he upper
rooms are devoted to the "Angelus" and the paintings by Millet and
other contemporaries of the great French sculptor. Passing on the left
of the entrance the superb, large bronze of "Theseus battling with the
Centaur," one is fronted by the great cast of the "Lion and Serpent,"
which from the centre of the gallery dominates the surrounding
exhibits. Both of these are the property of the Metropolitan Museum of
Art, the cast having lately been presented to that institution by the
French government. Upon the right hangs Bonnat's vigorous portrait of
Barye, on the left wall one sees the water-color of the "Tiger Hunt,"
and all around are cases, groups and isolated pieces of the bronzes.

Here are over 450 works in wax, plaster and bronze, of which Mr. W. T.
Walters contributes one-fourth, while the Corcoran Gallery sends its
entire collection, numbering nearly a hundred, Mr. Cyrus J. Lawrence
loans sixty-two pieces, Mr. James F. Sutton fifty-two and Mr. Samuel
P. Avery thirty. Other contributors, who have followed their generous
example, are Messrs. R. Austin Robertson, Theodore K. Gibbs, Robert
and Richard M. Hoe, James S. Inglis, Richard M. Hunt and Albert
Spencer. Of many of the subjects there are several copies, and
amateurs can study proofs and patinas to their heart's content. From
Mr. Walters's famed collection are the four unique groups modelled for
the table of the Duke of Orleans, chief of which is the "Tiger Hunt,"
where two of the huge cats attack an elephant from whose back three
Indians defend themselves with courage. The giant pachyderm writhes
his serpent-like trunk in air and plunges forward open-mouthed,
trumpeting with pain from the keen claws of the tigers hanging on his
flanks. The Hunts of the Bull, the Bear and the Elk are worthy
companions of this magnificent bronze, offering wonderfully fine
examples of condensed composition in the entwined bodies of men and
beasts, and filling the eye with the grand sweeps of their circling
forms. The same liberal patron of art also lends his unique piece of a
walking lion, in silver, made in 1865 for a racing prize, and a
plaster-proof of the little medallion of "Milo of Crotona attacked by
a Lion," executed by Barye in 1819 for the Prix de Rome competition at
the Ecole des Beaux-Arts. This little gem, worthy of the antique, did
not secure the prize, however, which went to a now-forgotten sculptor
named Vatinelle. It had often been so before, it has often