He does, however, and, in a way quite out of the ordinary; he makes his own music and does it with a vim that suggests the virtuoso of the Remenyi type, for only the violin, the most temperamental instrument, can respond to the cry of his artist soul. It is doubtless his musical knowledge that has given his heads of Beethoven, Mozart, Schumann, Wagner and Chopin the place they hold on two continents, for never before have these masters been modeled with such brilliancy and sympathy.

His Winnie Davis Memorial, "The Angel of Grief," for grace and poetic charm will probably remain one of the most enduring works of the nineteenth century; it is a masterly interpretation of grief, tender and heavenly, with no touch of earthly bitterness or sign of despair. Contrasted with this poetical expression, we find in the colossal lions surmounting the gates of University City, a representation of primitive force that made Rodin say, on viewing the photographs, that they were the best lions he had seen since Barrye.

On the other hand, it is in such work as the heroic-sized granite group adorning the new United States Custom House of San Francisco, that the sculptor finds the full reward of his knowledge of the sister arts. He knows architecture, and therefore knows how to handle such decorative figures in a manner to become part and parcel of the edifice.

Although Zolnay's extensive work has already brought him as many honors and material returns as any sculptor could reasonably desire, one feels that he is but on the threshold of a still greater career. It is not surprising that this adopted son of the West should have emerged victorious in the recent competition for the monument to Pierre Laclede, the founder of the city of St. Louis. To use the words of an editorial in the St. Louis Times:

Every section has a message and only those in intimate touch with that section catch the message aright. The trouble with American art to-day is that it springs almost wholly from the East. When novelists, painters and sculptors realize that New York is not America, there will be recorded a national advance in the fields indicated. The day of Laclede is long past, but the western spirit still prevails in the city of his founding, and it was to have been expected that a western sculptor, having mastered the technic of his art, would recognize the meaning of

THE PRIZE MODEL FOR THE LACLEDE STATUE The recent competition for a statue of the founder of St. Louis was won by Zolnay

Laclede's work as no man in the remote studios could have done.

One has but to look at this Pierre Laclede, now in process of execution, to realize the truth of this statement. There is no attempt at a mere physical likeness of that hero; instead, we have a vivid in