[Dans la Loge]Frontpiece
From a painting by Mary Cassatt
Facing
Page
[Portrait of Antoine Louis Barye]2
From a painting by J. F. Millet
[Lion devouring a Doe]6
[Bull thrown to Earth by a Bear]6
From a bronze by Barye
[A Lioness]8
From a bronze by Barye
[The Prancing Bull]10
From a bronze by Barye
[Panther seizing a Deer]12
From a bronze by Barye
[The Lion and the Serpent]16
From a bronze by Barye
[Asian Elephant crushing Tiger]20
From a bronze by Barye
[Child Resting]28
From an etching by Mary Cassatt
[On the Balcony]32
From a painting by Mary Cassatt
[Woman with a Fan]34
From a painting by Mary Cassatt
[Beethoven]38
From a statue in colored marble by Max Klinger
[Cassandra]44
From a statue in colored marble by Max Klinger
[L'Atelier]52
From a painting by Alfred Stevens
[Portrait of Jacques Callot]68
Engraved by Vosterman after the painting of Van Dyck
[St. Dominic]84
From a panel by Carlo Crivelli
[St. George]86
From a panel by Carlo Crivelli
[Pietà]88
From a panel by Carlo Crivelli
[A Panel by Carlo Crivelli (a)]90
[A Panel by Carlo Crivelli (b)]92
[Saskia]98
From a portrait by Rembrandt
[Nicholas Bruyningh]102
From a portrait by Rembrandt
[Portrait of Mme. Maître]112
From a painting by Fantin-Latour
[My Family]120
From a painting by Carl Larsson
[A Painting by Carl Larsson]126
[Peasant Women of Dachauer]148
From a painting by Leibl
[Fiddling Death]154
From a portrait by Arnold Boecklin
[The Swimmers]166
From a painting by Sorolla
[The Bath—Jávea]168
From a painting by Sorolla
[The Sorceresses of San Milan]170
From a painting by Zuloaga
[The Old Boulevardier]172
From a painting by Zuloaga
[Mercedès]174
From a painting by Zuloaga

ARTISTS PAST AND PRESENT

I

Antoine Louis Barye

At the Metropolitan Museum of Art are two pictures by the Florentine painter of the fifteenth century called Piero di Cosimo. They represent hunting scenes, and the figures are those of men, women, fauns, satyrs, centaurs, and beasts of the forests, fiercely struggling together. As we observe the lion fastening his teeth in the flesh of the boar, the bear grappling with his human slayer, and the energy and determination of the creatures at bay, our thought involuntarily bridges a chasm of four centuries and calls up the image of the Barye bronzes in which are displayed the same detachment of vision, the same absence of sentimentality, the same vigor and intensity if not quite the same strangeness of imagination. It is manifestly unwise to carry the parallel very far, yet there is still another touch of similarity in the beautiful surfaces. Piero's fine, delicate handling of pigment is in the same manner of expression as Barye's exquisite manipulation of his metal after the casting, his beautiful thin patines that do not suppress but reveal sensitive line and subtle modulation. We know little enough of Piero beyond what his canvases tell us. Of Barye we naturally know more, although everything save what his work confides of his character and temperament is of secondary importance, and he is interesting to moderns, especially as the father of modern animal sculpture, and not for the events of his quiet life.