and her self-sacrifice.

As portraits, these of Mildred Lawson and John Norton are exquisitely
finished. They are half-lengths, with a quality of coloring
fascinating in its repelling truth. Every tint and shade have been
cunningly and caressingly laid in, so that the features, living and
animated, are yet filled with suggestions of the spiritual barrenness
in the originals. Very human they are, and yet they are without those
gracious qualities which link humanity with what we feel to be divine.
There is the touch of nature here, but it is not the touch which makes
the whole world kin. That touch we ourselves supply; and it speaks
eloquently for Moore's art that in picturing these unlovely beings he
throws us back on our better selves. Beyond the vision of these
celibates here revealed we see a passionate humanity, working, hating,
sorrowing, and dying, yet always loving, and in loving finding its
fullest life in an earthly salvation. True love is a mighty democrat.
Knowing these "Celibates," we welcome the more gladly those who, even
if less gifted, are ready to walk with us, hand in hand, along the
common human highway of the "pilgrim's progress."

TEMPLE SCOTT.




CONTENTS.


MILDRED LAWSON