that meant making money came amiss to him. He even collected what was known as “watch rates” for the parish of St. Anne’s, and might have been seen going about with an ink-bottle in his buttonhole.

Often the desires of our heart tarry long in coming to us. This was among the times of hardest work and trial in all Flaxman’s life, and he came out of it well. At the end of the five years the needed money was collected!

And now, while the great event of his life was drawing near, his boyhood had left him, and he was entering on the work of the man. Already he had gained some fame in London. The newspapers took notice of his going.

“We understand that Flaxman the sculptor is about to leave his modest mansion in Wardour Street for Rome.”

And now a very feast of delight awaited him. With his arrival in Rome, what wonders opened to his view, what grandeur and sublimity in the examples of ancient art! What skill and magnificence and luxuriance he saw in the churches, what wealth of creation on their walls and windows and cupolas, what sculpture, what painting! It was as if an enchanted world had suddenly spread itself out before his eyes.

Gradually it came to be known that Flaxman had arrived, and there gathered about him men of taste and culture—rich men many of them—men of position. But the great sculptor’s ways were just the simple ones of old. He was not easily affected by the great of the world. He was always his manly simple self to rich and poor alike. He adopted no more luxurious ways of living with his days of prosperity. He prized money little, just as a something in exchange for which he could get food and clothing, or with which he might help the poor and suffering. The fine character of the boy seemed to have expanded into fuller beauty in the man.

After his stay in Rome he returned to London, his spirit, one could imagine, bathed in a very inspiration from all he had seen and heard. He came back to his native land with a name made, and quietly set about getting a house, a studio, assistants, workmen, models.

He executed a statue of Lord Mansfield, for which he was paid £2,500. Prices were indeed altered from the old days, in which he counted himself well paid with ten shillings for the model of a goddess!

“This little man cuts us all out,” said one generous sculptor to another, willing to acknowledge Flaxman’s great superiority. Honours now flowed in upon him. He was made an Associate of the Royal Academy. He was given the Professorship of the Chair of Sculpture. At his first lecture he was enthusiastically cheered. He had climbed to the highest height of his art. It almost seemed as if no honour remained to be bestowed. He was surrounded by fame and applause, but he was in no wise uplifted. So the years went on in the delight of the work he loved.

But, unexpectedly and all unknown to his friends, his life was drawing to a close. In the winter of 1826 he caught a cold, seeming for a time to be slightly, though not seriously, ailing. In the beginning of December he grew much worse, but he would not go to bed.

“When I lie I cannot breathe,” he said. So, sitting up to the end, and with scarce a struggle, he passed away on the 7th of December.

They buried him quietly in the churchyard of St. Giles-in-the-Fields. There was no great publicity, no large concourse of people. Just a few friends, a few artists—the greatest—were there, men who in tremulous, hushed voices said to each other they “had lost something greater and dearer than they should see again.”

Turning from the ending of his life, we cannot but feel that we are turning from the record of a man who has lived it well.

An enthusiastic admirer has said, “He was a remarkable mixture of simplicity and genius—were you to try any other ingredients you would scarcely form so glorious a creature.” And we hardly think he was far wrong.

We can see very clearly the fine simplicity of his nature in his treatment of his workmen. They were to him rather friends than servants. They in their turn repaid him with a warm and devoted affection, calling him “the best master God ever made.”

To the end, as well in time of difficulty and of toil as in time of triumph, the man retained very much those qualities that had drawn out people’s love for him in boyhood, the kindly word from the customer in the shop behind the counter. The world offered him of its best, as it has a way of doing to those who do well for themselves, but it had no power to draw him from his work and the simplicity of his simple home-life. It was only and always to that which is highest and best that he gave of his genius. That noble mind of his could stoop to nothing less. In churches all over England are to be found beautiful creations of his. In him were at once goodness and genius linked together.

“If ever purity visited this earth,” someone has said, “it remained with Flaxman.”

SIR HUMPHREY DAVY.

Amid the wild beautiful scenery of Cornwall, where the waters of the Atlantic wash our English shores, was born in the winter of 1778 the greatest chemist England has ever seen. We read in our childish geography books that for being the birthplace of Humphrey Davy the town of Penzance has for long been famous, for the coming into the world of that man whose name is perhaps best known for the invention of the Miners’ Safety Lamp, that has lit the darkness of our coal mines and saved hundreds of human lives.

Humphrey was the son of a wood-carver, a man not high up in the world, but we find him free enough from the straits of poverty that have often been the cradle of genius, though, indeed, a cradle out of which genius has had a way of growing to sturdy stalwart manhood. The child from the outset entered on life with eagerness and enthusiasm, seeming to take a firm, earnest grip, as it were, even from babyhood. It was this same vigour of mind that spurred him on all through—in boyhood and manhood alike—that made him face difficulty with such a brave, dauntless spirit, and overcome obstacles with never a thought of letting them overcome him.

He was quick, energetic, and alert, even as a child. When hardly more than five years old his mother often noticed him with baby fingers rapidly turning the pages of some book as if he were counting their number or glancing at the pictures. To her no small astonishment on questioning him, she found the lisping baby lips could repeat the story. It was the same through life. Long years after, when he was a great chemist, making wonderful experiments in his laboratory, he had no patience with slowness. He would keep several experiments going at the same time, attending first to one, then to another. If the exact instrument he wanted were not at hand, he would recklessly break or alter another to suit his purpose. His impetuous spirit could never brook delay. With him quickness meant power, and while quick he was also sure.

As a child he specially loved the Pilgrim’s Progress. The charm of its word-pictures, its characters fired his quick imagination. And history too, especially the history of his own country. These two, it may be, inspired him very early to a love of romance and story, and among the boys at school in Penzance he was not slow to gain the reputation of story-teller. Some were tales of fun, others tales of thrilling wonder and terror, but all flowed easily from the boy’s lips and held his listeners enthralled.

When he was no more than eight years old he would