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^OBER,  1904 


BARYE 


PRICE„15  CENTS 


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JI§3ueli5lipTitl)lB, 


BARYE 


PART  58* 


'VOLUME  5 


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3ate0an(KiuUd<][ompany. 


MASTERS    IN    ART 


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LUBKE'S 
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I  am  moved  by  the  novel  excellence  of  your  "  Colorgraphs  "' 
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MASTERS    IN  ART     PLATE  I 

PHOTOGRAPH   BY  GIRAUDON 

[38l] 


335736 


BAHTE 

SEATED  LION 

PAVIIilON    UE   FLOKE,    LOUVEE,    PARIS 


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MASTERS   IN   AET      PLATE  V 

PHOTOGRAPH    BY  GIRAUDON 

[389] 


BAKTE 
THESEUS   SLAYINfi  THE  MINOTAUR 


MASTEKS  IN  AHT   PLATE  VI 

PHOTOGRAPH  BY  GIRAUOON 
[  391  ] 


BAKYE 
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ANTOIXE-LOUIS  BABVE 
Barye's  appearance  is  described  in  the  account  of  his  life  which  follows, 
trait  given  above  is  based  on  a  daguerreotvpe  letouched  bv  Flameng. 

[  400  ] 


The 


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MASTERS     IN     ART 


Mntoint=Uoni^  l^Av^t 


BORN   17  9  (5:    DIED  1875 
FRENCH     SCHOOL 


ANTOINE-LOUIS  BARYE  (pronounced  Bar-ee)  was  born  in  Paris, 
.ZV  September  15,  17  96.  His  father,  a  jeweler,  who  had  removed  from  Ly- 
ons to  Paris  shortly  before  his  son's  birth,  seems  to  have  been  too  poor  to 
afford  him  much  schooling,  for  at  thirteen  the  lad  was  apprenticed,  first  to 
Fourier,  an  engraver  of  military  equipments,  and  a  little  later  to  a  silversmith, 
Biennais.  In  1812,  however,  Barye's  apprentice  days  came  to  an  end.  The 
war  which  had  devoured  the  men  of  France  now  demanded  even  the  chil- 
dren, and  at  sixteen  Barye  was  drafted  by  conscription.  During  this  period 
of  military  service  he  seems  to  have  planned  his  future;  for  when,  after  the 
capitulation  of  Paris,  he  was  released  from  the  army,  he  at  once  began  the 
study  of  design.  As  he  could  devote  thereto  only  the  moments  spared  from 
the  engraving  trade,  which  he  had  taken  up  again  to  earn  his  living,  we  may 
form  some  conception  of  his  energy  when  we  find  him  at  the  age  of  twenty 
deemed  sufficiently  advanced  to  be  admitted  to  the  studio  of  a  well-known 
sculptor,  Bosio  by  name. 

The  teachings  of  Bosio,  a  cold,  conventional  artist  of  the  academic  school, 
could  not  have  been  of  much  profit  to  the  youth  whose  work  in  art  was  to 
be  the  depiction  of  living  reality ;  and  in  1817  Barye  entered  the  studio  of  the 
painter  Gros,  a  very  different  type  of  master.  Always  reticent  and  self-con- 
tained, Barye  never  spoke  in  detail  of  these  early  years;  but  his  stay  in  Gros's 
atelier  was  probably  favorable  to  the  development  of  his  sense  of  mass,  en- 
ergy of  conception,  and  preference  for  dramatic  action,  for  although  by  con- 
viction and  in  teaching  a  devoted  classicist,  Gros  was  by  temperament  and 
in  his  own  work  an  ardent  romanticist.  "All  the  painters  who  studied  in  his 
studio,"  says  M.  Alexandre,  "appear  to  have  looked  attentively  at  what  he 
did,  but  to  have  listened  as  little  as  possible  to  what  he  counseled." 

Two  years  later,  when  he  was  twenty-three,  Barye  tried  for  the  annual 
prize  awarded  by  the  Institute  in  the  Department  of  Medals.  The  subject 
of  the  composition  was  'Milo  of  Crotona  Devoured  by  a  Lion,'  and  all 
that  can  be  said  of  Barye's  maiden  effort  is  that  it  showed  some  boldness  and 
vigor.    The  jury  gave  him  an  honorable  mention,  but  not  the  Prix  de  Rome, 

[401] 


24  MASTERSINART 

for  which  he  had  hoped;  and  instead  of  being  able  to  spend  five  years  study- 
ing in  Rome  he  was  obliged  to  remain  in  Paris  —  for  which  we  should  be 
heartily  grateful.  In  1820,  and  in  the  two  following  years,  he  tried  again 
with  no  better  fortune;  in  1823  no  prize  was  awarded;  and  in  1824  Barye 
was  not  even  allowed  to  compete.  Such  ill  success  drove  him  back  to  the 
workman's  bench;  and  for  eight  years  thereafter  he  earned  his  living  in  the 
shop  of  a  fashionable  goldsmith,  Fauconnier. 

At  this  time  he  was  a  married  man,  and  two  daughters  had  been  born  to 
him.  Later  his  wife  and  daughters  died,  and  he  married  again,  and  had  by 
this  second  marriage  a  family  of  eight  children.  Beyond  this  we  know  almost 
nothing  of  his  private  life. 

It  was  during  his  eight  years  with  Fauconnier  that  Barye  made  his  first  im- 
portant studies  of  animals.  Whether  the  idea  of  applying  beasts  drawn  from 
nature  to  the  decoration  of  ornamental  objects  originated  with  him  or  with  his 
master  we  cannot  tell;  but  for  Fauconnier  he  executed  at  least  sixty  little 
models  of  animals  for  watch-charms  and  brooches,  or  paper-weights  and  clock 
ornaments;  and  these  little  figures,  now  very  rare,  show  a  truthfulness  and 
breadth  of  treatment  which  make  them  far  superior  to  the  usual  class  of  such 
subjects.    In  a  word,  Barye  had  discovered  his  bent. 

From  this  time  on  he  never  ceased  to  spend  every  spare  moment  at  the 
Jardin  des  Plantes — the  Paris  menagerie,  or  zoo — and  in  the  museums  of 
stufl^ed  beasts  and  skeletons  connected  with  it.  He  would  sit  before  the  cages 
for  hours  at  a  time  watching  the  action  of  the  beasts,  and  strive  with  pencil 
to  catch  their  characteristic  movements,  or,  pulling  a  lump  of  wax  from  his 
pocket,  would  make  a  hasty  model  of  a  head  or  reproduce  the  angry  curve 
of  a  tail.  Old  Pere  Rousseau,  head  keeper  of  the  animals,  became  his  espe- 
cial friend.  "He  opened  the  doors  of  the  menagerie  to  him  at  five  o'clock 
every  morning,  and  when  he  saw  him  draw  from  his  pocket  a  few  poor  hard 
crusts  for  breakfast  would  give  him  some  slices  of  softer  bread  meant  for 
the  rations  of  the  bears."  Rousseau  lived  long  enough  to  see  his  protege  be- 
come famous,  and  loved  to  talk  of  the  "tall,  thin  young  man,  always  silent, 
who  first  found  my  beasts  worthy  of  sculpture." 

Such  studies,  once  begun,  enchained  Barye  till  his  death.  When  he  was 
sixty-seven  years  old,  the  American  connoisseur,  Mr.  Walters,  called  at  his 
house  several  days  in  succession,  only  to  find  that  he  was  absent;  and  at  last 
Mme.  Barye  exclaimed:  "Ah,  sir,  there  is  no  use  in  coming  here  for  three 
weeks.  A  new  tiger  has  just  arrived  from  Bengal,  and  until  its  wildness  is 
gone — no  M.  Barye!"  Never  thereafter  was  he  content  with  any  other 
knowledge  than  that  derived  first  hand  from  the  study  of  living  beasts,  and 
he  began  a  systematic  course  in  reading  on  natural  history  and  the  anatomic 
structure  of  animals. 

Yet  his  first  contributions  to  the  Salon  of  1827,  when  he  was  thirty-one, 
were  not  animals,  but  busts  of  a  young  man  and  a  young  girl.  Three  years 
later,  however,  he  submitted  an  animal  group,  his  'Tiger  Devouring  a  Croc- 
odile,' which  excited  much  comment.  Such  realism,  such  forcible  rendering 
of  life  and  movement,  had  never  before  been  seen;  indeed,  the  tiger  had  not 

[402] 


BARYE  25 

been  considered  worthy  of  the  honors  of  sculpture,  much  less  the  crocodile; 
for  academic  zoology  recognized  only  two  animals,  the  lion  and  the  horse, 
and  both  had  degenerated  into  mere  conventional  forms. 

But  the  attention  which  his  'Tiger  Devouring  a  Crocodile'  attracted  was 
by  no  means  an  unmitigated  advantage.  True,  the  group  and  its  subsequent 
purchase  by  the  French  government  bt'ought  Barye  reputation,  and  he  left 
Fauconnier  and  set  up  for  himself;  but  as  soon  as  it  became  apparent  that 
a  new  influence,  too  strong  to  be  disregarded,  had  appeared  in  sculpture,  two 
classes  of  opponents  arrayed  themselves  against  him:  first,  those  who  hon- 
estly revered  the  old  traditions  and  were  shocked  at  Barye's  disregard  of  them ; 
and  second — and  more  to  be  feared  because  their  opposition  was  secret  — 
iealous  rivals.  Therefore,  when  he  exhibited  at  the  Salon  of  1833  his  'Lion 
Crushing  a  Serpent '  there  was  an  extraordinary  sensation ;  and  when  the  group 
was  bought  by  the  government,  cast  in  bronze,  and  set  up  in  the  Tuileries 
Garden,  and  its  designer  made  a  Knight  of  the  Legion  of  Honor,  the  indig- 
nation of  those  who  disapproved  of  his  work  became  burning,  and  the  oppo- 
sition of  his  rivals  aggressive.  "Since  when  has  the  Tuileries  become  a  men- 
agerie?" exclaimed  some  one,  and  the  saying  was  taken  up  as  a  war-cry  by 
Barye's  adversaries.  But  so  great  was  the  clamor  that  every  one  who  pre- 
tended to  the  reputation  of  a  connoisseur  had  to  come  out  with  an  opinion 
for  or  against  him;  and  the  public,  led  by  various  far-seeing  critics,  began 
to  find  a  charm  in  the  little  bronzes  which  he  had  meantime  been  constantly 
producing. 

The  Duke  of  Orleans,  who  had  become  Barye's  liberal  patron,  now  or- 
dered from  him  the  celebrated  surtout,  or  table  decoration,  which  consisted 
of  nine  small  sculptured  groups  representing  episodes  of  the  chase.  The 
groups  were  finished  in  time  for  the  Salon  of  1834;  but  when  the  duke  asked 
Barye  to  submit  them  to  the  jury,  the  sculptor,  knowing  that  he  had  become 
the  victim  of  jealousy,  and  foreseeing  from  the  taunts  which  were  flung  at  him 
as  being  a  "maker  of  paper-weights  and  mantel  ornaments"  what  the  out- 
come might  be,  declined  to  act.  Thereupon  the  duke  himself  made  overtures, 
and  was  amazed  to  find  that  the  groups  would  be  refused  on  the  ground 
that  they  were  not  sculpture  but  goldsmith's  work.  He  hurried  to  Louis 
Philippe  and  begged  that  monarch  to  prevent  such  an  act  of  injustice,  but 
the  latter  with  some  irony  replied:  "^«<?  voulez  vousF  I  have  appointed  the 
jury,  but  I  cannot  force  them  to  recognize  works  of  genius." 

The  six  animal  pieces  and  the  water-colors  which  Barye  sent  to  the  Salon 
of  1834  were  not  refused,  but  he  received  no  award.  The  following  year  he 
showed  a 'Tiger'  in  stone;  and  in  1836  submitted  the  'Seated  Lion,'  one 
of  his  finest  works,  and  a  series  of  small  bronzes.  These  last  the  jury  re- 
fused to  accept,  giving  the  same  ridiculous  pretext  as  in  respect  to  the  Duke 
of  Orleans's  surtout — that  they  were  not  sculpture  but  jeweler's  work.  This 
time  the  insult  was  too  pointed,  the  hostility  too  evident,  and  Barye,  pro- 
foundly wounded,  ceased  to  exhibit  at  the  Salons  for  many  years,  making  his 
reappearance  only  in   1850,  when  his  reputation  was  firmly  established. 

At  this  period,  too,  he  had  to  suffer  another  serious  disappointment.    Al- 

[403] 


26  MASTERS     IN     ART 

though  always  ambitious  to  work  on  a  large  scale  and  for  public  monuments, 
he  would  never,  with  characteristic  aloofness,  solicit  such  commissions;  but 
now  M.  Thiers,  the  premier,  and  one  of  his  admirers,  seems  to  have  made 
vague  promises  to  intrust  him  with  the  execution  of  the  large  groups  planned 
for  the  Place  de  la  Concorde;  and  we  may  imagine  how  Barve's  imagination 
must  have  kindled  at  the  prospect  of  adorning  the  most  imposing  square  in 
the  world  with  colossal  figures  of  his  beasts.  But  the  shifty  Thiers  began  to 
listen  to  Barye's  detractors,  and  the  commission  shrank,  first  to  statues  for 
the  four  piers  of  the  Pont  de  la  Concorde,  then  to  one  figure  for  a  corner  of 
the  square,  and  at  last  to  an  allegorical  piece  to  crown  the  Arc  de  Triomphe 
—  but  even  this  commission  did  not  materialize. 

Despairing,  then,  of  fair  treatment  at  the  Salon  or  of  obtaining  public  work, 
Barye  conceived  the  idea  of  setting  up  a  workshop  and  foundry  of  his  own, 
and  selling  his  bronzes  direct  to  the  public;  and  in  1839,  having  borrowed 
the  necessary  capital,  he  embarked  on  this  enterprise.  The  result  might  have 
been  predicted  from  the  beginning,  for  with  Barye  the  question  of  profit  was 
altogether  subservient  to  that  of  art.  He  wished  to  put  into  practice  the  pro- 
found studies  which  he  had  made  of  the  technical  processes  of  casting  and 
finishing  bronzes,  and  to  sell  only  perfect  casts.  He  also  planned  to  devote 
himself  to  new  work,  and  indeed  this  period  was  perhaps  the  most  fruitful 
of  his  career.  But  with  all  his  attention  centered  on  the  artistic  side  of  his 
enterprise,  he  almost  entirely  disregarded  its  business  aspect.  With  naive 
simplicity  he  waited  for  patrons  to  come  to  him;  and  an  odd  sort  of  sales- 
man he  must  have  made,  leaving  visitors  to  their  own  devices,  and  frequently 
giving  the  impression  of  being  unwilling  to  part  with  a  bronze,  or  insisting 
on  some  improvement  of  finish  or  a  fresh  casting  before  he  would  let  it  go. 
He  would  often  direct  his  wife  to  put  some  particularly  successful  piece  out 
of  sight,  or  at  all  events  not  to  show  it  to  any  except  a  "real  amateur." 

Meantime,  in  addition  to  producing  numerous  small  works,  he  obtained  a 
few  public  commissions.  In  1839  he  designed  the  'Lion'  for  the  Column 
of  July;  and  in  1847  the  authorities  had  the  'Seated  Lion,'  which  he  had 
exhibited  at  the  Salon  of  1836,  cast  in  bronze  and  placed,  together  with  a 
reversed  duplicate,  beside  one  of  the  entrances  to  the  Louvre. 

Naturally  the  bronze  foundry  and  shop  did  not  pay ;  and  in  1 848,  when  the 
Revolution  made  all  business  enterprises  hazardous,  those  who  had  financed 
the  venture,  unwilling  to  risk  their  capital  further,  sued  him  for  a  sum  equiv- 
alent to  seven  thousand  dollars,  and,  lacking  other  assets,  seized  his  models. 
Ten  years  later,  indeed,  he  managed  to  repay  his  creditors,  and  regain  pos- 
session of  these  models;  but  now,  at  the  age  of  fifty,  he  found  himself  in  a 
more  hopeless  state  than  even  at  the  beginning  of  his  career. 

Domestic  troubles,  too,  were  added  to  these  material  disasters.  His  favorite 
daughter  died,  and,  an  even  greater  grief,  he  discovered  that  one  of  his  sons 
had  been  base  enough  to  palm  off  on  purchasers  inferior  casts,  pretending 
that  they  were  those  finished  by  his  father,  thus  stabbing  Barye  in  his  most 
sensitive  point — his  artistic  conscience.  Perhaps  this  cumulation  of  misfor- 
tune was  the  cause  of  that  systematic  impenetrability,  that  voluntary  isola- 

[404] 


BARYE  27 

tion  and  growing  bitterness,  which  he  manifested  more  and  more  with  every 
year,  and  which  deprived  him  of  the  sympathy  of  all  but  his  closest  friends. 

But  the  Revolution  of  1848  was  not  entirely  an  ill  wind  for  Barye.  It 
gained  him  a  public  post  somewhat  to  his  liking,  for  the  new  director  of  the 
Louvre  appointed  him  Director  of  the  Department  of  Molding  for  that  mu- 
seum. If  Barye  had  kept  this  post  long  he  might  have  rendered  great  serv- 
ice to  the  Louvre,  since  his  technical  studies  had  made  him  the  most  ex- 
pert bronze-founder  in  France;  but  he  continued  in  office  only  four  years, 
for  in  1852  the  place  was  taken  from  him. 

Meantime,  in  1850,  he  again  began  to  exhibit  at  the  Salon,  his  first  con- 
tribution being  the  admirable  group  of  the  'Centaur  and  Lapith.'  To  the 
Salon  of  1851  he  sent  one  of  his  most  noteworthy  pieces,  'Theseus  Slaying 
the  Minotaur';  and  the  following  year  exhibited  his 'Jaguar  Devouring  a 
Hare,'  which  perhaps  marks  the  crowning  point  of  his  achievement. 

All  this  time  he  was  continually  carrying  on  his  studies  at  the  Jardin  des 
Plantes;  and  in  1854  he  was  delighted  at  obtaining  the  professorship  of  draw- 
ing in  zoology  at  the  small  school  for  the  artistic  study  of  animals  maintained 
in  connection  with  the  menagerie.  The  salary  was  only  about  four  hundred 
dollars  a  year,  but  it  added  something  to  his  meager  means,  and  the  facilities 
which  the  position  afforded  for  his  individual  work  must  have  proved  a  great 
resource  to  him.  He  had,  however,  little  power  of  interesting  his  pupils,  and 
for  the  most  part  contented  himself  with  silently  looking  over  their  work,  and 
occasionally  offering  a  comment.  Sometimes  he  would  forget  his  destination 
on  the  way  to  the  class-room,  and  would  be  discovered  standing  in  front  ot 
one  of  the  cages  at  the  menagerie. 

In  1854  he  received  another  public  commission.  Through  the  influence 
of  Lefuel,  the  architect  of  the  Louvre,  a  stone  group,  the  subject  of  which 
was  'War,'  was  ordered  for  one  of  the  inner  faces  of  the  courtyard  of  that 
building.  This  group  showed  that  Barye's  devotion  to  animals  had  not  de- 
prived him  of  the  power  of  nobly  executing  the  human  figure,  and  three 
more  companion  groups  were  ordered,  the  subjects  being  '  Peace,'  'Order,' 
and  'Force.'  The  originals  of  these,  half  the  size  of  life,  are  perched  so  high 
on  the  Louvre  as  to  be  beyond  appreciation  by  ordinary  eyesight,  and  curi- 
ously enough  may  be  better  seen  in  the  United  States,  where,  through  the  lib- 
erality of  Mr.  Walters,  they,  together  with  the  'Seated  Lion'  of  the  Louvre, 
have  been  set  up  in  bronze  in  Mt.  Vernon  Square,  Baltimore. 

Barye  was  now  almost  sixty.  His  talent  had  attained  its  full  development, 
and  in  spite  of  the  fact  that  he  had  never  taken  a  step  toward  seeking  fame 
or  commissions,  the  masterly  character  of  his  work  had  become  recognized, 
and  a  little  ease  began  to  show  itself  in  his  pinched  circumstances.  At  the 
Universal  Exposition  in  1855  he  was  given  the  Grand  Medal  of  Honor  in 
the  Section  of  Bronzes,  and  was  made  an  Officer  of  the  Legion  of  Honor. 

In  regard  to  his  private  life  —  and  it  would  be  hard  to  find  a  less  eventful 
one  —  he  observed  a  characteristic  reticence  even  with  his  most  intimate 
friends.  Here  is  the  man  at  sixty  as  Theophile  Silvestre  has  sketched  him: 
"  His  demeanor  and  his  gestures  are  precise  and  dignified,  yet  without  any 

[405] 


28  MASTERS    IN    ART 

real  austerity.  His  eyes,  vigilant,  yet  calm,  look  you  straight  in  the  face. 
His  forehead  is  losing  its  short  and  whitening  hair.  His  nose  is  slightly  up- 
turned, his  face  square  and  vigorous,  yet  relieved  by  delicate  modeling.  .  .  . 
The  self-restraint,  deep-seated  melancholy  of  his  character,  and  his  innate 
pride  seem  to  escape  in  spite  of  him  from  his  inner  nature." 

On  the  other  hand,  the  few  who  knew  Barye  intimately  found  him,  at 
least  on  occasions,  full  of  animation  and  spirit,  although  his  animation  was 
never  familiar,  and  his  wit  was  of  the  sarcastic  kind.  He  used  to  dine  occasion- 
ally with  a  number  of  artists,  among  whom  was  Corot,  and  in  their  society 
he  perceptibly  unbent;  but  for  the  most  part  the  impression  he  gave  was  that 
of  self-contained  austerity. 

In  his  latter  years  he  lived  in  winter  in  the  rue  Montagne  Sainte  Gene- 
vieve, Paris.  His  home  in  summer  was  a  cottage  at  Barbizon,  and  he  de- 
lighted to  paint  in  oils  and  water-colors  in  the  Forest  of  Fontainebleau.  His 
former  residence  in  the  rue  Saint  Anastase  he  kept  for  his  workshop;  and 
his  catalogue  of  1855  shows  that  he  then  had  for  sale  more  than  a  hundred 
bronzes,  ranging  in  size  from  a  turtle  to  be  worn  as  a  locket  up  to  the  large 
'Rogero  and  Angelica  on  the  Hippogriff.'  The  prices  ranged  from  sixty 
cents  for  the  turtle  to  one  hundred  and  forty  dollars  for  the  hippogriff  group. 

It  was  by  Americans  rather  than  by  his  own  countrymen  that  the  value  of 
Barye's  bronzes  seems  to  have  been  first  recognized.  Mr.  William  H.  Hunt, 
the  American  painter,  was  a  stanch  admirer;  and  Mr.  William  T.  Walters, 
of  Baltimore,  was  probably  Barye's  best  patron. 

In  1861,  when  great  monuments  for  Paris  were  in  question,  Barye  was 
again  talked  of  for  public  works,  and  received  some  minor  commissions;  but 
he  had  now  passed  his  prime.  He  is  said  to  have  remarked  rather  sadly  to  a 
friend  who  congratulated  him  on  receiving  some  public  order,  "I  have  waited 
all  my  life  for  patronage  and  now  it  comes  just  as  I  am  putting  up  my  shut- 
ters." In  1862  he  received  a  commission  for  a  bronze  equestrian  statue  of 
Napoleon  i.  to  be  erected  in  Corsica.  The  statue  was  not,  however,  in  his 
line  and  is  of  only  mediocre  merit.  In  1863  he  was  appointed  president  of 
what  was  called  the  "Consultive  Commission  of  the  Central  Union  of  the 
Arts  Applied  to  Industry,"  and  up  to  the  end  of  his  life  was  much  interested 
in  this  post. 

In  1866  his  friends  persuaded  him  to  offer  himself  for  election  to  the  In- 
stitute. It  seems  remarkable  that  any  inducements  could  have  persuaded  Barye 
to  make  the  requisite  preliminary  visits  to  the  members  of  that  body;  it  may 
have  been  that,  realizing  that  his  career  as  a  creating  genius  was  over,  he 
sacrificed  his  personal  pride  for  the  sake  of  his  wife  and  children;  for  if  he 
died  a  member  of  the  Institute  they  would  be  pensioned,  and  his  works  would 
fetch  higher  prices.  But  the  sacrifice  was  fruitless,  for  he  was  rejected.  He 
was,  however,  elected  two  years  later.  How  he  came  to  be  induced  to  again 
offer  himself  is  explained  by  the  story  that  M.  Lefuel,  the  architect,  and  his 
great  friend,  one  day  took  him  to  drive  and  on  the  wav  home  stopped  at  a 
certain  house  and  persuaded  Bayre  to  go  in  with  him.  When  Barye  entered 
he  found  himself  visiting  one  of  the  members  of  the  Institute,  and  Lefuel's 

[406] 


BARYE  29 

ruse  was  exposed.  Once  in  the  distasteful  round,  however,  Barye  persevered, 
made  the  obligatory  calls,  and  this  time  was  elected. 

With  this  honor  we  may  mark  the  close  of  his  active  career  as  an  artist. 
His  succeeding  works  cannot  be  ranked  with  his  previous  productions;  and 
he  himself  seemed  conscious  of  failing  powers,  for  in  187  3  he  declined  an 
order  for  a  vase  given  him  on  the  most  liberal  and  flattering  terms,  because 
he  knew  that  he  could  not  produce  as  in  former  years.  Moreover,  he  was 
now  occupied  with  a  congenial  task  which  did  not  call  for  new  production. 
In  1873  Mr.  Walters,  of  Baltimore,  who  had  been  appointed  to  select  ob- 
jects for  the  new  Corcoran  Gallery,  in  Washington,  called  on  him  and  said, 
"M.  Barye,  I  come  to  make  you  a  proposition.  I  come  to  commission  you 
to  supply  the  Corcoran  Gallery  with  one  specimen  of  every  bronze  you  have 
ever  designed."  "This  speech,"  said  Mr.  Walters,  "produced  the  liveliest 
effect  on  the  old  sculptor's  stolid  calmness;  his  eyes  filled,  and  he  spoke 
with  difficulty.  'Mr.  Walters,'  he  said,  'my  own  country  has  never  done 
anything  like  that  for  me!"'  He  immediately  set  to  work  to  execute  this 
commission,  and  before  his  death  had  managed  to  send  to  Washington  no 
less  than  one  hundred  and  twenty  bronzes. 

Up  to  the  very  end  Barye  occupied  himself  with  his  beloved  art.  His 
health  remained  excellent  until  the  last  five  years  of  his  life,  when  he  suffered 
from  gout;  but  even  when  confined  to  his  chamber  he  occupied  himself  by 
making  water-colors  or  by  giving  additional  finish  to  some  of  his  bronzes.  One 
day  as  his  wife  was  dusting  the  casts  in  his  workshop,  she  said  to  him  that 
when  he  felt  stronger  it  would  be  wise  to  cut  his  signature  more  legibly  on 
some  of  the  groups.  "Don't  worry,"  replied  the  old  sculptor,  "within  twenty 
years  people  will  be  hunting  for  that  signature  with  a  magnifying-glass." 

He  died  peacefully,  of  a  disease  of  the  heart,  on  the  twenty-fifth  of  June, 
1875,  confronting  death  as  stoically  as  he  had  confronted  life.  His  friends 
had  concealed  from  him  the  fact  that  the  painter  Corot,  whom  he  loved,  had 
died  only  a  few  days  before. 


%\jt  art  of  35arpe 

BARYE  is  the   Michelangelo   of  the   animal   kingdom.     He   restored   to 
sculpture  elements  which  had  been  forgotten  by  generations  of  artists 
—  the  elements  of  force,  of  subtlety,  and  of  life. —  E.  J.  T.  thore 

ROGERBALLU  'L'CEUVREDEBARYE' 

THE  name  Barye  awakens  in  our  minds  the  image  of  a  world  of  animals, 
small  and  great,  which  he  fixed  immutably  in  bronze;  but  it  is  not  true 
that  he  was  a  sculptor  of  animals  only.  He  excelled  in  the  whole  domain  of 
sculpture;  but  his  constant  predilection  for  gnimal  forms  proved  that  this  was 

[407] 


30  MASTERS    IN    ART 

his  chosen  field,  attracting  him  the  more,  perhaps,  because  it  had  been  almost 
unexplored  before  his  advent;  in  this  field  he  attained  to  the  highest  triumphs 
possible,  putting  as  much  beauty  and  force  into  his  statues  of  animals  as  had 
ever  been  brought  to  the  sculpture  of  the  human  form.  Every  model  which 
came  from  his  hand — the  wild  beast  roaring,  the  bird  taking  its  flight,  the 
snake  coiling  and  striking — awakes  more  than  the  simple  image  of  such  or 
such  an  animal.  It  shows  us  nature  itself,  brimming  with  the  fullest  inten- 
sity of  life,  and  such  power  and  grandeur  that  no  human  form  could  evoke 
more  completely  the  sentiment  of  beauty. 

Because  of  their  small  dimensions,  and  because  of  something  almost  pic- 
turesque in  their  appearance,  certain  of  Barye's  works  seem  like  those  which 
commerce  had  theretofore  monopolized,  and  are  often  put  to  the  same  uses. 
We  find  his  bronzes  in  all  sorts  of  houses,  on  chimneypieces,  on  the  tops 
of  clocks,  condemned  to  the  useful  role  of  paper-weights;  but  wherever  we 
find  them  they  always  preserve  their  intrinsic  nobility  of  character,  and  be- 
long no  more  to  what  is  loosely  called  "industrial  art"  than  do  the  Tanagra 
figurines,  for  they  are  conceived  with  the  same  breadth  as  the  greatest  stat- 
ues. By  an  elimination  of  details  he  gained  what  we  might  call  a  fictitiously 
monumental  character.  An  elephant  only  a  few  inches  high  seems  a  colossus 
—  in  miniature;  a  lion,  which  a  few  pounds  of  metal  would  suffice  to  cast, 
produces  an  impression  of  grandeur. 

Look  over  his  works,  large  and  small,  and  note  how  every  one  is  stamped 
and  dominated  by  that  for  which  there  is  no  other  term  than  "style."  Barye 
sought  unceasingly  for  harmony  of  form,  and  found  it  always.  Under  his 
hand  each  line  is  at  once  true  and  eloquent,  and  the  general  outline  which 
bounds  the  group  or  figure  cuts  against  the  background  with  breadth  and 
amplitude.  With  infinite  art  he  concentrated  the  spectator's  attention  upon 
the  dominant  parts — the  vigorous  limbs,  the  solid  and  salient  muscles  which 
make  large  flat  bosses  under  the  hide;  and  finally  we  must  admire  the  won- 
derful exactness  with  which  he  established  the  proportions,  one  of  the  secrets 
of  his  power,  for  no  artist  has  ever  studied  anatomv  more  carefully,  or  used 
his  knowledge  with  more  triumphant  effect. 

Barye  was  the  first  to  reproduce  certain  animals  which  the  sculptor's  chisel 
had  before  avoided.  He  dignified  in  bronze  the  rabbit,  the  pelican,  and  the 
monkey;  and  even  with  these,  or  with  such  clumsy  models  as  the  elephant 
on  the  full  trot,  or  the  bear  at  his  lumbering  play,  he  created  works  which  bear 
the  imprint  of  the  highest  stvle,  because  he  has  so  disposed  the  outlines  as 
to  give  even  the  ugliest  and  clumsiest  of  them  a  certain  gracious  dignity. 

To  this  faculty  of  elevating  reality  and  ennobling  form  Barye  added  the 
power  of  rendering  life  in  full  intensity,  and  these  constitute  the  two  most 
characteristic  qualities  of  his  genius.  He  went  as  far  as  is  possible  in  sculp- 
ture in  the  expression  of  movement.  Note  this  tiger  crouched  against  the 
ground,  ready  to  shoot  through  the  air  in  a  terrible  spring  ;  this  owl  just  alight- 
ing on  a  tree,  his  outstretched  wings  still  feeling  the  air  beneath  them;  this 
horse  passing  at  full  gallop,  or  neighing  as  he  prances  and  curvets;  this  pan- 
ther, crafty  and  feline,  stealing  along  with  silent  steps.    Or  note  these  ter- 

[408] 


B  A  R  Y  E  31 

rific  battles  in  which  wild  beasts,  reptiles,  and  great  carnivorous  birds  take 
pait.  A  lion  is  about  to  crush,  with  formidable  paw,  a  serpent,  fearful  de- 
spite its  littleness;  a  jaguar  bounds  upon  a  deer,  and  bites  through  its  neck; 
an  eagle  on  his  aery  rips  with  curved  beak  the  body  of  a  dying  heron;  a  boa- 
constrictor  wraps  his  great  rings  about  a  crocodile  and  strangles  him,  while 
the  reptile,  yawning  his  enormous  maw,  lashes  and  twists.  In  every  one  of 
these  combats  Barye  gives  us  fury  at  its  paroxysm,  rage  at  its  fiercest.  Yet 
though  everything  is  contorted,  violent,  frightful,  tragic,  the  artist  was  con- 
stantly mindful  of  his  broad  lines,  which  ever  remained  obedient  to  the  most 
rigorous  canons  of  sculptural  art. 

Barye  was  not  the  sculptor  of  movement  and  tense  attitude  only.  He  has 
given  us  animals  motionless  and  at  rest.  A  stag  standing  upon  a  rock  listens 
in  the  solitude;  a  lion  dreams  with  eyes  half  closed;  a  gazelle  lies  relaxed 
in  death;  a  rabbit  hunched  up  into  a  ball  is  nibbling  peacefully;  a  heron, 
that  melancholy  philosopher,  is  depicted  sleeping  poised  upon  one  leg,  head 
beneath  wing. 

Gifted  with  a  penetrating  and  analytical  mind,  Barye  studied  nature  in  all 
her  infinite  variety.  He  knew  the  distinctive  characteristics  of  each  race, 
the  peculiarities  of  each  species.  No  two  of  his  animals  are  alike.  Each  has 
the  individual  aspect,  pose,  and  attitude  proper  to  it — its  own  individuality, 
as  it  were.  His  panther  from  Tunis  is  very  different  from  the  panther  from 
India;  his  stag  from  the  banks  of  the  Ganges  could  not  be  confounded  with 
the  stag  from  France;  and  a  horse  fancier  would  recognize  at  first  glance  not 
only  whether  the  horse  he  depicts  belonged  to  one  or  another  breed,  but 
whether  it  was  full-blooded  or  half-blooded.  But  this  scientific  knowledge 
did  not  cramp  his  vitalizing  power.  His  animals  are  neither  stiffened  nor 
imprisoned  in  their  bronze  forms.  Their  immobility  seems  only  an  instant's 
suspension  of  movement.  Let  the  fairy's  wand  touch  them  and  they  will  re- 
sume that  movement.  Nor  have  they  any  of  that  mournful  sadness  or  dis- 
honored look  which  comes  to  an  animal  long  confined  in  a  cage.  His  beasts 
live  in  the  boundless  desert,  in  the  tangled  depths  of  inaccessible  forests,  or 
on  the  crags  of  rugged  mountains,  superb  in  the  full  development  of  their 
natural  forces. 

Note,  too,  that  in  Barye's  animals  the  effect  of  movement  is  no  local  thing, 
or  brought  about  by  any  ingenious  trick  or  artifice  of  the  studio.  The  roar- 
ing lion  roars  with  every  limb,  from  his  rising  mane  to  his  lashing  tail;  the 
pointing  dog  shows  in  every  muscle  fixity  which  precedes  the  spring.  Break 
one  of  his  bronzes,  carry  a  limb  to  some  disciple  of  Cuvier,  and  he  will  re- 
construct for  you  not  only  the  animal,  but  its  attitude. 

Barye  by  no  means  stopped  with  the  rendering  of  exterior  forms.  He  gives 
us  the  inner  qualities  quite  as  forcibly — the  temperament,  the  instinct. 
With  what  feline  voluptuousness  this  jaguar  sucks  the  blood  of  his  victims! 
Is  not  this  elephant  wise  and  debonair  despite  his  colossal  bulk?  Does  not 
this  curveting  and  whinnving  horse  show  pride  in  his  freedom  and  elegance 
of  movement  ? 

It  has  often  beew  avouched  that  Barve  had  a  special  liking  for  murderous 

[4091 


32  MASTERS    IN    ART 

and  terrible  scenes.  I  believe  that  those  who  think  this  do  not  fully  under- 
stand his  work.  In  even  the  most  terrible  of  these  mortal  combats  he  never 
evidences  a  taste  for  cruelty.  He  merely  avails  himself  of  the  fittest  means 
to  exhibit  the  ferocity  of  the  beasts  which  he  represents.  Unquestionably  the 
bent  of  his  genius  did  attract  him  to  displays  of  force  and  nervous  powerj 
but  he  could  see  equally  what  was  graceful  and  fantastic  in  animal  life.  Ter- 
rible and  tragic  when  he  shows  us  a  tiger  furious  in  his  rage,  he  is  equally 
graceful  and  charming  when  he  shows  us  a  light  and  slender  gazelle,  and  de- 
lightfully humorous  when  he  depicts  a  bear  in  his  trough,  another  standing 
clumsily  on  his  hind  legs,  or  a  solemn  heron  riding  on  the  back  of  a  tortoise. 
Again  he  has  his  epic  side,  as  in  his  'Seated  Lion,'  and  makes  himself  "the 
Michelangelo  of  the  animal  world." 

Barye  effected  a  revolution  in  the  sculpture  of  his  time.  Before  him  not 
only  were  certain  animals  thought  unworthy  of  the  sculptor's  attention,  but 
even  those  which  passed  for  noble,  like  the  lion  and  the  horse,  had  come  to 
be  considered  of  only  secondary  importance — as  mere  accessories  to  the  hu- 
man figures.  But  Barye  brushed  aside  the  impossibly  noble  courser,  whose 
function  it  was  to  bear  heroes  or  draw  triumphant  cars,  and  took  for  his  model 
the  living  horse.  The  half-heraldic,  half-classic  lion  with  his  humanized  face 
seemed  to  him  ridiculous,  and  he  conceived  the  novel  idea — which,  some- 
how, seemed  monstrous  to  his  contemporaries — of  studying  him  in  the  men- 
agerie.   For  convention  and  formalism  he  substituted  vitality  and  truth. 

Was  he  then  a  "realist,"  this  innovator?  Before  answering  the  question 
it  would  be  wise  to  come  to  an  understanding  as  to  the  exact  sense  of  that 
much-abused  term.  If  realism  be  the  conscientious,  penetrating,  faithful  ren- 
dering of  nature,  if,  in  a  word,  it  implies  a  passion  for  truth,  we  may  count 
Barye  among  the  realists,  and  as  one  of  realism's  greatest  glories.  If,  on  the 
other  hand,  by  realism  is  meant  nothing  but  a  servile  reproduction  of  every 
manifestation  of  nature,  a  copying  of  the  real  object  with  Chinese  fidelity, 
and  without  choice  as  to  that  object,  and  if  the  search  for  the  real  blind  the 
seeker  to  all  save  the  outward  show  of  things — then  Barye  never  was  a  real- 
ist. He  investigated  the  structure  of  animals,  knew  the  dimensions  of  each 
bone,  dissected  their  bodies  curiously;  but,  better  than  any  one  could  tell  him, 
he  knew  the  exact  point  where  anatomy  stops  and  art  begins.  Never  is  his 
work  a  mere  display  of  erudition  ;  never  did  he  parade  his  knowledge  of  tech- 
nical details. 

His  forms,  rendered  though  they  are  with  scrupulous  care,  defy  the  dis- 
secting-knife,  for  there  are  two  kinds  of  truth  even  of  structure,  one  of  which 
we  may  call  "anatomical  truth"  and  the  other  "artistic  truth."  One  is  pos- 
itive, brutal,  unvarying;  the  other  shows  things  according  to  the  laws  of  art, 
and  brings  to  that  depiction  beauty,  order,  harmony,  and  mass.  Barye  was 
master  of  both  of  these  truths,  but  he  availed  himself  of  the  anatomical  iruth 
only  that  he  might  base  his  artistic  truth  upon  a  surer  foundation.  He  sup- 
pressed, or  rather  merely  hinted  at,  the  secondary  parts  and  multiplex  details 
of  the  muscular  system,  and  modeled,  as  art  demands,  in  large  planes  and 
masses;  but  these  correspond  so  accurately  to  the  anatomical  divisions  of 
the  bony  structure  that  it  does  not  suffer,  while  art  gains.    He  combined  two 

[410] 


BARYE  33 

natures,  that  of  the  artist  and  that  of  the  naturalist;  and  the  artist,  who  con- 
ceived and  planned,  was  dominant;  the  naturalist  obeyed  and  executed,  and 
was  secondary. 

It  is  a  strange  fact  that  Barye,  who  in  representing  animals  rendered  the 
impression  of  movement  and  life  so  powerfully,  seemed  to  obey  quite  another 
impulse  in  representing  man.  Here,  instead  of  movement  and  strain,  he  de- 
picted almost  wholly  attitudes  which  are  calm,  tranquil,  and  full  of  a  grave 
dignity.  Though  with  less  serenity  and  a  less  degree  of  ideal  elevation,  his 
statues,  like  those  of  antiquity,  show  us  primarily  beautiful  bodies,  and  ex- 
press no  transient  emotions.  Their  whole  end  seems  to  be  to  image  forth 
beauty  through  harmony  of  plastic  perfection.  He  may  be  compared  to  the 
Greek  masters  whenever  he  touches  the  human  figure  per  se,  for  in  every  case 
he  represents  not  a  man,  but  man  taken  in  the  broadest  abstraction.  By  efface- 
ment  of  individuality  he  elevates  his  statue  to  a  type — and  upon  this  point 
the  sculptor  of  the  figure  and  the  sculptor  of  the  animal  in  him  were  one. 

Some  attempt  has  been  made  to  establish  a  link  between  the  character  of 
Egyptian  sculpture  and  Barye's  style.  In  the  general  silhouette,  in  the  en- 
velop of  lines,  there  is  a  certain  nobility  common  to  both;  but  the  art  of 
Egypt  is  more  solemn,  more  majestic,  more  grandiose  than  Barye's,  and  has 
none  of  his  warmth,  intimacy,  and  life.  What  a  contrast,  for  instance,  be- 
tween the  Egyptian  Sphinx,  crouching  for  eternity,  and  a  tiger  by  Barye,  leap- 
ing in  fury  upon  its  adversary.  His  work  recalls,  if  it  recalls  anything,  the 
animal  sculpture  of  Assyria  rather  than  that  of  Egypt;  but  he  could  not  have 
been  influenced  by  Assyrian  models.  He  had  exhibited  all  his  prime  qualities 
ten  years  before  the  newly  discovered  bas-reliefs  from  Khorsabad  revealed 
the  impressive  art  of  Nineveh  to  France. 

Where,  then,  may  we  discover  the  parentage  of  Barye's  genius,  or  trace 
the  influences  which  unconsciously  went  to  the  formation  of  his  talents?  Per- 
haps all  that  it  is  safe  to  affirm  is  that  his  genius  was  primarily  that  of  his 
own  time  and  country  expressed  through  his  own  strong  individual  temper- 
ament. The  transports  of  imagination,  the  ideal  flights,  the  aspirations  which 
glorified  Renaissance  art  in  Italy  during  its  golden  period  were  not  for  him; 
but  he  did  possess  that  temperance,  practical  good  sense,  analytical  power,  and 
faculty  of  lucid  conception  and  clear  expression  which  have  been  the  natural 
qualities  of  the  French  school  of  art  at  its  best.  To  him,  as  to  most  French 
artists,  the  domain  of  transcendent  and  abstract  conception  was  closed.  His 
is  an  art  neither  of  sentiment  nor  of  emotion,  but  of  form  and  of  force.  He 
was  not  a  poet.  He  had  a  message,  and  spoke  to  his  own  time  and  in  his  own 
language  what  was  given  him  to  say;  but  that  message  was  a  new  one,  and 
was  spoken  with  a  plenitude  and  energy  which  will  make  it  forever  superb. 

FROM   THE  FRENCH 

CHARLESD'HENRIET  'REVUEDESDEUXMONDES'1870 

BARYE  transports  us  into  a  world  the  existence  of  which  we  half  forget 
— a  world  without  mercy  or  pity,  in  which  necessity,  the  only  law,  dom- 
inates; a  world  in  which  fear,  craft,  and  violence  reign.  But  he,  the  creator, 
looks  on  without  emotion;  he  does  not  sympathize;   he  sheds  no  tears;  he 

[411] 


34  MASTERSINART 

points  no  moral  and  draws  no  conclusion.  He  merely  depicts,  shows  us  the 
fact  —  that  is  his  role.  Antique  in  his  calm  aloofness,  as  in  his  precision  and 
firmness  of  hand,  he  is  yet  modern  in  his  love  of  the  dramatic,  the  striking, 
and  the  picturesque. 

EUGENEGUILLAUME  'NGTICESETDISCOURS* 

IT  would  have  been  impossible  to  predict  the  promise  of  Barye's  future 
from  his  first  competition  medal,  'Milo  of  Crotona  Devoured  by  a  Lion,' 
made  when  he  was  trying  for  the  Prix  de  Rome  in  1819,  or  from  another 
bas-relief  sketch  of  this  same  period,  '  Hector  Reproaching  Paris.'  Only  when 
poverty  forced  him  to  abandon  his  academic  studies  and  he  entered  Faucon- 
nier's  workshop,  and  there,  for  some  unknown  reason,  took  up  the  model- 
ing of  animals,  did  his  originality  begin  to  develop. 

His  first  real  masterpiece  was  the  'Lion  Crushing  a  Serpent,'  exhibited  in 
1833.  Compare  this  monarch  of  the  desert,  thin,  and  rough  of  hide,  with 
the  academic  lion  which  had  theretofore  been  the  accepted  type  in  sculpture 
— a  solemn,  coldly  ornamental  beast,  destitute  of  all  real  nobility,  and  whose 
majesty,  such  as  it  is,  was  pure  attribution,  and  in  no  wise  derived  from  na- 
ture— and  we  may  readily  grasp  the  essential  elements  of  novelty  in  Barye's 
work.  These  consisted  primarily  of  a  first-hand  study  of  the  beast  itself,  and 
of  a  profound  knowledge  of  its  anatomical  structure. 

But  Barye's  'Lion  and  Serpent'  showed  even  more.  It  was  a  work  of 
militant  romanticism.  His  lion  was  a  wild  lion,  with  every  trace  of  wildness 
emphasized,  and  it  was  this  which  gave  the  group  its  moving  quality.  Like 
the  ancient  sculptors,  he  marked  with  extraordinary  distinctness  the  gullet  and 
paw,  those  members  of  the  animal  which  are  the  instruments  of  its  energy, 
and  most  necessary  to  its  existence — but  unlike  them,  his  work  has  no  archi- 
tectonic restraint  or  touch  of  symbolism.  Neither,  on  the  other  hand,  does 
it  show  any  taint  of  the  theatrical,  the  humanly  emotional,  such  as  marked 
the  animal  paintings  of  Rubens,  Snyders,  and  their  school.  His  lion  is  de- 
picted purely  for  himself,  with  all  considerations  of  environment,  ornament, 
and  mise  en  scene  disregarded.  He  is  beautiful  only  with  the  beauty  of  his  na- 
tive wildness,  dignified  only  with  the  dignity  of  natural  might. 

Thanks  to  innate  genius,  coupled  with  his  study  of  living  nature,  Barye 
with  this  group  freed  animal-sculpture  from  all  captivity,  whether  from  that 
of  the  menagerie  or  from  the  still  more  stifling  imprisonment  of  convention. 
But  he  had  not  yet  reached  his  height.  The  '  Lion  Crushing  a  Serpent '  lacked 
that  breadth  of  treatment,  that  simplification,  which  the  laws  of  plastic  art 
require,  and  which  distinguish  sculpture  from  mere  casts  from  life. 

To  such  a  criticism  Barye's  'Seated  Lion'  of  1847  might  seem  an  answer. 
It  is  a  work  of  monumental  sculpture  of  the  first  order.  The  principal  divi- 
sions of  the  body,  the  muscular  masses,  the  head  and  the  mane,  are  all  ren- 
dered with  a  simplicity  and  energy  which  equal  the  finest  animal-sculptures 
of  Egypt  and  Assvria.  But  though  equally  monumental  and  imposing,  Barye's 
lion  shows  none  of  the  coldness,  the  architectonic  impassibility,  of  Egyptian 
and  Assyrian  sculpture,  in  which  planes  and  proportions  were  established  by 

[412] 


BARYE  35 

rigid  and  hieratic  tradition.  Equally  typical,  the  type  has  here  been  arrived 
at  through  the  observation  and  digestion  of  natural  detail.  Barye's  lion  is 
real,  might  live,  might  leap  down  from  the  pedestal;  yet  all  this  naturalism 
is  subordinated  to  the  central  oneness  of  the  whole  —  the  statue  is  the  abstract 
of  leonine  being. 

In  his  'Seated  Lion,'  then,  Barye  showed  that  he  had  learned  the  lesson 
which  all  modern  sculptors  must  learn;  namely,  that  the  point  of  departure 
of  true  art  is  not  from  the  ideal,  but  must  spring  from  nature  and  thence  at- 
tain to  ideality.  In  this  work,  while  remaining  fundamentally  true  to  life,  he 
had  by  force  of  genius  and  plastic  energy  attained  supreme  sculptural  ex- 
pression. 

Meantime,  though  devoting  most  of  his  attention  to  animal-sculpture, 
Barye  had  not  neglected  man.  The  numerous  figures  of  his  earlier  years, 
such  as  the  horsemen  in  his  hunting  groups,  are  remarkable  for  vitality  and 
truthfulness  to  the  race  and  time  to  which  they  belong ;  and  in  his  later  works, 
in  which  he  dealt  with  the  figure  primarily,  such  as  the  four  stone  groups  for 
the  Louvre,  he  proved  himself  no  less  a  master  of  the  forms  of  man  than  of 
animals,  exhibiting  the  same  characteristics — energy  of  conception,  breadth 
in  execution,  and  essential  truth  to  structure — in  rendering  both. 

This  joint  knowledge  of  the  anatomy  of  man  and  beast  qualified  Barye  to 
excel  in  a  branch  of  sculpture  in  which  most  other  modern  artists  have  sig- 
nally failed — the  representation  of  such  chimerical  beings  as  the  hippogrifF 
of  his  'Rogero  and  Angelica,'  the  centaur  of  his  'Centaur  and  Lapith'  and  the 
minotaur  of  his  'Theseus  Slaying  the  Minotaur.'  The  hippogrifF,  for  exam- 
ple, is  a  horse,  whose  beak  and  claws  appear  under  Barye's  hand,  if  fantas- 
tic, at  least  not  impossible,  for  not  only  are  they  real  beak  and  claws,  but 
their  junctures  with  the  nose  and  fetlocks  of  the  horse  are  true  anatomical 
junctures;  the  wings — most  difficult  features  to  handle  successfully  in  sculp- 
ture—  seem  able  to  sustain  the  animal  and  capable  of  movement  by  his  mus- 
cles. In  the  minotaur,  again,  note  the  absolutely  convincing  juncture  of  the 
bull's  head  with  the  man's  shoulders. 

If  the  aim  of  sculpture  be  to  disengage  and  present  the  essential  and  per- 
manent elements  in  living  beings,  Barye  took  the  surest  road,  for  there  is  no 
more  certain  way  to  determine  what  these  constituent  and  immutable  ele- 
ments are  than  by  the  study  ot  nature.  Every  animal  that  he  molded  was 
first,  and  above  all  else,  the  representation  of  some  particular  species,  and 
of  some  particular  instinct.  Moreover,  he  scrupulously  obeyed  that  law  which 
demands  that  the  artist  shall  depict  nothing  untrue  to  the  nature  of  his  model, 
or  incapable  of  being  expressed  through  its  natural  exterior  form.  In  not 
one  of  his  works  do  we  find  any  attempt  at  theatrical  mise  en  scene.,  any  trace 
of  the  "pathetic  fallacy."  Each  of  his  figures  lives  solely  for  and  of  itself, 
absorbed  in  its  own  individuality.  He  never  takes  a  subject  out  of  its  own 
sphere,  never  gives  it  an  emotion  which  is  unnatural  to  it. 

But  let  not  this  insistence  upon  naturalism  as  Barye's  prime  tenet  mislead 
the  reader  into  thinking  that  he  was  a  mere  realist — a  copier  of  actuality. 
Nothing  could  be  further  from  the  truth.    Nature  served  as  the  basis  of  his 

[413] 


36  .  MASTERSINART 

works,  but  those  works  were  ideal.  He  strove  to  discover  for  himself  what 
nature's  facts  really  were,  and  then  (if  I  may  employ  the  figure)  cast  the  metal 
of  these  facts  in  the  mold  of  his  own  genius.  You  will  never  find  one  of  his 
works,  not  even  the  hastiest  sketch,  that  is  a  mere  portrait  or  imitation  of 
reality.  It  would  have  been  opposed  to  his  whole  conception  of  sculpture  to 
consecrate  in  bronze  or  plaster  the  relative  disorder  of  any  individual  form. 

Let  us  now  for  a  moment  consider  Barye's  work  from  a  more  technical 
standpoint.  To  begin  with,  the  subjects  he  preferred  to  treat  are  not  those 
which  represent  emotions.  He  shows  us  neither  joy  nor  sadness.  His  heroes 
fight  impassively,  his  animals  satisfy  their  instincts.  What  he  did  choose  to 
represent  was  movement,  and  he  selected  the  most  suitable  material  for  sculp- 
ture which  depicts  movement;  namely,  bronze.  To  assure  solidity  in  a  mar- 
ble group  with  much  variety  of  outline  the  sculptor  is  compelled  to  make  use 
of  purely  artificial  supports  (we  all  know  the  impossible  stump,  growing  im- 
possibly under  the  belly  of  the  horse);  but  the  tenacity  of  bronze  allows 
small  supports  to  carry  large  masses,  so  that  the  outline  may  be  kept  free; 
and,  as  it  is  hardly  necessary  to  point  out,  the  essential  feature  in  sculpture 
dealing  primarily  with  movement  is  outline. 

Moreover,  bronze,  with  its  strong  reflections  of  high  light  and  black  wells 
of  shadow,  does  not  show  forms  by  the  delicate  transitions  between  half- 
lights  and  half-shades  as  marble  does,  so  that  objects  molded  in  it  are  mainly 
distinguished  by  their  contours;  and  in  choosing  bronze  as  his  medium  Barye 
chose  material  best  suited  to  his  style,  for  he  excelled  in  drawing,  or  outline. 
Indeed  he  drew  better  than  he  modeled,  cared  more  for  line  than  for  surface. 
His  forms  are  analyzed  and  summed  up  in  broad  surfaces  bounded  by  lines 
of  remarkable  sweep  and  firmness.  His,  in  a  word,  was  the  architectural  type 
of  sculpture,  and  it  is  perhaps  this  quality  that  allies  it  with  earlier  antique 
carvings,  giving  certain  of  his  works  something  of  an  archaic  look  that  sets 
them  back  in  time,  and  lends  them  an  aspect  of  authority  that  most  modern 
sculpture  lacks. 

If  such  are  the  ideas  that  Barye's  works  suggest,  these  works  themselves 
stand  above  censure,  either  by  artist  or  scientist.  We  may  hand  them  down 
to  posterity  secure  in  the  conviction  that  our  judgment  of  their  eminence  will 
be  confirmed. — abridged  from  the  French 


Ci)e  Woxk^  of  35arpe 

DESCRIPTIONS    OF    THE     PLATES 
'SEATED     LION"  PLATE    I 

IN  1836  Barye  exhibited  the  plaster  original  of  this  colossal  'Seated  Lion.' 
Eleven  years  later  the  French  government  had  it  reproduced  in  bronze, 
and  set  up  beside  the  stately  Pavilion  de  Flore  entrance  to  the  Louvre,  facing 

[414] 


BARYE  37 

the  Seine.  As  another  figure  was  needed  to  balance  it  on  the  other  side  of 
the  portal,  Barye  was  asked  to  furnish  a  duplicate.  This  seemed  to  him  an 
artistic  heresy  which  he  could  not  countenance.  To  his  thinking,  the  only 
possible  companion  for  the 'Seated  Lion'  would  be  another  figure  which 
should  not  cheapen  the  first  by  suggesting  an  indefinite  number  of  seated 
lions  all  cast  from  the  same  mold.  But  the  price  he  demanded  for  a  com- 
panion work  (which,  indeed,  he  seemed  not  at  all  anxious  to  undertake)  was 
so  high  that  the  authorities  revoked  the  commission,  and,  in  spite  of  his  pro- 
test, had  a  reversed  duplicate  cast  for  the  other  side  of  the  entrance  —  an 
action  which  wounded  him  cruelly. 

The  'Seated  Lion'  is  unquestionably  Barye's  masterpiece  in  the  monu- 
mental style.  "Abandoning  all  the  minute  details  which  marked  his  previous 
work,"  writes  Arsene  Alexandre,  "Barye  here  composed  in  the  broadest  and 
most  monumental  lines,  and  modeled  in  the  most  vigorous  and  summary 
masses,  so  that  the  eye,  distracted  bv  no  detail,  feels  at  a  glance  the  power- 
ful tranquillity  and  august  pride  of  the  whole.  Conscious  of  his  might,  the 
lion  seems  at  once  to  command,  to  disdain,  to  watch,  to  dream,  and  to  guard; 
yet  beneath  the  outward  calm  we  divine  the  inner  force.  It  would  be  im- 
possible to  imagine  a  more  striking  presentment  of  power  in  repose." 

'ELEPHANT    OF    SENEGAL     RUNNING'  PLATE    II 

BARYE  was  careful  to  discriminate  between  different  species  in  his  rep- 
resentations of  animals.  We  do  not  need  the  "Senegal"  to  tell  us  that 
this 'Elephant  Running'  is  from  Africa.  The  elephant  of  Asia  has  smaller 
ears  and  tusks,  its  back  is  curved  upwards  and  its  brow  is  straight,  while  the 
African  elephant  has  a  brow  curved  outward  and  a  hollow  back. 

"This  figure,"  writes  Roger  Ballu,  "is  a  wonderful  piece  of  work.    The 
elephant  has  agility,  a  certain  grace,  even  lightness;  and  yet  all  this  without 
prejudice  to  the  essential  bulk  and  heaviness  of  the  natural  animal." 
The  height  of  the  figure  is  five  and  a  half  inches. 

'PANTHER    SEIZING    A    STAG*  PLATE    III 

THE  full  title  of  this  group,  which  was  modeled  about  1851,  and  which 
measures  fifteen  inches  high,  is  given  in  Barye's  catalogue  as  'A  Large 
Panther  Seizing  a  Stag  of  the  Ganges.' 

"The  stag's  hind  quarters  sink,"  writes  M.  Roger  Ballu,  "his  head  and 
neck  are  borne  almost  to  the  ground  under  the  terrible  pressure  of  the  pan- 
ther's paw,  struck  between  his  eyes  and  muzzle,  while  the  latter,  the  superb 
mounting  line  of  his  body  rising  from  the  squatting  hind  paws  as  a  base,  seizes 
the  neck  of  the  stag  in  his  jaws,  and  bears  down  his  prey  beneath  his  weight." 

'TIGER     DEVOURING     A    CROCODILE"  PLATE    IV 

THE  Parisian  public  was  startled,  at  the  Salon  of  1831,  by  this  group, 
which  was  shown  in  plaster,  half  life-size.  Its  audacious  realism  shocked 
many.  "You  smell  the  menagerie  as  you  look  at  it,"  wrote  one  critic.  "Its 
over-naturalness  debases  the  art  of  sculpture,"  wrote  another.    Nevertheless 

[415] 


38  MASTERSINART 

its  vivid  vitality  compelled  attention.  "What  energy,  what  ferocity,"  writes 
Gautierj  "what  a  thrill  of  satisfied  lust  for  killing  shows  in  the  flattened  ears, 
the  savage,  gleaming  eyes,  the  curved,  nervous  back,  the  clutching  paws,  the 
rocking  haunches,  and  the  writhing  tail  of  the  panther,  and  how  the  poor 
scaly  monster  doubles  in  agony  under  those  cutting  teeth  and  claws." 

The  group  first  showed  Barye  as  an  innovating  spirit  in  sculpture,  and  it 
is  evident  that  (as  a  writer  in  the  'Magazine  of  Art'  has  pointed  out),  "not- 
withstanding its  vitality  and  truth,  the  work  was  still  too  close  to  merely  im- 
itative realism;  Barye  had  not  yet  gained  that  authority  which  later  enabled 
him  to  accentuate  the  typical  and  subordinate  the  merely  accidental." 

The  full  title  of  the  group,  which  was  bought  by  the  French  government 
in  1848  for  the  Luxembourg  Gallery  and  is  now  in  the  Louvre,  is  'A Tiger 
Devouring  a  Gavial  of  the  Ganges.'  The  gavial  is  a  species  of  crocodile  in 
which  the  end  of  the  snout  attains,  in  old  males,  the  flattened  protuberance 
shown  in  Barye's  model. 

•  THESEUS    SLAYING    THE    MINOTAUR'  PLATE    V 

THOUGH  Barye  made  his  greatest  fame  as  the  sculptor  of  animals, 
hardly  one  of  his  many  human  figures  is  insignificant  or  undignified. 
The  critics  previously  quoted  have  spoken  at  length  of  his  treatment  of  man, 
and  M.  Guillaume  has  also  pointed  out  (see  page  35)  that  his  knowledge  of 
anatomy  fitted  him  especially  for  the  representation  of  such  half-man,  half- 
animal  beings  as  the  bull-headed  minotaur  of  this  group,  which  is  perhaps 
his  most  masterly  achievement  outside  animal-sculpture. 

The  minotaur  was,  in  Greek  mythology,  a  monster  which  devoured  the 
youths  and  maidens  whom  the  Athenians  were  periodically  compelled  to 
send  him  as  a  tribute.  He  was  killed  by  the  hero  Theseus,  and  Barve  shows 
us  the  climax  of  the  struggle. 

"In  creating  this  work,"  writes  Clement,  "Barye  could  hardly  fail  to  re- 
member the  'Theseus'  of  the  Parthenon  ;  but  though  he  preserved  the  Greek 
type,  he  borrowed  nothing,  and  the  group,  while  imbued  with  the  antique 
sentiment  and  character,  has  all  the  life  and  warmth  of  a  modern  work.  The 
virile  beauty  of  Theseus,  with  his  broadly  massed  torso,  proud  attitude,  and 
superhuman  calm,  contrasts  markedly  with  the  bestial  fury  and  gross,  heavy 
limbs  of  the  minotaur.  Brute  force  is  struggling  against  heroic  intelligence, 
and  we  have  no  doubt  of  the  result." 

"  Had  this  group,"  writes  Mr.  De  Kay,  "been  dug  up  at  Pompeii  or  Olym- 
pia  every  art  magazine  in  the  world  would  have  had  its  portrait  and  expa- 
tiated on  its  magnificent  Greekness;  every  museum  would  have  sent  for  casts, 
and  lecturers  would  have  pointed  out  wherein  the  modern  lagged  far  behind  the 
ancients;  namely,  in  the  wonderfully  fresh  way  the  real  was  blended  with  the 
ideal.  It  falls  short  of  the  very  greatest  sculpture  known  only  by  having  in 
a  less  degree  that  bright  and  godlike  serenity  we  find  in  such  works  as  the 
'Venus  of  Melos.'" 

The  group  was  begun  in  1841  and  finished  in  1846,  though  not  exhibited 
at  the  Salon  till  1851.    It  measures  eighteen  inches  high. 

[416] 


B  ARY  E  39 

•STANDINGEEAR'  PLATEVI 

OF  all  the  animals  which  Barye  introduced  to  an  astonished  public  in  the 
early  nineteenth  century,  perhaps  that  which  surprised  them  most  was 
the  bear.  From  time  immemorial  the  lion  had  been  considered  a  noble  ani- 
mal; the  horse  was  allowed  in  sculpture  because  the  ancients  had  treated 
him,  and  because  without  him  equestrian  statuary  would  have  been  impos- 
sible; the  boar  and  dog  were  tolerated  because  of  their  ennobling  connection 
with  the  chase;  but  the  clumsy  bear  was  considered  distinctly  unworthy  of 
the  honors  of  bronze  or  marble.  Barye,  however,  took  poor,  outcast  Bruin  for 
one  of  his  favorite  subjects,  representing  him,  singly  or  in  groups,  at  least  ten 
times;  and  one  of  his  best  achievements  in  a  lighter  mood  is  this  'Standing 
Bear,'  which  he  produced  in  1833.  There  is  something  waggish  about  the 
little  figure  (it  measures  only  nine  and  a  half  inches  high),  which  yet  expresses 
admirably  that  mixture  of  force  and  heavy  awkward  indolence  characteristic 
of  bears  of  all  species. 

'WALKING     LION'  PLATE    VII 

"^  I  ''HE  epithet  'paper-weights'  was  often  applied  to  Barye's  smaller 
X  bronzes  by  those  whom  it  pleased  to  sneer  at  them,"  writes  Arsene 
Alexandre.  "Perhaps  the  title  was  never  more  ridiculously  inappropriate 
than  when  aimed  at  such  a  figure  as  the  'Walking  Lion,'  even  though  it 
measures  but  thirteen  inches  high.  The  play  of  the  muscles  is  so  accurately 
observed,  the  whole  line  of  the  body,  from  the  mane  just  beginning  to  rise 
in  anger  to  the  tail  which  impatiently  lashes  the  air,  is  rendered  with  such 
vitality,  and  the  legs  give  such  an  impression  of  just  moving  into  the  next 
step,  that  it  would  be  truer  to  say  that  the  giance  /o Hows  the  animal  rather 
than  observes  him.  If  the  'Walking  Lion'  be  a  paper-weight,  it  is  worthy 
to  hold  down  only  such  papers  as  the  manuscripts  of  Shakespeare  or  Victor 
Hugo!" 

«WOLF    SEIZING    A    STAG    BY    THE    THROAT'  PLATE    VIII 

THE  wolf,  leaping  from  cover,  has  seized  the  running  stag  by  the  throat. 
The  stag's  impetus  has  dragged  the  wolf  under  his  belly,  but  now  he  is 
pinned  fast  and  can  run  no  further.  Again  Barye  gives  us  the  supreme  mo- 
ment of  the  struggle.  "It  seems,"  writes  M.  Alexandre,  "as  if  he  threw  his 
combatants  together  and  then  waited,  calmly,  to  seize  the  vital  moment 
which  was  to  decide  the  fate  of  the  mortal  duel." 

•JAGUAR     DEVOURING     A     HARE'  PLATE     IX 

"^T~^HE  jaguar,  squatting  on  his  hind  paws,  his  belly  settling  to  the  ground, 
A.  raises  his  breast,  propped  on  one  forepaw,  the  strong  bone  of  its  joint 
breaking  the  serpentine  line  of  the  flank,  and  burrows  his  jaws  into  the  en- 
trails of  the  hare,  his  neck  furrowed  with  great  swellings,"  writes  Edmond 
de  Goncourt.  "The  hungry,  eager  reach  of  neck  and  shoulders,  the  con- 
tented settling  down  of  the  hind  quarters,  dimpled  with  nervous  contractions, 

[417] 


40  MASTERS     IN    ART 

the  infolding  of  the  powerful  hind  legs,  the  writhe  of  the  tail  —  the  torsion 
at  its  end  suggesting  the  last  ebb  of  the  excitement  of  the  attack  —  the  ter- 
rible puckering  of  the  face,  the  laying  back  of  the  small  ears,  the  skilful  op- 
position of  the  effect  of  those  parts  in  which  the  muscles  are  relaxed  and 
dormant  and  those  in  which  they  are  tense  and  in  action  —  all  this  makes 
the  group  one  of  those  imitations  of  nature  beyond  which  sculpture  cannot  go. 
Truly  it  is  a  perfect  rendering  of  the  fierce,  gluttonous,  voluptuous  enjoy- 
ment of  the  feline  beast  in  the  taste  of  blood." 

If  any  one  of  Barye's  works  can  fairly  be  termed  his  masterpiece  it  is  this 
group,  exhibited  in  plaster  at  the  Salon  of  1850,  and  in  bronze  at  the  Salon 
of  1852.    It  measures  fifteen  and  a  half  inches  high. 

'LION    CRUSHING    A    SERPENT"  PLATE    X 

IN  a  much-quoted  passage  Theophile  Gautier  has  imagined  the  effect  which 
this  lion,  first  exhibited  in  plaster  at  the  Salon  of  1833,  must  have  made 
upon  the  servile  academic  images  of  the  animal  which  sculptors  had  been 
heretofore  content  to  reproduce.  "These  marble  lions,"  he  writes,  "had 
manes  like  the  perruque  wigs  of  the  time  of  Louis  xiv.,  the  neatly  waved 
locks  of  which  fell  gracefully  over  their  backs;  their  faces  were  debonair, 
with  almost  human  features,  reminding  one  of  the  traditional  countenance 
of  the  'noble  father'  in  the  old  comedies;  their  flaccid  bodies,  seemingly 
stuffed  with  bran,  showed  no  trace  of  bone  or  muscle;  and  one  uplifted  paw 
usually  rested  gracefully  on  a  ball  —  not  a  very  leonine  gesture  it  must  be 
confessed.  ...  At  the  sight  of  Barye's  superb  and  terrible  beast,  bristling 
his  unkempt  mane,  wrinkling  his  muzzle  with  a  rage  mingled  with  disgust 
above  the  hideous  reptile  which,  pinned  under  his  claws,  writhes  in  a  con- 
vulsion of  impotent  rage,  all  these  poor  old  marble  lions  must  have  whipped 
their  tails  between  their  legs,  and  let  the  balls,  which  served  to  keep  them  in 
countenance,  escape." 

The  details  in  this  group  are  not  so  broadly  handled  as  in  Barye's  later 
work,  and  the  outline  of  the  whole  is,  from  a  distance,  somewhat  confused; 
but  all  critics  agree  in  regarding  it  as  a  masterpiece  of  energy  and  realism. 

It  was  purchased  by  the  French  government,  and  in  1835,  cast  in  bronze, 
was  set  up  in  the  Tuileries  Garden,  where  it  still  stands.  A  cast  of  it  has 
been  presented  by  France  to  the  Metropolitan  Museum,  New  York.  It 
measures  a  trifle  over  four  feet  in  height. 

A     LIST    OF    THE    PRINCIPAL    WORKS    OF    BARYE 

Shortly  after  Barye's  death  an  exhibition  of  his  works,  comprising  some  three  hundred  and  fifty  bronzes 
or  plaster  models,  one  hundred  oil-paintings,  seventy  water-colors,  and  upwards  of  one  hundred  drawings 
and  sketches,  was  held  at  the  £cole  des  Beaux-Arts,  Paris.  These  represented  the  contents  of  his  studio 
at  the  time  of  his  death.  In  addition  to  these  he  had  executed  a  number  of  unique  works  which  were  in 
private  collections  or  in  public  places.  The  Corcoran  Gallery,  Washington,  now  possesses  perhaps  the  most 
satisfactory  collection  of  his  bronzes.  The  following  list  takes  account  only  of  Barye's  animal  and  figure 
sculptures.  For  his  decorative  pieces,  paintings  in  oil  and  water-color,  etchings,  drawings,  etc.,  see  the  re- 
print of  Barye's  own  catalogues  given  in  Roger  Ballu's  '  Barye '  and  the  list  in  Arsene  Alexandre's  '  Barye.* 

[418] 


BAR  YE  :        •*••":  t**-*.^!-.  ; 

PIECES    OF    LARGE    SIZE    AND     PUBLIC     MONUMENTS 

CORSICA.  AjACCiO:  Equestrian  Statue  of  Napoleon  I.  —  FRANCE.  Lyons  Museum: 
Tiger  devouring  Virginian  Stag — Marseilles  Museum:  Two  Tigers  devouring  a 
Stag;  Lion  devouring  Wild  Boar;  Lion  devouring  Antelope — Paris:  Bas-relief  Lion, 
Column  of  July  —  Paris,  Church  of  the  Madeleine:  St.  Clotilde  —  Paris,  Louvre: 
Tiger  devouring  a  Crocodile  (Plate  iv).  [Entrance  to  Pavilion  de  Flore]  Seated  Lion 
(Plate  i).  [CouR  du  Carrousel]  Four  Stone  Groups:  (i)  War,  (2)  Peace,  (3)  Force, 
(4)  Order;  Napoleon  iii.  dominating  History  and  the  Arts  (bas-relief);  Two  Figures  of 
Youths  representing  Rivers  —  Paris,  Tuileries  Garden  :  Lion  crushing  Serpent  (Plate  x). 

BR  ONZE    figures 

TABLE  Decoration  for  Duke  of  Orleans,  comprising  nine  pieces:  (i)  Hunt  of  Tiger 
with  Elephant,  (2)  Hunt  of  Lion  with  Buffaloes,  (3)  Hunt  of  Wild  Ox,  (4)  Hunt  of 
Bear,  (5)  Hunt  of  Ellc,  (6)  Eagle  and  Wild  Goat,  (7)  Serpent  with  Bison,  (8)  Lion  with 
Boar,  (9)  Leopard  with  Doe;  Bust  of  the  Duke  of  Orleans;  Napoleon  Bonaparte;  Ama- 
zon; Gaston  de  Foix;  Charles  vi.  in  the  Forest  of  Mans;  Charles  vii.;  Tartar  Warrior 
reining  up  Horse;  Two  Arab  Cavaliers  killing  Lion;  Medieval  Cavalier;  Arab  Cavalier 
killing  Wild  Boar;  Arab  Cavalier  killing  Lion;  Cavalier  surprised  by  Serpent;  Elephant 
ridden  by  Indian  crushing  Tiger;  Warrior  of  the  Caucasus;  Huntsman,  Louis  xv.  Cos- 
tume; Medieval  Peasant;  Rogero  and  Angelica  on  the  Hippogriff;  The  Graces;  Nereid 
arranging  Necklace;  Minerva;  Apollo;  Juno;  Theseus  slaying  the  Minotaur  (Plate  v); 
Centaur  and  Lapith;  Theseus  struggling  with  Centaur  Bianor. 

bronze  animals 

MONKEY  on  Gnu;  Bear  pulled  down  by  Dogs;  Bear  fleeing  from  Dogs;  Two 
Young  Bears  boxing;  Bear  eating  an  Owl;  Standing  Bear  (Plate  vi);  Seated  Bear; 
Ratel  stealing  Eggs;  Greyhound  lying  down;  'Tom,'  Algerian  Greyhound;  Harrier 
fetching  Hare;  Dalmatian  Dog  and  Pheasant;  Spaniel  and  Dalmatian  Dogs  pointing  Par- 
tridges; Spaniel  pointing  Pheasant;  Seated  Hound;  Standing  Hound;  English  Hound; 
Wolf  seizing  Stag  by  the  Throat  (Plate  viii);  Wolf  abandoning  his  Prey;  Wolf  caught  in 
Trap;  Two  Young  Lions;  Lion  holding  Guiba;  Lion  devouring  Doe;  Lion  and  Serpent 
(Sketch  for  the  'Lion'  of  the  Tuileries  Garden);  Seated  Lion;  Lioness  of  Senegal;  Lion- 
ess of  Algeria;  Walking  Lion  (Plate  vii);  Walking  Tiger;  Walking  Lion  (new  model); 
Walking  Tiger  (new  model);  Tiger  surprising  Antelope;  Panther  seizing  a  Stag  (Plate 
in);  Tiger  surprising  a  Stag;  Tiger  devouring  Gazelle;  Panther  lying  down;  Panther  of 
India;  Panther  of  Tunis  (bis);  Panther  surprising  Civet-cat;  Panther  holding  Stag;  Jaguar 
devouring  Hare  (Plate  ix);  Walking  Jaguar;  Standing  Jaguar;  Jaguar  holding  Alligator; 
Jaguar  devouring  Agouti;  Sleeping  Jaguar;  Jaguar  devouring  Crocodile;  Ocelot  carrying 
off  Heron;  Cat;  Rabbit;  Seated  Hare;  Startled  Hare;  Elephant  crushing  Tiger;  Elephant 
of  China;  Elephant  of  Senegal  running  (Plate  11);  Elephant  of  Asia;  Elephant  of  Africa; 
Horse  surprised  by  Lion;  Full-blooded  Horse;  Half-blooded  Horse;  Half-blooded  Horse 
with  lowered  Head;  Turkish  Horse;  Percheron  Horse;  Wild  Ass;  Dromedary  of  Algeria 
(bis);  Dromedary  of  Egypt;  Dromedary  ridden  by  Arab;  Persian  Camel;  Elk  surprised 
by  Lynx;  Family  of  Deer;  Stag  pulled  down  by  Scotch  Hound;  French  Stag  walking; 
French  Stag  resting;  Stag  listening;  Stag  belling;  Stag  with  lifted  Leg;  Family  of  Stags; 
Stag  rubbing  Horns  against  Tree;  Spotted  Deer;  Java  Stag;  Spotted  Stag;  Stag  of  the 
Ganges;  Virginian  Stag;  Dead  Wild  Goat;  Ethiopian  Gazelle;  Kevel;  Bull;  Rearing 
Bull  seized  by  Tiger;  Bull  pulled  down  by  Bear;  Small  Bull;  Buffalo;  Wounded  Boar; 
Eagle  holding  Heron;  Eagle  with  outspread  Wings;  Eagle  holding  Serpent;  Parrakeet  on 
Tree;  Pheasant;  Wounded  Pheasant;  Chinese  Golden  Pheasant;  Stork  standing  on  Tor- 
toise; Owl;  Marabout  Stork;  Tortoise;  Crocodile;  Crocodile  devouring  Antelope;  Python 
swallowing  Doe;  Python  strangling  Crocodile;  Lion  of  the  Zodiac  (bas-relief  reduction  of 
the  Lion  of  the  Bastille);  Leopard  (bas-relief);  Panther  (bas-relief);  Genet  carrying  off 
a  Bird  (bas-relief);  Virginian  Stag  (bas-relief);  Buck;  Doe  and  Fawn;  Doe  lying  down; 

[419] 


47  MASTERS    IN    ART 

Hind  lying  down;  Fawn;  Group  of  Rabbits;  Elk  surprised  by  Lynx;  Python  seizing 
Gnu;  Tiger  devouring  Antelope;  Horse  attacked  by  Tiger;  Buck  pulled  down  by  Alge- 
rian Greyhounds;  Buck  overturned  by  Greyhounds;  Lion  devouring  Wild  Boar;  Seated 
Bear;  Pheasant  on  Tree;  Dead  Gazelle;  Bear  in  his  Trough;  Panther  holding  Gazelle; 
Head  of  Chimpanzee. 


3$arj>e  3SiiIiosrap})p 

A     LIST    OF     THE    PRINCIPAL    BOOKS    AND     MAGAZINE    ARTICLES 
DEALING     WITH     BARYE 

The  chief  work  on  Barye  is  Roger  Ballu's  large  and  excellently  illustrated  'L'QLuvre  de  Barye '  (Paris, 
1890).  Arsene  Alexandre's  'A.  L.  Barye,'  a  smaller  book,  is  interestingly  written.  In  English  the  prin- 
cipal work  is  Charles  de  Kay's  *  Barye'  (New  York,  1889). 

ALEXANDRE,  A.  A.  L.  Barye.  Paris  [i  889]  — Ballu,  R.  L'CEuvre  de  Barye. 
-Paris,  1890  —  Blanc,  C.  Artistes  de  nion  temps.  Paris,  1876  —  Brownell,  W.  C. 
French  Art.  New  York,  1901 — Catalogue  of  the  works  of  Barye,  exhibited  at  the 
American  Art  Galleries,  New  York,  1 899-1 900  —  Child,  T.  Art  and  Criticism.  New 
York,  1892  —  Claretie,  J.  Peintres  et  sculpteurs  contemporains.  Paris,  1882  —  Cle- 
ment, C.  Artistes  anciens  et  modernes.  Paris,  1876 — De  K  y,  C.  Barye.  New  York, 
1889  —  GiGOUX,  J.  Causeries  sur  les  artistes  de  mon  temps.  Paris,  1885  —  Goncourt, 
E.  DE.  Preface,  *  Catalogue  de  la  Vente  Sichel.'  Paris,  1886  —  GoNSE,  L.  La  Sculpture 
fran(;aise  depuis  le  xive  siecle.  Paris,  1895  —  Guillaume,  E.  Notice,  'Catalogue  de 
r Exposition  de  Barye  a  I'Ecole  des  Beaux- Arts. '  Paris  [1889]  —  Guillaume,  E.  No- 
tices et  discours.  Paris  [1898]  —  Lenormant,  C.  Les  Artistes  contemporains:  Salons  de 
1831,  1833.  Paris,  1833 — Petroz,  P.  L' Art  et  la  critique  en  France.  Paris,  1875  — 
Planche,  G.  Etudes  sur  I'ecole  franqaise.  Paris,  1855 — Roger-Miles,  L.  Collection 
Georges  Lutz.  [Paris,  1902] — Silvestre,  T.  Histoire  des  artistes  vivants.  Paris,  1856  — 
Silvestre,  T.  Les  Artistes  fran^ais.  Paris,  1878 — Smith,  C.  S.  Barbizon  Days.  New 
York,  1902 — Walters,  W.  T.  Barye;  From  the  French  of  various  critics.  [Baltimore, 
1885.] 

magazine  articles 

AMERICAN  ARCHITECT,  1890:  The  Barye  Exhibition  —  L'Art,  1875:  C.  Blanc; 
.  Barye.  A.  Genevay;  Barye.  E.  Veron;  Exposition  des  oeuvres  de  Barye  au  Palais 
des  Beaux-Arts  —  Art  Journal,  1888:  W.  E.  Henley;  Barye  —  Century  Magazine, 
1886:  C.  de  Kay  (pseud.  H.  Eckford);  Barye  —  Gazette  des  Beaux-Arts,  1859: 
Ventes  d'aquarelles,  de  dessins,  et  de  tableaux,  i860:  T.  Gautier;  Exposition  de  tableaux 
modernes.  1867:  P.  Mantz;  Barye.  1889:  L.  J.  F.  Bonnat;  Barye  —  L'Illustration, 
1866:  T.  Gautier;  Barye  —  Journal  des  Debats,  1875:  J.  Clement;  Barye  —  Les 
Arts,  1903:  G.  Migeon;  Les  Bronzes  de  Barye  dans  la  collection  Thomy  Thierry  — 
Magazine  of  Art,  1891:  Anon.  (Review  of  Roger  Ballu's 'Barye')  —  Nation,  1890: 
W.  A.  Coffin;  Review  of  De  Kay's  'Barye' — New  Englander  and  Yale  Review, 
1889:  D.  C.  Eaton;  Barye  (translation  of  Bonnat's  article  in  Gazette  des  Beaux-Arts)  — 
New  England  Magazine,  1904:  R.  I.  Geare;  The  Remarkable  Barye  Bronzes  —  Revue 
des  Deux  MoNDES,  1870:  C.  d'Henriet;  Barye  et  son  oeuvre.    1851:  G.  Planche;  Barye. 

[420] 


MASTERS    IN    ART 


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MASTERS    IN    ART 


READY    OCTOBER    15th 


WOMEN  IN  THE  FINE  ARTS 

BY 

CLARA    ERSKINE    CLEMENT 

(MRS.    CLEMENT-WATERS) 

Author  of 

•'  A  Handbook  of  Legendary  and  Mythological  Art," 

"  Painters,  Sculptors,  Architects,  Engravers,  and  their  Works," 

"Stories  of  Art  and  Artists," 

"  Artists  of  the  Nineteenth  Century." 


A  VALUABLE  biographical  and  critical  handbook,  reviewing  the  work  done  by 
women  in  Painting,  Sculpture,  and  the  Lesser  Arts,  from  the  seventh  century  B.C. 
down  to  the  present  day. 

The  conditions  in  various  countries  which  have  encouraged  and  aided  women  in  ar- 
tistic pursuits,  and  resulted  in  their  freedom  to  share  the  studies  and  honors  now  avail- 
able for  artists,  are  outlined,  thus  giving  an  idea  of  the  atmosphere  in  which,  at  different 
epochs,  these  women  have  lived  and  worked,  and  of  the  influences  which  affected  the 
results  of  their  labors. 

The  volume  also  includes  biographical  notices  of  artists  of  all  nations,  in  which  the 
important  and  interesting  facts  relating  to  their  studies  and  achievements  are  given,  thus 
adding  to  its  value. 

An  attractive  feature  is  the  inclusion  of  over  thirty  reproductions  of  paintings  and 
sculptures,  of  which  the  larger  number  have  been  contributed  by  the  artists  themselves, 
for  this  purpose.  "Women  in  the  Fine  Arts,"  although  more  comprehensive,  resembles 
"Artists  of  the  Nineteenth  Century,"  and  will  fill  a  place  in  the  history  of  women  in 
art  like  that  which  has  been  accorded  to  the  earlier  art-books  by  Mrs.  Clement. 

Illustrated.     i2mo,  $2,50,  net.     Postpaid,  $2,65. 

FILL  OUT  THIS  BLANK  AND  MAIL  TO-DAY 

Messrs.  HOUGHTON,  MIFFLIN  &  CO., 

4  Park  Street,  Boston,  Mass. 

Sirs:  Send,  postpaid,  to  the  following  address,  one  copy  of  Mrs.  Clement's  "Women  in  the 
Fine  Arts,"  for  which  I  enclose  ^2.65. 

Very  truly. 


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MASTERS     IN     ART 


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ment excluding  certain  classes  of  advertisements  as  undesirable  for  a  magazine  so  closely  associated  with  the  best  of  home 
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MASTERS    IN    ART 


The  numbers  of '  Masters  in  Art'  which  have  already  appeared 
in  1904  are: 

Part  49,  JANUARY  .  FRA   BARTOLOMMEO 

Pakt  JO,  FEBRUARY GREUZE 

Part  51,  MARCH      .         .         .     UURER'S  ENGRAVINGS 

Part  52,  APRIL LOTTO 

Part  sj,  MAY LANDSEER 

Part  54,  JUNE  .         .         .  VERMEER   OF   DELFT 

Part  55,  JULY PINTORICCHIO 

Part  56,  AUGUST  .  .  THE  BROTHERS  VAN  EYCK 
Part  57,  SEPTEMBER  ....  MEISSONIER 
Part  58,  OCTOBER BARYE 

PART     59,      THE     ISSUE     FOR 

jBt  0  \j  e  m  6  e  r 

WILL  TREAT   OF 


NUMBERS   ISSUED   IN    PREVIOUS  VOLUMES 
OF  'MASTERS  IN   ART' 


VOL.   1. 


VOL.  2. 


Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 


-VAN   DYCK 

-TITIAN 

-VELASQUEZ 

-HOLBEIN 

-BOTTICELLI 

-REMBRANDT 

-REYNOLDS 

-MILLET 

-GIO.   BELLINI 

-MURILLO 

-HALS 

-RAPHAEL 

"Siulfturi 


Part  13. 
Part  14. 
Part  i;.- 
Part  16. 
Part  17. 
Part  18. 
Part  19. 
Part  20.- 
Part  21. 
Part  22. 
Part  23. 
Part  24. 


-RUBENS 
-DA   VINCI 
-DURER 

-.MICHELANGELO* 
-MICHELANGELOt 
-COROT 
-BURNE-JONES 
-TER   BORCH 
-DELLA   ROBBIA 
-DEL  SARTO 
-GAINSBOROUGH 
-CORREGGIO 
ling 


VOL.  3. 


Part 
Part 
Part 
Part 
Part 
Part 


Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 
Part 


—  PHIDIAS 
— PERUGINO 

—  HOLBEIN? 
—TINTORETTO 

—  PIETERdeHOOCH 
—NATTIER 

§  Draw 


Part  ji.— PAUL  POTTER 
Part  52.— GIOTTO 
Part  55— PR AXITELES 
Part  34— HOGARTH 
Part  j;.— TURNER 
Part  36.— LUINI 
ings 

VOL.  4. 


JANUARY 

FEBRUARY 

MARCH 

APRIL        . 

MAY 

JUNE 

JULY 

AUGUST 

SEPTEMBER 

OCTOBER 

NOVEMBER 

DECEMBER 


ROMNEY 

.     FRA   ANGELICO 

.     VVATTEAU 

RAPHAEL'S  FRESCOS 

DONATELLO 

GERARD   DOU 

CARPACCIO 

ROSA  BONHEUR 

GUIDO   RENI 

PUVIS   DE   CHAVANNES 

GIORGIONE 

ROSSETTI 


ALL   THE    ABOVE    NAMED    ISSUES 
ARE    CONSTANTLY    KEPT    IN    STOCK 

Prices  on  and  after  January  i,  1904:  Single  numbers  of 
back  volumes, 20  cents  each.  Single  numbers  of  the  current  1904 
volume,  15  cents  each.  Bound  volumes  I,  2,  3,  and  4,  containing 
the  parts  1  isted  above,  bound  in  brown  buckram,  with  gilt  stamps 
and  gilt  top,  $3.75  each;  in  green  half-morocco,  gilt  stamps  and 
gilt  top,  S4.25  each. 


are  admirable  both  for  gifts  and  for  the  adornment  of  one's  own 
walls.  The  best  art  reproductions  made  in  America.  "  Excel- 
lent," says  John  S.  Sargent;  "I  could  not  wish  bettered," 
writes  Edwin  A.  Abbey.  Fifty  cents  to  $20. 00.  At  art  stores, 
or  sent  on  approval.  Our  ILLUSTRATED  CATALOGUE, 
in  attractiveness  and  interest  far  beyond  the  ordinary  publish- 
ers' announcements,  is  sent  only  upon  receipt  of  25  cents, — 
stamps  accepted,  —  which  charge,  however,  may  be  deducted 
from  any  purchase  of  the  Prints  themselves.  Aho-ue  picture, 
Mary  Magdalen,  by  Rosseiti,  copyright  Ig04  by 

CURTIS  &  CAMERON,  BOSTON 

2 J  Pierce  Building.     Opposite  Public  Library 


Lakcwood 

^yimong   the  pine's  of  J^etv  Jer^sey 

A  Fashionable  Fall  Resort 

90  Minutes 

from 
New  YorK 


I^eached  by  the 


New  Jersey  Central 

Its  palatial  hotels  arc  famed  for  their  perfect 
cuisine  &  its  sports  include  all  popular  pastimes 


Descriptive  book  will  be  sent  upon  application 
to  C.  M.  BURT,  Gen.  Pass.  Agt.,  New  York 


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TJNIVEESITY  OF  CALIFORNIA  LIBBAEY 
BERKELEY 

THIS  BOOK  IS  DU^^  THE  ^^^T  DATB 
STAMPED  BELOW 

Books  not  returned  on  tin.e  are  -Se!\%-sing 
"SOc  per  volume  after  t-^e  tn^'".:" tji  day.     Books  not  m 

fEB  11 191|8^^  STACKS 


JUL    30  1935        |tffcl3^ 


APR     3  196B  9  ^ 

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UNIVERSITY  OF  CAUFORNIA  LIBRARY 


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