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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/5712.txt b/5712.txt new file mode 100644 index 0000000..e6c5c89 --- /dev/null +++ b/5712.txt @@ -0,0 +1,1929 @@ +The Project Gutenberg EBook of Sculpture of the Exposition Palaces and Courts +by Juliet James +(#2 in our series by Juliet James) + +Copyright laws are changing all over the world. Be sure to check the +copyright laws for your country before downloading or redistributing +this or any other Project Gutenberg eBook. + +This header should be the first thing seen when viewing this Project +Gutenberg file. Please do not remove it. Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: Sculpture of the Exposition Palaces and Courts + +Author: Juliet James + +Release Date: May, 2004 [EBook #5712] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on August 14, 2002] + +Edition: 10 + +Language: English + +Character set encoding: ASCII + +*** START OF THE PROJECT GUTENBERG EBOOK, SCULPTURE OF THE EXPOSITION PALACES AND COURTS *** + + + + +This eBook was produced by David Schwan <davidsch@earthlink.net>. + + + +Sculpture of the Exposition Palaces and Courts + + + +Descriptive Notes on the +Art of the Statuary at the +Panama-Pacific International Exposition +San Francisco + + + +By Juliet James + + + +To A. Stirling Calder who has so ably managed the execution of the +sculpture, and to the vast body of sculptors and their workmen who have +given the world such inspiration with their splendid work, this book is +dedicated. + + + +Foreword + + + +What accents itself in the mind of the layman who makes even a cursory +study of the sculptors and their works at the Panama-Pacific +International Exposition is the fine, inspiring sincerity and uplift +that each man brings to his work. One cannot be a great sculptor +otherwise. + +The sculptor's work calls for steadfastness of purpose through long +years of study, acute observation, the highest standards, fine +intellectual ability and above all a decided universalism - otherwise +the world soon passes him by. + +It is astonishing to see brought together the work of so many really +great sculptors. America has a very large number of talented men +expressing themselves on the plastic side - and a few geniuses. + +The Exposition of 1915 has given the world the opportunity of seeing the +purposeful heights to which these men have climbed. + +We have today real American sculpture - work that savors of American +soil - a splendid national expression. + +Never before have so many remarkable works been brought together; and +American sculpture is only in its infancy - born, one might say, after +the Centennial Exposition of 1876. + +The wholesome part of it all is that men and women are working +independently in their expressions. We do not see that effect here of +one man trying to fit himself to another man's clothing. The work is all +distinctly individual. This individualism for any art is a hopeful +outlook. + +The sculpture has vitalized the whole marvelous Exposition. It is not an +accessory, as has been the sculpture of previous Expositions, but it +goes hand in hand with the architecture, poignantly existing for its own +sake and adding greatly to the decorative architectural effects. In many +cases the architecture is only the background or often only a pedestal +for the figure or group, pregnant with spirit and meaning. + +Those who have the city's growth at heart should see to it that these +men of brain and skill and inspiration are employed to help beautify the +commercial centers, the parks, the boulevards of our cities. + +We need the fine lessons of beauty and uplift around us. + +We beautify our houses and spend very little time in them. Why not +beautify our outside world where we spend the bulk of our time? + +We, a pleasure-loving people, are devoting more time every year to +outside life. Would it not be a thorough joy to the most prosaic of us +to have our cities beautified with inspiring sculpture? + +We do a great deal in the line of horticultural beautifying - we could +do far more - but how little we have done with one of the most +meaningful and stimulating of the arts. + +Let us see to it, in San Francisco at least, that a few of these works +are made permanent. + +Take as an example James Earle Fraser's "End of the Trail." Imagine the +effect of that fine work silhouetted against the sky out near Fort +Point, on a western headland, with the animal's head toward the sea, so +that it would be evident to the onlooker that the Indian had reached the +very end of the trail. It would play a wonderful part in the beauty of +the landscape. + +Or take Edith Woodman Burroughs' "Youth." What a delight a permanent +reproduction of that fountain would be if placed against the side of one +of the green hills out at Golden Gate Park - say near the Children's +Playground - with a pool at its base. It is only by concerted action +that we will ever get these works among us. Who is going to take the +lead? + + + +The Contents + + + +Introduction +The Fountain of Energy +The Mother of Tomorrow +The Nations of the Occident +The Nations of the Orient +The Alaskan +The Lama +The Genius of Creation +The Rising Sun +Descending Night +Winter +The Portals of El Dorado +Panel of the Fountain of El Dorado +Youth +The American Pioneer +Cortez +The End of the Trail +Panel from the Column of Progress +The Feast of the Sacrifice +The Joy of Living +The Man with the Pick +The Kneeling Figure +The Pegasus Panel +Primitive Man +Thought +Victory +The Priestess of Culture +The Adventurous Bowman +Pan +Air +The Signs of the Zodiac +The Fountain of Ceres +The Survival of the Fittest +Earth +Wildflower +Biographies of Sculptors +Sculpture Around the Fine Arts Lagoon + + + +The Illustrations + + + +The Fountain of Energy - A. Stirling Calder, Sculptor +The Mother of Tomorrow - A. Stirling Calder, Sculptor +The Nations of the Occident - A. Stirling Calder, Frederick Roth, Leo + Lentelli, Sculptors +The Nations of the Orient - A. Stirling Calder, Frederick Roth, Leo + Lentelli, Sculptors +The Alaskan - Frederick Roth, Sculptor +The Lama - Frederick Roth, Sculptor +The Genius of Creation - Daniel Chester French, Sculptor +The Rising Sun - Adolph Alexander Weinman, Sculptor +Descending Night - Adolph Alexander Weinman, Sculptor +Winter - Furio Piccirilli, Sculptor +The Portals of El Dorado - Gertrude Vanderbilt Whitney, Sculptor +Panel of the Fountain of El Dorado - Gertrude Vanderbilt Whitney, + Sculptor +Youth - Edith Woodman Burroughs, Sculptor +The American Pioneer - Solon Hamilton Borglum, Sculptor +Cortez - Charles Niehaus, Sculptor +The End of the Trail - James Earle Fraser, Sculptor +Panel from the Column of Progress - Isidore Konti, Sculptor +The Feast of the Sacrifice - Albert Jaeger, Sculptor +The Joy of Living - Paul Manship, Sculptor +The Man with the Pick - Ralph Stackpole, Sculptor +The Kneeling Figure - Ralph Stackpole, Sculptor +The Pegasus Panel - Bruno Louis Zimm, Sculptor +Primitive Man - Albert Weinert, Sculptor +Thought - Albert Weinert, Sculptor +Victory - Louis Ulrich, Sculptor +The Priestess of Culture - Herbert Adams, Sculptor +The Adventurous Bowman - Herman A. MacNeil, Sculptor +Pan - Sherry Fry, Sculptor +Air - Robert Ingersoll Aitken, Sculptor +The Signs of the Zodiac - Herman A. MacNeil, Sculptor +The Fountain of Ceres - Evelyn Beatrice Longman, Sculptor +The Survival of the Fittest - Robert Ingersoll Aitken, Sculptor +Earth - Robert Ingersoll Aitken, Sculptor +Wildflower - Edward Berge, Sculptor + + + +Sculpture of the Exposition Palaces and Courts + + + +"The influence of sculpture is far reaching. The mind that loves this +art and understands its language will more and more insist on a certain +order and decorum in visual life. It opens an avenue for the expression +of aesthetic enjoyment somewhere between poetry and music and akin to +drama. - Arthur Hoeber + + + +The Fountain of Energy + +A. Stirling Calder, Sculptor [See Frontispiece] + + + +The Fountain of Energy is a monumental aquatic composition expressing in +exuberant allegory the triumph of Energy, the Lord of the Isthmian Way. +It is the central sculptural feature of the South Garden, occupying the +great quatrefoil pool in front of the tower. The theme is Energy, the +Conqueror - the Over Lord - the Master; Energy, mental and physical; +Energy - the Will, the indomitable power that achieved the Waterway +between the Oceans at Panama. The Earth Sphere, supported by an +undulating frieze of mer-men and women, is his pedestal. Advancing from +it in the water at the four relatively respective points of the compass, +North, South, East and West, are groups representing the Atlantic and +the Pacific Oceans and the North and the South Seas; groups richly +imaginative, expressing types of Oriental, Occidental, Southern and +Northern land and sea life. The interrupted outer circle of water motifs +represent Nereids driving spouting fish. Vertical zones of writhing +figures ascend the sphere at the base of the Victor. Across the upper +portions of the sphere, and modeled as parts of the Earth, stretch +titanic zoomorphs, representing the Hemispheres, East and West. The +spirit of the Eastern Hemisphere is conceived as feline and +characterized as a human tiger cat. The spirit of the Western Hemisphere +is conceived as taurine and characterized as a human bull. The base of +the Equestrian is surrounded by a frieze of architecturalized fish and +the rearing sea horses that furnish the principal upper motif for the +play of water. Energy himself is presented as a nude male, typically +American, standing in his stirrups astride a snorting charger - an +exultant super-horse needing no rein - commanding with grandly elemental +gesture of extended arms, the passage of the Canal. Growing from his +shoulders, winged figures of Fame and Valor with trumpet, sword and +laurel, forming a crest above his controlling head, acclaim his triumph. +The Fountain embodies the mood of joyous, exultant power and exactly +expresses the spirit of the Exposition. Its unique decorative character +has been aptly described as heraldic, "The Power of America rising from +the Sea." + +A. Stirling Calder + + + +The Mother of Tomorrow + +A. Stirling Calder, Sculptor + + + +With upturned face, with steady onward gaze, the stalwart Mother of +Tomorrow moves ahead. Hers is the firm, determined purpose, the will to +do - to accomplish that for which she has started. She marches ahead of +the types of the Occident. It has taken all these types striving with +common purpose to produce the future, therefore they form the Mother of +Tomorrow, the matrix from which the future generations are to come. Mr. +Calder's high, splendid ideals are directly mirrored in this one figure. +It is not hard to read the man in his handiwork. + + + +The Nations of the Occident + +A. Stirling Calder, Frederick Roth, Leo Lentelli, Sculptors + + + +Into the great Court of the Universe, from the top of the Arch of the +Occident, march the types of men who have made the Western civilization. + From left to right - the French-Canadian, the Alaskan, the German, the +Latin-American, the Italian, the Anglo-American, the Squaw, the American +Indian. In the center of this well-balanced pyramidal group, surmounted +by Enterprise and drawn by sturdy oxen, comes the old prairie schooner. +To right and left atop are seen the Heroes of Tomorrow - one a white +boy, the other a negro type. In front marches the splendid Mother of +Tomorrow. + + + +The Nations of the Orient + +A. Stirling Calder, Frederick Roth, Leo Lentelli, Sculptors + + + +Atop the Arch of the Orient is the superb tableau representing the types +of men that form the Orientals. From left to right - the Arab Sheik, the +Negro Servitor, the Egyptian Warrior, the Arab Falconer, the Indian +Prince and Spirit of the East, the Lama, the Mohammedan Warrior, the +Negro Servitor, the Mongolian Warrior. On they come to join the Nations +of the West in the great Court of the Universe. This group is as fine as +any group ever seen at an exposition. It rises in its impressive +pyramidal height to a climax in the Spirit of the East - a fitting pivot +on which to turn the types. + + + +The Alaskan + +Frederick Roth, Sculptor + + + +Frederick Roth has fashioned one of the most expressive figures of the +Exposition sculpture, but so far above the eye is she and so +overshadowed by her companions, that we do not see her in her true +light. It is the Alaskan Indian of the Nations of the Occident. She is +moving on with her totem poles and blankets. You feel her tug and +strain, for her load is growing heavier with each step, and she has yet +a long way to go. The modeling of the figure, the foot, the rigid arm +and hand, all tell of sustained effort that is truly life-like in +expression. + + + +The Lama + +Frederick Roth, Sculptor + + + +The priest of Thibet, the Lama, passes on his onward march before you. +You do not wonder what race claims him. He is of Mongolian blood. He +stolidly passes by, looking neither to the right nor to the left. He is +used to being obeyed. His rod of authority tells you that what he says +is law. Indifference and arrogance are on his face. His very posture, +the very way in which his robe hangs from his shoulders, the position of +his nerveless fingers that hold the rod, speak of centuries of +indifference to everything except what he thinks. + + + +The Genius of Creation + +Daniel Chester French, Sculptor + + +The Spirit of Creation is a bisexual being, and yet you feel the spirit +and not the flesh. Its idealism is of the highest order, being largely +produced by the hood drawn far over the face, throwing such deep shadow +that personality is lost sight of and only creative force is left. High +on a mighty boulder it sits with arms raised. The word has just been +spoken and man and woman have come forth - their feet on the serpent, +the symbol of wisdom and eternity. At the rear of the group their hands +meet as if in mutual dependence, while above appear the Alpha and Omega +- "I am the beginning and the end." + + + +The Rising Sun + +Adolph Alexander Weinman, Sculptor + + + +This fresh, strong young Sun is about to start on his journey - dawn is +soon to break upon the world. With muscles stretched, the wind blowing +through his hair, the heavenly joy of the first move expressed upon his +face, the vigor of young life pulsating through his body, he will start +the chest forward and move those outstretched wings. Let us preserve +this glorious figure for our western city. It would so admirably suggest +the new light that has been shed upon San Francisco by the Exposition of +nineteen hundred and fifteen, as well as the new light occasioned by the +opening of the Panama Canal. + + + +Descending Night + +Adolph Alexander Weinman, Sculptor + + + +The figure on the page opposite is a beautiful lyric poem. She might be +called "A Hymn to the Night." Every line of her figure is musical, every +move suggested, rhythmical. Seen at night, she croons you a slumber +song. How subtly Mr. Weinman has told you that she comes to fold the +world within her wings - to create thru her desire a "still and +pulseless world." The muscles are all lax - the head is drooping, the +arms are closing in around the face, the wings are folding, the knees +are bending - and she too will soon sink to slumber with the world in +her arms. What a fine contrast of feeling between the tense young "Sun" +and relaxed "Descending Night." + + + +Winter + +Furio Piccirilli, Sculptor + + + +Naked Winter stands before you. It is the period of the year when the +leaves are of the trees and the bark is splitting. After the activities +of autumn man is resting. The fruits have been gathered - the golden +apples and the purple grapes - so man's labors have ceased. It is the +period of conception. The sower has just cast forth the seed. Mother +Earth will nurture the little seed until the cold winter has passed and +the warm sunshine comes again to give each clod its "stir of might." + + + +The Portals of El Dorado + +Gertrude Vanderbilt Whitney, Sculptor + + + +There was once among the South American tribes a belief that in a +certain far-off country lived a king called El Dorado, the Gilded One. +He ruled over a region where gold and precious stones were found in +abundance. The story influenced a vast number of adventurers who led +expeditions to seek the land of golden treasure; but notwithstanding the +fact that their searched most carefully and for long periods, they all +failed to find it. The idea of the unattainable gave the suggestion to +Mrs. Whitney for her fountain. The gold of El Dorado was used as a +symbol of all material advantages which we so strongly desire - wealth, +power, fame, et cetera. + + + +Panel of the Fountain of El Dorado + +Gertrude Vanderbilt Whitney, Sculptor + + + +In the panel are seen men and women in their mad race for the +unattainable. Many have had a glimpse of the Gilded One, and are rushing +on to pass the mysterious gate behind which the desires of life await +them. Some faint by the roadside or stop in their race for the goal to +contend or to loiter by the way, but those nearest the El Dorado +increase their speed. Beside the gateway that has only just allowed the +Gilded One to pass thru are two mortals who have come close to the land +of their desires, but only to find the door shut and slaves beside it +barring the way. Their strength is expended, their courage gone in the +long race for material things. + + + +Youth + +Edith Woodman Burroughs, Sculptor + + + +A little figure of innocence and purity in all her virgin loveliness +stands before you - the incarnation of all that is fresh and wholesome. +She is only a slip of a girl and yet the dignity of her carriage +betokens hopeful days for her womanhood later on. Her form is +exquisitely moulded. Those little bony shoulders will all too soon fill +out and she will bloom into womanhood. The chief charm of this little +lady is her simplicity. Mrs. Burroughs uses such beauty of line, such +sweet language to tell her story. + + + +The American Pioneer + +Solon Hamilton Borglum, Sculptor + + + +Erect, dignified, reflecting on the things that have been, the American +Pioneer appears before us, reminding us that to him should be given the +glory for the great achievements that have been made on the American +Continent. He it was who blazed the trail that others might follow. He +endured the hardships, carved the way across the continent, and made it +possible for us of today to advance thru his lead. All hail to the +white-headed, noble old pioneer who, with gun and axe, pushed his way +thru the wilderness; whose gaze was always upward and onward, and whose +courage was unfaltering! + + + +Cortez + +Charles Niehaus Sculptor + + + +One of the finest equestrians at the Exposition is Cortez by Charles +Niehaus. As we look upon the rider on his sumptuously caparisoned horse +we are convinced that he is every inch a conqueror. He is represented +absolutely motionless - his feet in the stirrups - and yet you feel that +he is a man of tremendous action. You also feel his fine reserve, and +yet how spirited he is! This is that intrepid spirit that desired the +land of the Montezumas. After determined invasions he conquered the +country in the early part of the sixteenth century. + + + +The End of the Trail + +By James Earle Fraser, Sculptor + + + +"The trail is lost, the path is hid, and winds that blow from out the +ages sweep me on to that chill borderland where Time's spent sands +engulf lost peoples and lost trails." + +- Marion Manville Pope. + +One of the strongest works of the Exposition in its intense pathos is +this conception of the end of the Indian race. Over the country the +Indian has ridden for many a weary day, following the long trail that +leads across a continent. A blizzard is on. He has peered to right and +left, but alas! the trail is gone and only despair is his. So has it +been with the Indian. His trail is now lost and on the edge of the +continent he finds himself almost annihilated. + + + +Panel from the Column of Progress + +By Isidore Konti, Sculptor + + + +The four panels on the Column of Progress show the different mental +conditions of men on their onward march thru life. In the center of the +panel stands the man of inspiration - the eagle, bird of inspiration, +perched on his shoulder. He goes thru life with upturned face, depending +upon his God for strength. Beside him on the right is seen the warrior +who wins his way by sheer physical strength. On his left stands the +ascetic philosopher, who through constant vigils "hath a lean and hungry +look." To the extreme left falteringly steps the man who fears the +unknown future; his wife and mother sustain him by spiritual cheer. The +figures are in very high relief so that they seem almost human as you +gaze upon them. + + + +The Feast of the Sacrifice + +Albert Jaegers, Sculptor + + + +In your imagination you see as of old the harvest procession marching +around the fields. It is led by the great bulls for the sacrifice to the +gods, that the harvest may yield bounteously. On either side of the +bulls are the youths and the maids carrying flowered festoons. The long +procession passes on and halts before the altar where the bull being +sacrificed, the head with its festoons is placed upon the side of the +altar. A most decorative group is this Feast of the Sacrifice - brute +strength and the graceful form of the maid making a splendid play of +line that most satisfactorily charms the eye. + + + +The Joy of Living + +Paul Manship, Sculptor + + + +With perfect abandon come these maidens into the Court of the Universe, +carrying their festoons of wild roses. They bring to the great festival +joy and love of life - a telling addition to all that has been expressed +in the court. They savor of old Greek days, these maidens of archaic +hair and zigzag draperies. Paul Manship loves the classic which brings +with it much of free expression, and he has adopted the archaic style +that recalls the figures such as are seen on old Greek vases. No one is +more joyous among the sculptors than this man. He has a rarely beautiful +gift from the gods. + + + +The Man With the Pick + +Ralph Stackpole, Sculptor + + + +An ordinary workman with his pick - and yet how impressed you are with +his sincerity. In him is asserted the dignity, the usefulness, the +nobility of all labor. He helps to turn the wheels of trade, to further +the interests of the world. He works patiently day by day, +notwithstanding the fact that those above him reap the benefits. Mr. +Stackpole has been most happy in his expression. The broad treatment is +thoroughly suitable to just such work as this. There are no accessories +employed. The work is absolutely direct. + + + +The Kneeling Figure + +Ralph Stackpole, Sculptor + + + +With the love for all that is beautiful in life, in what God has made +and in what man has fashioned, the grateful devotee has mounted the +steps that lead to the altar at which she offers up her devotion. She +bows her head in humble reverence to her God for all that He has given +her to enjoy - all that is good, pure, true, beautiful, uplifting. And +we onlookers, too, would join the moving throng that bend the knees at +the altar of beauty and truth. Across the lagoon we gaze upon the great +stillness, and we with her murmur, "Father, I thank Thee." + + + +The Pegasus Panel + +Bruno Louis Zimm + + + +There are no reliefs more classically inspiring than are these superb +reliefs by Bruno Zimm. The one on the opposite page is of great beauty. +The young artist has caught the inspiration of his art - he has bridled +Pegasus. Beside him march the Arts - Literature, holding aloft her +symbol, the lamp; Sculpture extending in front of her the statuette, a +devotee admiring, and Music leading the procession, stilling ever the +beasts - a veritable Orpheus. Mr. Zimm has been most successful in the +fine working out of his subject in a classical way, for the style of +relief work accords well in feeling with the superb classic architecture +it decorates. + + + +Primitive Man + +Albert Weinert, Sculptor + + + +Long ages past I lived and gave no thought of time or doing aught save +going as my fancy took me. Ofttimes I took my bow and arrow and hide me +to the mighty forests where herds of Nature's roaming kind served as my +food when I required it. Again I followed to the sea where, casting in +my net, I drew up myriads of the finny tribe to satisfy my appetite. Oft +drew I up such numbers vast that having naught to do but to amuse myself +I fed my extra fish the friendly pelican that had become companion in my +walks along the shore. A simple man was I with not too many thoughts and +only few desires. My body was my foremost daily thought, and little +cared I for aught else besides. + + + +Thought + +Albert Weinert, Sculptor + + + +The ages have passed on and I more thoughtful have become, for mighty +revolutions have gone on within my frame. My mind, a once too puny +thing, has year by year grown stronger, until to-day I realize that +feeble is my flesh - a thing to be abhorred, and mind does rule above +all else. My very face which once was rude and lacked that fire that +strong intelligence does give now has a steady purpose and fine spirit +writ upon it. It is as if my flesh of old had dropped and like a +cast-off cloak had fallen at my feet. Then come those days when tumult +as of yore is waged within me, and then I grasp my new-made self and +yearn to hold my old position within the body walls. Thought more strong +than flesh does wield its strength and back I crouch beneath the feet to +stay till Thought is off his guard again. + + + +Victory + +Louis Ulrich, Sculptor + + + +Against the blue sky, with wings poised and draperies blown back, +appears a Victory from every gable point of the palaces of the +Exposition. She is positively charming in her sweep forward. Poised far +above you, she holds the laurel wreath ready for the victor. Blessed +Victories! We rejoice that there are so many of you for we have found so +many victors. Sideview, against the clear blue sky, she suggests the +great victory of Samothrace. Mr. Ulrich, we feel sure that the Lady +Samothrace has exerted her subtle influence. + + + +The Priestess of Culture + +Herbert Adams, Sculptor + + + +There are few sculptors with greater refinement or more cultured reserve +than Herbert Adams. He understands the selection of the significant and +in many ways seems most fitting to represent the Priestess of Culture. +This figure at the base of the dome of the rotunda of the Fine Arts +Palace, on the inside, is eight times repeated. Simple, dignified, +beautifully balanced, with elegance expressed in every line of her +garment with its rich border sparingly used, she holds in either arm an +overflowing cornucopia, the symbol of what she is able to give you. + + + +The Adventurous Bowman + +Herman A. MacNeil, Sculptor + + + +At the top of the Column of Progress where the sea-wind blows thru his +locks, stands the Adventurous Bowman, the symbol of achievement. At the +base of the column are seen figures representing the progress of men +thru life. We watch them file past, but it is with this man of splendid +daring, of consummate achievement, that we are most concerned. He has +striven and has reached the top. He has only just pulled the chord of +his bow, and his arrow has sped on. With confident eye he looks to see +it hit the mark. The laurel wreath and palm of victory await his +efforts. + + + +Pan + +Sherry Fry, Sculptor + + + +You cannot look upon this little figure without feeling that he is +inimitably charming. Pan, a god of the woodland, the symbol of the +festive side of the Exposition, sits among the shrubs in front of +Festival Hall. He has selected a marble capital on which to sit - quick +reminder of those classic days when he roamed the Greek glades. Over the +cold seat he has spread his fawn-skin. He has just been moving his lips +over the pan-pipes, but a rustle among the leaves has caused him to +pause in his melody. In the grass he sees a lizard which is as intent on +Pan as Pan is on him. Care-free Pan with pointed ear and horned brow, we +love thee, for dost thou not give us all our jollity and fun, the tonic +for our daily walks! + + + +Air + +Robert Ingersoll Aitken, Sculptor + + + +Robert Ingersoll Aitken has added to the cosmical meaning of the Court +of the Universe his four elements - monumental, horizontal compositions +of pronounced decorative effect. Air is the one of finest poetic +feeling. She holds the star to her ear and listens to the music of the +spheres. The eagle, the symbol of the air, is used with finely balanced +effect. On her back are fastened wings, and man, puny man, is aiming, by +attaching wings to himself, to overcome her - a subtle suggestion of +airships. + + + +The Signs of the Zodiac + +Herman A. MacNeil, Sculptor + + + +One of the loveliest gems of beauty in the Court of the Universe is +Herman A. MacNeil's cameo frieze of gliding figures. In the centre, +with wings outstretched, is Atlas, mythologically the first astronomer. +Passing to left and right glide maidens, two and two, carrying their +symbols - for these are the signs of the zodiac. These maids are the +Hyades and Pleiades, the fourteen daughters of Atlas. It is as if the +figures of some rare old Greek vase had suddenly distributed themselves +along the top of the great piers. For absolute refinement, for a certain +old Greek spirit in the Court of the Universe, these reliefs could not +be excelled. + + + +The Fountain of Ceres + +Evelyn Beatrice Longman, Sculptor + + + +The architectural side of the Fountain of Ceres, with its pleasing +proportions, is most satisfying to the eye. It was a happy selection to +place the Goddess of Agriculture between the Food Products Palace and +the Palace of Agriculture. Ceres strikes the keynote of this +delightfully beautiful court. With corn sceptre and cereal wreath, Ceres +is poised on the globe, the winds of the Golden Gate blowing thru her +drapery. Below on the die of the fountain are graceful figures in relief +suggesting the decorations of a Greek vase. Eight joyous, happy +creatures trip past you, some with tambourines, others with pipes +sounding roundelays, or carrying festoons of flowers. + + + +The Survival of the Fittest + +Robert Ingersoll Aitken, Sculptor + + + +This is the initial expression of martial spirit, when the first combat +is seen and man by physical force seeks to override the power of his +fellows. Far back in the childhood of history one finds, as often to-day +is the case, that woman is the motive for the fray. Three combatants are +here - the one on the right separated from the most powerful by the hand +of her who loves him. The cause of the trouble stands at the left, +steadfastly watching to see which of those that seek her is to be the +victor. A glance tells you that he of powerful build in the center of +the panel is to hold sway. He it is who is the most fitting survivor. + + + +Earth + +Robert Ingersoll Aitken, Sculptor + + + +A very remarkable figure, her head hanging forward, lies stretched in +slumber. It is the sleeping Earth. From her come the great trees whose +ramifying roots extend in all directions. Man is seen wresting from her +stone and precious metals. Wonderfully has Robert Aitken worked out the +Mother Earth idea. She has brought forth many times and yet is ever +young. It is keenly interesting to look at "Earth" and then at +Michelangelo's "Night" to see the source of inspiration. + + + +Wildflower + +Edward Berge, Sculptor + + + +At sight of your form, I seem now to see +A bright stretch of color across a broad lea, +Where the wildflowers sway to and fro in the breeze, +Where the winds sing soft lullabies up in the trees +Where all is as fresh, free and wholesome as you, +Little Wildflower, blooming, so sweet and so true. +And I come from the flight of my far-away dream +As I look and I listen, to me it would seem +That I hear a small voice in a most charming way +Say, "Goodmorrow! Goodmorrow! Take time while you may, +Just step up yet closer; I'll give you a chance +To have something far sweeter than just a bright glance." + + + +Appendix + + + +The Sculptors + + + +The planning, the placing, the naming of all this noble sculpture has +practically been done by two men - the late Karl Bitter of New York, a +man of great executive and technical ability as well as of immense +inspiration, and A. Stirling Calder, on whom the honor for the great +bulk of the work rests. Besides acting as personal overseer for the +execution of the sculpture of the Palaces and Courts of the Exposition, +Mr. Calder has designed the Nations of the Orient, The Nations of the +Occident, The Fountain of Energy, The Stars, Column of Progress and its +sculpture, and The Oriental Flower Girl. Since the sculpture is one of +the strongest factors of this Exposition, we should extend to Mr. Calder +our heart-felt appreciation of all that he has done to help make this +Exposition such a wonderful, artistic success. + + + +Robert Ingersoll Aitken + +Robert Ingersoll Aitken was born in San Francisco in 1878. He was a +pupil of Arthur F. Mathews at the Mark Hopkins Institute of Art and +later of Douglass Tilden, the well-known California sculptor. He has +done a great deal of very strong, compelling work. The examples of his +sculpture seen at the Panama-Pacific International Exposition are of +pronounced virility and of fine composition. He is a man who excels in +technique. He has done in San Francisco the Victory for the Dewey +Monument in Union Square, the McKinley Monument, the Bret Harte Monument +and the Hall-McAllister Monument. In the Metropolitan Museum of New York +is "The Flame." At the Fine Arts Palace are a number of works from his +chisel - The Gates of Silence, the Gates' memorial, being by far the +finest. + + + +Herbert Adams + +Herbert Adams was born in Vermont in 1858. He has had many advantages, +not the least of which were the five years spent in Paris. While there +he did the beautiful bust of Adelaide Pond, who afterwards became his +wife. In 1890 he returned to America, becoming instructor in the Art +School of Pratt Institute, Brooklyn. He has done a number of works for +the Congressional Library, the Vanderbilt bronze doors of the St. +Bartholomew Church of New York, the tympan of the Madonna and Child in +the same church, a statue of William Ellery Channing and many others. +His beautiful busts of women are said to be unsurpassed even in France. + + + +Edward Berge + +Edward Berge was born at Baltimore, Maryland, in 1874. He was admitted +quite early in life to the Maryland Institute of Art, and the Rhinehart +School of Sculpture of Baltimore, following this instruction by the +usual finishing-off at Paris. He had the good fortune while in Paris to +study under the great Rodin. He won bronze medals at both the +Pan-American Exposition of 1901 and the St. Louis Exposition of 1904. +His many very interesting fountain figures seen at the Panama, Pacific +International Exposition have won deserved praise from the many who have +seen them. + + + +Solon Borglum + +Solon Borglum was born in 1868 at Ogden, Utah. The greater part of his +early life was spent on the plains of Nebraska, lassoing wild horses and +photographing at the same time every detail of this strange life upon +his brain. He spent a short time in California, where he began his life +as an artist. Realizing his limitations, he went to the Cincinnati Art +School, where he studied some time under Rebisso. It was while here that +he spent all of his spare time on the anatomy of the horse. The time +soon arrived for a sojourn in Paris. His "Little Horse in the Wind" +excited pronounced attention at the Salon that first year abroad and +honors were bestowed upon him as long as he remained in Paris. He has +given the Indian the greatest attention, and is one of the best +sculptors of the red man in the United States. He has but one group in +the Fine Arts Palace - "Washington." + + + +Edith Woodman Burroughs + +One of the chief women sculptors of the United States is Edith Woodman +Burroughs, born at Riverdale-on-the-Hudson, in 1871. She was a pupil at +the New York Art Students' League under Augustus Saint-Gaudens, later +studying in Paris with Injalbert and Merson. In 1893 she was married to +Bryson Burroughs, a New York artist. She has made a specialty of +fountain sculpture. No one who has ever seen her Fountain of Youth at +the Panama-Pacific International Exposition can forget it. It will +always be a source of regret that the appropriation for the +Panama-Pacific International Exposition sculpture was reduced, thus +preventing the public from seeing the speaking, simple groups of +"Arabian Nights Entertainments." Mrs. Burroughs is represented at the +Metropolitan Museum of New York by "John La Farge," a remarkably +interesting portrait head, full of character. She has the power of +speaking her language in a few words - but just the right ones. + + + +A. Stirling Calder + +The man at the wheel in the management of all the works of sculpture at +the Panama-Pacific International Exposition has been A. Stirling Calder. +He was born at Philadelphia in 1870. Having studied four years at the +Pennsylvania Academy of Fine Arts, he had the advantage of two years in +Paris. For some time he has been connected with the Philadelphia School +of Industrial Arts. He is a man of splendid imagination, of dignified +and noble purpose, being one of the sincere men of his art who keeps the +standards where they should be. One of his early works, "The Man Cub," +in the Pennsylvania Academy of Fine Arts, is most original and +interesting in its treatment. It stands a most unique figure in the line +of sculpture. It is said that his "Martha W. Baldwin Memorial" is one of +the best designs for a figure and pedestal yet produced in America. Mr. +Calder lived some time in southern California and when there did the +sculptured work on the portico of Throop Polytechnic Institute of +Pasadena. This work was done by means of enormous castings made in fine +concrete. Mr. Calder originated this method and it will probably be the +means of revolutionizing the relief work done on many of the public +buildings in the future. Mr. Calder's rare intellectual fiber, added to +his accurate knowledge of his subjects, with his exalted outlook, has +placed him among the foremost American sculptors. + + + +James Earle Fraser + +James Earle Fraser was born at Winona, Minnesota, in 1876. His father +was a railroad constructor, so that the lad had a good chance in +traveling around the country to study the free types and life of the +West. Being very impressionable, he imbibed a great deal which he has +turned to good account in his chosen work. At fourteen he started to +carve figures from the chalk that conventionality required to be used on +blackboard problems. At eighteen he entered the Chicago Art Institute, +where he stayed for but three months. He soon went to Paris, going first +to the Beaux Arts and later to the Colorossi and Julian Academies. He +won many honors during his three years stay in Paris. In 1898 he won the +prize offered by the American Art Association in Paris for the best work +in sculpture. Augustus Saint-Gaudens was on the jury and immediately +became interested in the talented boy who later on held the place of +chief assistant in the Saint-Gaudens studio. He became instructor of the +Art Students' League of New York in 1906, holding the position until +1911. He it was who made the new five-cent piece design - the Indian +head on one side, the bison on the other. He is particularly interested +in personalities, having done a number of very clever portrait busts. It +is enough to look at the portrait bust of Mrs. Harry Payne Whitney's boy +to realize what he is able to do in the line of portraiture. He has +produced nothing finer in that line. He is a master of character +records. + + + +Daniel Chester French + +Since the passing of Augustus Saint-Gaudens, Daniel Chester French has +been regarded by many as standing at the head of American sculpture. He +was born in Exeter, New Hampshire, in 1850. After having one year at the +Massachusetts Institute of Technology, he studied with Doctor Rimnier of +Boston, the first teacher of art anatomy in the United States. Later he +studied with Thomas Ball of Florence, Italy, and a short time in Paris. +He has been practically his own instructor. His work is of the noblest +type. It is anatomically correct, of a high intellectual order, perfect +technique and of fine imagery. His first important work was "The Minute +Man" of Concord, Massachusetts. Among his many works are "Death and the +Sculptor," "The Alice Freeman Palmer Memorial," the head of "Emerson" +(which caused Emerson to say, "This is the head I shave"), "The Milmore +Memorial," "The Alma Mater of Columbia College," and finest of all, the +wonderful "Mourning Victory" in Sleepy Hollow Cemetery, Concord. His +memorials are of high spiritual import. + + + +Sherry E. Fry + +Sherry E. Fry was born in Iowa in 1879. He has been most fortunate in +having the best instruction, having studied at the Chicago Art +Institute, the Julian Academy and the Beaux Arts of Paris, a year in +Florence, and later with McMonnies, Barrias, Verlet and Lorado Taft. He +has traveled extensively, so has had the opportunity of seeing the best +that the world holds for the artist. He won the National Roman Prize in +1908 and held it for three years. He has been a careful student of the +Indians. His work at the Panama-Pacific International Exposition is +distinctly graceful and decorative. + + + +Albert Jaegers + +Albert Jaegers, a man who has taught himself his art, having fine powers +of observation and much invention, was born at Elberfeld, Germany, in +1868. He has been an indefatigable worker, holding his art above all +else. Solving technical problems by himself, studying the world around +him with an intense love in all his undertakings, Albert Jaegers has +come to be a power among his fellows. He has exhibited at several +Expositions, has done considerable municipal work - the finest figure +probably being his "Baron Steuben," of Washington - and many fine +portraits. His "Uncle Joe Cannon" in the Fine Arts Palace, shows his +power as a portraitist. His work has brought him decorations from the +German Emperor. + + + +Isidore Konti + +A foreign sculptor living in New York, Isidore Konti has steadily risen +in the excellence of his work until to-day he stands among the foremost +American sculptors. He was born at Vienna, in 1862. His father's capture +by the Viennese in the war against Hungary, where the father lived, and +his subsequent compulsory connection with the Viennese army made the +son, Isidore, long for the freedom of America. He came to America as a +boy, living in Chicago. He exhibited at the Chicago Exposition in 1893, +and later attracted much favorable comment at the Pan-American +Exposition at Buffalo. His works in the Fine Arts Palace are of a very +high order and are exquisitely modeled. The more sober life of the +individual, with appreciation of sentiment and longing, are evident in +his works. + + + +Leo Lentelli + +Leo Lentelli was born in Bologna, Italy, in 1879. He came to the United +States in 1903, where he has been permanently located in New York. His +most notable work is seen in the Cathedral of Saint John the Divine, New +York, where he has done "The Savior with Sixteen Angels" for the +reredos. He has recently completed a group which has been placed over +the entrance to the new Branch Public Library of San Francisco. He is +still another of the sculptors who is self-taught. + + + +Evelyn Beatrice Longman + +Evelyn Beatrice Longman has risen constantly in her work since she took +her first step in art at the Chicago Art Institute. She was born in Ohio +of English parents, being one of six children. At fourteen she began to +earn her own living in Chicago, studying at night at the Chicago +Institute of Art. She saved her money, using it on her education at +Olivet College. She returned to Chicago and studied drawing and anatomy. +So clever was she that at the end of the first year she began to teach +those subjects at the Institute. Later, she went to New York where she +studied with Herman MacNeil and Daniel Chester French. She really made +her debut in sculpture at the St. Louis Exposition, where she showed +"Victory," a male figure which was so excellent in invention and +technique that it was given a place of honor on the top of Festival +Hall. In 1907 John Quincy Adams Ward offered a prize for the best +portrait bust. This competition was open to all American sculptors. +Charles Grafly won in the competition, but Miss Longman won the second +place with her "Aenigma." Besides some excellent portraits, she has done +two remarkable bronze gates at the entrance to the chapel of the United +States Naval Academy at Annapolis, and much fine figure work. Daniel +Chester French says "She is the last word in ornament." + + + +Herman A. MacNeil + +Herman A. MacNeil was born in 1886, at Chelsea, Massachusetts. After +graduating from the State Normal School of Massachusetts, he went to +Paris, where he studied under Chapu of the Julian Academy, and two years +under Falguiere of the Ecole des Beaux Arts. He came home and soon +answered a call to Cornell, where he remained three years. Then three +years were spent in teaching art at the Chicago Art Institute. While +there, he taught Miss Carol Brooks of Chicago, whom he married in 1895. +She is a very clever sculptor herself. Her "Listening to the Fairies," +"The First Wave," "The First Lesson," "Betty," in the Fine Arts Palace +of the Exposition, readily show how very charming her work is. Mr. and +Mrs. MacNeil studied together in Rome for four years and on their return +to America established themselves in New York, where the MacNeil studio +is. He is the teacher of modeling of the National School of Design, New +York. He has made a specialty of Indian subjects, "The Sun Vow," "The +Coming of the White Man," and the "Moqui Runner" being some of his best +pieces. To him the Indians are as fine as Greek warriors and most worthy +of careful study. Whatever he does in sculpture is in its very essence +national. He is extremely refined, a superb modeler and one whose every +piece of work is strong and of the first rank. + + + +Paul Manship + +Standing quite apart from the other sculptors in his special joyous line +of work is Paul Manship, a young man from St. Paul, Minnesota, born in +1885. He obtained the Prix de Rome from the American Academy, which +prize allowed him to study in Rome and Greece for three years, from 1909 +to 1912. His study in Greece gave a most interesting, individual touch +to his work, for he united to his fresh, vigorous western style the +classic precision of the Greek. He has a certain archaistic mannerism in +his work recalling the Aeginetan marbles, which individuality puts a +Manship stamp upon his work, striking a distinctly personal note. His +statuettes are most charming and natural - little bursts of spirit and +intense feeling. His work is always interesting - the kind you cannot +pass by. He fills a niche all his own and is a most promising, gifted +young sculptor. His "Spring Awakening" and "Playfulness" in the +Twachtman Room of the Fine Arts Palace are delightfully exhilarating +little figures. + + + +Charles Niehaus + +Charles Niehaus' great talent lies in the lines of monumental sculpture. +He was born in Cincinnati, in 1855. He was a pupil of the McMicken +School of Art of that city, later attending the Royal Academy of Munich, +Germany, where he took the first medal ever won by an American. He has +won gold medals at the Pan-American Exposition, the Charleston +Exposition and also at the Exposition of St. Louis. His work is of the +extremely dignified order, and shows great simplicity of line. It is +always the spirit of the work that claims you in all that he undertakes. +He has done nothing finer than his "Garfield" at Cincinnati. His Astor +Memorial Doors of Trinity Church, New York, his "Doctor Hahnemann" of +Washington, D. C., and his "Driller," symbolic of the energy of labor, +are among his best works. + + + +Furio Piccirilli + +Living in New York in truly Florentine style is the Piccirilli family - +a household of five families. It is said that nowhere in America is the +old Florentine style of the fourteenth century way of living so well +exemplified. The men of the family were marble cutters, but within the +last few years Attilio, an elder brother, has been expressing himself in +sculpture of a pronounced order. Furio is a young member who is coming +to the front thru the very lovely representations of his work at the +Panama-Pacific International Exposition. He has given a fine human touch +to his work. It stands quite apart in its Italian feeling from the +robust American sculpture. + + + +Frederick Roth + +Frederick Roth is one of the greatest animal sculptors of the United +States and is studying abroad year by year. He was born in Brooklyn, New +York, in 1872, and was fortunate in being sent to Berlin and Vienna to +pursue his studies when he was very young. He attracted very favorable +attention at the Pan-American Exposition by his great originality and +technical skill. He is extremely fond of modeling small animals, many of +which can be seen in the Fine Arts Palace of the Exposition. "The +Equestrienne" is as clever and spirited a small work as he has done. + + + +Ralph Stackpole + +Ralph Stackpole, one of the younger sculptors, was born near Grants +Pass, Oregon, in 1881. At the age of sixteen he began his art study at +the San Francisco School of Design, remaining here for the short period +of four months. He later studied with G. F. P. Piazzoni and Arthur +Putnam, and considers that from these men he received his best +instruction. In 1906 he went to Paris, where he continued his studies at +the Ecole des Beaux Arts and Atelier Merces, where he remained two +years. He exhibited his work at the Salon in 1901. You meet the man face +to face in his work on the Varied Industries Palace. He is sincere, +broad, direct. As to his reverence and refined feeling, you need but to +look at his "Kneeling Figure" at the altar in front of the Fine Arts +Palace to see that he possesses these qualities in abundance. + + + +Louis Ulrich + +The world is probably receiving its first introduction to Louis Ulrich, +a pupil of the joint school of the National Sculpture Society and the +Society of Beaux Arts Architects. He has achieved a "crowning success" +in his dignified figure of sweeping lines. + + + +Albert Weinert + +Albert Weinert was born at Leipzig, Germany, in 1863. He studied at the +Art Academy at Leipzig under Meichior zur Strapen, later coming to +America, where he is now located in New York. He has done a great deal +of municipal work of a high order, among which can be mentioned +sculpture work on the interior of the Congressional Library at +Washington, a monument to President McKinley for Toledo, Ohio, a "Lord +Baltimore" for Maryland and some very excellent statues on the facade of +the Masonic Building, San Francisco. His work in the Court of the Ages +has added greatly to the interest of that Court and is forceful, virile +work. + + + +Adolph Alexander Weinman + +Adolph Alexander Weinman, one of the poets of the sculpture world, was +born in Karlsruhe, Germany, in 1870. When but a boy of ten, he came to +America with his parents. In his youth he began his student life in art +with the great Augustus Saint-Gaudens, attending also Cooper Union, New +York. Each year has seen him move successfully ahead until now he is +among our finest American sculptors. He is one who stimulates the +imagination and raises the standards of art in whatever he models. His +work is pregnant with life and is thoroughly individual, so that you +feel when you look upon his figures that you have met more than mere +bronze or marble. His portraits are of a very high order, many of which +can be seen in medal form in the Fine Arts Palace. He lives in New York, +where he is well appreciated. + + + +Mrs. Gertrude Vanderbilt Whitney + +Mrs. Gertrude Vanderbilt Whitney is one of the foremost American woman +sculptors. The Fountain of El Dorado is her first public contribution. + + + +Bruno Zimm + +Bruno Zimm, living in New York, was a pupil of the late Karl Bitter. He +has designed work for former Expositions, and we trust that his name +will be better known in the future. He has added great beauty to the +Fine Arts Palace by his classic friezes designed in effective, bold +masses. The archaic style used in his work is evident in many of the +sculptural forms at this Exposition. + + + +Sculpture Around the Fine Arts Lagoon + + + +The first group of statuary in the following list is located on the +south-east side of the Fine Arts Lagoon. Proceeding thence to the left +and through the colonnade, the most important subjects will be found in +the order described. + +Sea Lions. Frederick G. R. Roth + Most carefully studied as to form and babies; you almost: hear the bark + of the great mate. + +The Scout. Cyrus Edwin Dallin + The horse and the Indian wait motionless; his hand shading his eyes from + the sun, the Indian looks intently into the distance for sign of the + enemy. + +Wind and Spray. Anna Coleman Ladd + A ring of figures - male and female - fleeting and gay - like the wind + and the spray. + +Diana. Haig Patigian + The goddess of the hunt appears with her bow; the arrow has just left + the string. + +Peace. Sherry Fry + Quiet, serene, she stands, her brow bedecked with olive leaves; her + serpent bordered robe may betoken the wisdom of peace. + +The Kirkpatrick Fountain (extreme left). Gail Sherman Corbett + Erected to Dr. Wm. Kirkpatrick, superintendent of Ononda Salt Springs + from 1805 to 1806 and from 1810 to 1831, at Syracuse, New York. + +The Bison (2). A. Phimister Proctor + The last of a vanishing race - fine, powerful figures. + +Henry Ward Beecher Memorial. J. Q. A. Ward + A noted American clergyman, lecturer, reformer, author, journalist; + lived between 1813 and 1887; a man of forceful personality and fine + intellect; he looks the very man of opinions who would not hesitate to + give them to you - and you would be prone to accept them. + +William H. Taft. Robert Ingersoll Aitken + One of America's greatest statesmen. + +Halsey S. Ives. Victor S. Holm + Was director of the Fine Arts Palace, Pan-American Exposition. + +Seated Lincoln. Augustus Saint-Gaudens + The firm man of thought and action; a replica of the Seated Lincoln of + Lincoln Park, Chicago. + +Piping Pan. Louis Saint-Gaudens + He stands, utterly thoughtless, with his double pipes - passing the + hours in amusement; we see him at a musical moment. + +Flying Cupid. Janet Scudder + With the rhyton, the Greek drinking-horn in his hand, Cupid stands above + the globe, his little toes holding on firmly so that he will not slip. + +A Muse Finding the Head of Orpheus. Edward Berge + The mourning muse has just chanced upon the severed head of Orpheus + which had been cast into the stream by the Thracian maidens; short + pieces of marble are left to support parts easily broken. + +Michael Angelo. Robert Ingersoll Aitken + We seem to hear him say "And now where next to place the chisel?" He is + creating "Day," which is seen in the Medici Chapel, Church of San + Lorenzo, Florence, Italy. + +Nymph. Isidore Konti + A poetic conception of the origin of the stream, from which the fawn + drinks. + +Young Pan. Janet Scudder + A favorite subject. Pan is piping his woodland notes and marching to his + own music. Such expressive little hands are those that hold the pipes! + The crab comes up to listen and is held - spellbound. + +Wildflower. Edward Berge + Everybody's love! A real darling! A little flower of the fields. + +Mother and Child. Furio Piccirilli + A typical mother-expression as she croons over her baby - such a dear + one! + +Eurydice. Furio Piccirilli + Orpheus has just looked back-Eurydice, realizing that he is forever lost + to her, looks mournfully after him. Great longing fills her soul. + +Boy and Frog. Edward Berge + An independent young chap stands among the rushes - and how expressive + are those toes! The frog, as the fountain, spouts water. + +The Dancing Nymph. Olin Warner + Her pine-cone wand thrown down, her pan-pipes cast aside, the + ivory-crowned nymph indulges in the dance. + +The Outcast. Attilio Piccirilli + A powerful nude; his very toes portray his grief; surely suggested by + Rodin's work. + +Boyhood. Charles Cary Rumsey + The youth who is just beginning to gather his sheaves, looks up and sees + the stars! A new treatment in sculpture. + +The Pioneer Mother. Charles Grafly + A simple, dignified woman dressed in home-spun. At her knees a boy and a + girl - the future builders of the Western country. She has crossed the + cactus-covered plains, has endured the greatest hardships, that she may + rear her sturdy little ones to lay the foundations of a mighty Western + empire. The bulls' heads are symbolic of sacrifice; oak leaves symbolize + strength. She is best seen in the afternoon. + +Thomas Jefferson. Karl Bitter + The seated president, with a world of thought upon his face, has on his + lap the Declaration of Independence. + +Lincoln. Daniel Chester French + The rugged man of magnificent understanding, whose every thought was for + the betterment of the race. + +Relief from the Boston Museum of Fine Arts. Richard H. Recchia + Illustrating Sculpture. + +The Commodore Barry Monument. John J. Boyle. + A naval hero who died 1803. Fought in the American Revolution. Victory + rides at the prow with laurels for him. The "eagle" shows for whom he + fought. + +Relief from the Boston Museum of Fine Arts. Richard H. Recchia + This panel represents Architecture. + +Earl Dodge Memorial. Daniel Chester French + Earl Dodge, scholar and athlete, was a greatly beloved Princeton student + - a senior who died just as his college gown was about to be placed upon + his shoulders. + +The Young Franklin. Robert Tait McKenzie + With all his earthly possessions wrapped in a bandana, with upward gaze + and confident gait, Benjamin Franklin goes to seek his fortune. + +Lafayette. Paul Wayland Bartlett + The young Lafayette who helped the United States in the Revolutionary + War and was present at the surrender of Lord Cornwallis. + +Relief. Bela L. Pratt + Representing Sculpture. + +Relief from the Boston Museum of Fine Arts + Representing Sculpture. A relief of simple sweeping lines of great + beauty. + +The Awakening. Lindsay Morris Sterling + The day has dawned and with it life awakens. + +Beyond. Chester Beach + A girlish figure wonders what is coming with the future years. Best seen + from across the road. + +William Cullen Bryant (1794-1878) + An American poet of the first rank. He sits thoughtfully - his + manuscript before him. Laurels grace his pedestal. + +The Sower. Albin Polasek + Along the field he goes, scattering his seed. + +Centaur. Olga Popoff Muller + This bestial creature is in the act of abducting a beautiful woman. She + has almost swooned from fright. + +The Boy with the Fish. Bela Pratt + They are singing for joy - the fish seeming to be most comfortably at + home. Even the little turtle is happy. The little toes must not be + overlooked. + +Returning from the Hunt. John J. Boyle + The Indian is advancing under the weight of a huge bear across his + shoulders, and the huge skin of a companion bear being dragged at has + side. + +L'Amour (Love). Evelyn Beatrice Longman + A group of tender, loving trustfulness. In the background are seen angel + heads, denoting the spiritual side of love. The serpent below suggests + the great wisdom born of love. It overcomes all death (the skull). The + oak leaves symbolize eternal love. + +Garden Figure. Edith Woodman Burroughs + Is this little Adam with the apple, or only a little boy with a ball? + +Youth. Victor H. Salvatore + A little maid in sweet simplicity - against the shrubbery. + +Soldier of Marathon. Paul Noquet + Recalling one of the Niobids of the Uffizi Gallery, Florence. The last + dying agony of a Greek soldier. His shield stands at the left. + +Primitive Man. Olga Popoff Muller + He hauls the quarry home. Would the nose of primitive man be so lacking + in primitiveness? + +The Scalp. Edward Berge + The Indian stands exultant! His hands alone betray what has happened. + The rest of the work is most carefully treated to cover the barbarous + side of the subject. + +Apollo Hunting. Haig Patigian + "I shot an arrow into the air." This muscular figure recalls the work on + Machinery Palace done by the same sculptor. + +A Faun's Toilet. Attilio Piccirilli + An awkward, somewhat bashful, wholly boyish faun - his costume an ivy + crown. + +Duck Baby. Edith Barretto Parsons + A gleeful little soul with chubby toes - more gleeful than the quacking + ducks she squeezes. + +A Maiden of the Roman Campagna. Albin Polasek + Like an antique bronze from Pompeii. The anemones in her braided hair + are surely some of those that grow so plentifully on the great Campagna + beyond Rome. + +Head of Lincoln. Adolph Alexander Weinman + He might have looked like this at the time of his Gettysburg speech. + +Daughter of Pan. R. Hinton Perry + A girlish satyr most intent upon the echoes that she makes when blowing + through her double pipes. + +Mother of the Dead. C. S. Pietro + The old mother though grief-stricken, accepts the inevitable, while her + motherless grandson, not understanding, feels that something is wrong. + +Destiny. C. Percival Deitsch + Does Destiny decree that man shall lead, while woman meekly follows, as + she did in ancient Egyptian days? + +Chief Justice Marshall (1755-1835). Herbert Adams + A dignified seated figure - one of the greatest Chief Justices the + United States ever had. He held the position from 1801 to 1835. The + United States is symbolized by the eagle. + +Rock and Flower Group. Anna Coleman Ladd + A decorative group with no special meaning. It might be called "Idle + Moments." + +Great Danes. Anna Vaughan Hyatt + Watchful Danes guard well the portals. Their names might easily be + "Keenly Alert" and "In Sober Thought." + +Bondage. Carl Augustus Heber + The mother, tightly bound, thinks not of herself as she turns away, but + of the weeping child beside her. + +Saki - a Sun Dial. Harriet W. Frishmut + A nymph acts as a pedestal for a sun-dial. + +Sun - Dial Boy. Gail Sherman Corbett + How interested he is in the chameleon which has curiously crept up to + see who it is that gazes at him. + +Sun - God and Python. Anna Coleman Ladd + Apollo, the god of light, shoots at the python (the symbol of darkness). + +Triton Babies. Anna Coleman Ladd + i.e., Children of the sea-gods, the Tritons. + +Bird Fountain. Caroline Evelyn Risque + The little boy holding the bird clings to the globe with his toes. A + simple and very appropriate bird fountain. + +Prima Mater. Victor S. Holm + The "first mother" holds her babe to her breast. + +The Fountain of Time, Lorado Taft + The great ocean of Time is rolling on, carrying with it men and women of + all conditions of thought. Some advance blindly, some hopelessly, some + fearfully, some buffeted by the great waves as they roll on. + +Nymph - A Garden Figure. Edward T. Quinn + Showing how any figure gains in beauty by being placed among the + shrubbery. + +The Dying Lion. Paul Wayland Bartlett + A powerful and most realistic group. The poor animal is in the last + agony - is evidently starving. + +New Bedford Whaleman. Beta Pratt + Such was the type of man who left the town of New Bedford, + Massachusetts, a whaling port, to seek his occupation in northern water. + + + + +*** END OF THE PROJECT GUTENBERG EBOOK, SCULPTURE OF THE EXPOSITION PALACES AND COURTS *** + +This file should be named 5712.txt or 5712.zip + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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