Sculpture of the Exposition Palaces and Courts | Page 3

a human bull. The base of the Equestrian is surrounded by a frieze of
architecturalized fish and the rearing sea horses that furnish the
principal upper motif for the play of water. Energy himself is presented
as a nude male, typically American, standing in his stirrups astride a
snorting charger - an exultant super-horse needing no rein -
commanding with grandly elemental gesture of extended arms, the
passage of the Canal. Growing from his shoulders, winged figures of
Fame and Valor with trumpet, sword and laurel, forming a crest above
his controlling head, acclaim his triumph. The Fountain embodies the
mood of joyous, exultant power and exactly expresses the spirit of the
Exposition. Its unique decorative character has been aptly described as
heraldic, "The Power of America rising from the Sea."
A. Stirling Calder

The Mother of Tomorrow
A. Stirling Calder, Sculptor

With upturned face, with steady onward gaze, the stalwart Mother of
Tomorrow moves ahead. Hers is the firm, determined purpose, the will
to do - to accomplish that for which she has started. She marches ahead
of the types of the Occident. It has taken all these types striving with
common purpose to produce the future, therefore they form the Mother
of Tomorrow, the matrix from which the future generations are to come.
Mr. Calder's high, splendid ideals are directly mirrored in this one
figure. It is not hard to read the man in his handiwork.

The Nations of the Occident

A. Stirling Calder, Frederick Roth, Leo Lentelli, Sculptors

Into the great Court of the Universe, from the top of the Arch of the
Occident, march the types of men who have made the Western
civilization. From left to right - the French-Canadian, the Alaskan, the
German, the Latin-American, the Italian, the Anglo-American, the
Squaw, the American Indian. In the center of this well-balanced
pyramidal group, surmounted by Enterprise and drawn by sturdy oxen,
comes the old prairie schooner. To right and left atop are seen the
Heroes of Tomorrow - one a white boy, the other a negro type. In front
marches the splendid Mother of Tomorrow.

The Nations of the Orient
A. Stirling Calder, Frederick Roth, Leo Lentelli, Sculptors

Atop the Arch of the Orient is the superb tableau representing the types
of men that form the Orientals. From left to right - the Arab Sheik, the
Negro Servitor, the Egyptian Warrior, the Arab Falconer, the Indian
Prince and Spirit of the East, the Lama, the Mohammedan Warrior, the
Negro Servitor, the Mongolian Warrior. On they come to join the
Nations of the West in the great Court of the Universe. This group is as
fine as any group ever seen at an exposition. It rises in its impressive
pyramidal height to a climax in the Spirit of the East - a fitting pivot on
which to turn the types.

The Alaskan
Frederick Roth, Sculptor

Frederick Roth has fashioned one of the most expressive figures of the

Exposition sculpture, but so far above the eye is she and so
overshadowed by her companions, that we do not see her in her true
light. It is the Alaskan Indian of the Nations of the Occident. She is
moving on with her totem poles and blankets. You feel her tug and
strain, for her load is growing heavier with each step, and she has yet a
long way to go. The modeling of the figure, the foot, the rigid arm and
hand, all tell of sustained effort that is truly life-like in expression.

The Lama
Frederick Roth, Sculptor

The priest of Thibet, the Lama, passes on his onward march before you.
You do not wonder what race claims him. He is of Mongolian blood.
He stolidly passes by, looking neither to the right nor to the left. He is
used to being obeyed. His rod of authority tells you that what he says is
law. Indifference and arrogance are on his face. His very posture, the
very way in which his robe hangs from his shoulders, the position of
his nerveless fingers that hold the rod, speak of centuries of
indifference to everything except what he thinks.

The Genius of Creation
Daniel Chester French, Sculptor
The Spirit of Creation is a bisexual being, and yet you feel the spirit
and not the flesh. Its idealism is of the highest order, being largely
produced by the hood drawn far over the face, throwing such deep
shadow that personality is lost sight of and only creative force is left.
High on a mighty boulder it sits with arms raised. The word has just
been spoken and man and woman have come forth - their feet on the
serpent, the symbol of wisdom and eternity. At the rear of the group
their