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His last sales catalogue of 1865 listed over 230 compositions available to order as edition bronze statuettes. Keen for accuracy, Barye studied ancient animal sculptures as well as live beasts in the Mus\u00e9e d\u2019Histoire Naturelle\u2019s menagerie, copied zoological specimens in the Mus\u00e9e d\u2019Anatomie Compar\u00e9e and made anatomical drawings of dead lions. Bayre\u2019s animal portraits include single animal figures (e.g. M.19-2015) and groups of predators with prey, or in combat with each other (e.g. M.1-2015), and some with human figures (e.g. M.5-2015).\n\nThe model for this bronze derives from a life-size plaster model made by Barye in 1832, which was exhibited at the Paris Salon in 1833. It was later cast into bronze for Louis-Philippe (King of France from 1830 to 1848), and exhibited at the 1836 Salon (now Louvre, Paris, L.P. 1184). The composition was intended as an allegory to flatter the king with the lion symbolic of courage, strength and good kingship triumphing over evil. It also commemorated the fact that in July 1830, when the Revolution saw Louis-Philippe placed on the French throne, Leo and Hydra were the ruling constellations.\n\nBarye\u2019s company produced different models derived from the original large sculpture at different dates and in different sizes. The model closer to the original sculpture with the lion and serpent on a flatter, less rocky surface (known as Lion au serpent, no. 1: see M.1-1944) dates from c. 1838, while the sketch model with the lion\u2019s paw raised (known as Lion au serpent, no. 3 [esquisse]: see M.3-2015) dates from 1832. The date of the original model of the present bronze, with its much rockier surface, is unknown, but it was first cast in bronze in 1857. 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His last sales catalogue of 1865 listed over 230 compositions available to order as edition bronze statuettes. Keen for accuracy, Barye studied ancient animal sculptures as well as live beasts in the Mus\u00e9e d\u2019Histoire Naturelle\u2019s menagerie, copied zoological specimens in the Mus\u00e9e d\u2019Anatomie Compar\u00e9e and made anatomical drawings of dead lions. Bayre\u2019s animal portraits include single animal figures (e.g. M.19-2015) and groups of predators with prey, or in combat with each other (e.g. M.1-2015), and some with human figures, such as the present group.\n\nAccording to ancient Greek mythology, King Minos of Crete decreed that seven Anthenian young men and women be sacrificed each year to the Minotaur, a half-man, bull-headed monster, imprisoned in a labyrinth. Theseus, son of the King of Attica, heroically fought and killed the Minotaur at the heart of the labyrinth, using a sword that Minos\u2019 daughter, Ariadne had given him. 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Barye was a successful monumental sculptor, but also created hundreds of small-scale models of animals for reproduction in bronze editions for middle-class homes. His last sales catalogue of 1865 listed over 230 compositions available to order as edition bronze statuettes. Keen for accuracy, Barye studied ancient animal sculptures as well as live beasts in the Mus\u00e9e d\u2019Histoire Naturelle\u2019s menagerie, copied zoological specimens in the Mus\u00e9e d\u2019Anatomie Compar\u00e9e and made anatomical drawings of dead lions. Bayre\u2019s animal portraits include single animal figures (e.g. M.19-2015) and groups of predators with prey, or in combat with each other (e.g. M.1-2015), and some with human figures (e.g. M.5-2015).\n\nThe model for this bronze derives from a life-size plaster model made by Barye in 1832, which was exhibited at the Paris Salon in 1833. It was later cast into bronze for Louis-Philippe (King of France from 1830 to 1848), and exhibited at the 1836 Salon (now Louvre, Paris, L.P. 1184). The composition was intended as an allegory to flatter the king with the lion symbolic of courage, strength and good kingship triumphing over evil. It also commemorated the fact that in July 1830, when the Revolution saw Louis-Philippe placed on the French throne, Leo and Hydra were the ruling constellations.\n\nBarye\u2019s company produced different models derived from the original large sculpture at different dates and in different sizes. The sketch model with lion\u2019s paw raised (known as Lion au serpent, no. 3 [esquisse]: see M.3-2015) dates from 1832; a further version, with a much rockier landscape surface (known as Lion au serpent, no. 2: see M.2-2015) was first cast in bronze in 1857. Although listed as No. 2, this was actually Barye\u2019s third variant. 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