The International Exhibition: the Roman Court, 1862. The first statue on the right is the famous "Sibylla Libyca" of Story...Her ornaments are Oriental, and round her neck is suspended the mystic emblem of the cross and Trinity. Her left hand rests on a scroll of the sibylline writings. She sits intensely absorbed in prophetic meditation on fate and futurity...The next statue - an exceedingly weak "Jephthahs Daughter," by the American sculptor, Mosier - proves, in a novel sense, there may be but one step from the sublime to the ridiculous. Proceeding onwards, "The Infant Saviour" is chiefly noticeable as the work of the Jacometti..."Rebecca" (and "Pandora" further on) by Ives, and the "Bacchante" by Barrata, are rather empty in their forms, but the last is good in expression. "A Shepherd and his Dog" by Malpieri, is spirited and natural; but the "Susanna at the Bath," by Luccardi, the "Zephyr and Flora Dancing" and the "Hope in God" by Benzoni, and the "Ruth" by Rogers, can scarcely rank above decorative sculpture. The model of "La Sposa e llndovina" (the bride and the fortune-teller), the last group in our Engraving, has more nature and promise. From "Illustrated London News", 1862.