promise it at
any fixed date; he would ask for one or two or three months; 'he did
not know exactly, it would depend on how his _patine_ came.'"

His patines are by no means all green; some of them are almost golden in
their vitality of color--the "_patine medaille_," as in _The Walking
Deer_, which is a superb example; some are dark brown approaching black.
The most beautiful in color and delicacy which I have seen is that on
Mr. Lawrence's _Bull Felled by a Bear_ (_Taureau terrasse par un ours_),
a bronze which seems to me in many particulars to remain a masterpiece
unsurpassed by the more violent and splendid later works. Another
remarkable example of the effect of color possible to produce by a
_patine_ is furnished by the _Lion Devouring a Doe_ (_Lion devorant une
biche_), dated 1837. The green lurking in the shadows and the coppery
gleam on the ridge of the spine, the thigh, and the bristling mane, the
rich yet bright intermediate tones, give a wonderful brilliancy and
vitality to the magnificent little piece in which the ferocity of nature
and the charm and lovableness of art are commingled. In his interesting
book on Barye, published by the Barye Monument Association, Mr. De Kay
has referred to this work as an example of Barye's power to reproduce
the horrible and to make one's blood run cold with the ferocity of the
destroying beast. It seems to me, however, that it is one of the pieces
in which Barye's power to represent the horrible without destroying the
peace of mind to be found in all true art, is most obvious. With his
capacity for emphasizing that which he wishes to be predominant in his
composition he has brought out to the extreme limit of expression the
strength of the lion and its savage interest in its prey. The lashing
tail, the wrinkled nose, the concentrated eyes are fully significant of
the mood of the beast, and were the doe equally defined the effect would
be disturbing. But the doe, lying on the ground, is treated almost in
bas-relief, hardly distinguishable against the massive bulk of its
oppressor. The appeal is not to pity, but to recognition of the force of
native instincts. Added to this is the beauty, subtly distinguished and
vigorously rendered, of the large curves of the splendid body of the
lion. Even among the superb later pieces it would be difficult to find
one with greater beauty of flowing line and organic composition.

In the illustration we can see the general contour from on