[346] and after a lengthy discussion with him, in which Mr. Longfellow was the leading figure, he agreed to take the photographs at two napoleons a dozen.1 When the bust was brought in Mr. Longfellow called my attention to the incisions representing pupils in the eyes, which he said were a late introduction in sculpture, and not generally considered an improvement. After this Mr. Appleton called to us to come with him to the studio of an English painter in the same building, whose name I cannot now recollect. He was the type of a graceful, animated young artist, and had just finished a painting representing ancient youths and maidens in a procession with the light coming from the further side, so that their faces were mostly in shadow, with bright line along the profile,an effect which it requires skill to render. On returning to the street we looked into Mr. Story's outer room again, where the casts of all his statues were seated in a double row like persons at a theatre. Mr. Appleton was rather severe in his criticism of them, though he admitted that the Cleopatra (which I believe was a replica) had a finely modulated face.
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[346] and after a lengthy discussion with him, in which Mr. Longfellow was the leading figure, he agreed to take the photographs at two napoleons a dozen.1 When the bust was brought in Mr. Longfellow called my attention to the incisions representing pupils in the eyes, which he said were a late introduction in sculpture, and not generally considered an improvement. After this Mr. Appleton called to us to come with him to the studio of an English painter in the same building, whose name I cannot now recollect. He was the type of a graceful, animated young artist, and had just finished a painting representing ancient youths and maidens in a procession with the light coming from the further side, so that their faces were mostly in shadow, with bright line along the profile,an effect which it requires skill to render. On returning to the street we looked into Mr. Story's outer room again, where the casts of all his statues were seated in a double row like persons at a theatre. Mr. Appleton was rather severe in his criticism of them, though he admitted that the Cleopatra (which I believe was a replica) had a finely modulated face.
1905. E. P. DUtton and Co. Boston,.
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