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tangible shape as to be a regular challenge to debate to lookers-on. I, for one, formed my opinion, and have sacrificed two or three friends on the altar of my convictions. There is also a man in a pink coat who rides a hunting seat in competiton with a yellow savage on a clear horse, and if our Englishman is not wedded to his ideals, he must receive a very bad shock in beholding he is a cow-boy.

Next year the whole outfit is coming over to the World's Fair with the rest of Europe, and they are going to bring specimens of all the continental cavalry. The Sioux will talk German, the cow-boys already have an English accent, and the "gauchos" will be dressed in good English form.

The Wild West show is an evolution of a great diea. It is a great educator, and, with its aggregate of wonders from the out-of-the-way placesm, it will represent a poetical and harmless protest against the Derby hat and the starched linen—those horrible badges of the slavery of our modern social system, when men are physical lay figures, and mental and moral cog-wheels and wastes of uninformity—where the great crime is to be individual, and the unpardonable sin is to be out of the fashion.

FREDERICK REMINGTON.

THE WILD WEST REVIEW.

In order to create even the merest outline mind picture of the superb effects, massed fiery action and equestrian skills made gloriously manifewst in the Grand Review with which the performances in Buffalo Bill's Wild West are always inaugurated, at precisely 1 and 8 P.M., one must imagine a kaleidoscope, with an object field of four and a half acres in extent, occupied by a swiftly moving mass of figures, individually picturesque, brilliant with metallic reflections and gay with colors, momentarilly springing and flashing into new combinations and modes of motion which dazzle, confuse, and fascinate the eye of the beholder. The Indians, the Mexicans, the Arabs, the Gauchos, the Cossacks, the Cowboys, the cavalry of the different nations, and all the riders come in, one organization at a time, all riding at a dead run. After all are drawn up in line "Buffalo Bill" rides forth and introduces the Congress of the Rough Riders of the World. It is a superb and indescribable picture then—rank after rank of horsemen from all the nations stretching across the plain, shining with steel and aflame with color; tossing manes, running along the lines like wheat moving under a breeze; above them the plumes and the bright crests, and still higher, held in upstretched arms, the white flashing sabres, until at a signal the ranks melt into moving streams of color and light, the horsemen threading their way in and out past one another, circling, halting, advancing, receding, reforming by fours and sixes, trailing out in single file, moving ribbons of men and horses spangled with gleaming metal, until two long lines gallop away evenly and steadily, and disappear whence they came, to be succeeded by other historic, heroic and strangely fascinating scenes.

CAVALRY OF ALL NATIONS WITH "BUFFALO BILL" LEADING THEM.

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tangible shape as to be a regular challenge to debate to lookers-on. I, for one, formed my opinion, and have sacrificed two or three friends on the altar of my convictions. There is also a man in a pink coat who rides a hunting seat in competiton with a yellow savage on a clear horse, and if our Englishman is not wedded to his ideals, he must receive a very bad shock in beholding he is a cow-boy.

Next year the whole outfit is coming over to the World's Fair with the rest of Europe, and they are going to bring specimens of all the continental cavalry. The Sioux will talk German, the cow-boys already have an English accent, and the "gauchos" will be dressed in good English form.

The Wild West show is an evolution of a great diea. It is a great educator, and, with its aggregate of wonders from the out-of-the-way placesm, it will represent a poetical and harmless protest against the Derby hat and the starched linen—those horrible badges of the slavery of our modern social system, when men are physical lay figures, and mental and moral cog-wheels and wastes of uninformity—where the great crime is to be individual, and the unpardonable sin is to be out of the fashion.

FREDERICK REMINGTON.

THE WILD WEST REVIEW.

In order to create even the merest outline mind picture of the superb effects, massed fiery action and equestrian skills made gloriously manifewst in the Grand Review with which the performances in Buffalo Bill's Wild West are always inaugurated, at precisely 1 and 8 P.M., one must imagine a kaleidoscope, with an object field of four and a half acres in extent, occupied by a swiftly moving mass of figures, individually picturesque, brilliant with metallic reflections and gay with colors, momentarilly springing and flashing into new combinations and modes of motion which dazzle, confuse, and fascinate the eye of the beholder. The Indians, the Mexicans, the Arabs, the Gauchos, the Cossacks, the Cowboys, the cavalry of the different nations, and all the riders come in, one organization at a time, all riding at a dead run. After all are drawn up in line "Buffalo Bill" rides forth and introduces the Congress of the Rough Riders of the World. It is a superb and indescribable picture then—rank after rank of horsemen from all the nations stretching across the plain, shining with steel and aflame with color; tossing manes, running along the lines like wheat moving under a breeze; above them the plumes and the bright crests, and still higher, held in upstretched arms, the white flashing sabres, until at a signal the ranks melt into moving streams of color and light, the horsemen threading their way in and out past one another, circling, halting, advancing, receding, reforming by fours and sixes, trailing out in single file, moving ribbons of men and horses spangled with gleaming metal, until two long lines gallop away evenly and steadily, and disappear whence they came, to be succeeded by other historic, heroic and strangely fascinating scenes.

CAVALRY OF ALL NATIONS WITH "BUFFALO BILL" LEADING THEM.