Art-Lovers guide to the Exposition | Page 9

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and winged arms outstretched, the youth is poised on tiptoe, the weight thrown forward,
as if just on the point of soaring.
The Fountain of the Setting Sun is just opposite, at the west end of the sunken garden.
The surmounting figure here, though officially called "The Setting Sun," is more
appropriately named "Descending Night"-the title the artist has given to the bronze
replica in the Fine Arts gallery. The closing in of night-that is what is so perfectly
suggested in the relaxed body, the folding-in wings, and the remarkable sense of
drooping that characterizes the whole statue. There is, too, an enveloping sense of purity
and sweetness about the figure.
These two statues which surmount the Fountains of the Rising Sun and the Setting Sun
are among the most charming sculptures at the Exposition. They have not the strength of
the figures of the Elements, or the massive nobility and repose of the Genius of Creation,
or the purely modern native appeal of the works of Stackpole and Young and Fraser. But
for those of us who are sculpture lovers without asking why, they come closer to our
hearts and dwell more intimately in our minds than any of these. "Descending Night"
especially has a sensuous charm of graceful line, a maidenly loveliness, that appeals
irresistibly. Both figures are by Adolph A. Weinman.
Above the higher basin of each fountain the column drum is decorated with figures in
relief. While the two friezes are meant to be decorative primarily, the artist has employed
in each case a symbolism in keeping with the crowning figure. The frieze in the Fountain
of the Rising Sun represents "Day Triumphant." The symbolic figures typify the
awakening of man's finer instincts and energies at the call of the morning, and the
shrinking of the vices when the darkness of night gives place to the light of day. The
relief-frieze of the "Fountain of the Setting Sun" is entitled "The Gentle Powers of
Night." It represents Descending Night bringing with her the Stars, the Moon-goddess,
Dreams, and similar beautiful things. The lower basins of both fountains contain figures
of centaurs (a new sea-variety, with fins) holding sea-monsters.
Groups surmounting arches. The monumental groups surmounting the two triumphal
arches are "The Nations of the East," on the Arch of the Rising Sun, and "The Nations of
the West," on the Arch of the Setting Sun. The symbolic idea behind the two
compositions thus placed facing each other, is that of the nations of the Eastern and
Western Hemispheres at last meeting on this Pacific shore.
The Nations of the East is made up of five mounted and four unmounted figures, all
typical of the Orient. Reading from the spectator's left to right, the mounted figures are: 1.
an Arab tribal chief on a horse; 2. a Mohammedan standard bearer on a camel; 3. the East
Indian on his richly-caparisoned elephant; 4. another Mohammedan standard-bearer on a
camel; 5. a Mongolian horseman. Between the mounted figures are the following on foot:

1. a servant with a basket of fruits; 2. an Arab falconer; 3. a Thibetan lama or priest; 4.
another servant with fruit.
The Nations of the West represents typical figures from the European nations which have
helped to develop America, together with two American Indians and an Alaskan. A
central composition shows the Mother of Tomorrow and a surmounting group typifying
the Spirit of Enterprise which has led the Aryan race to conquer the West. The figures,
from left to right, are: 1. the French-Canadian (sometimes called "The Trapper"), on
horseback; 2. the Alaskan, carrying totem poles, on foot; 3. the Spanish-American
conqueror, mounted; 4. the German-American, on foot; 5. the Mother of Tomorrow, on
the tongue of the ox-drawn prairie schooner; 6. the Italian-American, on foot; 7. the
English-American, mounted; 8. an Indian squaw; 9. the American Indian, mounted. On
top of the prairie schooner the Spirit of Enterprise is represented by a spirited winged
figure, with a boy at either hand.
The way in which the two groups balance each other at the two ends of the court is
worthy of study-the elephant of the one offset by the prairie schooner of the other. Indeed
each feature of one is balanced in the other so that the two will mass against the sky with
the same general decorative effect. "The Nations of the East," considered as a whole,
seems the more satisfying group-richer in feeling, more unified in design, and more
massive; in short, more monumental and therefore better fitted to crown the noble arch.
But if this fits its setting better, and masses against the sky more satisfyingly, "The
Nations of the West" will be found on close examination to contain the better individual
figures. The Alaskan (unfortunately almost lost to view