Art-Lovers guide to the Exposition | Page 9

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 in the present placing of the group), the Canadian Trapper, and the mounted Indian are all worthy of prolonged study; and the figure of the Mother of Tomorrow is one of the finest bits of sculpture at the Exposition. In these figures, and only slightly less so in the other figures of this and the opposite group, there is ample evidence that the American sculptors have outgrown the traditions of by-gone "schools" and have developed a genuine native medium of expression. The two groups are the work of A. Stirling Calder, Leo Lentelli, and Frederick G. R. Roth in collaboration.
Figures at north and south of sunken garden. Flanking the stairways to the sunken garden at north and south are four