convey to others his concepion of what it was all about. Tinworth's success with the Bible justifies a wonder and, perhaps, even a regret that he has not tried his hand at, say, some of the scenes in Shakespeare. He has, we believe, only once essayed a subject of importance not Biblical, namely, "The Sons of Cydippe," suggested by a poem of Mr. Gosse's. The artist seems to have little sympathy with scenes outside Scripture, and no doubt Mr. Gosse is correct when he says that, as Mrs. Tinworth trained her son to look upon all other literature as dross, so "to this day the Bible remains the only book which he reads without indifference."
The prodigal son.
If we might make a choice where all are so admirable, we should be inclined to pronounce Mr. Tinworth's treatment of subjects from the New Testament as pre-eminently his triumph. He does in sculpture for the story of Christ what is done every ten years on the boards in the Ober-Ammergau Passion Play. Mr. Tinworth is an evangelist in art. Just as the Passion Play is intended to point the moral of the wondrous narrative of the Saviour's sojourn on earth, so Mr. Tinworth freely admits that he forgets his art in his regard for the story he has to tell. The highest compliment we can pay him in all sincerity is to confess that he makes most of us forget it also.
Let us take the half-dozen panels which we reproduce. They are like pictures of living beings. "Waiting for the Head of John the Baptist" is a presentment of a tragic instance of woman's unrighteous influence such as few men could give us. On the left of the picture stands Herodias, cruel, hard, revengeful, who
