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(National Gallery), while Rosa Bonheur’s beautiful Deer in the Forest (Metropolitan) shows the graceful creatures in peaceful home surroundings. The sleek, high-bred driving-horse standing at the forge in Landseer’s picture is at opposite poles to Dagnan-Bouveret’s strong, rough cart-horses at the watering-trough. These quieter types again differ from the mighty horses of Achilles rearing and plunging, which Automedon holds in check, in Regnault’s painting at the Boston Art Museum—or the "flying horses" of Géricault’s famous Derby (in the Louvre). Schreyer’s Arab horses are of a distinctive type, familiar in many compositions. Rosa Bonheur’s Horse Fair is a veritable equine panorama showing many types of the animal in different moods. Two well-known paintings in the Metropolitan Museum show contrasting conditions in the life of the sheep: a flock peacefully grazing in the spring, by Mauve, and another caught in the fury of a snow-storm, by Auguste Schenck. The appealing weakness of baby animals is tenderly set forth by our William Morris Hunt, in the Belated Kid and Twin Lambs of the Boston Museum. It is a revelation in the life of the fox to see him in Winslow Homer’s picture, Winter (Pennsylvania Academy), speeding over the field of drifted snow in his flight, chased by two great black crows. The two beautiful creatures ranging through the woods in Liljfors’s painting (Buffalo) present another and more peaceful phase of the animal’s life. Paul Potter’s famous Bull at the Hague is unique among art animals, even in the land of cattle painters,