In spite of this and several other narrow escapes, Miss Hyatt is absolutely without fear of animals, her love for them being too strong to admit of fear. Wherever animals are, there she will be found with her modeling stand sooner or later. Now it is in the buffalo range at the Bronx, again at the Sportsman's Show or the circus in Madison Square Garden, in the bull pasture of a Jersey farm, or among the goats of Central Park-for at one time or another she has modeled not only all domestic animals but all the wild animals that she has been able to see in the flesh. Some of her best-known groups are "Winter," showing two horses huddling together in a storm; "A Steep Grade;" "Treading at the Pickets" and Peanuts," two elephant groups; "Domesticity," a lion group; "Tiger Hunting," and several buffalo groups.

All these artists are not only honest with themselves but with their public, and with less necessity than almost any other class of artists. Every one can judge figure work and landscapes, but there is nothing of which people know so little as of the form and structure of wild animals. For the artist who is serious in his work it is not too much to walk a mile or two every morning for weeks, at a certain hour, to watch a lion feed or see him roar. Nor is the risk of personal danger a deterrent. More than one of these artists has had the coat torn from his back and his work ruined when, absorbed and forgetful of himself, he has

or an elephant's trunk.

never been

There is a difference of opinion among these artists as to the necessity of seeing wild animals in their haunts to know them well enough to paint and model them. Mr. Proctor, who was a hunter before he was a sculptor, believes that only one who has known the wild, free life of the mountains and forest as the beasts themselves know it can transmit this spirit to his clay or his canvas as a positive force. On the other hand, those men who have hunters believe that careful study of captive animals, supplemented by knowledge gained from explorers and hunters and by their own imaginations, will enable them to picture animals truly, even though they have never shot them. Mr. Gleeson painted animals before he ever saw one in the woods; and now, after several seasons in the Canadian forests and a trip to Africa, he feels almost handicapped by this new relation with his subjects. With Mr. Rungius perhaps more than with the others trips to the wilds are a necessity. Moose, caribou, and wapiti will not live in captivity, and so few students of natural history visit them in their native haunts that facts concerning them are very meager. At first, like Mr. Gleeson, Mr. Rungius felt that perhaps too much. knowledge is a dangerous thing. But after repeated trips he began to bring order out of the chaos and to make his new knowledge a part of his own thought and feeling.