Sculpture of the Exposition Palaces and Courts Descriptive Notes on theArt of the Statuary at thePanama-Pacific International ExpositionSan Francisco By Juliet James To A. Stirling Calder who has so ably managed the execution of thesculpture, and to the vast body of sculptors and their workmen who havegiven the world such inspiration with their splendid work, this book isdedicated. Foreword What accents itself in the mind of the layman who makes even a cursorystudy of the sculptors and their works at the Panama-PacificInternational Exposition is the fine, inspiring sincerity and upliftthat each man brings to his work. One cannot be a great sculptorotherwise. The sculptor's work calls for steadfastness of purpose through longyears of study, acute observation, the highest standards, fineintellectual ability and above all a decided universalism - otherwisethe world soon passes him by. It is astonishing to see brought together the work of so many reallygreat sculptors. America has a very large number of talented menexpressing themselves on the plastic side - and a few geniuses. The Exposition of 1915 has given the world the opportunity of seeing thepurposeful heights to which these men have climbed. We have today real American sculpture - work that savors of Americansoil - a splendid national expression. Never before have so many remarkable works been brought together; andAmerican sculpture is only in its infancy - born, one might say, afterthe Centennial Exposition of 1876. The wholesome part of it all is that men and women are workingindependently in their expressions. We do not see that effect here ofone man trying to fit himself to another man's clothing. The work is alldistinctly individual. This individualism for any art is a hopefuloutlook. The sculpture has vitalized the whole marvelous Exposition. It is not anaccessory, as has been the sculpture of previous Expositions, but itgoes hand in hand with the architecture, poignantly existing for its ownsake and adding greatly to the decorative architectural effects. In manycases the architecture is only the background or often only a pedestalfor the figure or group, pregnant with spirit and meaning. Those who have the city's growth at heart should see to it that thesemen of brain and skill and inspiration are employed to help beautify thecommercial 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 notbeautify our outside world where we spend the bulk of our time? We, a pleasure-loving people, are devoting more time every year tooutside life. Would it not be a thorough joy to the most prosaic of usto have our cities beautified with inspiring sculpture? We do a great deal in the line of horticultural beautifying - we coulddo far more - but how little we have done with one of the mostmeaningful and stimulating of the arts. Let us see to it, in San Francisco at least, that a few of these worksare made permanent. Take as an example James Earle Fraser's "End of the Trail. " Imagine theeffect of that fine work silhouetted against the sky out near FortPoint, on a western headland, with the animal's head toward the sea, sothat it would be evident to the onlooker that the Indian had reached thevery end of the trail. It would play a wonderful part in the beauty ofthe landscape. Or take Edith Woodman Burroughs' "Youth. " What a delight a permanentreproduction of that fountain would be if placed against the side of oneof the green hills out at Golden Gate Park - say near the Children'sPlayground - with a pool at its base. It is only by concerted actionthat we will ever get these works among us. Who is going to take thelead? The Contents IntroductionThe Fountain of EnergyThe Mother of TomorrowThe Nations of the OccidentThe Nations of the OrientThe AlaskanThe LamaThe Genius of CreationThe Rising SunDescending NightWinterThe Portals of El DoradoPanel of the Fountain of El DoradoYouthThe American PioneerCortezThe End of the TrailPanel from the Column of ProgressThe Feast of the SacrificeThe Joy of LivingThe Man with the PickThe Kneeling FigureThe Pegasus PanelPrimitive ManThoughtVictoryThe Priestess of CultureThe Adventurous BowmanPanAirThe Signs of the ZodiacThe Fountain of CeresThe Survival of the FittestEarthWildflowerBiographies of SculptorsSculpture Around the Fine Arts Lagoon The Illustrations The Fountain of Energy - A. Stirling Calder, SculptorThe Mother of Tomorrow - A. Stirling Calder, SculptorThe Nations of the Occident - A. Stirling Calder, Frederick Roth, Leo Lentelli, SculptorsThe Nations of the Orient - A. Stirling Calder, Frederick Roth, Leo Lentelli, SculptorsThe Alaskan - Frederick Roth, SculptorThe Lama - Frederick Roth, SculptorThe Genius of Creation - Daniel Chester French, SculptorThe Rising Sun - Adolph Alexander Weinman, SculptorDescending Night - Adolph Alexander Weinman, SculptorWinter - Furio Piccirilli, SculptorThe Portals of El Dorado - Gertrude Vanderbilt Whitney, SculptorPanel of the Fountain of El Dorado - Gertrude Vanderbilt Whitney, SculptorYouth - Edith Woodman Burroughs, SculptorThe American Pioneer - Solon Hamilton Borglum, SculptorCortez - Charles Niehaus, SculptorThe End of the Trail - James Earle Fraser, SculptorPanel from the Column of Progress - Isidore Konti, SculptorThe Feast of the Sacrifice - Albert Jaeger, SculptorThe Joy of Living - Paul Manship, SculptorThe Man with the Pick - Ralph Stackpole, SculptorThe Kneeling Figure - Ralph Stackpole, SculptorThe Pegasus Panel - Bruno Louis Zimm, SculptorPrimitive Man - Albert Weinert, SculptorThought - Albert Weinert, SculptorVictory - Louis Ulrich, SculptorThe Priestess of Culture - Herbert Adams, SculptorThe Adventurous Bowman - Herman A. MacNeil, SculptorPan - Sherry Fry, SculptorAir - Robert Ingersoll Aitken, SculptorThe Signs of the Zodiac - Herman A. MacNeil, SculptorThe Fountain of Ceres - Evelyn Beatrice Longman, SculptorThe Survival of the Fittest - Robert Ingersoll Aitken, SculptorEarth - Robert Ingersoll Aitken, SculptorWildflower - Edward Berge, Sculptor Sculpture of the Exposition Palaces and Courts "The influence of sculpture is far reaching. The mind that loves thisart and understands its language will more and more insist on a certainorder and decorum in visual life. It opens an avenue for the expressionof aesthetic enjoyment somewhere between poetry and music and akin todrama. - Arthur Hoeber The Fountain of Energy A. Stirling Calder, Sculptor [See Frontispiece] The Fountain of Energy is a monumental aquatic composition expressing inexuberant allegory the triumph of Energy, the Lord of the Isthmian Way. It is the central sculptural feature of the South Garden, occupying thegreat quatrefoil pool in front of the tower. The theme is Energy, theConqueror - the Over Lord - the Master; Energy, mental and physical;Energy - the Will, the indomitable power that achieved the Waterwaybetween the Oceans at Panama. The Earth Sphere, supported by anundulating frieze of mer-men and women, is his pedestal. Advancing fromit in the water at the four relatively respective points of the compass, North, South, East and West, are groups representing the Atlantic andthe Pacific Oceans and the North and the South Seas; groups richlyimaginative, expressing types of Oriental, Occidental, Southern andNorthern land and sea life. The interrupted outer circle of water motifsrepresent Nereids driving spouting fish. Vertical zones of writhingfigures ascend the sphere at the base of the Victor. Across the upperportions of the sphere, and modeled as parts of the Earth, stretchtitanic zoomorphs, representing the Hemispheres, East and West. Thespirit of the Eastern Hemisphere is conceived as feline andcharacterized as a human tiger cat. The spirit of the Western Hemisphereis conceived as taurine and characterized as a human bull. The base ofthe Equestrian is surrounded by a frieze of architecturalized fish andthe rearing sea horses that furnish the principal upper motif for theplay of water. Energy himself is presented as a nude male, typicallyAmerican, standing in his stirrups astride a snorting charger - anexultant super-horse needing no rein - commanding with grandly elementalgesture of extended arms, the passage of the Canal. Growing from hisshoulders, winged figures of Fame and Valor with trumpet, sword andlaurel, forming a crest above his controlling head, acclaim his triumph. The Fountain embodies the mood of joyous, exultant power and exactlyexpresses the spirit of the Exposition. Its unique decorative characterhas been aptly described as heraldic, "The Power of America rising fromthe Sea. " A. Stirling Calder The Mother of Tomorrow A. Stirling Calder, Sculptor With upturned face, with steady onward gaze, the stalwart Mother ofTomorrow moves ahead. Hers is the firm, determined purpose, the will todo - to accomplish that for which she has started. She marches ahead ofthe types of the Occident. It has taken all these types striving withcommon purpose to produce the future, therefore they form the Mother ofTomorrow, 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 theOccident, march the types of men who have made the Western civilization. From left to right - the French-Canadian, the Alaskan, the German, theLatin-American, the Italian, the Anglo-American, the Squaw, the AmericanIndian. In the center of this well-balanced pyramidal group, surmountedby Enterprise and drawn by sturdy oxen, comes the old prairie schooner. To right and left atop are seen the Heroes of Tomorrow - one a whiteboy, the other a negro type. In front marches the splendid Mother ofTomorrow. 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 typesof men that form the Orientals. From left to right - the Arab Sheik, theNegro Servitor, the Egyptian Warrior, the Arab Falconer, the IndianPrince and Spirit of the East, the Lama, the Mohammedan Warrior, theNegro Servitor, the Mongolian Warrior. On they come to join the Nationsof the West in the great Court of the Universe. This group is as fine asany group ever seen at an exposition. It rises in its impressivepyramidal height to a climax in the Spirit of the East - a fitting pivoton which to turn the types. The Alaskan Frederick Roth, Sculptor Frederick Roth has fashioned one of the most expressive figures of theExposition sculpture, but so far above the eye is she and soovershadowed by her companions, that we do not see her in her truelight. It is the Alaskan Indian of the Nations of the Occident. She ismoving on with her totem poles and blankets. You feel her tug andstrain, for her load is growing heavier with each step, and she has yeta long way to go. The modeling of the figure, the foot, the rigid armand hand, all tell of sustained effort that is truly life-like inexpression. 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. Hestolidly passes by, looking neither to the right nor to the left. He isused to being obeyed. His rod of authority tells you that what he saysis law. Indifference and arrogance are on his face. His very posture, the very way in which his robe hangs from his shoulders, the position ofhis nerveless fingers that hold the rod, speak of centuries ofindifference 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 spiritand not the flesh. Its idealism is of the highest order, being largelyproduced by the hood drawn far over the face, throwing such deep shadowthat personality is lost sight of and only creative force is left. Highon a mighty boulder it sits with arms raised. The word has just beenspoken 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 handsmeet 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 issoon to break upon the world. With muscles stretched, the wind blowingthrough his hair, the heavenly joy of the first move expressed upon hisface, the vigor of young life pulsating through his body, he will startthe chest forward and move those outstretched wings. Let us preservethis glorious figure for our western city. It would so admirably suggestthe new light that has been shed upon San Francisco by the Exposition ofnineteen hundred and fifteen, as well as the new light occasioned by theopening of the Panama Canal. Descending Night Adolph Alexander Weinman, Sculptor The figure on the page opposite is a beautiful lyric poem. She might becalled "A Hymn to the Night. " Every line of her figure is musical, everymove suggested, rhythmical. Seen at night, she croons you a slumbersong. How subtly Mr. Weinman has told you that she comes to fold theworld within her wings - to create thru her desire a "still andpulseless world. " The muscles are all lax - the head is drooping, thearms are closing in around the face, the wings are folding, the kneesare bending - and she too will soon sink to slumber with the world inher 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 theleaves are of the trees and the bark is splitting. After the activitiesof autumn man is resting. The fruits have been gathered - the goldenapples and the purple grapes - so man's labors have ceased. It is theperiod of conception. The sower has just cast forth the seed. MotherEarth will nurture the little seed until the cold winter has passed andthe 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 acertain far-off country lived a king called El Dorado, the Gilded One. He ruled over a region where gold and precious stones were found inabundance. The story influenced a vast number of adventurers who ledexpeditions to seek the land of golden treasure; but notwithstanding thefact that their searched most carefully and for long periods, they allfailed to find it. The idea of the unattainable gave the suggestion toMrs. Whitney for her fountain. The gold of El Dorado was used as asymbol 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 theunattainable. Many have had a glimpse of the Gilded One, and are rushingon to pass the mysterious gate behind which the desires of life awaitthem. Some faint by the roadside or stop in their race for the goal tocontend or to loiter by the way, but those nearest the El Doradoincrease their speed. Beside the gateway that has only just allowed theGilded One to pass thru are two mortals who have come close to the landof their desires, but only to find the door shut and slaves beside itbarring the way. Their strength is expended, their courage gone in thelong race for material things. Youth Edith Woodman Burroughs, Sculptor A little figure of innocence and purity in all her virgin lovelinessstands 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 carriagebetokens hopeful days for her womanhood later on. Her form isexquisitely moulded. Those little bony shoulders will all too soon fillout and she will bloom into womanhood. The chief charm of this littlelady is her simplicity. Mrs. Burroughs uses such beauty of line, suchsweet language to tell her story. The American Pioneer Solon Hamilton Borglum, Sculptor Erect, dignified, reflecting on the things that have been, the AmericanPioneer appears before us, reminding us that to him should be given theglory for the great achievements that have been made on the AmericanContinent. He it was who blazed the trail that others might follow. Heendured the hardships, carved the way across the continent, and made itpossible for us of today to advance thru his lead. All hail to thewhite-headed, noble old pioneer who, with gun and axe, pushed his waythru the wilderness; whose gaze was always upward and onward, and whosecourage was unfaltering! Cortez Charles Niehaus Sculptor One of the finest equestrians at the Exposition is Cortez by CharlesNiehaus. As we look upon the rider on his sumptuously caparisoned horsewe are convinced that he is every inch a conqueror. He is representedabsolutely motionless - his feet in the stirrups - and yet you feel thathe is a man of tremendous action. You also feel his fine reserve, andyet how spirited he is! This is that intrepid spirit that desired theland of the Montezumas. After determined invasions he conquered thecountry 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 theages sweep me on to that chill borderland where Time's spent sandsengulf lost peoples and lost trails. " - Marion Manville Pope. One of the strongest works of the Exposition in its intense pathos isthis conception of the end of the Indian race. Over the country theIndian has ridden for many a weary day, following the long trail thatleads across a continent. A blizzard is on. He has peered to right andleft, but alas! the trail is gone and only despair is his. So has itbeen with the Indian. His trail is now lost and on the edge of thecontinent 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 mentalconditions of men on their onward march thru life. In the center of thepanel stands the man of inspiration - the eagle, bird of inspiration, perched on his shoulder. He goes thru life with upturned face, dependingupon his God for strength. Beside him on the right is seen the warriorwho wins his way by sheer physical strength. On his left stands theascetic philosopher, who through constant vigils "hath a lean and hungrylook. " To the extreme left falteringly steps the man who fears theunknown future; his wife and mother sustain him by spiritual cheer. Thefigures are in very high relief so that they seem almost human as yougaze upon them. The Feast of the Sacrifice Albert Jaegers, Sculptor In your imagination you see as of old the harvest procession marchingaround the fields. It is led by the great bulls for the sacrifice to thegods, that the harvest may yield bounteously. On either side of thebulls are the youths and the maids carrying flowered festoons. The longprocession passes on and halts before the altar where the bull beingsacrificed, the head with its festoons is placed upon the side of thealtar. A most decorative group is this Feast of the Sacrifice - brutestrength and the graceful form of the maid making a splendid play ofline 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 festivaljoy and love of life - a telling addition to all that has been expressedin the court. They savor of old Greek days, these maidens of archaichair and zigzag draperies. Paul Manship loves the classic which bringswith it much of free expression, and he has adopted the archaic stylethat recalls the figures such as are seen on old Greek vases. No one ismore joyous among the sculptors than this man. He has a rarely beautifulgift from the gods. The Man With the Pick Ralph Stackpole, Sculptor An ordinary workman with his pick - and yet how impressed you are withhis sincerity. In him is asserted the dignity, the usefulness, thenobility of all labor. He helps to turn the wheels of trade, to furtherthe 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 isthoroughly suitable to just such work as this. There are no accessoriesemployed. 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 madeand in what man has fashioned, the grateful devotee has mounted thesteps that lead to the altar at which she offers up her devotion. Shebows her head in humble reverence to her God for all that He has givenher to enjoy - all that is good, pure, true, beautiful, uplifting. Andwe onlookers, too, would join the moving throng that bend the knees atthe altar of beauty and truth. Across the lagoon we gaze upon the greatstillness, 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 superbreliefs 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 bridledPegasus. Beside him march the Arts - Literature, holding aloft hersymbol, the lamp; Sculpture extending in front of her the statuette, adevotee admiring, and Music leading the procession, stilling ever thebeasts - a veritable Orpheus. Mr. Zimm has been most successful in thefine working out of his subject in a classical way, for the style ofrelief work accords well in feeling with the superb classic architectureit decorates. Primitive Man Albert Weinert, Sculptor Long ages past I lived and gave no thought of time or doing aught savegoing as my fancy took me. Ofttimes I took my bow and arrow and hide meto the mighty forests where herds of Nature's roaming kind served as myfood when I required it. Again I followed to the sea where, casting inmy net, I drew up myriads of the finny tribe to satisfy my appetite. Oftdrew I up such numbers vast that having naught to do but to amuse myselfI fed my extra fish the friendly pelican that had become companion in mywalks along the shore. A simple man was I with not too many thoughts andonly few desires. My body was my foremost daily thought, and littlecared I for aught else besides. Thought Albert Weinert, Sculptor The ages have passed on and I more thoughtful have become, for mightyrevolutions have gone on within my frame. My mind, a once too punything, has year by year grown stronger, until to-day I realize thatfeeble is my flesh - a thing to be abhorred, and mind does rule aboveall else. My very face which once was rude and lacked that fire thatstrong intelligence does give now has a steady purpose and fine spiritwrit upon it. It is as if my flesh of old had dropped and like acast-off cloak had fallen at my feet. Then come those days when tumultas of yore is waged within me, and then I grasp my new-made self andyearn to hold my old position within the body walls. Thought more strongthan flesh does wield its strength and back I crouch beneath the feet tostay 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 theExposition. She is positively charming in her sweep forward. Poised farabove you, she holds the laurel wreath ready for the victor. BlessedVictories! We rejoice that there are so many of you for we have found somany victors. Sideview, against the clear blue sky, she suggests thegreat victory of Samothrace. Mr. Ulrich, we feel sure that the LadySamothrace has exerted her subtle influence. The Priestess of Culture Herbert Adams, Sculptor There are few sculptors with greater refinement or more cultured reservethan Herbert Adams. He understands the selection of the significant andin 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 ArtsPalace, on the inside, is eight times repeated. Simple, dignified, beautifully balanced, with elegance expressed in every line of hergarment with its rich border sparingly used, she holds in either arm anoverflowing 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 hislocks, stands the Adventurous Bowman, the symbol of achievement. At thebase of the column are seen figures representing the progress of menthru life. We watch them file past, but it is with this man of splendiddaring, of consummate achievement, that we are most concerned. He hasstriven and has reached the top. He has only just pulled the chord ofhis bow, and his arrow has sped on. With confident eye he looks to seeit hit the mark. The laurel wreath and palm of victory await hisefforts. Pan Sherry Fry, Sculptor You cannot look upon this little figure without feeling that he isinimitably charming. Pan, a god of the woodland, the symbol of thefestive side of the Exposition, sits among the shrubs in front ofFestival Hall. He has selected a marble capital on which to sit - quickreminder of those classic days when he roamed the Greek glades. Over thecold seat he has spread his fawn-skin. He has just been moving his lipsover the pan-pipes, but a rustle among the leaves has caused him topause in his melody. In the grass he sees a lizard which is as intent onPan as Pan is on him. Care-free Pan with pointed ear and horned brow, welove thee, for dost thou not give us all our jollity and fun, the tonicfor our daily walks! Air Robert Ingersoll Aitken, Sculptor Robert Ingersoll Aitken has added to the cosmical meaning of the Courtof the Universe his four elements - monumental, horizontal compositionsof pronounced decorative effect. Air is the one of finest poeticfeeling. She holds the star to her ear and listens to the music of thespheres. The eagle, the symbol of the air, is used with finely balancedeffect. On her back are fastened wings, and man, puny man, is aiming, byattaching wings to himself, to overcome her - a subtle suggestion ofairships. The Signs of the Zodiac Herman A. MacNeil, Sculptor One of the loveliest gems of beauty in the Court of the Universe isHerman 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 theirsymbols - for these are the signs of the zodiac. These maids are theHyades and Pleiades, the fourteen daughters of Atlas. It is as if thefigures of some rare old Greek vase had suddenly distributed themselvesalong the top of the great piers. For absolute refinement, for a certainold Greek spirit in the Court of the Universe, these reliefs could notbe excelled. The Fountain of Ceres Evelyn Beatrice Longman, Sculptor The architectural side of the Fountain of Ceres, with its pleasingproportions, is most satisfying to the eye. It was a happy selection toplace the Goddess of Agriculture between the Food Products Palace andthe Palace of Agriculture. Ceres strikes the keynote of thisdelightfully beautiful court. With corn sceptre and cereal wreath, Ceresis poised on the globe, the winds of the Golden Gate blowing thru herdrapery. Below on the die of the fountain are graceful figures in reliefsuggesting the decorations of a Greek vase. Eight joyous, happycreatures trip past you, some with tambourines, others with pipessounding 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 combatis seen and man by physical force seeks to override the power of hisfellows. Far back in the childhood of history one finds, as often to-dayis the case, that woman is the motive for the fray. Three combatants arehere - the one on the right separated from the most powerful by the handof 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 thevictor. A glance tells you that he of powerful build in the center ofthe 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 inslumber. It is the sleeping Earth. From her come the great trees whoseramifying roots extend in all directions. Man is seen wresting from herstone and precious metals. Wonderfully has Robert Aitken worked out theMother Earth idea. She has brought forth many times and yet is everyoung. It is keenly interesting to look at "Earth" and then atMichelangelo's "Night" to see the source of inspiration. Wildflower Edward Berge, Sculptor At sight of your form, I seem now to seeA 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 treesWhere 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 dreamAs I look and I listen, to me it would seemThat I hear a small voice in a most charming waySay, "Goodmorrow! Goodmorrow! Take time while you may, Just step up yet closer; I'll give you a chanceTo have something far sweeter than just a bright glance. " Appendix The Sculptors The planning, the placing, the naming of all this noble sculpture haspractically been done by two men - the late Karl Bitter of New York, aman of great executive and technical ability as well as of immenseinspiration, and A. Stirling Calder, on whom the honor for the greatbulk of the work rests. Besides acting as personal overseer for theexecution of the sculpture of the Palaces and Courts of the Exposition, Mr. Calder has designed the Nations of the Orient, The Nations of theOccident, The Fountain of Energy, The Stars, Column of Progress and itssculpture, and The Oriental Flower Girl. Since the sculpture is one ofthe strongest factors of this Exposition, we should extend to Mr. Calderour heart-felt appreciation of all that he has done to help make thisExposition such a wonderful, artistic success. Robert Ingersoll Aitken Robert Ingersoll Aitken was born in San Francisco in 1878. He was apupil of Arthur F. Mathews at the Mark Hopkins Institute of Art andlater of Douglass Tilden, the well-known California sculptor. He hasdone a great deal of very strong, compelling work. The examples of hissculpture seen at the Panama-Pacific International Exposition are ofpronounced virility and of fine composition. He is a man who excels intechnique. He has done in San Francisco the Victory for the DeweyMonument in Union Square, the McKinley Monument, the Bret Harte Monumentand the Hall-McAllister Monument. In the Metropolitan Museum of New Yorkis "The Flame. " At the Fine Arts Palace are a number of works from hischisel - The Gates of Silence, the Gates' memorial, being by far thefinest. 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 therehe did the beautiful bust of Adelaide Pond, who afterwards became hiswife. In 1890 he returned to America, becoming instructor in the ArtSchool of Pratt Institute, Brooklyn. He has done a number of works forthe Congressional Library, the Vanderbilt bronze doors of the St. Bartholomew Church of New York, the tympan of the Madonna and Child inthe 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 admittedquite early in life to the Maryland Institute of Art, and the RhinehartSchool of Sculpture of Baltimore, following this instruction by theusual finishing-off at Paris. He had the good fortune while in Paris tostudy under the great Rodin. He won bronze medals at both thePan-American Exposition of 1901 and the St. Louis Exposition of 1904. His many very interesting fountain figures seen at the Panama, PacificInternational Exposition have won deserved praise from the many who haveseen them. Solon Borglum Solon Borglum was born in 1868 at Ogden, Utah. The greater part of hisearly life was spent on the plains of Nebraska, lassoing wild horses andphotographing at the same time every detail of this strange life uponhis brain. He spent a short time in California, where he began his lifeas an artist. Realizing his limitations, he went to the Cincinnati ArtSchool, where he studied some time under Rebisso. It was while here thathe spent all of his spare time on the anatomy of the horse. The timesoon arrived for a sojourn in Paris. His "Little Horse in the Wind"excited pronounced attention at the Salon that first year abroad andhonors were bestowed upon him as long as he remained in Paris. He hasgiven the Indian the greatest attention, and is one of the bestsculptors of the red man in the United States. He has but one group inthe Fine Arts Palace - "Washington. " Edith Woodman Burroughs One of the chief women sculptors of the United States is Edith WoodmanBurroughs, born at Riverdale-on-the-Hudson, in 1871. She was a pupil atthe New York Art Students' League under Augustus Saint-Gaudens, laterstudying in Paris with Injalbert and Merson. In 1893 she was married toBryson Burroughs, a New York artist. She has made a specialty offountain sculpture. No one who has ever seen her Fountain of Youth atthe Panama-Pacific International Exposition can forget it. It willalways be a source of regret that the appropriation for thePanama-Pacific International Exposition sculpture was reduced, thuspreventing the public from seeing the speaking, simple groups of"Arabian Nights Entertainments. " Mrs. Burroughs is represented at theMetropolitan Museum of New York by "John La Farge, " a remarkablyinteresting portrait head, full of character. She has the power ofspeaking 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 atthe Panama-Pacific International Exposition has been A. Stirling Calder. He was born at Philadelphia in 1870. Having studied four years at thePennsylvania Academy of Fine Arts, he had the advantage of two years inParis. For some time he has been connected with the Philadelphia Schoolof Industrial Arts. He is a man of splendid imagination, of dignifiedand noble purpose, being one of the sincere men of his art who keeps thestandards where they should be. One of his early works, "The Man Cub, "in the Pennsylvania Academy of Fine Arts, is most original andinteresting in its treatment. It stands a most unique figure in the lineof sculpture. It is said that his "Martha W. Baldwin Memorial" is one ofthe best designs for a figure and pedestal yet produced in America. Mr. Calder lived some time in southern California and when there did thesculptured work on the portico of Throop Polytechnic Institute ofPasadena. This work was done by means of enormous castings made in fineconcrete. Mr. Calder originated this method and it will probably be themeans of revolutionizing the relief work done on many of the publicbuildings in the future. Mr. Calder's rare intellectual fiber, added tohis accurate knowledge of his subjects, with his exalted outlook, hasplaced him among the foremost American sculptors. James Earle Fraser James Earle Fraser was born at Winona, Minnesota, in 1876. His fatherwas a railroad constructor, so that the lad had a good chance intraveling around the country to study the free types and life of theWest. Being very impressionable, he imbibed a great deal which he hasturned to good account in his chosen work. At fourteen he started tocarve figures from the chalk that conventionality required to be used onblackboard problems. At eighteen he entered the Chicago Art Institute, where he stayed for but three months. He soon went to Paris, going firstto the Beaux Arts and later to the Colorossi and Julian Academies. Hewon many honors during his three years stay in Paris. In 1898 he won theprize offered by the American Art Association in Paris for the best workin sculpture. Augustus Saint-Gaudens was on the jury and immediatelybecame interested in the talented boy who later on held the place ofchief assistant in the Saint-Gaudens studio. He became instructor of theArt Students' League of New York in 1906, holding the position until1911. He it was who made the new five-cent piece design - the Indianhead on one side, the bison on the other. He is particularly interestedin personalities, having done a number of very clever portrait busts. Itis enough to look at the portrait bust of Mrs. Harry Payne Whitney's boyto realize what he is able to do in the line of portraiture. He hasproduced nothing finer in that line. He is a master of characterrecords. Daniel Chester French Since the passing of Augustus Saint-Gaudens, Daniel Chester French hasbeen regarded by many as standing at the head of American sculpture. Hewas born in Exeter, New Hampshire, in 1850. After having one year at theMassachusetts Institute of Technology, he studied with Doctor Rimnier ofBoston, the first teacher of art anatomy in the United States. Later hestudied with Thomas Ball of Florence, Italy, and a short time in Paris. He has been practically his own instructor. His work is of the noblesttype. It is anatomically correct, of a high intellectual order, perfecttechnique and of fine imagery. His first important work was "The MinuteMan" of Concord, Massachusetts. Among his many works are "Death and theSculptor, " "The Alice Freeman Palmer Memorial, " the head of "Emerson"(which caused Emerson to say, "This is the head I shave"), "The MilmoreMemorial, " "The Alma Mater of Columbia College, " and finest of all, thewonderful "Mourning Victory" in Sleepy Hollow Cemetery, Concord. Hismemorials are of high spiritual import. Sherry E. Fry Sherry E. Fry was born in Iowa in 1879. He has been most fortunate inhaving the best instruction, having studied at the Chicago ArtInstitute, the Julian Academy and the Beaux Arts of Paris, a year inFlorence, and later with McMonnies, Barrias, Verlet and Lorado Taft. Hehas traveled extensively, so has had the opportunity of seeing the bestthat the world holds for the artist. He won the National Roman Prize in1908 and held it for three years. He has been a careful student of theIndians. His work at the Panama-Pacific International Exposition isdistinctly graceful and decorative. Albert Jaegers Albert Jaegers, a man who has taught himself his art, having fine powersof observation and much invention, was born at Elberfeld, Germany, in1868. He has been an indefatigable worker, holding his art above allelse. Solving technical problems by himself, studying the world aroundhim with an intense love in all his undertakings, Albert Jaegers hascome to be a power among his fellows. He has exhibited at severalExpositions, has done considerable municipal work - the finest figureprobably being his "Baron Steuben, " of Washington - and many fineportraits. His "Uncle Joe Cannon" in the Fine Arts Palace, shows hispower as a portraitist. His work has brought him decorations from theGerman Emperor. Isidore Konti A foreign sculptor living in New York, Isidore Konti has steadily risenin the excellence of his work until to-day he stands among the foremostAmerican sculptors. He was born at Vienna, in 1862. His father's captureby the Viennese in the war against Hungary, where the father lived, andhis subsequent compulsory connection with the Viennese army made theson, Isidore, long for the freedom of America. He came to America as aboy, living in Chicago. He exhibited at the Chicago Exposition in 1893, and later attracted much favorable comment at the Pan-AmericanExposition at Buffalo. His works in the Fine Arts Palace are of a veryhigh order and are exquisitely modeled. The more sober life of theindividual, with appreciation of sentiment and longing, are evident inhis works. Leo Lentelli Leo Lentelli was born in Bologna, Italy, in 1879. He came to the UnitedStates in 1903, where he has been permanently located in New York. Hismost notable work is seen in the Cathedral of Saint John the Divine, NewYork, where he has done "The Savior with Sixteen Angels" for thereredos. He has recently completed a group which has been placed overthe entrance to the new Branch Public Library of San Francisco. He isstill another of the sculptors who is self-taught. Evelyn Beatrice Longman Evelyn Beatrice Longman has risen constantly in her work since she tookher first step in art at the Chicago Art Institute. She was born in Ohioof English parents, being one of six children. At fourteen she began toearn her own living in Chicago, studying at night at the ChicagoInstitute of Art. She saved her money, using it on her education atOlivet 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 teachthose subjects at the Institute. Later, she went to New York where shestudied with Herman MacNeil and Daniel Chester French. She really madeher debut in sculpture at the St. Louis Exposition, where she showed"Victory, " a male figure which was so excellent in invention andtechnique that it was given a place of honor on the top of FestivalHall. In 1907 John Quincy Adams Ward offered a prize for the bestportrait bust. This competition was open to all American sculptors. Charles Grafly won in the competition, but Miss Longman won the secondplace with her "Aenigma. " Besides some excellent portraits, she has donetwo remarkable bronze gates at the entrance to the chapel of the UnitedStates Naval Academy at Annapolis, and much fine figure work. DanielChester French says "She is the last word in ornament. " Herman A. MacNeil Herman A. MacNeil was born in 1886, at Chelsea, Massachusetts. Aftergraduating from the State Normal School of Massachusetts, he went toParis, where he studied under Chapu of the Julian Academy, and two yearsunder Falguiere of the Ecole des Beaux Arts. He came home and soonanswered a call to Cornell, where he remained three years. Then threeyears were spent in teaching art at the Chicago Art Institute. Whilethere, 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 Palaceof the Exposition, readily show how very charming her work is. Mr. AndMrs. MacNeil studied together in Rome for four years and on their returnto America established themselves in New York, where the MacNeil studiois. He is the teacher of modeling of the National School of Design, NewYork. He has made a specialty of Indian subjects, "The Sun Vow, " "TheComing of the White Man, " and the "Moqui Runner" being some of his bestpieces. To him the Indians are as fine as Greek warriors and most worthyof careful study. Whatever he does in sculpture is in its very essencenational. He is extremely refined, a superb modeler and one whose everypiece of work is strong and of the first rank. Paul Manship Standing quite apart from the other sculptors in his special joyous lineof work is Paul Manship, a young man from St. Paul, Minnesota, born in1885. He obtained the Prix de Rome from the American Academy, whichprize allowed him to study in Rome and Greece for three years, from 1909to 1912. His study in Greece gave a most interesting, individual touchto his work, for he united to his fresh, vigorous western style theclassic precision of the Greek. He has a certain archaistic mannerism inhis work recalling the Aeginetan marbles, which individuality puts aManship stamp upon his work, striking a distinctly personal note. Hisstatuettes are most charming and natural - little bursts of spirit andintense feeling. His work is always interesting - the kind you cannotpass by. He fills a niche all his own and is a most promising, giftedyoung sculptor. His "Spring Awakening" and "Playfulness" in theTwachtman Room of the Fine Arts Palace are delightfully exhilaratinglittle 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 McMickenSchool 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 haswon gold medals at the Pan-American Exposition, the CharlestonExposition and also at the Exposition of St. Louis. His work is of theextremely dignified order, and shows great simplicity of line. It isalways the spirit of the work that claims you in all that he undertakes. He has done nothing finer than his "Garfield" at Cincinnati. His AstorMemorial Doors of Trinity Church, New York, his "Doctor Hahnemann" ofWashington, 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 theold Florentine style of the fourteenth century way of living so wellexemplified. The men of the family were marble cutters, but within thelast few years Attilio, an elder brother, has been expressing himself insculpture of a pronounced order. Furio is a young member who is comingto the front thru the very lovely representations of his work at thePanama-Pacific International Exposition. He has given a fine human touchto his work. It stands quite apart in its Italian feeling from therobust American sculpture. Frederick Roth Frederick Roth is one of the greatest animal sculptors of the UnitedStates and is studying abroad year by year. He was born in Brooklyn, NewYork, in 1872, and was fortunate in being sent to Berlin and Vienna topursue his studies when he was very young. He attracted very favorableattention at the Pan-American Exposition by his great originality andtechnical skill. He is extremely fond of modeling small animals, many ofwhich can be seen in the Fine Arts Palace of the Exposition. "TheEquestrienne" is as clever and spirited a small work as he has done. Ralph Stackpole Ralph Stackpole, one of the younger sculptors, was born near GrantsPass, Oregon, in 1881. At the age of sixteen he began his art study atthe San Francisco School of Design, remaining here for the short periodof four months. He later studied with G. F. P. Piazzoni and ArthurPutnam, and considers that from these men he received his bestinstruction. In 1906 he went to Paris, where he continued his studies atthe Ecole des Beaux Arts and Atelier Merces, where he remained twoyears. He exhibited his work at the Salon in 1901. You meet the man faceto face in his work on the Varied Industries Palace. He is sincere, broad, direct. As to his reverence and refined feeling, you need but tolook at his "Kneeling Figure" at the altar in front of the Fine ArtsPalace 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 theSociety 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 theArt Academy at Leipzig under Meichior zur Strapen, later coming toAmerica, where he is now located in New York. He has done a great dealof municipal work of a high order, among which can be mentionedsculpture work on the interior of the Congressional Library atWashington, a monument to President McKinley for Toledo, Ohio, a "LordBaltimore" for Maryland and some very excellent statues on the facade ofthe Masonic Building, San Francisco. His work in the Court of the Ageshas added greatly to the interest of that Court and is forceful, virilework. Adolph Alexander Weinman Adolph Alexander Weinman, one of the poets of the sculpture world, wasborn in Karlsruhe, Germany, in 1870. When but a boy of ten, he came toAmerica with his parents. In his youth he began his student life in artwith the great Augustus Saint-Gaudens, attending also Cooper Union, NewYork. Each year has seen him move successfully ahead until now he isamong our finest American sculptors. He is one who stimulates theimagination and raises the standards of art in whatever he models. Hiswork is pregnant with life and is thoroughly individual, so that youfeel when you look upon his figures that you have met more than merebronze or marble. His portraits are of a very high order, many of whichcan 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 womansculptors. 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. Hehas designed work for former Expositions, and we trust that his namewill be better known in the future. He has added great beauty to theFine Arts Palace by his classic friezes designed in effective, boldmasses. The archaic style used in his work is evident in many of thesculptural forms at this Exposition. Sculpture Around the Fine Arts Lagoon The first group of statuary in the following list is located on thesouth-east side of the Fine Arts Lagoon. Proceeding thence to the leftand through the colonnade, the most important subjects will be found inthe 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.