On leaving Canova's studio, he took apartments in the Via della Fontanella. His biographer, in the Art Journal, whence this brief account is abstracted, says that here he found him at work, in the year 1821, on his beautiful group of "Psyche borne by the Zephyrs." In the same studio he was found twenty-six years afterwards, modelling the exquisite bas-relief of the "Hours leading forth the Horses of the Sun." There was something inexpressibly touching, and elevating also, in this sense of progress without change; all appeared the same in that modest, quiet, little room; but around it extended lofty and simple ateliers, crowded with models of works already executed or in progress, and with workmen, assistants, students, and visitors. The sculptor himself, perhaps a little sobered by years, but unspoiled by commendation and prosperity, gratified with his success, and still aspiring, — with no alloy of mean aims or personal vanity mingling with the intense appreciation of fame, -appeared and was the same benign, simple-hearted enthusiast in his art, as when he stood before Roscoe an unknown youth,

"And felt that he was greater than he knew."

After the death of his "noble master," as

he styled Canova, Gibson placed himself with Thorwaldsen.

Both of these great sculptors are now no more, but Gibson yet remains. In 1846 a party of Americans visited the studio of the distinguished artist, being introduced by our favorite countryman, Mr. Crawford. The impression is still vivid, as described above,"the lofty and simple ateliers crowded with models of works already executed or in progress, and with workmen, students, and visitors."

Gibson's portrait statue of the Queen of England has given universal satisfaction, although he ventured on an innovation in modern usage, restoring an ancient habit of the Greek sculptors. He ventured to give a slight tinge of pale rose and azure to the edge of the drapery, and a tint of gold color to the wreath and the bracelet. However opposed to what may be considered the classic rules of the art, it is said to have been successful, and to give a degree of elegance to the work, which is placed in Buckingham Palace. A beautiful engraving of this statue is given in the Art Journal of May, 1849.

We are unwilling to close this article withont quoting Bulwer's tribute to Gibson, in his dedication of "Zanoni":

"You have lived and you have labored as if you had no rivals but in the dead, no purchasers save in judges of what is best. In the divine priesthood of the Beautiful you have sought only to increase her worshippers, and enrich her temples."

Although England may well be proud to claim the nativity of Mr. Gibson, yet his long residence in Italy, and his beautiful works accomplished there, make his studio one of the first sought in Rome.

CHAPTER XXIV.

SCOTCH ARTISTS.-ROBERT FORREST.-JAMES THOM.-JOHN GREENSHIELDS.

In a wood on the banks of the Clyde, among the romantic glens of Scotland, in the year 1790, ROBERT FORREST was discovered, by a sportsman who had lost his way. The artist was deeply engaged in making small imitations of different animals, such as the hare, the fox, and even human figures. Struck with astonishment, the gentleman, who was a Gordon, immediately purchased a figure of Bacchus, and recommended him to other customers.

He soon became known in Lanarkshire, the place contiguous to his residence, and received a commission for a full-sized figure of a Highland chief, which he executed in a perfectly satisfactory manner.

He left his hermitage in the woods, and removed to a quarry, a few miles below Lanark, where he fixed his studio.

Here he executed figures of Old Norval,

Sir John Falstaff, and Rob Roy; also the statue of Sir William Wallace, seven feet in height. When it was completed the inhabitants of Lanark and many strangers collected to see it raised upon its eminence. It was a happy day for the sculptor. He, as well as his statue, was carried in triumph through the streets, preceded by music and banners, his name resounding from the "banks and braes" of old Scotia.

In 1823 he made Tam o' Shanter and Souter Johnny, from Burns's inimitable ballad.

In the midst of his rustic employments, he was engaged to work out a design by Chantrey, a colossal figure of Viscount Melville, to be placed at the top of the Monument in St. Andrew's Square, Edinburgh. He also made a colossal statue of John Knox, for the Merchants' Park, in Glasgow.

In the mean time his studio was filled with visitors. All were eager to see his rustic works, and such was the curiosity, that finally the stage-coach between Lanark and Glasgow was advertised to "stop at Forrest's studio" for a short time, to give the passengers opportunity to see his Tam o' Shanter, and other productions.

A pleasant tribute of respect is universally