might still be monumental; but can one imagine any structure upon which, without detriment to its stability and impressiveness, this restless mass, hurling itself forward from its position, could be placed? Therefore, the sculptor seems to have landed himself in the predicament of needing something which he has made it impossible for himself to procure; due, if I mistake not, to his having forced the medium beyond its characteristic limits. Eli Harvey’s observation of wild animals in confinement has resulted in some excellent statues of lions, jaguars and leopards, all of which would be eminently suitable for the embellishment of public parks. In two cases he has used lions as the motive for decorating pediments intended for the lion house of the New York Zoölogical Society. His work is at once very true to life and thoroughly sculpturesque. In all probability, however, the finest animal group which has yet been produced in this country is the “Buffaloes” by H. K. Bush-Brown. It has been reproduced as a statuette in bronze, and in this form is a powerful and impressive work, but to appreciate to the full its conspicuously monumental character, the dignity of its bulk and of its massed and rooted energy, one must have seen it in the original colossal size. Well placed in the natural surroundings of a park, it would present a spectacle of remarkable grandeur. This sculptor, like his uncle, [Illustration: CHARIOT RACE By F. G. R. Roth] Henry Kirke Brown, the sculptor of the equestrian statues of Washington and General Scott, is a horseman, and his own equestrian statues display a thorough knowledge, but scarcely that imposing dignity of mass, which the build of the buffalo made possible for this group. Whereas at the Chicago Exposition the gaiety of the sculptural embellishment, with the exception of the Macmonnies’s fountain, was concentrated on the buildings, and the arrangement of statues and groups about the grounds had been regulated with reserve, one motive of the Pan-American was to demonstrate conspicuously how sculpture could be used in the decoration of open spaces. There must have been many who felt that this feature was overdone; that the dignity of the vistas was disturbed by the multiplicity and variety of forms, and that what had set out to be gay finished by being fidgety. The more so that there was little relief of greenery, the whole scheme being too exclusively architectural without the assuaging influence of landscape gardening. If in lieu of so much sculpture trees had been imported into the scene, its beauty would have been increased, and the discomfort of the visitor, unsheltered from the sun, correspondingly diminished. The value of greenery in displays of this sort is at once an esthetic and a practical consideration.