Fountain of SpringCourt 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 WinterCourt 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 CeresForecourt 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 CreationCentral 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 MechanicsColumn 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 PowersColumn 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-HandNiches, 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 GenerationPalace 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 PickPalace 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 ArtsFrieze 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 FieldNiches 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.
WorshipAltar 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 BeautifulFrieze, 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 ArtsAttic 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 CultureWithin 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.
FriezeFlower 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 MotherExhibit, 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.
LafayetteExhibit, 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 JeffersonExhibit, 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.
LincolnExhibit, 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 MemorialExhibit, 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.
FountainFoyer, 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.
WildflowerGarden 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 FishGarden 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 DianaGarden 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 PanGarden 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 BoysGarden 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 BabyGarden 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 OrpheusGarden 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.
DianaGarden 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.
EurydiceGarden 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 NymphGarden 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'AmourGarden 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 OutcastGarden 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 SowerGarden Exhibit, Colonnade
One of the most useful services of a great Exposition, especially as it relates to the world of art, is its service in bringing to the attention of the public the power of new and rising stars on the horizon of achievement. Albin Polasek has made his work generally felt at this Exposition, where he received a silver medal. He is one of the most talented sculptors of the American Academy at Rome. He won honorable mention in the Paris Salon in 1913, and the Prix de Rome in 1910. He was the holder of the Cresson scholarship. His "Sower" was the culminating work of his early labors, the product of his final year at Rome, in which year a heroic figure is required of every student. It caused the critics to prophesy for this sculptor the future that is developing. Mr. Polasek's work has the same unassailable rigor of truth as that of Charles Grafly, who was his teacher. "The Sower" ennobles an humble theme. It has sweep and life and distinction of bearing. In "The Girl of the Roman Compagna," close at hand in this Colonnade, the sculptor shows his equal power in a softer theme. The Roman girl is a well-poised and beautiful expression of the spirit of old Rome in the days of her grand simplicity.
The BisonGarden Exhibit, South Approach
These mighty monarchs of the plains, now disinherited by human progress, the American bisons, are here more than portrayed; they are realized. Their essential characteristics, their strong mass, bulky without clumsiness, are made present and convincing in these two statues by A. Phimister Proctor, a master of animal sculpture. There is good reason for the living and sharp aspect of these plaster models. They are not copies of the permanent statues; they are the sculptor's own original plasters from which the permanent pieces were cast. A number of Mr. Proctor's animal studies stand in the great zoological parks of our nation. He does not idealize or humanize the beasts he depicts; but he understands them and reverses the underlying life that gives them their racial and personal individuality. Partly his Canadian love of the wild, partly a technician's delight in mastering this difficult phase of art, has caused a lifelong devotion to animal studies. They are not photographic, but combine the qualities of sculptural beauty with rugged and imposing freedom. A varied and stimulating collection of Mr. Proctor's work, exhibited at the Exposition, has won a gold medal. It includes the famous "Princeton Tiger."
The ScoutGarden Exhibit, South Lagoon
Cyrus Edwin Dallin has devoted many years and much of his high talent to the poetry and beauty of the American Indian. He says that this Scout is to be the last of his long series of Indian studies, and he believes it to be the best of them all. Surely it has an exalted beauty and is a noble example of Mr. Dallin's firm, finished, accurate method, perfection of restraint and free grace of modeling. It has a clear and beautiful directness that is almost Greek in feeling. Those who do not believe in the picturesqueness and dignity of the Indian as celebrated in these bronzes, need only to have seen the photographs in the exhibit of the Indian Memorial booth in the Palace of Education. Some of the chiefs there shown have the dignity of Caesar and the knightly splendor of heroic periods. Copies of almost all the Dallin Indians and other of his notable works appear in the Palace of Fine Arts, where Mr. Dallin is a gold medalist; They include the famous "Appeal to the Great Spirit," which stands before the Boston Museum of Art.
The ThinkerExhibit, Court of French Pavilion
It is a satisfaction that at the entrance to the Pavilion of France should stand this great work of the master sculptor of our age. This is a replica of "Le Penseur" (The Thinker), placed before the doors of the Pantheon in Paris. Paul Gsell says of it: "Before us, the Thinker, his fist beneath his chin, his toes clutching the rock upon which he sits, bends his back beneath the overpowering weight of a meditation that surpasses the endurance of the human spirit." Here, tremendous, rugged, primitive human strength at its highest power suffers under the first great grapple of the human mind with problems of the unknowable universe. It is majestic, true, an expression of our age; it is everlasting art. Rodin kept this replica outdoors for a long time, thinking the rigor of the elements helpful to its finish. "The Thinker" and other Rodins in the French Pavilion are loaned by Mrs. A. B. Spreckels of San Francisco. Americans and American museums have long appreciated this master of whom Octave Mirbeau says: "Not only is he the highest and most glorious artistic conscience of our time, but his name burns henceforth like a luminous date in the history of art."
EarthFruit Pickers, Court of Ages
In the corners of the ambulatory about the Court of Ages, crystallizing the color and design of its long, arched ceiling, are the opulent, warm, vibrant murals by Frank Brangwyn. They introduce to the general public of America this Belgian-English artist who has long been esteemed among the great of the world. He has presented here the Elements, two interpretations of each, in relation to their service to simple human life. The paintings are neither allegorical nor photographic, but highly interpretative of the luxuriant picturesqueness of nature and the everyday labors of man. The luminosity of color, dash and daring of contrast, fairly crackle with life and yet have rich depths of quietness. The two panels of Earth glow with the earth's abundance. The first, the "Fruit Pickers," here shown, in which harvesters gather fruits from high trees and the laden ground, is notable for its marvelous massing of composition and color. The second, "Dancing the Grapes," is remarkable for its shimmering contrasts of light and shade. In both you get the tang of the harvest season.
FireIndustrial Fire, Court of Ages
The two Fire panels represent this element in its two phases of serviceability. The first shows its simplest use, that of giving warmth to man; the second, its more developed employment as an agent of manufacture. In the "Primitive Fire," a gray, woodsy plume of smoke rises to the autumn sky. A group of workers have made a fire at the edge of a grove; they surround it, some encouraging the growing blaze by blowing upon it, others leaning forward toward its warmth. The thin pillar of waving smoke is executed with such fidelity that it explains why this artist's admirers dwell upon his handling of fugitive surface tones, as smoke or clouds, as much as upon his more obvious excellences. In "Industrial Fire," here reproduced, the smoke rises not in fine line, but in heavy mass from a kiln. It is a rich cloud, colorful with iridescent metallic lustres. Workers feed the blaze, their warm flesh glowing in the mixed light. Whole vessels and broken bits of pottery are heaped and scattered upon the ground.
WaterFountain Motive, Court of Ages
As the Earth panels are luxuriant, teeming with a sense of plentitude, and the Fire panels are moving with the grace of rising smoke, those that represent the phases of Water are moist and lush. In the one here shown, "The Fountain," people have come through the damp grasses, bearing their bright vessels to fill them with water that flows downward from a spring in a long, fine, curving bow. The beautiful grouping, the pose of the figures and the graceful lines of the vessels are unforgettable. The air is fluid; great white clouds stretch across the sky, which has the same liquid beauty as the water in the background. Water-birds and dewy flowers add life and color. The grateful use of water for man's thirst is beautifully told. In the other water panel, "The Net," hardy fishermen, standing in the water-reeds and blossoming flag-lilies, haul in the last catch of the brightly dying day. Others bear on their heads baskets heavy with the success of earlier castings. Heavy sea-clouds are tinted by the late afternoon sunshine.
AirThe Windmill, Court of Ages
The two panels of Air may well be thought of as the air that moves and the air that supports. In the first, "The Windmill," which is illustrated, the motion of the wind and of the world it blows is dazzling. The field of, golden grain, bright in the glow of the sun that has just broken through the rain clouds, is quivering with graceful undulations. The great wings of the windmill turn, with flapping sails. The little kites are blown tempestuously. The garments of the workers wave forward as they walk, braced against the wind that blows from behind them. A brilliant rainbow and wind-blown dark rain-clouds tell the end of a passing storm. In the second Air panel, which is called "The Hunters," the air supports the arrows just shot from the bows of hunters who hide behind the last trees at the edge of a wood. It bears also flocks of homing birds and light clouds blown across a ruddy sunset sky.
Half DomeCourt of the Four Seasons
The murals in the Court of the Four Seasons are the work of Milton Herbert Bancroft. They are smooth, flat, highly decorative to the wall surfaces into which they blend with rare discretion and harmony. They have a soft beauty of coloring and a classic definiteness of outline that accord well with the pure feeling of this court. Mr. Bancroft has kept two ideas consistently throughout these murals. One is the abundance of rewards and delights brought by the changing seasons; the other, the fruitful labors of man. In this second idea special honor is tendered to those who labor in the arts and artistic crafts. To these two ideals the sculptor has given the unifying title, "The Pleasures and Work of the Seasons." The panels of The Seasons appear in the walls of the fountain niches. In the place of honor is the beautiful Half Dome; beneath its colorful decorated roof are the great, panels, "Man Receiving Instruction in Nature's Laws" and "Art Crowned by Time." In the former, Nature holds her child, Man, in her arms. She has summoned for him all the forces of the Universe, who attend in a group of calm dignity. She teaches him that by obedience to her laws all these forces, Earth, Fire, Water, Life, and even Death, will serve and never harm. The other panel is described on the following page.
Art Crowned by TimeCourt of the Four Seasons
In this calm and classic panel, "Art Crowned by Time," the sculptor has done honor not only to the Fine Arts but also to those artistic crafts that fulfill the perfect combination of use and beauty. In the center of the panel stands Art, a superb, regal figure, serenely indifferent to the wreath of appreciation with which she is being crowned by the hand of Time. She is surrounded by her attendants, the Useful Crafts: Weaving, with her distaff; Glasswork, holding carefully a delicate example of her skill; Jewelry, a beautiful youth severely garbed, bearing an ornate casket; Pottery, with a finished vase upon her knee; Smithery, carrying in his strong arm a piece of armor; and Printing, cherishing in both hands a beautiful clasped book. The panel has a fine Olympian dignity and an ornateness that becomes simplicity through grace of handling, and does not mar the correct mural flatness of surface. In spite of the gracefully composed grouping each figure has individual, almost statuesque, distinction. The treatment of the draperies is interesting.
The SeasonsCourt of the Four Seasons
The fountain niches of the Seasons in the Court of the Four Seasons are graced by Milton Herbert Bancroft's appropriate panels. Two of these, one on each wall of the fountain niche, are devoted to each season. One represents the pleasures that that period of the year brings forth for man; the other shows the duties it demands of him. In "Spring," we have the poet's conception of the time of blossoms and garlands, of young loves, piping shepherds and dancing maidens, while the goddess of the season dreams of coming glories. In the companion panel, "Seedtime," the waiting farmers attend her as she stands, sceptered with an Easter lily, and extends her benison on the land. "Summer" crowns the victors in athletic sports; while in "Fruition" the goddess of the season receives the tribute of the successful workers of the soil. The panel called "Autumn" is gay with the dance of the vineyard festival; three happy figures modeled with grace and much refinement are placed on a background divided into panels by a vine. But "Harvest" is quiet and serious; the goddess, bearing the torch of Indian Summer, receives the sheaves of the gleaners. So in "Winter," one panel shows Festivity, with the old bard, the Christmas garland and the gaieties of the home; the other, the distaff by the fireside, the huntsman and the wood-cutter.
Westward March of CivilizationArch, Nations of the West
Decorating the inner walls of the Arch of the Setting Sun are two long, colorful panels by Frank Vincent Du Mond, inspired by the historical background of the West. They have refreshing vividness of color, clear precision of draughtsmanship and a bright enthusiasm for their subject. With a narrative quality unusual in a mural they commemorate the adventurous spirit that led a stable civilization in the march across the continent of America. In the panel, "Leaving the East," emigrants depart from a barren, snowy coast, upon which stands the meeting-house, source of so many national traditions. A youth bids farewell to his sorrowing friends; a group of adventurers bearing the bare necessities of life leads the way to the frontier. In the central group, surrounding the old Concord wagon laden with household goods, appear the Jurist, Preacher, Schoolmistress, the Child - Symbol of the Home - the Plains' Driver and the Trapper. A symbolic figure, "The Call of Fortune," accompanies them. Some of the characters are actual portraits, as are also the Artist, Writer, Scholar, Architect and Sculptor in the opposite panel, "The Arrival in the West." In this the lavishness and opulence of California welcome the pioneers. Mr. Du Mond is a member of the International Jury of Awards in the Fine Arts Department of the Exposition.
Discovery - The PurchaseTower of Jewels
The murals in the great tower are properly dedicated to the Panama Canal. In them William de Leftwich Dodge admirably interprets its history, labors and triumphant achievement. Each of the long decorative bands is divided into three panels. The central panels, 96 feet long, are, on the west wall, "The Atlantic and the Pacific," celebrating the united nations face to face across the united waters, and on the east, "The Gateway of All Nations," an allegorical pageant of triumph. The "Gateway of All nations" is flanked by "Achievement" and "Labor Crowned," noble and timely tributes to the Workers who made the canal. Those here reproduced, opposing them on the western wall, are historic. "Discovery" shows Balboa, "on a peak in Darien," in awe at his great moment of discovering the Pacific. The Spirit of Adventurous Fortune attends him. Watching him, sits the Indian guarding his treasures, a tragic prophecy in face and figure. "The Purchase" commemorates the part of France in this achievement. Columbia is purchasing the title from her sister republic. American workmen, led by Enterprise, take up the tools that French laborers have relinquished.
Ideals of EmigrationArch, Nations of the East
The mural panels in the Eastern arch are devoted to the ideals and motives that brought men across the sea. They are by Edward Simmons and show that fresh juvenility of touch, that exquisite lucid tenderness of color and gentle lightness of motion that give his work its delightful poetic quality. But Mr. Simmons' art has always a deep accent and the imagery in these panels touches fundamentals. "Visions of Exploration," the upper as here pictured, are Hope and Illusory Hope - she who casts bubbles behind her - Adventure, following the lure of the bubbles; then, in a dignified central group, Commerce, Imagination, Fine Arts and Religion; these, followed at a little distance by Wealth and The Family, potent motives of the immigrant of today. In the background, the Taj Mahal and a modern city indicate the ideal and the practical. On the opposite panel, called the "Lure of the Atlantic," the Call of the New World, a youth blowing a trumpet, summons the brave explorers, the man of Atlantis, of the Classic Age, of Northern and Southern Europe, the Missionary Priest, the Artist and the Modern Immigrant. They are followed by the Veiled Future, still hearkening to the onward call.
The Golden WheatRotunda, Palace of Fine Arts
The richly ornate ceiling of the Rotunda of Fine Arts is embellished by a double series of eight panels from the brush of Robert Reid, in the luminous, fervid, joyous vein that characterizes the method of this highly honored American artist. The task assigned him here was a test of skill. The arched effect, so beautifully achieved, and the great accomplishment of merging the huge, brilliant panels into the decorative plan, were not the only difficulties. He had also to calculate the scale of proportion to a mathematical nicety, to make the figures large enough to appear the proper size when viewed so high overhead. The panels are in two sequences, four of them devoted to each subject. The sequence of which an example is illustrated is the Four Golds of California: "The Golden Poppy," the "cup of gold" that makes the spring a glory on California hills; "The Golden Fruit," the citrus fruits that are her pride; "The Golden Metal" that called the world to her hill-sides, and "The Golden Wheat," here shown, the treasure of her fields, borne high in honor. These alternate with the sequence of the Golden Arts, described on the succeeding page.
Oriental ArtRotunda, Palace of Fine Arts
The great panels of the Golden Arts alternate, in the ceiling of the Rotunda of Fine Arts, with the Four Golds of California. All of these panels so tone their brilliancy into the great sweep of the ceiling that the beholder gets a sense of the beauty of the whole rather than that of any part. This arching, floating unity of the ceiling is an admirable example of the self-control of the muralist. The Golden Arts are interpreted by symbolic groups including a larger number of figures than The Four Golds. They are entitled "Inspirations of All Art," "Ideals in Art," "The Birth of European Art," and "Oriental Art," here illustrated as typical. In this, against the soft but sparkling background of bright sky and clouds that supports all of the panels, are set with much verve the historical, legendary and romantic inspirations of Oriental art. The group is dominated by a contest between an eagle and a knight mounted upon a dragon - based upon a legend of the Ming dynasty. Fugi, the sacred mountain, is in the distance; the sacred dog attends the Chinese hero in the foreground. A beautiful Japanese woman - indicating the inspiration of romance, East and West - sits among flowers. The space is filled in a manner appropriately and charmingly suggestive of Oriental composition.
The Arts of PeaceNetherlands Pavilion
The Pavilion of The Netherlands is inevitably reminiscent of the Peace Palace of The Hague, by natural association of ideas and because of the spirit of its central mural painting, "The Arts of Peace." It is therefore an interesting fact that Hermann Rosse, the artist who painted this imposing work, and, indeed, designed the entire interior decoration of the pavilion, was also muralist and decorator of the Palace of Peace. The pavilion walls and hangings - steel blue, olive green and silver grey, relieved by quaint conventional stencils of orange trees and tulips and severe shields of the four divisions of the kingdom - has a broad, cool puritanism that lends itself well to the rich depth of the painting. Holland holds high the image of Peace, surrounded by the peace-nurtured arts and industries on whose support all human welfare rests. Among them stand not only representatives of trades and crafts, with their symbols and implements, but also the Art of Motherhood and the Art of Play shown by a happy child. Ships of all ages in side-panels and background tell of the maritime history of Holland which so largely and peacefully colonized the world. Beneath the painting is a comforting and inspiring legend.
Penn's Treaty with the IndiansPennsylvania Building
The Pennsylvania Building was designed with the patriotic purpose of enshrining the Liberty Bell. The Bell stands in a loggia between two wings, the architectural motif following that of Independence Hall. On the walls of the loggia are two mural lunettes of distinction by Edward Trumbull of Pittsburg. Their deep glowing color and massive grouping mark Mr. Trumbull a worthy pupil of his master, Frank Brangwyn. "Penn's Treaty with the Indians," here given, shows William Penn and the foremost of his shipmates on "The Welcome" making with Chief Tamanend and his braves the Treaty of Shackamaxon in 1683, the treaty that never was broken. The plainness of the kindly Friends, the barbaric splendor of the Indians, the deep green of the overarching Treaty Elm and the lovely typical Pennsylvania landscape have enduring attraction. The panel is in contrast with Mr. Trumbull's vigorous and burning modern picture, "The Steel Workers," on the opposite wall. In the reception room of this building are seven delightful small panels by Charles J. Taylor, showing the early life of Pennsylvania villages. They are painted in the quaint style of old colonial decorations and have charm, humor, naivete and beauty too pleasing to be overlooked.
Return from the CrusadeCourt, Italian Pavilion
The courts and palaces of Italy, with their appearance of age and their remote, sheltered calm, present an education in artistic reserve and decorative uses of space that all who linger may learn. They represent four centuries of architecture, of three historic types. The lovely piazzetta with its antique well is the center of beauty. On one of its walls is what appears to be an ancient mural, soft, flat, with that faded, velvety coloring associated with age. It was recently painted by Mathilde Festa-Piacentini, in the ancient manner to harmonize with the court. It represents "The Return from the Crusade" of one noble Pandolfo, and bears date and description in Latin. Quaint old-time stiffness and weather-worn coloring combine with modern correctness and fluency. The young artist is the wife of the architect of the pavilion and has won a silver medal in the Italian section of Fine Arts. Below this lunette stands a bronze copy of an antique David with the marble head of Goliath. Other interesting murals appear in Italy's pavilion, by Pierretto Banco and Bruno Ferrari, son of the sculptor, Ettore Ferrari.
The Riches of CaliforniaTea Room, California Building
The tea-room of the Auxiliary to the Woman's Board, in the California Building, was decorated by Florence Lundborg, a Californian whose work has won consideration in this country and in France. In her large mural, "The Riches of California," one of the most extensive ever painted by a woman, and in the supplementary medallions she has expressed the generous abundance of California's fruitage. Feeling a similarity between copious California and Sicily, where she has lived and painted, the artist chose for her text a line from Theocritus describing that country: All breathes the scent of the opulent summer, the season of fruits. This inscription, in old Spanish lettering, surrounds the great canvas. Across a restful, soft-toned landscape, bright but tempered, the peaceful, happy harvesters bear homeward the plenteous fruit. A mood of quiet gladness is over all. The window arches, throughout the soft gray walls of the room, are marked by brilliant medallions of fruit and flowers, sumptuously composed upon a gold background.
Here ends The Sculpture and Mural Decorations of the Exposition, with an introduction by A. Stirling Calder. The Descriptive titles have been written by Stella G. S. Perry. Edited by Paul Elder. Published by Paul Elder and Company and seen through their Tomoye Press under the typographical direction of H. A. Funke, in the city of San Francisco during the month of October, Nineteen Hundred and Fifteen