Albert Weinert, Sculptor

The ages have pa.s.sed 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 G.o.d 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 cla.s.sic 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 gra.s.s 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 p.r.o.nounced 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.

Pa.s.sing 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 G.o.ddess 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.