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Show 24G <l!:IJc £iculvtor of tl)c <rrorri'tl .Zone. II¥ M A 1\ lA WJ-:S1'0N CUAI')lA:" . k a< the exhibition of 1851, l w },S so much struc , t ttc of bronze t and grace of n. stu uc with the beau y tl t I prevailed on in the French department, la . many persons to visit it for the sake of witncsswg . d admimlion. their surpnsc an . t . her beautiful H was a woman carrymg wa cr ' 1 downward, and cr t sp layed a< its full arm c rawn nd her dress weight of the vase, a show to tlJe best ad· length by the . d chosen so as to anU athtu c . where nothing f1 African fcatmcs, vantage tho me The sculptor had IT crated or extenuated. , . was cxaog f drapery or position, l o advn,ntagc o (lcnicd JOt n . mi()'ht claim; and the which a European subJect o Tiff! SC ri,I'1'0 H Of' Trn; TOIIHI!J ZU:\~~. 24j result was such that a ~'<inglc glance could not fail to break the nswciations of ugliness and repulsi\·0• ness which SiaYcry has connected with the name of Africa. I promised myself the pleasure of studying the works of this mtist after my return to Pnris. Month after month pas,o;cd away, but I was unnblo to procure <tny information about l1im, except thn.t his name was Cumberworth, a French. man of English extraction, and son of one of the preceptors of the princes of tho house of Orleans. Franco is not in any eminent degree a commcr. cial country. One proof of this is the difficulty with which one can wring the name of a workman from his employer, or the address of an artist from a wholes.1.le dealer in the productions of art. I at length bethougl1t me of a. means which, here, proved as effectual to promote my object as it would have done in the United States to defeat it. I told a dealer in bronzes, in whose window the statuette was displayed, that I wns an American Abolitionist, and wished, for the |