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wins, and the young chief, "YELLOW HAND," drops lifeless in his tracks after a hot fight. Baffled and astounded, for once in a lifetime beaten at their own game, their project of joining "SITTING BULL" nipped in the bud, they take hurried flight. But our chief is satisfied. "BUFFALO BILL" is radiant; his are the honors of the day . . . Fomr Page 35.

THE GREAT ARTIST, FRED. REMINGTON, WRITES FROM LONDON TO "HARPER'S WEEKLY."

The most noted depicter of Western scenes of the present day is without doubt the eminent artist, Mr. Frederic Remington. HIs study of the subject render him a most competent judge. In returning from an expedition in Russia, passing through London, he visited Buffalo Bill's Wild West, and it is with pride that the projectors point to his indorsement, standing side by side in artistic merit as he does with the grand artiste, Rosa Bonheur;

The Tower, the Parliament, and Westminster Abbey are older institutions in London than Buffalo Bill's show, but when the New Zealander sits on the Londond bridge and looks over his ancient manuscripts of Murray's Guide-Book, he is going to turn first to the Wild West. At present every one knows where it is, from the gentleman on Piccadilly to the dirtiest coster in the remotest slum of Whitechapel. The cabman may have to scratch his head to recall placdes where the traveler desires to go, but when the "Wild West" is asked for he gathers his reins and uncoils his whip without ceremony. One should no longer ride the deserts of Texas or the rugged uplands of Wyoming to see the Indians and pioneers, but should go to London. It is also quite unnecessary to brave the fleas and the police of the Czar to see the Cossack, or to tempt the saves which roll between New York and the far-off Argentine to study the "gauchos." They are all in London. The Cossacks and "guachos" are the latest