manner which was not unfelt by his academic companions. He was simple and frugal in his general style of living, yet liberal to excess in all that related to the encouragement of art; his purse was open to virtuous sufferers, and what is far more, he shrank not from going personally into the houses of the poor and sick, to console and aid them in adversity. In his younger days it was his custom to work at his marbles in the solitude of the Sabbath morning, when his assistants were not at hand to interrupt him; but as he advanced in life he discontinued the practice, and became an example to his brother artists in the observance of the Sabbath day. He grew strict in religious duty, and, like Flaxman, added another to the number of those devout sculptors, whose purity of life, and reach of intellect, are an honor to their country.
FLAXMAN'S TRIBUTE TO BANKS.
That Flaxman appreciated and honored Banks'
genius, he was ever ready to give strong proof.—"We
have had a sculptor," he says in one of his
lectures, "in the late Mr. Banks, whose works have
eclipsed the most, if not all his continental cotemporaries."
On another occasion—that of the sale of
the sculptor's models—Mrs. Siddons and Flaxman
were seated together, when the auctioneer began to
expatiate upon the beauty of an antique figure, saying,
"Behold where the deceased artist found some
of his beauties." "Sir," exclaimed Flaxman, more
