favorite subjects for his statuary. The best of this class is a group of Indian warriors, partly equestrian, retreating from pur suers. It is now generally known that the modern sculptor usually bestows his best personal work, not on the marble statute, but on his original clay model and first plaster cast. It is on this account that the works preserved in the studio of the sculptor the direct and real products of his art, are of inestimable value to the art student; it is this that makes the Thorwaldsen Museum at Copenhagen more interesting than any other object in that northern capitol; this, too, makes the studio of Schwanthaler, preserved intact at Munich from the time of his death, one of the chief attractions in that city of art; the same is true of the Pradier Museum at Geneva; and so the Rogers' studio, the first example of such a collection brought over from the Old World, will be a valuable accession to the means of education and culture now accumulating in our Western States. This gift to Michigan and her University has an additional significance from the fact that the Lewis Gallery of more than six hundred painting has recently been bequeathed to us, and that this, with the masterpieces of Greek statuary already in possession of the University, and the Rogers studio of more than one hundred and fifty pieces, will form a gallery of art equalled by few in our country. It may be proper to add that the valuation put upon the Rogers casts by the Academy of St. Luke at Rome, is two hundred thousand dollars. Randolph Rogers was born at Waterloo, New York, in 1823. When eleven years old his family removed to Ann Arbor, where he obtained the education afforded by the village common school, and then found employment in one of those "stores" which in pioneer towns deal in every kind of merchandise. While a school-boy, and also while employed as a clerk, he exhibited his gift for drawing and modeling; sometimes whittling out wooden heads and figures with his knife, and later carving them with the help of other tools, and sometimes moulding them out of clay or bakers' dough. Occasionally, too, he tried his hand at portrait painting, and engraving on copper. He was known at the same time as one of the mimics and playful humorists among the village youth; a gift which later in life made him conspicuous in the private theatricals kept up among the artists of Rome. In 1847 he became a clerk in the wholesale dry goods house of John Stuart, in New York, and there, too, devoted most of his leisure time to the practice of modeling and painting. Some portraits of the children of his employer, and a well executed bust of Lord Byron attracted favorable attention. Mr. Stuart was so much impressed with their merit that he at once offered to advance the means necessary to take young Rogers to Italy and carry him through the studies of an art academy. In 1848, therefore, he entered the Academy of Florence, continuing his studies there three years, and producing his first two works, the Cupid breaking his bow and Ruth Gleaning. The latter he sent to his benefactor in payment of the well-timed loan. In 1851 he took a studio in Rome, and from that time until now has been identified with the artist community of that great center of art. His earliest works produced in Rome were the Indian Lovers, the Nydia, the John Adams, and the Bronze Doors of the Capitol; and their excellence at once secured to him a high rank among sculptors. Though he had but just entered upon his career, and it was hardly proper and just for any critic to speak of the young sculptor as if his artistic character had been fully developed, Mr. Jarves wrote some strictures upon these early works, especially as lacking "ideality." The truth is that the "idealism' which Mr. Jarves had in mind as the criterion of art, that which Bartholini had long before repudiated as the "mere chimera of the beau ideal," had already given way to the true principle, at present universally accepted, of the ideal wedded to the real, il bello nel vero; and Rogers' works, even then, were perfectly in harmony with this principle, and they were beautiful illustrations of it. But this was thirty years ago. Since then the sculptor has created a multitude of works which, with those earlier ones, give him no doubtful rank in contemporary art. The place which Mr. Rogers occupies in the esteem of Roman sculptors is best attested by the honor which they conferred upon him a few years after these early works were produced. The American sculptor, Crawford, had died, leaving a vacant chair in the Roman Academy of St Luke, the oldest art academy in the world. From all the sculptors residing in Rome, Rogers was singled out and elected by the Academy to succeed the lamented Crawford. And at this moment one who visits the Academy will see the portrait of Randolph Rogers hanging on the wall in the midst of a group of thirty portraits of Professors of the Academy, so arranged that his is made to occupy the central place. CLASS OF '97. AUDITOR'S REPORT. The time for auditing the Class accounts was fixed at so late a date that Mr. Rieman, chairman of the auditing committee, was unable to be present. He therefore requested me to act in his place. As no member of the committee was on hand at the appointed time I was compelled to do the work alone, and now submit the following report: The persons whose names appear below paid their Class tax: E. H. Humphrey, Nellie M. Walters, --Paddock 2, Bert Howard, T. L. Farn- Murrell, H. M. Smith, A. G. Unsold, Dora 1. Name not found in the official list of the class of '97. Probably a case of misspelling. 2. The Treasurer in writing names of taxpayers ordinarily omitted initials. I supplied these as far as possible by consulting official list, but in many cases was unable to do this because of two or more members bearing the same name and only one paying the tax. The entire tax collected from the 134 members who paid was $670. The following statement includes all expenditures authorized to be paid out of class tax: The following statement includes all receipts and expenditures connected with the Senior Reception: It will be observed that although only 134 members paid their tax, there was a surplus above all legitimate expense of $194.55. It will be noticed further, that the sale of tickets to the Reception was entirely inadequate to cover expenses since only a little over one-fourth of the members availed themselves of its privileges. The deficit was $234.93.* Of this amount there was paid from the Class tax $194.55. This was in direct opposition to the express will of the Class. It was also in direct violation of the word of the chairman of the Arrangements Committee who promised only five days before Commencement that the tax money would not be used. The chairman says in extenuation of his conduct *Since this was written word has been received that Treasurer Keating and Chairman Maher each paid $20 to cover the remainder of this deficit. that the class treasurer told him that the class president said that he did not remember that any provision had been made by the class forbidding such use. Since memory is liable to err it may be well to publish the motion in question as copied from the secretary's book: "A motion was made, seconded and carried that class tax be $5.00 per member, the amount thus raised to include all the expenses of gradation week except the expenses of the Senior Reception and the payment of the tax to entitle a member to eight invitations." (The italics are mine). At the time the accounts were audited the treasurer had receipts for all money paid out with the exception of about $160. Later, receipts were sent in covering most of this amount until there are only a few small amounts unreceipted. The above report is in some respects incomplete and may be defective in other ways. The auditor will be glad to correct any inaccuracies that may be pointed out. Respectfully submitted, ROMANZO ADAMS. THE BENEFACTORS OF THE UNIVERSITY. The University of Michigan, although supported by the State is nevertheless deeply indebted to many private benefactors; and there are a few whose names we as students always think of with gratitude, remembering what their generosity has done for us. In the light of the enormous gifts which other institutions, especially Chicago, have lately received, we are perhaps in danger of forgetting the timely aid, which has often come to us, both in times past and lately; and of thinking ourselves slighted by donors. It is true we have received no fabulous sums; but that is not strange when we consider that the University is not dependent upon private beneficence, as are many other colleges, but that the State is its constant supporter. Benefactors are more apt to appear when they feel that the very existence of an institution depends upon them; and although a flourishing college has constant needs, comparatively few persons of wealth, at first, realize that a State institution could want their aid. Accordingly, the gifts that have been received must have been prompted by a spirit of interest and confidence which makes them the more valuable. The names of some of our benefactors are familiar to all, as Waterman, Ford, Barbour |