$198 THE ZooLoGist—SEPTEMBER, 1872. 
colours, in which he so delighted. It seems that Sir Edwin 
does exactly the reverse; his aim is to reduce colour to its 
minimum value. No.25, Lady Emily Peel and her favourite 
dogs, is little more than an idea:. there are really no details; 
there is absolutely no finish ; the colour is feeble in the extreme, 
like that of a garment which once had a colour pattern, now all 
but obliterated; a rose fallen from a broken vase is indicated—I 
will not say represented—by a smudge of pink; the vase itself is 
a nonentity; the lady a mere sketch ;—but yet this picture tells 
its own tale: if but a dream, it is a dream of grace and beauty that 
would make the fortune of a less distinguished man. No. 109, The 
Baptismal Font, is another sketch of similar dream-like character, 
—a wild dream arrested as it was fading away, caught as it was 
flying, but such a dream as never was vouchsafed except to the 
highest genius: the attitudes of the juveniles around the font are 
perfect; and one touch of Nature, insignificant in itself and over- 
looked by the multitude, must be especially noticed by the 
entomologist,—a lamb that buries its nose in the fleece of a friend 
to escape the attacks of the insidious gadfly (@strus Ovis). But 
as regards this particular exhibition, Zhe Lion and the Lamb, 
No. 409, is Sir Edwin’s masterpiece. It may be said that, in this 
instance, the ideal has been substituted for the real, that genius 
has created and not copied the lion and the lamb: the figure of 
the former combines the perfection of animal power, animal 
dignity, and animal repose; though he be crowned king of the 
animal world, no one can suppose that there is any uneasiness 
under his crown: the figure of the lamb combines with equal 
success the attributes of helplessness and trust; he, also, has no 
uneasiness, no fear, no care; his safety is a matter of course; he 
has no more perception of danger than when he was imbibing the 
maternal nectar that has hitherto been his sole support. In the 
very contrast of the two figures there is perfect harmony. I hear the 
critic exclaiming: “the lion’s nose is out of drawing;” “the 
lamb’s tail is too long ;” “how absurd to draw lion and lamb in 
such a position.” Dear critic, only wait until the scales have fallen 
from thine eyes, or thou canst get the whole design into one field 
of vision, and thou wilt see differently. 
Mr. H. W. B. Davis not only attempts, but succeeds in a very 
different and far more difficult task,—the representation of animals 
in violent action. A Panic, No. 124,is a huge canvas instinct with 
