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Abstract
“There are…subjects for which I have more than ordinary affection because they are associated in my mind with kindly and understanding men or women—sculptors who left even upon such impliant clay as mine the delicate chiseling of refined genius, who gave unwittingly, in other words, something of their final character to most unpromising material. Sculptors reaching blindly forward into time, they struck out their creation scarcely living to see the result.”1