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 G.o.d 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 G.o.ds, that the harvest may yield bounteously. On either side of the bulls are the youths and the maids carrying flowered festoons. The long procession pa.s.ses 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 cla.s.sic 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 G.o.ds.

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 a.s.serted the dignity, the usefulness, the n.o.bility 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 G.o.d 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 G.o.d 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 cla.s.sically 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 cla.s.sical way, for the style of relief work accords well in feeling with the superb cla.s.sic 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 appet.i.te. 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 sh.o.r.e. 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