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‘  of it than mere photographs can give—if Roman critics have words of commendation for Ezekiel's Christ, and his Religious Liberty— where is our pride in the genius of our sons, that we do not do vastly more than simply re-echo this applause?’ Mr. Valentine is, it must be remembered, only forty-one years old, and can hardly be said to have yet attained his artistic majority; for most great workers, whether the chisel, the brush, or the pen has been the implement used, have accomplished their noblest achievements after that age. Consequently we may expect with confidence yet rarer models from his hand. We have not spoken of the artist's personal appearance, and of this only a word must suffice. He is tall, though somewhat under six feet, slight in his physique, with fine, regular features, and a spiritualized expression of face, which would mark him out at a glance as a man whose life was passed rather in an ideal state of existence, than amid the denizens of this hard, money-loving, money-getting, work-a-day world. We add in this connection the sketch of the completed work written by G. Watson James, D. L., of Richmond, Va., which strikes us as eminently accurate and just: As viewed in perspective from the chapel the effect of the work and its surroundings is grand and impressive in the highest degree. The subdued but well-directed light falling through the compartment glass in the ceiling of the mausoleum brings out the head of the figure with a Rambrandt distinctness, while the shadows fall away on all sides in, as it were, a chromatic scale. The floor of the chamber is tessellated in white-veined marble and encaustic tiles. The walls consist of panels of grayish Indiana marble enframed in dark Baltimore pressed brick, and surmounted by semi-circular compartments which can be used for basso-relievo medallions. In one of these compartments, immediately facing the chapel, is inscribed the name of General Lee, together with the dates of his birth and death. Immediately around the base of the sarcophagus is a border of dark tiling, which has the effect of elevating the work, the base course and flooring blending so as to break all angles and hard lines. The ante-room of the mausoleum is separated from the chapel by heavy sunken curtains. The figure and couch, which are of statuary-marble, are mounted on a sarcophagus simple almost to severity in its order, and which rests on a granite base course. The sides of the sarcophagus are
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