At this exposition was also seen a quadriga by Frederick G. R. Roth. His previous work had consisted of statuettes executed in bronze, revealing a close study of unusual kinds of action, such as that of an elephant balancing himself upon a tub. He modelled a pair of these in which the mass is poised, respectively, upon the forelegs and the hind ones. Although they are very small in size they are large in feeling, with breadth of modelling and enforcement of the suggestion of bulk and weightiness. The expression of movement is admirable: felt continuously throughout the mass and varying so characteristically, according as each part contributes to the action. Nor does he neglect to secure the surface-charm of colour and texture in his bronzes; and these little objects of art make very choice appeal to sight and touch. This charm of surface is accompanied by a more vigorous display of movement in a group, which represents “The Combat” between an elephant and a rhinoceros. The latter, with hind legs planted as firmly as trees, is ramming his horn into the belly of the other beast, who has rolled over on his side and is lifting head and trunk in a spasm of pain. Again our interest is divided between the extraordinary realism of the representation and the beauty of the surfaces, shown especially in the slabs and corrugations of the rhinoceros. The stress of movement is carried still further in the quadriga. It is an incident of a “Chariot Race”; the vehicle has been whirled on to one wheel, and the driver is throwing his weight upon the opposite side to restore the balance, at the same time holding back with all his force against the strength of the four galloping horses. This group, of full size, executed in plaster, cannot fail to impress one both by its daring and by the knowledge and power displayed. Whether it completely convinces one’s imagination is less certain. The figure of the man does, so also that of the horse which is plunging in midair; but the hind legs of the others and the chariot wheel seem rooted to the ground, thereby clogging the impetus of movement. The group, in fact, raises an interesting point as to the limitation of the sculptor. A painter could give the wheel an appearance of revolving, could raise a cloud of dust around the heels of the horses and by the introduction of atmosphere resolve the rigidity of lines. Correspondingly, if this group were raised to an elevation so that the juncture of the wheels and legs with the ground were not observable, and the whole by distance were enveloped in atmosphere, the effect upon the imagination would be vastly increased, probably complete. But when it was seen at Buffalo, on a low pedestal close to the eye, the deficiencies of illusion were as apparent as they are in the accompanying illustration. However, granted that the illusion would be complete, we may question the propriety of expressing in sculpture such violent movement of progression. If stationary, an equal vehemence