ws and beaked nose, which leaps so swiftly
over the coiled-shape of the dolphin-serpent, which serves for his
pedestal--bearing upon his back the charming, nude figure of Angelica
held in the mail-clad arms of Ariosto's hero. To this category _seems_
to belong the "Ape riding a Gnu," the forms, however, being true to
nature though appearing fantastic when placed in juxtaposition.

The horse as we know him, and carrying more familiar burdens, is shown
in numerous equestrian statuettes, the best of which is the slender,
nervous figure of Bonaparte as First Consul, mounted on a
proudly-stepping Arab. There is another one of Napoleon, showing him
at a later period of his life, and the other equestrian portraits
include one of the Duke of Orleans, who looks every inch a gentleman;
one of Gaston de Foix, the hero of Ravenna; and one of Charles VII.
Then there is a spirited statuette of a Tartar warrior in chain armor
sharply pulling back his steed, and a graceful figure of a lady
wearing the riding-dress of 1830. A painful contrast is presented by
the doomed horse unwillingly carrying a lion whose dreadful grip his
frantic rearing cannot loosen. In addition there are many studies of
horses, various in breed and attitude, and the small wax model of a
young man mastering a horse which though but a rough "first sketch"
has all the "go and fire" possible. It would have been of interest if
some illustration of Barye's equestrian monument of Napoleon at
Ajaccio could have been shown, and this reminds me that except a
photograph of the Chateau d'Eau at Marseilles, showing the four groups
of animals designed by him (which Mr. Cyrus J. Lawrence was thoughtful
enough to send), and the two reclining river-gods from the Louvre
(sent by Mr. Walters), there is nothing which gives any idea of
Barye's public work. Not even photographs of the War, Order, Glory and
Peace groups of the Louvre, which could have easily been taken from
the copies given by Mr. Walters to Baltimore, now on Mount Vernon
Place, are present. But, in face of the admirable collection here
gathered together, this may savor of ingratitude, and I will return to
the consideration of the remaining sculptures.

Among them are some masterly pieces of decoration, the most important
being the superb candelabra made for the Duc de Montpensier. These
have seated at their base nude figures of the three chief goddesses of
classic mythology, whose noble proportions and purity of outl