Sculpture of the Exposition Palaces and Courts | Page 5

possible for us of today to advance thru his lead. All hail to the

white-headed, noble old pioneer who, with gun and axe, pushed his
way thru the wilderness; whose gaze was always upward and onward,
and whose courage was unfaltering!

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 God 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 gods,
that the harvest may yield bounteously. On either side of the bulls are
the youths and the maids carrying flowered festoons. The long
procession passes 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 classic 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 gods.

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 asserted the dignity, the usefulness, the
nobility 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 God 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