Sculpture of the Exposition Palaces and Courts | Page 7

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 god 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 classic 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 grass 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 pronounced 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.
Passing 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 Goddess 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.

Wildflower
Edward Berge, Sculptor

At sight of your form, I seem now to see A bright stretch of color
across a broad lea, Where the wildflowers sway to and fro in the breeze,
Where the winds sing soft lullabies up in the trees Where all is as fresh,
free and wholesome as you, Little Wildflower, blooming, so sweet and
so true. And I come from the flight of my far-away dream As I look

and I listen, to me it would seem That I hear a small voice in a most
charming