is
almost exactly the same as one of the bronzes from the Walters
collection. Other gentlemen have contributed water-colors and
oil-paintings by Barye, among them being several landscapes at
Fontainebleau, and there are various etchings and prints after his
works and some of his lithographs, pencil-sketches and autographs,
with a copy of the only etching--a stag fighting a cougar--which,
according to so good an authority as Mr. Avery, he ever made. These
remarkable water-colors alone would suffice to show the genius of
Barye, for they are full of the same qualities of truth and
originality of expression which we see in his bronzes. Their color is
exceedingly fine, and their topics are generally tigers, lions,
elephants and serpents. It is a source of wonder how Barye, who never
visited the East, could have so well depicted the tropical landscapes
in which he has placed these tawny tigers and majestic lions. The
drawings, like the sculptures, impress us with their air of absolute
veracity, and, even in their most dramatic moments, suggest a
reticence behind. Barye does not exhaust himself or his subject, yet
he seems to have said the last word in this direction of art, and I
cannot imagine that his profound and searching genius will ever be
surpassed.

The managers of the galleries announce the exhibition of a hundred
"masterpieces" by the contemporaries and friends of Barye, but I do
not think that the visitor will find so large a number which can
rightly be thus classed. To me it appears that something less than
one-half are works of the first order, but among the remainder are
many good things worthy of attention. Here again the treasures of Mr.
Walters's collection are drawn upon and he sends some twenty-five
pictures, prominent among which is the great "Martyrdom of St.
Sebastian," by Corot; the "Evening Star," by the same master; Troyon's
"Cattle Drinking"; Diaz's "Storm" and "Autumn Scene in the Forest of
Fontainebleau"; Rousseau's "Le Givre"; Decamps's "Suicide"; Daubigny's
large "Sunset on the Coast of France"; Delacroix's "Christ on the
Cross"; and Millet's "Breaking Flax." One of the finest Millets I have
ever seen is here, lent by Mr. Walters. This is the "Sheepfold at
Night," which with several others of Mr. Walters's paintings here
shown, was in the exhibition of "One Hundred Masterpieces" held at
Paris in 1883. In its foreground a line of sheep pass by toward the
gate of the fold through which some have