the copyist cannot get. Even the sun fails to get it; both the photographer and the carver give you a dying lion, and that is all. The shape is right, the attitude is right, the proportions are right, but that indescribable something which makes the Lion of Lucerne the most mournful and moving piece of stone in the world, is wanting.
The Lion lies in his lair in the perpendicular face of a low cliff,—for he is carved from the living rock of the cliff. His
LION OF LUCERNE.
size is colossal, his attitude is noble. His head is bowed, the broken spear is sticking in his shoulder, his protecting paw rests upon the lilies of France. Vines hang down the cliff and wave in the wind, and a clear stream trickles from above and empties into a pond at the base, and in the smooth surface of the pond the lion is mirrored, among the water lilies.
Around about are green trees and grass. The place is a sheltered, reposeful, woodland nook, remote from noise and stir and confusion,—and all this is fitting, for lions do die in