Life and Works of Antoine Louis Barye Sculptor with Eighty-Six Wood-Cuts

LIFE A ND WORKS OF A NTOINE L O UIS BA R YE

SCULPTOR WITH EIGHTY- SIX WO OD - CUTS

A R TO TYPES A ND PRINTS IN MEMOR Y OF A N

EX HIBITION OF HIS ‘ BR ONZ ES PA INTINGS

A ND WA TER - COL ORS HELD A T NE W YORK

IN A ID OF THE FUND FOR HIS MONUMENT

A T PA RIS WRITTEN B Y CHA RLES D E K A Y

PUBLISHED B Y THE BA R YE MONUMENT A SSO

CIA TION A T NE W YORK IN NO VEMBER OF

M D C C C L X X X IX CHARLE S

Tu e DEWNNE Pases . THE AUTHOR D ED ICATES

THIS VOLUME

WILLIAM THOMPSON WALTERS

FIRST TO HONOR THE GENIUS OF

ANTOINE LOUIS BARYE

WITH BRONZ ES ERECTED IN AMERICA FOREMOST OF THOSE

WH O WOULD RAISE HIS MONUMENT

ON THE SEINE 84 . O RC . No . F E

St one G rou p on th e Lou vre . A NOTE IN PREFA CE

France has writers and critics so many and so able that it seems pre

n m n u ne h r ma te Yet how ten do su mptu ou s i an A erica to disc ss o of e s rs . of we not ﬁnd the view taken by a foreigner more su ggestive than the opini ons of a fellow-cou ntryman A great artist may be regarded throu gh variou s

acet wh ch the one ma be not le s tru e than the the . f s, of i y s o r The volu me oﬁered by the Barge Monu ment A ssociation to those inter ested in the fu nd for a monu ment to A ntoine Lou/is B arye at Paris is the

u n m n The nited tate has no ent mental memorial of a very co mo event. U S s s i l n w th e a d to F ance as the athe land l ke that wh ch a la e fee i g i r g r r f r , i i rg nd number of America/ns cherish toward Great Britain and Ireland. Bo s am t we e kn t in the a t and the have been med nce F ance of i y r i p s , o rs for si r ’ became a repu blic ; bu t the diference of tongu e more than oﬁsets these. Therefore great merit mu st exist in the artist whose work exercises enough fascination to set Americans on the task of gathering fu nds for a monu ment h t to tand th e th u It n t a is s re o sand miles away across the ocean. is ofte

a d that art has no c u nt . Bu t when be e th has a e n land s i o ry , for is, for ig raised a monu ment to a scu lptor of modern times L9 One object toward which this work tends is the establishment of scu lp n its e lace b t d a nt n hateve d ve t tu re i prop r p y he si e of p i i g. W r i rsi y of opinion may exist with regard to the psychological effect exerted by the

im tatu ette Ba e on b e ve s it will be ackn wled ed that cu l gr s s of ry o s r r , o g s p tu e on a mall cale w u ht w th the lea n n and k ll he h wed r s s s , ro g i r i g s i s o ,

dese ve m e than c mm n enc ur a ement at es nt The rm th r or o o o g pr e . y fo e

ta te th e who bu them and tend to ave the e le m wa tin s of os y , s p op fro s g

B ix the wealt n r The exh b t n a t the Ame can ir h o bad a t. i i io ri Art Galleries begins a veritable mission work in favor of scu lptu re for the hou se and h m o e. A side from its pu rpose as a memorial of the exhibition it oﬁers the only m n v i in En l h Even the F n c ehe e L e Ba e is . e ch t eat e b M o pr si f of ry g r r is y . A rsene A lexandre does not give a complete revi ew of hi s life and works

wh le it m a at vel ant tu Lives o cu l t i is co p r i y sc ofpic res . fs p ors cannot sin on the ct al de ar as a bu ndance llu t at n c n n In pi ori si so f of i s r io s is o cer ed. defau lt of the objects themselves good pictu res are needed to corroborate or d ve what the e a t ma advance e chance u e t thi n ispro ss yis y , or p r s gg s gs for

wh ch he has no m in his w k thi n he has r tten n i roo or , gs fo go or ig ores . For that reason as many works of Barye as are suit able to a well-made k hav en n ave whe e nted on nd a an boo e be give here. S r pri I i d secu red to the

lea the w d-cu t are m es ed d ectl on the H lland a e the b k f oo s i pr s ir y o p p r of oo , its ﬁbre being cru shed down to a su rface smooth enough to receive the im

Th a t n e to a n pression . e rto yp e process has been selected i ord r give s early as may be the colors of patinas which the cu nning of the master has cau sed to

- l m on the nz Thu in on en e th a ctu e b k . C nta nin b oo bro e. s e s s is is pi r oo o i g

t a t the ch ce t ece in vate hand on th de the cean it por r i s of oi s pi s pri s is si of o , take th la u m n r the llu e ce o a alle c tl b nze . B t a as a e s p f g ry of os y ro s , y i s trations the au th ndu l a h e th t ade w ll not c n de the text , or i ges op a re rs i o si r

or that a n ne l n f re so a g igible qu a tity .

In ene al the lette - e ll w a ch n l cal c u e bu t not a id g r r pr ss fo o s ro o ogi o rs , rig

' ’ n The ma n m n B e work on n le animals and o e. i oveme t is from ary s si g

u bea t to m n te le end and m th thence to s mb l cal u gro ps of s s o s rs of g y , y o i gro ps

hu man be n l k e that h wn on the a e be e th e ace. Ba/r e of i gs, i s o p g for is pr f y was a p ainter of no mean ski ll in oils and a water-colorist whose pictu res exe t a tead l nc ea n a c nat n becau e the c l the ch ld r s i y i r si g f s i io , s of ir o or, ir i l ke t u th to natu e the ab ence m them all that ett and mma i r r , s fro of is p y i r al B u t u u a lm exclu vel becau e te i . the text deal w th hi s c l t e t s i s p r , os si y, s

the e n he was n n His an e as a scu l t w de tha t the old r i preemi e t . r g p or is so i masters of Gr eece and Italy are p assed in revi ew withou t ﬁnding a parallel

to him. t ll th me t it ema n neve thele a act that mu ch wh ch has D espi e a is ri , r i s r ss f i

u B a e been written concerning Barye is forced and therefore u ntr e. ry

The ea n th ties wou ld smile at its extravagance cou ld he read it . r so for is in the fact that his geniu s has been warmly felt by men to whom the why

“ In u ch a matte mu ch and wherefore of that geniu s were hidden . s r of cou rse remains and will remain obscu re bu t there is no need to desp air of

In the ll w n a es certa n act are e ed wh ch ma acc u nt light . fo o i g p g i f s offr i y o

n n in some degree for the app earance ofBarye in ou r centu ry a d in Fra ce. Can we see the tru e color of anything in natu re withou t noting the colors that environ it So far as possible within the limits assigned I have tried

la e Ba e a a n t hi back u nd I lat him and h em a to p c ry g i s s gro . so e e se s

n A ttach to his i u e the t and that nn t m n w t hi in mo ster . fg r s r s co ec a a i h s tellectu al and c al env nment and he a u me his e c l and so i iro , ss s prop r o ors

n n mea i g.

D u n th lea ant ta k eve al end hav n hel u l The nt ri g is p s s s r fri s e bee pf . fro is piece by Flameng and the right to u se a nu mber of the wood-cu ts are du e to

Mr. L a alte . w ence w ki nd n u Mr. W rs r as e o gh to forward several books and

l u m Pa I n Mr . l n cata e . have to tha k x D ake og s fro ris A e a der W. r for man u e t n e a d n ett deta l u bl cat n a m take in an y s gg s io s r g r i g p y i s of p i io , is y one o wh ch m ht c t the av b bl h le Ve ec al thank are f i ig os f or of i iop i s . ry sp i s du e to The Centu ry Comp any for the headbands and for permission to u se m e than one c e w d-cu t w th u t cha e to the Ba e M nu ment u n or s or oo s i o rg ry o f d.

x i NO . 66 .

HUNT OF THE BEAR ( anoth er vie w) .

B r i 18 inc s . onz e . H e t e gh , h A NT O INE L O U IS B A RY E

CHAPTER ONE

is not by chance that th e present century oﬁers th e ﬁrst example of a sculptor wh o gave hi s best years t o t he study of

an imals ; n or by haphazard was France th e land in whi ch h e a ea e Ne w as A e i ar e a a e pp r d . ither ntoin Lou s B y w nting in comr d s who

e th e e e e e e ee e o a show d sam t nd ncy in a l ss d gr , nor in succ ssors who appr ch

t h e we e e h th e ﬁne a th e e t h e him in po r to xpr ss, t rough rts, maj sty,

at ﬁr h dram ic e and even t e humor ofanimals . Specul ations on th e existence of beings superior to m en h ad been pushed

Th e ti e to great lengths in th e century that produced Swe denborg . m came for an examination on more solid ground of th e tangible inh ab i

of ea a e el e e so e ea tants rth, r ng d b ow human b ings, but plac d far b n th that few thinkers were prep ared t o acknowledge any connection whatever . Bu ﬁon h ad made a t aste for nat ural history t h e fashion without alarm L IF E O F B A RY E T H E S C U L P T O R

f ae e e t a t h e a re f a ing t he men o faith . Linn us op n d vis s into n tu o pl nts and in England t h e elder D arwin seiz ed on t he romantic side ofvegetabl e fﬁ existence and t ried t o give it poetic expression . Cuvier was su ciently practical and conservative t o escape th e hostility ofthose wedded to th e n arrower View that looked onl y t o ward heaven but L am arck ﬁrst sowed th e seed which Charles D arwin and Alfred Russell Wallace have fostere d

h And e a e h into t e modern doctrines of evolution . b c us e sowed it

a a was e e e hi s e e t and t ll b e L m rck r j ct d by g n ra ion might s i unknown ,

no t D wi a t e e t m en e had ar n, with a m gnanimi y rar among sci n iﬁc befor

e t t af e it was e e e e his tim , dis inc ly ﬁrm d that his n gl ct d work which gav th e for th e V e of a al an d la u a D ar hint i w nim p nt nat re known s winism . Barye was therefore born into an atmosphere electric wit h curiosity as t o th e e a n ot th e al a a e ofani al and e e h e e a e m nt l if mor ch r ct r m s, b for b c m of ag e t o handle clay with mastery t he path of th e century as regards n a ral S h a n set . e of t e tu history was om e think rs past, Giord no Bru o in the ee e and a th e e e a e sixt nth c ntury Lam rck in pr s nt, had d r d to break down th e barrier which was supposed to rear its elf impass able

et ee a e a e el t o b w n hum n beings and t he lower creation . Bary g v hims f t h e study of animals with th e curi osity t hat makes of children good fl H e e e r a e for ea and e e . e obs rv rs if th i t st b sts, birds ins cts is not sti d came to it with th e enthusiasm of th e artistic temperament and was e a e e e e e r th e of Bu fion C e ncour g d to p rs v r by finding f om works , uvi r and a a e e w as e et t o s e no t nl L m rck that th r a whol world y di cov r, o y for

h a a f r t e r o t he l . n tu list, but scu ptor Bu t B arye in his turn snﬁered from th e unpopular line whi ch h e

Had f ee a e t o e e t hen chose . a canvass of th e art ist s o Paris b n m d d cid whet her his Lion Crushing a Serpent shoul d b e placed in th e garden ofth e T le e e e it t e t a th e t e l e ui ri s wh r now s ands, unqu s ion bly vo wou d hav

ee a e e e e t e ealou i a art or . b n dv rs , irr sp c iv of j s es rising from from politics In all likelihood th e naturalist s by profession woul d have been luke

e a e t e n a l for warm, b c us h y might ot have perceived t hat to study nima s t he pu rpose of showing through scul pture t hat they are worthy of admirat ion is o ne way of educating th e public! Luckily th e group was

H IS S E R VI C E S T O T H E A N I MAL S bought and placed by one of those arbitrary acts which sometimes give

- Y t e a t e it s an argument in favor of o ne m an power . et for thir y y ars f r

a T i a e a e of erection Barye w s neglected . h s c m about through a v ri ty

ea e n t o t e a a e r sons, som havi g do wi h intrigu s mong rtists, oth rs with

b u t t h e e e hi e ea e t h e politics ; und rlying caus , w ch furnish d st dy fu l for

t a -w e and e e t a his ee was at cks of ill ish rs of p rsons hon s ly ignor nt of m d, hostil it y to any movement that looked t oward a lessening of th e g ap

e ee m an and ea b tw n b st .

An e e e h as a e th e a t e a poch, how v r, which m d st r ling discov ry th t a l a e e e el e ea a e eﬁect nima s m k hous s for th ms v s, r son from c us to in a li e e e and e th e l e e t fe mit d sph r , xhibit many of ow r mo ions and a f ctions

of m en a t a e le as e for t h e ﬁne a . , c nno fford to n g ct them subj cts rts Bir ds are found t o have more than an ear for music and a power in

e e e ul e e of th e e som cas s to r produce artic at e speech . M mb rs grous family enjoy dancing ; ravens and magpies are aﬁect ed by obscure

a t e t h e e u l lle ll a e and gropings f r b autif , shown by co cting bri i nt obj cts, t he e - e a a e e e a bow r bird constructs l bor t huts, conn cts th m by rbors,

e a e the t e e ea e and i d cor t s huts and arbors wi h b rri s, f th rs sh ning

- e e the l . S ston s, and us s bui dings for a sporting ground o that th e rudiments of architect ure and th e ﬁne arts are present in th e anim al

e cr ation . Those wh o rej ect theories based o n th e possibility that most animals choose their partners with som e regard to their beaut y and deny that

e a are e e wil et a ee h such consid r tions possibl to th ir minds, l y gr that t e m en of ancient times and t h e middl e ages fail ed t o obtain from animal life

’ e th e a e al oﬂered e h ﬁn I i a tith of m t ri th reby to t e e arts . t s t o Barye

a we owe e en e e e A th t nlight m nt in this r sp ct . gainst manifold discourage ment h e struggled for half a century to assert th e dignity of anim als as

e th e el . Sa l t le hi n h e fit obj cts for chis ying i t but t nki g much, was con tent to create works o f imperishable beauty on a scal e oft en most insig nificant eel e a h , f ing confid nt th t in time t e world woul d come round to

’ hi s e e e e a e t e t h e l a hi vi w and b gin to xpr ss, too l t , and af r wor d s f s on, th e al e a e a o n the of e s e v u pl c d at l st work g nius mi und rstood . L I F E O F B ARY E T H E S C U L P T O R

’ THE novelty of Barye s position did not strike his cont emporaries

e e a e e a e it n and a few t th e ad in g n r l, though som r g rd d u favorably wi h ’ io n i e e e F th e ea e e o f e e mirat t d s rv d. rom rli st r cord man s app aranc in

E r e m h e a n e F e a e t he m en un e u op , fro t c rvi gs l ft in r nch c v s by who h t d h e a e e a a a e a a e th e e e see e e t a t h iry l ph nt, anim ls h v ttr ct d y s that b tt r h n

’ a e th e h a ra an e e e e a e n ighbor s, ands th t d w obj ct mor p rf ctly th n thos

Th and e a of a of ofth e n ext m an . e energy d sp ir wild be sts prey were reprodu ced by th e carvers o fb as-reliefs on t h e Euphrates in such a fash

n re U er e e l io t hat we a still moved by sight of their rage . ntil v y r c nt y

h e e e e a e a a e and h e t e Gre ks w r suppos d to h ve negl cted nim l ﬁgur s, t

a e e t m a b e e of th e at elie al of ree art st t m n y tru st r w ks G k ; but now, in th e e a- a ee e and A a we e e e e t rr cott groups from Gr c si Minor, hav vid nc of an ab t t o el t he l at and if th e e ili y mod ion , go cow, not hors , which

h e a redeems t e Gre ks from even this blemish on t heir suprem cy . Owin g to ignorance of t h e lower phase o f Greek art t h e workmen of t h e middle ages copied th e more conventional ﬁgures of anim al s and were prone to give t hem a heraldic st iffness rather than th e free

f - h a e a o e . Th e e th e a tle e e of ea It alia ction lif hors s in b t sc n s rly m st rs , th e and e e e e th e and a of a e l lions hors s of Rub ns, v n dogs bo rs Sp cia ist l e t h e D a t e S e are n o t l and ra e s ik utch p in r nyd rs, such iving cha ct ri tic likenesses as we have in th e present cent ury learned to ask from mas

T n ters ofth e craft . h e pe sket ch es of Rembrandt are an earn est ofwhat we now demand . In sculpt ure t h e horses of every famous It alian o fth e great epoch and more recently would not meet th e requirement s

t d a e a e a e h as s a e e e e for th e t eat of o y, b c us B ry et a st ndard of xc ll nc r m ent of th e horse in sculpture which is recogniz ed by t h e very m en who le a e at e e t a t a a a h as e th e diﬁicu lt of ast ppr ci his m ri s , s nd rd th t mad y

e t e for th ir ask hard r t hose who were his detractors and rival s . How ready artists were t o accept th e popular verdict on B arye is seen h t e e of . A e th e l a th e e by conf ssion M ugust Rodin scu ptor, th t up to tim

L I F E O F B A RY E T H E SC U L BT O R

In all ages th e artist h as been th e one whose work h as gloriﬁed

el b u t al a a le a h e hi elf h as r igion, w ys in subt f shion ms criticised his

l Th t al we till a re t e e r emp oyers . e ca hedr s s dmi in h ir ruin d and e

a e a e n ot at all e e e as e l a n e v mp d st t do r pr s nt, many hav pious y im gi d, saintly workm en on t h e Fra Angelico pattern who gave their lives

la for h ea e l of T e m t e . e e e en all to bor gr t r g ory God h r w r such ,

honor to their lives of self-sacriﬁce and self-obliterat ion But th e vast

a e e ul in t oo e a a t alli e m en a e m jority w r so s whom clos cont ct wi h f bl , r is d

a e l fﬁ e e e a e t e a e by pri st y o c to a l v l bov common humani y, br d cont mpt

a f h e e of el l and in some c ses a species o hatred oft prof ssors r igion itse f. There is t o -day an underhand war between th e priest and th e man

wh o l his e e e e of bui ds his church, works v stm nts, pours magniﬁc nc

t hi D e ul e s a e a wi . w color hrough st in d gl ss ndows oubtl ss, co d know

all th e A a wh o e th e a et of a e n e , ssyri ns carv d t bl s al bast r for shri s and

ala e e and e e oﬁered th e t h e p c s, in which pri st king w r to worship of

l al e al t e e as t h e e e e e t common fo k with most qu insis nc gods th ms lv s, f l

th e e e e e a t e em l e or e a e n sam r s ntm nt ag ins th ir p oy rs th ir m st rs, k owing them for m en no better than themselves and oft en far below t hem in

- h worth . We ﬁnd this antagonism t o day most clearly shown in t e

e at f d nunci ion o Free Masonry by th e Papacy . The tendency of strong artistic n atu res is therefore toward revolt

against th e convent ions ofreligion ; but it is al so ready to move against

th e e of e r T e e e e di sl k e e conv ntions soci ty and of a t . h y hav v r i d th ir

a h e t a as e as th e e . t o e e p trons, aristocr ts, w ll pri sts But in addition th s

ee a e t o e il e e e e r o wn ea e f lings, h rd nough r conc , th y hav in th i br sts a w ll

e e l li e e il e e Spring of t rna f that keeps them in a sens ch dr n, and oft n lea e a h e ds th m to actions and words that ant gonize t world, prompt to

a T t ke as an affront whatever runs counter to preval ent ideas . hese trait s are so common t o artists in all countries t hat t o mention them is

a commonplace . Barye was born in Paris in 1796 and felt th e second great swell of feeling arising from th e French R evolut ion about th e time (1815) h e

e a e i t o le a a th e a e t t la e e him a e b g n s r ously strugg g inst f t ha y b for , n m ly 6

H IS L O VE FO R B E A S T S S H O WN E A RL Y

a all o f e e e t he that of an obscure artisan in workshop, whos id as b yond ordinary would either b e repressed by his employer or claimed as that

’ n A s an a t h e ul e e employer s o w . r ist co d not lov conv ntions ; as an

ul of h e e -e e t he l e of r e artist h e w as f l t op n y d curiosity, ov natu which

t e his education of books al one represses in th e child . S rong nough in

n ul e his e t e h e e ev t l e o w so to br ak f t rs, turn d in i ab y to things ignor d and

T o n th e even sneered at by th e professors o f art in his time. his sur

ee e was th e e al l t o e th e face . But d p r down r fus of his sou acc pt for dumb creatures of God that degraded position as regards mank ind which was th e outcome o f th e religl ons that m en fashion on t h e plea

e h e ea f r He e t h e w l that t hey embodi d t t chings o Ch ist . turn d to i d

ea t in e e a e a r k e l e him re b s s, as pr c ding g s m ny a tacitu n thin r ik , and solved t o show th e world that in th e realm below angels and m en there

a r e e l e e e as is kingdom in which t ag dy and com dy, ov and hat , b auty

ea th e e a t a e b uty, and b auty th t con ins t rror have as good a right t o b e

e t t e e t a not d as any hing hat mor dir c ly concerns m nkind . Bu t h e could not ﬂy from men t o wild beasts like t h e old hermit s

di e Th who were sgust d with th e world . e artist c an not live in a

l t e h e e e l e e e of men le so i ud ; cr at s a so itud in a crowd d abod , aving it whenever th e mood changes and th e sight of humanity is n ecessary t o H t l . e ea t h e see e him sough wi d b sts just as child ks th m , by going t o e a e e and el His h ’ m n g ri s trav ing circuses . was t e tr u e child s delight

and l t a l of a in forms co ors, in h t ook rrested ferocity which causes t h e young to linger fascinated between th e instinct t o run and th e desire to

a e th e e e . e e e e e a h e D e a c r ss qui t b asts It is r cord d som wh r th t and l croix,

t s e t e e ou t e e bo h tud nts, bo h b ginn rs, sought a m nag rie at a fair in on e of th e r a e a a th e il T subu bs and p ss d m ny days dr wing w d b easts . his w as before th e sculptor began to make th e Jardin des Plantes his study

a ground . Both rtists have left imperish able results from these earliest t e D ela t h e e A A k a S e s udi s ; croix in sup rb Lion bout to ttac rpent, a water- color in th e Walters Gallery and t he Tiger and Serpent belon gin g H t o . e Mr nry M . Johnston, Barye in t he great bronze Lion Crushing a

S e e t an on th e e e ofth e e th e T il rp nt which s ds riv r sid gard ns of u eries . L I F E O F B A R Y E T H E S C U L P T O R

In some quarters it h as b ee n too hastily assumed that Barye owes his D T impulse toward t h e sculpt ure of animal s t o his friend elacroix . his

n Yet a h e e a e th e e a e o t . e is so of truth ow d him mor , n m ly ncour g ’ ment o f a fellow-workm an who saw th e meaning ofB arye s ent husiasm

n And D e i e a d st udied shoulder t o shoulder with him . lacro x ow d to

— Th e a e of e e Barye just as much fo r t h e debt was reciprocal . f m th s

men e la di e e eat a e l fe ll a a e a two , whos bors v rg d gr ly in l t r i , wi lw ys r m in allied and inseparable except by so much as in modern t imes th e dif ferent a e o f ar a e we al br nch s t they pursued must b e sep rat e . Wh n sh l ’ detect in Barye s water- colors a resemblance with th e ani mals painted by D elacroix we must beware o f supposing a superﬁcial connection

e wee t h e a e t D ela th e ul e e b t n t wo . Comp r d wi h croix sc ptor r main d stationary in t hat branch o f art whi ch was not sculpture .

T e e are ma e e a an d ﬁlle w t e ru as th y in ny r sp cts, bro d d i h a sombr

ea t e e i ar h n a t u b uty, h s draw ngs e in t e ature of work for horo gh

e a of h T e im erfec und rst nding t e beast h e proposed to model . h ir p tions are o n th e surface ; below t h e t echnical shortcomings lies th e power that cam e of a profound study and understanding of animals

i e . e e t e e and e e e . in th r bony structur , h ir ﬂ sh hid s , th ir mov m nt M Arsene Alexandre gives an anecdot e of D elacroix that means a

“ great dealﬁ Barye presented to Lefu el t h e arch itect o f th e Louvre

at e - o f e e e hi D e a x e e two w r colors tig rs, b for w ch l croi us d oft n to stop in admiration ; an d sometimes h e took th e trouble to m ake a rapid

et e . e a wa so a t e e a e sk ch of th m Occupi d in y ﬂ t ring to th ir m k r, con siderin t h e a e h h a a n a D e a g m st ry e s shown in p inti g anim ls, l croix

‘ ’ exclaim ed ! I shall n ever b e able to give th e curl of a tiger s t ail as that fello w can !’ A nd th e truth thus blurt ed o u t m ay b e observed

e e h No e e e a e in tw nty bronz s by t e sculpt or . artist b for or sinc B ry has known so well how t o render th e expressions that th e great and little m embers of t h e cat family register by th e sinuous movements

e t a of th ir ils .

A L Ba ’ . . e ar A ene Al x nd e P i ! Lib ai ie de L Art 1 889 . ry , p rs e a r , ar s r r ,

L I F E O F B A RY E T H E S C U L P T O R

l e and a e e t o leopards of India . Most chi dr n m ny grown p opl try touch

h e e e so a a t e e . O ne e ee t e and fondl th m, ttr c iv is th ir look oft n s s dom s

cat t it s t a e e e e a e i t a t e e tic , wi h s r ng slit y s, mor d ng rous look ng h n h s animals whose life is sustained by slaught er and whose prey perhaps

Th e a e of h as e . e e t t includ d man lion ss of n looks ﬁt for p , and many t he wolf an d fox family are as pleasing to consider as so many high

Th e ea l a e e en e e in e . br d dogs b uty of co or, sh p , mov m t and xpr ssion

is e le e a e a e ar t e e ea e e o s e . h s cr tur s nd ss, cribb d, c bin d and c nﬁn d th y

e b e t e r a al a e al e e or What must th y in h i n tur h unts, wh n st king th ir pr y gambolling about with hunger satisﬁed !

was e e ee a ea r e et e i e of e It th s sl k, ch rming cr tu s, tog h r w th thos th ir ’ e t t are e a ee t o a e a n a e s kind whos rai s rud r, th t s m h v ﬁrst dr w B ry

H - h e e t e a e . e t he far oﬁ l e t e t tt ntion caugh t ook just m n ion d in cag d ig r,

' and it wit e ea an d t l a o shows h lift d h d twi ching tai , dvancing t ward

n Th e al l h e a t e of a enemy . m e lion t oo h as been mode ed in t t itud

l e e t e i e a t h e l e t h e a e cha l ng , wi h h ad h gh r th n in of b ck, ang r showing in

h e e of th l - e ell t e th e ea t curv e tai . Lion hunt rs t us tha wh n b st is

a e t h e e a thi t he a e e a r hunting it c rri s h d low ; s is c s wh n bout to Sp ing,

o r e at a We t h e a t de a e a— wh n w ching for g me . ﬁnd t itu in t rr cotta

e e e e in the e a t e e ra e e a ea b e r c ntly discov r d L v n , wh r a d p d godd ss pp rs to

e t li and al T e r scuing a you h from a on . In Walking Lion W king ig r t h e scul ptor h as for artistic reasons avoided th e commoner way of carrying th e head and lent them th e dignit y they show in conﬁn e

e e e ea e a a t t he a o fth e e and e r m nt, wh n th ir h ds com up g ins b rs cag , th i

e are el muzzl s h d high .

’ This is th e attitude of th e lion in Gerome s painting o f Chri st ians

e e w ea h R a Th e a e xpos d to ild b sts in t e om an amphithe tre . p int r took

’ one ar e l and a e on a e e of B y s lions bodi y pl c d it his canv s, b ing c rtain that in so doing h e was workin g from nature itself o r perhaps was

et e o ﬁ a h e For t at b t r th n if took from nature . it is a curious fact h in capt ivity t h e m ale lion as a rul e h as a full er and longer m an e than in a

il e e e e a w d stat , ith r b c use o u r climate favors a thicker pelt or because in th e wild state th e mane is torn by thorns and sharp grasses or damaged

H IS F A T H E R A S I LV E R S MI T H O F L Y O N S

l He e we ﬁnd a e e l i th e in ﬁghts with other ions . r B ry d c in ng to go to

f l He a e t he wil e at it s e e e extreme o rea ism . t k s d b ast b st, v n if in some respects its beauty is really enh anced by captiv ity . It must not b e imagined that B arye saw immediately his pat h in sculpture or was at once convinced that a branch which is still considered

h e n im ea t e h e was a inferior was t o e for h to pursue . M n im p ssing through th e ordin ary hardships and discouragements ofa young artisan

e or a e a His a e w as a e e e s without prot ctors ppr ci tors . f th r j w l r of Lyon wh o settled in Paris and married th e daught er of an attorney n ame d

Cla arede e a t h e a t e -of- a wa are l ar p , p rh ps in m t r f ct y such things sti l

in And e and a e a a e o e ranged France . y t time circumst nc s w rr nt d s m

ou f h m hi ni l b e thing t o t e co mon in t s u on . Lyons or Lugdun, it wil

A e e e e e was a e of a a . r m mb r d, mor important city Gaul th n P ris shrin of th e old Kelt ic deit y Lug existed from remote ages there . Greek colonists moved up from Vienne and Marseilles and settled t h e place in hist orical t imes and th e Rom ans made of it a city enriched with

la a a a a e e ea t . C a A e C r b u iful buildings udius, M rcus ur lius and c ll w r n atives of Lyons . Its cit izens therefore had th e instincts and memories of e al e l e R e l an a th e a t imp ri pow r ik om itse f, d lso tr di ions of artisans and t s e o l u l A e e th e ar ist minist ring t ux ry of a l kinds . mp r physicist

D e Ju ssieu t he at al r Bu t e ea e e and n ur ist were f om Lyons . som y rs b for th e ul t a e e e e t e e and at sc p or B ry was born Lyons r c iv d a rribl blow, th

a e ar e ul a blow c m from P is , its succ ssf riv l .

1793 e a n t t h e C e and e e e ee In Lyons ros gai s onv ntion , h ld out s v n w ks

e e a at e t o th e a t e l T e t e e e b for it c pitul d fr n ic r pub icans . h n its ci iz ns w r

e e and e e It w as th e e slaught r d its buildings d molish d . as if antiqu rival ry between th e ancient capital and t h e moder n onl y slumbered an d t he overthrow of th e royal family ofFrance served as a pretext for t ak

t h e e e For e an a t ing Opposit sid in politics . Lyons, b ing industri l ci y,

a r al is n tu ly republican .

Be t as m a th e e hat it y , j weler Barye foun d Lyons a poor place for his

a e a er e 10 1 A 793 and t w a t o h e e . s tr d ft Octob r , , ook his y t conqu ring city

a e e e Cla arede is a e e e h e en de be h at M d mois ll p s id to hav b long d to t g s ro , t

11 L I F E O F B A R Y E T H E S C U L P T O R

sa t he l of l e th e e e e th e e ele a e is to y gui d awy rs, inf r nc is that j w r m rri d

n n h ne a h a woman o a higher social plane . But o t e o h nd t e times were so st ormy that wom en much higher in station m ade alliances with

’ m en of th e e e on th e e a t e e th e l e p opl ; oth r, por ionl ss brid from awy r s

b e e a t o m a a e ele d t guild might v ry gl d rry j w r in goo circums ances.

n i f ’ h e But we k ow litt le or noth ng o th e scul ptor s mother . S seems t o

’ r T e e b e all have left no impression on h e son s life . h r can sm doubt that

is a l a e e e And th e a e at h e a h e r y educ tion was n gl ct d . g which w s put to

a e ma a a o ne of e t e h a t e was a tr d y w rr nt two assumptions, i h r t t his mo h r dead in 1810 or that sh e did not have th e character necessary t o secure ’ f r r n h e a fa F e e t o h e so t ordinary advant ges o r nch boy s duca ion . The b oy was not fourteen when hi s father placed him wit h Fourrier n f l a a e a e o e e t e i e e e e . ngr v r military quipm n s, and at r w th Bi nn is a j w l r

th e one h e ea e e a e eel and e e al th e With l rn d to ngr v st oth r m t s, with other to make th e steel matrix es used for molding reliefs from thin metal s. He was six t een when France decided to give Napoleon one more chance t o recover th e laurels h e had lost and permitted th e con scrip

Th e e e and e tion of 1812 to b e m ade . e appr ntic was tak n assign d ﬁrst

t he r e a e e e a el e e e ele to milita y d p rtm nt, wh r m ps in r i f w r mod d, and

h a e A s e e e e b e e e e t hen to t e s ppers and min rs . th s g ntry us d to s l ct d from t h e taller and more powerful m en of th e army it may b e inferred

n W h that B arye was even then large a d robust . e do not know ow h e e th e e few ea a e a e l e a pass d n xt y rs ft r W t r oo, only it is c rt in that by

1815 l e th e Na a h e was ell a e of his e e es , whi in tion l Guard, w aw r d ﬁci nci as an artist and h ad set his mind t o become a draughtsman if no t a

’ nd at 1 1 f r a e a 8 7 h e w as i o th e e e e e . p int r, th by qu t j w l s b nch Wh ile serving in t h e National Guard h e made an acquaintance who set a a e l his o wn li a him on his ro d by good dvic , a scu ptor in mi ti

e a e a e al a e a e a t e al company whos n m B ry w ys r c ll d with gr ti ud , though it h as e e ade a a h F h e th e e a e n v r m m rk in t e world . rom him got ncour g m ent necessary to cause him t o make a resolution never afterwards

Ho w l k l broken . i e y it was t hat a resolution made by a m an like Barye

S T U D E N T O F S C U L P T U R E A ND P A I N T IN G

l b e a e e alf a e m a b e wou d c rri d through to succ ss, if it took h c ntury, y

e e m h i Th e ﬁr t ea th e inf rr d fro s portraits . m mou h which app rs in

’ lithograph in L A rt iste by Gigoux reproduced here represents Barye

- Th e n h l at thirty ﬁv e . next portrait a d t e bust by Mou in show him in

- m l e a e l e th e a e a t e a e oil . a idd g , whi rtotyp f r sup rb portrait by M Bonn t

a e at t h e end ofl f Th i h is B ry i e. e mouth, wh ch was ﬁrm enoug as a boy of e ﬁr e as t h e lif th e a ll tw nty, grows m r e of rtist unro s . About 1816 h e entered th e atelier of a sculptor of Italian birth call ed

a e a e Na le e m a b e ee e e Bosio, prim f vorit with po on I, whos work y s n h r and he e a He a e th e e e and Na l eo for th e l on t r in P ris . m d r li fs po n co umn th e a e e o e and th e on th e t h e C r du Ca el Pl c V nd m , chariot arch in ou rrous , ’ Bo io e . s s ani al are a ul a e of l es art icu Louvr m s p rtic rly d void natura n s , p larly convent ional after It alian precedents ; and it may b e that indigna ’ tion at his m aster s blindness set B arye y et more toward his favorite

1817 h e a . w study In s pursuing his purpose in another direction . Without at once quitting Bosio’s workshop h e entered th e studio o f

a t h e a e e el ﬁt of ela B ron Gros, p int r who drown d hims f in a m ncholy .

D elacroix w as ell t a e t e e . not his f ow stud n und r Gros, y ccording to M

’ D ar ent was e e th e a s ri a e g y profoundly inﬂu nc d by B ron spi t, r th r than

th e e l of a o r his e es e a h e a by r su ts his p inting th ori with r g rd to t rts .

All il e a e h ad n ot e e e or Na e He was a this wh B ry n gl ct d books tur .

‘ e e e t a e t o a a e and rem ained a e e e r s rv d you h s v his p rticul r fri nds, r s rv d m an l e li an d e e a l e-a e during if , pub c privat gri fs h ving, toward midd g ,

ee e e his e nt ea e Not d p n d sob r moods i o som ething very n r sternn ss .

e e t o a el t e h e e a Bu ﬁon b ing giv n musing hims f with o h rs, b g n to study ,

a e e e a and C ie an d a a iz e e t th e ani L c p d , L marck uv r, f mili r hims lf wi h

al and th m n H h a m s fossils ese e described . e studied t e p st and pon

e e e t h e a th e a a th e e and ea of t e d r d ov r l ws, h bit tions, dr ss w pons primi iv m en ; so that when it was n ecessary to place a sword in th e hand of

Theseus h e chose th e leaf- sh ap ed bronze sword which is found in Greek e a a as ell as f xc v tions w those o west ern Europ e .

a a elf a f r h e a e h e L boring p rtly for hims , p rtly o t m st rs with whom

e h e e l e and 1819 a e for e work d, long d for ib rty, in ppli d p rmission

13 L I F E O F B A RY E T H E S C U L P T O R to compe t e for a priz e awarded by t h e Inst it ute in th e dep art ment for

‘ medals . Success would have given him th e privil ege o fa st ay at Rom e .

He was e - ee an a e e a a e e a e -da tw nty thr , g wh n m ny cl v r young p int r to y sees his name cabled to America as th e winner of priz es for elaborate compositions ; y et B arye woul d have been overjoyed if h e h ad won so insigniﬁcant a competition as that for a medal showing Milo of Crot ona

a devoured by lion . That his own bent h ad no t then revealed it self to him w e m ay b e sure

e we e a e t m e e t a e an e wh n x min his dal, which by som for un t circumst c h as T at w as n ee l t t it ail e et e . wo not b n os , hough f d to g ﬁrst priz h by

Vatinelle an a t e e le ar e was , r ist conc rning whom history is sil nt, whi B y

e e th e e a e a e h as t he n complim nt d with s cond . Gust v Pl nch found in lio o n this earliest known essay by Barye th e germ of his aft er greatness as

’ h e ul o f th e a a h as a e him t sc ptor beast s . But critic s im gin tion c rri d

’ a a t h e t a th e e al h as e t a e et w y . On con r ry m d in g rm wha B ry s d ractors

e e — h Th e d ni d him t e power to express t h e human ﬁgu re . lion is in sooth hardly more than t h e convention al m ask w e ﬁnd o n many Greek

’ coin s though th e t earing of t h e ﬂesh of th e thigh by th e lion s claws

l th e l Th e e of th e e a . is well rendered . b st m d is Mi o Both hands caught in th e t ree-trunk h e h as undert aken to Split with a vain - glorious

e a t re t h e t ea l o n trust in his sup rhum n s ng h , urns his h d and ooks down th e lion with t h e air of a m an accustomed to vanquish t h e king ofb easts

n H a d therefore unable to realize that his o wn deat h is near . e is devis

n We ing m ea s to kill th e lion instead of giving way to desp air . shall ﬁnd about his human ﬁgures in later life th e same invincible calm of

a hum n superiority .

SIGNED and dated 1819 this medal of Milo and th e lion begins th e

e e e a ee f i win t h e reco m ch qu r d c r r o B arye as an art st . If it did not

e e of a t o e et an a e e b u t t at we p ns trip Rom , it did g honor bl m ntion , h ,

m a b e r e was fo r th e no t the l . T e e a e y su , Milo, for ion h r is a co rs work by Pierre Puget (1622- 1692 ) which treats th e same subj ect in

R E T U R N S T O T H E JE W E L E R ’S B E N C H

N ea h e e a a b u t t he e for t e th e . e round xt y r tri d g in, in s ction sculp ur , n Th e e was Ca ea th e e oft he Al ot m edals . subj ct in h ring Voic mighty,

’ l h e a e The and B arye s mode again showed his power in t hum n ﬁgur . head of Cain w as full o f shame and regret whil e t h e action of th e

a e e en The e was o ne ac u ot a e n o w nu body w s xc ll t. winn r J q , p rson

in h For 1821 t h e e th e of a known t e arts . subj ct was storming town

f H t e d b Al e a e t h e ea a s e o n t h e im o i h r In ia y x nd r Gr t, ubj ct which agination might revolve freely enough as it is extrem ely improbable

a e e e th e w la o r av e e ul th t w know wh r to n y , , h ing id ntiﬁ d it, co d by any

possibility reconstruct it s appearance or that of its inhab itants . But th e academicians were of course intent o n Alexander as a ﬁt subj ect

for sculpt ure.

Un at el t h e e for 1821 h as ee one fortun y d sign b n lost, for might ﬁnd it int eresting to see whet her by that time Barye h ad begun to turn t oward

a i al D e Ale e was o n e a or a n m s . oubtl ss xand r hors b ck in chariot . L emaire however took th e prize and p erhaps Barye destroyed his o wn

Ne ea as th e t f work in disgust. xt y r it w bro hers o Joseph bringing to

h a e a ’ Jacob t e bloody g rm nt as witness of Joseph s death . Another

compet it or nam ed Seurre knew bet ter how to hit th e taste o f th e

a e an l A cademy and B ry did not g et honorab e m ent ion .

Th e D uchess ofAngouleme p at ronized in th e old fashion a j eweler

t h e a e Sai t e a e e F e S ill in Pass g n M ri nam d auconni r . uch success drove

ar e t o th e e e h e h ad e t o ee B y back workshop wh nc hop d fr himself. In

1823 he e e e the o fFa e e e — nt r d shop uconni r, but comp t d once more in

T e e was e a e 1 2 vain . h r no priz aw rd d in 8 3 for th e subj ect of Jason

’ ea i off th e e F ee e and a b r ng Gold n l c , B rye s model s eems t o have

e e . Th e e ea h e was a t e et p rish d n xt y r not dmi t d to comp ition . Th e

wave h ad closed over him and h e h ad been rudely bidden by fat e to

’ e a at th e e for th e f A r m in b nch e r st o his life . nd h e did rem ain there

e t e w h e e e e le e a igh y ars, during hich mod l d numb r ss obj cts, m ny of

e a o n mall e al e . S e are l t which w r nim s a s scal om os , bein g part of ’ Fa er t o e a e ee e e re- e uconni s outpu ; th rs h v b n r scu d, model d and turned

t ari e and l e ale in o v ous ﬁgur s groups on a far arg r sc , thus acting for t h e 15 L I F E O F B A RY E T H E S C U L P T O R

la Wh o a was o ne o f th e le t ter as sketches . knows but th t this ssons o f adversity most needed for a slow thinker peculiarly lacking in t he sup erficial quickness which brings fortune if not fame to workm en in ‘ t h e a t fo r e and e t rifles l He e Paris, f c ory bib lots pr tty had to produc l f hi and cou d not dispose o s t im e . Yet besides th e small figu res for Fauconnier h e modeled minut e

e e e e t T S e are e e one pi c s which w r cas by amisier . om pi c s might

ea as a e th e E e an d a t th e t e w r ch rms, lik urop an mar bou storks, ortois

f im z l th e at e o e . t e e are e e min si O h rs, and thes unsign d, b ong to c

of el e e e t h e a e e e e e Ea le gory r i fs in bronz , lik L mm rg i r, or B ard d g

e Th e e e S e e hi b e th e l . s izing a rp nt, w ch will found in i lustration n rgy of e o f e e el e e e a a le a e as e e e som th s small r i fs is v ry r m rk b , m d th y w r by a young artisan wh o was kept close t o th e work-bench while ea hi s a l ea n e i s rning d i y br d . O e h as an e agle with outspr ad w ng exulting o ver the body of a chamois which h e h as driven from th e

liff Th e air l c . of deﬁance and t riumph in th e little head is Sp endid ; th e are eat e H wings tr d in a novel and audacious fashion . unting dogs at their work and running deer are found o n still other bronze placqu es

of t his period .

e e the a not et e are e e e In th s workm nship is broad as y , but th y r nd r d

a e t l Th e with d cision tha eaves not hing to b e desired . stork standing on a t ortoise probably belongs to a later period wh en h e dared to sacri

ﬁce e l Th e a i d tai s in order t o obtain th e du e eﬁect of masses . ch rm ng

and e t o o ell he S e e at ee t o ea of rabbits har s , as w as t at d C , s m sp k a

e a e e e h e e h e a e mor m tur p riod . But though minute in siz t ﬁgur s m d

le t Fa A nd e s whi wi h uconnier h ave each an individual ity . th y how

t e his a e At th e a e whi h r t st for natural history was t aking him . s m

p eriod h e was assiduously frequenting th e Jardin des Plant es for t h e

e a a He i e th e a e t o l ssons in n tomy taught there . v sit d dog m rk t study

and t e so h e th e diffe e ai hunting o h r dogs, that in later life e kn w r nt rs

of th e a e - of a e a a e et th e a tiff t h e e b dg r hound, l t a f shion bl p , m s , point r,

e e and e e e e To th e e a t h e s tt r r tri v r, and ﬁxed them in bronz . hors m r

e e a a e l b e e e t e e th e hi d wh n sp r hour cou d e had , in ord r to p rf c his y in

T H E T I G E R D E VO U R I N G A C R O C O D I L E true look o f that friend of man which man so rarely understands how

a r a or e e t o sa th e e m e t o dr w o p int carv prop rly, that is y, with tru ov

H h e e e e ies ment and air of th e horse . ow much proﬁt d by th s stud

' we shall ﬁnd when we come t o ex amine his equestrian groups . But Barye knew that in sculpture a living coul d b e wo n only by

e a e so we an e r th e Sa of 1827 of mod ling hum n b ings, ﬁnd nt y in lon a bust o fa young man and another of a young woman by th e student

e e e e not e e a a a ri of beasts . But th s w r d stin d to w rd him th t t umph among his fellow students and t he genuine am ateurs which always

t ll th e Sal precedes th e recognition of a new genius . It was not i on o f 1831 e h e was e a a e t h e e his , wh n marri d and f th r, hat mad ﬁrst

To a S lo h e e t l le Sa Se a e success . th t a n s n a fu l ngth int b stian in t rra

t t a e S e al e e sa a co , conc rning which a critic ( t ndh ) r mark d with tisf ction that at least here was a sculptor wh o did not make legs like a couple ofradishes ! He also showed th e Sketch-model of a bear and a group

f ff al and t o i e e a . e e d r nt nim s But . what gain d him applaus cri icism and t h e more durable meed of a Second Medal was th e Tiger D e

u rin a al of th e a hi e f l hi v o g a G vi G nges . With t s b auti u work, w ch

for th e e t h e e r e was bought Lux mbourg and is now in Louvr , Ba y w as at last launched as th e greatest sculptor of animal s th e world h as known . Wh at struck th e public and those artists in whom indul gence in a respect for tradition had not mortiﬁed t he capacity to understand t he

a was th e a in h e nl l a origin l, p ssion t animals . O y sculptors cou d estim te h e eli and s of e e n a e n t e t mod ng, mo t th m w re too stro gly bi s d in a o h r li direct ion to speak ou t in praise . But th e critics and th e pub c felt t h e

a e r s l le How e e le are Sp rk of truth that shon th ough thi itt work . r l nt ss th e big paws which have seized th e liz ard ; with what ferocity are th e ’ tiger s j aws buried in its ﬂesh ! Th e hind feet of t h e c at Show sympa

e all e r and th e l r e th e le e not e el th tic y th i claws, tai w ith s with p asur m r y of e of e i life. For th e e o e an e ating but d stroy ng tig r, m r than y oth r

ni s e th e ill f lli for th e l e of a e car vorou b ast, has fame o ki ng ov it r th r h a for l e t n food a on .

17 L I F E O F B A RY E T H E S C U L P T O R

‘ i a t Th e a of t h e Th e composition of this group s worth hought. t il

’ h e e and it s e t a it s crocodile wound round t e tig r s n ck, body turn d ow rd d e a th e a l a th e t e a a estroy r s jaws v in y sn p, form with ig r comp ct group

e a ai that displays a very attract ive outlin e of its own . Judg d as p nt

t h e e b e ll e t oo u ll e a e ing, d sign might ca d artf y compos d, but in bronz

u e The of ell was e e t this artf lness is prop r . trait composing w vid nt hus e in a e we e h e le arly B ry , and though shall ﬁnd occasions wh n was ss

in hi e a e a e h e elt th e ee e a al happy t s r g rd, b c us f n d of mor n tur posi

is a a t t h e e e t he a . b e e tions, it qu li y hat poss ss d to l st It may not d that

t ar e e ise th e design and execut ion are alike . Bo h e far mor pr c and

deliberat e t han in his lat er works .

I a a i hi le W TH th e fame th t w s won by th s group began s troub s . T He left Fauconnier an d set up for himself . wo t hings were inevi

as it a ea e a a n ew l was at a b u t t able as soon pp r d th t scu ptor h nd,

a l a t a n e l e ul u e was e more p rticu rly h t a w in of work in sc pt r op ning .

n an n e e wh o h ad O e was insti ctiv , unconscious opposition from thos

ee e e e th e art of th e a th e l e a e of th e a t b n taught to r v r p st, it r tur p s ,

h e l t th e a and e a a th e Rev olu t po i ics of p st, that r ligion g inst which

e so ll T tion had sinn d crue y . he other was that conscious and int en t ion al opposition which forms th e main burden of co mplaint for t h e

e on e To ea n e h French writ rs Bary . r d them o e might suppos that e

was th e o b e t v e of a al a es e th e of j c i c b s and conspir ci , und r attacks which h e languished for years unable or unwilling to Show anything in th e

! All e l Sal . e e e a e at e er n t u a on this s ms gr atly x gg r d, v y u na r l, a most

’ h ad a impossible . It comp rat ively lit tle to do with Barye s career until

h e e a e e a i th e e of th e S a e e b c m v ry much in f vor w th h ads t t ; th n, of

e t a a a f e e . cours , mud was hrown t Barye which w s me nt or! his mploy rs

th e diﬂi cult la e or a a it la th e int ol But main y y not in p rsons c b ls, y in

erance l e a i and r th e e e e of e u of it r ry m nds a tists, and in s nsitiv n ss r ligio s

a f ll i e a e o elt . To e p rsons to nything th t smack d nov y th m, sti quak ng

L I F E O F B A R Y E T H E S C U L P T O R

remorseless truth to n at u re gave to others that m ental g o o seﬂesh which

ell t e a e a e e e e e it b e t s h m th t th y st nd b for a work of g nius, wh th r a

a e - i l o f c rv d cherry p t or a Co ossus Rhodes . Gustave Planche was then his admi rer and rem ained st eadfast t o his e a e th e e t h e Sa e he t rly vi ws . In volum on lon writt n by him t cut tha ’ shows Barye s Tiger D evouring a Gav ial was cut after th e pen and ink

a e . e and e e all t he drawing by B ry It is strikingly dir ct Simpl , r c ing ’ i of a la b u t a T a e e a a . e e a e dr w ng Willi m B k , not Bl k s nim ls h r is grand ur

t t h e it t e e a e ee abou l l sk tch which catches t h e ey e at once . B ry ind d

e a at a e t s His i e a a tri d his h nd numb r of hing . draw ngs pr p r tory to th e clay model are int eresting for their pat ient workm anship and big

Hi - r ﬁn e . s at e a e e a e e n e e n ss w r colors in som c s s sup rb , in ma y cas s ,

n E a e th e - u t a th a e - of a d always individual . x min woo d c fter e w t r color

a t e a t and a e H ig r couch n im gin it colored in good strong yellows . is

are et e or a e e e so e oils som im s muddy, h v b com with tim , but among

em are a a t o f dee and t e ea t on a all al e th c pital p in ings r o h r b s s sm sc ,

He e a his as well as landscap e s like that in t h e illustration . ngr ved

o wn o n t e an d a a e e th e e th e S a groups s on , occ sion lly tch d copp r as in t g

H - Se e a Cou ar e e e e o n . e was e iz d by g , h r r produc d wood many sid d, and his long apprent iceship t o j ewelers gave him a practical knowledge o fth e means t o achieve perfection in statuette s which other sculptors

lacked .

VII

THE ﬁeld t hat was being marked out for Barye by circumstances and natur al bent offers practical difﬁcul ties which nothin g can entirely

Fa a e th e a e e le of th e cat -lik e overcome . scin t d by gr c and t rrib charm

a a h e h ad t a t e e a at e e nim ls, to por r y h m in bronz , r h r st rn uncompromis ing m aterial t hat does n o t lend it self to th e imit ation of fur without a

l o f ff Bu t is a an a e t o great dea art istic e ort . it in ccord with rtistic natur

e e al seek a difﬁcult mode of expressing itself. Wh n this mat ri is properly

treated it h as a sober m agniﬁcence no other metal c an Show . Gold is no t

a happy medium fo r large pieces ; Silver is bet t er t han gold but not half 20

B E A S T S H A R D T O D I S T I N G U I S H

h as h e ea a e e t e a so ﬁne as bronze . Iron t gr t adv ntag s of ﬂowing b t r th n

t e a e eri e e a of t he and a e mos m t ls, nt ng v ry cr nny mold contr cting v ry

e u e a e ea ea elt little when it cools . But iron r q ir s v ry gr t h t to m it ;

e e and a hi n h as et set t a e al . mor ov r it rusts, f s o not y its stamp on h t m t

av et e e on e a e a e it s a e But h ing d rmin d bronz , p rtly b c us w rm sob r solid l a eale t o a a t e art l e a e e a e ee ook pp d his own ch r c r, p y b c us bronz s h v b n

h e a e e a e e a e t h e e t a e t f shion th s m ny c nturi s among am t urs , qu s ion ros how to imit ate color in bronze .

a t h e la e a i a f n With reg rd to rg c ts t is a m tter o o ordinary moment . Thus t h e leop ard ( Felis p ardu s) of Asia and A frica h as a skull propor

t ion ed e th e a e as th e l . N th e a e li n e th e xactly s m ion ow m l q , provid d a e ul can b h w h e a e e a e . o t ordin ry v ri ty is sc ptur d, told by its m n But is

e b e e t h e e a e th e at e al e lion ss to distinguish d from l op rd, wh n m ri is bronz and there is nothi ng t o show clearly th e relative siz es of th e beast s ? A p ainting shows at once th e difference provided th e leopard is of th e

e e i a t t a e t h e e th e e a Spott ed variety . But v n n p in ings k n from lif l op rd

a e s For ea t he a woul d not always h v pots . without sp king of bl ck leopards of Southern India and Java o r th e snow leopard which bleaches

e e e are e a of l t h o u t al most to ivory whit , th r l op rds co ors running e gamut

a i e on t h e t ar difﬁ S bet ween bl ck and wh t which spo s e very cult t o see . o

at e e a t e a b e a e a e th v n in pain ing a l op rd might mist k n for lion ss . Th e t iger again is not readily known from t h e lioness if no color

all e for th e a a e t ffe e e lie t h e e ofth e t e is ow d, ch r ct ris ic di r nc s in strip s ig r . In o ur own land a small j aguar is difﬁcult to distinguish from th e ocelot and even in its markings is very like th e spotted leopards of t h e old ’ Th e l e a on a and e are e e a world . att r s m rkings b ck sid s g n r lly in bro ’ Th e a u ar s are k en rings . j g rosettes formed ofblackish p etals or spot s

Th e a a a - with a central spot . j gu r is lso said to b e lower built and more

e a th e e a e t h e latt e a e o n pow rful looking th n l op rd, whil r st nds high r its

n h a a a legs a d s more graceful carriage. But in nimals that vary so much in shape as well as colorat ion in th e same litter it is hard t o es

t ab lish an a le. Th e A e a a o r lle y hard and f st ru m ric n pum cougar, ca d

th e E ea a e t e and e by urop n n m of pan h r, som times by trappers mountain

21 L I F E O F B A RY E T H E S C U L P T O R

l or Am e e is no t o e as e th e ul a e it s ion rican tig r, sp tt d a rul in ad t st t ;

e of l a l hit e cubs are spott d . It is commonly a so id f wn co or with w

al e l S a i el et la i ee e . e s b ly, y b ck ind vidu s hav b n kil d om natur l st think that it can b e distinguished from a jaguar in which t h e rosettes are ob scure by its longer tail and by th e fact that t he j aguar h as relatively a

di r n e ea . e e a e o al a t t broad r h d But th s stinctions t w ys rustwor hy .

T e are e e t h e ea e le h y inconspicuous nough wh n b st is don into clay, marb o r bronze . Hence arises a diﬁi cu lty in deciding which great cat Barye meant in a given group ; for it m ay as well b e premised that most of t he cat a lo u es e a and e of a e and err e or le g , ss ys liv s B ry his works mor ss

e a e of a ﬂagrantly in t h e nom ncl tur nimals . In th e ﬁrst place o ur guide is th e other animal wit h which th e cat

th e b e one of th e a e of is in conﬂict, supposing group to v st numb r

a al e A e it s a a l a not b e combats . If that nim b longs to m rica ss i nt can l e or e le ar . ion, tig r tru op d If it is

an ele a t e a e th e e ph n x min ars, brow and back to see Whether it is t h e

A h e Af a Th A sian or t ric n . e sian elephant has relatively small ears and tusks comp ared with th e Afri

can ; its back is curved upwards

and is a ile th e its brow str ight, wh African elephant h as a brow cur ved

outward and a hollow back .

An elk or as we a e call it moos ,

e a a e t m a b e LEPHANT F E E G has so wid r ng hat it y E O S N GAL RUNNIN . at e a N A e o r B ronz . H i t 5 in e e gh , 54 ches. tack d by orth m rican,

a N t Eu ea N t A a or h rop n , or or h si n

ea t of e D e e e th e t e a e b s pr y . oubtl ss v n ig r ro ms in summ r through lk D China far enough north t o seiz e an e in Mongolia . istinctions in

h e e e t h e e we a e th e t e d er tribes are y et more diﬂicult . B sid s moos h v Wapiti or American elk ( Cervu s Canadensis) th e common deer ( Cervu s

CHAPTER Two

HE quarrel between t h e old and th e n ew h ad reach ed a head in

1 N n 830 . 0 o e ea ofall h e a t s a a , but l st t r ist and young rtis ns of Paris who thronged th e cafes an d lived an out-door Latin

li e we a dl eal e l e a e t h e e t e e t . W e e ee f can h r y r iz , cou d sc p xci m n hav s n h ow Barye took from th e scientiﬁc stir ofhis age th e tendency to ward a branch ofsculptur e overlooked by o thers and despised by amat eur s and

- W e h r l e e oft e h art critics . may fairly discover in t e tu bu nc his poch t e

’ o of e e le a s e ee a i al a rigin Bary s pr di ction for comb t b tw n n m s, his p

a e l e o f a a Th e e a of h e S le E i e e p r nt ov c rn ge . c rt inty t trugg for x st nc toward which science was groping must have b een th e deeper influence ; th e violence of party st rife and t h e clash of old beliefs and new gave h e e a t e mor sup rfici l impulse . It was somet hing very different from th e love of a fight which keeps

th e e t e e of -ﬁ ht s do -ﬁ ht s and e e ear- up xis nc cock g , g g v n b baitings in

- . n One Am erica a d of ul l ﬁ ht s S a and S t A eri a . , b g in p in ou h m c may

24 N . 9 o 1 . A . L . ARYE A T 35 aft e a lith o a h b i u x B ; r gr p y G go .

T H E L I O N C R U S H I N G A S E R P E N T

’ say th at in Barye s case it was even a different thing from th e fashion among French p ainters to dev ise scenes of m artyrdom in which blood

A e e and torn limbs are far more prominent than is needful . n ar r analogy would b e t h e bestiaries or b east-books of t h e mediaevals in

e t h e ui e a a a e e e a r i e . which, und r disg s of nim ls, hum n b ings w r s ti z d

a e n o t a at t t at e fo r th e e en e of B ry was s iris , for un ly prolong d joym nt hi s a e m e a e a e and e works, unfortun t ly for his i m di t f m fortun s ; but h h a wa e e ul t e th e ea th e e e d his own y of r ﬂ cting in sc p ur s id s of p riod, a far e and e ee a dl b e a a as high r mor artistic way, it n d h r y s id, th n if, a

e e a h e h ad e l at t e e the prof ss d s tirist, crud ly and bo dly mpt d to hold mirror up t o th e world .

It a e a e e t w o a e th e e and th e w s born long th s m in curr nts , sci ntiﬁc

l a a th e a a of a ew e e e a t o socio ogic l, th t young ssist nt j l r drov onw rd his

A all l a e i appointed task . sm er artist but a bo der sat irist might h v t yp ﬁed th e classicist as th e hide-bound Crocodile and t h e Romant ic School as th e Tiger which held it s old enemy in its powerful young embrace

t e de e e t o l i we et a and in n d n v r oosen t s hold . But g no inkling th t such

’ a e e h h e h ad an was B ry s purpose wh n e modeled th e group . If y such idea h e was wise eno ugh to know that in reward for a temporary noto riet h e ul b e a e th e o ne a th e e y wo d bus d by p rty and soon forgot by oth r . And h e m ay have reason ed that in such allusions t here is al ways a

e a e e e t e a e e e t e for c rt in crud n ss wh n h y occur in pl stic art, b ing b tt r ﬁ t d

e literature . Wh n they do appear in p aint ing and scul ptures they are

a e a a e m en l e Wi r z pr ctis d by unb l nc d ik e t ofBrussels .

There w as tempt ation t o attach t o his great success of 1833 a m ean

of me at la at e e S ing so wh simi r n ur , nam ly his Lion Crushing a erp ent, which was at t he Salon of that year and ﬁxed forever th e n am e o f

a e as t he e e t of an mal T B ry gr at s i iers . here is a Shade of contempt in

we l n ot eel E l e a e F that word which wou d f in ng ish, b c us in rench ’ a al e a a e t e e a l e t o an a nim is a som wh t busiv rm wh n pp i d man , logous t o th e a u se a th e e a ofth e w d R e S a vulg r mong G rm ns or s Ochs , ind, Vi h , ch f

th e er of r a e and ul a m for minor t ms opprobrium du ing ng r, to our v g ris s

a e e in c lling p opl donkey or ass. Thus Barye w as an ani malier because

4 25 L I F E O F B A R Y E TH E S C U L P T O R

h e a e so t e of ea b u t t h e e wh o alle hi m so m d many s atu s b sts, p rsons c d a a ea it r e e as e a e lw ys m nt in an inju ious s ns , a taunt rath r th n a d ﬁnition .

A a t n e is o e a Bu t t here is t his always to rem ember . t un ing am ft n t ken up by those to whom it is applied and made th e symbol of t h e id eal

r n h e e toward which they st ive a d t e glory o ftheir party . Such w r and are th e e a o f t h e Net e a th e T e of ela th e B gg rs h rl nds, ori s Ir nd , Mug

th e ani mal h w u mps ofrecent Am erican politics . So word ier as through Barye become almost a title o f distinction and would b e in all likeli

a e e t Frémiet and Ca F e hood cc pt d , withou a murmur by in in ranc ,

E a e e and a a le t A e a e e not t a t h e dw rd K m ys P ul B rt t in m ric , w r it h t term al so implie s and might by some b e thought t o imply a lack of power to express th e hum an ﬁgu re . ’ Th e ea 1833 was t h e - of a e ee if we e a y r turning point B ry s car r, r g rd 1831 with it s sup erb Tiger D evouring a Gavial as th e point when his

ea ill - a e E di a a l st dy luck m d a pause. xtraor n ry cre tive ife possessed him

t t e so a h e let h a of e a a his p riod, th t t e world see t o o m ny his pi ces t

e and t a e t h e e al t a art onc , hus occ sion d v ry natur hought th t works of ,

e a a e ea e n ul not b e alu a le produc d with pp r nt s in such profusio , co d as v b

l 1832 h e e e a e th e as sculpture slow y wrought . In xhibit d in pl st r group that was t o change his fate from a youth of marked promise t o a sculp ‘ r h It was th e Lion tor either famous o not orious as t e case might b e .

a Se e t a e la e z e on t h e A e e des Fe ll a s Crushing rp n , pl c d t r in bron v nu ui nt

h a e of th e Tu ile e The t e of th e er e at in t e g rd ns ri s . Minis r Int ior own d t i t e of th e a e iffe e e ial articu h s im a proof s m group , which d rs in ss nt p lars from t he public statue and y et is n ot th e little study with th e paw ’ N o e as e e e . ofth e lion raised t o st rike . s cond w v r mad

Th e year before (1831) Barye was still cast ing bronze h as-reliefs of

all e ene a a e are a a en e e for o n sm Siz , g r lly squ r , which pp r tly d sign d r a

r f At t h e t e e h ad no e m e nt s to clocks o pieces o furn iture . im th y high r

e t t e ar a e l a e as o f an purpos , whils now h y e c r fu ly fr m d works art d fetch very respect able sums in t h e m arket when they can b e h ad

S ar h l a t n nd a e . e t e e e e a uth ntic uch proﬁ l opard, p n h r, ru ning stag,

- cat a r ea th e e and a e 1831 . gen et dr gging bi d, ch of four sign d d t d

L I F E O F B A R Y E T H E S C U L P T O R

a a a u W e ma h artistic e rthqu ke was at h nd in sc lpt u re . y b e sure o w ever that th e greater number ofth em set th e rem ark down t o th e s ame a at n ofth e th e e at affe t e a e t h e f n icism, spru g politics of tim , th c d to dmir

An ea e frantic daubs of D elacroix . rthquak nevertheless it was ; a h f 1 forerunner of t e heavier shock o 833 . Th e Salon of t h at year accepted t h e vigorous st atuett e of a stag

e d S t d th e Ca a e o f th e F e n born own by two co ch houn s, v li r ift enth Ce

and th e e e a C a le F e e th e F e tury, qu stri n King h r s VI right n d in or st

’ of a e e t at a t he d of e a e and all M ns, pi c s h m rk wi th Bary s r ng in probabilit y earned for him t h e p atronage of yet ot her great persons

e w as n ot l a t o a t a e e th e e whos favor a w ys his adv n g , giv n j alousy

h e e a e et e e an h which t d mocr ts f lt for pr nd rs d heirs t o t e throne . Th e Charles VI w as cast in bronze by th e wax process for Princess

He al a f h D l e o t e e of ea . Marie of Orleans . so s nt bust uk Or ns

Th e a a e a eal e t h e ari a e e e t h e new st g ch s pp d to stocr cy who, v n und r e e e e th e a i oft h e t a t ee th e r public, pr s rv tr d tions hun in a l nd hat s ms to tourist so highly cultivated th at t h ere could scarcely exist anything to

l r a a A s a t t e of b e hunted arger o more ferocious th n a h re. ma r fact n t th e t b u t t h e a is e F a e th e e o only s ag wild bo r hunt d in r nc , wolf xists h A h e ea n ot e e t e e . and t b r is unknown, n ith r is lpin goat

e e e e t h e t t a e of e t ea But th s w r not mos impor nt s ndings Bary hat y r .

T e e w as th e a n l e E e t of A a a ea a e e h r ch rmi g ittl l phan si , d d g z ll which

t ea th e e e of e e e n a e of t he Al brough t rs into y s s nsitiv p rso s, b ar ps an a ea a e ee r of di a one of ou r d Russian b r, combat b tw n a B uin In and

A e a a ea and m a e t e t a et e la t er ofa m ric n bl ck b rs, a gniﬁc nt li tl s tu t in p s

e o f e ee no t awil a e w e a a l h as hors pow rful br d, d v ri ty, upon hos b ck ion

e w t i all of t h e a of l it s alight d i h a spr ng, ction which is to d in ﬂying

n l T e e w as l as e e e ﬂanks a d tai . h r a ion in pl t r and a b ar ov rthrown by m ﬁ h a ill asti s shown in t e l t er ust rations here .

a e w as - e e et e e was th e e a of B ry but thirty s v n, y h r whol g mut his

e t a e t a e e e g nius s ruck with pow r and furious vigor, wi h g ntl n ss and

a e e e e th e ead a elle a e men t o humor, with t nd r s ntim nt in d g z th t mov d ea e e of e ae l e e a ia of t rs, with a knowl dg m di va dr ss rar among antiqu r ns

A T T H E JA R D I N D ES P L A N T E S

t h e e e e e and i l p riod, with a compr h nsiv instinct for grouping, a sk l in

a m an e a i al W l e t t o th e t e f shioning , dom stic n m s and i d b as s down minu st

et a ls t no of an a e an a e e or e hi s e d i , hat artist y g , of y n tion b for sinc tim h as ever surpassed. Here was a showing that woul d have alm ost justiﬁed any sculpt or in

a th t e a t of e a e t king from at im forth posi ion proud aloofn ss, an ttitud

f in iﬁ r n ill b e ee t a a e e e e e o d e e ce to criticism . It w s n h t B ry n v r pr sum d

He e o wn e . to hold such a position . must hav known his g nius But th e test imony o f Americans wh o knew him well duri ng t h e last decades ofhis life goes to prove t hat th e reserve which was always his charac t eristic l one a h e was a ul a l e was a natura , th t sing r y mod st man, and that only o n t he rarest occasions did h e let fall a word whi ch showed — — h e knew what indeed h e could not fail t o know his own genius .

THE S al on of 1833 accepted also a frame of medallions an d no less than six water colorsfwhi ch testify h o w h e had employed his tim e dur

t h e e a T e e e e ing y ars th t had failed t o bring him into notice . h r w r

a T e l of e al e Ca e l e a . e e c r fu drawings B ng tig rs, p ions, P ruvian jagu rs h r w as e d n e a e a e an o e a. a tig r d vouring hors , panth r of Morocco from Indi

T e e h ad ee ie at th e di des a e at a eli m ena h s b n stud d Jar n Pl nt s , tr v ng g

e e or e e e el e ri s, wh r v r s Barye could learn of great cats in their melancholy

e e conﬁn m nt .

The Jardin is a delight ful spot at a dist ance from th e busiest p arts

a t e - i n of P ris, whi h r nurse maids take th e ch ldren a d famili es of citiz ens

e t o e a th e f A e com whil aw y morning o a holiday. t pres nt there is lit tle chance of interruption by friends of th e artistic or literary

’ l and a e ea a far He e h l wor ds, in B ry s rly days there w s less . r e wou d Sit on a bench to watch t he act ion o f th e beasts at feeding tim e and

ri e t o t i a th e e e t a t e a e st v ca ch w th cr yon mov m n s n tural to h m , ft r

a t th e l l e D ela i was w rds put ing in co or, which with him , un ik cro x, a

e e o h ar S s t e e e e e e . s condary consid ration, far as sk tch s conc rn d ome

29 L I F E O F B A R Y E T H E S C U L P T O R times h e pulled from his pocket a lump ofwax and made a rough sketch of ea r h h o f a l a h d o caught t e angry or t e amorous curl a t i .

was l a t e l v a a t e as s t e It such chi dish, such n di u i n pr c is s thi hat gav to hands drill ed by th e hard labor with t h e j e welers and military ornament makers t hat marvelous rapidity which is n eedful to seiz e th e movement o fa l It is e h as a see t h e e e o f nima s . Bary who t ught us to normous siz

h f n T l Bu e a e al ee a e . t t e feet o tigers a d panthers . h y h v ways b n rg th e a e and ul of and e el e p int rs sc ptors lions tig rs, taking couns with th m

e e as th e a of e e e a e al al s lv s to c nons grac in mod rn tim s, h v most ways m e t h e e t e e ll e e e t a t e th e e ad x r miti s sma , v n small r h n hos of dom stic cat, whose feet need not b e large because it s food consist s of little birds and

h a f r i h e o f e t . a e e a t e e o e as e rod n s B ry r minds us th t p nth r, nstanc , f t

a e e th e a e ul e e t of i it unusu l bign ss, consid ring gr c f mov m n s wh ch is capa b l Th e ee le e th e ea e ee a e e e . Gr ks did not ss n r l siz of f t and h nds ith r wit h animals or m en . Th e stat u ette groups from Ionia show th e lion

A s m n e with enormous p aws . a rule en and wome in Greek sculptur

n have feet a d hands ofa siz e t hat moderns dare not sugge st . But Barye was not content with a knowledge of animals from th e o u t

He a e e u e e a as h e e e side . tt nd d s ch l ctur s on an tomy might ; wh n th y

He e b e h e se t e l eas a e a t . could had, dis c d wi d b ts th t di d in c ptivi y tri d to realiz e how t h e great ro ugh processes on t h e bones of a lion held th e e e a and th e e l was e th e ea e normous muscl s f st, what r su t wh n b st us d

e la e s l h e ir Th e was e ecu th m to nc it e f through t a . fur studi d for its p liari i a e o f it s a e a e a e el e t h e t es. e Wh t b com s pl n s, B ry sk d hims f, wh n a a e e ee et e el on a e a nim l li s curl d up in sl p , or str ch s its f wak ning, or gr p

e it s e e e or a a e t e a ? pl s with n mi s , st nds growling and l r ov r its qu rry

An cat or l b e ee t o ese e l a e o f t y dog wi l s n pr nt p cu i riti s his sort, but

e a e and ea av a a and l e b ars, p nth rs b sts h ing bund nt fur skins oos ly con n ect ed with t h e ﬂe sh often Show much stronger changes in th e lay and

l of e All e e e e e a e e . fo ding th ir hides . th s w r subj cts for B ry to pond r While doing so we may well imagin e t hose ﬁrm lips o f his to have set tled more and more int o th e strong lines of co ncent ration that steady thought usual ly carve s about th e mouth .

30 2 2 . NO .

H O RSE SURPRISED BY YO U NG LIO N

H e i t m n c e s g h y, i h

L I F E O F B A R Y E T H E S C U L P T O R

Luckily for Barye and th e world t h e government bought his Lion

th e Se e e e le for th e r e hi Crushing rp nt, thos r sponsib pu chas t nking to

e el e m a b e t e e was a l in t e th ms v s, it y , hat h r symbo ical group which h ir

t h l h al e h l a e was e t e t e e e . e party ion, m cont nts s rp nt It was ucky, b c us , a t th e t a e was n ot l a e ns s on th e l hough s tu p c d in any co picuous pot, but

a a e a e e e of th e T ile e e e few contr ry in som wh t s clud d corn r u ri s, wh r

e e e e a t e et e e a n e r l ee p opl w r p to com , y it stood wh r con oiss u cou d f l some of its b eaut y and experience a little of that strange mixture of

e e e eal and a e art is n a remors l ssn ss, r ism good t st in which fou d in m ny ’ Th e no t oo l e th e of th e sculptor s works . spot was t comp im ntary ;

a e at a e n e e i e e group was pl c d h ight u suit d for xaminat on , b ing consid r ably too high for t h e best view ofit ; y et at least there was on e place in Paris where th e great innovator could b e seen and after a fashion

e judg d .

A e i e e of l h was e noth r p c good uck for Barye w as t e casting. It don

by a famous bronze-founder n am ed Honoré Go non whose sons were al so

s ill e th e and th e e t ll e aci e e du e e a e th e k d in art, proc ss is tha ca d r p r , b c us model is wrought in wax and covered with a thick coat of plaster and

e ff l a lin e e e t o ea . Th e ax lea e e e e th n subj ct d h t w runs o , ving v ry d ic t

a h ’ e e m de by t e scul ptor s boaster exactly reproduced in th e mold . Obs rv in th e wood-cut of this group how t h e hair of mane and tail h as been

t h e e e he s e at th e se shown in bronze . Or xamin t pla t r cast Mu um

Ce al a Ne If h nz m an i an h ll w . t e b ro e s e e e in ntr P rk, York xp rt wi know h ow to ﬁl l every such ﬁne inward dent in th e mold with bronze

of t he e t le e le so e e b s quality, unb mish d by air bubb s, and p rf ct that t he Slow and unsatisfact ory chiseling of t h e cast shall not b e

ee e . Th e e e ui e ea ll is or e b e e n d d proc ss r q r s gr t ski and , us d to , v ry

e e F a f e. e was e e e ew o e . xp nsiv ortun t Bary in th s points, if in th rs

e ee e l e for t h e n l e m e Lif had ind d b gun to smi you g scu ptor, alr ady arri d

and a at e e far a e e t h e ll e f h r, but v ry from h ving scap d i s and ignomini s f e Af h o pov rty . ter such rebuffs as h e h ad w on t en years earlier from t e S alon it was a s u bj ect for congratul at ion t o have them accept so many

e a e n h e a groups, ﬁgur s , w t r colors a d m edallion s . But to av group bought

C H E VAL I E R O F TH E L E G I O N O F H O N O R

C e by government for a public site was enough t o turn his head . los on th e heels of this succe ss cam e th e decoration as Chevalier oft he Le gion of Honor with th e coveted right t o wear a small end Of red ribbon in th e

t e at th e i F e e t but onhol , sight of which ubiqu tous r nch s n ry is bound to

a t e at t e ti and e e e are oﬁered t o present arms . M ny o h r n ons conv ni nc s h e a e o fth e r d Th e oft h e hi s as t we r r e ribbon . e Princ blood was patron

ell as t he e a e for th e e a e t t a v al w Princ ss M ri , to Princ Roy l w n h t jo i — Barb édienne h as l e a et t e th e ea it s T . ittl st tu B r in rough, which M cast in bronze and populariz ed in copies that retain a good deal of

’ at a e l a w as a a e a e Barye s power . P ron g in high p ces bout to c us B ry to

e a e e t h e t t a le h e e e e und rt k som of mos no b groups v r produc d, groups, in t he of s e a e e e ee a e e Opinion om critics, which h v n v r b n surp ss d by th ir m aker but which also gain ed him enemie s for artistic reasons of th e

n base sort a d enemies by th e way of politics . Meant ime th e Lion Crushing t he Serpent was duly cast by Gonon and his two sons (1835) and placed in th e Tuil eries gardens h ard by th e A venue des Feuil lant s where you look do wn from th e terrace upon t h e

a ea l e ofth e a of h S T e e h as s il e one h rd cl n in s qu ys t e eine . h r it tood wh part y after anot her h as arisen t o call itself th e lion and brand its

t t h e f h e U a E t Opposi ion with name o serp ent . At t nivers l xposi ion of 1889 in Paris a cast from it w as given a very conspicuous place and another h as crossed t h e sea to b e treasured as t he gift of th e French

e e t o t h e e a Gov rnm nt M tropolit n Museum Of New York .

IV ‘ THE angry sneer o f a sculptor of th e period ! What ! are th e Tu i ‘ leries t o become a menagerie l sets th e text for much of th e ill-success

e a i a e t h e e e a Th e e e e a b f ll ng B ry during n xt tw nty ye rs . r asons w r m ny why artists and others who might have been expected t o admire were in th e a of the diffe en t h e t l e Th e e v a e art r nks in r t or hos i . cons r tiv s in , l e a r e eli e e al a e e a new it r tu , politics, r gion, w r in gener v rs to such departure as th e elevation of animals t o a level with man and th e 5 33 L I F E O F B A RY E T H E S C U L P T O R

’ e of e e e a a t a aid or e t xhibition th ir trag di s, p r from m n s nmi y, in sculpture as serious and materi al s as rich as those used for th e lords o f a cre t ion . But it was not onl y t h e animal in th e Tuil eries group that angered

e e e and e t h e t ea e th e e nal a o n som obs rv rs, th y mos l rn d, prof ssio s, in f ct, f h whose words even th e professed critics o art ad t o hang with respect . Th e sculpto r who uttered that indignant witt icism w as most probably will ing enough to see th e Tuil eries peopled with groups of animals o n condition that they were modeled accordin g t o t h e canons in art pro

e e e a t e and el - a h e eall f ss d by hims lf, his m s rs f lo w workm en . Wh t r y

ea was a e al t o e t not th e e e e a al at m nt r fus acc p , pr s nc of nim st uary in t h e T le e b u t a al a His e as e m t e . dis ui ri s, nim s f shion d Bary odeled h m l e w as t he wa a e e th e et h e e fo r ik for y in which B ry compos d, m hod us d

a an as a al ea indic ting mane d shorter fur . It w hat red for technic r sons t an a e a t t r sl t d into wi icism which could b e understood by th e laity . Barye h ad not modeled th e man e and fur of his lion according t o

T e a l of rules . h re is ook slovenliness t o those t rained in other m ethods about th e big ﬂocks of hair which t o us seem so admirably e e e of h f l we a e ea e a e xpr ssiv t e rude vigor o a ion . But h v l rn d to cc pt

a a e o t he e bro d treat m ent of scul pture . We have b en broken in t id a

lea e a e by rning to appreciate broad treatment in painting. Mod rn p int rs have gon e beyond D elacroix in scorn of form an d extravagance o f

a n A e ha ne e e Préaul t and color tio . M . ugust Rodin s go b yond Bary , Ru de in a suggestive scul pt ure that employs planes and masse s where classicals insist t hat fair curves and delicat e precise outlines should b e

un The m n al a a a e ei a e a a t fo d . e Of gener iz tions h ve c rri d th r b nn r g ins

th e r of a l a a a at le a ray p rticu rists and , won m ny hard fought b t without

W e m a gainin g such a vict ory as would settle th e quest ion forever . y set against t he sneer o fth e scul ptor t h e remark t hat Rousseau th e land scapist made to hi s pupil Letronne about this very group of Lion and S erpent ‘ Th e m agniﬁcent lion of Barye which is in t he Tuileries has all his ’ fur much more truly than if t h e sculpt or had modeled it hair by hair .

L I F E O F B A R Y E T H E S C U L P T O R criticism was less in t he nature of a t ruth revealed than an utterance which emboldened th e scul pto r to assert what h e h ad already discovered

e and t o e e e for hims lf som xt nt put in action . W e may t hink of B arye at this p eriod as ﬂushed with courage as h e s o n th e e a ee a e th e e t men of tands brink of a gr at c r r, dmir d by strong s th e of la a e e a la e young school ndsc pists just b ginning th ir work, pp ud d

th e e e e i men o f t h e e e e o e by cl v r st, most or ginal pr ss, r c iving rd rs from — t h e royal family and great arist ocrats and cordially detested by th e old art th e h e i t e e . e t e l school in , by nv ous and by d vout In x rna things Paris is so L at in that w e ﬁnd it a contradiction when we learn that

a e wh o was al a e e e a é and el e a B ry , w ys taciturn, fr qu nt d c f s b ong d to wh t w e may loosely call dining clubs composed of friends and comrades

a l St e ar l e e him somewh t a ike in aims . ori s e t o d of B ary which xhibit in th e light ofa bad-tempere d an d sharp -tongued m an ; others t hat give th e immession t hat h e hid himself away from his fellowm en and passed a la e a of e in l T e er e e l e rg p rt his tim g oomy meditation . h y s v w l nough

u t e t a a t t for h e a e t e e e to p Spic in o h s y composi ion t d ily pr ss, but h y r pos o n a are la e a l a ee on e sa a found tions that m nt b y s ndy. Ind d may y th t t e e is alm o st t e T e a l th e e a at t h r no hing in th m . ru is prob b y r m rk rib ﬁ

d a e e e le il e e at t he e a t u t e to B ry , wh n qu stion ed as to his invincib S nc r p s s in rest aur ant s which form in France so distinctive a feature in contrast

’ to an unsocial side o f Am eri can life There are said h e two k inds ’ men th e al e th e e th e l a t e . Of , t k rs and listeners . I b long to t r

T e a of r e ea s i t e a l hat r m rk, cou s by no m n orig nal wi h him, is x ct y in H a t e e am t e e e al a h e n ot t al . e ccord with his mp r en . Lik G n r Gr nt did k detested so much t o writ e a let ter t hat most o f his correspondence was

a o n He e a a e. c rried by his Wife or his daught er . nc his utogr ph is rar His manners t o t hose who came to buy his wares and were sufﬁciently a a e t o a e it wo t at e e e le n e m t urs m k r h t nding to, w r simp , dig iﬁ d and

al t o t e th e il reserved . But though h e generally left hi s s es o h rs of fam y t e e w as t a e e h e a e no h r no r c of bad t emper about him wh n did pp ar,

ee e o e e ia t nl t a n e . sharp sp ch s, no mo din ss, no ung n li y, o y a constan s d ss He h ad learned th e lesson of th e t housand silences of which Emerson

I S A A L T E N E R , NO T T AL K E R

‘

ea . His we e e e l e e nor e tt e e nor em sp ks r n ith r boorish si nc s, mbi r d,

b arrasse n r ll e H d o . e l e e b e a e it w as t e a , su n ov d b st to lon , for h n th t

h e l ea o u t e t he le h e h ad set cou d r son b st prob ms himself to solve .

‘ Yet his n at u re craved th e voices of m en ; h e loved to hear his viva

e e ei al n o ad cions fri nds disput , without b ng c led o t d his opinion t o th e d ebat e ; an d h e probably found that his countrymen were for th e most p art quit e ready to welcome a man who accepted so readily t h e roll of

l e e a t a t r ist n r. It is s id h t he e is no b ett er means t o a reputation for

and a a I wisdom mi bility than a habit ofsilence . t is also said that few

e are e w t h T m p rsons gift d i h t e genius o f being good list eners . his ay

a t h e a a a e had a at e e a te e ccount for f ct th t B ry , who n ur p rh ps of n r found

e and t h e e a a w as l v e and e e in G rmany British Isl s th n P ris, o d ch rish d

b a m en e e at e and t e m e a e t o m h e v m ny of diff r nt n ur s p r m nts, who brought th e boon of his ears inst ead o f th e embarrassment of a

ton gue .

’ BAR S e al e e e e is m e e a t e YE p rson ity b ing moot d, th r roo h r for mat r

a m a ee at It will b th t y s m ﬁrst to contain as much fancy as fact . e

e 1831 h e e e th e ea it s t in th e notic d that in mod l d b r in rough , shown

e le th e Sa f 1 f a artotyp , whi lon O 833 accept ed ﬁgures o no less th n four

ear a e th e a th e Al e th e a and t h e A e a b s, n m ly Russi n , pin , Indi n m ric n ,

th e t wo e t - I m a ee last in a wr s ling match as t h e wood cu t shows . t y s m

t o u s a le e e at ral t o u se th e ea th e ﬁne r Simp and v n n u thing b r in a ts,

b u t t at e a e thi l set th e and h is b c us s scu ptor fashion, clumsy Bruin no

e e 1 h long r surpris s or disgusts th e dilet t ant . But even in 830 t e anim als

e e a e a w r r nk d by c st es .

E e e t h e C e e t h e a a o f E r e a v r sinc rusad s, wh n ristocr cy u op le rned

a e and l e t th e A at and ee th good m nn rs civi iz d cus oms from si ics Gr ks, e lion h ad been th e correct animal for sculpt u re and t h e ﬁn e arts gener

Th e all y . horse was allowed a humble position because h e b elonged t o

’ th e t and th e a e su ﬂeran fo r h knigh , hound c m in on ce t e s am e reason .

Bu t in t he art s horse and hound lost from t heir servile condition as

37 L I F E O F B A R Y E T H E S C U L P T O R

e a m an an d e al l a a l a e r g rds wer most a w ys b d y dr wn or carv ed , ven by

h A h e e e e el u a t e eat a t e . t t e b t e set gr m s rs b st th y w r wrought w l , ft r a

at e it a l ee and e t o al Th e a . e p t rn, w h sm l r g rd to br d non individu ity ox w as too much th e friend of th e rustic ; t h e ass w as an obj ect of deris ion ; t h e serpent was eschewed because paganism still lingered among th e pagani or rustics in a thousand superstitions th e b oar sm acked t o o much of t h e ancient heroe s before t he Crus ades who were no longer th e fashion ; th e hare w as cowardly and th e wolf had almost vanished with increas e Of populat ion during th e comparatively unbloody wars of th e middle ages .

I 1830 th e ea w as not e an e a o f e n b r nobl ylong r, though thous nds nam s in t h e various ton gues of Europe t estiﬁed at what a pit ch ofadmiration

t h e a e t e t Te t and T a a h ad e e r . nci n K l s, u ons ur ni ns onc h ld poor B uin

a t e th e e a e a t t Yet th e p eople were true t o him long f r middl g s, t ribu ing t o his fat restorative powers an d t o his ﬂesh th e prop erty o fmaking t he

f U al a t a th e t e eater courage ous . Olaus Magnus o ps a s ys h t in nor h rn a e h e e e ea a t ul a a t t l nds, conc rning which prof ss d to Sp k with p r ic r u hori y,

u of e th e ﬂesh o fth e bear was cured in large quantities for t he se soldi rs .

Many are th e Odd an ecdotes h e h as preserved ou t of t h e folk-lore ofth e

h a T th e e e ui is middl e ages wit h re gard t o t e be r . hus astut n ss of Br n shown in concealing him self under leaves u ntil deer and cattl e approach

ea en b e e e a u l e e e ea n r ough to s iz d , lso in his b i ding hims lf a wint r r tr t

t o e a e Th e a e el e e a ea e fat n in which hib rn t . nci nts b i v d th t b rs gr w duri g t e e ee an d a el t it was e h h ir wint r sl p, Ol us t ls us tha don by sucking t e

aw . T a a right p his ppro ches magic . Hu man int elligence was accorded th e bear in it s dealing with th e por

e it a t en th e a t e ll e Th cupin which c nno touch wh l t r ro s its lf up . e bear was b elieved t o re sort to a st ratagem not unl ike t h e ancient st ory oft h e m an e t ea and h e . e , his p b r t ﬂy Mounting a small tr e n ear t h e b all of

e th e ea was a e h i wn e t e a spin s, b r s id to f ll t e tree by t s o w igh x ctly across

’ t h e e t e e t he e e at le e Bu porcupin and h n d vour crush d pr y isur . t m an s belief in th e wisdom as well as th e strength and courage Of t h e bear

- — rises highest short of th e sup ern at ural in th e st ory of th e Swiss bear

38 N o . 26 . MERICAN AND ND IAN EARS WRESTL N A I B I G .

B ronze . H ei t 8 inc gh , % hes.

L I F E O F B A R Y E T H E S C U L P T O R

“ T a i a f middle ages . h t this s not a f nci ul vi ew may b e worth proving

th e a e al a t h e F an e one oft he e few from K l v of inns, pic which is v ry survivals down to th e present day ofth e lit erature of that Turanian race which once held all Europe from th e Urals t o th e Arran Islands Oif

e a and t he N t Ca e S l a a e m a Ir l nd from or h p to ici y, th t r c which for s

a e a of t he a o f E e e are e l rg p rt popul tion urop , though its tongu s gon

and it s legends appropriat ed by th e conquerors .

IN t hat epic and in th e songs of nations of kindred speech which

a e e e r o wn t h e ofE e e is t al h h v h ld th i in north urope th r no k of t e lion .

Th e ea th e l t h e elk and th e ei ee th e e and th e are b r, wo f, r nd r, hors dog,

h a e r i t e e s e e b e lse e e E o e . Th e e s e e nobl s, th y us d to wh r in u p b ar v n

He a e e h e ou r ian al a l more . r nks th r as did with Ind s who w ys apo o

iz k im is a e a e e o d t o g ed when they illed h . Bruin in c rt in s ns a g whom are at tributed some Of th e magi cal properties imagined in t h e constella

ll h h e e e a formu tion sti widely known as t e Great Bear . W n hunt d c rt in

r Th e ea las a e chanted in his presence before and whil e h e is attacked . b r

’ hunter s return t o th e village or farm is accompanied by words con se

a e t a l e e th e ll e of th e e e cr t d by r dition, so os r cit d by ki r b ar, chorus s

a e th e ill e l e a e enuﬂex ions e i of ch nt d by v ag rs, whi d nc s, g and oth r s gns f a genuine religious rite o a purely p agan character are performed . In th e present day a larger elem ent of humor h as intruded into these songs b u t th e serious foundation of th e ceremonies is abundantly

app arent .

e XLVI oft h e a e al a e e h ow th e e o e Run K l v d scrib s Vaino , ponym us h ro

e e a of F a e a e t o a t h e e ea and b n f ctor inl nd, und rt k s sl y gr at b r which

th e t a t al ene th e F n e th e Louhi, r di ion my of i ns, has s nt down from

He northland t o devast at e th e herds and devour th e folk ofVainola.

a ie t o e e - o d th e a a en a ppl s his broth r d mi g , m gic smith Ilm rin , for

a a a e of e h we pon c p bl pi rcing t e enchanted beast .

40 N o . 27 . STAND IN EA G B R .

n B o ze . H ei t 9 in r g h , 54 c hes.

T HE O L D N O B L E A N I MA L S O F E U R O P E

Thereupon th e skillful b lacksmith a m m a c m etal Forged a spe r fro gi s, d a t t e - n t ed Forge a l nce ripl poi , Not th e o e t th e t e t l ng s , nor shor s , in d b ea t Forged th e spear wo n rous u y .

’ n o ne ide a b ea w a s tt O s r si ing , w th e o th e Sat a olf upon r, h b a d an elk la le e i On t e l e y s p ng , n h e ha t a t w as u in O t s f col r nn g , u di Near th e hilt a roeb ck b oun ng . ‘ Here are th e old noble animals o f Europe before ideas of kingship

a t e e e at C lema e and t e and a graded ris ocracy w r ﬁx d, ﬁrst by har gn h n

ﬁr ml th e e a es u th e C e — ea l elk more y by upp r cl ss d ring rusad s b r, wo f, ,

m all a Th e ea lea e . horse and st g. b r ds th

e e th e l e th e e a ei Vaino then addr ss s ru rs of for st, sking th r permission ‘ ’ e e t o a e th e l e He and aid and b gging th m ch in up th ir dogs wo v s .

ee t o e Otso th e e l e -a le e - aw proc ds invok b ar, cal ing him for st pp , hon y p , l - ell - e e e e of a a e e e ight foot, w b lov d and oth r t rms dmir tion and nd arm nt,

a a u e e a T a charming him in such f shion to cq i sc in his own de th . h t stern ll f fact is clothed in a sort s o circumlocutions . Ot so is promised ﬁne

a e l e a a i e e e e qu rt rs, mi k, hon y and m gn ﬁc nt nt rtainm nt in Vainola.

’ When th ey hear th e strain of Vaino s bugle on th e hills t he people rush fro m their cabins and ask a serie s ofquestions in which t he feeling s of

l a e e An t he bear are most de ic tely consid r d . d Vain o answers

T e e e do I c m e e ci h r for o r joi ng, i in la i m - h S ng g, p y ng, on y snow s oes . Not the m un ta n - n x e e t o i ly nor s rp n , Com e s however t o our dwelling ; Th e Ill u t u s c min s rio is o g, Pride and b eau ty of th e fore st ; ’ Tis th e Ma t e m e am s r co s ong us, e ed with his ie dl - b Cov r fr n y fur ro e . We c m e Ot so e me i t - t l o , w lco L gh foo , Welcom e Loved one from th e glenwo od ! I t h e m n t ai u e t is we c m e f ou n g s l o , Op en wide t he gat e s ofentry Ifth e b ea t t u t r is hough nwor hy , Bar th e do a ai t th t a ors g ns e s r nger .

41 L I F E O F B A RY E T H E S C U LP T O R

There are formulas when th e bear is skinned and his ﬂesh prepared for th e ul A nd le all h o ar a e of h a ca drons . whi w e worthy part k t e s cred

’ banquet Vaino is questione d concerning Ot so s birth and deeds ; where

h e a e a e ea f l na a e e i upon nsw rs in v ry b uti u , y, lov ly pan gyric, in wh ch t h e conn ect ion between th e physical bear an d t he spiritual g od of t h e

e l is e e e e a a e He e lit so far as t o const l ation v rywh r pp r nt . push s civi y

e t t t h e e d ear was not t a l e ou t of ass r hat d a b bru lly ki l d by him , but re gard for t he p eople actually commit ted suicide by falling from a tree

’ and i al f n t a A s t o O so was ele l mp ing himsel o a s ke . t s birth , that c stia so far as his soul is concerned ; h e was fashi oned by th e daughter ofth e god ofth e woodl ands out of m at erials thro win from heaven into th e sea

a e ofth e sk and was a le th e t o o f e. by maid n y, cr d d in p a pin

Fai Mie i k i d a d t e r l k , woo l n hos ss, ’ T i m oSt ni da t e ap o s cun ng ugh r, T th f a m e t m th e ea de ook e r g n s fro s si , T th w it o f m the wat e ook e h e wo l ro rs, e d th a and w o t o et e Sew e h ir ol g h r, a d th e b un d e h er b a et L i l in sk , m m r -w d Basket ade fro b ark of b i ch oo , Bound with cords th e m agic b undl e ; With th e chain s of gold she b ou nd it

- ’ To th e pine tree s t o pmost b ranches . T e e Sh e c ed the t i o fm a ic h r ro k h ng g , Rocked t o life the t ender b ab y ’ Mid the b lossom s of th e pin e -tre e On th e ﬁr-t op set w ith needle s ; T th u n a w a u t re hus e yo g b e r w ell s n r u d, Thus w as sa cred Ot so cradl ed On th e ho ney -tree of Northland I th e middl e th e t n of fores .

ac e d Ot so e nd ﬂ d S r gr w a ourishe , ic e wit c e m eme t Qu kly g r w h gra ful ov n s, rt eet w t h c e d ank le Sho of f , i rook s, Wide m o t n ea of u h a d b road of foreh d,

- t his o e hi s fur b e e et . Shor n s , ro v lv

T e sh e f ee h er new -made eat re h n r d cr u , Let th e i ht - t a nd wa de L g foo w lk a n r, 42

L I F E O F B A RY E T H E S C U L PT O R

e al la e at e a e la e cat h e e and through Ori nt nds, d sp ch s v ry rg , as suppos s,

t h e a th e of ea t so ea e h ﬁnds tha has sl in monarch b s s, much dr d d by t e D l t e . A a natives . oub ss such things did occur Crus der clad in steel

m a a e e l or a le a ale e or E y h v kill d a ion op rd in P stin gypt. But t he

a set a e on e of e e ea t o n th e e and la e f shion was to pl c th s b s s shi ld , t r, in

h e a t e of -of-a e t o th e la f h t qu r rings coats rms, in ord r publish c im o t e wearer t o descent from a soldier who fought for th e Cross in th e East or perchance to boast t hat th e ancestor in question slew a valiant

S e e a e a la ee o dd aracen whos shi ld c rri d lion as a b son . It s ms that

a l a e it s effe t he e e t so i such thing shou d h v ct down to pr s n day ; but it s. We know t hat B arye su rprised th e m en of 1830 by his bears more

a e e e a e e a a o f n th n anything ls , b c us , wh n a c ric turist a sort by o means

ill - a re e a e of th e u as of e r is h e n tu d wish d to m k sport sc lptor oth r a t ts, drew Barye s eat ed at his modelin g t able in th e act of molding t h e

e t e of a ea . The ll l a hi statu t b r i ustration shows this ithogr ph, w ch

’ must b e regarded as a witness to Barye s fame rather; than an attack

Th r . e e e e a e e t e a e no upon him v rs s b low it v ry poor, but h y h v sting. Th e obj ect w as simply to provoke a smile and doubtless did so merely

' from th e fact that th e bear it self was generally regarded ah u n-noble

h ﬁne a at t k e n r animal hardly suited to t e rts . But wh must s ri o e fu ther

’ is t h e fact that th e caricaturist has found in Barye s face a likeness t o

u n e a e t n e t h e e e e it s that o fBr i . By x gg ra i g normously g n rous nos with

la e e th e t i e e the t was le e th e ! rising p n b low p wh r with sculp or b ss d, fun m aker h as managed t o bring t h e proﬁl es of man and beast into some

e m a . el e com kind of resemblance . W y doubt whether to anybody s this

d e e a e e e e t it is p arison occurre . But th r is coincid nc conn ct d wi h that

e a a e e et e rt of e . o fcourse nothing mor th n coincid nc , y p rhaps wo hy not ’ It relates to th e probable origin oft h e scul pt or s family name . The bear having once stood at t h e head o f all th e animals o fEu rope

e and a e was a a t e th e a e . T e e for str ngth cour g , f vori for n m s of boys h nc

a eat e e o f a e ofmen al e b u t r it ent ered into gr s ri s n m s, not on , of dist icts

- - e e S t e a ar e th e ea it s of m . and lands . B rn in wi z rl nd c ri s b r on coat ar s

h F a e e in th e e ela Bearn e in t e south of r nc , B ara southw st of Ir nd 44

T H E B EA R IN NA MES O F MEN A ND P L A C ES

e a al e S ai Biarma-l ea th e nam d from mythic princ ss from p n , and n r

A ea ar l e l and a a e n rctic s e p aces in point . B r in Prussi (Borussi ) b lo g

' Th o to th e bear . e title of Baron m ay be traced by various steps t t h e strong m an in general wh o for his valor and strength was

a e a ea T e e e a a a t a th e a e c ll d b r . h r is mor th n prob bility h t n m

a e is o ne of T e e m a b e t a B ry a host of such names . h s y proﬁ bly compared with a great number of n ames in th e present day int o which th e l or le o e o r Leu w e e a as t h e l word ion on, L w nt rs, ccording fami y

F e E li e e a a e a or H a i . d sc nds from r nch, ng sh, It li n, G rm n oll nd sh stock Th e pl ace-names into which bear enters m ay likewise b e compared with

a - a A nd m a b e t e e e pl ce n mes in which lion is found . it y fur h r r mark d that as a rule th e b ear names belong to an older p eriod than t h e lion names ; also that th e lion names are apt t o b e borne by t hose of the upper classes o r by such p eople as have assum e d upper-class nam es in o e t o e a a e e el e rd r s p r t th ms v s from co mmon folk .

ea a e v are al all la e ou r B r n m s for indi iduals found in most nguag s, but

e e of Eur h e e e all a t wo . One t e composit tongu s op g n r y f vor forms ,

e ee t o m h l n - north rn, s ms spring fro t e o d on Aryan languages of

E e e e e e be F n Bar e a urop and is r pr s nt d by piro, ro in in ish, in G rm n,

’ b o n N e a bea E Th h . e e t e t e n j r in orw gi n, r in nglish oth r, sou h rn, is fou d as a k ha S a ark tos ee u u at u F en . s in nskrit, in Gr k, rs s in L in, o rs in r ch ‘ Th e e e F 7carhu m eani the mod rn word for b ar in innish is ng rough, ’ hairy animal but t he old word for a beast that is st ill worshipped by remot e sections of th e Tu ranian races in A sia is preserved by the Finns

Pi u evil . we a e birc m th e ea le th e in r , d In Lappish h v , b r, whi in dial ects spoken by th e Koibal s and Karagasses th e word h as been

l e t o th e i app i d wolf, wh ch is more dangerous on th e steppes than t he

’ - e e li ea . Bit r and bu m? are e t e f r h e l for st dw l ng b r th ir rms o t wo f .

F -U e a a e th e N a t E a o an itz rs is n m orm ns brought in o ngl nd . Bj rn is appellat ion one meets constantly in th e Norse s agas ; indeed t here is one tale ofa prince of that name who was bewitched by a woman called B era sh e- ea a e him a h er a e th e e ( b r) who c us d to m rry , but soon occ sion d d ath of h er a an d e In v é e e ’ h Th e husb nd his broth r g at ach oth r s ands .

45 L I F E O F B A RY E T H E S C U L P T O R

e ofth e Sa la of e l is a e Bee- a famous h ro xon y B owu f c ll d wolf, a word th t

ea t e a a t a h e th e e - m ns no o h r nim l h n t bear . In w ll known mediaeval t al e

th e e a e e th e b o wa h on oth r h nd th r is Orson, y who s brought up by t e ‘ bears ; Ursula little sh e-bear is a name not unknown to th e Latins before

W ma and after Christ ian t imes . e y conﬁdently place t hen th e m ajority ofn ames like B arry an d Barye in t he great class deriving from powerful a a an d a t e e a e th e ea nim ls r nk h m mor particul rly und r b rs . ‘ a e was e e e e a m an th e e le a di e B ry in v ry s ns of p op , common sol r in th e a an a e t e t o a e e e e e e e a u n re w rs, ppr n ic j w l r, d f ctiv in his duc tion, p e a e e o f at a t m en F e wh o let t e t ntions , m mb r th v s body of in ranc o h rs

th e t a and t b u t ee th e do lking pos uring k p country upright, sound in

n e t h a He w as t e at a morals a d t eming wi we lth . it is ru p roniz ed by

e and e e o f th e al king, by princ s princ ss s blood roy , by Bourbons and

Napoleons ; but th e inst inct o f th e m an revealing itself in his daily l — e a e e e e as a ife his sob r industrious h bits, his xc ll nt r cord husb nd,

— im o f th e t and i e e . Th e a father cit z n was for d mocracy sculp or, revealing itself in t h e n ew ﬁeld of work into which h e entered with calm conﬁdence in his o wn wisdom against th e fashion and in deed th e

t of da w as t a t e e a clamorous Opposi ion his y , ow rd a sub l r d mocr cy in h A et t e e a e of a b e e a t h e t e art s . b r x mpl this f ct could not wish d th n appearance in t h e Salon of 1833 and succeeding exhibit ions of all those

a e of th e ea t a al th e o f E e for st tuett s b r, h t anim which history urop

e a e e ea h ad e t o e t e e t th p st ight hundr d y rs consign d unm ri d cont mp ,

l e t h e ea of th e r and a th e t e th e ilit whi b st cou t c mp , favori of nob y, h a al t e t a e e a e e all t e nim af r which owns, vill g s, nobl s h st n d to c them s elves was not only foreign t o th e soil b u t t h e symbol of an upper class

a t o t h e e e e e t e ea t an d more inimic l p opl , mor d s ructiv of w l h comfort

e ee a le o f ea t han would hav b n gion b rs .

ar e th e e e a t o f e e of e t e a e B y , d sc nd n som conqu ror b ars in o whos n m

a of t ea a e was t a e e ﬁl e a at that m rk s dy cour g s mp d, in whos pro a c ric urist

et e e a e e t a of ea e th e even d ct d lik n ss to h t a b r, surpris d world by deigning to employ his acknowledged talent as a scul pt or in modeling a

a e an a l ea . thoroughly unf shionabl , lmost ridicu ous b st

L O V E O F B A RY E FO R T H E B EA R

VIII

UND ER th e encouragement o f his succe sses in 1831 and 1833 th e

f a u ll He was al t genius o B rye p t fort h branches in a directions . mos too

l w The lit t e e e all see th e e t a e . pro iﬁc, as sh in n x ch pt r l b ar rollicking in

hi was t th e e e th e e e his tub, w ch bough by h ir appar nt to thron , show d at least t his t o such as were too fashionable t o admire that beast ! th e

h h He was not sculptor could touch t e comic string as well as t e t ragic . an al art e e th e abnorm ist, a lov r of carnag and blood, though such is

ar e e e at e a a t He c ul b e e l a a e a ch g r it r d g ins him . o d g nia in cl y and r is — smile y et also chill t h e beholder with th e ferocity of beast natures

la Th e t a engaged in th e st agony of exert ion t o escape death . s nding

ea e e e th e b r, too, has a waggish look, and from b hind pr s nts clumsy cumbrous appearance which th e unknown bards wh o transmitted th e Kal evala to us have touched upon so ﬁnely in the chant s t o honor Ot so t h e Ill t One F e - le and - ! a e e e us rious , or st app Light foot What t nd r not — in his littl e statuette o fa dead gazelle l t here again we see how narrow is th e view t hat perceives in Barye only t he cruelty ofcombat .

’ W e have not ed many reasons for opposition to Barye s work that were

e e t of ea e of h e l all th e indep nd n j lousi s t gui d , being natur y product of a e t ea l e i a t l al a t e t e nci n id s part y r l gious, p r ly socio ogic , p r ly conn c d with

h a e a false axiom s in art . But now we open t e chapter of nimositi s rising

th e e th e l t a a t es a e from succ ss of scu p or, such as it w s ; nimosi i which h v been t reat ed by essayist s and biographers as if they were t h e only

l - l wa as t e a r e m al stumb ing b ocks in his y , if h y spr ng from pu ignity

a W 4 h t untempered by re son . e m ay b e cert ain that up t o 183 t e opposi ion

a e was o t a n no a e B ry found unconscious pposi ion , h vi g individu l b aring and i e lt t he at t h e e e e e e th e s mply r su ing from situ ion, inv t rat pr judic s,

a e e of h f 1 e e t h e fashion bl id as t e time . Wit h th e Salon o 833 w r ach

e e a e was a a e man l e an a mom nt wh n B ry m rk d , no ong r unknown or

e e ar a merely cl v r tis n who h ad made a point by chance in a former S al on .

t e he e Le ée e u e du Sa de Wi h oth r artists contribut d a cut to Mus , r v lon

47 L I F E O F B A R Y E T H E S C U L P T O R

. 1 4 He w a a e m en l a la h T 83 . s b e e e e Théo hile l ud d y ik Gust v P nc , hor , p

t e Sil e e e e w e e e e a a th e m en fﬁ e Gau i r, v str . But th s rit rs w r pron to tt ck in o c as e r e are t o -da e fﬁ e o e e th e th i succ ssors y ; whilst thos in o c , t g th r with

e a wh o e a a e in h writ rs and rtists hop d for f vors , nsw red them t e public

t o r o e e th e e t e o wn a affe e prin s, m r oft n, having pow r in h ir h nds, ct d to

e th e a e h l a and ignor ass ults but ripost d by with o ding wards and honors, even by refu sing t o accept and exhibit th e work ofartists admired by th e opposition . Thus th e latter became th e victims of a polemic which was all t he more poisonous and without rut h because it revolved on matters of taste and dealt with abstractions which are removed from ordinary m e t . sa a a ee so ee e e b t s s If you y th t tr is any f t high, your stat m nt can e veriﬁed by actual measurement or by calcul ations with th e aid o f an if h inst rument everybody accepts . But you say that t e moon seems to

t h e e ofa e e t e it n l e o ne you siz quart m asur , it is qui w hi possibi iti s that person will say it is t he siz e ofth e head of a barrel and another that it is

a T e e is n o a eal e e ffe e e as large as a silver doll r . h r pp from th s di r nc s of opinion because t here is no way ofmeasuring th e apparent breadth of th e m l e o e e b e e e as th e di a e th e oon un ss s m conv ntion stablish d, such st nc from

f z l t Th e m an eye ofsome unit o measure by which its si e can b e cal cu a ed . who admired th e bears of B arye and h e wh o regarded bears as t o o v u l

f r l l e e o e gar and ridiculous o scu pture were not like y to convinc ach th r . Still harder to conciliate was the artist wh o thought Barye slurred hi s

h th e t r e la e e e e work when e made it broad. But mos i r conci bl w r thos who were ﬁll ed with th e demon of politics and decided for and against a

h was e e man according as their leaders gave t e signal . It from th s

- gentry that Barye was now t o su ffer far reaching harm .

CHAPTER THREE

HE D uke ofOrleans followed up th e favors already granted t o

a e n f s o th e e e B ry by orderi g a series o group t occupy c ntr , corn ers and sides of th e middl e sp ace o n his din ing t able

an e e a l e e e Ch enav ard ll e upon imm ns tr y of si v r, d sign d by , ca d a T h e l e r e . At th e es su rtou t . arg st was of course fo th e centr sid ” s o l le e a e e e hil e t h e e of t h e group n y ss labor t w r to stand, w corn rs

- N e e e e e e e b e e ll al e e e . c ntr pi c w r to grac d by four sti sm l r pi c s in groups,

h la e of h al and ee men th e t e rg st which contain ed t ree anim s thr ,

s all e t ls e e b e i e e for th e S a of 1834. m s , two anima , w r to ﬁn sh d in tim lon They exist t o -day as a proof ofth e trem endous power of work in B arye

d u ring t hose years of uncertain and then apparently assured success .

Th e e e- e e is th e H f h T H and e an c ntr pi c unt o t e iger . indoos Mohamm d Indians o n th e back of an immense elephant defend themselves against

e one of w a e h h e ea t e and two tig rs, hich cl mb rs up t e side of t gr t bru

alm e es th e o a on a le th e t e e e it s ost r ach h wd h its b ck, whi o h r has fast n d

la in th e le hi e a fangs and c ws ft nd foot of th eleph nt .

T s u l s e e hi e e o a e e- e hi tr y up rb bronz , w ch d s rved t b e m d lif siz and placed as a memorial of Barye in the Jardin des Plantes where h e

7 49 L I F E O F B A RY E T H E S C U L P T O R

d e e was a l e t h e and e e t h e Tui stu i d to such purpos , c st ik lion s rp nt of l ri h n ne ea B nz e es by t e wax process . Carved o its base o r ds ! ro e ’ ’ ‘ ’ d u n t an lu Fonda d Z H t l an l i ar H n é n n. je s s cise re. o e D gim l ers p o or Go o F h f h ’ l rightful is t e aspect o t he t iger th at seiz es t e elephant s eg . ’ S e e t e and ea t h h l e t e e t e e e a s . rp n in b u iful is oth r, writhing up ph nt s id

Trem endous is t he action of th e m en ; stolid but re solved is th e huge

ea t h e t a e as a b st, round which ﬁgh r g s round living island conscious

f h a f h C e l o t e cts o t e pigmies that assail and defend it . ont mp ating this piece o ne is t empted to say that it alone might sufﬁce to give an artist a e and a h ad a e e e e o ne h e a e f m th t, B ry n v r don but this group, would h v

e al t a a h e For ea e b en mos s f mous as e afterwards becam . in gr t f cundity

f e t t e e i A n a l r e ou t a e so th e n ew o s . s o e inv n ion h r this n i d iv s noth r,

’ m h l Th e l l of a e work of art causes en t o forget t e o d. mu tip icity B ry s

h i h o f groups made t e publ c value less t e beauty each .

At o ne ofth e ends oft h e table stood t he Hunt of th e Elk . Tat ars on

e a e th e e a vi n e a e t wo e it hors b ck pursu nobl qu rry, and ha g ov rt k n lks w h t e are t h e act of ivi th e a ofo ne e h ir dogs, just in dr ng at thro t with hang r

n h H h a a al ea . o e e e t e t t e e and sp r On sid ros un of Wild Ox, b st now most extinct in Europe and o ne which h as not been a wild anim al in th e

al e e e e Two a of t he t ee e usu s ns for c nturi s . w rriors ﬁf nth c ntury in t h e simple sort of helmet s and breast -plates of Francis I pur sue th e

l a h m a iﬁs Th e l h s e t e e t e ofse e a st . wi d bul , which alr ady got b t r v r l big horses oft wo hunters have been driven fairly upon t h e bull so t hat their

e o n a il e a l e forefeet ar its b ck wh e a third hors m n is fair y und r it,

e avi al e e . Th e e e is a e l e con his hors h ng f l n d ad pi c r th r ong, not b ing

li n e Th e is t he cent rat ed into a compact group ke th e e d piec s . third

th e and t h e u t th e H of th e ea a Hunt of Lion fo r h unt B r, a singul rly

l - of o n t he a of t he e and of we l knit composition , full rush p rt huntsm n

ﬁ u l h f h Th e is o angry ine ect a ﬁght on t e side o t e bears . group so g od

a e e h e - t e e t th e that for many critics it surp ss s ev n t tiger hunt wi h l phan , point being that Barye loved bears and rendered them with singul ar

r and t e e a a ea is e e no t u E e spi it, fur h rmor th t b r hunt a sc n nknown in urop , while a tiger-hunt requ ires in a Eur op ean artist a good deal ofimagina

T H E F O U R U NI Q U E H U NT S

h h e T e e are ea an d tion to t ake t e place of study from t e lif . h r two b rs e e a on a o n e a of th e t e o f a e s v r l dogs ; e huntsm n hors b ck, im Ch rl s VII, is about giving with a sword a Splendid right ou t from th e left side of

ea a e h a t a ea Fo r a ea t his h d noth r on foot s closed wi h b r . m ny r sons his

“ group may well b e ranked ﬁrst among t h e four pieces at ends an d side s ; but a careful examinat ion oft h e groups no w in th e Walters Gallery must lea the t a th e e e- e e t h e T e - th e t d to conclusion h t c ntr pi c , ig r hunt, is mos

no h Th e al t e a a b u t imposing if t t e closest t o reality . W rs G llery l cks

- F The o ne th a i Th e h as e t a e. of is f mous qu nt ett e . Lion hunt not l f r nc Bear-hunt was form erly in th e collection of th e lat e William Tilden

Blodget t ofNew York . The varied shapes of t h e nine g ro u ps 'are only u nderst ood when th eir e a e t ar a e an e a a a e r l tiv posi ions e considered . Im gin normous b roni l t bl bearing a su rtou t laid with mirrors and lit by brilli ant m ass e s of tapers .

T e h - th l e of h h n t e Tiger hunt occupied th e centre . On e ong sid s t e t able st ood the Lion -hunt and Wild-bull -hunt forming lon g rat her than

e of T a th e e e e a e a round mass s comb atants . ow rd nds on l v t d p rts of th e ra e - n ea - u e e e a t y w re th e Elk hunt a d B r hunt, ro nd d in g n r l o utline . Fin ally th e four duels of animals were t o stand on p edestals

- h e e The placed at th e four corners of th e Tiger hunt in t e c ntr . ar

a On e r ngement was thus to b e symmetrical b u t not too regular . who could appreciate th e novelty of th e groups and underst and all t h e learning intim ately fused with genius that was needful to have produced t hem might well lose his app et ite in regarding such master craft . D own to 1850 t h e arbit ers of th e S alon were t h e members of t h e In stit u t e from whose rank s a jury w as forme d to pass upon th e piece s

e h ad l e e e and e e submitt d . Som e were booky men who iv d so r tir d w r so little dreaded by their p eers t hat t hey were readily ele cted t o a

H e at e a m an o f a a t e i e and e e e e ous whos portals br ins , c iv l f n mi s knock d

a t e r e l t t o e o fart in v in . O h rs were musicians fo whos abi i y judg works

e t a t e T e e e e t he m en wh o h ad c r in cri ics xpressed deep contempt . h s w r

e h Sa He form rly driven Barye t o desp air and kept him from t e lon .

a ! L I F E O F B A R Y E T H E S C U L P T O R

e 1831 and 1 No had bri f favors in 833 . w it cam e t o something more

a a e al e a e th e R l th n B ry on ; it was B ry plus Prince oya .

It will hardly b e believed that such works of art as these were re

e t h e Sa th e ea 1 4 Th fus d by lon in y r 83 . e D uke of Orleans h ad seen them growing beneat h t h e hand of th e master and very naturally de

e t o see e e hi He a e h e ul sir d th m x bit ed . sk d t sc ptor to see that they

t a ea a e e t e e a e h e el t h e wa l migh pp r, but B ry , i h r b c us f t hat s a ready

a e of eal o r e se h e as e m rk d for a victim j ousy, b cau w de ply wounded by t h e t aunt s o f animalier and maker o f pap er-weights and mantel

a e t or e a e h e el b e u ndi niﬁed t o e e e n orn m n s, b c us f t it to g x rt inﬂu nce o th e r e e T e e h D e a r ju y, d clin d to act . h r upon t e uk m de overtu es and was

e ﬁn d th e th e u t u t de ta l surpris d to , groups for s r o b e were t o b e refused a a e ! He e l e t h e e of t h e S e dmitt nc hurri d to Louis Phi ipp h ad tat , and

e e at an a of e t no b gg d th such ct injustic migh t b e committed . But that monarch h ad all h e coul d do t o m aintain himself among diﬂicul t ie s far more import ant t han ebu llitions of ill-will among artists and t heo ﬁicials e e e a ist a e who pr sid ov r rt ic m tt rs . ‘ Wh at e r e l e t he l e dem would you r ma k d Louis Phi ipp , upho d r on o cratic principles of a throne which coul d only b e based on t he di vine ‘ t o f a a e a not e t e t o a e righ kings . I h ve cre t d jury . I can forc h m cc pt f ’ works o genius . Nothing coul d have placed in a stronger light th e insecurity of a throne which really at th e last resort rested on t h e bayonets of a

l e t a as E e e was on t h e old Europe revo t d and hrown b ck, urop th n ,

e e e t i th e e e e ofth e Re l and crud gov rnm n by k ngs, through xc ss s vo ution

Th e l e th e insat iable ambition ofNapoleon th e Great . scu ptor in qu stion w as a e t t art a m an th e e le and t he w as far r volu ionis in , of p op , jury from being a knot of m en wh o professed democratic sentiments or felt

Ye h e a of wh o et e e an n ew ea th em . t t combin tion artists d st d y id s and of ofﬁcials wh o enjoyed t h e opportu nity ofsnubbing a D uke ofOrleans w as t o o stron g t o b e overcome. There w as le ss excuse fo r t h e rej ection of these groups owing to th e

e e e e e at al l e e t ffe t e fact that th y w r ach uniqu , not pi c s tha could o r h m

T H E S A L O N S NU B S T H E D U K E selves t o th e obj ection of being bronzes which might b e repeated and

t e e as a e a e Th D a m a put in o comm rc an rticl of tr d . e uke was a popul r n

th e a t h e his at e e o n e e a a with Parisi ns ; king, f h r, show d s v r l occ sions a decided sensitiven ess t o th e contrast between public expressions of

a e and h e m a b e t a h a approv l of hims lf t e h ir. It y h t some of t e nimus that showed it self against these special groups sprang from th e Spaniel trait of courtiers t o detect th e hidden feelings of their m ast ers and

e t e he a e - Th e ea o f h mol st hos toward whom t l tt r cherish ill will . d t h t e luckless D uke by being thrown from his carriage in t h e street removed

a e and ee - e at of h a cour g ous k n sight d p ron t e art s .

e hei e e t was a e th e a a le D e th e Wh n t r r j c ion ssur d, l ndsc pist Ju s upr , last to surv ive of that glorious band whi ch number ed among t hem

e s ea and C a ene ee a e as h e a e en Mill t, Rou s u orot, h pp d to m t B ry w lk d p

n sive a d as usual alone .

He asked th e scul ptor how things went with him . ‘ ’ ‘ e ell ee e e a e e a e e e V ry w ind d, answ r d B ry , th y h v r fus d my groups

’ r h D f l fo t e uke o Or eans . And when D upre expressed hi s surprise and disgust th e other remarked

ea e e t a . e a e Why, it is sy nough to und rs nd I hav too m ny fri nds on

’ t h e jury .

Ar e e Ale a e nl t oo ile t el i a e t e M . s n x ndr is o y right, wh ling th s n cdo , to m ake it a peg on which to h ang a sermon u pon t h e cruelty of artists

a e ell a t u le ea e t 1833 a tow rd th ir f ows , r th ss cl rly und rs ood in th n it is a e e e e e are so m a t o l o f t h t pr s nt, wh n th r ny proofs , put it mild y, e b ad judgm ent of artists in positions of responsibility with regard to

- Yet e e e e w e a wa rem work by their fellow craftsmen . v n h r must l ys em b er t hat Opposition which seems t o outsiders th e direct product of

a e professional j ealousy is very often honest . It Springs from ignor nc in m en who have devoted themsel v es t o o strictly t o o ne v iew and o ne side of art ; who have in y outh at t ach ed t hems elves so violently and without

e th e ea ofo ne a t e t at t e th e e res rve to id s m s r, h h y occupy position onc

el t h e m a ul see t i e ei o wn h d by ! gram ari ns, who co d no h ng b yond th r

53 L I F E O F B A R Y E T H E S C U L P T O R laborious horizons and were by their very learning rendered incapable o fa e and e e e a a n a ppr ciating v n tol r ting ew vist in wisdom . It is ten able that Barye did n ot reach his highest point in these ﬁv e

T e e an e e of an groups . h r is xc ss composition d movement in some of them ; there is composition in the Wild Bull Hunt for instance

e el t o t e t h e e e a e t elf which l nds its f cri icism wh n bronz is r g rd d by i s . One may say that t h e dogs and One of th e horsemen are a detrim ent t o th e l b e e e e at a e e e e group, which wou d b tt r und rstood a gl nc w r th y

Bu t o ne h as l l th e l rat t e a absent . on y to ook at i lust ion to no what

e t e t at t a e t al a b e e e magniﬁc n outlin h composition k s . It mus w ys r m m bered t hat no o ne of th e present generation h as seen these superb orna m ent s of a dinn er table all t ogether and placed exactly as th e de signer

e Eﬁect ee e e h e r u int nded they should b e . s which s m purpos l ss w n a g o p

e a e el and e e all as on e a th e a im is r g rd d for its f, sp ci y ! f lls into h bit of agining wit h works by B arye! as it might look if enlarged to colossal

th e e o fl e an d a e a e on e proportions or Siz if pl c d lon a public squar , may explain themselves when once th e whole serv ice h as been brought together and made t h e decoration o f a m agniﬁcent t able glit tering

r n l wit h wax candl es and relieved by ﬂat mir ors a d si ver .

Th e e e w as a ed e e th e ﬂank ers for th e four minor pi c s hich, just st t , w r

- T e ea at e een t wo a a . An ea e ig r hunt, consist ch of comb s b tw nim ls gl

e a et t o l it or a e e pursu s bouqu in , striving b ind hurry it from pr cipic

ea A e z e a a th e at e cer to its d th . lion s i s bo r and comb is by no m ans

A an a el e . A t ainly in favor o f th e lion . leopard Springs upon nt op i serpent h as twined itself about a bison o r a gu n and tries t o crush t .

e There is som e uncertainty as to th e whereabouts of t hese four piec s .

a h h e é It is possible th t t e Pyt on Crushing a Gnu own d by M . L on Bonnat

' th e a e was recentl sh o wn in the a e t e des ea Ar p int r, which y G z t B ux ts

h a e A Se e is t h e u e e . It under t e mist k n title urochs and rp nt, fo rth pi c is unique and appears to have been m ade like all this set by t h e wax h process in which t e mold is destroyed . In 1853 wh en t h e D uch ess Of Orleans sold th e table service th e Eagle and Bouquetin went to London while t h e ot her piece s were scattered

T O O EA RNES T FO R F R ENC H T A S TE

Bu t oft h e e are n o w e e . among French amat eurs . four groups in chi f h r

and e a t n e ama of th e A strange moving d cor tion, truly, his in fold dr stru ggle of animal s against m an an d their natural e nemies ofth e plain and forest Th e ordinary diner-ou t of t h e pre sent day might ﬁnd such

e t e for di e a t we o we group s decid dly too s rong m at his g stion, l hough it to th e m arch ofscience that few now rej ect t he thought that all animat e

natu re is engaged in a ceaseless st ruggle for life ; p eople of education

a l a h h Bu t e have b ecome f mi i r with t e harshest fact s of t e case. imagin t h e effect upon th e m en of1833 wh o for th e most part were still beneat h th e spell of Jean Jacques Rousseau and his idyllic v iews of existence in th e woods and pastures ! Like some b aleful necromancer a plain artisan conjures up in most endu ring bronz e a spectre of t hat fero

b - a of th e e th e a e th e e t of E r e cions y pl y jungl , pr iri , Old for s s u op and the frozen morasses o f Siberia which is forgot while w e clothe o u r selves with th e Spoil s of th e chase and relat e an ecdotes of th e big

e e h e e game knock d ov r by t mod rn arms o f precision . The earnestn ess of Barye w as uncongenial to much that is uppermost

in French character and French ideals of tast e and good breeding. These astounding groups were Shaped not at all for a museum o f

a l r or th e all e of a e- r e e e e n tura histo y g ry rich glob t ott r, wh r th y might

of t a e e a and his t e u t e form part his s r ng bronz s from Jap n o h r c riosi i s,

— of all e a e — th e e al a of a e and t a but oth r pl c s for f st bo rd princ , h t prince th e Bourbon who might some day become th e Kin g ofFrance !

was t o o th e a r h It much for g y nation , o t e n ation that tries phil osoph

icall b e a . e il e y to g y V r y, in att mpting t o v ie with th e m akers of

a t cle de Pa t m an a e e th e st e one e e r i s ris his B ry show d r ngth, but in s ns

l o th e e a of h . s rud , downright vigor t e bear But t he jury that refused

t e ul t e e e on at l f n h m did not form a th ir obj ctions th ine o defense . O

th e ar t e e e e w as a th e contr y, h ir d f ns th t groups were not suﬂiciently ‘ ’ ﬁnished then they went on to prove too much and convicted t hem selves of ignorance or of insincerity by saying that these were not ’ l e ewelei s scu ptur but j work .

55 L I F E O F B A R Y E T H E S C U L P T O R

THE Sal of 1834 did n ot o e e e e o e e s ar e on , h w v r, r j ct th r s nding by B y , nor exclude at least on e bronze h e had made a few years earlier for the

l a Thi was th e l le e al e e e t D uke of Or e ns . s itt b ar r ady m ntion d Spor ing

l T e e e was th e in his tub ; it was cast by the wax process a so . h n th r elephant modeled and cast for t h e D uke ofNemour s and a horse in com

a l D f T e e was e b t with a ion o rdered by th e uke o Luynes. h r a bronz

e and th e e elle no w in it s e e e e b ar d ad gaz , mak g app aranc in bronz , ach a

H e e - l he e im e e e . e l se t Separat pi c a so nt som wat r co ors, but numb r and portance ofhis contributio ns were much diminished o wing t o t he rejec ' ’ f hi e D l A e l tion o s masterpieces for th uke s tab e. panth r thrott ing a gaz elle and a stag surprised by a lynx (plaster) represented t h e more ferocious side of animal existence as Barye saw it from th e sin gular

a a e - Th e v nt g ground Of a dusty workshop in Over civiliz ed Paris . Stag and Lynx were put in bronz e by th e wax process for th e D uke ofOrleans 18 6 and in 3 present ed by him t o Alexandre D um as th e Elder .

Th e d th e r was l w le a e ill isfavor of ju y a hard b o , but doubt ss B ry was st of e t l e e t o th e re n ow t he h ad not good h ar and ook d conﬁd ntly futu , tha

th e e t e on e l of only strong s writ rs his sid , but an imposing ist patrons in his bo oks . Yet to th e Salon of 1835 h e sent o nly a Tiger D evouring a Stag which was executed of colossal siz e in Ch arence stone and placed at th e l e f hi a The e l e s l Lyons, birthp ac o s f ther . mat ria cuts a i y but

r e s i T e h al o a e th e ha d n with t me . his subj ct e s c st in bronz by wax pro

e of el ll z e for s e T e wh o was c ss, but comparativ y sma si , Mon i ur hi rs already collecting th e works o f art fo r which his home in Paris became

Th e a e e ell for famous . s me or another bronze redu ction B ary us d to s o ne e and e e e e s li r hundr d tw nty francs. Bary p rhaps Show d in this o ta y 1 offering t o th e S al on his resentment for t he act of th e j u ry in 834. In this year fall s th e Lio n Holding a Guiba Antelope ofwhich t h e Wal ters Gallery possesses a specimen covered by a most beautiful golden

a I e 1 ’ e i e l bronze p tina. t h as an extra stamp reading Bary 7 v d nt y

V A R I O U S PA T I NA S O N B R O NZ E

a a h e a a eel e a e dded fter t c sting wit h st punch . Many bronz s by B ry

e r e al a carry such numbers punched on or underneath th i m t st nds . — They gave rise to a lit tle legend for this sculpto r had very e arly th e honor of engendering legends with resp ect to himself a nd his

s. T e e e e t he e t e a u e a e work h y w r punch d, so story w n , in ord r to ss r B ry

f an e F e e o their ident ity under distressing circumst c s . orc d by pov rty t o e a h e ea e at th e e i t e a put th m in p wn , f r d th brok r m ght substi ut copy for t h e genuine piece and took t his method t o authenticat e his own

T not e t e work and make it easy t o det ect a fraud . hough d s itut of a

Th e e e a at n t h e e e as it a a a . a c rt in found io , l g nd st nds is pocryph l m n

. in g of these punched numbers is Simply this ! Barye w as a very scru pu lous m an who pushed conscientiousness to lengths that gave him no

ﬁ h He d not a h e et l t e al t e t e . di it l nanci harm at im wish th t should forg , o r an e b e t ma e of e b rOnz e h ad ee y buy r in doub , how ny copi s a giv n b n

e e e o h n S 17 a e ea utt r d pr vious t t e o e t hen sold . tamp in this c s m nt that sixt een copies of th e Lion and Guiba Antelope had previously been

h n h a le and a a e . e m d In t e d e found numbering copies impractic b g ve it up .

e few e e re n A e a t h e a V ry pi c s a stamped above o e hundred . s r g rds p tina

e e th e e did l N e ofth e i t ee a a how v r numb r not ho d . on s x n might ppro ch the seventeent h in th e beauty of the patina which his skillful care h ad

a e the Spre d ov r bronze . For Barye was without a question th e most accomplished bronze

e th e l . i e th e a a e e a t e t e o f F e e found r in wor d L k J p n s r ists, lik hos lor nc

th e e e e Ce h e was e e at t in tim of B nv nuto llini, quipp d all poin s, though from lack of capital his workshop was not so well appoint ed as it

H w a n f h might have been . e s ot only a master o form e was a color

Th e e e h ist . s cr t of t e green patinas found on bronz es at Pompeii was

e a u e h pondered by him . Wh ther that green w s d e mer ly to t e mois t ure o f th e earth o r was also partly du e to coloring produced at th e

e the a e a e e e e of i mom nt of casting, f ct r m in d that a c rtain d gr e t is most charming t o th e ey e . A ﬁne color is t hat on a Walking Elephant

th e ill t a T e to . . . C e shown in us r tion which b longs Mr B lark , a light

n a. e are al a so is t h e ee brow patin Oth rs most bl ck, dark brown or gr n .

8 57 L I F E O F B A R Y E T H E S C U L PT O R

B arye understood well ' enough how t o give to bronze an even patina that looks like th e green varnish w e find on liz ards in metal h t H a . e e e from It ly But e aspir d o produce something finer . wish d t o catch th e efiect of a p atina of a green tint which lingers in t he crevices of a bronze and by handl in g h as been rubb ed from th e

N da h e e e e on e e superior planes . ight and y r ﬂ ct d m thods to nrich bronz es without making them inartistically bright ; many were his

l re al hi t ar e c e o f fai u s but so Signal were s riumphs . In any l g oll ction his e is l e e t o er e th e e ee e bronz s it on y n c ssary obs v vari ty of gr ns, bronz browns an d golden -bronzes that meet th e ey e to assure oneself o f his

o f h quality as a colorist of a sober but subtle kind . Some them gi ve t e eﬁec Of e e el e e ee e n e t a v ry clos v v t . Oth rs s m lik a rich brow bronz in

ul e of are e e U ll o e a ee which Spic s gold mb dded . pon sti th rs gr n patina is e e e e e t e e e e a e efe ro d t ct d only h r and h r , but in a g n r l vi w its f ct is p

u at a A ea a e i of s d ced without being ﬁrst ccounted for . gr t g th r ng work

a e as l e ea th e at t h e by B ry , such took p ac this y r in Spring Paris and a t at New l a le e th e a e u umn York, is va u b among oth r things for ch nc it affords to comp are th e same piece in it s diﬁerent shades and varieties o fpat ina . It is a study which Barye himself did but initiate ; circum

a e far st ances prevented him from c rrying it v ry . There is however in this direction a ﬁeld for th e development of l Barb édienne a e bronze surfaces which t h e founders in Paris ike M . h v

l o e e ee e e l le t o by no means explored . Co or in br nz statu s has b n g n ra ly f t

e a l e is e e a e and e m chance . Wh n pub ic statu cl an d it is scr p d rubb d fro t o and e t h e e are a p to bottom a coating appli d, r sults from which , th t for a t me t he e l n m r l hi t e ull and e i bronz ooks u co fo tab y s ny, h n grows d nds

n f by app eari ng soiled and covered with streaks a d blot ches . Study o sm all er bronzes will teach th e lesson that public monum ents Should not b e overhaul ed at th e end oft en years or so by irresponsible and ignorant

f ’ T e l employees o som e department ofa city s government . h y shou d b e under th e const ant care of m en who know how by judicious rubbings to bring out th e ﬁne st points ofa bronz e and keep these always promi

It l r n ent . wou d have been well had Barye put on record what a e the

T H E EA G L E FO R T H E A R C H O F T R I U MP H

e e of e e vi e a e for o n e l e wh o b st m thods pr s r ng bronz st tu s, no has iv d

e o h und rstood s much o n t e subj ect from direct practical research . Moreover h e w as able t o Observe for forty-two years th e eﬁect s of a

at e on n h T e l U a e e o e a e o e t e e . city mosph r l rg br nz , uil ri s ion nfortun t ly h e incurred by such studies th e ill -will of th e profession al founders in

e wh o ee e e t o th e e ee bronz , succ d d in giving curr ncy r port that his gr n f h patinas were deleterious to th e health o those w o cast and own ed them .

III

THE patronage ofLouis Philippe and his little prime minister did not

e n e e th e e m e of stop at orders for Small bronz s . It co sid r d mploy nt such ext raordinary talent s as Barye had developed for th e adornment ofth e

f r a e e w a a k public squares . In his enthusiasm o B rye th r s t l by M .

T e o f a e e e e th e la e de C e e a hi rs l rg ﬁgur s to d corat P c la oncord , p rh ps

e e e e e th e most important square of th e city . But th r w r d tractors

eri ear or th e e w as h whisp ng in his , nthusiasm but ﬂash in t e pan ;

e a is t in ead of e a th e la e th e e e c rt in it hat st d cor ting P c bridg was propos d,

e th e of t he a a e on f h S nam ly four corners p r p t two sides o t e eine .

Then th e proposition fell to a group for on e of th e four corners ; but

e e no ev th r is idence that Barye ever g ot a commission even for that .

T e ff a Then there w as another scheme devised by M . hi rs to a ord B rye

a e o a T chanc t show his genius on a grandiose sc le . o Rude had been

e t h e e a of one a a e of th e Arc de T i e t o l giv n d cor tion f c d r omph , scu ptors

a i Th e t e a e ofhigh r nk but commonplace works th e oth er rel efs . li tl st t s m an felt that Barye was t h e m an t o put th e ﬁnishi ng t ouch to th e A rc

‘ ’ de Triomphe by a piece of scul pture in which prettiness and ﬁnish ed

a h ad t e i and le hi workm nship no par , som th ng grand simp w ch might gather up into it self th e superb idea of th e armies of th e republic

f h e f E sal lying forth and subjugating th e kings o t rest o urope .

a e was a a e t h e e e t . B ry sked to submit a design . B ry submi t d d sign

a la e o e of an Ea le e e t ee f It was rg m d l g , about s v n y f t rom tip to tip

of it s ea al t o n t h e war at e e outspr d wings, igh ing spoils of g h r d from

59 L I F E O F B A R Y E T H E S C U L PT O R

many n ations . This should symbolize th e Grand Army on th e top of t h e e l e . It l al s e F e ea n w y ﬁnish d arch Shou d so ymboliz ranc , scr ming

e a e t he at e e h er e d ﬁ nc to n ions onc subdu d, but soon subdu rs in turn, giving them plainly to underst and that what h ad once occurred might

a e a . A ol t o o h pp n ag in b d, bold a

e e ! T e a o e t em or sch m hi rs ppr v d, p

iz ed l e ll - — , consu t d, di y dallied and

all a e t he a ﬁn y g v up pl n , all eging t hat if carried o u t it would give Offense in quarters where France

not aﬁord t o ff could o end. Th e large model of t h e Eagle of th e Grand Army appears to have been

t e l l Th ut r y ost . e statuette of an eagle with o utspread win gs on a rock m ay perhaps b e a study for

N 40 th e Grand Army eagle which Barye O . .

E GLE AL IGHTING A afterwards wrought ou t o n a small Bro nz ' H ei t 1 in e g h ’ 0 ches' a To s e h sc le . alv over t e disappoint m e T e e th e an e for al l a nt hi rs gav sculptor ord r a coloss ion . But bout t hat too t h e shifty statesman managed to change his mind and th e co mmission was never ﬁll ed . This however was not th e ﬁrst scheme for th e decoration of th e Arc de Triomphe in a grandiose way which came to nothing in the council s

f li A l Chenav ard w as t o t e th e a o Louis Phi ppe . proposa by r at arch s

h at R e Na le th Titus did t h e t riumphal arch near t e forum om . po on e Great was to stand enthroned o n a chariot drawn by a classical span of

A h e e on e e e on k e horses . t t four corn rs, hors back how v r, not foot li ’ h e e of Ti e e t o b e th e efﬁ ies of Na le s t e and t h irs tus, w r g po on bro h rs

h e e th e l e Prince Murat . On t e ground about it w r to stand twe v

al f F l l a marsh s o rance ike t h e peers about Char em gne. Th e Salon of 1836 accepted th e Seated Lion which was afterwards bought by go vernment and placed in bronze beside th e postern of th e

L I F E O F B A RY E T H E S C U L P T O R

. To i e e h e a e e a a e s e e minds th s r solv dh r d with ch r ct ri tic dogg dn ss .

A t e 1837 h e e e e e e th e Sa u t th e e 1850 f r n v r Show d a pi c in lon n il y ar , when his exhibits must have astonished a great many people whose

e r e h e Sa ell o f f e a m mo i s of t lon f short ﬁ t en ye rs . Unfortunately for B arye h e h ad no rich capital ist who would lend him money t o embark as a sculptor of animal s for t h e p eople and take t h e

he e t A ae e a a al e chances of t r sul . M c n s of th t sort is in sooth Oftener t k d about than seriou sly forthcoming for m ention by th e truthful muse

H n a ul t th e of t . e ee e e a his ory d d c pital, but co d only g it by usu l

h i l f r i e a e e e o t s e e . D le m t ods , by m k ng hims f r sponsibl r paym nt oubt ss ifh e h ad a e th e e e a - o - at e e Sh r d irr sponsibl , h ppy g lucky n ur of som artists h e a e a e et th e m e and if thin t e would h v m nag d to g on y, gs urn d out ill, shrugged his Shoulders an d left his friends t o digest their losses as best

’ b e . was n ot a e l h might But such B ry s nature at a l . On t e cont rary h e strove wit h all his might t o win t h e ﬁckle goddess to his Side an d when sh e no t h e al l e see e t i would did in his pow r to his cr di ors r ghted .

A t 1838 h e a e ﬁr e e Th bou must h v st gon into d bt . e revolution of1848 scared th e lenders and t hey demanded repaym ent which Barye coul d

a Wh e e e e a e n not then m ke . n th y pr ss d for p ym nt a d insisted there w as

All i e ll e e . e a el an no scap his ﬁn sh d bronz s, his mod s d st ock in t rade

e t o a e a e a t and th e t h ad h w nt found r n m d M r in, sculp or t e bitt er gri ef of at all a l e if n ot a t e e a u e knowing th in prob bility S ov nly, l r d, st t ttes

e a e b e th e e . Th e ea i Sign d with his n m , would sold by cr ditors r ct on that always com es when work of a ﬁne standard is repeat ed in a poorer style

h f u struck not only at t e price o his works b t at his reput ation . It was no t till 1857 that Barye ﬁnally cleared his skirt s o fa venture into which pique at the jury ofth e Salon and a mist aken estimate of his powers as a salesm an hurri ed him . That melancholy which was noted in him m ay have taken root during h a One li e t o h a th e l t t e e l t ese trying ye rs . would k t ink th t i l bronz wo f

th e t we a e e e an a e was hi s wa e e in rap , of which h v h r utotyp , y of xpr ss H ing what a man o fhis powers ofsilence could not give in words . ow

h a a th e a ea t t at e e can b e e p erfectly h e s c ught gony of a b s h n v r tam d,

A PO O R S A L ES MA N A ND IN D EB T as it ﬁnds itself rooted to t he spot and lift s its head to utter a long dis ’ m al howl ! Even a wolf can have p athos under B arye s hand .

I d f s a e e e of t e l th e t was an o d sort o sale man B ry mad . Inst ad l ing people who cam e t o see himin th e ou t -of-th e-way Spot where hi s Sh Op and dwelling were that t his or t he other piece h ad been admired by

e th e i or t e h e e t t h e princ s and orig nal ﬁrst proof bought by h m, l f visitor to his o wn devices and app eared more u nwilling to part wit h his bronz es

ea e e l th e e was e h e th e ell e a than g r to s l . If buy r an amat ur found in s r

e a e e m eme or a e a shrewd critic . Oft n B ry insist d on i prov nts fr sh c st

h le ing oft e piece before tting it go . Th e financial difficul ties in which h e presently found himself involved were not lightened by his methods ofwork . Much thought and many abortive studies for a stat uet te or a gro u p went to th e final resul t and

e h e e e of hi r a e He was m eant im t busin ss sid s ventu e l nguish d. con scient iou s to a fault and feared more than anything else t hat work which

a w as no t up to h is ideals should leave th e Shop . Hence negoti tions that promised well were sometimes broken O R by what appeared mere whim l o n th e part of t he sculptor . What th e world wants in art as we l as literatu r e so called is a st aple article which can b e furnished in quan t i v a te e a h as a N m a t e t e . o w t h e e e f r a d m nd for it ris n s all r bronz r icl s ,

a t o b e e ea e a t e e eem the h ving r p t d lmos ind ﬁnit ly, s just things that mi ght b e supplied ; and so they are if th e founder is not pursued by

’ th e ea oﬁerin a l - a e f r of g occasion l y second rat e work . B rye s bronz s

e ﬁne e t a e Barb édien ne are produc d in a s blishm nt like t hat of M . guaranteed by th e stamp Of that bronz e-founder as articles always fully

r worth thei price . But Barye bronzes cast by B arye h ad a vari able

e e e i a e e a e t h e e a e and no l m nt wh ch m d som bov av r g others below . If

on e was ee e th e t o e e e a was e k n r than sculptor p rc iv wh t sup rior, no

o ne was o e e e t o ell e W e t h e a e t als mor s nsitiv what f b low . ﬁnd s m hing

n t h e a t a o f amo g rtist ar is ns Japan . Americans in Japan who try to cat er to a taste in t heircountrymen for Japanese articles above th e ordinary are m et by a singular inabilit y o n th e part of Japanese artisans to give t h em in quantit y some article

63 L I F E O F B A R Y E T H E S C U L PT O R

of i e e e le e a wh ch th y hav produc d an admirab Sp cimen . S y it is an exquisit e cup that t he int elligent cat erer for th e home m arket has dis ‘ H h a a covered . e summons t e rtisan and m kes a contract wit h him for six e s a e t o a e an doz n uch cups with s uc rs m tch, ach cup d saucer to b e t he e a t l of h e i Th e a a e t e e . e in his ea x c qua ity Sp c m n J p n s sucks br th, bows to the gro u nd and guarantees that by a certain date they Shall b e

del e e . The da a e t t h e The r iv r d y rriv s and wi h it e Ori ntal . cups a e — unpacked and not one is exactly th e same ; in the eyes ofth e Am eri can no one a ﬁn Th e i t is s e as the sp ecimen cup . buyer s indignant and e e t o a e t e e ar h e a r fus s cc pt h m, d cl ing t barg in null and void according

h h Th e a a e in t e of t e ra . e s e t to words cont ct J p n s ucks his br a h, bows

th e s l e am a l a u im l to ground, mi s ic b y, p cks p his cups and bows h se f H h I h e as e e . t is t e e e h away . don his b st for ign r who demands t e impossible because h e does not underst and th e natu re ofthe pe ople and h th e way Of t e native workman .

e h as of k e e i th e a a e e e e l Bary many points li n ss w th J p n s work r in m ta s,

t el ell e e u e e tha marv ous f ow who has produc d such wond rf l bronz s, oft n

a e e w we l t o b e la a e b u t l at orn m nt d ith a profusion ho d cking in t st , a so

It a if t e e e e and e t h e e ee art . s a e im s s v r Simpl as b st Gr k is B ry , sprung

h e al a o f the l a i E e a Tu a from t e prim v str tum popu t on of urop , r nian ﬁ st ratum very near of kin with th e main strain in t he Japanese com

h ad v r e oft a r e s pound, by i tu h t p imitiv kinship brought forth work of art which have a certain similarity in their mode of genesis with t hose — of the farthest Orient and a strong inner resembl ance so far as an

n e of al and es is e artist ic blendi g in th m re ism impr sionism concern d .

THE years ofhis abstention from th e Salon and endeavor to enter th e lists against th e practical bronz e-founders ofParis were full oflabor and

Th e D e a D oe th e e n successful creations . Lion vouring in coll ctio of

J e e a e 1837 h as e of ee a a C s . Mr . yru Lawr nc is d t d and touch s gr n p tin

and t e e . A S th e t e th e l t e e one vie here h r pic ur Shows, i tl obj ct is in w

T HE PY T H O N SW A L L O WI NG A D O E

le for th e l is all e th e doc is h er e horrib , ion ov r poor and hugging ch st ’ int o his mouth with a ferocity that m akes one s blood run cold . Its tail is raised wit h an expression ofenjoym ent such as o ne sees in th e

’ - - The t o an d fro movement of a cat s tail while it crunches a mouse .

Th e al e a le mane ofth e lion is treated in great ﬂocks ofhair . W t rs G l ry

l e St a e 1838 is a . h as a ittle List ning g dat d , which most charming bit

n Off w an al e t Th e stag h as t he fore feet close together a d gazes ith r ,

A e a a t th e a e e o ne resolute look . noth r st g bou s m in siz holds hoof in t h e air t a a a t e e e ea e t h e a wi h most ch r c ristic g stur , r dy to giv st mp which shall b e th e Signal t o th e family for ﬂight just so soon as it

n A e e a e shall have decided where th e da ger lies . r cumb nt p nth r with one paw on a small deer of Java ( Germ s mu ntjac! its j aws Open in a

of a n a a ea all di e it s e ll growl w r ing g inst any b st that sh sput priz , wi

he a e e a b e found among th e Lawrence pieces . In t s m coll ction panther of Tunis walking dated 1840 is remarkable for t h e thickness

f e th e al e h a dh e e t h e a of o its l gs, for in usu way Bary s a r d to f cts Th h life rather t han sought for grace . e smooth beast crouches on t e

To e h e it s i a l l a e . e watc , whil th ck t i cur s d ng rously this p riod b long als th e e m e ull e e a ea the ll on t he D e e o R cu b nt B s iz d by B r, Bu f nsive and th e ea ll of th e e al e e e R ring Bu , which Walt rs G l ry poss ss s ﬁrst

1886 the for 480 no w proofs . In ﬁrst was sold $ and is much more

. Th e e t a e t o costly bull b llows wi h p in and striv s rise, but aft er t h e

e of i et o n it s d le e e h natur his k nd must g hin gs ﬁrst. But th r t e bear h as o f it s e e ee and la r put much w ight, whil t th c ws a e buried in it s

Yet th e a victim . l tter h as plenty of ﬁght left ; appearances are by

ea all a h 1 t e ea No . h as a ﬁn no m ns in f vor Of b r . proof e dark

a Th e a t at of h ’ p tina. r icul ions t e bull s tail and the cordin g of it s

le are a e a e a musc s m gniﬁc ntly cc ntu ted .

Th e acme of t h e horrible however is reached in a long lo w bronz e

e 1840 N 2 o . t h e e ll dat d , of which proof is in Walt rs co ection . Here

has e do e and th e act f allo a python crush d a is in o sw wing it, e Th h ad foremost . e big ey e of th e vict im glazed in death is just about to slip into enormously extended j aws while its body is still

65 L I F E O F B A R Y E T H E S C U L P T O R

el e l e e e th e h d, but n g ig ntly h ld , in a gr at fold of reptile . Barye made a water-color of this tragedy of t he forest whi ch luckily fell into th e same hands as t h e bronz e and s u pplies th e colors that metals can not give without degenerating into a Species o fharlequin art we ﬁnd in th e t e e -a- s or s for mod rn bric brac .

In 1846 t he group of a Centaur peri shing under th e hands ofa Greek

e was e and 1848 it all ea f h ro b gun by was ﬁnished . I Sh sp k o thi s l t To h e a er . t same p eriod belong t h e specimens in t he Walters

A e lle of a e a and v ry co ctions a boar, Short sp ar st nding upright in H ‘ it s side . ere also we may place th e statuett es of Charles VII le ’ t e Bar ienn n . b éd e e ow e one e vic ori ux which M s lls in two siz s, v ry much la e a th e el a F e . C e t de and th e rg r th n mod by B ry harl s VI, Gas on oix

D e lea are e e t a s et t e o f eat e t not uk of Or ns qu s ri n tatu s gr m ri , but by

’ ea a He w m a al la e h e a a ll any m ns B rye s best . re e y so p c t R mp nt Bu

ul T H a an e e f R a . o . d p l d down by ig r, which Mr ich rd M unt owns proof, th e - e e of th e Z ia so all e for th e l e t of th e bas r li f Lion od c c d, ow r par

e t e n h column er c d o t e Site o f th e Bastille. This grand lion was t hought so well of recently that a plast er-cast Th w as demanded for t h e Universal Exposit ion of th e present year . e engineer who h as charge of t h e column refused to permi t a cast to b e

Hi ea re an e a t e e made . s r sons a interesting d p rh ps ins ructiv for thos h own fine e . h e on h e a e a t e a who bronz s On t e hand, maint in d th t t king o fa cast woul d in all likelihood injure th e bronz e by filling up th e fine

and at th e u a e o n th e t e e e b e n o cuts by scr ching s rf c ; o h r, th r would

The e effe of knowing what effect it wo uld have on t h e patina . ﬁn st cts th e e e e b th e e th e e e bronz , not only thos produc d y found r but by w ath r,

b e e T e e is en al e t h e ofth e might ruin d forever . his pi c Oft c l d Lion f Column o July . D uring t h e year 1846 D elacroix painted a b eautiful wat er-color that

a e one t nk of e a se e t e a now m k s hi Bary , lion with a rp n und r his cl ws

h n i e a la on t he in t e Walters Gallery . O e might magin it p giarism

T e e r as one m a t e b e e t e t a e uil ri s g oup, just y of n t mp d to think hat w t r

Bu t we colors by B arye were execut ed under t h e inﬂuence of D elacroix .

S T U D I ES MAN T H R O U G H T H E B EA S T S are now able to see that each was working independently ever Since those f early days when they studied an im als side by Side in th e fair o St .

h e a e Th e e e w as Cloud and t J rdin d s Plantes . sugg stion that Bary beholden t o D elacroix in anything more than th e emulation ofcomrades must b e absolutely denied . It is nat ural t hat biographers ofB arye have placed at th e end oftheir essays th e human ﬁgures and groups in which m an is t h e important

Ce a h i a a o f a h e fact or . rt inly e did make h s mark s sculptor anim ls ;

u we h a e ee was greatest in t he new ﬁeld which h e struck o t . But v s n

a ea e l of Crot o na S a w as th t his rli st known work, Mi o lain by Lion,

e e on th e a l W e a e t e hi s b tt r hum n side than th e anima . h v no d busts

‘ ul -le Sai ea S l and e th e e a a and a f l ngth nt in rly a ons , th n xtr ordin rily a le e ofmen e f h l - e l his b figur s in som o t e tab e service groups . In vitab y merit as an animal sculptor obscured that as a st atuary ofm en . But his human figures are m any and hardl y o ne o f them is insignificant o r

n H f a u ndig iﬁed. e seems t o have ever returned fr om his studies o be sts

an e e a e l a T an e a k e to unhackn y d, pow rfu , it ic vi w of m n ind, by xactly t h e sam e process of thought through which those scientiﬁc m en pass

’ wh o approach th e study ofm an s body and his p ast history on earth by way of profound researches into th e bodily composition and th e char act ers ofani al o ar and m s . It was by th e constant passage from n ature t t from art to nature that B arye arriv ed at such surprising re sults in th e

l t e ofm en ell ea scu p ur as w as b sts . The ancients made fable s of various enigmas in th e world and gave

e -a t e a n th m li r ry form o th e o ne side and an art istic on t he ot her . It would puzzle th e profoundest antiquarian t o say whether myths ﬁrst

e li e a an We ma b e e a at b gan with a t r ry or artistic germ . y c rt in th at an extrem ely primit ive epoch myths an d legends were formed t o explain

ai l e as ell as e p ntings and scu ptur , w artistic forms creat d to embody

t Th e my hs . interplay of t hese two forces resulted in such ﬁgures as

ofAr h is e a of A a and th e ea Pan cadia and doubl , Marsy s si Minor, b r

e e A e e e A t he a e a a t h ad d rt mis onc worshipp d in ttica ; also str ng , f nt s ic

all e o f d E th e ll - g ry go s in gypt, bu headed Molochs and t he Cherubim

67 L I F E O F B A RY E T H E S C U L P T O R t hat stood wit h bodies of lion or bull and heads ofm en at th e portals of A al a e e e t t h e e e- ea e e of th e ssyrian p c s, tog th r wi h agl h d d ador rs

a ffe th e a e ele e o f b eneﬁcent ee t h e a e p lm, o ring m l m nt that tr in Sh p ofa cone a sacred rite which we ﬁnd carved on a thousand sl abs in

h e ofOld e th e E hr a e C e e wa e t ruins citi s on up t s . onsid r d in this y som

le le hr th e la of th e E a Se an c w is possib t ough by rinths gypti n , mitic d Greek mythologies which have hitherto remained deeply Shrouded in myst ery. B arye was p ermeated with th e scientiﬁc spirit oft he ag e but hi s ideas were n ecessaril y lacking in t h e clearness they might have gained lat er

t h e e and th e e e e e e e e a in c ntury, forms in which to xpr ss th m w r n c ss rily limited to those already known and at least p artially accept ed as beau

m n ul He l e ell e a tiful by e of c tivat ion . cou d not v ry w mod l an im gi

a e of la e e a nary Missing Link, th t ﬁgm nt a popu r misconc ption r g rding

e e o f e l He l e e le e of th ori s vo ution . cou d not v n, by using his know dg l n th e e f t n e th e ea e ivi g animals and r cord o ex i ct forms l ft in rocks, cr t

fre th e a le a a a e e en of th e ea a sh prob b ppe r nce of form r d niz s rth, whether human or not ; because to do so woul d not b e art but palaeon

l a h e n h e e a t e w as a va e t o ogy . But wh t did do o t l ss r istic sid to d nc a step from th e combat s ofwild creatures to th e ﬁrst faint app earance

f h n He o t e s u bj ection of on e beast by another for its o w proﬁt . seems t o have been t hinking of man at an epoch so remote t hat while h e was

no e a e e of th e th e e by m ans monk y, som traits now found in ap s h a n n He a e e a his d ot bee eliminated from his nat ure . f shion d p rh ps

e and e nl n ofhi e e i l t h e A e R bold st c rtai y o e s l ast b aut fu groups, p iding a Gnu . The gnu is an African creature which recall s on th e one hand th e combination of animal s found in th e art o f peoples of Asia Minor and t e t he ee t h e Ce C e a e Eu hrough th m Gr ks, such as ntaur, him r , P gasus, cephalus ; and on th e other th e lat est doctrines of evolution ; b ecause it seems t o retain th e t ype ofa creatu re existing in an age when th e pres

nt e h a e t an a e d ee e e . e e typ s not b n sund r d Its h ad is tha of nt lop , it s ee t e of t e e and a l e of horns and f t hos cat l , its man , body t i thos a 68

I D EA S O F EV O L U T I O N S U G G ES T ED

e l el h m a e h of horse . With som ik ihood t e gnu y b e consider d t e origin th e le m a n E e n fab d unicorn, which y have been know in urop o ly through

e awi t a e one of t wo an d a one proﬁl dr ngs h t show d but its horns, th t apparently jutting from th e brow ofa slender horse .

a e h as e z e o n hi e t a a e r e au e fine B ry s i d t s x r ordin ry figur , pa tly b c s its le and t a l a e ef l e e e ma b e gs flowing i m k it a grac u obj ct, what v r y thought of it s head ; and on its back h e placed an ape in th e act of essaying t o

f t h fall th e e . a a e a e o e a ee a et w o rid It is l rg p chimp nz v ri y, hich four

e o a li Th e o f handed race is clos st t hum n beings in int el gence. look

’ earn est m edit ation on th e ape s face as h e att empts this wonderful feat

e th e e e of an f h m A a e reliev s statu tt y suspicion o t e co ic . dmir bl in its

e - e a and o ft t th e of a and ee ap lik gr vity signs hough , positions h nds f t

Th e a a e t h e t a l o f are no less characteristic . long rms reach with e s i th e ehi and of th e a e t e e gnu b nd a big lock m n in fron , thus pr v nting an

h an At t h e upset from t e bucking d rearing o f th e surpri sed steed.

e m e th e e a of are ee t h e el sam ti oth r p ir hands, which in us f t, grip barr

n of t h e gnu ﬁrmly a d prevent t he ape from slipping to either Side .

We a e e e o e t e ea t le e e a th e l h v h r an bj c l ss b u iful, ss t rribl th n ion smit ing a python or th e elephant t ran sﬁx ing a tiger with his tusk . It is no l onger strength against strength and th e weaker to th e wall ! Here is th e reign o fbrain which h as opened that chasm bet ween hum an

n and ea t th e a e a e th e rt of C r bei gs b s s, which nci nts ft r bi h h ist

i e e e n all ea and th e e ar e e w d n d b yo d r son, which mod rns, B y among th m ,

t o e l e at e an T i e le t e at have sought prop r y stim d bridge . h s n g c d st u et e a few and ll e we a e fo r om e e e t e th e t th t own sti f r c r , is in s r sp cts qui

’ most remarkable work that ever em anated from th e workshop of B arye s

t o T S a a . e a e mind It brings us clos up such pieces s hes us l ying Minot ur,

e 1836 e e e al ear a e and t h e er b gun in , ﬁnish d s v r y s l t r, bought by gov n

e t h e a e Le als T e e S a th e m nt for provinci l mus um at Puy, o to h s us l ying

Ce a Bianor l e Ce a and a t e t e e and nt ur , cal d nt ur L pi h wh n ﬁrs d sign d, cause s us t o hark back to th e h ippo g riif in th e splendid ﬂyin g group of

e Ca i oﬁ A e a e t o t he eat e e of 1840 Rog r rry ng ng lic b longing cr iv poch . Meantime it may b e noted that in 1847 th e p ainter Jeanson succeeded

69 L I F E O F B A R Y E T H E S C U L P T O R

a e or Sea e n one of th e e in h ving th Lion in Repose t d Lio , Simpl st and

a e i e e a e a e th e e a e th e e most m j stic p c s by B ry , pl c d at ntr nc to Louvr from t h e a One l was e th e e e e e a e qu y . ion not nough ; gov rnm nt d mand d Of B ry

f h T ee e a duplicate t o b e placed at th e other Side o t e portal . his s m d

For him an artistic heresy which th e sculptor could not countenance . th e only possible comrade for th e Lion in R epose would b e another ﬁgure whi ch might n ot cheapen it s comrade by suggesting an indeﬁnit e number

e e and h an e e e Of Lions in R pos cast in a mold, mig t form Opposit n ith r t o o a n r is t h e e of th e symmetric l o t o o diﬁ erent . Th e lion which on l ft

e a th e a th e wax e e th e li gat was c st by ordin ry, not proc ss, and th n dup

a e e h a e e e a c t was mad for t e right side but reversed . B ry us d to r g rd

e e l n o lit e e for one was h e l not a e th s ions with tl gri f, if cast as wou d h v

th e e ee T e e e cast it, oth r s med t o him an outrage . his bronz b ast go s by t h e e L nam of e Phil osophe among th e artist ic fraternit y .

1 4 Le In 8 8 M . dru Rollin found th e Opportu nity of giving Barye some

A - relief . curat orship of plaster casts was vacant and it s small sal ary

th e ill - t e a se fe h ad a ea was a boon to s arr d man , to whom cond wi lr dy

e e e a l e f l Bu t let u s e a e pr s nt d arg family o chi dren . look at anoth r ph s in ’ e e e Bary s d v lopment .

FOR th e D e e e th e n es hili e the uk of Montp nsi r, you g t son of Louis P pp ,

l e one of m m t an scu ptor mad his ost successful s all pieces Of beas combat,

’ E e a T e One of th e e e a ee l ph nt crushing a ig r . l ph nt s hind f t is crushing t h e e ofth e e an e e t t o o and t h e e is r e sid tig r ; oth r for foo pins it , h ad tu n d

one e all h ’ Th e to sid to ow t e right tusk t o pierce th e t iger s n eck . mod eling of th e great bony fram ework of th e elephant is superb and its

e of e e F r e h e al conc ntration pow r b yond all praise . o Montp ensi r so pro du ced a stately p air of candelabra with t h e t hree Graces at t h e top and

th e r ee e e Be th Godd ss s who made of Paris their judge n ear th e foot .

ee are ee hi e tw n thr c m ras and at th e base three ornamental m asks .

a th e a e h - T e a ela a P rt of s m commission was t e centre piece . h se c nd br

e e t o t he e C r i OffAn n h H ff N e w r light Rog r a ry ng gelica o t e ippogri . on

T H E H I PP O G R I F F O F A R I O S T O

of e e e e e h e th e t e are these pieces w r v r x ibit d by sculp or, but th y not

h n unique like the ﬁv e Hunt s for t e D uke of Orlea s .

’ The hippogriﬁ exhibits Barye s skill in uniting t h e characteristics of

It a e- e on th e a a dol several creatures . is hors bird upborn Spr y which

hi h a a a h e sea as it l t e f al Th e p n s c st Skyw rd from t cur s i s l in a spir . o cean sympathizes with th e lover and th e h ippo griif skims th e waves

an l a li e h e i with eager ook in its outstretched he d k t e wis thing it s.

S e e o n a e t h e e of a R e th e cur its bro d back rid s confound r m gicians, og r

ala i e ee e th e a e of t h e h e h as P d n, pr ssing to his st l corsl t b r bosom maid ’ e e The lat e e ofth e of e e of r scu d . t r is an instanc purity Bary s conc ption

’ for Ario st o s e t of a i e a e a te woman, d scrip ion th t r d might h v w rran d a

t h e m elliﬂu o u s e e e not much less delicate treatment . In po m Rog r do s

He act th e handsome part and h e is well p aid for hi s coarseness . forgets

e a r a e th e e e v e b ut A el a e e a c rt in ing th t mak s w ar r in isibl , ng ic spi s it in time to save herself from a hero who is ready t o t ake advantage o f h er

i Th e ea e m a e e e h ow R e a r e t h pred cament . r d r y r m mb r og r, h ving tu n d e

Ore or a e e t e th e t hi s hi el m rin monst r to s on by Sigh of magic s d, and

a i a e A el th e vi t e e on his W e eed h v ng t k n ng ica c im thus r scu d ing d st , w as not fﬁ e el a e h er b u t e e h er e e su ci ntly d ic t with , cov r d bosom and y s with kisses.

’ Il de t e t t a ie all arena s ri r pun o, pon i p E b a a in a a e r l ie a a lz ri , pe e c l g lopp ; E porta il cavaliero in su la schiena

E la donz ella dietro in su la gr oppa . Cose privo la fera della cena Per lei a e e eli t so v d cata roppa . u e Si v a e d e mi l e b a R ggi r volg n o, l ci Fi e nel ett hi gg p o e negli occ vivace . '

Orlando m os . a/nto X o C ,

’ Lovely and tricky A ngelica is ﬁrm and well-grown in Barye s hand l th e a or l a R e ’s a ing, but not l nguishing vo uptuous wom n . og r h nd o n h er as h e l h er ea a t a a a back, ho ds st dy with ligh , ﬁrm gr sp , is m rvel

l ﬁn f o u s e o e t re . e e and e t e e ee y bit g s u It is prot ctiv y t nd r, but s ms t o

h r t a r f e es ect ul t . T e e no e as his e hold wi h p ouch h r is car ss in it, if lov for

71 L I F E O F B A RY E T H E S C U L P T O R

Angelica were more spiritual than ﬂeshly and therefore much ﬁner than

A t m a Th e w r and th e a - a t t e of rios o kes it . hi ling spray h rd riding t i ud

’ Roger as well as t h e direction of A ngelica s limbs aid th e impression of e e r hr h a tr m ndous ush t ough t e air . Th e hippo griif arose slowly in hi s mind an d it s forming may b e traced

a l l e e . f . b no o e eo A . a o in itt m morandum ook w wn d by Mr G . Luc s Paris

a a o e at le on t h e ifﬁ a the Ol us M gnus disc urs s ngth gr n, maint ining that

e e e as an e e le t o th e l e th e e anci nts conc iv d it normous ag shou d rs, but r st ’ li e a e a it s l s e e a s e n a h k lion, sav th t ta on w r bird . W know ow th t t e tusks o f mammoths brought from Siberia were thought th e claws of

a ea e e e a t h e t al e th e e this f bulous cr tur , and conj ctur th t s Of d struction of gold miners and seekers after pre cious st ones it was fabled t o make were spread in o rder t o frighten p eople away from th e lands where these are to b e found . But some ancient authorit ies speak of th e grifﬁn as

e e t e e e as ll o ea a e . a wing d hors , and h s Bary h fo owed t gr t advant g

S e e el e e t h e riﬂin not th e hi o riif ir John Mand vill b i v d in g , if pp g , and explained that it was exact ly eight t im es larger than a lion and coul d

e of th e Old carry Oﬁ an armed man and his horse in its tal ons . In som editions o f Olaus Magnus w e are shown a curious wood-cut of t hi s very ea a l - The of t h e A a a N th e f t perform ed by ion bird . Roc r bi n ights,

e t Mo a o fA a a th e oe i t h e Laemm er e er a is now x inct ustral si , Ph n x, g y th t

a off e an d th e i e le of eat known to c rry young childr n , d stort d ta s gr a a t h e ea m et e e wit a al and nim ls found in rth , tog th r h stronomic mythological fables t o form t he hippogriff which Barye h as sent careering so blithely across th e wave-tops bearing it s amorous fr eight

e n o f a Of hero and h roi e rom nce . Th e Nine-Figure Candelabrum wh ich belongs to this romantic bronze

’ is another evidence of Barye s force as a molder o f t h e human ﬁgure .

Bu t it m ay b e noted that his t ouch is m ediaav al rather t han modern . It h as lit tle of that marvelous deftness we ﬁnd in th e scul pture in vogue

a e h e one t en nowadays . R th r do t e ﬁgures impr ss wi h str gth and

a a l e e h ad e e t l t unch nge b en ss in t heir author . Bary normous v rsa i i y in

ne e e h e h ad no a a a il t t o th e h ofth e da . o s ns , but t quick d pt b i y fas ions y

L I F E O F B A RY E T H E S C U L PT O R

‘ o f a t e e e Le x e th e a a re cards p in d by M issoni r in Ri , f mous canv s p sent ed by Louis Napoleon t o Queen Victoria and Prince Albert of

Th e e th e e r e are alle e a of t he England . costum s Of b a hunt rs c d G rm n

a e a e th e a e e e ae l ea a . Th e ll s middl e ages . B ry n m d st tu tt M di va P s nt i u t ration in auto type is taken from th e copy in the Corcoran Gall ery

a ea b e e th e U e S e A e r of which pp rs to uniqu in nit d tat s . noth r po tion t h e Bear-Hunt which m ay b e assign ed t o this peri od is th e B ear Flying ' T ee ff e th e ea e T M i from hr Masti s , whil B r Ov rthrown by hree ast ﬁs which w as shown in th e Salon of 1833 an d will b e found earlier in t his book in an autotype print is y et o ne more part Of th e B ear

’ T e e are n o ea l e a e of a e et Hunt . h s by m ns unusua x mpl s B ry s m hod

n an i Th e Fa a in composi g d decomposing h s groups . wn Couch nt

an d D oe C a h He E e t are a t h e s ouch nt wit ad r c , which mong mo t

e l e e e are a th e Fa of Red D ee d lightfu Singl pi c s, lso found in mily r

he ﬁft ee ll t a We are e e e a a e h seen in t nth i us r tion . th r for w rr nt d in t e

e e e t ea was ele e a el and a r e e inf r nc hat ch mod d s par t y, th t Ba y , aft r

a t th e e e e an d t was a re a e c s ing composit pi c ﬁnding hat it dmi d, c st ach separately in order t o accommodate t hose buyers whose pur ses were too h i hi l l e t e . e e s a o t o e e e empty to indu g in groups But th r t s s r m mb r .

th e l at e r l S a For m any persons comp ic d groups a e t oo comp icated . uch

a e e t h e Elk -H affe e r e T e do t ngl d Sk in as unt cts th m unfo tunat ly . h y not lik e to give th e time t o unravel t h e m eanin g ofth e group and enjoy th e

n m n o action of so many animals a d e in frantic movem ent . In ther

e e and e e a e b u t are e words th y can thoroughly lov r v l in tun , worri d by

a l e a a e hi ee e Olf a symphony. With ong r cqu intanc t s f ling w ars and t h e large groups win their way to t h e heart .

The wood-cu t of a Jaguar D evouri ng an A gouti belongs to 1847 Or

It w as e a e le h e was w a thereabout s . fashion d by B ry whi groping his y

a D a Ha e e ll e at e t oward th e Jagu r evouring r which w sha consid r l r, and

a el e e see h as almost all t h e m arvelous vigor of th t marv ous bronz , b st n on this side of th e Atlantic in th e Walters Collection .

of 1848 a e a a e a e th e t The revolution m d m ny ch ng s, but for B ry mos import ant was t he abolition of th e jur y from th e Instit ut e which he

74 N o . 5 7 . E TED LION , CAL LED LE PHILO SOPHE S A , UAI D U LO UVRE b ronz Q ( e) .

L I F E O F B A R Y E T H E S C U L P T O R ‘ l e la e or e a th n What looks ik fun, ught r p rh ps e i toxication of love or e t he Ce o f th e Ca t l a ea m ad s l win in famous ntaur pi o , pp rs a trugg e for existence in th e group by Barye Of Theseus Killing th e Centaur

i n r is the t a a t e . The e a B a o . It r gic nti h sis c nt urs m ay b e allied in art t o th e e ke u b o f e a a b u t l h g nii ( r ) M sopot mi , in history it is like y t at t e e e e t a e not a eli e a a e h y r pr s n trib , r gion ; a tok n, not f ith . Wh n first me e t h e e a e no e al m e We see ntion d c nt urs hav sp ci onst r trait . can in m any early sculptu res th e gradual evolution of th e centaur on Greek — soil ; first th e m an b eing th e larger a monst er m an with th e equine barrel and hind legs added to th e complete hum an figure ; t hen with

h e e e e a a - e ea t hors pr pond r ting, four hoof d b st with a human torso in

’ h a t h e place of th e horse s neck . In t e rt s we can watch th e cent aur

e le an d le m an e and e e at b coming ss ss , mor mor hors , thus corrobor ing hist ory which does not assign t o t he c entaur tribes physical m o n

i a a e and al e Th e e t a a ar stro s t . rt e y , but s v g ry mor d pravity c n urs in

a al el th e A a man- l kcrnb and th e ea curiously p r l to si n bu ls ( ) , if m ning

“ Of e a e t h e lea e e a it is e t a e ll th ir n m as rn d xpl in corr c , n m ly bu

— - drivers compare th e vulgar Western term cow pun chers and

“ ” later horse-bull -drivers (hippocent aurs) it is extremely lik ely that w e o we t he centaur of Greek art t o a mixt ure Of ideas among the Greeks

T e h ad ee o n t he E t e o f h e A a a t . t si Minor co s h y s n uphra s, cut in soft

e t h e a e - l ea ee e ofth e e e r ston , m j stic man bul s, and h rd from Gr c qu st ian

’ - all a bull dr ivers whose crest was a horse s head . In prob bility w e have a singular and complete instance o f th e march of a Semit ic art -idea

A a E e h e e e A i e in th e e s from si into urop , whic id a b cam ryan z d proc s ,

n th e l e Se t - th e changi g from bu l, mor common to mi ic moon worship (

e th e a e e e l A t e l th e e t he gold n calf , br z n s rp nt, Mo och , star , Baa ) to hors , ’ fav orit e Aryan symbol oft h e su n . Th e Cent aur and L apith as it was ﬁrst called diﬁ ers in certain par t icu lars from it s secondary form here given and named with more

h o f T e e t he Ce a Bianor t h e particularity t e Combat h s us and nt ur . In

E L B YE In Th e nt u Ma az ine eb u a 18 6 B HE Y TO IN O UIS R . e r 8 . NR AN A C y g , F r ry , y K ECKFO RD (Ch arle s de ay) . 76

L I F E O F B ARY E T H E S C U L PT O R

’ digging th e big t o e into th e hollow b efore th e centaur s ﬂank ; but

ffe e l e t h e a e a a e el t h e nu al m how di r nt y do s p b l nc hims f on g , so e ploying t h e toes to keep itself secure ! Theophil e Gautier remarked Pe ople are astonished because a scul ptor who modeled animals so well

a e e e h e e m en e e t as th m d such a succ ss wh n fashion d and h ro s, jus if e form were not t h e sam e under all its apparent diversity ; as if it could have any secrets hidden from a thinker gift ed with an ey e as piercin g as ’ ’ Barye s . A t this lat e day France could n ot do better t han erect a Theseus

S a Bianor e th e e of l e o r e t a l ying in bronz Siz if Of h roic propor ions, c st

th e w ax e or t a e a d m by proc ss as Gus v Pl nche suggeste in arble . It should stand somewhere -in th e Tuil eries gardens in memory Of t h e

‘ No a th e t da ea t ar a t e e e . sculptor . th t in pr s n y gr t sculp ors l cking

de Nieu werk erck e was la e N le e When M . p c d by apo on III in charg Of t h e Louvre h e di splaced Barye from his position and gave hi s m odest

M Frémiet th e at a i l e a A r a .. c sal ry to , sculptor Of th ch rm ng ittl Jo n of

t n e an d e t e on h er a dl e on th e a e des who si s so i noc nt r solu , high s d Pl c

mi t ll a e and Fal u iere C D a e . Fré et S Pyramid s is s i liv g , hapu, ubois, int

aux and t o e of no e a t i F e at t h e Marce Rodin , sp ak oth rs, m in a n ranc

ur Bu t n t e t e e n o a e head of all n ations in sculpt e . amo g h m h r is B ry an d his st atuet te s have luckily t h e very qual ities which ﬁt them fo r colossal enlargement or to th e size Of life . It is t rue t hat th e Centaur group does not possess that repose which

m a b e e e we generally d em and of public monuments . But it y Obs rv d that th e rule of repose is not a rigid one an d may in some cases b e

T e el ul e for t he dep arted from with advantage . her is a ﬁ d in sc ptur

a t e th e e e one of e e most violent c ion , provid d mom nt chos n is susp nd d

e a a e eat e . Préau lt R de movement an d th e subj ect d m nds liv ly tr m nt , u , Rodin and other mast ers have violated a sou nd general rule an d justiﬁed t h eir dep arture by success . It is however cert ain that such groups are proper neither for a very

e e a a l t e o n t h e il high p d st l , nor for of y p rch front of a bu ding such

’ e W e as was unluckil y accorded t o som e of Barye s groups in sto n .

T H E L EG END O F B A R Y E’S P O V ER T Y

must b e on a level with t h e cent aur to appreciate t h e muscul ar eﬁect s

t h e e his ea t he t e a e a e of in monst r stumbling to d th, s rn imp ssiv f c his

’ e e e and th e la t e e a a are er x cution r p y Of h dying c nt ur s h nds, which p

’ a he e e e h e a e l h ps t most xpr ssiv points in t work . B ry s profound know

e e Of t he a e e e i e b u t e as we dg hum n ﬁgur , d ni d him during his l f , visibl

a e ee e e e t e e e e t a h v s n in his v ry arli s work, is nowh r mor appar nt h n in

f i n r Th e ifﬁ a Theseus and th e human half o B a o . d cult fe t of represent

a our a e e e th e e of t e ing, without shock to un ccustom d y s, plac junc ur ’ bet ween t he man s torso and that Of th e horse is accomplished with

’ Th e l e a of th e e e ll and ea apparent ease . ow r p rt h ro s ﬁgur ﬁ s up conc ls

h e a a e of t he a and e e a and e e th e t bro d pl n s hum n quin b cks, pr v nts uncomfort able effe ct which m ay b e felt when w e regard a centaur with

Th e le e le and t a o u t a rider in Greek sculpt ure . curved ft for g il bring t h e composition more toget her t han appears to b e th e case wit h th eo rig

a hile t he a e all f th e o n th e a an in l form, w dr p ry f ing rom back c ctus d ﬂowing o n th e ground bet ween th e hind hoofs gives a sinuous lin e that

ee th e le m a ul a t e th e e a ’ k ps who fro too much ng ri y, in vi w Of c nt ur s Sharply bent knee and point ed right elbow t ogether with t he right

’ The ul o f n a elbow of Theseus himself . pop arity this group si ce B rye s ( h Barb édienne Oﬁ r i deat h m ay b e inferred from t e fact that M . e s t in

r n i n n of n 6 diﬁe e t e a d e o e e t 000 a . four s z s a ﬁrst sk tch, th m cos i g fr ncs It has th e honor of creatin g o ne of th e most pertinacious and pict u r e sque legends th at wove t hemselves roun d Barye as t h e victim ofpov

r A i le th e ul t a h e was e e ty . ccord ng to this ta sc ptor was so poor h t forc d t o retail his statuettes from house t o house like t h e Italians who from

e l le e of th e t e e a e eli rud molds fashion itt imag s mos x cr bl mod ng, and placin g a doz en o n a board parade t h e st reets with t heir fragile

a e a e th e n of th e e e e and e of ni w r s . B ry going rou ds j w l rs v ndors k ck knacks for th e p arlor with a Theseus Slaying Bian or balanced on his

i v an a e a ar and head is o ne of those dramat ic points wh ch M nd r, V s i

T e e e e i t o it . Lanzi wou ld have loved . h r is how v r noth ng sustain In at tempting t his subj ect Barye had th e ancient centau rs t o compete

wi t o t t o do so was t o i t a h e l i e th and avoid, hough mply h t cou d mprov 79 L I F E O F B A R Y E T H E S C U L P T O R on th e El ar le h e e He h ad l th e T e e s gin m b s in t British Mus um . a so h s u

Sla Ce t e as l t a a e ying a n aur at Vi nna by Canova a riva , but h t g v him li tle le Ca ele a e e of T e e e s t troub . nova mod d v ry ogr a h s us who tow r above a poor litt le centaur and by merely touching him m akes th e m an

e all on his A s no e e e is hors f knees . physical pow r could hav produc d th

e l T ese a n e e h e e e e T ese r su t, h us st ndi g wh r do s , w must inf r that h us ‘ ’ Needl e eyed him over ﬁrst and then dispatched him at his leisure . ss to say that ou r sympathies are with th e little centaur and that w e regard th e a ll a e e e big hum n bu y with cont empt . Canova may h ve pr c d nts in

ea e Of th e e e are e el e this tr tm nt combat, but th r many statu s, r i fs and

a p intings from antiquity which cannot b e followed with success.

h ’ e e In t e art istic realm B arye s Centaur is an advance on that ofGre c .

th e e i eal h h e e of s e e In sci nt ﬁc r m t e group shows t conqu st impl r, mor Special iz ed forms over th e complex monsters of th e past in th e struggle for existence .

CHAPTER FO UR

ROMth e year 1850 onward Barye began t o have some reward

fla l He h ad ea l for years O borious si ence. r y known th e bitter

e ee m en e F a and Fau inet e er e n ss of s ing lik , r tin g pr f r d, though of h e e e hi s own e W e ar course stimat d rightly sup riority . e sure that h e regarded as less unjust th e partiality Of th e public for t h e highl y

ﬁni e e e e ese are eal of l sh d bronz s Of M n , for th r works art on y second to ’ l e . e e e e a e and Bary s B sid s, th r is a ithograph of lion ss cubs made by M r e a o o f e a e a t o éne . we Ba y , pr of which b ars d dic tion If call t he

’ l e th e of e th e e Méne b att r s product g nius, bronz s by may e consid

l al l a e ered t h e work o f a high y t ented scu ptor . B ry could not h ave ig

e h e e of Ca and ofFrémiet nor d t e distinguish d m rits in , his successor at

Ca e a e n e t a th e des a e . . Jardin Pl nt s M in, whos l rg bro z s s nd in th e

T il e e e n a a e a e - u ri s gard ns, ow s m ny B ry w t r colors and lithographs .

a h e a ee t o a e ee -a Barye w as Professor t t J rdin , but s ms h v b n ill dapted

h ad l t e e of th . H ur e at e e e for e position e lect d tim s, but it l pow r int r sting his pupil s and for t h e most part content ed himself with looking over t he work of t hose who frequent ed t h e establishment and occasionally v h aﬁn Th a of ile e for h e h ad e o u c s a . e g a rem rk h bit S nc , which b en

II 81 L I F E O F B A RY E T H E S C U L PT O R

‘ all e t he e of a r e le e e or at t h e a é e r i d at dinn rs ci cl of c v r f llows c f s, gr w On him as h e becam e more and more involved in disastrous affairs and e e en e t he e l r f h r h xp ri c d n g ect o th e attacks o t e indifferent o t e envious .

He ee e ea l on l was th e e ofan a s m d to w r a pad ock his ips , r mark acqu int

a e . Th e e of th e all e e e all his a nc justic s y is p rc iv d in portr its, which

Show lips pushed together resolutely .

T l is a t h e for a e of e e his ook prob bly main basis numb r an cdot s,

e l a e e a e ee n a man e which if tru wou d rgu Bary b ar ind d, y , a whos temp er was so ungovern ed t hat h e was ready t o assail a patron on th e

l e o f ffe e at th e e e of t s ight st grounds o ns , m r suspicion a cri icism upon a

e o r T a h e f d sign model . h t e was imp ati nt o babblers and t hose wh o Sp end th e time of busy m en without having a purpose is more t han l el ik y . But good judges wh o saw much Of Barye during th e last twenty years of his life give emphatic denial t o thi s view o f his character or T mann ers . h ey represent him as reserv ed to a de gree unusual among

F e e t e and e e e e e al e r nchm n, but cour ous, b for v rything digniﬁ d ; t kativ e e e r e e a e t o i t e t o t h e nough wh n und r fou y s, but not p rson contr bu

e e a ea e of e - a le t e e was g n r l pl sur a dinn r table. It is prob b hat whil Bary naturally t aciturn his reserve w as incre ased by a consciousness of de fectiv e e a ea l lif To th a e e we m a u t e duc tion in r y e. e s m caus y attrib

e i le e e e e of i his dislik Of wr ting tt rs, in cons qu nc wh ch most Of his i correspondence was conducted by his wife or o ne of h s daughters .

Al h l n e e e m a b e e most t e on y instance o record to which cr d nc y giv n, whe n Barye uttered a complaint or said a harsh thing of t hose wh o misunderstood hi s work o r underst ood it s great ness t oo well for their

o wn ea e of e e e T e ile S e t e . e a p c mind, is pr s rv d by h oph ilv s r P rh ps pro

’ k o t h a o f e a and t r n e v o ed t it by e w rmth his fri nd s indign tion, u ing ov r

all h a l o f h e h ad ee a i m b u t in his mind t e miser b e tricks which b n v cti , e e al e ee n a e sp ci ly that which consist d in k ping him dow with nicknam , ‘ a e a m e Oﬁ a th e al et of m e B ry s id In fobbing mong anim s to g rid , l h ’ my contemporaries have ranged themselve s be ow t e beasts . The Salon of 1851 accepted another group which approaches nearer t he ordinary ideals ofa grand statue for public places . It was conceived

T H E MEANI NG O F MI NO T A U R

far a a 1 41 n h as b ck s 8 . A gain it is Theseus whom h e chooses a d again e

h l th e h as depicts t e god ike hero destroying a monster . But e latt r in Greek mythology no good side lik e that Shown by at least one oft h e

- e a C w as th e tr ofth e e l e . c nt urs, hiron, who ins uctor d mi gods whi young Th e Minot aur is a representative of t he evil Spiri ts of t h e grave wh o

i e t o e o n th e li i th e e a th e t e th e r s pr y v ng, of t rror th t lurks in nigh wh n su n a e t and ee th e il e of e m en is bs n , s ms, to ch dlik imagination primitiv , t o e e e a e e e t th e hav gon p rh ps for ver . In clos r conn c ion with history of

el h e e e e e Sem a a e a ea r igions , r pr s nts arly itic f iths b s d upon such p nic f rs as existed along with gorgeous rit uals and ceremonies ruthless in t h eir

e t a th e oe a e e th e a e as e t ei cru l y mong Ph nici ns and J ws, wh n l tt r p s d h r

first -born through th e fir e o r into t he red-h ot arms and flaming belly of

Moloch . ‘ Inst ead o f considering Minotaur t h e product of licentious im agin a

’ l e a th e a t e Th e Ce a tions run wi d, to quot ag in from r icl in ntury Mag

e or t h e a a re an ea a e a t e a e t t e zin , c ric tu Of rly tyr nt who x c d Sl v s as ribu

A t a or th e l ft h t of wo a e from t ic , symbo o e junction in Cre e t w rring r lig

Or e al e ble ofth e o d o ft h e w e can now all him ions, a Sp ci m m g sun , y with

e nn t h e a e ofth e al a and A r such g nii (ji ) , as w rd ns port s in B bylonia ssy ia

lik e e h f e th e of and th m consider him t e idol o a subjugated peopl , Sign a el e e a We can b e e as r igion r l g ted t o t h e second place . as conﬁd nt

et a T e e e as a r e - od a e l e er possibl h t h s us hims lf w pu sun g hum niz d, ik H

e e le and e He a e war on and e cul s, B l rophon P rseus . m k s subdu s a “ ” A S monster who bears th e root o f t h e word moon in his nam e . it

e t e a o a ea t he and th e ea a e was sugg s d long g , Minot ur m ns moon b st s cr d

t he T e e t t h e su n a e to moon . h seus overwh lms him jus as rising c us s

h e Th h a e th e a t moon to fade . e labyrinth in which e w nd rs is d rk world

e th e ea — H Th e o a e s e a e und r ﬂat rth ade s . b ys and m id n d dic t to him are th e hum an sacriﬁces his rites demanded which th e new religion put s

nd a r a e e e C e e su n - e an e to . In m ny othe pl c s b sid s r t worship drov

- T a ou t moon worship with its horrid rites Of Moloch . hus Minot ur

e T th e T t a a t C e a th e b longs with Gorgon, yphon , i ns, Gi n s, yclop s, mong

of a a n a e e a t o gods d rk past a d lower civiliz ation . By furth r mov b ck in

83 L I F E O F B A R Y E T H E S C U L P T O R

' th e p ast these compo sit es of animals and m en connect themselves with

e or th e i l e a e e o r e le a l e tot ms an ma badg s ssum d as cr sts mb ms by f mi i s, ’ tribes and nations .

The r e e th e a r l a a Minotau inf st d l by inth, that Singu r fancy which ppears o n coins of Cret e ﬁv e hundred years before Chri st and is still t o b e found as a sort of practical j oke in garden s of France and England

e e Th e la f h wrought out in high h dg s Of evergreen . byri nth o t e under world In which th e su n wanders at night had a parallel above men’s heads in th e st ars which suggest a labyrinth in which a Spirit might

ell b e le t o i s e e e h w puzz d ﬁnd t way . Wh n w wer considering t e north

ern o f t h e ea we e s worship b r, found that th re wa just such al t ernate glancing of thought from th e animal famous for it s courage and

a al e e e t o t he e e t h e e - i m gic prop rti s on arth Gr at B ar , wond r work ng

e h e const llation that swings in t Sky . SO t h e Minotaur myth is a resultant o fvarious ideas t hat embraced

ea e an d ea l e e t l e e a t a e t o ou r h v n rth a t rnat ly un i th y issu d in s r ng , and

h a a t e e . s e ae i t o t o though r pulsiv , myth It puzzl d arch olog sts ssign

and a e t h e a e and e o f n a e e Minos P sipha , f th r moth r Mi ot ur, th ir prop r

a e as ea e l e e a e e e e t e e e do pl c symbols Of h v n y bodi s, b c us th ir r sp c iv s x s

e th e d r ie ofsu n and Bu t ifw e e e not agre with or ina y v w moon . r m m b er that th e Germans retain th e ancient ide a of th e su n as a woman

h os which we ﬁnd among th e Lapps and Japan ese we have t e clew . Min

a all - e i th e su n it s is th e moon in its mal e form . P siphae ( Shin r) s in

ff h l k e t e th e female form . Minotaur is their o spring and as i its fa h r

ea of e a e and th e l t h e e id s night, d moni c pow rs abyrinths Of und r

in o the l an d th e sk ne e . oe a wor d starry y con ct d with it Ph nici n rigin, sacriﬁces of children t o th e horned moon-god com e to an end when

T e e t he a e - o d a e e e e e t e t h e ee h s us, m l Sun g of high r rac r pr s n d by Gr ks

e e wa th e e th e prop r, mak s his y through labyrinth of night and d stroys

m f A s t h e ee e e e e th e s de on o darkness . Gr k inﬂu nc pr dominat d god which could b e identiﬁed with another race were forced into repulsive an a o d degr ded f rms .

Th e o e ri com Min taur occurs on coin s Of Cnossus, onc a ﬂou shing

T H ES EU S A ND MI NO T A U R O N C O I NS

ial th e e a m erc C e e. He ha a city on north rn co st of r t s human form , but a

’ ull ea the e lli t he e at th e e e e a b s h d, horns r ca ng moon wh n cr sc nt, x ctly

th e a e D th e e l e t o ea l as in c s of iana, f ma moon, according id s more pure y

e He or eel an d l Gre k . is shown running kn ing ho ds in each hand a la e l e ea r h a ee a rg g ob , for which r son Minotau s b n mist ken hithert o for a su n - e e th e a a o n h e e o n h god, tog th r with f ct th t t sam coin but t e oppo site face th e picture Ofth e labyrint h is completed by a swastika or four ll le e e a th e . Th e e th e d th e g , which is g n r y a Sign of sun glob s in han s Of running Minotaur however m ay b e considered to m ean t he stealing of th e world of h ght by th e demon of th e dark ; th e su n -emblem o n th e

l la e e e e labyrinth m ere y represents Theseus . On t r coins w hav a nak d

ea e on l a and ar i o ne youth s t d a byrinth c ry ng in hand a Victory, who

T s h e l e must b e Theseus . hu we g et t e chain of evidenc comp et t hat

T e e is a a a o n th e - od ale as t o sex le is h s us v ri nt sun g , m , whi Minotaur a

- a a o n t h e o d and a m ale l e at e . v ri nt moon g , lso ik his f h r Minos Such confusion resulting from t h e habit of antique nations Of im agin ing t heir gods in marri ed pairs and then exalting one Of th e couple SO

l ea l e e e on ea high that t he other is forgot be ongs to n r y v ry r ligion rth . W e are al so constantly m eeting with th e degradation of gods belong

It t e ing to a conqu ered race int o positions of subserviency . Of en se ms as if th e conquerors wished to p erpetuate t h e memory of such great changes in th e political world among p eoples ignorant of writing save

th e e e e as th e E t a e in rud st ways, using monum nts xactly gyp i ns us d

e hi e l e as ea o f e e e e e l th ir rog yphs, nam ly a m ns pr v nting ntir forg tfu

e of T t h a -T e e a e ex n ss past events . hus e Minot ur h s us comb t, wh n

a e h of h ani of e pl in d by t e teachers t e inn er me ng monum nts, would

- l Th e embody th e fusion of a Phoenician and an Aryan Greek re igion . combat of centaurs and Lapiths however might have been meant to recal l th e enfranchisement o f th e Greeks prop er from dominion ex er cised by th e horse-tribes Of Thessaly or of th e Asian steppes before they had completely occupied t h e land which we call Greece .

T e e is ee a al el e ee th e Ce h r , ind d, a strong p r l b tw n ntaur group and

O ne th e e e that of th e Minotaur as composed by B arye . is conc ntrat d

85 L I F E O F B A RY E T H E S C U L PT O R

e of th e a a e e ee t wo a e or v liz t h e e b e pic w rf r b tw n r c s ci i ations, oth r

ee t wo l Th e a is th le et it s e . e tw n r igions Minot ur group simp r, and y t h l e . T a a al e t e my h is mor profound h t group lso , though giv n to wor d

e th e Ce a was eall e e and t a l e e e aft r nt ur, r y conc iv d substan i l y ﬁnish d b for

th e e s e e . oth r . In some respect it is also t h e ﬁner Of th e t wo st atu tt s It s eems n atural now t o u s that B arye Should have advanced from

a if his comb ts of animals t o combats Of hero es against monsters . But

at al ea no t e it e e ? e s n ur and sy, why did oth rs do b for him In oth r word ,

a e ee e e we are a e e now th t Bary has b n acc pt d, in d ng r of forg tting how courageous h e was to step out o ft h e common line ofclassical subj ects and treat those which were pract ically unstamped by th e approval of

th e la h a hi scho rs and connoisseurs of t e p st. Only by keeping t s before

o u r H minds can w e estimate properly th e genius of Barye . e ﬁrst

ea e a new e ar e t h e e e e l e t e cr t d d p tm nt for x rcis Of artistic ta nts, and h n,

no t e l t h e e e cont nt with a g ory such as only rar st artists attain , push d for

Ha ward into a ﬁeld hitherto held by t h e greatest ofGreek sculptors . d

T e e and t he Ce a or T e e and a r ee at h s us nt ur, h s us Minot u , b n dug up

e o r a e e a ae al and art a a e t h e l Pomp ii Olympi , v ry rch ologic m g zin in wor d

l a h a a a it s a t r k n wou d h ve d its portrait and exp ti ted on m gniﬁcen G ee ess. Every museum would have sent for casts and lecturers would have

e o u t e e th e e e far eh t he a e point d wh r in mod rns lagg d b ind nci nts,

a el th e e ul l e w a h e eal w as le h n m y in wond rf y fr sh y t r b nt wit h t e ideal . It only falls Short o f th e very greatest sculpture known by having in a less de gree than a certain few statues that bright and godlike serenity

in h l w e ﬁnd t e Venus Of Me os . Theseus and Minotaur h as th e high est qual it ies for monumental effect . It is calm an d noble without pushing nobility t o th e point of

e a T th e e n ot or sup rhum n power . hus h ro is a magician a god from th e

e e e la t h e e e t point of whos sword issu s a forc that s ys d mon, n i her is h e a m an ea il a m an l He is a e l e a doing s y wh t no cou d . pow rfu h ro by re son of h as a e SO a e e his mind, which tr in d his body th t it can d f at untrained

and e th e e and and a t t h e brawn muscl , mind which has dug copp r tin c s bronze sword t o aid him in t h e struggle against th e bru te forces of

No . 62 . HE D F A O SEATED LION ro ﬁl ( p e ) .

L I F E O F B A R Y E T H E S C U L PT O R

’ Jagu ar D evou ring an Alligator was entered on Barye s o wn catalogue

a ar D ev ou rin l Y a a nl J gu g a Crocodi e . et j gu rs are o y found in America

le r We h dil e a e no t . a e t e lli t a few e e whi croco s h v only a ga or in vari ti s .

He e r e ie e th e e h He ele a r Ba y y ld d to n cessities Of t e case . mod d true

l i t it s and al - e e hi ee n e o f a l ga or with Short snout h f w bb d nd f t, but i st ad

’ caiman th e di a e F e h e e th e e e u n or n ry t rm in r nch, us d word v rybody der o d il l a i st o e t e e . , crocod , though s rict y sp k ng it was a misnom r Hardly ever could h e have seen captive wil d beasts ﬁghting with each

e di l h l ea of other . Bary d not ive in Roman times when t e wi d b sts three cont inents were brought to th e Et ern al City and pitted against each h Nor did h e a l . It t h e other in t e arena . tr ve is not known hat e ev r l F He eft rance ; probably h e never saw much o f his own country .

n- a e e e was a Parisian though SO u Parisian . It w s She r imagination th r fore that enabled him t o construct in his o wn mind a pict u re ofwhat

e ofa a e l e l e a e e u e a vast numb r nimals must h v ook d ik , had a ch nc nco nt r or th e ever-present law of hunger brought them together in a struggle

e h e e l SO ea — l h e wher t w aker must succumb . It ooks sy but how cou d have done it unless h e saw them In th e act with his own eyes ? To ask th e question is t o assert t hat their maker is a genius .

THEOPHILE SILVESTRE published a very appreciat ive essay o n B arye in his Histoire des Artistes Vivant e s which appeared in 1856 with a po rtrait by Flam eng o n steel which h as been ret ouched by that etcher

Th E e e a e . our e e . e e e e S for frontispi c y ar b for an nglish obs rv r, B yl t

all e a e e Th e e e John , c d tt ntion to his m rits in Louvr , a work publish d ‘ a Hall a e e one o f the at London by Ch pman and . M . B ry is assur dly

’ ‘ great est art ists th at France possesses h e wrote ; one ofthose al so who have been most roughly t ried in th e course of a life fert ile in m aster

e s f ’ Th e e 1855 th e pi ce O a deep and enduring character . d ath in of sculpt or Rude who composed th e only brilliant reliefs for th e Ar c de Triomphe and also contributed groups full of audacity and ﬁre t o th e

88 MO TrNT ED ARA BS KILL ING L IO N

H e ig h t i n c h e s

L I F E O F B A R Y E T H E S C U L P T O R insatiable lust for blood amon g t he se creat ures which is found in t h e

l h Th e domestic cat as wel as t e tiger . good mouser is not content with a a e as a e ea b u t a e ll o ne and a s m ny mic will m k a m l, h st ns to ki c tch

r e SO th e e e l ll e as l as a e . s O d i anoth r ong any within r ach tig r, unl s , w Slaughter a whole ﬂock Of Sheep though it can not carry away or eat h more than two at t e most .

Th e a u a h as e e as all t h e a a at t h e e l of j g r comm nc d, c rnivor do, ntrai s

h a ea e a e t h e hare and eat s t e softer p rts ﬁrst . But m ntim it w tch s

nl t e t o r t e la i it s ea ell kee y for in rrup ions ano h r victim, y ng rs w back

al a a in Sign of readiness to dispute its me with nything th t comes n ear . In many parts of America th e j aguar at its meal is surrounded by birds that feed o n carrion and will sometimes venture very close in

l i a a e h as a e a l hopes to stea a b t . In this j gu r Bary c ught x ct y that

l e l a t o th e e e ea and a l b e a rt ook, in ddition xpr ssion of h d t i which

- t okens enjoyment of a prey still hot with its life blood . Th e history of this group in th e auction room shows t h e rapid

’ f a A t th e le t h l r advance in cost o prim e works by B rye . sa Of e scu pto s

el t th n models and statuet tes after his death M . Sich bough e copy ow

Ten ea la e a h l l all e for 580 . t t e S e in t h e Walters G ry $ y rs t r ich sa e Mr .

1 a a h i e . t e e f Walters p aid fo r t $ 880 . Last y r M Bonn t paint r paid or a copy no better t han this th e round su m o f$5000 .

’ ’ m a b e t e a a e a e w as e t e all lik e It y no d th t B ry s c s x rn y Millet s .

Ne e e e ali e e t o e at low e t e gl ct d whil v and r ady s ll his work pric s, h re

e ea t o a e e e ee him e lle n eed d but his d th c us p opl , who had s n xto d u n

e e h e w as ll e a h e was a e mov d, whil sti producing, to discov r th t g nius

e l ll b e e n and strive for his works . Copi s cou d sti issu d but o more

l of t he proofs b earing t h e unmistakab e touch master .

sa e e al t e e ee l e I y xt rn ly, but in tru h th r was a d p radica corr spond ence between Mill et and Barye that extended beyond their origin in

h e e e dl e l th e one er o e a th e t sam low r mid c ass, a sup i r p as nt, other a

For ll as ee l e superior burgher . if Mi et w d p y impr ssed by th e monot o nou s l e o f eas a e t o e a gloomy if p ants and d r d paint th m, B rye was moved by th e dumb creatures Of th e world and lifted them into good

L I F E O F B A RY E T H E S C U L PT O R

In what dist ant deeps or Skie s “ Burned th at ﬁre within thine ey e s I On what wings dared h e aspire ? “ What th e hand dare d seiz e t h e ﬁre I

And what Shoul der an d what art Could twist t he sin ews Ofthy h eart ? When t hy heart b egan t o b eat What dread hand form ed thy dread feet ?

W at the hamme at th e a h r, wh ch in, Knit thy strength an d forge d th y b rain “ Wh at th e anvil I wh at dread grasp “ D ared thy deadly t errors cla sp 3

Wh en the stars threw down their spears A n d wat ere d heaven with their t ears “ D id He smile His work t o see I D id He who m ade th e lamb make thee 1

III

THE E e e la e 1852 th e n ew e e e mpir was d c r d in and pot ntat , dr aming

f le a e and N le t h e e e h o Char m gn apo on Gr at, marri d t e beautiful and charming young Sp aniard wh o did so much to render his rei gn one of

an A th e a wh o m agniﬁcence d taste . mong rtists were more or less

z e e N le was e hi s eni e e patroni d und r apo on III Bary , g us b ing nough

t o him e ll th e l n understood bring ord rs, though usua y atter were ot such as t o evok e his ﬁnest powers .

n 1853 th e D u e of le s h er ll e e I ch ss Or an , husband ki d by an accid nt,

-in-law th e e e th e m l a e h er father king in xil , sold fa ous tab e orn m nts

e e it s e e al e e th e in no t let h e and disp rs d s v r m mb rs to four w ds, , us op ,

e e a a a e a h a H a h to rem ain for v r p rt . Str ng to s y t e B e r unt w s t e piece 242 Th l ell 0 . e E k H for which bidders ventured highest . It f at $ unt

a e e 980 e th e l l H t o Lu t t erot h 900 c m n xt for $ ; th n Wi d Bul unt for $ , and Prince D emidoﬁ was able t o secure th e magniﬁcent Tiger Hunt El t 2 Th H l 6 l e 00 . with ephan for $8 0 . Lion unt brought on y $ It wou d not b e safe t o conj ecture what pieces without duplicates such as t hese 92

L I F E O F B A R Y E T H E S C U L P T O R

1 55 e th e U e al E a a e i ar e In 8 occurr d niv rs xposition , p l th ng comp d

f h a a e m n a o t e e e e t e a e . with th t pr s nt y r, but fr ught wi h b n ﬁt to m ny Barye received th e Grand Medal of Honor in th e section Of artistic

’ bronz es” Th en t o o h e Obtained th e ofﬁcer s cross in t h e Legion of

A li le ea e a t sel th Honor . tt s e b g n to show i f in e pinched circumstances

n n of a m a with many children a d a proved inability to sell his wares.

Bu t was e t o his a e e a all recom what mor t st , honors b g n to f to him in

all hi W e m a e a e e et pense for s troubles . y hop th t th s did som hing t o remove that m elancholy which seemed to Silvestre so stubborn .

At e h e e t h e Ru e t a e Sa e e evie e e this tim liv d in Mon gn int G n v , but k pt

l e e e th e a a a e Ru e Sa A a t a e for his his o d r sid nc in M r is qu rt r, int n s s , work

T 1 55 h e h ad for a e e t a a dr e shop and store . here in 8 s l mor h n hun d diﬁerent bronz es ranging in Siz e from a turtle only two centimeters

and Six t o b e as l e t o th e e high long, ﬁt worn a ock t, up big bronz

a o n th e H ff ﬁft - ee e e e of Roger and Angelic ippogri , y thr c ntim t rs by

- e e i a for a . Th e r e at sixt y s v n, wh ch is good lift man p ic s which h e sold t he se things appear comic at th e present day when Eur op e an d — Am erica are scoured for pieces on which h e lavished care an d also

e e of e e et and unfort un ately infected with r productions, som th m s cr

e e e a a e and e th e e t fraudul nt, oth rs Op nly m nuf ctur d sold und r prot c ion

b e e em e e th e e . Barb édi enn e Of th e law . It Should r m b r d to cr dit Of M ’ a t a e h e es t h e e all e t a e of P ris h t, whil mak b st Of r produc ions of B ry s ’ e a at th e a e a t e t h e ea a ea bronz s, h ving bought s l f r sculptor s d th gr t

and a et h e l t a e a ea many models origin ls, y a so k s p ins to Show on ch bronz e in t h e plainest possib le fashion t hat his are not originals but

A a a b e e t e all e copies . round br ss st mp will found ins r d in such bronz s, m aking it impossible for t h e ignorant or th e dishonest t o sell on e for

’ B arye s handiwork .

u e e for a t a B arye did not m eet with such scrupulo sn ss Oft n, it is s id h t , ' one m ember of his own household w as base enough t o p alm Oﬁ wretched

th e t t a th e a e t e e e . pieces on world, hus s bbing f th r in his mos s nsitiv plac

A founder who Obtained possession o f models by B arye issued a great

qu ant ity of poor t hin gs an d t he scul ptor w as no t able legall y t o st op

94 NO 7 1

R TA TAR W A RRIO R C HEC KING HO RSE

H e ig h t 13 % inc h e s

L IF E O F B A RY E T H E S C U L PT O R

e h e e a e e hi rag d r m in d in Paris, Oft n S pping Barye bronzes as presents

his e at o e e o f to fri nds h m , som whom were by no means cultivated

‘ ’ enough in th e Section of artistic bronzes to appreciate what th ey

e e e One ofth a had r c iv d . e p ins oft he di scoverer consists in having th e

ee of i es e e t e Th e le s t th his g ft hors xamin d with scant cour sy . nuc u ofth e ll e in t h e C a w n as ow u alt s. Mr . co ction orcor n bo ght by Mr . W er

a H Rich rd M . unt th e archit ect followed th e lectures of Barye at th e

i des la e 1 61 Jard n P nt s in 8 , modeling various animal ﬁgures under his e i e e n l e a m re sup rv sion, and b cam ot on y a focus of nthusi s

n o e th e l ﬁrm- e gardi g his w rks, but a warm admir r Of kind y, lipp d

old m an . t e o u t l as e e e e O h rs sought a sculptor who cou d , th y p rc iv d

e t th e T le es e el l ea t wo wh n visi ing ui ri and Lux mbourg, mod wi d b sts at extremes ofpassion like th e Jaguar D evouring th e Hare or Lion and

S e and h S e t e e e of h e e . e so rp nt, at d Lion t e Louvr wick t Lik many

t e F e a e e e l e t his o e ano h r r nch artist, B ry b gan to r a iz hat if c untrym n did

al e t h e l e all n ot l e ar not v u him at his worth, wor d aft r is imit d to P is, nor even t o France a thought difﬁcul t to bring t o any sort of quick e e s e h e F a n d consciou n ss in t mind Of a renchm n .

- T e e is Barye was like Rousseau a conﬁrmed home stayer . h r no

e fhis a in e e l e e l no t e e e l e r cord o h v g v r ft his nativ and, v n wh n a so di r, and th e chances are strongly in favor Of this Singular phenom en on

e A a A s that th e sculptor Of deadly combats between wil d b asts in fric , ia, th e tropics and t h e Arctic Circle n ever went fu rther from Paris than

o f the village Barbizon . Th e fact may b e u sed as an argument against Barye on th e score that one wh o has n ot studied wild animals in freedom can not really under

th e e m a stand them and give their true movement . On oth r hand it y

’ b e said that o ne Shoul d not derogate from an artist s work b ecau se h e

n h l T e e is wa for a t s h as ot performed t e impossib e . h r no known y an r i t t o Observe th e carnivora in freedom u nless h e goes to enormous ex

l h of hi le l p ense . Shou d h e imitate t e method catc ng opards and ions depicted by an ancient artist o n t he walls o f a grand tomb discovered

" ea R e e e e h e l not b e e e Oil n r om som c nturi s ago, wou d much b tt r , and

L IF E O F B A R Y E T H E S C U L PT O R

ne as h e e ee le e le e a e i tin d ; gr w f b r and produc d ss, mor tt nt on was paid

m e i r hi . Barye r cogn z ed o perhaps imagin ed th e falling Off of his

e for h e e a e a e a l t o e at e hi pow rs , r m rk d r th r s d y a fri nd who congratul d m ‘ on e e ! e e all li e a a e r c iving a commission I hav wait d my f for p tron g , ’ m m as He e l e and now it co es t o e just I am closing my Shutt ers . r a iz d that t h e most vigorous and productive years h ad been Spent on small

e e are e l n e l e t e ee e pi c s which c rtain y wo d rfu nough, but mus hav s m d rather pitiable to an art ist who felt himself equal to th e largest and

ﬁ a e t l grandest e ort s in his profession . It was mor han common y hard e e of are l n a b evi aim for th e art h ad ee e e xampl o g r s , b n r ach d many

e e e e e O n ea fo r e e e o n y ars b for it was d mand d. e r son this ph nom non r sts

h r n le l e a e t e longing fo what o e can not get . Peop ook d bout th m and di scovered t hat th e whole half century h ad produced but one scul ptor

a al ea e of nim s who showed gr t g nius .

T e t h e e e e of e o for a m l o s h n, r ad r sugg sts, cours commissi ns ni a gr up cam e t hick and fast !

N a e was e a e e al e Sa t o a e le ot at all . B ry giv n a dr p d f m int c rv in marb

1862 h e e e e e Ofan e e for a chapel in th e Madelein e . In r c iv d an ord r qu s

Na le e b e e e e at A C trian statue of po on I in bronz to r ct d jaccio, orsica, a

h e e e an d n ee e e see th e e e Spot e h ad n v r se n i d d n v r did , monum nt b ing

Th e S e C l e th e erected wit hout hi s presence or care. aint loti d at Madeleine is sweet o fface and graceful as to dr apery but t h e Napoleon

Yet t o t h e e I at Ajaccio comes peril ously near being a failure . poch 1850 to 1860 b elong statues and groups into th e making o f which t he

f a e Hi er as t e th e best powers o B rye w nt . s m its an artis ris n from

a e e e e e l h e uffe e f th e e ranks of artis ns w re n v r d ni d . On y s r d rom cast feeling which int roduced itself into such matt ers from t h e surrounding social at mosphere and which bade him remain an artisan and cease

t rying to b e an artist . W e need not b e surprised to ﬁn d him in 1863 President ofth e Con

' su lt ativ e Co mmi ssion for what is call ed t he Cent ral Union Of Arts

e His a e t es e e n ee e e applied to Industri s . st tu t w r i d d conc iv d and

‘ n a a e t o e l e e e e e mo deled o sc le which adapted th m n arg m nt, but th y w r

L I F E O F B A R Y E T H E S C U L PT O R

In 1865 Barye was commission ed to model an eque strian statue of

N le for th of e o l W a a a e e m apo on I e town Gr n b e. e h ve st tu tt that e

e th e ’ e e l ea e e a le bodi s sculptor s g n ra id ; it is not v ry r m rkab , though

e l - ie a nd ri far a h il h e was w l stud d, sup e or so s regards t e horse . Wh st at work on it in a studio hired for th e purpose in th e Ru e Mou fﬂe h l a e e e . e e ee e e t rd l arn d that , M M rci had b n ask d to submit a mod l f h ff I a a e e e a t e . ikewise . nst ntly B ry d cid d to withdr w rom a air But h e l not so a e e wou d do in a vulg r way, by making a sc n and by advancing th e right of a sculptor of his eminence to a commission

e a H e e t o e t h e e e vil u nboth red by rival . e d cid d giv authoriti s som ci e u e for r u th e m n and t h e le e i is e xc s th owing p com issio , tt r wh ch r pro du ced e e fac - e was h e ul e e h r in Simil t e r s t. Obs rv that on this occasion

e a e e ee e t a e e a wh n B ry would hav b n c r in to xplod with indign tion, had h e e ee t h e -t e e e S a - u e e ane e r ally b n hot mp r d, h rp tong d man som cdot s pro

l h e i e e e e l at . S e le it c aim him , is d gnifi d, asy and v n dip om ic om troub w h his landlord in th e st u dio ofRu e Mo ufflet ard serves as th e smoke under h 1 which e quietly leaves th e field o n th e l 6th ofApril 866. He was not without statues Of human figures Of th e highest sort

t o e hi s a a t r el few e of e e e e . prov c p ci y, but unfo tunat y kn w th ir xist nc In 1854 t h e architect whose glory it is that b e nearly ﬁnished th e Louvre demanded from him a group in ston e for o ne ofth e inner faces o f th e Ca e - — Lefu el so ell rrous l court yard a group of W ar. M . was w

lea e W ar t h O th e t el p s d with hat e rdered three more groups on spo , nam y

e e e and F St a e sa t e e are ee o e P ac , Ord r orce. r ng to y h s groups s n by m r l n peop e a d can b e better studied in th e United Stat es than in France. Fo r while Lefu el p erched t he m high up beyond the range ofordinary e e- e e t e ar e e at of y Sight, wh r h y e overcrowded by th e excessiv ornam nt ion th e e t he t l n o n of e a e Louvr , ci y of Ba timore has th em o e its op n squ r s,

t o n le e t h e e T al are of t e a th e z e jus a v l wi h t yes . h e origin s s on h lf Si of e b u t e r e t o e a i e lif , th y a e rarely seen because impossibl x m n prop e a scaﬁoldin The e are e and ad rly without g . r productions in bronz mirab l a a e for e a i a e l b e ll e e y d pt d x m nat ion . Perh ps th y wou d sti b tt r

ee l e if c e ea ll e a se t he s ul t e e s n in Ba timor pla d n r a wa , b c u c p or d sign d

100 e o o L o v re St o n Gr u p n u .

T H E F O U R S T O NE G R O U PS O N T H E L O U V R E t hem wit h th e intention of hav ing their backs tur ned from t he Spec

T e e e a e e at e h as a a a e tator . h ir pr s nt arr ng m nt Baltimor this dv nt g however t hat o ne can see h ow conscientiously B arye treated t hose

ee T e e a a we parts of a group which were to remain uns n . h r g in — cat ch the Japan ese t ouch backs and insides mu st have their o wn

t t e t e on t e t e own e e of e t . hough b s ow d h m, h ir sch m d cora ion

It e a a a el t a a e a e e le of is c rt inly m rv h t B ry , ft r so long a n g ct his

e a u e e t b e a e powers to mod l hum n ﬁg r s for public monum n s, should bl E t o work on t hem as if h e were commonly asked for such things . ach

h as an a a and m an ea b e diﬁ erent group nim l, a boy a , but ch must from th e il e th e a e eal o f man and and ea e ot h r wh e pres rving s m id boy, ch

— ea e — e — e ! must express a very generalized thought . War p c ord r forc

n t h e in t hese words t here is no peg t o hang a theme o . But sculptor solves all four problems with an ease that m akes o ne t hink Of t h e

Greek artist s ; th e ease that cont ains no faintest suggestion of weari

e on th e t a e a le e e e o f t n ss, but con r ry in xh ustib r s rv s hought from which t h e a t t m a a so h e T efe t e th e r is y dr w if wills . his f c , obscur though

m a b e a e t h e e t t o points y which c us sugg s ion, is common works of f genius o all kinds . Perhaps nothing distinguishes B arye more from th e too clever artists which grew up in France before h e died than a certain homely rugged ness about his groups ofStatuary which gives a false impression o ft he ea e t i c an o f h e la s with which such h ngs b e done . While some t ter

of t t e e o n e at e a e e e t of brood ar is s xcit ﬁrst by th ir m rv lous d xt ri y hand,

e ea e t r h e f i ea th y soon c s o interest . In Sculptu e t extreme o th s is r ched by t hose who indul ge in tricks and prettinesses with marble that can no t a l e t r e a e o ne e e an e ea e f i to x ort surp is , but c us pr s ntly inﬁnit w rin ss

Yet a n and disgust . B rye did ot go t o th e other extreme and neglect

e i o u of a e an H mod l ng t ng r d cont empt for nigglers and lit eralist s . e held his o wn road quietly without going from t h e line h e thought

e t e e t h e e of l r t e b s , ith r for purpos reforming scu pture o at mpting to

Y n a l . et a l h e t e as h e a e found schoo fou d schoo did, li tl im gin d him

el thi ofth e e a ll l f a s f doing any ng kind. P rh ps a scu ptors o anim ls must

101 L I F E O F B A RY E T H E S C U L P T O R

l b e e e e e w e e . E to som xt nt his discip s, but hav in Mr dward Kemeys of New York a student of beasts who may go far if h e takes t o heart ’ th e life-giving conclusion s that may b e drawn from Barye s work arid

e e e and th e e e e at of avoid xt rnal m thods m r facil imit ion his subj ects . ' Of th e four symbolical groups on th e Louvre th e ﬁrst is unquestion

h e e t . W ar e e e e a m an ably t ﬁn s , r pr s nt d by stalwart laying his hand

a a th e u e e ofe e e lo on sword, boy full of tho ghtl ssn ss xtr m youth b wing

’ a a t et th e e a e e h as g yly rump , and by hors , m n s chos n comrad in war,

o e th e ale and e e l l e a o f th e e at nc rt r pos fu ook b ﬁtting statu ry b st sort .

ea t h e a a e e and s th e e a e In ch group nim l is r cumb nt form low r pl n ,

e - r n Th e e being disposed in a s mi ci cle round man a d boy . hors of War

u with cars pricked looks o t from th e side Of th e seat ed m an . In Force th e lion holds much t h e same position ; but what a different creature

t a e so w l t h e from h t which march s grimly, ith such a scow in Walking Lion or looks with such sullen disdain from his pedestal near th e Seine o r wrinkl es his horrid muzzle at th e Sight of th e serp ent ! This is a Sleepy lion lulled by th e poppies Of p eace into t hat stat e of gentleness

n e and m a b e a th e in which a child ca drive it hith r thither . It y th t at Jardin des Plantes th e scu lpt or saw more than o n e lion reduced by

f n age and capt ivity to th e appearance o f this t yp e o stre gth . H Very diiferent is t h e t iger in th e group called Order . ere it typiﬁes

- h e C a th e A a t an d t h e e s t h e p erverse t ommun rds, n rchis s ﬁsh r in

F e e ain e th e a ea e troubled waters . orc d to r m qui t, sanguin ry b st op ns

Th e l th e a e ea e wide it s mouth in a roar o f rage . bu l in group n m d P c

an d a e e e a l th e e e repre sent s th e peasantry l boring class s g n r l y, and d t r

mined but quiet attit ude o f th e m an m eans th at h e typiﬁes th e force Of

e e t . all t h e e e are good governm nt, which prot c s labor In four g stur s

e lea e th e m e at quiet though expressive enough . But th y v i pr ssion th

a or if a F e m t e on e a their m aker is n ot a Frenchm n ; r nch an , h n Of

i a e sa th e a e of e t h e a an d prev ous g , y comr d Poussin who lov d cl ssics

th e classic land y et remain ed always a Gaul . ’ Th e foreign app earance Of Barye s genius in his own l and is a ph e

n th e nom enon that m any m ay have noted but no one h as explai ed . In

102

NO . 7 7

F O R C E

St o n e Gro u p o n Lo u vr e

L I F E O F B A R Y E TH E S C U L PT O R

o n a th e m an t ul h nd , houghtf and merely indicative of power through

t h e a e e la h arm a l a A m gniﬁc nt muscl s disp yed by t e th t ho ds stick . mong t h e four m en of these groups assuredly h e of Force is th e subtlest

‘ as e l th e ea e o h a hi l a Th e w l as n r st t t e ntique in s ca m be uty . boys

are all e a th e l le ﬂu t e la er s his w a ee charming, but p rh ps itt p y wind y d p ’ t e aﬁec ion s A h e ur a es t . t ea s e e e into on s mong fo b st it w r h rd to choos . They mak e o ne think ofth e emblems associated in th e middle ages with

ee ofth e E a el thr four v ng ists . Those who study B arye carefully do not n eed these groups as wit n esses to his consummate Skill in modeling t h e human ﬁgure ; for that skill was Shown in embryo with t he medal that won him a second prize

1 1 for e le h a e a e no e a in 8 9 . But p op w o have investig t d B ry furth r th n t o realiz e his ast onishing deserts as a sculpt or o f animals these groups

b e a e elat T a th e i a at will r v ion . hey must b e pl ced by imag n tion a

e a e a a o fa t e t r e e e c rt in h ight ag inst a b ckground rchi c u richly d corat d, not

lf so e e th e i a are t six t en ee ha high up how v r as orig n ls , but abou or f t

h e T e th e e a e th e m an and ee of from t ground . h n b nt f c s Of boy in thr th e ill b e e as e l th e e l a e r oft h e groups w und rstood, w l as p cu i r symm t y

e e ea e th e a e e e a e e . grouping, which pr s nts in ch cas s m g n r l arrang m nt Naturall y a criticism as to t h e place they ought to occupy in order t o b e ee t h e e a a e l t h e e O e th e s n to b st adv nt g ho ds good with bronz opi s, only difference b eing that their apparent smaller size du e to th e dark color Of

h d He e t b e ll for t e bronze emands for them a n earer view . nc it migh we Baltimore t o ask t hat th e bronzes on Mount Vernon Square b e shifted from their present positions and placed against th e base o f th e Wash in n T e l h e g t o Column in niches Specially prepared for them . h y wou d t n g et th e prop er altitude from which to b e seen at their best an d also th e

a a a e th e e e background Simil r t o th t which they h v in Louvr , but mor advantageous in that it isfsimpler and will throw them into greater

e e e e t e e e al e h as al th e r li f . B sid s h s four bronz s, B timor , so through

l e al f Wal e e ofth e Re e o . e a ib r ity Mr t rs, sup rb copy in bronz Lion in pos

T is al that sit s in duplicate by t h e river gat e of th e Louvre . his so from

t h e Barb édi enne factory and lik ewise is of th e same siz e as th e o riginal .

104 - o u v r l/ﬂ i t“ i

7 1 !

' ’ e il uu U L _ W

L1 1 ( J I

4 \ 0 A , JA A W \ C L “

( 4 J <1 L L .

(

Bp_ ( in

/ M 2a“ V0 a “

N O . 7 9

'’ A UI O G RAPH LETTER BY A L BAR YE

L I F E O F B A R Y E T H E S C U L PT O R

But after all we can enter a very short way into th e mind of a man l H el h e o n e ike B arye . e b ongs to t gre at classes whos Opinions

h t ea t e statesme n and politicians are forever speculatin g . Ins d of

l t e ee at el e t and e e ﬁne discov ta king h y k p obstin y sil n , th n, som day, e i t t t are e l e t e el e e r ng ha hings not to th ir iking, rous h ms v s and ups t

ll an l sa all th e n eat calculat ions of ambition and greed . A we c sure y y of Barye is that his Opinions have a certain guarded expression in th e four groups that exist for th e Sp arrows an d pigeons on th e Car rou sel Court high up on t h e inner faces of Pavilions D en on and M0 1 l e A Na e D a H t an d th e A t w as i n . s to pol on III omin ting is ory r s it saved from t h e fury of t h e m ob in 1870 by a thick coat of plaster and w a a t e a e h a e es o f th e e e s f rw rds r moved to t e w r hous gov rnm nt, into

e e e a t le are t e as e l as a t s o f which r j ct d r ic s urn d, w l housand work art

T e e h as purchased for o ne reason or another but n ever place d . h nc it never emerged ; no loss to th e world therefrom Th e same spot that holds t h e four groups offers other examples o f

’ Barye s power t o model t he human nude in such a w ay as t o pre serve

a s a h ﬁe a t e t r cl s ic l proportions y et gain t e b est decorative e ct for rchi c u e . That place over t h e arch leading to t h e Carrousel Court whence t he e e t a - e e of Na le III was h as e - le qu s ri n bas r li f po on torn riv r gods, aning e an arm o n a T e fe o ne th e ot e ach jar . h y are two youths di f ring from h r

a a T e r l n at th e e a is in slight p rticul rs . h y a e ooki g down as if wat r th t

e a h T e e all a l n n e suppos d to esc pe from t e jar. h y r c ou gi g statu from th e e a n f h a t e e of ee e corn r Of p ediment on o e o t e most f mous mpl s Gr c , but this is rather t h e resul t of th e n ecessary adapt at ion of t h e human

n Th e ee ﬁgure to a somewhat similar space t han a imitation . Gr k sculpt or h ad to pu t t he legs of th e ﬁgure into th e narrow angle o fthe

a a t ri a ula e o e t o pediment . B rye u ses t h e somewh t ng r outlin in rd r gain th e effect Of support ers in heraldry ; for th e tw o river-gods were de signed t o ﬂank that important Slab o n which Louis Napoleon ﬁgur ed

as Cae a a t e el t . Julius s r, his f vori mod in his ory

The ri re ea t t th e gid angles o f Greek p edim ents a unb u iful hings, and

e h e in t e are let u s b e r sults to t e sculptured ﬁgures int roduc d to h m ,

106

L I F E O F B A R Y E T H E S C U L P T O R

in S e e and l e Sea e T Lion and rp nt, stil mor in t d Lion . his t endency

r o f th e u t a is e e ee h e l towa d omission nimpor nt v n s n in t ittl e cat . It

diﬁ ers t en a t e e t e t e a- t from thous nd o h r s a d ca s wrought in t rr cot a, glass,

e a and e no t ea o f et a t h e porc l in, wood, ivory ston , to Sp k m ls , in tha t

e e n mod ling is very broad . Ind ed when o e ﬁrst t akes such a little Obj ect

a t h e ea t t e l l e a e or a e e in h nd br dth irri a s, for it ooks ik ignor nc c r l ssness . But t ry t h e experiment o fhaving on your writing table a Barye cat and

e e cat a t e a e e an a t t e Méne a s at d by no h r rtist, v n r is lik who works in a

wa h e mm h e e a Ca . t t e e broad y also, v n group by in In long uncarv d,

u e a f nworri d h ndling o Barye tells and hi s stat uett e is preferred .

Th a l a e He e t o o th e a a e e s me esson is le rn d in painting . r m teur b gins by preferring canvases t o which it is evident t h e p ainter h as given

a e o f hf l e a on e o f e m t a e m ny w eks fait u toil . P rh ps it is thos i i tiv things

a a t he a e r a t le e or ard th t ch rms am t u , a p in ing of soi d curr ncy of plac s

a e o n a a e e i of and ill of p st d bo rd f nc , in which all k nds tricks usions

’ th e e t e t f h f T e r y e s i y to t e artist s cleverness o touch . h n this so t Of

ai l ee t al Th e e t e ar of a e p nting pa ls and s ms riv i . n x st p is toward t gre t r

e b u t l l al t e if b e e e d pth, stil Obvious, ogic , angibl art, that word p rmitt d ;

sa t h a f n a t e a y e p intings o Vib ert a d Gerome . But f r p ssing through

a e o f t e e e e let u s sa t h e ph s s admira ion for Bougu r au and M issoni r, y, amateur begins to long for som ething less o bvious and more imagina

He a e He no l n e h e a e e e e t . tive. o g r asks that t p int r t ll v ry hing is gr t

ful t o him h e b u t ll e t th e a a e u se hi s o wn if do not, wi p rmi him, m t ur, to ’ e of a a at a all th e a e pow rs im gin tion to supply wh is l cking, rtist s str ngth H t h e e e t l ea th e e a o u t . e e we e going to ss n ia s, l ving l ss import nt r hav th e amateur of paintings ready for symbolical and religious pictures of

h e e t and for a e i e e of C and ea for t b st sor , l ndscap s l k thos orot Rouss u, la e e ll et and th e e m e st ndscap s with ﬁgur s by Mi , works of thos I pr ssioni s ofth e present day who execute from original conviction and after pro

di e n ot e e e o e h as e e found stu s, b caus som th r man sugg st d that such

a a a l h f e in no e . h ndling p ys t east in t e coin o notori ty, if oth r This is a summ ary Sketch of th e development that has go ne o n in t he

taste of a thousand coll ectors in France and th e United States . Many

108 N 1 O . 1 .

S E A T E D C A T H e ig h t Inc h e s

L I F E O F B A RY E T H E S C U L P T O R

possible buyers and th e scul ptor would have been accused of aﬁect a

It n tion . is o w an interesting example to place in large collections of

these bronzes and is merely noted in connection with what h as gone before concernin g that evolution of t aste which becomes impat ient of th e unimport ant and longs merely for t h e sugge stion from which t o

l Th a e ll a l l evo ve a thought. e re d r wi e sily recall exact y parall e move

m ents in th e development of taste in literature an d music ; b u t such an excu rsus would l ead t oo far away from th e province oft his book . Th e year 1866 w as for Barye o ne in which t h e bitter-sweet might

’ a e ee T e e a ea L Illu ra ion an a t l h v b n his symbol . h r pp red in st t r ic e

T e e a e t a Old l o f emi a a t a a by h ophil G uti r, h t ion Boh n P ris, wi h portr it

’ n t h e e e ee eo o wood engraved by Mouilleron . But bitt r must hav b n p u ’ n o His e e liarly like gall t o a m a f B arye s temperament . fri nds induc d him to Oﬁer himself for election to th e Institute of France and lie w as

e e a e e t t e a n t o th e e e a r j cted . Wh t induc m n s h y m de to bri g him n c ss ry

B a visit s o ne would like t o know . u t t hose who study B rye through t hese acts as well as his produ ct s in art will hardl y need to b e t old that such a step indicated a consciousness o n his part that his career as an

al e as e and t a h e a e of i e and e origin g nius w ov r, h t for t s k his w f childr n h e u t o e e t n a l e e e e t e e at o ght n gl ct no hi g th t wou d b tt r th ir prosp c s, v n

‘ ’ th e e e e of li e e h e e t h e t e e e w a xp ns his f long prid . If di d Of Ins itut th r s

- h e n a e . e e e e t e a p nsion B sid s, his bronz s , wat r colors and r st would tur ally fet ch higher prices as th e work Of a m ember o f t h e Instit ute . B arye h ad little reason to respect t h e Opinio n on art matters of l H an a e e e e a e a m en . e h ad y l rg body Of p rsons, wh th r rtists or it r ry not been like many Of his comrades o f 1830 a violent abuser o f th e

e r e an d e t e wh o a e a la e th e e b u t clev r w it rs non n iti s g in d p c in Institut , under his ﬁrmly closed lips it was not hard t o detect a foe to such dis

n No w h e e e i e and t h e a e a l t inctio s . bow d to pr jud c for s k Of his f mi y

l was h e l a — e e so h put th e cup to his ips . It t cup Of humi i tion but v n e

n o i was ot p ermitt ed t enjoy t . Some balm await ed his pride t h e next year however for h e gained th e

He a a e e oft h e fo r th e Grand Gold Medal for bronzes . w s m mb r jury

110

L I F E O F B A RY E T HE S C U L P T O R

’ A e his Th e C e Eau is ﬁne l m ricans noted power . hat au d a bui ding in a classic style which orn aments th e reservoirs that supply the city wit h

To a i l l o e we e water . dorn th s bui ding four colo ssa groups in st n r o e e e ! o ne - t s e ee e s and a s and a rd r d, nam ly sided comba b tw n tig r tag doe e h e l is th e e s th e e , and two oth r groups in which t ion aggr s or, pr y

l T e l e e e n on e se th e e a e e . e b i g in ca a boar, in oth r an nt op h s co ossi w r thought so well of that plaster casts of t hem were afterwards shown in

a i th e E P r s at xposition . With th e year 1868 th e crowning glory so far as th e public is con

e How e cern ed reached Barye in his election to th e Institut . it cam

e a e b u t t h e s ur e w as th e about is not asy to sc rtain, tory c r nt that ar

chit ect Lefu e e e th e t ri n one l, a gr at fri nd Of sculptor, ook him d vi g

s at a e e a e e t o e . day, and topping hous p rsu d d Bary com in with him On entering th e latter found himself visitin g o ne of t he Immortals and .

h e e a u His e e e 1866 t e w s o t . e w s cr t fri nd, kno ing that aft r his r j ction in nothing would induce Barye to make t he obligatory round of call s o n

th e m en wh o e t h e a h ad th e e . h ld ch irs, brought him to point by strat gy

e t h e e u l u ar e e e e e was l e e e . Onc in distast f ro nd, B y p rs v r d and du y l ct d

With this closed what m ay b e called his active career as an art ist . H e h ad already shown t h e defection of his powers in th e relief of

Na e as a in N dee th e i e h ad e pol on III a Rom n triumph . o w in d t m com

e his e e a e was e t o th e t e . wh n , in hom ly bourg ois phr s , it tim put up Shu t rs

112

L I F E O F B A RY E T H E S C U L PT O R

ﬂesh -ea th e a e and t o the a ing and ting, to anthropoid p s hum n being.

Na e s e a e e a e th e n t e em y, not cont nt with thi rang , B ry ss y d mo s rs,

b a w e lea of t ei a e t h e l e a e A odying wh t rn h r Sh p s from it r tur s Of ssyria, E ee e and e . e t ul e e h Gr c Rom v n his co d not s rv as his limit, for e dared t o v ie with th e inimitable masters of th e past and model th e portraits

o f e e an d o f a godd ss s s ints .

no t e a Th But to m ntion his f ilures would b e unfair . e worst of all was that relief in th e Roman spiri t representing Louis Napoleon as a

a f h T p tron o t e arts . here was something cruel in asking a scul pt or of ’ Barv e s a e e e t t o e a e e l nt c d n s do such a work, and p rh ps th r was ma ice in th e commission ; for his friends had been loud in their blame of th e

e le w h e e Ye a t e al l ma a e b ee n g ct ith which was treat d. t f r it y h v n

e rea a e ee e e e b u t sh er bu ucr tic stupidit y . A connoiss ur n d d to r vi w a ’ little o fB arye s career t o know that h e was strongest in symbolical and

at m a mythological subj ects into which animal ﬁgure s enter . Wh a g niﬁcent Roc carrying Off Sinbad th e Sailor woul d no t Barye have creat ed ! How h e would have reveled in t he symbols ofth e Four Evan

elist s v ea e ee a and a e th e of th e e g , gi ing to gl , st r, lion, y ng l touch sup r

a al Of h e al t a e i e e e th e e e ! n tur , which mos lon in th s c ntury poss ss d s cr t He alone coul d have modeled a Pegasus that h ad all t he power of th e e and th e a r t one a e a hors buoy nt look of th e bi d . Wi h hint from c rt in Greek coin h e might have designed a sea-serp ent which would sat isfy ' t h e t e t al t ea e e i t e al l t a e mos Sk p ic hat such a cr tur , if it x s d at , mus h v h t a l a e t h e n e e of a . d just h t form But as luck wou d h v it, o ly pi c

a e e e a o ne t at n ot b e work by B ry v ry promin nt in P ris, h could e a e o n a h e e th e a l the S e e was v d d appro ching t Louvr by qu y a ong in , that very relief of Napoleon III t rying to b e Jul ius Caesar which repre s ents t h e lowest eb b of B arye as an artist ! Fortunately it h as not h t roubled t e admirers of th e sculptor since 1870 . When th e day o f disillusionment came and t h e French found t hem

el e th e Or E e o th e lat e e a e th e e s v s wi out armi s mp r r, t r b c m scap goat

and r a f and e e e no po tr it o him was safe . Cowards blust r rs who dar not face th e bullet are always ready to lead in deadly assaults upon

114 O R D ER F R O M T H E C O R C O R A N G A L L ER Y

h b a - e ea e e e t o ffe pictures and statues . But t e s reli f, which r lly d s rv d su r

r h e as e i e to b e e . S e e f om t iconocl t, was not p rm tt d ruin d om mistak n friend covered it with a thick layer o f plaster to prevent its destruct ion

The e it so far as e e a e at t h e hands Of rascals . republic respect d to r l g t

’ t o e a e o e b u t at t h e e ofth e ex ti of a e it som w r h us , tim hibi on B ry s works this spring it could not b e found . By 1873 Barye w as so conscious of th e loss of his powers that h e declined an order for a vase given him under t h e most liberal and ﬂat

No n H e t t h e e ee e and ot . e w a tering t rms . hat was nf bl d could work s t ll an a e Old m an h e e h e e s i ctiv . But kn w that could not produc as in

Th e a f a i and a former years . v se was to h ave combats o L p ths cent urs

e e so at h e no ee o f e . T in r li f, th did t n d to study fresh kinds ﬁgur s here

e e th e e e for th e ea 1 e e a e w r sk tch s gr t group of 850 . But wh r noth r might

a e e e t and e e th e el i o n th e a e h e h v don his b s pock t d commission, r y ng f m

a ea e e t l had lr dy won, Bary f l scrup es .

There was another reason for declining this commission . He was occupied by a task that must have been extremely gratifying t o a m an

o n a th e e th e e l who, looking b ck through almost whol Of c ntury, cou d i no t feel that h e h ad been treated by his country according t o h s de sert s .

a of e e e th e a e of Mr . Corcor n Washingt on having gr at confid nc in t st m W . T a n th e e e of a a e . e a d i t o a e t Mr . W lt rs, w shing h v b n fi th t t st in fitting wit h works of art th e superb building which is now a monu m e t o e a e a a th e ee ele nt his m mory, m d him ch irm n of committ to s ct

e . a a e e ar e 1873 and xhibits In that c p city Mr . Walt rs call d on B y in after a pleasant conversation remarked !

e e e t o a e a . e Monsi ur Bary , I com m k you proposition I com to com mission you to supply t h e Co rcoran Gallery at Washington with one f ’ Specimen o every bronze yo u have designed throughout your life .

T h m e e for th e ee e e . l e w a his sp c , r mark d Mr Wa t rs , to hom I ind bt d

e e ed he el e ffe t on th e ai e a e o f a e . an cdot , produc t liv i st e c st d count n nc B ry

His eyes ﬁlled wit h t ears an d h e spoke with difﬁcul ty ! ‘ Ah e al s ! h as e e o e , Monsi ur W ter My o wn country n v r d n anything like that for m e

115 L I F E O F B A RY E T H E S C U L P T O R

SO it was that th e Corcoran Gall ery at o ne time possessed th e fullest collection of bronzes by t h e master in America and prob ably in th e

of th e e e es a e l world, though many small r pi c h v been ost Since then by

e th e th e all e ul th ft, from which custodians of g ry co d not protect obj ects

l e - Th that cou d b e Slipp d into a good Siz ed pocket . e losses in this way became so serious t hat holes were drilled in th e metal stands of th e

e and e e e l e th e el e on e e e l e ﬁgur s th y w r bo t d to sh v s which th y w r disp ay d .

e e so th e a e lfe e was so But v n p ssion for owning a bronz , though pi r d,

ea a e e e e e e e th e e and a e off gr t th t th y w r som tim s wr nch d from sh lf c rri d .

The la an d e a le a of is th e e e e most Singu r discr dit b p rt this , that thi v s wer

e a e e a l t eal e or t o p rsons of outw rd r sp ct bi i y did not st from pov rty, . who ll a a e e t o own it T e e lli se th e e . e e e bronz gain, but from d sir h y w r int g nt

a e t a t at e e e a in e a es and up to c r in point cul iv d p rsons, p rh ps som inst nc afﬂi cted wit h hereditary thievishness which in th e case of respectable ’ e a e and all le a a persons is digniﬁed with a Gr ek n m c ed k ptom nia . B rye s

e e e diﬁ cul t t o ee as t h e a e old s bronz s, in fact, w r as k p r r book which have tempted scholars from th e straight road . Barye set himself t o do justice to this magniﬁcent commis sion before h a e a e e h e was e l e e e t e we kn ss of old g ov rtook him , for th n a r ady s v nty

He a a e e th e C e no le t one seven . m n g d to s nd to orcoran Gall ry ss han hundred and twenty bronzes before t h e grim spectre which h e had suggest ed so many t imes in his conﬂicts Of animals and m en came to his bedside and bade him submit t o th e inexorable law of which he h ad been th e curious an d sombre poet .

A t t e l h e was e th e se ll e s his bou his tim , whi st conﬁn d to hou by an i n s , wife essayed to interest him by chatting about his works as Sh e dusted ‘ You ul t h e es e e t h e bronzes in th e little workshop . sho d cut nam on th s ’ ’ u l e e groups clearer sh e remarked when yo fee b tt r . B arye lifted his head from his hand and said ‘ e t e ea e le ill b e i n e Within tw n y y ars, my d r, p op w studying my S g atur ’ with a magnifying glass.

116

T H E D EA T H O F B A RY E

ONE one r e h ad ee all and 1875 the s by his f i nds b n f ing, in culptor found

l w di e t e e r . C as hat littl band in Barbizon strang y sh unk orot about to ,

and lle ill . e h e h ad e l Mi t was Rouss au, for whom ﬁnish d with oving care a wonderful sp ecim en of th e Growling Wolf whi ch is now in th e

‘ ’ a t e e l ell A l Ami R ea S A eur A . W l rs coll ction, ab ing it ouss u, on dmirat

a e h a la a e a ea L . B ry t e gre t ndsc p p inter Rouss u had brought his

e e unev entful yet tragic life to a close twelve years b efore . Lik him Bary

e C h e was a Parisian who rarely left Paris and n ever France. Lik orot suffered years Ofeclipse only t o b e hailed at th e end ofhi s life as in cer a l h e lle h e t in ines t e greatest artist ever produced by France . Lik Mi t

th e e ile o of a e not m en was unobtrusiv s nt champi n a r c , Of , but Of t h e dumb animals which have suffered t ortures beyond the est imate of ’ man s brain because man h as kept them t o o low an d far away from him l A l ill ull dm e . e . nd e e h e th e U e S e s f , ik M t also, found nit d tat s f of a ir rs

e D a a h e was a l t h e a Lik iaz g in co orist hough wrought in patin s,

e e e il i n h l l or red wh th r frost d with s ver l ke that o t e Grow ing Wo f, as

o e li e o n th e A Ele l or l e l e ee c pp r k that sian phant Wa king, ov ly o iv gr n such as o ne sees o n some Of th e Walkin g Tigers or th e Panther Pu lling F ' D w a S a . o r e e m en th e ea 1875 was a e ul as if e o n t g th s y r f t f , th y could survive no longer th e disasters of1870 which had cu t SO deeply into the

ul of s e of e l of lle e e e was h O e so s om th m, notab y Mi t. In Jun th r no p , and on th e a er ofth 2 h la ft noon e 5t Barye breathed his st .

Al e a a i th e e li e of though his r put tion , w x ng with his honors and d c n

ea e ilit la e e a e die his cr tiv ab y, brought more case t o his tt r y ars, B ry d a

o He h ad po r man, a much poorer man for instance than Mill et . t wo

a e his ﬁr t e d ught rs by s wif . Portraits of them exist in Paris and are

th e e a e - l his e e h among happi st of his works in w t r co ors . By s cond wif e

e e and had ight childr n, as it seems fated that in so large a family there ’ al w b e l ee so e e e was on must ays b ack sh p , in Bary s th r e wh o tried

u ell t he i e th e cr y k ndn ss of scul ptor.

117 . L I F E O F B A R Y E T H E S C U L PT O R

To u e e th e a e of th e fﬁ e a i of tt r bronz s with n m _artist a x d is k nd m it ff a h e a e o f a e forgery uch worse in s e ects th n t ordin ry forg ry ch ck, because it makes very nervous th e buyers who learn of th e fact th at such

a as ee e th e bronzes exist . B rye w ind d pursu d rough lif by imitators

f l iﬁ r t and a s e s who knew much better than h e th e art Of selling . Whils h e lived there were m en base enough t o issue bronz es from m odels by

h e e e o ne wa or h e e e a e him which t y s cur d in y anot r, som tim s through s l s ’ m e s of a e l ee et m e at critical om nt B ry s ﬁnancia car r, som i s by thoroughly

e e e n e l New illegal m e ans . Wr tch d Copies wer at o e tim so d in York but th e dem and was t o o small from th e ignorant and th e connoisseurs kn ew t heir Paris t o o well to b e t aken in very Often .

Y U e e ar e et it is not in th e p ast alone t hat danger existed . ng nuin B y

e th e e e at e are ffe e a e bronz s, in s ns th th y o r d as works which p ss d his own e en et are a m e can b e e st rn c sorship, y in f ct od rn casts, found in mor

S e e h elle is e l a e th an one place in Paris . om tim s t e s r hon st y t k n in him e Or h e is t l en le e t at th e e new s lf, tru hfu ough to acknow dg h bronz is but

’ h Bu t t th e ad taken from a genu ine model once in Barye s s op . wi hout ‘ f n a a s it is u e a e old v ice o a exp ert like Mr . Luc s of P ri nwis to buy B ry

e e e in t h e Barb édienne e bronzes in France at present . B tt r inv st r pro du ct ion s of which esp ecially t h e earlier pieces are excellent up t o a certain poin t an d reason able in price . Barye died t o o early t o feel th e gratification of knowing that fiv e Of his finest works h ad been erected in a cit y by th e sea far across th e

l h at A e e e th e a e at e At antic . But e didkno wth m ricans w r most ppr ci iv and st eady custom ers for his sm aller bronz es and h e h ad th e pleasure of watching th e growt h Of at least two great collections Of such of his

k r e en e a el th e Cor works as were not t o o bul y fo conv ni t Shipm nt, n m y

a t e al e . coran G allery in Washi ngto n an d that of Mr . W l rs in B timor He knew also t hat a numb er of gentl em en of New York and Boston

- Y et h e were gat herin g collection s of his bronz es an d wat er colors . died poor in a sm all dingy house on th e Quai des Célestins where th e statuettes were by no means conﬁn ed t o th e lit tle shop in th e front

e e m e or le th e w le o e . room , but p rvad d or ss ho h us

118

T H E W O R K I NGMEN A T H IS F U NER A L

III

IN F e a e a e e at fu nerals a e e ranc c rt in c r mony , is oblig tory, how v r

a ’ a e b e v e t h e ea th e humble a m n s circumst nc s may , pro id d d d was of

’ f H hi a e a a e e Oﬁicer L egion o onor . In t s orn m nt l fr t rnity Bary was an

He a and his funeral was t herefore graced by an escort Of soldiers . w s also a m ember of th e Instit u te and had been a Professor at t he Jardin

a Th e E le des ea A t was l e e e e e e and des Pl ntes . co B ux r s ik wis r pr s nt d

e e al e a e a e ea of th e e e s v r for ign dmir rs of B ry , h ring c r mony, among N S . A e o f ew e e e l e e t e t o e . . th m Mr P v ry York, w r sufﬁci nt y int r s d form

f h e part o t e proc ssion .

A t he e e e e a t ade e r a ea a e t hous som v ry distinguish d r ists m th i pp r nc ,

as e e e e Ca D u a and at and e e such M issoni r, G rom , rolus r n Bonn , w r not

a e of h l ea o n e backward in pr is t e scu pt or whose worth ch e kn w well . W as not Bonnat th e owner of various groups by B arye ? An d did not Gerome com e to th e sculpt or for a lion ﬁt t o st and in th e arena of Rom e ? But t hese might have come to th e funeral ofany distinguished

f i a a a T e e e e t e e o n t h e artist o the r cqu int nce . h r w r o h r mourn rs Quai

des Célestins that day .

Th e F e a e e l e a e e r nch workingm n was th r in his b ous , but in sc tt r d

He did not a e his a a h a groups . m k ppear nce in force until t e m rch to

e was a T e h e a t h e grav t ken up . h n t e blouses b g n t o issue from work shops and fact ories unt il it was plain t o t h e world t hat somebody more t han commonly dear to th e artisan world of Paris was passing

The h fol to his last rest . artist s conducted Barye b u t t e art isans

T e n e t a hi m h e e a of t h e a t t a ee lowed . h y k w h t in t high st r nk r is ic c r r

’ h ad been entered by way of th e j eweler s bench and th e foundry . It is more than likely they knew that his unaided genius h ad conqu ered a place fo r him in two worlds which are n ot always of th e same

Opinion ; namely in t h e highest world of societ y as well as t hat o f

Fo r th e artists . they could no t but rememb er that Barye h ad th e

le e of n i el th e D e lea e nl e e privi g k ow ng intimat y uk of Or ns, whos u ik n ss 119 L I F E O F B A R Y E T H E S C U L PT O R

his a il e e ldie l e e e and to f ther Louis Ph ipp , whos so r y, g n rous natur e e a e e e e e h e e le eal sp ci lly whos untim ly d ath b for had a chanc to ru , id

hi T e e se a e w a iz ed s memory in their thou ght . h y kn w of cour that B ry s

e l f h N l 2 e e e w l thought o under t e apo eonic revival of185 . But th y w r

ls e ai as th e r h e h ad th e e le so t o a o c rt n that in o igin sprung from p op , ’ th e a h e h ad e e a e le t e e l a l st r main d p op s, withou v r becoming a popu r,

Hi h a m an . s head d never b een turn ed by honors and favors from th e

a Al e e a n a e gre t . ways und r his som wh t melancholy a d reserved m nn r was felt th e sturdy manhood Of a character t hat knew it s limits and its p ath . In October of 1875 there was an exhibition of Barye bronzes and

e - th e E e des e Ar and e e e e e wat r colors at col B aux ts, p opl who w nt th r ’ u r e h f a e e o t Of cu iosity w re astonished at t e fecundit y o B ry s g nius , not t o eak ofth e a of o le e and le e e sp qu ntity w rks, comp t d incomp t , in bronz ,

- - T e es e ra t a t e e o l e a . ee t r cot a, pl s r, ston , i s, wat r colors and cr yon hr qu trian st atuettes in wax were Shown which did not make a reappearance

th e e th e E l d e A ! S . at xhibition this spring at co e es B aux rts, viz t

h D L T e e e e e t e a Re ée and l Cae a . e G org and ragon , nomm , Ju ius s r h r w r also th e plaster cast touched with wax of a Python Crushing a Gnu as

el as a Ne e A a Her Ne la e a e no w th e e w l r id rr nging ck c , bronz in poss ssion

A h u a d or ll of e al . t e e a a é Monsi ur Vi mong oth r Obj ect s w s g p r , sma

wil - of a Fel nbata an ax e d cat Indi ( is j ) d a Chimaera in w , now own d by

r Monsieu Vial . There also appeared the dreadful little group which m ay b e seen in th e

t t e H e of A S r a th e e ar o yp , a ors man frica u prised by Python , in plast r ’ e e w ax T Barb édien ne s mod l touch d up with . his is now in Monsieur

a e l e of a A l of e e is no t l rg co l ction B rye obj ects . detai som importanc

ll Th e Shown in t h e i ustrationt o account for th e position of th e horse. snake has taken a loop round th e stump of a tree and crushes horse

Th e and horseman against th e stump o n th e other side Of t h e group . attack h as been so sudden that t h e horseman is seized by the throat

h n Th e e e before e ca eit her slip from t h e saddl e or u se his weapons . sc n

one a ea e e a e A th e is that pp ls to v ry g . lthough books in which such

120

S A L E A T T H E H OT EL D R O U O T

r a e hi e wh o e the adventures are told a e now prep r d c ﬂy for boys, hav hunger for curious anim als and strange advent ur es with beasts that

ul ar e et it b e a e a one ad ts e suppos d to outgrow, y may s f ly said th t no

a e t e e t e e if b e one o fu nmiti can regard this b ttl wi hout som mo ion, v n it

Wh o a l la e t h e e a a t gated horror . sh l b m p rson who turns w y from it wi h a Shudder ? Th e m an wh o could model such terrible things h ad in him th e quality t hat made D ant e while still in life an obj ect of n o little

ul a e as t at we m a t terror to th e pop c . It is to such groups this h y urn in order t o account for t h e various storie s regarding B arye which give th e impression that his w as a morose and forbidding nat ure. Among th e art icles left by Barye in hi s studio were plaster models for

’ t h e four great beast conﬂict s in st one at th e Chateau d Eau in Marseill es . A sketch in t erra cott a Of a B ear Overthrowing a Buck (fallow deer) is

D e no w in th e possession ofMr . loye who also owns a t erra cott a sketch

’ ofa a a e t an A el e T e e e e a e ea J gu r Ov r hrowing nt op . h s w r B ry s ﬁrst id s

th e at a eill e b u t h e e in th e e nd t o a e for groups M rs s, conclud d h v two

and e t iffe e f r e lions two tig rs wi h d r nt hoofed animals o their pr y . Mr . Theodore Kane Gibbs p erhaps h as t he Jaguar Overthr owing an Ante l a al h t t e e t e e e a e F. S op , c rv d h f siz of lif in v ry hard stone . Mr . J . u on h as a large bronze of t his same group and t h e Walters Gallery another

e th e a a - t e Th e a ea t o produc d by g lv no plas ic proc ss . e ston group pp rs

a e ee m a e e ee 1868 and 1875 t h e e a e h v b n d b tw n , p riod in which B ry fashion ed in hard st on e for t h e Comt e de Nicolai his favorit e grey T m hound o . An article in th e Gaz ette des Beau x Art s by Monsieur Genevay was th e be ginnin g ofthat movement for a monu m ent to B arye Ofwhich this

a w as a e of work is p rt . It most appreciative and m ade readers war t h e loss France snﬁered in th e deat h Of this quiet and u npretentious

Th e D t st atuary . exhibition was followed by a sal e at th e HOt el rouo

‘ e e e e e a e of h e hi h e t at which surpris d v ryon , not at all b c us t g pric s h

e e ai of h e a e l was at w r p d but t ap thy Of t he public . Barye wh n iving p ; roniz ed by comp arat ively few p eopl e when dead h e did not enjoy that sudden popularity among th e buyers of art Obj ects an d bric-a-brac

1 6 121 L I F E O F B A R Y E T H E S C U L PT O R which Oft en comes like a smil e Of irony to close th e career of much

all m i sm er en . So ndiﬁerent w as th e public that it was al most like a

e Barb i n charity wh n M . éd en e bought in th e greater part of his m odels and a e e e alt r r r pi c s, hough it must have been plain enough that such works could b e m ade immensely proﬁtable with t ime in experienced

a e a h as ee a l e h nds, a for c st that b n bundant y justiﬁ d since . Th e reason for a le e a this ap thy is worth a litt consid r tion .

’ A T th e Opening of Barye s career I reviewed some Of th e Obstacles that

e e e o n th e w a h e t t a e t h ad t ros b for him y rod, obs cl s tha h eir o rigin in

el ea o t a e r r igious id s , bs cl s springing f om imperfect knowledge of t h e ea t an d it s a t t D r h inh bi an s whether human or bestial . uring the half century that lies between 1825 and 1875 m any ofthese stum bling-blocks

e e e e th e e e e and a e el did w r r mov d by progr ss Of sci nc , B ry hims f some

afi h l his o el n ect t e a e e . wn o w t die thing to s m r su t In fi d, by his s u s, which were indeed based on science but did not app eal Obviously to scient ific minds nor indeed suggest science to t hose wh o were influenced

e h e e e m en i e and a e e a a e by his cr ations, h lp d to a w d r f ir r vi w of nim t d

e eart e z t i one th e e o f e at b ings on h , s i ing h s on Sid Simpl curiosity, th one thr ough his faculty of p erceiving a b eaut y in unusual things not

l l ' ea e th e a and a t r t h e m ere t echni cal ex commonly tr t d in rts, hi d by cell ence of his touch as a modeler and bronze founder . But a statue or group admired when of large siz e and in t h e Open air m ay not please so much if it b e a statuette that holds it s place on th e

- r h - th e m e the e t at ee m antel board o t e writing desk . In ho subj cts h s m

a a e are e t e e l at e - ar e most ppropri t g n l ﬁgur s in Oi s, w r colors, m bl , ivory

and e t o r bronze which do not suggest tho ught s of bloodsh ed cru l y .

C e e ea b e el a a e h as t hildr n might p rhaps l rn to cru , many p r nt though ,

a e e e if if they saw const antly before their eyes combats and c rnag , v n

l Th e of th e a e a e th e l on y between wild beasts . Sports r n in Rom , bul

ﬁ ht s ofS n t he e - a t o u r e e e t e g pai , b ar b i ings of imm diat anc stors of nor h rn

122

H IS W O R K S D I S T A ST EF U L T O W O MEN

Europe are supposed to have been a harm to public moral s by accustom

f e ing th e people from infancy to th e idea o bloodsh d . Now th e illustrations in this book are enough to Show what a pro ces sion offright ful shap es passed beneath th e quiet strong hands of Antoine

Louis Barye during that half- century so recently elapsed ! Many a m an who knew well how beaut iful his bronz es were must have hesit at e d

e e a hi s l e befor bringing them into his hom , fe ring le st chi dr n might acquire some uncanny t ast e for blood by seeing these tigers devouring t h e e e th e a ele a t ransﬁx in e it t e innoc nt cropp rs of gr ss, ph nts g tig rs w h h ir t t n l e an d a e o u t of i e a a l at usks, py hons cru ching if sh p crocod l s, or j gu rs g o

- Na h e ea e a th e in e t e e a e . e g ov r h ir n wly sl in pr y y , may hav f r d th t child unborn might su ﬁer irretrievable harm through th e eye s of its mot her ift here should b e any substratum of fact in th e fancies on that head which th e ancients believed in all t heir fullness and t he moderns t he m e e are am u t a t e e e e t a th e s lv s slow to class ong s pers itions . Gr n d th r for h t present ag e h as become too enlightened to oppose t h e m aking of such a u a art t e e e a th e a t a e a t t s ng in ry works Of , h r r m ins pr c ic l c rt in y wi h respect t o a large body of m en capable of enjoying t h e marvelous genius

a i of B rye that h s bronz es were in large part banished their hom es . But when I say m en I am onl y speaking of not quite half th e com

‘ munity of t h o se whose wealth and education permit them t o acquire l u e e e Th e la e al a ux ri s lik bronz s of this kind . rg r h f of th t com

It a dl e t a e e eed munity consists of women . will h r y b e d nied h t th r is n of e ul a t h e ﬁne a e an d eadi much mor c tiv tion in rts, mor study r ng, on th e part of a woman t o ﬁt h er to appreciate th e terrible groups by

a e a r h er a e e e a t o a man . Sh h a e e e e B ry th n n c ss ry e s to ov rcom , b sid s

eat e e e e t o th e e h er ll t e e a e gr r s nsitiv n ss horribl , natura y s rong r r pugn nc

e e of e t M th e to sc n s d a h . an is th e physically stronger person in whom

- -ﬁ h i instinct of battle is bred . The sight of a do g ﬁght or cock g t s not

lea e th e e t Of m en a e e e a p sing to wom n, but b s must h v f lt, p rhaps with

of e a a r ri t o see touch Sham , th t such scene awakes thei cu osity which

ll — ? an r e ee l a t o wi win who knows stirs Obscu f ling, a g ow, longing b e Of th e b att le

123 L I F E O F B A RY E T H E S C U L P T O R

Wh en t herefore a m an admire s combats modeled by Barye it does not w a a h e o follo th t wom n must . On t c ntrary t h e chances are t hat th e average woman who screams if sh e sees an innocent little snake t he length of h er arm will feel th e most violent aversion to such works

f r A nd Sh e b e a o a t . will just s right and normal in so doing as th e man is when h e experiences a certain glow ofpleasure at a sight that makes h er shudder . Here is th e place to call attention to a singul ar fact which rarely escapes th e person who examines th e old catalogues of Barye and

i a f Al t ’ rev ews l rge collections o his bronzes . ong wi h Barye s strongly

a e a e b e a e b e t e e e e and l e t m sculin n tur (if it m sculin to s rn, r s rv d si n , to suffer without murmuring and pursue steadfastly an aim across all

e al a a e a at ea a dl b e alle e i e Obstacl s) ong with n tur th t l st can h r y c d f min n ,

l f r h e ale all a T w as w ent a predi ection o t m in his statu ry . his most

H l i n his a al . e e e t t e a d e Obvious in nim groups mod d, is ru , hinds do s .

a ttle n a mou fﬂ n ram w T e ar Al ong with li bro ze of o goes an e e . h re e two sm all st atuettes o flion esses walking which vary slightly in the shape of their heads and ears . But these are exceptions to th e grand rule that consciously or unconsciously B arye modeled t he male in preference t o th e e a e an d so e l h e his l e a f m l , consist nt y did do this throughout if th t it

i How t e e h e e e r th e e seems int ent on al . o h rwis did scap f om mar and t h e cow th e ewe o fth e ee th e e a e of a ee , common Sh p and f m l s v rious br ds

ff e e ffe e e t e al e e o f dogs which o er consid rabl di r nc s from h ir m s in Shap , siz e and disposition of coat ?

h was no t ea or f e A nd y et when h e did model t he female e w k indi fer nt. Th e lionesses just m ent ioned are superb pieces notwithstanding their

le e a t o th e a l of and l el a e r litt siz , h ving full th t ook haughty on y gr nd u

e of e are t ll e which is found in th e lion . But his ﬁgur s wom n s i mor

e e are few a e t th e rem arkable for t heir beauty . Whil th y comp r d wi h

e m en e e a e t a ra e . The e e t r a u ﬁgur s of , th y hav c r in g nd ur qu s ian st t

all e L’Am az one a la t h e e of 1830 e e ett e c d , dy in riding costum or th r

r ni e l N e Sh e h e e . t a el al e . abou s, is a m rv of b anc sits hors mag ﬁc nt y on Of t he painters Of that period who have tried their hand at the same

124

A S C U L PT O R O F T H E MA L E subj ect approach Barye either as regards th e horse or with respect

’ h r a Th e A e a t he Hi o riﬁ th e t o th e lady s seat in e s ddl e . ng lic on pp g , three goddesses and three Graces on th e candelabra belonging to that group an d t h e ﬁgures of th e Hours on the great clock at th e HOt el

n e et a e Pereire testify how ﬁrmly a d pow rfully, y with wh t d licacy

T e e B arye coul d mold an image in th e form of woman . his how v r m akes it all th e more Odd that h e Should have employed his t alents so

n rarely in fashioning the female ofm e and beasts .

AS a matter of fact when h e died Barye had not made a conquest of th e more important h alf of t he persons to whom h e might look for

e at an The e of e th e appr ci ion d patronage . siz his works ﬁts th m for

e f T a e a a e e adornm nt o th e house . h e husband who dmir d B ry bronz Of conﬂict between animals could not very well introduce it into th e

me a a h T e a ho g inst t e swift condemn at ion of t h e wife . hos who did h d

th e th e end t h a to support constant protest oft heir spouses . In e wom n was likely t o win and cause th e banishment O f t h e piece to th e garret or th e -a- a Th e iffe e e o n th e e t f bric br c shop. curious d r nc subj c o these

’ groups by no me ans ended soo n after Barye s death when h e became e e e a i did no end e and h a t a e . t s v n mor f mous h n during l f It th n , not e e nd d now.

all l Ea ea th e l f In probabi ity it n ever will end . ch y r circ e o women whose knowledge of art and wider education permits them t o over

eir E come th inborn dislik e of such t hings increases . ach year more women as well as m en learn to distin guish th e art of a given work

t h e al Bu t from b d fact it happens to set forth . it is too much to expect that such instincts as th e hatred of t h e feminine half of humanity for works ofarts that suggest dreadful scenes from which they wou ld ﬂy if they saw t hem realiz ed will ever b e sufﬁciently overborne by t h e artistic

’ merits Of such o bj ects t o make t hem love and cherish Barye s bronzes

of ﬂi . l Wh con ct Perhaps it is better they shou d not . at can b e more

125 L I F E O F B A R Y E TH E S C U L PT O R disillusioning t han to see a beautiful Spaniard applauding th e sickening Sights of a bull-ﬁght ? And y et it must b e conceded t hat these very women wh o look on unconcerned when a horse is gored m ake good

t e e and e . mo h rs, sist rs wiv s

th e e h as t a e u s far t h e e e e th e But digr ssion k n from v nt in qu stion,

’ sa e e a h e HO l D 1 h e l Of Bary s works t t t e rouot in 875. It accounts for t la l a t e no a lt of hi s ow n ck of popu ri y of his bronz s which, by f u but of

e e e e of z e e e l for in his countrym n in pow r, w r a si that ﬁtt d th m on y t eri ors e ea e f r e ee e a e o e e . , wh r s th y should hav b n pr p r d gr at monum nts

His e e e t t a e t e th e ea l hi s lif prop r nds wi h his s l , for h n gr t bu k of studio

e t e el e e - a and a e prop r i s, mod s in bronz , wax, t rra cott pl st r, his oils, water-colors and dr awings were dispersed and his fame then entered on

e a e o ne was e and e dl a e and one of anoth r ph s , that wid r mor soun y b s d

th e e e al t are a t o et e which v ntu limi s h rd d ermin . ’ O ne m a a k a a h a e ar e e y s wh t would h ve been t e present st t of B y s fam , h ad Am ericans never interested themselves in his works and brought t h e wi der circle o fFrench am at eurs and dealers in Obj ects of art to a re aliz i f ll e e e e th e at o n o his worth . It may we b e qu stion d wh th r small and devoted b and in France who were th e ﬁr st to appreciate Barye and tru mpet his praise s coul d ever have overcome th e dead weight ofpopular indifference had they not been assisted from th e other side of th e At l ant ic . For many years it was supposed in France that anythin g was good enough for A mericans and in consequence of that supposition it was believed t hat painters and some few sculptors got rid oftheir infe

a e h U S On e ﬁne da e rior w r s to rich cit iz ens Of t e nit ed tates . y som body h ad th e hardihood t o remark t hat th e Yankees were not so st upid as t hey ee e e e e i a e e e Th e s a e e t s m d and w re v n tak ng away m st rpi c s . t t m n was scoifed for a i e l on e t e t e a e a e th e at wh l , unti wri r af r noth r corrobor t d e e f t e e a e l e as is t h e r port, and som even m ade u se o in mp r t anguag wont of e a a a e e e are e e c rtain P risi n j ourn lists wh n for ign rs conc rn d, taking Americans to task for draining France of th e ﬁnest canvases Of the tim es .

126

G O O D O F AMER I C AN C O MPET I T I O N

However one may smile at t he folly of imputing in Americans such a li e th e F e e th e e a at th e a e comp m nt to r nch as a crim , fact r m ins th l rg

e e b ar e and D e a l e pric s for bronz s y B y paintings by l croix, Mi l t, Rous

ea C and e of th e l a e h ad a e s u, orot oth rs Barbizon schoo , h v pow rful

’ ef F T e a e ea e th e a e a e F e e e fect in rance . h y h v incr s d v r g r nchman s r sp ct for his own artists and caused him to pay gladly such prices for works

a h e ul An form erly ne glected s never wo d have believed possible . extreme instance w as t h e price Monsieur Proust wished to pay for

l h e a ’ a l t he Angélus by Mi let at t e sale ofM . S cret n s g l ery ; anot her was h h a f r t e great price t e governm ent did p y o th e D eer Covert by Courbet . ‘ ’ b e t e A e a a e i e th e a et a th e If it ru that m ric ns h v ru n d m rk , to dopt la a e o f th e e art e e a l e t e ngu g trad in Obj cts, it is qu l y tru tha only sinc t he French have been forced to pay such price s h as public appreciation

e h e h a r e e befall n t ese mast rs in t e me su th y deserve . There is much talk about th e absur dit y Of prices for t he works of

e e a e and e t e a e a Mill t, Rouss au , B ry th ir con mpor ri s which is f llacious

e a e a on an l f h a t t a e b c us b sed incomp ete view o t e situ tion . Pu ing sid t h e a a in e e e o f ri al at a t he gig ntic sums p id cons qu nc v ry uctions, amounts paid at private sales b etween cautious negotiators app ear a l e e all e e are a e it th e a e t th e f bu ous, sp ci y wh n th y contr st d w h p ym n s in

a h a ﬁrst inst nce made t o t e rtist for t h e very same obj ect .

u t are e a as one a a e ? B th y bsurd, commonly he rs them c ll d It is forgot that large sums of money are paid for canvases int o which th e smallest

Of e e e e a e t he of m en amount tal nt nt rs , canvas s th t com from studios who have been fashioned into Skilled painters without possessing a

ea of e i a t of n o r at e a e n ot with gl m g n us or hrob passio , any rat un bl t a ei e e e a t o t e ee e t s nding th r p rf ct d h nd communica passion, f ling, mo ion

of intellectual or emotion psychical to t h e onl ooker . Works this kind are and must always remain those which regulate th e general prices Of

f r i wn T far t oo we o a t e o e . e are e works in th r ﬁ ld h y v ry high, high, if are el e e th e e t o f e t e e t a l to b i v st rn cri ics m diocrities . But h y s b ish a stan

a of e as th e l of ea ee e a d rd pric just as much bu k wh t, corn and b f st b lishes in each case th e general price for t he necessities of life .

127 L I F E O F B A R Y E T H E S C U L P T O R

But now comes th e rare artist who has something in his work that n o Parisian training can supply if th e genius is not t here inborn and th e circumst ances under which h e grows up are not ﬁt t ed t o ripen that

e hi s e ar n genius . Only whil m rits e u derstood by a comp arative few can his pictures b e sold below o r on th e sam e level with th e clever work of e i e A s as th e e e in h h e m d ocriti s . soon s cr t is t e possession Of t wide

l of e th e e Of e e a e - l o r wor d buy rs pric his statu tt s, paintings, w t r co ors ‘ ’ et chings t ends upwards toward those t ridicul ous sums against which we ea a as e e la h r rtists w ll as amat urs dec im .

Let e all All h sa is th m c such sums ridiculous if t hey will . I wis to y

at l to e a e wa and e e e al . th it is unphi osophical r g rd th m in that y , v n mat ri

T e e no e i l h la S e e e th e h r is pric which is rid cu ous for t e p ys of hak sp ar , e of D a e th e of ee e th e ai of Rem pics nt , compositions B thov n, p ntings

T e e an a a brandt . h r is ngry note in comm ents on th e great prices p id at present for works by t h e band o f artists wh o have made France ill th e a al One ustrious during l st h f century . All that is wrong . should glory in th e fact th at m en are willing to pay a great fortune for a canvas

f e T e e a t lik e e e a ew inch s square . h r is no parallel between f c s th s and t h e squandering by Rom ans of th e value Of huge properties on a b anquet

Th e t e a all la e e s or one dish for a meal . ru p r el is with popu r mov m nt in ancient Greece and medi ae val Italy when th e advent Of a work of art was th e Signal for a popular procession and ceremonies as im if portant as a conqueror return ed in triumph . Nor n eed we grieve that Barye go t for his bronz es insigniﬁcant

n W ul ee l sums compared wit h those o w asked for them . e sho d f l g ad that th e number ofp ersons who recogni ze their beauty h as increased so

a e l e much that h e Obt ains no w that fam e for which h e labored . B ry ong d

for eat e e e al e h e al el e a e e gr r r cognition wh n iv , but so d ib r t ly sacriﬁc d a thousand chances for that recognition in order that his fame after

l His e e e z e el death shou d b e greater . agony wh n cr ditors s i d his mod s,

ea e t h e his scrupulous care that no work below th e best Should l v Shop , his anxiety that a t ru e am ateur should possess th e ﬁnest results of his

en u la are a a in t not a e as an g i s and bor warr nt in s y g his, as gu ss, but

128

C O L O S S A L S C U L PT U R E IN L I T T L E T H I NG S

h indubitable fact . And there is this point in which t e present day diﬁers widely from form er epochs when there w as some truth in th e complaint that m en of giant fortunes absorbed th e great product s of l scu ptor and painter .

N a a t e are e a e e e e e th e ow d ys for un s divid d mong h irs, and v n b for millionaire dies t h e chances are great that his works o f art are placed in some gall ery where t hey are cared for as they coul d not b e in ordin ary

a e e e are e e t h e e ﬁre a e and h nds, wh r th y prot ct d from dang rs of and w t r t h e ea and ear of t an e r e e and e h w r t r sf r f om own r to own r , whith r t e

W e b public can com e t o examine them at their leisure . must not e disgusted at th e wide diﬁerence between t he price of a B arye bronze

1 5 and 1 t he t a it e a ul at in 87 in 890 . On con r ry is a subj ct for congr t ion that amateurs shoul d think it worth their thousands to dispute a work of ar a e We a e e a u e t t mong th m . h v pl nty Of coloss l mon m n s costing fortunes t hat have no spark of that genius we see in th e minim bronze of a S eated Hare with ! ear s erect st amped here o n t he back Of th e

n e re Th e a it e t l are cover a d found els whe in artotype . rch c s of co ossi

ar A e a e e h e very apt to b e pigmies in t . But ntoin Louis B ry wh n modeled a pigmy animal was nothing less than an artistic giant .

129 CHAPTER Si x

PERE COROT w as born t h e same year as B arye and oddly

h ea F a s e enough died at t e very same ag e . J n r ncoi Mill t also

e 1875 a F a e e e t at e of t ee di d in , so th t r nc was b r f onc hr artists

e e we a e e see a D oll i whos lik shall prob bly n v r gain . aubigny f owed n

1 8 b u t ul e D e was t h e e of t h e e e a 87 J s upr living at Op ning pr s nt ye r.

Of all th e painters and sculpt ors whom Barye ou t -lived there was

e wh o can b e a a e e e hi s a ee an a t e e non s id to h v inﬂu nc d c r r as rtis , xc pt

e ea th e e t 182 a el Géricau l th o ne who di d as rly in c n ury as 6, n m y t e

e of th e Ra of t h e e a a wh o e at th e e a e of paint r ft M dus , man di d arly g

i t - ee e e a e on F e th r y thr , but l ft b hind him most vivid impr ssion r nch

n F a He a e l and e sculpture as well as o rench p inting . p int d ions tig rs

e l and h is e are e e e ofD e a x . e w l , hors s Oft n sup rior to thos l croi G ricault

fill- was alternately soldier and artist and always a m an o regul at ed life . But whil e Barye was in his format ive epoch this brilli ant m eteor rose o n his horizon and capt ivat ed his senses .

A e m a e e him for a e was A e Préaul t noth r who y hav mov d tim ugust , a sculptor several years his junior who made his appearance and

130

P REA U L T A S A N I NF L U ENC E

S h a 1833 a sensat ion at t he alon at n early t e s me period . It was in that Préau lt surprised t h e digniﬁed sculptors of th e Old school wit h h as-reliefs and ﬁgur es that were prophetic of Les Miserab les by Victor

H as t h e e o f a d i th e r o f h er ugo , such ﬁgur young girl y ng in a ms

- P u l a e and a a e e a e Fa e . réa t e moth r, coloss l bas r li f c ll d min in his rly — p eriod seems t o have b een th e Rodin Of his day unless it m ay b e more logi cal t o say t hat Rodin is th e Préau lt of th e present t im e It w as h e who remarked concerning th e m en Oppose d to his views of ‘ t he proper scope of sculpt ure ! A cademicians are no t artist s ; they ’ r l 1834 a e col ege ushers wh o have been promot ed in rank . In this tumultuous young artist creat ed a y et greater sensation wit h a medal o f

a E e of e lt e a e an d a e an Old Rom n mp ror most r vo ing count n nc , bronz b a - e a le S T n a of m en s e a e . h e a t e as o e e r li f c l d l ught r l t r w jumbl d m ss ,

e and l e e ea t e and a e ma e wom n chi dr n d stroying ch o h r, c us d ny p rsons to

it t h e Préault e and a think work of a m adman . did som good m ny poor s at e a e the e t e a e th e Sa as a e at i a t u s l t r in c n ury, but his ntr nc Of lon s ns on l sculpt or of t h e ﬁrst rank is m entioned m erely t o show that t h e terrible

e a i Préau lt SO bronz s by B rye d d not stand absolut ely alone . is now ’ forgotten that hi s exist ence as a sculptor is ignored in Siret s dic

ionar of a h ad t t t . 1824 e or t en ea ea l e D ela y r is s In , nin y rs r i r, croix

a e his a a a S and 1831 t h e ea of m d m rk with a M ss cre Of cio, in , y r ’ ar e t t D e a i e a o e a B y s ﬁrs riumph, l cro x show d mongst th r things

a t e p in ing of tig rs .

SO Barye was not separated entirely from th e rest of th e out side

e e t h e s e h e e th e ee h e e world ith r by ubj cts chos , or dramatic f ling show d

a a T e ee him and a t l e in his nim l groups . h e difference b tw n rtis s ik

D elacroix and Préaul t was t hat b e controlled bet ter his hand and

e e Th e e l studi d mor patiently th e preliminaries t o hi s gro u ps . r su t is that while Préau lt is as good as dead to th e world of am at eurs and

D e a a e a e e e t a l l croix is r th r losing ground th n oth rwis , Bary is con inu l y growing in esteem and bids fair to take a posit ion as regards D elacroix fo r example which would have been hardl y considered possible by that

and - ambitious hard working genius .

131 L I F E O F B A R Y E T H E S C U L P T O R

It is more t han likely t hat to Barye his early friend D elacroix was at

e a l e an n D l i o nc ridd d an obj ect of veneratio . e acro x wrapp ed himself SO closely in his work that h e kept awav from acquaintances and

e of e e e a t a h fri nds youth, only fr qu nting c rtain ris ocr tic houses in t e best quarters of Paris where hi s polished manners and cleverness m ade him

To b e l a most welcom e . a co orist t that p eriod was t o b e t he bugbear of

A D e a i w as a m an e cademicians. l cro x of icy mann rs in society but a

e l ofﬁre and a t e a p rson fu l p ssion wi h r g rd to his work. The opposition ofth e conservatives in art m erely deep ened his anger and harden ed his

r Not di resolve t o beat them sooner o later . only d h e succeed in paint ing a great many ceilings and walls in th e teeth Of competition and

t e h e u wa t t h e e of t he e in rigu , but fo ght his y up hrough st ps L gion Of

an t t h e of th e a He Honor d in o august company Immort ls . was th e

ofall a nt ea a m an wh o e his e e hardest comb ta s to b t, k pt t mp r outwardly

e e e e a and never showed discourag m nt und r t mpor ry defeat . Wh en at last h e wrested op en th e doors of th e Inst itut e t h e members of that body are said t o have been not a lit tle ast onished to ﬁnd h im a delightful comrade who w as polished naturally and in every w ay able t o hold his o wn and contribute to their enjoyment .

r He e e a Very diiferent w as th e entrance ofBa ye . was n v r sociable man

e al h e e ea lat e fe in th e sup rﬁci way, and gain d his s t too in li to change

e ee th e a of e e e and le e at a e e him in any d gr h bit r s rv si nc th ch ract riz d .

ll ﬁv ea a his ea a It was not ti e y rs fter d th th t M . Bonnat undertook l I al e a a of a e . t e t for Mr . W t rs portr it B ry in oi s is s ldom hat t his

l e a t e of a t a e e e a e ce ebrat d p in r portr i s who r r ly, if v r, m k s an unsuccessfu l likeness and n ever a weak o ne is able t o surp ass his ordinary level so

lea th e ell e . The a t e e elli e w as in this cas r otyp giv s at st ﬁrm, int g nt

of ar e can not e e th e al e th e ai expression B y if it r produc v u s of p nt. Barye is remembered by Jules Clarétie in his Peint res et Sculpt eur s Contemporains wh o gives a portrait etched by Massard which appeared 2 in 188 . It was not till th e end of 1885 and th e beginnin g of 1886 that an honor befell t he memory of Barye such as lacks a parallel in modern 132

MO NU MENT S T o B A RY E’S F A ME

One h as t o a h e of ee art th e a e t imes . go b ck to t period Gr k of gr nd poch

ee e ee l e at a e a di a t t and of Gr k coloni s to m t its ik , for in th g st n ci y would adorn it self an d hold - fest ival in order t o greet t h e coming of a a t e e e o f a e or th e e t e e t e t o e m s rpi c by a sculptor f m , monum n r c d som great soldier o r artist who lived and died in th e m ot herland which h ad

e th e Th e ea a e t o A me a l found d city in question . id of tr v ling ric wou d

a e e a e e ea e et A e a h as e h v surpris d B ry b yond m sur , y m ric giv n him

F a e at e da t o al honors which r nc hopes at t his l y riv . In February of 1886 the city Of Baltimore was enriched wit h no less

' ’ ﬁv e e o f l f e a t e a a a e e a l o e . A s th n bronz s l rg siz , th m f r B ry s work already not ed t hey were th e gift of

li a Mr . T h . a e w o t e Wil m W lt rs, hr w

e t a i ela his coll c ions Of p int ngs, porc ins and bronz es Open to th e public and

e New Philadel summon d from York, phia and Washington a number of am at eurs to rejoice with him over t h e A e a e t t o a m ric n monum n s B rye.

In his very int erest ing life of Barye ‘ Ar M . sene Al exandr e says ! It is to Balt imore w e must go in order to ﬁnd a e t ofth e a T monum nt wor hy rtist . o buil d it his own masterpieces were e t e w nough, hos which e ne glect on the e a e of a e or a t rr c a public g rd n, t m yw com g w an absurd height above port als where N o . 81 . e are n t ee o . T WA R GRO UP L RE a t o t he ON OUV . th y s n h nks gen , “ 0 ” erou s e t m o f Mr . e a n husias Walt rs, e o f the e t h coll ctor ﬁn s proofs known, t e Lion in Repose and th e four groups of th e Carrousel Court are erect ed on o ne Of th e squares Of Th Balt imore . e museum of Washington is equally rich in Barye

e e t a o u r bronz s, much rich r h n national museum which possesses only t wo ’ works by him .

133 L I F E O F B A RY E T H E S C U L P T O R

It t h e e e t ea e e h as ee e t o ea is in pr s n y r, how v r, that most b n don spr d

l H h a a t h e fam e of Barye about t h e wor d . e s been r ised in France to t he numb er Of those artist s who are thought worthy Of a place in th e

f e a e h e o n h H h a army o statu s t h t p ople t city t e Seine . e s b een thought in Am erica a proper subj e ct for o ne of those movem ents which are an

t o th e e o f an m an e e th e a al en d t honor m mory y , wh th r ﬁn nci sough

e e b e at a e o r no t and a e e al e as w th r by t in d , mov m nt which is so sur , e

all e e t e t o as on t e t o th e e of Sh pr s ntly no , do much good his sid caus n ative sculpture as it will prove on th e other side of th e At lant ic a

ff t e e i graceful O ering to a sis r r publ c .

A D MIRERS Of Barye in France conceived th e idea Of erecting a monu m ent t o him somewhere in Paris and that idea cam e t o a tangible result

No la a in t h e sprin g of t h e present year . better p n w s outlined than a repetit ion o f such an exh ibition Ofworksby B arye as occurred just aft er

an h wa t h e a e t h e E e de ea d t e a e e s s ea Art . his d th pl c chos n s m , col B ux s

It w as e at th e U e a E a e a e e urg d th niv rs l xposition m d such d sign p rilous , because all att ention would centre on t h e Champs de Mars ; but others h eld that among th e ﬂoods Of French an d foreign visitors a certain

e e e e a e an d a e e a a of so la e a numb r would r m mb r B ry , th t v n fr ction rg

Th e e was a crowd would serve t o increase t h e fund . xhibition ccord

in l e an d so far as e el e la g y h ld, ﬁrst proof bronz s, mod s in bronz , c y,

- a and ax ar e e a e een e e e terra cott w e concern d non could h v b mor compl t . Moreover t here were plaster models of th e great groups in ston e at

’ Marseill es and a hun dred Obj ects treasured by B arye s childr en and his part icular friends which lend so much interest t o a Showing in th e

’ Ne e e e an ia l ea th e exhi n ative place of an art ist. v rth l ss ﬁn c l y sp king

Th e t s set e a bitiou w as a failure . ﬂood of visi or so pow rfully tow rd

a e t e th e t h e t e e t a t he Se e th e th t pi om of world, ci y r ar d jus cross in from

T a e a e t e w a t o th e E l e des ea roc d ro, th t no sid rills found h ir y co B ux

ea of t o t he t e e was a e t h e ex hi Art s . Inst d adding fund h r d ﬁcit from

134

T H E B A RY E EX H I B I T I O N IN NEW Y O R K

’ a T b it iou Of B rye s works . hus by reason ofth e overwhelming in t erest

h ea a t h e a l e Of t e gr t f ir sm l sid Show was forgott en .

ea e t he U t e St at e h ad a e m a of t h e e l M ntim ni d s t k n so ny bronz s , oi s

and water-colors of B arye that a suggestion for an exhibition in New

P a I at th e a e t e t at was e at a . t led t o York, s m im wi h th in ris, v ry n ur l

th e at t h e e e t A at a of e Ofﬁ form ion of Bary Monum n ssoci ion, list whos

e ll b e th e a e and th e e t at an e t c rs wi found in pp ndix, d cision h xhibi ion

a e h ofworks by A . L . B ry owned in t e Unit ed States Should b e held in autumn at New York to collect fun ds for th e monument to b e erect ed at

e th e e t e th e l e a h e Paris . Wh n Paris xhibi ion clos d p ast r c st of t Lion

C hi a Se e e e e a e a a l a le and at t h e su es rus ng rp nt shown th r b c m v i b , gg h A . a e a at e a e a r t . e e t e w s e ion of Mr G org Luc s, m ur of B ry bronz s, this p s ent ed by t h e French Government to th e Metropolit an Museum o fNew

th e e t a i a b e e t e t h e York, with und rs nd ng th t it should xhibi d ﬁrst by

A a a Th e e h t ul Barye Monument ssoci tion in utumn . x ibi ion was d y Opened on t he 15th of th e present mont h (November) at th e American

n a Art Gall eries o M dison Square . It h as sustained comp arisons very well with th e Obj ects shown in t he

h de - a e it Spring at t e Ecole s Beaux Art s . In water colors by B ry is

T e e are a e e e e i e e no e e e e stronger . h r scor Of bronz s h r wh ch w r t r pr s nt d

a e a t al t e e th e e en n in P ris, whil bou h f tha numb r constitut sp cim s show

h are not t o b e No l of th e t here w ich found here . plaster mode s big

e e ea e A e a t e e e groups in ston hav r ch d m ric , hough th y w r shown in

ari no a el wax as was a in P s, and such arr y of mod s in distinguish g

feature at th e Ecole . But there is everything necessary to make an exhaustive study of Barye and discover how great was th e loss to th e world when hi s powerful and fertile brain refuse d t o guide his hand

th e a as it e h 1 1 60 S through cl y us d to in t e three decades 830 to 8 . ur prising above all is t h e t hought that A merica should have appreciat ed Barye so early an d t o such excellent effect as t o have his works in

e a m e e a th e t a t e fo r a e o f t he bronz lmost co pl t , lthough s orn m nts kind

can b e a e e e at a and t h e e of th e c ll d in no s ns n ion l, though subj cts

‘ bronze s are su ch as t o make them part icularly unattract ive t o th e aver

135 L I F E O F B A R Y E T H E S C U L PT O R

a e A e e e e e e e e g m rican . By th ms lv s th s groups prov that th re exists scattered th rough communities which at present are anyt hing but educated to high artistic planes a great number of connoisseurs of ﬁn e quality wh o possess th e true enthusiasm of the collector Of works

a of rt .

C e th e a t e e e ea F e onc rning m s rpi c s of painting by J n rancois Mill t,

E D e a R D e e i T e e ea . a T C C. ug n l cro x, h odor ouss u, orot, J ubigny, royon,

es D e e a l D e a and D a de la e a hi th e Jul upr , G ric u t, c mps i z P n t s is not

l e e t h e e e e t o ea . b e e occasion sp k It wou d wrong, how v r, to ignor pr s nc of th e et e a e e de e - e ar e a b t r p rt Of th s comra s and f llow striv rs of B y , th t

a of em t l e on ea e e e e es p rt th which s i l liv s rth, b caus through th s pictur their inﬂuence for good extends beyond t h e tomb and helps to buil d th e e t o t e e e e e e how la l t h e eat e monum nt h ir fri nd . W r th y aliv , g d y gr r num ber ofthem woul d contribute their pictures to an exhibition in such a caus e ! A nd now that they are dead t h e owners Of their master pieces feel t h e poetic ﬁtness ofsuch a bringing together ofworks by th e immortal band who lived sparely and fought shoul der t o shoul der

h e S a S T e are e el th e a s through t cred pringtide of1830 . h y m r y custodi n of these works and may well feel satisﬁed t o employ them as their

authors woul d have under Similar circumst ances . There is y et anot her sat isfaction to b e felt in th e exhibition of all these products ofillustrious artist s of France far away from th e scenes — where they were created and a satisfaction t hat may o ccur t o every

A e e h a a e e ﬁr e- m rican , wh ther e knows B ry bronz from a dog or a

ill e la a e a e e- a n It th e a t M t ndsc p from sc n p i ting . consists in f c that these m en were citizens of a land which upholds in Eur ope t h e great

principles for which ou r forefathers in Am erica st ruggled . In this exhibition of French masters a republic more than one hundred in age honors th e republic whi ch h as lived for twenty years in seas far

stormier than any w e know in this part o fth e earth .

136

V A L U E O F B A RY E T O S C U L P T U R E

III

’ THE exhibition of B arye s bronzes in New York might easily b e taken for th e whim ofcoll ect ors of rare pieces Ofbric-a-brac by tho se who have no e a t e e t a e e t e ea as t studi d, and lso by hos who und rs nd p rf c ly th ir b uty works Of art b u t have never considered th e rel at ion t hey bear t o

F on e Of v e e sculpt ure in a much wider sense . rom point i w sculptur that aims merely at t he adornm ent of int eri ors m ay rightfu ll y b e considered to st and o n a lower plane th an that which is intended for th e

ir a e el e t ee t h e e e e own Open a . B ry hims f f l d ply impli d c nsur of his genius because his works were rarely permitt ed t o address th e moving world o f th e st reets and p arks . But we must always keep well in

’ a e n e e a e i n mind th e axiom th t art do s ot r sid in m gnit ude . Bary s long g to erect monuments Oft h e largest size must not b e int erpreted t o m ean

e Th e a e and t hat h e undervalued his little bronz s . c r genius displayed

f T th e r e t f a in t hem att est that su ﬁciently . hough in di c ion o l rge works h e as e a of a e a at he a e th e w limit d by w nt ppr ci tion , wh ccomplish d on scale suit able for th e household h as already h ad wide -spreading results

a and will in fut ure exercise yet greater inﬂuence . In this country even more than in France t here is n eed of a change in

Of h e e W e e e a e t th e View t aken t scop of sculpture . hav b en cc pting his

n E e u W a a o fth e ﬁ e t b t th e end. e e br nch ar s from urop , from wrong h v been aiming at t h e product ion ofscul ptors oft h e grand before growing

th e l tt e e a our a t t a sculptors of i l , d m nding from r is s l rge monument s b efore w e have learned by constant cont act with small sculpture s in o u r

e t o e t a a ea ea th e ar e a t hous holds und rs nd wh t is r lly gr t in t . It is x c ly as if w e exacted from our p ainters th e grandest Of mural paintings before w e educated ou rselves to appreciat e such things by living with

T h n easel work on o u r chamber wall s . his as o t been th e process b y which w e have evolved p ainters who are ﬁt t o t ake their place with th e

T e e a e ee a all h a best. h s h v b n gr du y brought forth by t e agency of vast number of p ersons too modest to call themselves connoisseu rs or

1 8 137 L I F E O F B A RY E T H E S C U L PT O R

e a e t et an d a e - and a a t amat urs, who h v bough ching w t r color sm ll p in ing

Th e e t e e e u s and as t he t ast e grew and spread . n x st p is now b for our

h e at al e e or a workmen are prepared fo r it . If t n ion gov rnm nt munici

alit a a ri t e ask al on a p y , if corporation or ch ci iz n, now for mur work

a e a e th e a t t are ea t o e o . m gniﬁc nt sc l , r is s r dy r sp nd How different is th e c ase Of scul pture ! Our exhibitions are devot ed

t e e h of a t e e an a t e e c d e e . Th lmos xclusiv ly to work p in rs, t h rs ngrav rs e p aucity Of sculpture is t o o plain t o b e overlooked by t h e most careless

W e are all at tle e t and e a at e t e Observer . c ing for b monum n s l bor sta u s

o d t e m en e a t o th e ea in e e e e t is inguish d , for pompous m mori ls d d c m t ri s,

u e e a e th e a a e of e i And e fo r sculpt r to d cor t f c d s normous build ngs . wh n

th e scul ptors do not “ supply us with stat uary t hat equal s in genius t h e

e a F a e can e e we e an l e e e ea for e b st th t r nc volv , hav imp i d c nsur r dy th m, a censure t hat necessarily p enetrates beyond th e artistic guild and re

e e t h e a t elf a n t urns upon ours lv s , impugning n tion i s s o e deﬁcient in

e o f e e e e l b e e th e r t hose ﬂow rs g nius wh r by countri s wi l judg d in futu e .

all on b u t not th That blame f s rightly us as a nation, for e reasons t hat

a Th e ul e e a a a are sup erﬁcially ssumed . fa t do s not li in l ck of rtistic

Th e a l u r r ur mix e a e . es o e e o u a force in o d r c f u t li in crud n ss, ignor nce . W e have gone th e wrong way about to att ain that distinct ion in th e arts

can l b e e i e e e a e e of ul which on y won by an nl ght n d ncour g m nt sc pt ure .

F r ix a i We treat art as we t reat religion . o s d ys t is forgot ten and on

a ffor Art li e li t h e seventh it is t ken up with an e t . k re gion must b e

n eat e lived a d br h d .

’ e t th e . e e at no t so e t a hi Bary s works poin way W r th , c r inly t s book,

e l not e ee t e and all a a labor Of lov , wou d hav b n writ n , in prob bility t h e exhibition for which it st rives t o serve as a memori al would never

For a of ll e t o as a t ul have been Opened . group co ctors work f i hf ly and

ﬁer as e e th e e of e al e e t he a e h as ee o g n rously cont nts th ir g l ri s as c s b n, t here w as need of something more than t he barren honor o f being

t e ee t a th e a e r e e e e exhibi ors, mor ind d h n pr is wo thy nd avor to r ct a

A Th e monument t o ntoine Louis Barye . mainspring of th e exhibition is th e good that it m ay do t he public by affording occasion for thousands

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L I F E O F B A RY E T H E S C U L PT O R

a e for and ask of a a t st such work, n tive sculptors th t they shall approach

? And i a e e on a e e e as n l do it if th s t k s plac g n rous scal , thi gs common y

la l not o u r a in our nd, wi l sculptors respond as quickly and with s good result s as th e painters ?

Th e e of e e a e t o e t e th e lin policy h r m rk d out, dat from his xhibition Of

Of a e h as th e er t of a e e al ea a a e . works B ry , m i following t nd ncy r dy pp r nt

e and A Mor more every year th e taste for sculpture is sprin ging up . t

t New hil a el a a t e an d at a Bos on, in York, P d phi , B l imor W shington , in

t en e e th e e th e t v e are ffe e the citi s furth r to w st, mos isibl signs O r d by

l e t of a h T e e a pub ic coll c ions c sts from t e antique . h se indicat groping

a e a h Un S Th e a e toward r viv l of sculpture in t e ited tates . B ry exhibition ought to do much in th e way of clearing t h e minds of

a e o n t is not e a e a t e am t urs his subj ect . It nough to h v such v s coll ctions f o casts as that in th e Metropolitan Museum under t h e Willard bequest . Casts o f beautifu l small sculptures should b e available in all o u r cities for th e a e t e the e e of e t e al e e ro dornm n Of int riors, r li f x rn walls wh r p

t ection e t a and th e de a o f f e ri a e xis s from r in snow, cor tion O ﬁc s p v t

T e e ea su b and public . aught by daily companionship with th s ch p

stit u t es th e eat ea h ul o f th e a t t h e e e for gr cr tions Of t e sc ptors p s , p opl will of necessity advance to a demand for scul pture representing what

th e a t e e a t e t e e a e r e and et . e is bou th m , h ir r l tiv s, f i nds p s Onc t s is form d,

a a e a e i i s a e ill ee u e B ry , if such g n us vouchs f d us, w not n d to cons m his heart in bittern ess becaus e th e public does not care for him and his

ea cr tions .

H e e a e the MUC mor is t o b e said concerning Antoin Louis B ry , but rule that h e wh o s ays everything becomes a bore remains t oday as t rue

- The e as when it was uttered by th e sly faced philosopher Of Ferney . r is

e et e e e e t o n som thing pr ntious in d scribing, xplaining, comm n ing works

o f art when they are presented by wood- cut s and art o types as fully as

are N e ll e t o a a e t hey here . ot that t h e artotyp can do fu justic B ry

e let h e l l and th e e bronz , t photographer b e ever so ski lfu , print r mix his

140

L I F E O F B A RY E T H E S C U L PT O R.

Ma h e ea e t e e l and a me i c an giv e . y t r d r s udy th m w l th nk for curb ng t h e wish to expatiate o n t h eir 'v ario u s charnas ! Ch enav ard th e compose r of c art oons fo r t he Pantheon that t reat of

4200 h as le n n A D . a t he world from Noah t o th e me of . ft orphic ’ — utterance as follows ! Let lid ine est la vertn des brntes a remark that I will n ot lose profundit y on consideration . t s inn er t ruth is particularly

Cl ear when w e st and before a large gat hering of bronz es by Barye of ! a a i n ﬂi t and e e i n d th e t e t a e e ea Oft h e nim ls con c , k p min h ory h t v ry b st

e t h e w at e o f th e a e t ee an d e i s w at fi ld, fish Of rs, bird irs, ins c , tr h rb h it ‘ Hat e t h e o f is as th e result ofunnumbered ages of conflict . r d is virtue

’ in e I i brut e s also implies that what is a virt ue t h m s a Vi ce n us .

Without t hat p assion “ in b east s which assum es in our eye s t h e app ear ance Of hatred t here woul d b e no evolution of horny plates on th e all at a on th e a ar Oft h e t at e ea of ig or, of long sharp cl ws j gu , s ly h d horns

n e th e on th e st ag and t h e shining t usks on eleph ant a d boar . Und r grim m ask Of death that keeps all wild beasts and most wild m en

. in a const ant state Of nerve t ensio n blooms th e ro se ofprogress and ' e e t as w e see o n t h e a t Old t t e in Haa e p rf c ion , qu in ombs on s rl m

Cat hedral th e blades o f wheat growing u p through an empty skull . This fearful and y et fascinat ing dep art ment o f thought Barye made

Let his ow n and w as t h e ﬁrst t o introduce into th e arts . us thank him t hat h e did no t make t h e vulgar error ofinnovators and push realism .

e t e e He o e the t e e as do a a n e o f e e to x r m s . enj y d rribl v st umb r p opl

“ ' who have b een t aught to ask from art only t h e pretty and t h e con ‘ H ea t t he e le and e a e a as an v entiOnal . esaw b u y in t rrib p rh ps f lt th t

' ' artist it was enough if h e reﬂected in bronz e t hat b eauty without

’ BUt t h e ean was t e e troubling himself about a deeper meaning. m ing h r an d for his own pleasure and that of a very few others h e t hus increased tenfold th e value o f that which would have still been m arvelous without it . ' Ch enav ard w as prob ab ly not prepared t ospoil his epigram by extend

a e a r e et one ing it so far as to suggest t hat in m an also h tr d is vi tu , y of

' th e awkward consequences of acceptin g evolu t io nary th eories lies just

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L I F E O F B A RY E T H E S C U L P T O R

a e t a al ife all a li a e r is bs n , nim s su r in prob bi ty good d al more than we a e

e e e e e a e of t e e ea of e e and dispos d to b li v , b c us h ir limit d m ns xpr ssion

e a ofa le th ir h bit gonizing in si nce .

AR YE e e t l e t di t e B pr s n s us, to conc ud his long squisi ion, with a v ry

e a e a e en a t e w as e r m rkabl inst nc of moral courage . Wh c s much mor

a a it now h e e e e t o eal e import nt th n is n v r tri d conc his humbl position,

’ as a H e a e e it pp eared in m en s eyes . e did not fail to Sign Obj cts th t w r

- r His nothing greater than paper weight s and decorations fo clocks .

a e e e a e e e e Ce li 1568 e e work as j w l r c us d him , lik B nv nuto l ni in , to b com ’ a d t di ende e a a na e dell a te del ore ceria h e e r i o pr r r gio r r ﬁ , though k pt his processes Of bronz e work to himself instead of writing t hem down like t h e W e h pugnacious Florentin e . see t e results of his thought in his bronze s but have no word from him h o w h e Obtained such colors in th e

Hi as e . el e l t at bronz s bent w toward sculpture . C lini in his u ogy on h ar e a t t e l e nl a few ea e ul t e is t stat s that p in ings of n iv o y y rs, whil sc p ur

a n t e e a e t a ar e t li e as it were eternal . But atural nd ncy r th r h n gum n s k

He h a h t o f e hi this drove Barye to larger work . s t e credi stablis ng a a n as ee e al r th e Re a a e th e art g i , it was in Gr c , and in It y du ing n iss nc , of

re on e a a no t e it as e e liﬁe sculptu an qu l footing with p inting, b low x mp d

a e e e a e e e for th e e a e as e e in c r l ss d cor tiv pi c s hous hold, nor bov it, x mpli

d ea e b u t a a it t as l t e ﬁe in gr t monum nts, h nd in h nd w h pain ing scu p ur

o a e w e e et th e a and should g . With such r cord may w ll forg h rdships disappointments of his career and ﬁx our eyes on his triumphs and hi s

e e e t ee e e e a h e e all his e achi v m n s, f ling happy to r m mb r th t liv d lif among great soul s who acknowledged his worth and t hat his country did much if not everyt hing to honor his genius . E S E A T N T A . A R D A TE R L I G O L . B Y

. A T. Ge c aul t b at e . The pain t er J L . . ri orn Rou n

Ly ons partially de stroy e d b y th e a rmy of th e Convention from Paris . Ma i d u t Ba e a Si e mith m e t o a . e a a e ry , lv rs of Lyons, ov s P ris rr s gh r l r of a lawy er nam ed C apa ede . — t 24th An t i e u i Ba e b at a . Sep . o n Lo s ry orn P ris B h in t e J. C . o t b at a i . T e pa r . C ro orn P r s

Th e paint er Eu gene D elacroix b orn at Paris .

nt A J. D ec am b at a i . Th e pai er . ps orn P r s ’ Bary e s education negle ct ed. h r . C enav a d b o at . P J. rn Ly ons la th in D iaz de Pena e pa te r b orn at Bordeaux . u t Préaul t th e t b t i A gus e sculp or orn a Pa r s . i F milit m t Ba e a e t ed t o rie e a e a e e . ry ppr n c our r, ngr v r of ry quip n s

A . Ba e d awn as c i t an d lac e d in th e b ad t . L ry r cons r p p rig e of opo n m -ma i a hic a e i ee a e ect . g r p l g n rs , p k r s on Th e paint ers Theodore Rou sseau and Jul e s D upre b orn at Paris an d

Nant e s . Ba e tra fe ed t a and mi ry ns rr o s ppers ners .

Th e paint er Const ant Troyon b orn at Sevre s . Th e a m a a ddenl and A t i et u March. r y le ves P ris su y n oine Lou s r rns h m o e . A e t ced t o th e e e e Bie n ai ma e th e tee die tam in ppr n i j w l r n s, k s s l s for s p g re ou ssé M m h N G d e b e t e ati a a . p work . r of on l u r i Jean Francois Mllet th e paint e r b orn at Greville . B ﬁn d ary e s a sculpto r in hi s c ompany of Na tional Guards .

1 9 145 L I F E O F B A RY E T H E S C U L P T O R

E t t li th e cu t Ba Bo i i e a e e a a t e Na e . n rs r of s lp or ron s o, f vor of pol on t a ie Ba G th e ai h u En ers t el r of ron ros p nt er wit o t leavin g Bosio . F D a b t h e ai t e b n at a i n . C . . u ig y p n r or P r s Permitt ed t o c ompet e for th e Prix de Rom e at th e Salo n in the section Mi n u b e ct ! Crot o a D ur d i . of m e dals . S j lo of evo e b y L on Prize t o ll H ab e m e ti t o An t i e Ba . Vatin e e . onor l n on o n Louis ry e

Com pet es in t h e se ction of sculpture . Su b j ect ! Cain Hearing th e Voice

h Almi t . e t o Jac u ot of t e gh y Priz q . m e ti u b e t ! Al ex a de t rmin th e T h I Sa sec on . S j c n r S o g own of t e ndian m i x r k ae . r z e t o e a e O yd a P i L r . ’ b ect ! J e B d m t Sam e section . Su j os ph s loo y Gar en Shown b y his Brothers

t Ja c b iz e t o e e ﬁl s . o o . Pr S urr D t E. D e ac x w at a a e and i i in He l roi sho s S lon n V rg l ll. ti b ect ! Ja Be ari Off th G ame ec . e den F ee e S s on Su j son ng ol l c . NO

pri z e a warded . ’ Ent e o f Fa c i e e e e t o th e D e e d An oulém rs workshop u onn r, j w l r uch ss g e ,

Ru e du Bac . M i e m a ied an d i a a e St e . a e ea Bary rr l ving in P ss g r n r his workshop . ’ Fa c ie exhib it Indu strial Exh ib ition . u onn r s contains models for nim m ak in g ﬁgu re s of a als .

Not p ermitt ed t o c ompet e for th e Prix de Rom e . i e a hi s Ma ac e Of D elacroix shows n t h S lon ss r Scio . m o de hi s acc t ma l anim a un tin d Bary e ls on own oun s l ls, h g ogs , b as

ie w ic are ca t b Tami ie . rel fs, h h s y s r

D avid t h e a t e di e a ed 77 . J. L . p in r s g Bary e at t ends le ctu res on anato my at the Z oological Gardens ; reads

u e B ff n a e ede am a c . t die a c ae n C vi r, u o , L c p , L r k S u s r h ology a d fro

quent s museu ms . - E e Exult n e D ead m L Bas reliefs ! agl i g ov r Cha ois . zemm erg ey er and

t e e an d D u . Serpent . Re ri v r ck d 33 Gericaul t th e paint er die s age . M n B d t o a ! B t a Y n a . t a Y n Sen s S lon us of ou g us of ou g Woman .

Me dallions . D ela croix the paint er sends t o Salon pictu re s of English and Turkish

horse s . Models an d h as ca st small pieces H T rt i e t on T t e ab b t a e . Stork, o o s s, S ork or ois , R i , r ’ Elect ed t o a dinin g club m eet ing at Mere Sag u et -Bourdon s at the Memb e ! Be a e Al u Mai e . exa dre D m Barriere d n rs r ng r, n u as, Sainte

Ch enav ard Ab e H et c . Beuve , , l ugo, A t e e Ga e l e a t in b e b t h G Tiger D evouring n lop or z l , c s ronz y e alvano

Plastic process . 146

L I F E O F B A RY E T H E SC U L PT O R

Pré au lt th e t o d Au g . sculp r sen s t o Salon Meda ! Old m a Em Y e . un m m ls Ro n p ror o g Ro an E peror . B z e b as- el e ! Bu t e ron r i f ch ry . Ba e ﬁ i e th e D e O ea the wi ry n sh s for uk of rl ns follo ng groups, t o st and on an epergne or su rtou t de table de signed b y Chenav ard Five principal groups Hun t th e Ti e th E e a of g r wi l ph nt (centrepie ce ) . Hu nt th e i it B ffa e i of L on w h u lo s (long p ece ) . H t th e W d Ox i un of il (long p e c e) . H t th e Bea n d i un of r (rou p ece ) . Hu t the Elk n d i n of (rou p ece ) . F r r Tw o A ima t o ur n d th ou g oups of n ls s rou e Centrepiece . E agle and Bouquetin . e e t w t Bi G S rp n i h son or nu . i it B L on w h oar . a d with D Leop r o e . The se nin e piece s cast b y th e wax proce ss (81 cire perdue) b y Honoré G and hi onon s t wo sons . D uke Of Orleans asks t he jury of th e Salon (made up from th e Institut e )

t o a cc e t t e e ie ce b u t th e ur e e . p h s p s, j y r fus s

Th e D u ke app eals t o Loui s Philippe in vain . Bary e sends t o t h e Salon

D ead Gaz e l e in b o nz e . l , r

Ho e i e d b Y un i in b n e . rs Surpr s y o g L on, ro z

Elk i ed b n x a t e . Surpr s y Ly , pl s r l i El a t ax c e the D e N mo u Wa k ng eph n (w pro ss) for uk of e rs .

a th e and Gaz ell e . Bea b z e . P n r r, ron

Bea in his T u b o e for th e D u e O ea . r ro gh, r nz , k of rl ns - Various wat er colors ofanim als . Mu du a d 1834 A D in h u ma . Bary e m ake s an e t ch g for t e sée S lon e of . s

B ea lt . Salon refu se s st atue s of Au g . r u B G him f aron ros drowns sel . Barye sends t o Salon !

Lion Holdin g Guib a Ant elope . Make s for Lyons Mu seum

Ti D e u in r ia D e e t e c a . ger vo r g Vi gin r, s on , oloss l

Th e am e b n z e edu cti fo r M. T ie . s , ro r on, h rs Honoré Gono n an d sons cast th e Lion Cru shing a Serpent b y t he wax

et in th e A en e de s Fe i la t T il e e . proce ss . S up v u u l n s, u ri s Thiers sugge st s that Bary e shall orn am ent th e Place de la Concorde with grou ps ; th en t he fou r c o rn ers of th e Concorde b ridge ; then give s i b u t does no t conﬁrm an orde r for a colossal l on . 148 A PP END I X

a Ba e a de th e t o O fth e Arc de T m e lac e Thiers sks ry for sign for p rio ph , P ’ de l Et Oile .

e m de an Ea e t e t m et e m ti t o ti Ofw al ti Bary o ls gl , w n y rs fro p p ing , igh ng tro ie war F u i e b nd t o b e a ed at th e ur on ph s of o r R v rs, ou , pl c fo th atti corners of e c .

D e sign rej ec ted for diplomatic reasons .

Walkin g Lion .

Walk ing Tiger . Va i ma b nz whi f Sends t o Salon r ous s ll ro e s ch are re used . Salo n a c cept s !

eat ed i i in e e a t e . S L on (or L on R pos ) , pl s r Bary e cast s b y th e wax proce ss for the D uk e of Orleans Elk Su rprise d b y Lynx ; uniqu e piece given b y th e D u ke t o Al ex

an dre D u ma s . h Sends not ing t o Salon . ’ Am az on e ad H tu m f L (L y on orse , Cos e o B r a t h u m b e t ea e et c . Rec n , pl s r sk

o D e in D o e Si ed an d dat d b . Li n vour g , gn e , ronze

i i ia D e e c at c it s ide i e d and dated b e . V rg n r S r hing S , s gn , ronz l D Ti Bu ll Pu led own b y ger .

E e ha t u i Ti e b z e th e D e de M t e e . l p n Cr sh ng g r, ron for uk on p nsi r

Sends nothing t o Salon .

- t a i t e in e eet t eth e . i n e d an d dat ed. S g L s n g, for f og r S g G a B a a t e e e t ia t t u t ener l on p r , qu s r n s a et e . ecei e de Walk i b as- elie l m u a e R v s or r for ing L on, r f on co u n of J ly , Pl c

Ba stille . n Bo rrows m o ey t o set up a fou ndry and shop for st atuett e s in b ronz e . in a t e io f u m Models pl s rL n or J ly Colu m n and Head of Cockfor angle s of sa e . a e II th e ct o i u e u e t ian tat ett Ch rl s V Vi r o s , q s r s u e .

de F ix e e t a tat ett e . Gast on o , qu s ri n s u B a th m ou th Speare d o r wi open . e t B ll e d b B Recumb n u S ize y ear. w th F t on M t a D Panther i oo un j c eer .

t S all in g D o e . Py hon w ow ' i m i n t t e T e c b e t ed a d da ed. Pan h r of un s R u n , s gn u hi c o di Pyth on Cr s ng Cro le . a t a d n i e d an d dat ed Jagu r S n i g, s gn .

e O ea e u e t ia t at ett e . D uk of rl ns , q s r n s u F d n ec ini aw e a d dat ed. R l ng n, sign D i ecl ni o e S ne d and dat ed. R i ng , g o e Bea n OE An i th Hi o riE b e for th e D u e R g r ri g gel ca on e pp g , ronz k of M t i on pens er.

149 L I F E O F B A RY E TH E S C U L P T O R

Ca de ab a th e am e w th e s Mi e a and J n T ree G ace n l r for s , i V nu , n rv u o, h r s, himae a and m a as a t c r s sks orn men s . e d thin t S n s no g o Salon . Be i T e e a in Mn ta g ns h s us Sl y g i o ur . Bull o n th e D e e i f ns ve . Bul l Rampant . e e i F Sl p ng awn .

m a eat ed e e t S z S ll S Lion Ofdiff r n i e s . N thi t o o ng Salon . F d n oun ry a d Shop do n ot pay . A e idin p R g Gnu .

ec i n Fa Ja e . R l ni g wn etch ed b y Ch . cqu N thin t o o g Salon . Bea F t fB H n m th MastiEs . a O ea r lying fro ree (P r r u t . ) N thin t o a o o g S l n. Fi u e f m Bea H nt a H t ma it u art erstaE a g r ro r u , un s n w h Q , lso call ed Media v al a Pe sant . Ba e i m ry s co mended b y Thore. ’ in Ru e de B ul e C a ée d An tin . Shop o ogn , h uss Be in a it a in ent a r a l e d at e T e e a n g s L p h Sl y g C u (c l l r h s us Sl yi g Bianor) . Fini h e Th e e la in M t a in b e and Offe i s s s us S y g ino ur ronz , rs t for sale at hi s shop . ’ Furnishe s for th e Pont d Iena seven Eagle s n eat e d e b e 1836 is a t in b e h Lio S (or in Repos , gun ) c s ronz for t e Quay Gat e re a i i de F e and a e d i t as one e t e of Louv , P v l on lor , pl c on r gh n rs . D e in t o m it e amb of at e t cl es ake a du plicat e for oppos j g on lef . e e ed du i n et u R v rs pl cat e cast a d s p . Ja u a D u in et c Ja a D e n Ha g r evo r g Agout i ( Sk h for gu r vouri g re ) .

Made b y Ledru Rollin Curat or of Plast er Casts at Louvre .

Jaguar D evouring Hare ( now in Lou vre ) . Fin i h i s e s Lap t h Slaying Cent aur . Trim l i Ba e E a e b o et m akes pen and ink portra t of ry . ngr v d y Ville

minot . Be sides in Ru e t e A a ta e th e Mara S . n s s in is b u t m Jury of Salon no longer t aken from th e Institut e fro art is ts . Bary e Sends t o Salon (ﬁrst time since 1836) The seus Slayin g th e Centau r Bianor (th e same as Lapith Slaying a

e t a u i t c a ed . C n r, sl gh ly h ng ) Ja a D ou i H a t gu r ev r ng are (pl s e r) . Minist er of Int e rior b u y s Th eseus Slaying Bianor ; cast lat er in b ronze ; h L Pu sent t o t e provin cial museum at e y . i Ru e de e des F t c to . R s s ossés S . Vi r

150

L I F E O F B A RY E TH E S C U L PT O R

’ Ba J hn a att e t t o Ba e em u s Th e ’ yle St . o c lls n ion ry s g in Louvre ; m a n d H ll London Chap n a a . N m T e b e . h e c l de die at the a 1 ov r s u ptor Ru s g e of 7 y ears . Theophil e Silve stre h a s an appreciative review OfBary e as a sculpto r and a m an Hi t ire des A ti t e a t F a a et Et a a i in s o r s s Viv n s, r nc is r ngers . P r s E B a a d atal . d Virmo nt i . l nch r ; C ogu es b y L e ; Portra t of Bary e from D a m n guerreotyp e o n st e el b y Fla e g . Gustave Planche u rges in print that Theseus Slaying Cent aur Bianor at th e Le Pu m u e m b e b ed in iz e cu t in m a b and y s u dou l s , r le placed in Tu i i ler e s . ’ W. T W B . a t e a tim e b e om e t e e t ed in Ba e b and l rs of l or c s in r s ry s ronzes, b e an m uy s for pr sent s d his o wn ho e . Wm M. H t th in i . e a te i d c e Am e ca t o b u b un p r n u s r ns y ronze s . i a d M Hu n t St de t a hit ect u e m o de a imals at th e Ja din R ch r . , u n of rc r , ls n r des a t u n Ba Pl n es der rye . E e t a t fN I A a ta u e o a e o ca . qu s ri n S pol on for j ccio, C rsi A i t V c ory for th e same . E e D ug ne elacroix die s a ge d 64. Ba e m ade de th lti mmi i e tral Uni ry Presi nt of e Consu ng Co ss on , C n on of A t I r s applied t o ndustrie s . A il 0 h Wal in i in i i e th e G a d ri e at th e pr 3 t . k g L on Sol d S lv r r n P z Long ’ am ac e b Fi le de l Air n e d b nt de la G a e . ch ps r s won y l , ow y Cou r ng Grand Clock for th e HOt el Bereire with Apollo Condu ctin g th e Chariot

h H hi t d Uni e ie e . of t e Sun and ours lea ding s s ee s . qu p c Sket che s for po rt ions o fthis

- o l as Su n o d eate d a t e . Ap l o g S , pl s r

l t a din a te . Apol o S n g, pl s r

ma t a din a t e . Wo n S n g, pl s r

a t a t e . Antique Ch rio , pl s r ’ Bary e s st u dio is in th e Ru e Mou iﬂetard. e Order received for an Eque strian Napoleon I for Grenob l . T i Th e pain t er Const ant royon d es . ea in t at Me c e h ad b e e a e a de n th e April . Bary e h r g h r i n sk d for sig for m Grenob le Napoleon throws up th e com ission . Bary e OEerS him self as candidat e for Memb er of th e Instit ute and is

refuse d. Receive s order for a b as-relief in b ronze over entrance to Carrousel

o rt of re a ili Lesdi uieres z an e e t a Na e C u Louv , P v on g qu s ri n pol on III m in Hi t nd h Ar t t m a e e th e m a D o inat g s ory a t e s, riu ph l pi c in Ro n

style .

- t wo e ini e t e th e am e t . Also R cl ng Riv r gods, s on , for s fron

152 A PPEND I X

’ Ba e ide e d b T e i G ti l Ill t t ry c ons r y h oph le au er in u st ra ion . Por rait b y M u il n o lero engraved on wood.

Crayon sketch of Bary e b y Francais . B ust and m e dallion o fBary e b y GeoEroy D echau m e . Bar e c a e in ma b e a aint e tilde a a e in La M d in y rv s r l S Clo for ch p l a ele e . T heodore Rousseau t he paint er die s aged 55 . F Ar ti B in th t d B eb ru ary . cle on ary e e Gaze t e es eaux Ar t s b y Paul Ma t z n .

Bust of Bary e in b ronze b y Moulin . B Carpeau x takes a pen and ink sketch Of arye . t 1 Exposi io n of 867 . h G a d d M da Bary e re c eive s t e r n Gol e l. M il Order for fou r grou ps at arse le s . t Bea t o Barye m odels Ja gu ar Over hrowing an Ant elope . r Over hr win g B w d e a uc k (fallo e r) . The se two sket ches are pu t aside for oth er groups and are n o w owned

b y Barb édienn e . ’ Ba e c in t e a e th e ate au d Eau at Ma i le ry ut s s on , coloss l siz , for Ch rse l s T D iger and oe .

Tiger and Fa wn . i n d B a L on a o r .

Lion an d Ant elope . Bary e is indu ce d t o oEer him self onc e more t o th e Institute and is made th e tit u Memb er of Ins te .

Nereid Arranging h er Necklace .

Arab Riding on a Camel. Na eo III b as- e ie avi i Lesdi uieres vr e a t e e d pol n , r l f on P l on g , Lou , pl s r n over aft e r Sedan a d removed lat er . D ec i e an de a a d a e w th Ce ta r and a it in e ie l n s or r for gr n v s i n u s L p hs r l f, ati t at h e mi ht not b e ab e t o ﬁni h it st ng h g l s . Wa t e as ai ma a mmitte e th G W . T. e a alle l rs, Ch r n of Co for Corcor n ry, i t e Ba e an e on Of h Wash ng on, giv s ry ord r for e every b ronz e h e as

ma de .

B e ie th e C a Galle w th 120 e a at e e e ary suppl s orcor n ry i s p r pi c s .

Corot di e s aged 79.

Millet die a e d 63 . J. F. s g d 9 25 . A . . Ba e di e a e 7 eavi a wife and ei t hildre June L ry s g , l ng gh c n, t e m e b hi s ﬁr t wi with tw o daugh rs or y s fe . ’ e e a . Ar ticle in L Art b y A . G n v y ’ h B a e Article in L Art b y C . l n . a d s D éb at b em e t Article in Journ l e s y Cl n .

153 L IF E O F B A RY E TH E S C U L PT O R

Milit a and ul a u n a ry pop r f er l .

Oct b e . Exhib itio w at t h e Ec e des Bea x o r n of orks ol u Art s . D ’ ecemb e . a e Ba e b e m de in wax and a t e r S l of ry s ronz s, o ls pl s r, Oils, wat e -c and awi at th e HOt el D r olors dr ngs rouot . F D C. . a ub i d e a e d 61 gny i s g . rt ait in Oi Ba e in Old a e a t e d b Po r ls of ry g p in y Léon F. Bonnat from t a pho ogr phs .

A ti e b J. Clarét ie in ei tre et l t e r t em a n r cl y P n s Scu p u s Con por i s, with d o t a t b Ma et che p r r i y ssard.

W. T. Wa t in Feb u a . e e e t Mt . er a e Ba t m e r ry l rs r c s V non Squ r , l i or , b ronz e s b y Barb édienne aft er th e following grou ps in stone on th e o u du a e u e C r C rrous l, Lo vr

Peac e .

War.

Order .

Fo rc e .

Also b ronz e duplicat e of th e Seate d Lion of th e Quay gat e of Louvre

c ast b y Barb édi enn e . T i in H ’ M e t emb e . Ar t e b e do e d a e thl Ma a i S p r icl y h o r Ch l rp r s on y g z ne , - with fine o o d t b Kru cll F. F enc W Mull e A w cu s y , Closson, r h, olf, r, . W d Fab e Bo denst ab ettit Ti e We li to an T E. d t oo , r, , P , nk y , l ng n ie ze . K Artic e b He Ecfi ord C. de a in Th Feb ruary . l y nry ( y ) e Century Ma a zin e with fin e d- t b W t e T r e Schwarz g , woo cu s y hi n y , u n r, b urg er K x n W H D an d Kru ell a t e S et e b e Co a d . . a e n , f r k ch s y nyon r k , a d

photographs .

27 ic e a e B e et c . b Ba e at a i Feb ruary S h l S l of ronz s , y ry , P r s ; preface t o

th e Cat alogue writ t en b y Edmond de Goncourt .

Proposition for a monum ent in Paris . Exhib ti W b Ba e at t h e E e des Beaux Art April . i on of orks y ry col s in ti in aid of th e fun d for th e monu m ent . No ce cat alogue b y Eugene G th I tit u t e e de t th e Fu d A iat uillaum e of e ns , Pr si n of n ssoc ion . in F h b Ar e e A ex a dre b i e d b b Life ofBary e renc y s n l n , pu l sh y Li rairi e de ’ l A rt a i . , P r s

A tic e b é F. B nn at Ba e in th e Gaz ett e des Bea x May . r l y L on o on ry u

A rt s .

Jul e s D upre die s age d 77 y e ars . Plast er cast of Lion Crushing Serpent in th e Tuil eries Gardens pre h F e h e m e t t o th e Metr l ta Mus e m e sent ed b y t e r nc gov rn n opo i n u , C ntral

a Ne w Y . P rk, ork Suggestion from American admirers of Bary e that som ething Should b e i done t o assist fun d for hi s monu ment n Paris .

A i O an z at n di c ed in New Y . pr l. rg i io s uss ork 154

D R A U H T S EN EN R A ER S A ND N R S G M , G V P R I TE

t R I IE . En raved s l F ONT SP CE . g on ee by Flameng TITLE-P E From the drawin H AG g by W. . D rake TI ER C G COU HANT Engraved by C. Schwarz bnrger CK A T F T BLE En raved b N INE . H W . Twr RO S O A AU g y . ner RABBIT ON THE ALERT D rawn by K enyon Cox RABBIT ON THE A LERT l TIGER D EVOURrNG GAVIAL Engraved by John Tinkey B R E AT 35 A . L . A Y TIGER ROLLING LION CRUSHING A SERPENT Engraved by H enry Marsh

IND IAN AND AMERICAN BEARS . Engraved by John Tinkey n a STAND ING BEAR . E gr ved by L ou is Faber

I N MEETIN PYTH N En ra ed b . B loss L O G O g v y W . C on HUNT OF THE TIGER Engraved by Frank French

L LI HTIN D rawn b H ak E E A . D r e AG G G y W. . J GU R SEI ING AL LIG T R A A Z A O D rawn Ken . by yon Cox JAGUAR SEIZING A LLIGATOR l FAWN A T REST GENERAL BONAPARTE Engraved by D avid Nichols

E TED I N En raved b Miss A Powell S A L O g y C. . En raved b F A ANTHER D EV UR IN AN A I . Petti P O G GOUT g y . . t JAGUAR D EVOURING A HARE Engraved by Henry Wolf E E E L H T nra ed b H . hit TH S US S AYING T E CEN AUR E g v y J. . W ney HEAD OF SE TED I N A L O En raved b B g y W. . Closson HEAD OF SEATED LION 2 En raved b F H elli HUNT OF THE TIGER g y . . W ng ton d b n ra e H . E. THESEUS SLAYING MINOTAUR E g v y J. Whitney En ra ved b G . iet BRONZE BUST OF BARYE g y R. T ze HUNT OF THE BEA R D rawn by K eny on Cox En raved b A B RYE WITH CENT R GR P G . Kru ell . L . A AU OU g y En raved b A E LION IN SOLID SILVER g y . . Wood m t e r nz d ro h b o e b R . A Mu l THE SEINE Engrave f y . ler WAR D rawn by K eny on Cox ra ed b F H ellin t PEACE Eng v y . . W g on ORD ER FORCE ELEPHANT RUNNING

' FRONTISPIECE Printed by Kimmcl (ﬁ Voigt

- d hn Bau er WOOD CUTS ON IND IA PAPER Printe by Jo C.

- Vim d L . D e w 0 0 . WOOD CUTS ON HOLLAND PAPER Printed by Theo. P nted b Edward Bierstadt ARTOTYPES . ri y Edwar o W. ds HEAD BAND S AND TAILPIECES D rawn by Ge . IL L U S T R A T IO NS

N O .

B RYE ED AB T 60 A . 1 . L A AG OU

2 WALKING LION . WALKING TIGER eTIGER COUCHANT (wat er-c olo r) ‘ O ROCKS AT FONTAINEBLEAU (oils) D C STORK ON TORTOISE IN LE MMERGEYER AND SERPENT m MILO OF CROTONA KILLED BY LION D IT N THE ALERT ea C RABB O (r r) RABBIT ON THE AL ERT (side) SEATED CAT

SEATED HAR E (t wo v iews) BUCK OF FALLOW D EER PLAYING WITH STONE F E R PE H RT HIND AND RED D EER O . U O A ,

TI ER D EV RIN F E G OU G GAVIAL O GANG S . T EI ED BY R et hi B S AG S Z COUGA ( c ng b y arye ) . OCELOT AND HERON B R E AT 3 f . t A L . A Y 5 a er a lithograph b y Gigou x HART SEIZED BY TWO SCOTCH HOUND S ELEPHANT OF A SIA RUNNING HORSE SURPRISED BY YOUNG LION TIGER ROLLING (wat er- c o lor) LION CRUSHING A SERPENT ; TUILERIES LION STRIKING A T SERPENT A ERI N AND M CA IND IAN BEARS WRESTLING . STAND ING BEAR BARYE CARICATURED A S A BEAR BE R OVER HR 0 0 T BY 0 0 A OWN MASTIFFS 0 BE R IN ITS TR A OUGH . I L L U S T R A T I O NS

BEAR SURPRISING OWL ELK SURPRISED BY LYNX LION MEETING PYTHON SNAK E (wat er-color) HUNT OF THE TI ER G . HUNT OF THE T F THE HUN O BEAR . . HUNT OF THE WILD Ox PANTHER D EVOURING GAZELLE ANTHER F T NI C P O U S COU HANT . . EAGLE A LIGHTING L HT TR WO F CAUG IN AP . N I D EV RIN D E . L O OU G O . JAGUAR SEIZING ALLIGATOR (front ) JAGUAR SEIZ ING A LLIGATOR (re ar) A T E T i Jac e FAWN R S ( et ch ng b y C . qu ) A SIAN ELEPHANT CRUSHING TIGER GENERAL BONAPARTE BULL A TTACKED BY BEAR

PYTHON SWAL L OWING D OE (t wo views) . BUL L ON THE D EFENSIVE I N OF THE JUL Y L N L CE BA TILLE L O CO UM , P A S

APE RID ING A GNU . ROGER BEARING OFF ANGELICA ON THE HIP PO G RIFF CAND ELABRUM WITH THREE GOD D ESSES

- MED IE VAL PEASANT (from Bear hunt ) . PYTH ON CRUSHING A CR OCOD ILE E TED I N I D U VRE S A L O , QUA LOU PANTHER D EVOURING AN A GOUTI E JAGUAR D EVOURING A HAR . . R THESEUS SLAYING THE CENTAUR BIANO . HEAD OF SEATED LION (front ) HEAD OF SEATED LION (proﬁl e ) HUNT OF THE TIGER (fr om right ) THESEUS SL AYING MINOTAUR BRONZE BUST OF BARYE b y Moulin HUNT OF THE BEAR (anoth er View) PANTHER SEIZ ING ELK MOUNTED AR AB S KILLING LION PYTH ON CRUSHING AFRICAN HORSEMAN RYE TH ENT R GR P A . B WI C . L A AU OU TATAR WARRIOR CHECKING HORSE 158

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