Of Mr. Kemeys's productions, a few are to be seen at his studio, 133 West Fifty-third Street, New York city. These are the models, in clay or plaster, as they came fresh from the artist's hand. From this condition they can either be enlarged to life or colossal size, for parks or public buildings, or cast in bronze in their present dimensions for the enrichment of private houses. Though this collection includes scarce a tithe of what the artist has produced, it forms a series of groups and figures which, for truth to nature, artistic excellence, and originality, are actually unique. So unique are they, indeed, that the uneducated eye does not at first realize their really immense value. Nothing like this little sculpture gallery has been seen before, and it is very improbable that there will ever again be a meeting of conditions and qualities adequate to reproducing such an exhibition. For we see here not merely, nor chiefly, the accurate representation of the animal's external aspect, but--what is vastly more difficult to seize and portray--the essential animal character or temperament which controls and actuates the animal's movements and behavior. Each one of Mr. Kemeys's figures gives not only the form and proportions of the animal, according to the nicest anatomical studies and measurements, but it is the speaking embodiment of profound insight into that animal's nature and knowledge of its habits. The spectator cannot long examine it without feeling that he has learned much more of its characteristics and genius than if he had been standing in front of the same animal's cage at the Zoological Gardens; for here is an artist who understands how to translate pose into meaning, and action into utterance, and to select those poses and actions which convey the broadest and most comprehensive idea of the subject's prevailing traits. He not only knows what posture or movement the anatomical structure of the animal renders possible, but he knows precisely in what degree such posture or movement is modified by the animal's physical needs and instincts. In other words, he always respects the modesty of nature, and never yields to the temptation to be dramatic and impressive at the expense of truth. Here is none of Barye's exaggeration, or of Landseer's sentimental effort to humanize animal nature. Mr. Kemeys has rightly perceived that animal nature is not a mere contraction of human nature; but that each animal, so far as it owns any relation to man at all, represents the unimpeded development of some particular element of man's nature. Accordingly, animals must be studied and portrayed solely upon their own basis and within their own limits; and he who approaches them with this understanding will find, possibly to his surprise, that the theatre thus afforded is wide and varied enough for the exercise of his best ingenuity and capacities. At first, no doubt, the simple animal appears too simple to