to acquiesce in this verdict;
but his water-colors produce a very different impression on my mind. He
uses body-color but with restraint and his management of light and shade
and his broad, free treatment of the landscape background give to his
work in this medium a distinction quite apart from that inseparable from
the beautiful drawing. In the painting that we reproduce the soft washes
of color over the rocky land bring the background into delicate harmony
with the richly tinted figure of the tiger with the effect of variety in
unity sought for and obtained by the masters of painting. The weight
and roundness of the tiger's body is brought out by the firm broad
outline which Barye's contemporary Daumier is so fond of using in his
paintings, the interior modeling having none of the emphasis on form
that one looks for in a sculptor's work. In his paintings indeed, even
more than in his sculpture, Barye shows his interest in the
psychological side of his problem. Here if ever he sees his subject
whole, in all its relations to life. The vast sweep of woodland or
desert in which he places his wild creatures, the deep repose commingled
with the potential ferocity of these creatures, their separateness from
man in their inarticulate emotions, their inhuman passions, their
withdrawn powerfully realized lives, their self-sufficiency, their part
in nature--all this becomes vivid to us as we look at his paintings and
we are aware that the portrayal of animal life went far deeper with
Barye than a mere anatomical grasp of his subject. Corot did not find
his tigers sufficiently poetic and altered, it is said, the tiger drawn
for one of his own paintings until he succeeded in giving it a more
romantic aspect. Barye's poetry, however, was the unalterable poetry of
life. He found his inspiration in realities but that is not to say that
his realities were external ones. He excluded nothing belonging to the
sentiment of his subject and comparison of his work with that of other
animal sculptors and painters deepens one's respect for the
penetrating insight with which he sought his truths.

Since Barye's death and the great increase in the prices of his work,
many devices have been used to sell objects bearing his name, but not
properly his work. For example, he produced for the city of Marseilles
some objects in stone (designed for the columns of the gateway), which
were never done in bronze; since his death these have been reduced in
s