THE NEW-YORK EXHIBITION ILLUSTRATED.

is not profuse, is in the imitative style, and reproducesgame and fish and clusters of flowers in the usual manner.The high relief of the groups in the panels is objec-tionable, if for no other reason, as rendering the carv-

with which the heron, struck through with the arrow,yields its reluctant life.

A work quite different from this, but not less worthyof attention for the beauty and appropriateness of the

style of art. Like the other Berlin iron castings, it hasa bronze surface to guard against rust, and it is linedwith brass.

The group in plaster which concludes the page is

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ing liable to accident and damage.

The group called the Dying Heron, which adornathis page, is exhibited by MM. Duplan <Ss Salles, theeminent manufacturers of artistic bronzes, Rue de Bondy,Paris. This is one of the most remarkable works ofart in the Exhibition. In it the talent of the artistand the skill of the workman are equally conspicuous.It renders a scene from nature with a vividness whichproduce painful sensations, mingled with our admiration

design and the wonderful perfection and delicacy of thecasting, is the Baptismal Font, which is exhibited bythe Royal Iron Foundry of Berlin, through the agency

exhibited by M. Auguste LeCiiesne, a French sculptor.It is named the Eagle and Child, and represents theattempt of an eagle to carry off a child, while the mo-

of the artistic power it displays. As one stands beforethe mute and motionless bronze, he seems to hear theshrill, piercing scream, and see the convulsive struggles

of the Prussian Consul. The figures which stand uponthe pedestal, the bas-reliefs of the panels, and the orna-mental work, are conceived and executed in the happiest163

ther lies in a profound sleep, unconscious of the dangerthat threatens her defenceless offspring. It is a work ofdecided merit and power.