, in the west chapel at Westminster Abbey.