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Sculpture of the Exposition Palaces and Courts



Descriptive Notes on the
Art of the Statuary at the
Panama-Pacific International Exposition
San Francisco



By Juliet James



To A. Stirling Calder who has so ably managed the execution of the
sculpture, and to the vast body of sculptors and their workmen who have
given the world such inspiration with their splendid work, this book is
dedicated.



Foreword



What accents itself in the mind of the layman who makes even a cursory
study of the sculptors and their works at the Panama-Pacific
International Exposition is the fine, inspiring sincerity and uplift
that each man brings to his work. One cannot be a great sculptor
otherwise.

The sculptor's work calls for steadfastness of purpose through long
years of study, acute observation, the highest standards, fine
intellectual ability and above all a decided universalism - otherwise
the world soon passes him by.

It is astonishing to see brought together the work of so many really
great sculptors. America has a very large number of talented men
expressing themselves on the plastic side - and a few geniuses.

The Exposition of 1915 has given the world the opportunity of seeing the
purposeful heights to which these men have climbed.

We have today real American sculpture - work that savors of American
soil - a splendid national expression.

Never before have so many remarkable works been brought together; and
American sculpture is only in its infancy - born, one might say, after
the Centennial Exposition of 1876.

The wholesome part of it all is that men and women are working
independently in their expressions. We do not see that effect here of
one man trying to fit himself to another man's clothing. The work is all
distinctly individual. This individualism for any art is a hopeful
outlook.

The sculpture has vitalized the whole marvelous Exposition. It is not an
accessory, as has been the sculpture of previous Expositions, but it
goes hand in hand with the architecture, poignantly existing for its own
sake and adding greatly to the decorative architectural effects. In many
cases the architecture is only the background or often only a pedestal
for the figure or group, pregnant with spirit and meaning.

Those who have the city's growth at heart should see to it that these
men of brain and skill and inspiration are employed to help beautify the
commercial centers, the parks, the boulevards of our cities.

We need the fine lessons of beauty and uplift around us.

We beautify our houses and spend very little time in them. Why not
beautify our outside world where we spend the bulk of our time?

We, a pleasure-loving people, are devoting more time every year to
outside life. Would it not be a thorough joy to the most prosaic of us
to have our cities beautified with inspiring sculpture?

We do a great deal in the line of horticultural beautifying - we could
do far more - but how little we have done with one of the most
meaningful and stimulating of the arts.

Let us see to it, in San Francisco at least, that a few of these works
are made permanent.

Take as an example James Earle Fraser's "End of the Trail." Imagine the
effect of that fine work silhouetted against the sky out near Fort
Point, on a western headland, with the animal's head toward the sea, so
that it would be evident to the onlooker that the Indian had reached the
very end of the trail. It would play a wonderful part in the beauty of
the landscape.

Or take Edith Woodman Burroughs' "Youth." What a delight a permanent
reproduction of that fountain would be if placed against the side of one
of the green hills out at Golden Gate Park - say near the Children's
Playground - with a pool at its base. It is only by concerted action
that we will ever get these works among us. Who is going to take the
lead?



The Contents



Introduction
The Fountain of Energy
The Mother of Tomorrow
The Nations of the Occident
The Nations of the Orient
The Alaskan
The Lama
The Genius of Creation
The Rising Sun
Descending Night
Winter
The Portals of El Dorado
Panel of the Fountain of El Dorado
Youth
The American Pioneer
Cortez
The End of the Trail
Panel from the Column of Progress
The Feast of the Sacrifice
The Joy of Living
The Man with the Pick
The Kneeling Figure
The Pegasus Panel
Primitive Man
Thought
Victory
The Priestess of Culture
The Adventurous Bowman
Pan
Air
The Signs of the Zodiac
The Fountain of Ceres
The Survival of the Fittest
Earth
Wildflower
Biographies of Sculptors
Sculpture Around the Fine Arts Lagoon



The Illustrations



The Fountain of Energy - A. Stirling Calder, Sculptor
The Mother of Tomorrow - A. Stirling Calder, Sculptor
The Nations of the Occident - A. Stirling Calder, Frederick Roth, Leo
      Lentelli, Sculptors
The Nations of the Orient - A. Stirling Calder, Frederick Roth, Leo
      Lentelli, Sculptors
The Alaskan - Frederick Roth, Sculptor
The Lama - Frederick Roth, Sculptor
The Genius of Creation - Daniel Chester French, Sculptor
The Rising Sun - Adolph Alexander Weinman, Sculptor
Descending Night - Adolph Alexander Weinman, Sculptor
Winter - Furio Piccirilli, Sculptor
The Portals of El Dorado - Gertrude Vanderbilt Whitney, Sculptor
Panel of the Fountain of El Dorado - Gertrude Vanderbilt Whitney,
      Sculptor
Youth - Edith Woodman Burroughs, Sculptor
The American Pioneer - Solon Hamilton Borglum, Sculptor
Cortez - Charles Niehaus, Sculptor
The End of the Trail - James Earle Fraser, Sculptor
Panel from the Column of Progress - Isidore Konti, Sculptor
The Feast of the Sacrifice - Albert Jaeger, Sculptor
The Joy of Living - Paul Manship, Sculptor
The Man with the Pick - Ralph Stackpole, Sculptor
The Kneeling Figure - Ralph Stackpole, Sculptor
The Pegasus Panel - Bruno Louis Zimm, Sculptor
Primitive Man - Albert Weinert, Sculptor
Thought - Albert Weinert, Sculptor
Victory - Louis Ulrich, Sculptor
The Priestess of Culture - Herbert Adams, Sculptor
The Adventurous Bowman - Herman A. MacNeil, Sculptor
Pan - Sherry Fry, Sculptor
Air - Robert Ingersoll Aitken, Sculptor
The Signs of the Zodiac - Herman A. MacNeil, Sculptor
The Fountain of Ceres - Evelyn Beatrice Longman, Sculptor
The Survival of the Fittest - Robert Ingersoll Aitken, Sculptor
Earth - Robert Ingersoll Aitken, Sculptor
Wildflower - Edward Berge, Sculptor



Sculpture of the Exposition Palaces and Courts



"The influence of sculpture is far reaching. The mind that loves this
art and understands its language will more and more insist on a certain
order and decorum in visual life. It opens an avenue for the expression
of aesthetic enjoyment somewhere between poetry and music and akin to
drama. - Arthur Hoeber



The Fountain of Energy

A. Stirling Calder, Sculptor [See Frontispiece]



The Fountain of Energy is a monumental aquatic composition expressing in
exuberant allegory the triumph of Energy, the Lord of the Isthmian Way.
It is the central sculptural feature of the South Garden, occupying the
great quatrefoil pool in front of the tower. The theme is Energy, the
Conqueror - the Over Lord - the Master; Energy, mental and physical;
Energy - the Will, the indomitable power that achieved the Waterway
between the Oceans at Panama. The Earth Sphere, supported by an
undulating frieze of mer-men and women, is his pedestal. Advancing from
it in the water at the four relatively respective points of the compass,
North, South, East and West, are groups representing the Atlantic and
the Pacific Oceans and the North and the South Seas; groups richly
imaginative, expressing types of Oriental, Occidental, Southern and
Northern land and sea life. The interrupted outer circle of water motifs
represent Nereids driving spouting fish. Vertical zones of writhing
figures ascend the sphere at the base of the Victor. Across the upper
portions of the sphere, and modeled as parts of the Earth, stretch
titanic zoomorphs, representing the Hemispheres, East and West. The
spirit of the Eastern Hemisphere is conceived as feline and
characterized as a human tiger cat. The spirit of the Western Hemisphere
is conceived as taurine and characterized as a human bull. The base of
the Equestrian is surrounded by a frieze of architecturalized fish and
the rearing sea horses that furnish the principal upper motif for the
play of water. Energy himself is presented as a nude male, typically
American, standing in his stirrups astride a snorting charger - an
exultant super-horse needing no rein - commanding with grandly elemental
gesture of extended arms, the passage of the Canal. Growing from his
shoulders, winged figures of Fame and Valor with trumpet, sword and
laurel, forming a crest above his controlling head, acclaim his triumph.
The Fountain embodies the mood of joyous, exultant power and exactly
expresses the spirit of the Exposition. Its unique decorative character
has been aptly described as heraldic, "The Power of America rising from
the Sea."

A. Stirling Calder



The Mother of Tomorrow

A. Stirling Calder, Sculptor



With upturned face, with steady onward gaze, the stalwart Mother of
Tomorrow moves ahead. Hers is the firm, determined purpose, the will to
do - to accomplish that for which she has started. She marches ahead of
the types of the Occident. It has taken all these types striving with
common purpose to produce the future, therefore they form the Mother of
Tomorrow, the matrix from which the future generations are to come.  Mr.
Calder's high, splendid ideals are directly mirrored in this one figure.
It is not hard to read the man in his handiwork.



The Nations of the Occident

A. Stirling Calder, Frederick Roth, Leo Lentelli, Sculptors



Into the great Court of the Universe, from the top of the Arch of the
Occident, march the types of men who have made the Western civilization.
 From left to right - the French-Canadian, the Alaskan, the German, the
Latin-American, the Italian, the Anglo-American, the Squaw, the American
Indian. In the center of this well-balanced pyramidal group, surmounted
by Enterprise and drawn by sturdy oxen, comes the old prairie schooner.
To right and left atop are seen the Heroes of Tomorrow - one a white
boy, the other a negro type. In front marches the splendid Mother of
Tomorrow.



The Nations of the Orient

A. Stirling Calder, Frederick Roth, Leo Lentelli, Sculptors



Atop the Arch of the Orient is the superb tableau representing the types
of men that form the Orientals. From left to right - the Arab Sheik, the
Negro Servitor, the Egyptian Warrior, the Arab Falconer, the Indian
Prince and Spirit of the East, the Lama, the Mohammedan Warrior, the
Negro Servitor, the Mongolian Warrior. On they come to join the Nations
of the West in the great Court of the Universe. This group is as fine as
any group ever seen at an exposition. It rises in its impressive
pyramidal height to a climax in the Spirit of the East - a fitting pivot
on which to turn the types.



The Alaskan

Frederick Roth, Sculptor



Frederick Roth has fashioned one of the most expressive figures of the
Exposition sculpture, but so far above the eye is she and so
overshadowed by her companions, that we do not see her in her true
light. It is the Alaskan Indian of the Nations of the Occident. She is
moving on with her totem poles and blankets. You feel her tug and
strain, for her load is growing heavier with each step, and she has yet
a long way to go. The modeling of the figure, the foot, the rigid arm
and hand, all tell of sustained effort that is truly life-like in
expression.



The Lama

Frederick Roth, Sculptor



The priest of Thibet, the Lama, passes on his onward march before you.
You do not wonder what race claims him. He is of Mongolian blood. He
stolidly passes by, looking neither to the right nor to the left. He is
used to being obeyed. His rod of authority tells you that what he says
is law. Indifference and arrogance are on his face. His very posture,
the very way in which his robe hangs from his shoulders, the position of
his nerveless fingers that hold the rod, speak of centuries of
indifference to everything except what he thinks.



The Genius of Creation

Daniel Chester French, Sculptor


The Spirit of Creation is a bisexual being, and yet you feel the spirit
and not the flesh. Its idealism is of the highest order, being largely
produced by the hood drawn far over the face, throwing such deep shadow
that personality is lost sight of and only creative force is left. High
on a mighty boulder it sits with arms raised. The word has just been
spoken and man and woman have come forth - their feet on the serpent,
the symbol of wisdom and eternity. At the rear of the group their hands
meet as if in mutual dependence, while above appear the Alpha and Omega
- "I am the beginning and the end."



The Rising Sun

Adolph Alexander Weinman, Sculptor



This fresh, strong young Sun is about to start on his journey - dawn is
soon to break upon the world. With muscles stretched, the wind blowing
through his hair, the heavenly joy of the first move expressed upon his
face, the vigor of young life pulsating through his body, he will start
the chest forward and move those outstretched wings. Let us preserve
this glorious figure for our western city. It would so admirably suggest
the new light that has been shed upon San Francisco by the Exposition of
nineteen hundred and fifteen, as well as the new light occasioned by the
opening of the Panama Canal.



Descending Night

Adolph Alexander Weinman, Sculptor



The figure on the page opposite is a beautiful lyric poem. She might be
called "A Hymn to the Night." Every line of her figure is musical, every
move suggested, rhythmical. Seen at night, she croons you a slumber
song. How subtly Mr. Weinman has told you that she comes to fold the
world within her wings - to create thru her desire a "still and
pulseless world." The muscles are all lax - the head is drooping, the
arms are closing in around the face, the wings are folding, the knees
are bending - and she too will soon sink to slumber with the world in
her arms. What a fine contrast of feeling between the tense young "Sun"
and relaxed "Descending Night."



Winter

Furio Piccirilli, Sculptor



Naked Winter stands before you. It is the period  of the year when the
leaves are of the trees and the bark is splitting. After the activities
of autumn man is resting. The fruits have been gathered - the golden
apples and the purple grapes - so man's labors have ceased. It is the
period of conception. The sower has just cast forth the seed. Mother
Earth will nurture the little seed until the cold winter has passed and
the warm sunshine comes again to give each clod its "stir of might."



The Portals of El Dorado

Gertrude Vanderbilt Whitney, Sculptor



There was once among the South American tribes a belief that in a
certain far-off country lived a king called El Dorado, the Gilded One.
He ruled over a region where gold and precious stones were found in
abundance. The story influenced a vast number of adventurers who led
expeditions to seek the land of golden treasure; but notwithstanding the
fact that their searched most carefully and for long periods, they all
failed to find it. The idea of the unattainable gave the suggestion to
Mrs. Whitney for her fountain. The gold of El Dorado was used as a
symbol of all material advantages which we so strongly desire - wealth,
power, fame, et cetera.



Panel of the Fountain of El Dorado

Gertrude Vanderbilt Whitney, Sculptor



In the panel are seen men and women in their mad race for the
unattainable. Many have had a glimpse of the Gilded One, and are rushing
on to pass the mysterious gate behind which the desires of life await
them. Some faint by the roadside or stop in their race for the goal to
contend or to loiter by the way, but those nearest the El Dorado
increase their speed. Beside the gateway that has only just allowed the
Gilded One to pass thru are two mortals who have come close to the land
of their desires, but only to find the door shut and slaves beside it
barring the way. Their strength is expended, their courage gone in the
long race for material things.



Youth

Edith Woodman Burroughs, Sculptor



A little figure of innocence and purity in all her virgin loveliness
stands before you - the incarnation of all that is fresh and wholesome.
She is only a slip of a girl and yet the dignity of her carriage
betokens hopeful days for her womanhood later on. Her form is
exquisitely moulded. Those little bony shoulders will all too soon fill
out and she will bloom into womanhood. The chief charm of this little
lady is her simplicity. Mrs. Burroughs uses such beauty of line, such
sweet language to tell her story.



The American Pioneer

Solon Hamilton Borglum, Sculptor



Erect, dignified, reflecting on the things that have been, the American
Pioneer appears before us, reminding us that to him should be given the
glory for the great achievements that have been made on the American
Continent. He it was who blazed the trail that others might follow. He
endured the hardships, carved the way across the continent, and made it
possible for us of today to advance thru his lead. All hail to the
white-headed, noble old pioneer who, with gun and axe, pushed his way
thru the wilderness; whose gaze was always upward and onward, and whose
courage was unfaltering!



Cortez

Charles Niehaus Sculptor



One of the finest equestrians at the Exposition is Cortez by Charles
Niehaus. As we look upon the rider on his sumptuously caparisoned horse
we are convinced that he is every inch a conqueror. He is represented
absolutely motionless - his feet in the stirrups - and yet you feel that
he is a man of tremendous action. You also feel his fine reserve, and
yet how spirited he is! This is that intrepid spirit that desired the
land of the Montezumas. After determined invasions he conquered the
country in the early part of the sixteenth century.



The End of the Trail

By James Earle Fraser, Sculptor



"The trail is lost, the path is hid, and winds that blow from out the
ages sweep me on to that chill borderland where Time's spent sands
engulf lost peoples and lost trails."

- Marion Manville Pope.

One of the strongest works of the Exposition in its intense pathos is
this conception of the end of the Indian race. Over the country the
Indian has ridden for many a weary day, following the long trail that
leads across a continent. A blizzard is on. He has peered to right and
left, but alas! the trail is gone and only despair is his. So has it
been with the Indian. His trail is now lost and on the edge of the
continent he finds himself almost annihilated.



Panel from the Column of Progress

By Isidore Konti, Sculptor



The four panels on the Column of Progress show the different mental
conditions of men on their onward march thru life. In the center of the
panel stands the man of inspiration - the eagle, bird of inspiration,
perched on his shoulder. He goes thru life with upturned face, depending
upon his God for strength. Beside him on the right is seen the warrior
who wins his way by sheer physical strength. On his left stands the
ascetic philosopher, who through constant vigils "hath a lean and hungry
look." To the extreme left falteringly steps the man who fears the
unknown future; his wife and mother sustain him by spiritual cheer. The
figures are in very high relief so that they seem almost human as you
gaze upon them.



The Feast of the Sacrifice

Albert Jaegers, Sculptor



In your imagination you see as of old the harvest procession marching
around the fields. It is led by the great bulls for the sacrifice to the
gods, that the harvest may yield bounteously.  On either side of the
bulls are the youths and the maids carrying flowered festoons. The long
procession passes on and halts before the altar where the bull being
sacrificed, the head with its festoons is placed upon the side of the
altar. A most decorative group is this Feast of the Sacrifice - brute
strength and the graceful form of the maid making a splendid play of
line that most satisfactorily charms the eye.



The Joy of Living

Paul Manship, Sculptor



With perfect abandon come these maidens into the Court of the Universe,
carrying their festoons of wild roses. They bring to the great festival
joy and love of life - a telling addition to all that has been expressed
in the court. They savor of old Greek days, these maidens of archaic
hair and zigzag draperies. Paul Manship loves the classic which brings
with it much of free expression, and he has adopted the archaic style
that recalls the figures such as are seen on old Greek vases. No one is
more joyous among the sculptors than this man. He has a rarely beautiful
gift from the gods.



The Man With the Pick

Ralph Stackpole, Sculptor



An ordinary workman with his pick - and yet how impressed you are with
his sincerity. In him is asserted the dignity, the usefulness, the
nobility of all labor. He helps to turn the wheels of trade, to further
the interests of the world. He works patiently day by day,
notwithstanding the fact that those above him reap the benefits. Mr.
Stackpole has been most happy in his expression. The broad treatment is
thoroughly suitable to just such work as this. There are no accessories
employed. The work is absolutely direct.



The Kneeling Figure

Ralph Stackpole, Sculptor



With the love for all that is beautiful in life, in what God has made
and in what man has fashioned, the grateful devotee has mounted the
steps that lead to the altar at which she offers up her devotion. She
bows her head in humble reverence to her God for all that He has given
her to enjoy - all that is good, pure, true, beautiful, uplifting. And
we onlookers, too, would join the moving throng that bend the knees at
the altar of beauty and truth. Across the lagoon we gaze upon the great
stillness, and we with her murmur, "Father, I thank Thee."



The Pegasus Panel

Bruno Louis Zimm



There are no reliefs more classically inspiring than are these superb
reliefs by Bruno Zimm. The one on the opposite page is of great beauty.
The young artist has caught the inspiration of his art - he has bridled
Pegasus. Beside him march the Arts - Literature, holding aloft her
symbol, the lamp; Sculpture extending in front of her the statuette, a
devotee admiring, and Music leading the procession, stilling ever the
beasts - a veritable Orpheus. Mr. Zimm has been most successful in the
fine working out of his subject in a classical way, for the style of
relief work accords well in feeling with the superb classic architecture
it decorates.



Primitive Man

Albert Weinert, Sculptor



Long ages past I lived and gave no thought of time or doing aught save
going as my fancy took me. Ofttimes I took my bow and arrow and hide me
to the mighty forests where herds of Nature's roaming kind served as my
food when I required it. Again I followed to the sea where, casting in
my net, I drew up myriads of the finny tribe to satisfy my appetite. Oft
drew I up such numbers vast that having naught to do but to amuse myself
I fed my extra fish the friendly pelican that had become companion in my
walks along the shore. A simple man was I with not too many thoughts and
only few desires. My body was my foremost daily thought, and little
cared I for aught else besides.



Thought

Albert Weinert, Sculptor



The ages have passed on and I more thoughtful have become, for mighty
revolutions have gone on within my frame. My mind, a once too puny
thing, has year by year grown stronger, until to-day I realize that
feeble is my flesh - a thing to be abhorred, and mind does rule above
all else. My very face which once was rude and lacked that fire that
strong intelligence does give now has a steady purpose and fine spirit
writ upon it. It is as if my flesh of old had dropped and like a
cast-off cloak had fallen at my feet. Then come those days when tumult
as of yore is waged within me, and then I grasp my new-made self and
yearn to hold my old position within the body walls. Thought more strong
than flesh does wield its strength and back I crouch beneath the feet to
stay till Thought is off his guard again.



Victory

Louis Ulrich, Sculptor



Against the blue sky, with wings poised and draperies blown back,
appears a Victory from every gable point of the palaces of the
Exposition. She is positively charming in her sweep forward. Poised far
above you, she holds the laurel wreath ready for the victor. Blessed
Victories! We rejoice that there are so many of you for we have found so
many victors. Sideview, against the clear blue sky, she suggests the
great victory of Samothrace. Mr. Ulrich, we feel sure that the Lady
Samothrace has exerted her subtle influence.



The Priestess of Culture

Herbert Adams, Sculptor



There are few sculptors with greater refinement or more cultured reserve
than Herbert Adams. He understands the selection of the significant and
in many ways seems most fitting to represent the Priestess of Culture.
This figure at the base of the dome of the rotunda of the Fine Arts
Palace, on the inside, is eight times repeated. Simple, dignified,
beautifully balanced, with elegance expressed in every line of her
garment with its rich border sparingly used, she holds in either arm an
overflowing cornucopia, the symbol of what she is able to give you.



The Adventurous Bowman

Herman A. MacNeil, Sculptor



At the top of the Column of Progress where the sea-wind blows thru his
locks, stands the Adventurous Bowman, the symbol of achievement. At the
base of the column are seen figures representing the progress of men
thru life. We watch them file past, but it is with this man of splendid
daring, of consummate achievement, that we are most concerned. He has
striven and has reached the top. He has only just pulled the chord of
his bow, and his arrow has sped on. With confident eye he looks to see
it hit the mark. The laurel wreath and palm of victory await his
efforts.



Pan

Sherry Fry, Sculptor



You cannot look upon this little figure without feeling that he is
inimitably charming. Pan, a god of the woodland, the symbol of the
festive side of the Exposition, sits among the shrubs in front of
Festival Hall. He has selected a marble capital on which to sit - quick
reminder of those classic days when he roamed the Greek glades. Over the
cold seat he has spread his fawn-skin. He has just been moving his lips
over the pan-pipes, but a rustle among the leaves has caused him to
pause in his melody. In the grass he sees a lizard which is as intent on
Pan as Pan is on him. Care-free Pan with pointed ear and horned brow, we
love thee, for dost thou not give us all our jollity and fun, the tonic
for our daily walks!



Air

Robert Ingersoll Aitken, Sculptor



Robert Ingersoll Aitken has added to the cosmical meaning of the Court
of the Universe his four elements - monumental, horizontal compositions
of pronounced decorative effect. Air is the one of finest poetic
feeling. She holds the star to her ear and listens to the music of the
spheres. The eagle, the symbol of the air, is used with finely balanced
effect. On her back are fastened wings, and man, puny man, is aiming, by
attaching wings to himself, to overcome her - a subtle suggestion of
airships.



The Signs of the Zodiac

Herman A. MacNeil, Sculptor



One of the loveliest gems of beauty in the Court of the Universe is
Herman A. MacNeil's cameo frieze of gliding figures.  In the centre,
with wings outstretched, is Atlas, mythologically the first astronomer.
Passing to left and right glide maidens, two and two, carrying their
symbols - for these are the signs of the zodiac. These maids are the
Hyades and Pleiades, the fourteen daughters of Atlas. It is as if the
figures of some rare old Greek vase had suddenly distributed themselves
along the top of the great piers. For absolute refinement, for a certain
old Greek spirit in the Court of the Universe, these reliefs could not
be excelled.



The Fountain of Ceres

Evelyn Beatrice Longman, Sculptor



The architectural side of the Fountain of Ceres, with its pleasing
proportions, is most satisfying to the eye. It was a happy selection to
place the Goddess of Agriculture between the Food Products Palace and
the Palace of Agriculture. Ceres strikes the keynote of this
delightfully beautiful court. With corn sceptre and cereal wreath, Ceres
is poised on the globe, the winds of the Golden Gate blowing thru her
drapery. Below on the die of the fountain are graceful figures in relief
suggesting the decorations of a Greek vase. Eight joyous, happy
creatures trip past you, some with tambourines, others with pipes
sounding roundelays, or carrying festoons of flowers.



The Survival of the Fittest

Robert Ingersoll Aitken, Sculptor



This is the initial expression of martial spirit, when the first combat
is seen and man by physical force seeks to override the power of his
fellows. Far back in the childhood of history one finds, as often to-day
is the case, that woman is the motive for the fray. Three combatants are
here - the one on the right separated from the most powerful by the hand
of her who loves him. The cause of the trouble stands at the left,
steadfastly watching to see which of those that seek her is to be the
victor. A glance tells you that he of powerful build in the center of
the panel is to hold sway. He it is who is the most fitting survivor.



Earth

Robert Ingersoll Aitken, Sculptor



A very remarkable figure, her head hanging forward, lies stretched in
slumber. It is the sleeping Earth. From her come the great trees whose
ramifying roots extend in all directions.  Man is seen wresting from her
stone and precious metals. Wonderfully has Robert Aitken worked out the
Mother Earth idea. She has brought forth many times and yet is ever
young. It is keenly interesting to look at "Earth" and then at
Michelangelo's "Night" to see the source of inspiration.



Wildflower

Edward Berge, Sculptor



At sight of your form, I seem now to see
A bright stretch of color across a broad lea,
Where the wildflowers sway to and fro in the breeze,
Where the winds sing soft lullabies up in the trees
Where all is as fresh, free and wholesome as you,
Little Wildflower, blooming, so sweet and so true.
And I come from the flight of my far-away dream
As I look and I listen, to me it would seem
That I hear a small voice in a most charming way
Say, "Goodmorrow! Goodmorrow! Take time while you may,
Just step up yet closer; I'll give you a chance
To have something far sweeter than just a bright glance."



Appendix



The Sculptors



The planning, the placing, the naming of all this noble sculpture has
practically been done by two men - the late Karl Bitter of New York, a
man of great executive and technical ability as well as of immense
inspiration, and A. Stirling Calder, on whom the honor for the great
bulk of the work rests. Besides acting as personal overseer for the
execution of the sculpture of the Palaces and Courts of the Exposition,
Mr. Calder has designed the Nations of the Orient, The Nations of the
Occident, The Fountain of Energy, The Stars, Column of Progress and its
sculpture, and The Oriental Flower Girl. Since the sculpture is one of
the strongest factors of this Exposition, we should extend to Mr. Calder
our heart-felt appreciation of all that he has done to help make this
Exposition such a wonderful, artistic success.



Robert Ingersoll Aitken

Robert Ingersoll Aitken was born in San Francisco in 1878. He was a
pupil of Arthur F. Mathews at the Mark Hopkins Institute of Art and
later of Douglass Tilden, the well-known California sculptor. He has
done a great deal of very strong, compelling work. The examples of his
sculpture seen at the Panama-Pacific International Exposition are of
pronounced virility and of fine composition. He is a man who excels in
technique. He has done in San Francisco the Victory for the Dewey
Monument in Union Square, the McKinley Monument, the Bret Harte Monument
and the Hall-McAllister Monument. In the Metropolitan Museum of New York
is "The Flame." At the Fine Arts Palace are a number of works from his
chisel - The Gates of Silence, the Gates' memorial, being by far the
finest.



Herbert Adams

Herbert Adams was born in Vermont in 1858. He has had many advantages,
not the least of which were the five years spent in Paris. While there
he did the beautiful bust of Adelaide Pond, who afterwards became his
wife. In 1890 he returned to America, becoming instructor in the Art
School of Pratt Institute, Brooklyn. He has done a number of works for
the Congressional Library, the Vanderbilt bronze doors of the St.
Bartholomew Church of New York, the tympan of the Madonna and Child in
the same church, a statue of William Ellery Channing and many others.
His beautiful busts of women are said to be unsurpassed even in France.



Edward Berge

Edward Berge was born at Baltimore, Maryland, in 1874. He was admitted
quite early in life to the Maryland Institute of Art, and the Rhinehart
School of Sculpture of Baltimore, following this instruction by the
usual finishing-off at Paris. He had the good fortune while in Paris to
study under the great Rodin. He won bronze medals at both the
Pan-American Exposition of 1901 and the St. Louis Exposition of 1904.
His many very interesting fountain figures seen at the Panama, Pacific
International Exposition have won deserved praise from the many who have
seen them.



Solon Borglum

Solon Borglum was born in 1868 at Ogden, Utah. The greater part of his
early life was spent on the plains of Nebraska, lassoing wild horses and
photographing at the same time every detail of this strange life upon
his brain. He spent a short time in California, where he began his life
as an artist. Realizing his limitations, he went to the Cincinnati Art
School, where he studied some time under Rebisso. It was while here that
he spent all of his spare time on the anatomy of the horse. The time
soon arrived for a sojourn in Paris. His "Little Horse in the Wind"
excited pronounced attention at the Salon that first year abroad and
honors were bestowed upon him as long as he remained in Paris. He has
given the Indian the greatest attention, and is one of the best
sculptors of the red man in the United States. He has but one group in
the Fine Arts Palace - "Washington."



Edith Woodman Burroughs

One of the chief women sculptors of the United States is Edith Woodman
Burroughs, born at Riverdale-on-the-Hudson, in 1871. She was a pupil at
the New York Art Students' League under Augustus Saint-Gaudens, later
studying in Paris with Injalbert and Merson. In 1893 she was married to
Bryson Burroughs, a New York artist. She has made a specialty of
fountain sculpture. No one who has ever seen her Fountain of Youth at
the Panama-Pacific International Exposition can forget it. It will
always be a source of regret that the appropriation for the
Panama-Pacific International Exposition sculpture was reduced, thus
preventing the public from seeing the speaking, simple groups of
"Arabian Nights Entertainments." Mrs. Burroughs is represented at the
Metropolitan Museum of New York by "John La Farge," a remarkably
interesting portrait head, full of character. She has the power of
speaking her language in a few words - but just the right ones.



A. Stirling Calder

The man at the wheel in the management of all the works of sculpture at
the Panama-Pacific International Exposition has been A. Stirling Calder.
He was born at Philadelphia in 1870. Having studied four years at the
Pennsylvania Academy of Fine Arts, he had the advantage of two years in
Paris. For some time he has been connected with the Philadelphia School
of Industrial Arts. He is a man of splendid imagination, of dignified
and noble purpose, being one of the sincere men of his art who keeps the
standards where they should be. One of his early works, "The Man Cub,"
in the Pennsylvania Academy of Fine Arts, is most original and
interesting in its treatment. It stands a most unique figure in the line
of sculpture. It is said that his "Martha W. Baldwin Memorial" is one of
the best designs for a figure and pedestal yet produced in America. Mr.
Calder lived some time in southern California and when there did the
sculptured work on the portico of Throop Polytechnic Institute of
Pasadena. This work was done by means of enormous castings made in fine
concrete. Mr. Calder originated this method and it will probably be the
means of revolutionizing the relief work done on many of the public
buildings in the future. Mr. Calder's rare intellectual fiber, added to
his accurate knowledge of his subjects, with his exalted outlook, has
placed him among the foremost American sculptors.



James Earle Fraser

James Earle Fraser was born at Winona, Minnesota, in 1876. His father
was a railroad constructor, so that the lad had a good chance in
traveling around the country to study the free types and life of the
West. Being very impressionable, he imbibed a great deal which he has
turned to good account in his chosen work. At fourteen he started to
carve figures from the chalk that conventionality required to be used on
blackboard problems. At eighteen he entered the Chicago Art Institute,
where he stayed for but three months. He soon went to Paris, going first
to the Beaux Arts and later to the Colorossi and Julian Academies. He
won many honors during his three years stay in Paris. In 1898 he won the
prize offered by the American Art Association in Paris for the best work
in sculpture. Augustus Saint-Gaudens was on the jury and immediately
became interested in the talented boy who later on held the place of
chief assistant in the Saint-Gaudens studio. He became instructor of the
Art Students' League of New York in 1906, holding the position until
1911. He it was who made the new five-cent piece design - the Indian
head on one side, the bison on the other. He is particularly interested
in personalities, having done a number of very clever portrait busts. It
is enough to look at the portrait bust of Mrs. Harry Payne Whitney's boy
to realize what he is able to do in the line of portraiture. He has
produced nothing finer in that line. He is a master of character
records.



Daniel Chester French

Since the passing of Augustus Saint-Gaudens, Daniel Chester French has
been regarded by many as standing at the head of American sculpture. He
was born in Exeter, New Hampshire, in 1850. After having one year at the
Massachusetts Institute of Technology, he studied with Doctor Rimnier of
Boston, the first teacher of art anatomy in the United States. Later he
studied with Thomas Ball of Florence, Italy, and a short time in Paris.
He has been practically his own instructor. His work is of the noblest
type. It is anatomically correct, of a high intellectual order, perfect
technique and of fine imagery. His first important work was "The Minute
Man" of Concord, Massachusetts. Among his many works are "Death and the
Sculptor," "The Alice Freeman Palmer Memorial," the head of "Emerson"
(which caused Emerson to say, "This is the head I shave"), "The Milmore
Memorial," "The Alma Mater of Columbia College," and finest of all, the
wonderful "Mourning Victory" in Sleepy Hollow Cemetery, Concord. His
memorials are of high spiritual import.



Sherry E. Fry

Sherry E. Fry was born in Iowa in 1879. He has been most fortunate in
having the best instruction, having studied at the Chicago Art
Institute, the Julian Academy and the Beaux Arts of Paris, a year in
Florence, and later with McMonnies, Barrias, Verlet and Lorado Taft. He
has traveled extensively, so has had the opportunity of seeing the best
that the world holds for the artist. He won the National Roman Prize in
1908 and held it for three years. He has been a careful student of the
Indians. His work at the Panama-Pacific International Exposition is
distinctly graceful and decorative.



Albert Jaegers

Albert Jaegers, a man who has taught himself his art, having fine powers
of observation and much invention, was born at Elberfeld, Germany, in
1868. He has been an indefatigable worker, holding his art above all
else. Solving technical problems by himself, studying the world around
him with an intense love in all his undertakings, Albert Jaegers has
come to be a power among his fellows. He has exhibited at several
Expositions,  has done considerable municipal work - the finest figure
probably being his "Baron Steuben," of Washington - and many fine
portraits. His "Uncle Joe Cannon" in the Fine Arts Palace, shows his
power as a portraitist. His work has brought him decorations from the
German Emperor.



Isidore Konti

A foreign sculptor living in New York, Isidore Konti has steadily risen
in the excellence of his work until to-day he stands among the foremost
American sculptors. He was born at Vienna, in 1862. His father's capture
by the Viennese in the war against Hungary, where the father lived, and
his subsequent compulsory connection with the Viennese army made the
son, Isidore, long for the freedom of America. He came to America as a
boy, living in Chicago. He exhibited at the Chicago Exposition in 1893,
and later attracted much favorable comment at the Pan-American
Exposition at Buffalo. His works in the Fine Arts Palace are of a very
high order and are exquisitely modeled. The more sober life of the
individual, with appreciation of sentiment and longing, are evident in
his works.



Leo Lentelli

Leo Lentelli was born in Bologna, Italy, in 1879. He came to the United
States in 1903, where he has been permanently located in New York. His
most notable work is seen in the Cathedral of Saint John the Divine, New
York, where he has done "The Savior with Sixteen Angels" for the
reredos. He has recently completed a group which has been placed over
the entrance to the new Branch Public Library of San Francisco. He is
still another of the sculptors who is self-taught.



Evelyn Beatrice Longman

Evelyn Beatrice Longman has risen constantly in her work since she took
her first step in art at the Chicago Art Institute. She was born in Ohio
of English parents, being one of six children. At fourteen she began to
earn her own living in Chicago, studying at night at the Chicago
Institute of Art. She saved her money, using it on her education at
Olivet College. She returned to Chicago and studied drawing and anatomy.
So clever was she that at the end of the first year she began to teach
those subjects at the Institute. Later, she went to New York where she
studied with Herman MacNeil and Daniel Chester French. She really made
her debut in sculpture at the St. Louis Exposition, where she showed
"Victory," a male figure which was so excellent in invention and
technique that it was given a place of honor on the top of Festival
Hall. In 1907 John Quincy Adams Ward offered a prize for the best
portrait bust. This competition was open to all American sculptors.
Charles Grafly won in the competition, but Miss Longman won the second
place with her "Aenigma." Besides some excellent portraits, she has done
two remarkable bronze gates at the entrance to the chapel of the United
States Naval Academy at Annapolis, and much fine figure work. Daniel
Chester French says "She is the last word in ornament."



Herman A. MacNeil

Herman A. MacNeil was born in 1886, at Chelsea, Massachusetts. After
graduating from the State Normal School of Massachusetts, he went to
Paris, where he studied under Chapu of the Julian Academy, and two years
under Falguiere of the Ecole des Beaux Arts. He came home and soon
answered a call to Cornell, where he remained three years. Then three
years were spent in teaching art at the Chicago Art Institute. While
there, he taught Miss Carol Brooks of Chicago, whom he married in 1895.
She is a very clever sculptor herself. Her "Listening to the Fairies,"
"The First Wave," "The First Lesson," "Betty," in the Fine Arts Palace
of the Exposition, readily show how very charming her work is. Mr. and
Mrs. MacNeil studied together in Rome for four years and on their return
to America established themselves in New York, where the MacNeil studio
is. He is the teacher of modeling of the National School of Design, New
York. He has made a specialty of Indian subjects, "The Sun Vow," "The
Coming of the White Man," and the "Moqui Runner" being some of his best
pieces. To him the Indians are as fine as Greek warriors and most worthy
of careful study. Whatever he does in sculpture is in its very essence
national. He is extremely refined, a superb modeler and one whose every
piece of work is strong and of the first rank.



Paul Manship

Standing quite apart from the other sculptors in his special joyous line
of work is Paul Manship, a young man from St. Paul, Minnesota, born in
1885. He obtained the Prix de Rome from the American Academy, which
prize allowed him to study in Rome and Greece for three years, from 1909
to 1912. His study in Greece gave a most interesting, individual touch
to his work, for he united to his fresh, vigorous western style the
classic precision of the Greek. He has a certain archaistic mannerism in
his work recalling the Aeginetan marbles, which individuality puts a
Manship stamp upon his work, striking a distinctly personal note. His
statuettes are most charming and natural - little bursts of spirit and
intense feeling. His work is always interesting - the kind you cannot
pass by. He fills a niche all his own and is a most promising, gifted
young sculptor. His "Spring Awakening" and "Playfulness" in the
Twachtman Room of the Fine Arts Palace are delightfully exhilarating
little figures.



Charles Niehaus

Charles Niehaus' great talent lies in the lines of monumental sculpture.
He was born in Cincinnati, in 1855. He was a pupil of the McMicken
School of Art of that city, later attending the Royal Academy of Munich,
Germany, where he took the first medal ever won by an American. He has
won gold medals at the Pan-American Exposition, the Charleston
Exposition and also at the Exposition of St. Louis. His work is of the
extremely dignified order, and shows great simplicity of line. It is
always the spirit of the work that claims you in all that he undertakes.
He has done nothing finer than his "Garfield" at Cincinnati. His Astor
Memorial Doors of Trinity Church, New York, his "Doctor Hahnemann" of
Washington, D. C., and his "Driller," symbolic of the energy of labor,
are among his best works.



Furio Piccirilli

Living in New York in truly Florentine style is the Piccirilli family -
a household of five families. It is said that nowhere in America is the
old Florentine style of the fourteenth century way of living so well
exemplified. The men of the family were marble cutters, but within the
last few years Attilio, an elder brother, has been expressing himself in
sculpture of a pronounced order. Furio is a young member who is coming
to the front thru the very lovely representations of his work at the
Panama-Pacific International Exposition. He has given a fine human touch
to his work. It stands quite apart in its Italian feeling from the
robust American sculpture.



Frederick Roth

Frederick Roth is one of the greatest animal sculptors of the United
States and is studying abroad year by year. He was born in Brooklyn, New
York, in 1872, and was fortunate in being sent to Berlin and Vienna to
pursue his studies when he was very young. He attracted very favorable
attention at the Pan-American Exposition by his great originality and
technical skill. He is extremely fond of modeling small animals, many of
which can be seen in the Fine Arts Palace of the Exposition. "The
Equestrienne" is as clever and spirited a small work as he has done.



Ralph Stackpole

Ralph Stackpole, one of the younger sculptors, was born near Grants
Pass, Oregon, in 1881. At the age of sixteen he began his art study at
the San Francisco School of Design, remaining here for the short period
of four months. He later studied with G. F. P. Piazzoni and Arthur
Putnam, and considers that from these men he received his best
instruction. In 1906 he went to Paris, where he continued his studies at
the Ecole des Beaux Arts and Atelier Merces, where he remained two
years. He exhibited his work at the Salon in 1901. You meet the man face
to face in his work on the Varied Industries Palace. He is sincere,
broad, direct. As to his reverence and refined feeling, you need but to
look at his "Kneeling Figure" at the altar in front of the Fine Arts
Palace to see that he possesses these qualities in abundance.



Louis Ulrich

The world is probably receiving its first introduction to Louis Ulrich,
a pupil of the joint school of the National Sculpture Society and the
Society of Beaux Arts Architects. He has achieved a "crowning success"
in his dignified figure of sweeping lines.



Albert Weinert

Albert Weinert was born at Leipzig, Germany, in 1863. He studied at the
Art Academy at Leipzig under Meichior zur Strapen, later coming to
America, where he is now located in New York. He has done a great deal
of municipal work of a high order, among which can be mentioned
sculpture work on the interior of the Congressional Library at
Washington, a monument to President McKinley for Toledo, Ohio, a "Lord
Baltimore" for Maryland and some very excellent statues on the facade of
the Masonic Building, San Francisco. His work in the Court of the Ages
has added greatly to the interest of that Court and is forceful, virile
work.



Adolph Alexander Weinman

Adolph Alexander Weinman, one of the poets of the sculpture world, was
born in Karlsruhe, Germany, in 1870. When but a boy of ten, he came to
America with his parents. In his youth he began his student life in art
with the great Augustus Saint-Gaudens, attending also Cooper Union, New
York. Each year has seen him move successfully ahead until now he is
among our finest American sculptors. He is one who stimulates the
imagination and raises the standards of art in whatever he models. His
work is pregnant with life and is thoroughly individual, so that you
feel when you look upon his figures that you have met more than mere
bronze or marble. His portraits are of a very high order, many of which
can be seen in medal form in the Fine Arts Palace. He lives in New York,
where he is well appreciated.



Mrs. Gertrude Vanderbilt Whitney

Mrs. Gertrude Vanderbilt Whitney is one of the foremost American woman
sculptors. The Fountain of El Dorado is her first public contribution.



Bruno Zimm

Bruno Zimm, living in New York, was a pupil of the late Karl Bitter. He
has designed work for former Expositions, and we trust that his name
will be better known in the future. He has added great beauty to the
Fine Arts Palace by his classic friezes designed in effective, bold
masses. The archaic style used in his work is evident in many of the
sculptural forms at this Exposition.



Sculpture Around the Fine Arts Lagoon



The first group of statuary in the following list is located on the
south-east side of the Fine Arts Lagoon. Proceeding thence to the left
and through the colonnade, the most important subjects will be found in
the order described.

Sea Lions. Frederick G. R. Roth
      Most carefully studied as to form and babies; you almost: hear the bark
      of the great mate.

The Scout. Cyrus Edwin Dallin
      The horse and the Indian wait motionless; his hand shading his eyes from
      the sun, the Indian looks intently into the distance for sign of the
      enemy.

Wind and Spray. Anna Coleman Ladd
      A ring of figures - male and female - fleeting and gay - like the wind
      and the spray.

Diana. Haig Patigian
      The goddess of the hunt appears with her bow; the arrow has just left
      the string.

Peace. Sherry Fry
      Quiet, serene, she stands, her brow bedecked with olive leaves; her
      serpent bordered robe may betoken the wisdom of peace.

The Kirkpatrick Fountain (extreme left). Gail Sherman Corbett
      Erected to Dr. Wm. Kirkpatrick, superintendent of Ononda Salt Springs
      from 1805 to 1806 and from 1810 to 1831, at Syracuse, New York.

The Bison (2). A. Phimister Proctor
      The last of a vanishing race - fine, powerful figures.

Henry Ward Beecher Memorial. J. Q. A. Ward
      A noted American clergyman, lecturer, reformer, author, journalist;
      lived between 1813 and 1887; a man of forceful personality and fine
      intellect; he looks the very man of opinions who would not hesitate to
      give them to you - and you would be prone to accept them.

William H. Taft. Robert Ingersoll Aitken
      One of America's greatest statesmen.

Halsey S. Ives. Victor S. Holm
      Was director of the Fine Arts Palace, Pan-American Exposition.

Seated Lincoln. Augustus Saint-Gaudens
      The firm man of thought and action; a replica of the Seated Lincoln of
      Lincoln Park, Chicago.

Piping Pan. Louis Saint-Gaudens
      He stands, utterly thoughtless, with his double pipes - passing the
      hours in amusement; we see him at a musical moment.

Flying Cupid. Janet Scudder
      With the rhyton, the Greek drinking-horn in his hand, Cupid stands above
      the globe, his little toes holding on firmly so that he will not slip.

A Muse Finding the Head of Orpheus. Edward Berge
      The mourning muse has just chanced upon the severed head of Orpheus
      which had been cast into the stream by the Thracian maidens; short
      pieces of marble are left to support parts easily broken.

Michael Angelo. Robert Ingersoll Aitken
      We seem to hear him say "And now where next to place the chisel?" He is
      creating "Day," which is seen in the Medici Chapel, Church of San
      Lorenzo, Florence, Italy.

Nymph. Isidore Konti
      A poetic conception of the origin of the stream, from which the fawn
      drinks.

Young Pan. Janet Scudder
      A favorite subject. Pan is piping his woodland notes and marching to his
      own music. Such expressive little hands are those that hold the pipes!
      The crab comes up to listen and is held - spellbound.

Wildflower. Edward Berge
      Everybody's love! A real darling! A little flower of the fields.

Mother and Child. Furio Piccirilli
      A typical mother-expression as she croons over her baby - such a dear
      one!

Eurydice. Furio Piccirilli
      Orpheus has just looked back-Eurydice, realizing that he is forever lost
      to her, looks mournfully after him. Great longing fills her soul.

Boy and Frog. Edward Berge
      An independent young chap stands among the rushes - and how expressive
      are those toes! The frog, as the fountain, spouts water.

The Dancing Nymph. Olin Warner
      Her pine-cone wand thrown down, her pan-pipes cast aside, the
      ivory-crowned nymph indulges in the dance.

The Outcast. Attilio Piccirilli
      A powerful nude; his very toes portray his grief; surely suggested by
      Rodin's work.

Boyhood. Charles Cary Rumsey
      The youth who is just beginning to gather his sheaves, looks up and sees
      the stars! A new treatment in sculpture.

The Pioneer Mother. Charles Grafly
      A simple, dignified woman dressed in home-spun. At her knees a boy and a
      girl - the future builders of the Western country. She has crossed the
      cactus-covered plains, has endured the greatest hardships, that she may
      rear her sturdy little ones to lay the foundations of a mighty Western
      empire. The bulls' heads are symbolic of sacrifice; oak leaves symbolize
      strength. She is best seen in the afternoon.

Thomas Jefferson. Karl Bitter
      The seated president, with a world of thought upon his face, has on his
      lap the Declaration of Independence.

Lincoln. Daniel Chester French
      The rugged man of magnificent understanding, whose every thought was for
      the betterment of the race.

Relief from the Boston Museum of Fine Arts. Richard H. Recchia
      Illustrating Sculpture.

The Commodore Barry Monument. John J. Boyle.
      A naval hero who died 1803. Fought in the American Revolution. Victory
      rides at the prow with laurels for him. The "eagle" shows for whom he
      fought.

Relief from the Boston Museum of Fine Arts. Richard H. Recchia
      This panel represents Architecture.

Earl Dodge Memorial. Daniel Chester French
      Earl Dodge, scholar and athlete, was a greatly beloved Princeton student
      - a senior who died just as his college gown was about to be placed upon
      his shoulders.

The Young Franklin. Robert Tait McKenzie
      With all his earthly possessions wrapped in a bandana, with upward gaze
      and confident gait, Benjamin Franklin goes to seek his fortune.

Lafayette. Paul Wayland Bartlett
      The young Lafayette who helped the United States in the Revolutionary
      War and was present at the surrender of Lord Cornwallis.

Relief. Bela L. Pratt
      Representing Sculpture.

Relief from the Boston Museum of Fine Arts
      Representing Sculpture. A relief of simple sweeping lines of great
      beauty.

The Awakening. Lindsay Morris Sterling
      The day has dawned and with it life awakens.

Beyond. Chester Beach
      A girlish figure wonders what is coming with the future years. Best seen
      from across the road.

William Cullen Bryant (1794-1878)
      An American poet of the first rank. He sits thoughtfully - his
      manuscript before him. Laurels grace his pedestal.

The Sower. Albin Polasek
      Along the field he goes, scattering his seed.

Centaur. Olga Popoff Muller
      This bestial creature is in the act of abducting a beautiful woman. She
      has almost swooned from fright.

The Boy with the Fish. Bela Pratt
      They are singing for joy - the fish seeming to be most comfortably at
      home. Even the little turtle is happy. The little toes must not be
      overlooked.

Returning from the Hunt. John J. Boyle
      The Indian is advancing under the weight of a huge bear across his
      shoulders, and the huge skin of a companion bear being dragged at has
      side.

L'Amour (Love). Evelyn Beatrice Longman
      A group of tender, loving trustfulness. In the background are seen angel
      heads, denoting the spiritual side of love. The serpent below suggests
      the great wisdom born of love. It overcomes all death (the skull). The
      oak leaves symbolize eternal love.

Garden Figure. Edith Woodman Burroughs
      Is this little Adam with the apple, or only a little boy with a ball?

Youth. Victor H. Salvatore
      A little maid in sweet simplicity - against the shrubbery.

Soldier of Marathon. Paul Noquet
      Recalling one of the Niobids of the Uffizi Gallery, Florence. The last
      dying agony of a Greek soldier. His shield stands at the left.

Primitive Man. Olga Popoff Muller
      He hauls the quarry home. Would the nose of primitive man be so lacking
      in primitiveness?

The Scalp. Edward Berge
      The Indian stands exultant! His hands alone betray what has happened.
      The rest of the work is most carefully treated to cover the barbarous
      side of the subject.

Apollo Hunting. Haig Patigian
      "I shot an arrow into the air." This muscular figure recalls the work on
      Machinery Palace done by the same sculptor.

A Faun's Toilet. Attilio Piccirilli
      An awkward, somewhat bashful, wholly boyish faun - his costume an ivy
      crown.

Duck Baby. Edith Barretto Parsons
      A gleeful little soul with chubby toes - more gleeful than the quacking
      ducks she squeezes.

A Maiden of the Roman Campagna. Albin Polasek
      Like an antique bronze from Pompeii. The anemones in her braided hair
      are surely some of those that grow so plentifully on the great Campagna
      beyond Rome.

Head of Lincoln. Adolph Alexander Weinman
      He might have looked like this at the time of his Gettysburg speech.

Daughter of Pan. R. Hinton Perry
      A girlish satyr most intent upon the echoes that she makes when blowing
      through her double pipes.

Mother of the Dead. C. S. Pietro
      The old mother though grief-stricken, accepts the inevitable, while her
      motherless grandson, not understanding, feels that something is wrong.

Destiny. C. Percival Deitsch
      Does Destiny decree that man shall lead, while woman meekly follows, as
      she did in ancient Egyptian days?

Chief Justice Marshall (1755-1835). Herbert Adams
      A dignified seated figure - one of the greatest Chief Justices the
      United States ever had. He held the position from 1801 to 1835. The
      United States is symbolized by the eagle.

Rock and Flower Group. Anna Coleman Ladd
      A decorative group with no special meaning. It might be called "Idle
      Moments."

Great Danes. Anna Vaughan Hyatt
      Watchful Danes guard well the portals. Their names might easily be
      "Keenly Alert" and "In Sober Thought."

Bondage. Carl Augustus Heber
      The mother, tightly bound, thinks not of herself as she turns away, but
      of the weeping child beside her.

Saki - a Sun Dial. Harriet W. Frishmut
      A nymph acts as a pedestal for a sun-dial.

Sun - Dial Boy. Gail Sherman Corbett
      How interested he is in the chameleon which has curiously crept up to
      see who it is that gazes at him.

Sun - God and Python. Anna Coleman Ladd
      Apollo, the god of light, shoots at the python (the symbol of darkness).

Triton Babies. Anna Coleman Ladd
      i.e., Children of the sea-gods, the Tritons.

Bird Fountain. Caroline Evelyn Risque
      The little boy holding the bird clings to the globe with his toes. A
      simple and very appropriate bird fountain.

Prima Mater. Victor S. Holm
      The "first mother" holds her babe to her breast.

The Fountain of Time, Lorado Taft
      The great ocean of Time is rolling on, carrying with it men and women of
      all conditions of thought. Some advance blindly, some hopelessly, some
      fearfully, some buffeted by the great waves as they roll on.

Nymph - A Garden Figure. Edward T. Quinn
      Showing how any figure gains in beauty by being placed among the
      shrubbery.

The Dying Lion. Paul Wayland Bartlett
      A powerful and most realistic group. The poor animal is in the last
      agony - is evidently starving.

New Bedford Whaleman. Beta Pratt
      Such was the type of man who left the town of New Bedford,
      Massachusetts, a whaling port, to seek his occupation in northern water.