always he was too busy, too uncertain, confused. Wavering, he began to study modelling. To his surprise he found he could do it. Modelling in clay, in plaster, he produced beautiful reproductions, really beautiful.

Then he set-to to make a head of Ursula, in high relief, in the Donatello manner. In his first passion, he got a beautiful suggestion of his desire. But the pitch of concentration would not come. With a little ash in his mouth he gave up. He continued to copy, or to make designs by selecting motives from classic stuff. He loved the Della Robbia and Donatello as he had loved Fra Angelico when he was a young man. His work had some of the freshness, the naive alertness of the early Italians. But it was only reproduction.

Having reached his limit in modelling, he turned to