Chapter II: Part 2

The Tower of Ages, in the Court of Ages, represents Evolution. The lower group, here illustrated, presents "The Early Ages." This shows the development of man from his physical beginnings among the creatures of the ooze up through the cave man and the Stone Age to the growth of the family ideal out of which sprang a higher civilization. The second group shows "The Middle Ages." Its three figures are the Monk, the Armored Bowman, and, at the apex, the Crusader, the highest expression of idealism, of that period. "The Present Age" crowns the whole, upon an altar sits the Woman Enthroned and Enshrined. Her children, the future, are at her feet. Their finger-tips touch a symbol, the Cosmos. One bears a book, the other the wheel of a machine. Figures of Mutation flank the central composition. The sculpture on the Tower of Ages is by Chester A. Beach, whose emancipated and vigorous manner is exactly suited to the presentment of these strong ideas.

Primitive Man Arcade Finial, Court of Ages

In accord with the basic idea of the beginning, change and upward growth of the human race and its emotional life that are emphasized in this eastern court, rough, plastic figures of "Primitive Man" and "Primitive Woman" surmount the elaborate arcade. They harmonize with the conception and treatment of the, group on the Tower of Ages. They are the work of Albert Weinert, the sculptor who made the much-admired "Miner" in the portal niches of the Palace of Mines and Metallurgy, and "Philosophy" on Administration Avenue. He presents these parents of civilization at the transition stage when they are still savage but have become physically upright and begun to develop the elementary glimmering of intellectual and emotional consciousness. They stand as finials on the continued columns that pierce the arcade wall and emphasize the arches. Dividing the spaces above them, on a higher level, are repeated finials of a pert chanticleer, emblem of the east, the dawn and immortality.

Fountain of Earth Central Group, Court of Ages

Here is one of the most majestic and imposing enrichments of contemporary art developed by the Exposition. The Fountain of Earth by Robert I. Aitken has compelled the attention of the world of art and won the gold medal for sculpture of the year offered by the Architectural League. In this fountain the idea of man's evolution takes a subtler and more profound significance. In general, it shows the development and growth of love from its lower to higher forms and the upward effect of that spiritualization upon the life of the earth. In the secondary group, a prelude and epilogue to the main composition, on the prow of the Ship of Earth are grouped the loves, greeds, passions, griefs and spiritual cravings of man and woman, who come and go from the Unknown to the Unknowable. The great arms of Destiny, pushing and pointing, giving and taking, guide the way. Between the four panels of Life on the Earth, stand the Hermes, milestones of ancient Rome, here used as milestones upon the road of Time. Sea-creatures indicate our origin in the waters. The description of the panels follows on succeeding pages.

Survival of the Fittest A Panel, Fountain of Earth

The central fountain shows the globe of Earth revolving in the Infinite. Streams of water by day, clouds of luminous steam by night, give it the effect of swimming out of chaos. The powerful panels of Earth are boldly modeled in pierced relief, giving statuesque realism as well as the picturesqueness demanded of a panel. They follow in a natural sequence as regards their deep and arresting symbolism. The order is, first, the Southern, then the Western, Northern and Eastern panels as the fountain lies. The panel here illustrated is third in the sequence. In the first panel are shown the motive Elemental Emotions - Vanity, Sexual Love and mere Physical Parenthood without enlightenment. After the next milestone is the second panel called "Natural Selection." This presents the approach of the Strong Man; little wings beside his head indicate the dawn of Intellect. Women turn to him attracted by his qualities. Of the men whom they have deserted, one resigns in sorrow; the other prepares to contend the the issue. In the next phase, here illustrated, "The Survival of the Fittest," the struggle has begun. The following pages resume the story.

Lesson of Life A Panel, Fountain of Earth

In the panel of "The Survival of the Fittest" the battle of life is at its height. The men are in a furious struggle of strength and prowess. The interplay of human passions, the contests of wills and capacities, has developed. The women, too, are taking a conscious part in life, one weeping and shrinking from the fray, the other extending a restraining hand. In the last and noblest panel, called "The Lesson of Life," we see the spiritualized and intellect-guided emotions. A helmeted man and pure-browed woman gaze tenderly in each other's eyes. Youth, full of impulse and fire, stays to listen to the voice of Reason. The lover keeps in touch with the guiding memory of the Mother. And the cycle is completed from animal to mental toward the higher foundation of life upon the earth. Seldom has more exaltation of thought or intensity of feeling been infused, without mawkishness or exaggeration, into a work of art. The Fountain of Earth, is deeply interpretive of the trend of modern thought.

Helios Separate Group, Fountain of Earth

On the wall of the basin of the Fountain of Earth, is a subsidiary group called "Helios, the Sun." It is a decorative point of finish and is also symbolic. The Sun is taken as the symbol of the Cosmos, the enduring, the Day, the source of life. Man is pictured as clinging to it, in the hope of being freed from the encircling coils of his baser self and the old earthy entanglements that hold him down, and destroy him. This group and the main fountain, as well as the sides of the beautiful court, are mirrored in the long still pool in which the fountain stands - a pool properly free from splashes or springs as befits the setting of this intricate and massive work. The rapid and stable growth of Robert I. Aitken, sculptor of the Fountain of Earth, is of particular interest to San Francisco, the city of his birth, and the site of several of his earlier efforts.

Water Sprites Base of Column, Court of Ages

The "Water Sprite Columns" in the Court of Ages bring the somber symbolism of this court back to the gay spirit of festival. The sprites are the work of Leo Lentelli; they have a quaint elfin quality that is very engaging. The amusing and lovely group seated about the base of the column have a certain chic habit of pointing elbows, wrists and ankles that lends an unworldly attraction. Their sister sprite at the top of the slender decorated shaft is mischievously aiming an arrow downwards. These Sprite Columns express the gay, frolicsome mood of the waters. Their feeling harmonizes more with the sea-weed and shell decorations of the court itself and its falling-water motif than with the weightier sculpture it contains. They create a pleasing ripple of merriment. Their light and airy modeling has the beauty of unconscious and unforced artistry. The columns stand just within the northern entrance of the court, guarding a vista of the bay.

A Daughter of the Sea North Aisle, Court of Ages

In this "Daughter of the Sea," Sherry E. Fry has given us a nymph who typifies the life within the watery sphere where it is deep and broad. She has the robustness, volume and vigor of the great high seas. She is deep-bosomed and broad of thigh and stands as though storms and monsters had no terrors, as one accustomed to breast and conquer the waves. Water creatures supplement her, but she seems made on too goddess-like a scale to disport herself with them. It is interesting to contrast this nymph of the fathomless trough of the sea with the arch and playful Water Sprites of the froth and ripple, on the columns within the Court of Ages. This statue is placed in the Forecourt of Ages, facing the Marina, the court that is designed to graduate the richness of the larger court toward the more severe facades on the Marina. Sherry E. Fry's work, in a less rugged vein, appears upon Festival Hall.

The Fairy Finial Figure, Italian Towers

The gay and gracefully ethereal towers on corner pavilions at the entrance to the Court of Palms and the Court of Flowers, sometimes called The Kelham Towers for their architect, are pointed by a long and pleasing slope of wings. Carl Gruppe's slender Fairy stands upon them, poised, as though just alighted. This finial figure has a pretty wistfulness that suggests the whimsical firefly fairies of Peter Pan more than the conventional gauzy creatures of ordinary fairy tale, and is more like a female counterpart of Shakespeare's "delicate Ariel" who sucks "where the bee sucks" than any other creature of fancy. The curving antennae increase this impression. She carries in her hand a whirling star. The silhouette of the figure is attractive and the halo of sky behind the head framed within the circle of the wings, lends a distinct charm. It is pleasant to have this symbol of imagination over the Exhibit palaces, especially in the Courts of Palms and Flowers, more suited to the fairy feeling than, perhaps, any other spot upon the grounds.

Flower Girl Niche, Court of Flowers

The perfect balance of this "Flower Girl" by A. Stirling Calder, saved from any hint of rigidity by the graceful curves of its extended lines, makes it an admirable wall decoration. Harmony with the wall-niche in which it appears is part of its allurement. The sculptor has modestly sought to merge the figure's loveliness into that of the Court and has succeeded in increasing both. "The Flower Girl" appears in outer niches of the attic cloister of the court bearing her name, the Court of Flowers. A light garlanded mantle falls like a petal from her shoulders, the floating edge following the line of the nymph's divided hair, so that the maiden seems more like a flower itself than a flowerbearer. However, she has the sculptural solidity necessary for her location and resembles not some frail, wind-blown blossom, but the robust and buxom California blooms that flourish in the court below her.

Beauty and the Beast Fountain Detail, Court of Flowers

The Fountain of Beauty and the Beast in the Court of Flowers accentuates the feeling of gentle fancy and the spirit of the fairytale that are the mood of this and its companion court. It is by Edgar Walter, a distinguished San Franciscan; he has given us a delightful, playful and tender rendition of the old tale that has held the imagination of the world since it first appeared in Straparola's "Piacevoli Notti" in 1550. Since it was popularized by Madame le Prince de Beaumont in 1757, the story has been translated into every language. The fountain shows, with great restraint and refinement of handling, one of Beauty's ministrations to the sick monster shortly before his transformation. It is subject to the symbolism that may be read into the story itself; but the note of fairy magic is the essential theme of the fountain. Quaint fairy pipers, the unseen musicians of the Monster's Palace, stand about the pedestal. The lower basin bears a frieze of charmed or enchanted beasts, very lightly handled and not insistent. Their idea is continued in the court by the gryphon decorations and Albert Laessle's wreath-bearing Friendly Lions, at the entrances to the palaces.

Caryatid Court of Palms

The Court of Palms is restful, meditative, a place where the feeling of magical allure takes a deeper, more subjective character. It might well be called the Court of Pools, for two, quiet pools, one circular, one oblong except for its concave side to hold the other, fill the floor of its sunken garden and reflect its pensive as well as its physical charms. The Caryatids repeated throughout this court are the joint work of John Bateman and A. Stirling Calder. They inject into the court its fairy spirit without disturbing its repose. They are Puckish, bat-winged, goblin-horned fairy creatures of an eerie beauty, elfin, roguish and quaint. Their quality is enhanced by the beautiful color that has been applied to them, to the garlanded panels between them, to the cartouches over the archways and, indeed, to all the decorations on the walls and columns of this court. This richness and depth of color leads the eye to the three splendid mural lunettes in the arches. These are Childe Hassam's "Fruit and Flowers" and Charles Holloway's "Pursuit of Pleasure," at the entrances to the palaces, and Arthur Mathews' "Victory of Culture Over Force" in the portal that leads to the Court of the Four Seasons and frames a vista of the bay.

The Harvest Court of the Four Seasons

The Court of the Four Seasons, classic in spirit, finished and chaste in execution, required a perfect harmony of mass, line and feeling in the sculpture that was to embellish it. It was the further task of the sculptors and mural painters to give the court its meaning, to illustrate the idea of the earth's abundance and the fruitful beneficence of the seasons that is implied in the title of the court. That they have nobly succeeded in this difficult double achievement is an actual triumph. "The Harvest," by Albert Jaegers, crowning the half-dome, is a magnificent bit of architectural sculpture. It seems a faithful part of the surface it enriches; its outlines are faultlessly balanced; although its sides are varied, its mass is superbly centered. The Goddess of the Plentiful Harvest sits in the slope of an overflowing cornucopia; a sheaf of ripe wheat rests in her supporting arm; she is attended by a lad who can scarcely lift the weight of fruit he bears. The group is bound more closely to the half-dome by a graceful garland applied to the wall-surface Mr. Jaegers has further illustrated the traditional idea of Harvest Home festivals by the vigorous groups, "The Feast of Sacrifice," which adorn the huge pylons of this court.

Rain Court of the Four Seasons

On separate columns flanking the Half-Dome of the Harvest, Albert Jaegers has given us classic presentations of the two great resources of nature that bring the blessing of rich harvest. These are symbolic figures, "Rain," here pictured, and "Sunshine." In "Rain," the nymph of the Earth, holds upward a shell, her cup, in grateful expectation of the beneficent rainfall, while she shields her head from the storm with a cloud-like mantle. On the other column, that of "Sunshine," the nymph shades her head with an arching palm-branch, though she looks up in happy appreciation to the welcome glow of the sun. As in his "Harvest" and "The Feast of Sacrifice," Mr. Jaegers has here given with perfect restraint a sense of generous weight, of richness, profusion and mass that are highly satisfying in their artistic aspect and are valuable interpreters of the message of the Court. August Jaegers, a younger brother of this sculptor, has embellished the arcade of this court with an attractive repeated attic figure. In voluminous, decorative draperies this female figure stands between two young orange trees, her arms about them - significant of the harvest of California.

Fountain of Spring Court of the Four Seasons

The seasons of the year are expressed in the Court that honors them by four wall-fountains, the work of Furio Piccirilli. The sculptured groups are set in colonnaded niches, against a warm background of deep pastel pink wall. The water flows over a cascade stairway. The floors of this and of the basin are painted pale Oriental green, giving a luminous beauty to the water, especially at night in the glow of hidden lighting. The planting about the niches and the trailing green on the walls are component parts of the fountains' beauty. The sculptor has felt the Seasons in their gradual changes, as found in California, rather than in the usual sharp divisions. He has infused them with a wistful sadness, however, as at the passing of time. In "Spring," here illustrated, for example, we feel something more than the Youth, Flowers, Love and Promise obvious in the composition - something tender and romantic but by no means gay.

Fountain of Winter Court of the Four Seasons

Fountains of Summer, Autumn and Winter, by the same sculptor as Spring, just described, are similarly installed in their respective niches in the Court of Four Seasons. In "Summer" is represented the earth's early fruition. A young mother lifts her new-born babe for its father's kiss. A gleaner harvests the grain. Over all is a gentle solemnity. In "Autumn," probably the most admired of the four, against the background of a fruit-bearing tree, a superb nymph bears proudly the full jar of wine or oil. On one side a crouched figure gathers a richly-laden garland of the vine; on the other, a youthful, kneeling female figure plays with a lusty child. Even this period of completion is marked by the general pensive beauty. It is emphasized most, however, in "Winter," here illustrated. The bowed, worn toiler rests on his shovel, the spirit of the year waits, still and brooding. But, on the other hand, the sower is ready to cast the new seeds; the cycle re-commences.

Fountain of Ceres Forecourt of the Four Seasons

The Forecourt of the Seasons, the continuation of the Court of the Four Seasons to the Marina, is officially called the Forecourt of Ceres, because of Evelyn Beatrice Longman's Fountain of Ceres which commands it. Ceres, or Demeter, the goddess of Agriculture, presided over the Earth's abundance. By her favor, came the good harvest; she it was who first instructed man in the use of the plough. In the loveliest of antique myths she is the mother of Prosperine, the Spring. Miss Longman has expressed her as exultant, regal, young - far less matronly than as conventionally pictured - glorying in her power to bless the cooperative labors of man and nature. She holds as her sceptre the stalk of corn, and offers the crown of summer to the world. The central figure is not more lovely than the pedestal base on which she stands. A frieze of dancing maidens, wrought in cleancut low relief, Greek in manner, celebrate the Harvest feast. In the accompanying illustration, the groups on pylons, by Albert Jaegers, already described, may be seen in the background.

The Genius of Creation Central Group, Avenue of Progress

"The Genius of Creation," by Daniel Chester French, has the superb simplicity of all works of that master of sculptural calm, intellectual power and straightforward sincerity. Mr. French is said to make no mistakes in composition; his precision is not dryness but technical ease and infallibility; his classical quality is not obedience to tradition but insight, into the underlying laws that made tradition. Here we have a splendid example of his perfection of mass, balance and finish and of quiet, inspiring depth and directness of feeling. Creation extends life-giving arms over the universe. Serene, brooding, blessing, the noble face emerges from mysterious shadows of the enveloping mantle. The sculptural quality of the draperies, their weight and texture and grace are notable. At the foot of the pedestal rock, man and woman stand - facing different sides, but their hands are clasped at the back of the group. The Serpent surrounds all, inevitably suggestive of the story of Genesis, but symbolic of the waters from which life emerged and the encircling oneness of the universe.

The Genius of Mechanics Column Friezes, Machinery Hall

All of the sculpture about the Palace of Machinery partakes appropriately of the size and strength of that huge building which houses the world's progress in mechanical arts. The sculpture, like the building, is Roman rather than Greek in type and modern American in vigor and expression, as are the chief contents of the Palace. The sculptor, Haig Patigian of San Francisco, has expressed this combination with power and virility. The frieze here illustrated appears at the base of massive columns, interestingly made of simulated Sienna marble, the warm tones truly reproduced. The frieze is extremely energetic, although well restrained, and supports the great column as a basic frieze should do, especially when its subject is so appropriate to the purpose. Two winged Genii, one holding a pulley, one upholding the column upon his hands, alternate with two Disciples, for whom their extended wings create a background. One of these is complemented by hammer and anvil, the other by furnace and tongs. Both share the column's weight on powerful arms. The imaginary figures show potential strength in repose, the human figures potent strength in action. The frieze in low relief is colorful and decorative.

The Powers Column Finials, Machinery Hall

High upon the mighty columns that surround, relieve and give color to the immense facades of Machinery Palace, are Haig Patigian's masculine and trenchant figures "The Four Powers." These are of heroic height, and create an impression of superhuman size and strength even when raised so far above the ground. They have a simple robustness that accords well with their theme. Two of the Powers are abstract, the driving powers of thought; these are Invention and Imagination. Two are concrete, representing the mightiest powers of modern mechanics, Steam Power and Electric Power. Steam Power is forcing the driving arm of an engine; Electric Power, the world at his feet, handles the lightnings. He wears the winged cap of Mercury, messenger of the gods, for electricity is the messenger of modern days. Invention, crowned with the bays of achievement, holds in his hand a bird-man about to leave the earth; Imagination, accompanied by the eagle making ready to soar, dreams with closed eyes.

Pirate Deck-Hand Niches, North Facade of Palaces

The northern facades of all the palaces along the Marina are beautifully embellished above the vestibules with an intricate plateresque decoration, modeled after portals in Old Spain. In the three ornate statue-niches - in the original probably devoted to saintly images - are romantic figures by Allen Newman. It is appropriate that these figures facing the water-front should represent, as they do, the Conquistador and the Pirate Deck-hand, who once were masters and terrors of the main. The Conquistador stands in the central canopied niche, the strong line from his helmet-point down his sword-hilt making a grimly decorative axis for the whole. The Deck-hand is repeated in the niches on each side. This ruthless minion of sea adventurers is here pictured beyond the urchin's dreams. The line of the rope he carries is a touch of excellently handled decoration. Both these figures are so well harmonized architecturally and sculpturally to their pedestals and location that the entire facade should be seen for their proper appreciation.

From Generation to Generation Palace of Varied Industries

In the portals on the south side of the group of palaces, facing the Avenue of Palms, we have again the beauteous old Spanish doorways in plateresque design, with niches filled with modern sculpture. The portal of the Palace of Varied Industries, copied from a famous prototype in the old hospice of Santa Cruz, in Toledo, Spain, was assigned to Ralph Stackpole. He is a sculptor who delights to honor the laborer and the craftsman and has supplied the figures for niches and keystone space and the tympanum and secondary groups in the portal of Varied Industries with evident affection. He treats the subject of labor with dignity, according it respect and not sentimentality. In this secondary or crowning group, a strong young man is taking the burden of labor from the shoulders of the last generation - an old workman, bowed but still hale and vigorous. There is a sense of responsibility and earnestness in the group, but complete confidence and power. It might well have been feared that these rugged types of American life might ill accord with the ancient ornate doorway. But the decorative proprieties have been thoroughly sustained.

The Man with the Pick Palace of Varied Industries

In the repeated niches following the line of the archway in the portal of Varied Industries, described in the foregoing page, appears Ralph Stackpole's "Man With the Pick," a manly tribute to the intelligent, self-respecting workman who is the basis of our national life. There is a frank and unaffected realism in the work that attracts by its uncapitulating sincerity. Its impression of rugged power and self-respect saves it from becoming merely photographic, and its plastic feeling is excellent. In this and the preceding group, as also in the keystone figure and the tympanum, the courageous employment of the actual commonplace garments of everyday labor instead of idealized draperies has met success. The tympanum group is called "Varied Industries." It appreciates the various daily labors of mankind through which civilization continues and is almost devotional in its expression - "in the handicraft of their work is their prayer."

The Useful Arts Frieze Over South Portals

Another artist who appreciates the spirit and enterprise of our own day and finds inspiration in its humble labors is Mahonri Young. This feeling appears in much of his work and is notable in the panel of "Useful Arts," as also in the niche figures that flank it and are really part of the conception. These appear over the handsome portal arch of the Liberal Arts Palace. The beautiful grouping of the many figures in the panel is a delight; the planes of perspective are skillfully handled, without in the least marring the flat surface requisite in a mural panel. This panel of "Useful Arts" does honor to skilled labor. Men and women are shown busy with the spinning-wheel, the anvil, the forge and other implements of skilled craft. Satisfying figures in the niches, the Woman with the Distaff and the Man with the Sledge-Hammer, continue the same idea. Mr. Young's place in art is unique in that he has won distinguished consideration in three branches - painting, etching and sculpture. In the Palace of Fine Arts he exhibits twelve etchings and nine works of sculpture, several of each devoted to the phases of life expressed in this panel.

Triumph of the Field Niches West Facade of Palaces

In the western facade of the Palaces of Food Products and Education are examples of the new tendency in sculpture. These are "The Triumph of the Field" and "Abundance" by Charles R. Harley, the modernist. He has made them intricate and teeming with imagery, giving the beholder much food for study and personal interpretation. These works have been useful in arousing much artistic discussion. They endeavor to express a mood of richness, fullness and success and have the effect of laden chariots in a triumphant pageant. In "The Triumph of the Field," Man sits upon the skeleton head of a steer, surrounded by a multitude of symbols indicative of festivals of agricultural success in the past. Some are pagan, some Christian. Above his head is the wheel of an antique wagon; he holds crude farm implements of long-past days. In "Abundance," the companion piece, Nature, a female figure, sits in the prow of a ship, surrounded by the abundance of land and sea. Her hands are extended; one, in order to receive greatly; the other, that she may greatly give.

Worship Altar of Fine Arts Rotunda

This lovely, adoring figure, pure, devoted, appealing, emblematic of Art Tending the Fires of Inspiration, is placed upon the Altar before the Palace of Fine Arts and can be seen only from across the waters of the lagoon. Her perfect self-surrender to her holy task of guarding inspiration's flame is a sermon and a poem. She is the worshipful spirit for whose reward the glow of genius is sent. She is an image of the perfect reverence for an ideal. It is interesting to note that she is by the same hand that fashioned those rugged laborers on the portals of the Palace of Varied Industries, that of Ralph Stackpole. The altar of Fine Arts, separated from the beholder by the whole width of the beautiful lagoon, set before the great rotunda and surrounded by sculptured barriers and growing green buttress walls of flowers that quite shut it off from all access of the passerby, has the effect of a shrine. This sense of seclusion adds much to the impressiveness of the statue.

The Struggle for the Beautiful Frieze, Fine Arts Rotunda

A surpassingly beautiful contribution to the Exposition art has been made by Bruno Louis Zimm in his panels of Greek culture. These lovely panels in low relief, surely worthy of a permanent medium, are set in the attic of the Rotunda or Belvedere before the Palace of Fine Arts, used and known as the Temple of Sculpture. The panels express not so much the historical Greek tradition - though they are, indeed, produced in the purest Greek manner - as they do the high spirit and ideals of Greek art, the devoted seeking for divine fire, the determined opposition to the trivial and the base. Each of the panels is once repeated. The panel of "The Triumph of Apollo" shows the fiery god of Inspiration, Music and the Sun in a procession of worshipers; his flaming wings are the rays of the sun. The panel of "The Unattainable in Art" might well be called "The Struggle for the Beautiful." It pictures the unending struggle with the gross and stupid, both objective and subjective, that confronts the champion of the beautiful. Art stands serene, aloof, unassailable in the center of the fray. The panel of "Pegasus" shows the winged steed of the poets controlled by a true aspirant, attended by Music, Literature and Art.

Guardian of the Arts Attic of Fine Arts Rotunda

Two stately "Guardians of the Arts," one male, one female, of godlike proportions and great dignity, are placed in the attic of the Fine Arts Rotunda, separating the panels of Greek culture. They are the work of Ulric H. Ellerhusen, who has shown a keen perception of the structural necessities involved in these immense details. The Rotunda of Fine Arts, the temple of Sculpture, is one of the most interesting architectural features of the Exposition. It is the culminating beauty of the marvelous colonnade of Fine Arts Palace, its chief distinction. Within are some of the treasures of the exhibit sculpture. Under the arching dome are Robert Reid's mural paintings described in a later place. The Weeping Figures on top of the colonnade itself are also by Mr. Ellerhusen. They express the humility that ennobles the true artistic spirit and distinguishes it from the spurious. Instead of the self-satisfied Triumph or Victory that might be expected to crown this last of the Exposition palaces, these represent the spirit of Art weeping at the impossibility of achieving her dreams.

Priestess of Culture Within the Fine Arts Rotunda

High on the decorative columns that mark the great arches within the beautiful Rotunda of Fine Arts, stand, repeated, the peaceful, dignified and serene "Priestess of Culture," by Herbert Adams, an angelic figure, modeled with the control and calm that fittingly express the mission of culture upon the earth. Indeed the work of Mr. Adams may be said generally to be characterized by that probity and intellectual beauty ministering to the purposes of culture. These figures are harmonious ornaments to the richly decorated ceiling which they touch and to which they give a certain tranquillity. The slope of their wings connects gracefully with that of the arches; this, with the quiet beauty of the drapery and its accord with the line of the cornucopia, creates a restful architectural effect. It is a pleasant coincidence that these Priestesses of Culture look down upon the statue of William Cullen Bryant by the same sculptor, an exhibit piece, charmingly installed at the entrance to the great Rotunda.

Frieze Flower Boxes, Fine Arts Colonnade

The very large flower boxes bearing masses of luxuriant California shrubs that mark the Peristyle Walk in the Fine Arts Colonnade are constantly admired for their own beauty, the beauty of their contents and their part in the general effectiveness of the delightful Colonnade they enrich. The friezes are by Ulric H. Ellerhusen, who made also the Weeping Figures and the heroic "Guardians of Arts" already described. It is interesting to note that the precision of handling has given this design, in spite of its size, an exquisite delicacy. Standing at charmingly balanced intervals, a circle of maidens bear a heavy rope-garland. This rope makes a gratifying line that has given pleasure to connoisseurs. The frieze is so successful largely because, though frankly decorative as suits its purpose, its personality and charm distinguish it from the pattern-like or conventional. The landscape planting in the boxes, in the flower beds and above, is one of the enduring attractions of this colonnade and walk. The green is architecturally massed and the relief of flowers bright and delicate, never intrusive.

The Pioneer Mother Exhibit, Fine Arts Colonnade

The "Pioneer Mother" monument, by Charles Grafly, is a permanent bronze, a tribute by the people of the West to the women who laid the foundation of their welfare. It is to stand in the San Francisco Civic Center, where its masterful simplicity will be more impressive than in this colorful colonnade. It is a true addition to noteworthy American works of art and fully expresses the spirit of this courageous motherhood, tender but strong, adventurous but womanly, enduring but not humble. It has escaped every pitfall of mawkishness, stubbornly refused to descend to mere prettiness, and lived up to the noblest possibilities of its theme. The strong guiding hands, the firmly set feet, the clear, broad brow of the Mother and the uncompromisingly simple, sculpturally pure lines of figure and garments are honest and commanding in beauty. The children, too, are modeled with affectionate sincerity and are a realistic interpretation of childish charm. Oxen skulls, pine cones, leaves and cacti decorate the base; the panels show the old sailing vessel, the Golden Gate and the trans-continental trails. The inscription by Benjamin Ide Wheeler perfectly expresses what the sculptor has portrayed.

Lafayette Exhibit, Fine Arts Rotunda

Paul Wayland Bartlett's "Lafayette," of which this is a plaster copy, should be known and honored by every loyal American. It is considered by many the most successful equestrian statue of modern times and it was the gift of the school children of America to the Republic of France. The original bronze stands in the Court of the Louvre, the most coveted location in Paris. The position of honor among the sculpture exhibits accorded to this copy, as the central piece in the Temple of Sculpture, gives the impressive beauty of the "Lafayette" the distinction it deserves. Seen at a little distance, with the background of the lagoon, the superb bearing of both horse and rider get their full effect. This interpretation of Lafayette, commanding, heroic, graceful, unselfconscious, his Gallic dash and fire evident but restrained by military and aristocratic control, is stirring and convincing. The upheld sword is a touch of fine artistry. Mr. Bartlett was Chairman for Sculpture of the Exposition Jury of Fine Arts. He has just completed the pedestal heads for the House wing of the Capitol at Washington. His "Dying Lion," exhibited in plaster copy in the Fine Arts garden, has been coupled by critics with the "Wounded Lion" of Rodin.

Thomas Jefferson Exhibit, Fine Arts Rotunda

All the work of the late Karl Bitter bears a peculiar appeal at this time, since he was Chief of Sculpture of the Exposition, was so close personally to many of the men who made its beauty, was so valuable an influence to the art of our nation and left so ennobling a memory as man and as artist. His sustained, faithful and enduring works are well represented in the exhibit galleries by his "Signing of the Louisiana Purchase Treaty," made for the St. Louis Exposition and loaned by that city; his Tappan Memorial from the University of Michigan; his Rockefeller Fountain, and the appealing "Faded Flowers." A medal of honor was awarded to him. Thomas Jefferson was always a sympathetic study to Karl Bitter, who has interpreted that statesman, scholar and patriot in his several capacities. The original of the present statue was made for the University of Virginia; Jefferson said he preferred to be remembered as founder of that institution rather than as President of the United States. He is here represented in a moment of meditative leisure.

Lincoln Exhibit, South Approach

Two noble Lincolns by the great Augustus Saint-Gaudens do honor to the city of Chicago and are distinguished by the titles "The Standing Lincoln" and "The Seated Lincoln." Both have the homely beauty, greatness and dignity of character that are essential to the presentment of this national inspiration. "The Seated Lincoln" here shown is the original bronze, not a replica. It was loaned, under the protection of heavy insurance, to the Fine Arts Department, and will soon be installed in a Chicago park. It is the property of the Lincoln Memorial Fund, a foundation of $100,000 left by the late John Crerar to commemorate Abraham Lincoln in Chicago. Saint-Gaudens, having made "The Standing Lincoln" with such success, was given the opportunity for a new presentation of this great theme. "The Seated Lincoln" has a soul-stirring expression of figure and countenance; the crumpled shirt, the square-toed shoes, the well-known shawl draped upon the chair, are not more real than the simple greatness of soul that somehow expresses itself throughout.

Earle Dodge Memorial Exhibit, Fine Arts Rotunda

The "Princeton Student" made by Daniel Chester French as the Earle Dodge Memorial, is lent to the Exposition by the trustees of Princeton University. It is this master's expression of the type of young manhood that makes for the winning of respect and enthusiastic friendship and worthy leadership in our modern college life. Full of energy and spirit, the youth steps forward, physically rugged, of athletic prowess and sportsmanly character, intelligent, frank, clearbrowed, fearless and straightforward of gaze, bearing his books with care and ease and draped with the academic gown, symbol of scholastic achievement. To give this figure of young manhood the solemnity of a memorial and still keep it true to the hearty and cheerful vigor it depicts was a notable achievement. The setting in one of the arches of the Rotunda, with the lagoon and the landscape-planting in the background, is admirable. Two great universities have in recent years been graced by Mr. French's work; his "Alma Mater" on the great stairway of the Columbia University Library is one of the art treasures of New York City.

Fountain Foyer, Palace of Fine Arts

This fountain, by Gertrude Vanderbilt Whitney, who made the Fountain of El Dorado for the Exposition, is strikingly different from that work in treatment and character, showing a notable versatility and responsiveness to change in motif. As that was poetically symbolic, this is a massive direct work in a more virile and vigorous manner. It shows three well-modeled nudes supporting a bowl heavy with richly laden vines. Its installation in the center of the entrance hall of the Fine Arts Palace is in itself a work of art. The white marble fountain - for this is the original work, loaned by the artist - is cleverly contrasted with vivid green water plants in the bowl; just enough of them and tastefully placed. And in the rim small trees are set, of well-chosen verdure, shape and size. The fountain was awarded a bronze medal.

Wildflower Garden Exhibit, Colonnade

One of the most varied and interesting talents among the younger men of distinction who have exhibited in the Department of Fine Arts is that of Edward Berge of Baltimore. The entire originality and freedom from mannerism with which each subject is met, and the variety of the subjects themselves, are worthy of note, as are also Mr. Berge's singular lightness and fluidity of method. His correctness is apparently unlabored. No small piece has more admirers than this sweet and merry little "Wildflower." A secret of her appeal may lie in the fact that the artist is the father of the model. The little girl, crowned with a wildflower, posed with the pertness of a wayside blossom, her hands extended like pointed leaves, has a roguishness and playful grace that charm. With something of the same humorous whimsy Mr. Berge exhibits a Sundial showing a nude baby, buxom and cuddlesome, embracing a new doll while the old one lies discarded, illustrating the legend, "There is no Time like the Present."

The Boy with the Fish Garden Exhibit, Colonnade

Bela Lyon Pratt, widely esteemed for his vital and imposing serious works, of which a splendid collection here exhibited has been awarded a gold medal, has amused himself and all of us with this jolly little garden piece, "The Boy With the Fish." It is a unique bronze, never to be reproduced or copied. Though hundreds of persons have wished to purchase replicas, no one can ever do so, for the owner stipulated with the sculptor never to allow reproduction. The moulds have been destroyed. But no one can stop the joyous memory in many minds of this spirited little elf, riding a turtle, struggling with his slippery fish and having so much fun about the difficult feat. One of Mr. Pratt's more serious works that is attracting the deserved attention of Exposition visitors is "The Whaleman," a detail of his noble Whaleman's Memorial. This sculptor has done much to encourage individuality and earnestness among the younger men, not only by example but also in his capacity of instructor in the Boston Museum of Fine Arts.

Young Diana Garden Exhibit, Colonnade

Janet Scudder, an American artist whose work has been as highly honored in France as in her native land, is known chiefly for her poetic and happy expressions of the out-of-door spirit. Her fountains and garden pieces are small and sportive but intensely sincere and never trivial. She has a pagan sense of natural imagery and a deep feeling for childhood. Her finish is delicate and perfect. The "Young Diana," here illustrated, girlish, with singularly natural untrammeled grace - slender, beautiful and novel in conception - was awarded honorable mention in the Paris Salon of 1911. The young goddess of the chase, the moon and of maidens, is presented as still more of a maid than a goddess, glad with the freedom of girlhood, unconscious of her Olympian inheritance. Miss Scudder has received the distinction of having one of her fountains purchased by the Metropolitan Museum in New York. This is the Frog Fountain which, loaned by that Museum, appears in the Palace of Fine Arts. Her "Little Lady of the Sea," also here exhibited, received notable consideration in the Paris Salon of 1913. She is the holder of a silver medal awarded by the present Exposition.

Young Pan Garden Exhibit, Colonnade

One of the charms of the Exposition lies in the fact that the long rainless summer and beautiful plant-life of California permit the garden pieces to be displayed out of doors in the setting desired for them by their sculptors. This little Pan of Janet Scudder's, for instance, is far happier in his appropriate mass of foliage than if he were inside of a gallery. "Young Pan," a garden figure, is witty, elfin, very engaging. He is a seaside Pan instead of the woodland dweller usually portrayed. His foot is - rather recklessly one would think, were this not a magical, superhuman being - placed heel-down upon the back of a great crab. A pretty pedestal base, with sea-shell decoration, supports the baby god. This base, by the way, Miss Scudder attributes as the work of Laurence Grant White. Pan is enjoying the music of the two long pipes he blows-playing one of the unplaced wild lilts of nature, we may be sure. This sense of enjoyment and his debonair little swagger are festive and delightful. His mischievous gaiety communicates itself to the beholder. This humorous quality appears in another merry little god by the same sculptor, her "Flying Cupid," close at hand.

Fighting Boys Garden Exhibit, Colonnade

Another evidence of the charm of outdoor installation is seen in Miss Scudder's Fountain of the Fighting Boys, so beautifully placed, with the waters in actual play, in the Peristyle Walk about the Fine Arts Palace. The original of this little fountain is owned by the Art Institute of Chicago. There can be no doubt that this fight is without rancor; the faces of the cherubic contestants are so gay and good-natured that only the determined little tug of the hair, the business-like pressure of chubby knee upon knee, the uncertain possession of the big fish that is the cause of contention, makes us see that a battle is raging. The boys fight merrily, evidently enjoying both the contest and the downpour of water that complicates it. An unexpected accidental beauty has been added to this and all the Exposition fountains. Some colorful substance in the water that plays upon them has given soft touches of the same rich ochre tone that appears in the columns. This increases the effectiveness and takes away the appearance of boldness or newness, substituting a weather-beaten and permanent aspect. When long spires of flowers are in bloom and reflect their beauty in this little fountain pool, the gayety and loveliness of the spot are entrancing.

Duck Baby Garden Exhibit, Colonnade

The contagious mirth of "The Duck Baby," a garden figure by Edith Barretto Parsons, is irresistible. This plump little image of good cheer conquers the most serious; every observer breaks into answering chuckles as this smile-compelling small person, holding fast her victims, beams upon them. The frieze of busy ducklings on the pedestal base adds to the amusing impression. This figure makes such a universal appeal that thousands of postal card pictures and amateur photographs by exposition visitors have been sent in a steady stream throughout the land, scattering the Duck Baby's good cheer far and wide ever since the Exposition opened. In the presence of so much that is weighty and powerful, this popularity of the "Duck Baby" is significant and touching indication of the world's hunger for what is cheerful and mirth provoking. Another well-liked and winsome work with a chubby baby figure at its center is "The Bird Bath" by Caroline Risque, in which a lovable baby, with an expression of the tenderest sympathy, holds a little bird to his breast.

Muse Finding the Head of Orpheus Garden Exhibit, Colonnade

Under the branches of a low tree the poetic group by Edward Berge, "Muse Finding the Head of Orpheus," a white marble group of superior elegance and texture, arrests the passerby. A Muse kneels, drooping in exquisite pathos over the head of Orpheus found in the waves. The sculptor has chosen the tragic side of the Orphean myth. The son of Apollo and the Muse Calliope, whose heaven-taught lyre charmed men and beasts, melted rocks and even opened the gates of Erebus, had failed to win from death his bride, Eurydice, lost to him for the second time. As he wandered disconsolate, the Thracian bacchantes wooed him in vain. Maddened by failure and by their bacchanal revels, they called upon Bacchus to avenge, and hurled a javelin upon him. But the music charmed the weapon, until the wild women drowned it with their cries. Then they dismembered the singer and threw him to the waves; but the very fragments were melodious and reached the Muses, who buried them where the nightingale still sings "Eurydice." So runs the allegory; even drowned by earthly clamors, slain and torn by wanton hands, the song of Poetry continues, the weeping Muses save.

Diana Garden Exhibit, South Lagoon

In a setting of surpassing appropriateness and beauty, installed high amid the tall shrubbery as if emerging from the edge of one of her own forests, the huntress Diana points the arrow she is about to let fly. This rendering by Haig Patigian, who made the heroic Powers and other decorations on Machinery Hall, is simple, classic, pure, imaginative, poetic in purpose and in effect. He has softened the traditional coldness of the goddess by a warmer humanity without injuring the sense of proud aloofness. The Maiden goddess of the Hunt bears in her hand the crescent bow, its lines here strongly suggestive of those of the young moon, of which it is the symbol and this goddess the deity. Mr. Patigian exhibits in the Colonnade a companion piece, "Apollo, the Sun God," twin brother of Diana. A vivid figure of manly grace, Apollo is presented in the guise of the sun of the morning. He kneels and shoots an arrow upward; the long, pleasing curve of his bow suggests the outline of the sun above the horizon as Apollo releases his first bright shaft of light.

Eurydice Garden Exhibit, Colonnade

This "Eurydice," by Furio Piccirilli, pictures the nymph as standing against the background of an echoing rock, listening to the distant strains of the magic lyre of her lover, Orpheus. Orpheus had been taught to play by Apollo, his father, and could enchant the animate and inanimate world by his music. So he charmed the nymph, Eurydice; but Hymen, god of marriage, refused to prophesy happiness at their nuptials and soon Eurydice, in escaping from a pursuer, trod upon a snake, was bitten and died. Orpheus' sorrowful music moved all the earth to pity. Even Pluto and the keepers of Erebus relented, allowed the musician to descend into their forbidden realm and lead Eurydice back to life, provided he should not turn backward to gaze upon her until they reached the world of mortals. But the lover could not resist the desire to assure himself of her presence, looked, and lost her forever. Furio Piccirilli, who made this marble, is the sculptor who has graced the Exposition with the four Fountains of the Seasons in the Court of that name. For this "Eurydice" and his other small group, "Mother and Child," he has taken a silver medal.

Wood Nymph Garden Exhibit, Colonnade

Isadore Konti, from whose hand came also the inspiring, panels at the base of the Column of Progress, described in a preceding page, is the sculptor of this pretty "Hamadryad." The Dryads and Hamadryads lived, according to old legend, within the trunks of trees and perished with their homes. So it was an impious act to destroy a tree without cause. This nymph of the woods has emerged from the tree-trunk home or from some rocky fastness and taken the urn of a naiad, a sister nymph of brook and fountain, to give drink to the gentle, confident fawn that is her charge. The little animal is lapping the stream that flows from the overturned vase. This study in white marble follows tradition and is regarded chiefly for its gentle grace and careful tooling. It is harmoniously composed and has a beautiful surface. Mr. Konti's varying moods are, represented in the Fine Arts collection by a number of works, each revealing a different intention - from the pretty and restful, like this, to the large and stirring.

L'Amour Garden Exhibit, Colonnade

There are few more complete examples of delicacy of feeling and of refined, caressing perfection of tooling than this exquisite marble group, "L'Amour," by Evelyn Beatrice Longman. The purity of its emotion, the tenderness and fidelity of its poignant pose, are surpassed only by the marvel of surface finish. The surface has been gone over so lovingly, so painstakingly, so repeatedly that the marble has taken on the soft, warm impression of living flesh. And the gentle unstrained modeling has the plastic grace of the human body. Miss Longman, winner, by the way, of a silver medal for exhibits in the Fine Arts, is the maker of the Fountain of Ceres in the Forecourt of Seasons that has been described. She is an earnest and serious artist of abundant talent whose work is treated with ever-increasing respect and admiration. She won the competition for the doors of the Naval Academy at Annapolis, for which there were many distinguished aspirants. She presents Love in the group under discussion as a rarefied and inspiring emotion in which the physical and spiritual commingle and "sense helps soul" as well as "soul helps sense."

An Outcast Garden Exhibit, Colonnade

This epic figure, "An Outcast," compelling by its earnestness and the tragedy of its motive idea, is handled with firmness, assurance and a perfect sense of volume and sculptural mass values. It is exhibited by Attilio Piccirilli, the artist who designed the Maine Memorial in New York City. The appeal of "An Outcast" is too direct to need any illumination. Its frank bigness and physical power and tenseness, so suggestive and so desperate, are Rodinesque. But though the work is influenced by that master's school and thought, it is by no means a copy of his method. This sculptor has a number of interesting groups in the exhibit palaces and has been granted a gold medal. The dejected and desolate Outcast, so huge and so tragic, is in sharp contrast with the quaint and fanciful "Fawn's Toilet," by the same hand, at the entrance to the Colonnade. Attilio and Furio Piccirilli, whose work has been here noticed, are brothers, members of a family of sculptors.

The Sower Garden Exhibit, Colonnade