he, 'That's all right, boss; I know all about the door; but--what a spring she's going to make!' Then," added Kemeys, self-reproachfully, "I could have wept!" But although this superb figure no longer dominates the studio, there is no lack of models as valuable and as interesting, though not of heroic size. Most interesting of all to the general observer are, perhaps, the two figures of the grizzly bear. These were designed from a grizzly which Mr. Kemeys fought and killed in the autumn of 1881 in the Rocky Mountains, and the mounted head of which grins upon the wall overhead, a grisly trophy indeed. The impression of enormous strength, massive yet elastic, ponderous yet alert, impregnable for defence as irresistible in attack; a strength which knows no obstacles, and which never meets its match,--this impression is as fully conveyed in these figures, which are not over a foot in height, as if the animal were before us in its natural size. You see the vast limbs, crooked with power, bound about with huge ropes and plates of muscle, and clothed in shaggy depths of fur; the vast breadth of the head, with its thick, low ears, dull, small eyes, and long up-curving snout; the roll and lunge of the gait, like the motion of a vessel plunging forward before the wind; the rounded immensity of the trunk, and the huge bluntness of the posteriors; and all these features are combined with such masterly unity of conception and plastic vigor, that the diminutive model insensibly grows mighty beneath your gaze, until you realize the monster as if he stood stupendous and grim before you. In the first of the figures the bear has paused in his great stride to paw over and snuff at the horned head of a mountain sheep, half buried in the soil. The action of the right arm and shoulder, and the burly slouch of the arrested stride, are of themselves worth a gallery of pseudo-classic Venuses and Roman senators. The other bear is lolling back on his haunches, with all four paws in the air, munching some grapes from a vine which he has torn from its support. The contrast between the savage character of the beast and his absurdly peaceful employment gives a touch of terrific comedy to this design. After studying these figures, one cannot help thinking what a noble embellishment either of them would be, put in bronze, of colossal size, in the public grounds of one of our great Western cities. And inasmuch as the rich citizens of the West not only know what a grizzly bear is, but are more fearless and independent, and therefore often more correct in their artistic opinion than the somewhat sophisticated critics of the East, there is some cause for hoping that this thing may be brought to pass.