enterprise, and equals in moderation the courteous remark that the
statue "could not fail to be ridiculous in the expanse of New York
Bay."[A] It is not necessary to touch upon the question of courtesy at
all, but it is possible that one of our critics may live to regret his
vegetable metaphor, and the other to revise his prematurely positive
censure. There is a sketch in charcoal which represents the Bartholdi
colossus as the artist has seen it in his mind's eye, standing high
above the waters of the beautiful harbor at twilight, when the lights
are just beginning to twinkle in the distant cities and when darkness is
softly stealing over the service of the busy earth and sea. The mystery
of evening enwraps the huge form of the statue, which looms vaster than
by day, and takes on an aspect of strange majesty, augmented by the
background of hurrying clouds which fill the upper portion of the sky.
So seen, the immense Liberty appears what the sculptor wishes and
intends it to be, what we Americans sincerely hope it may be,--a fitting
memorial of an inspiring episode in history, and a great work of modern
art.

[Footnote A: _Vide_ papers by Clarence Cook in The Studio, and by
Professor D. Cady Eaton of Yale College in the New York Tribune.]

* * * * *

ELIZABETH.[A]

A ROMANCE OF COLONIAL DAYS.

BY FRANCES C. SPARHAWK, Author of "A Lazy Man's Work."

[Footnote A: Copyright, 1884, by Frances C. Sparhawk. All rights