ize and produced in bronze as his work. Works of the younger Barye
signed by the great name are also confused with those of the father.
Further still, to the confusion of inexperienced collectors, the bronzes
of Mene, Fratin, and Cain, all artists of importance, but hardly
increasing fame, have had the signatures erased and that of Barye
substituted. It is therefore inadvisable to attempt at this date the
collection of Barye's bronzes without special knowledge or advice. The
great collections of early and fine proofs have been made. At the sale
of his effects after his death the models with the right of reproduction
were sold, and in many instances these modern proofs are on the market
bearing the name of Barye, with no indication of their modernity. Some
of these are so cleverly done that great knowledge is required to detect
them, and if they were sold for a moderate price, would be desirable
possessions. Certain dealers frankly sell a modern reproduction as
modern and at an appropriate price, but I know of one only, M.
Barbedienne, who puts a plaque with his initials on each piece produced
by him.

[Illustration: ASIAN ELEPHANT CRUSHING TIGER

_From a bronze by Barye_]

During Barye's lifetime he had, however, in his employ, a man named
Henri, who possessed his confidence to a full degree. A few pieces are
found with the initial of this man, showing that they were done under
his supervision and not that of Barye, but whether before or after the
death of the latter is not yet determined.

THE ART OF MARY CASSATT

II

THE ART OF MARY CASSATT

Some fifteen years ago, on the occasion of an exhibition in Paris of
Miss Cassatt's work a French critic suggested that she was then,
perhaps, with the exception of Whistler, "the only artist of an
elevated, personal and distinguished talent actually possessed by
America." The suggestion no doubt was a rash one, since, as much
personal and distinguished work by American artists never leaves this
country, the data for comparison must be lacking to a French critic; but
it is certainly true that, like Whistler, Miss Cassatt early struck an
individual note, looked at life with her own eyes, and respected her
intellectual instrument sufficiently to master it to the extent, at
least, of creating a style for herself. Born at Pittsburgh,
Pennsylvania, she studied first at the Philadelphia Academy, and later
traveled through Spain, Italy, and Holland in search of art