Sculpture of the Exposition Palaces and Courts | Page 6

veritable Orpheus. Mr. Zimm has been most successful in the fine working out of his subject in a classical way, for the style of relief work accords well in feeling with the superb classic architecture it decorates.

Primitive Man
Albert Weinert, Sculptor

Long ages past I lived and gave no thought of time or doing aught save going as my fancy took me. Ofttimes I took my bow and arrow and hide me to the mighty forests where herds of Nature's roaming kind served as my food when I required it. Again I followed to the sea where, casting in my net, I drew up myriads of the finny tribe to satisfy my appetite. Oft drew I up such numbers vast that having naught to do but to amuse myself I fed my extra fish the friendly pelican that had become companion in my walks along the shore. A simple man was I with not too many thoughts and only few desires. My body was my foremost daily thought, and little cared I for aught else besides.

Thought
Albert Weinert, Sculptor

The ages have passed on and I more thoughtful have become, for mighty revolutions have gone on within my frame. My mind, a once too puny thing, has year by year grown stronger, until to-day I realize that feeble is my flesh - a thing to be abhorred, and mind does rule above all else. My very face which once was rude and lacked that fire that strong intelligence does give now has a steady purpose and fine spirit writ upon it. It is as if my flesh of old had dropped and like a cast-off cloak had fallen at my feet. Then come those days when tumult as of yore is waged within me, and then I grasp my new-made self and yearn to hold my old position within the body walls. Thought more strong than flesh does wield its strength and back I crouch beneath the feet to stay till Thought is off his guard again.

Victory
Louis Ulrich, Sculptor

Against the blue sky, with wings poised and draperies blown back, appears a Victory from every gable point of the palaces of the Exposition. She is positively charming in her sweep forward. Poised far above you, she holds the laurel wreath ready for the victor. Blessed Victories! We rejoice that there are so many of you for we have found so many victors. Sideview, against the clear blue sky, she suggests the great victory of Samothrace. Mr. Ulrich, we feel sure that the Lady Samothrace has exerted her subtle influence.

The Priestess of Culture
Herbert Adams, Sculptor

There are few sculptors with greater refinement or more cultured reserve than Herbert Adams. He understands the selection of the significant and in many ways seems most fitting to represent the Priestess of Culture. This figure at the base of the dome of the rotunda of the Fine Arts Palace, on the inside, is eight times repeated. Simple, dignified, beautifully balanced, with elegance expressed in every line of her garment with its rich border sparingly used, she holds in either arm an overflowing cornucopia, the symbol of what she is able to give you.

The Adventurous Bowman
Herman A. MacNeil, Sculptor

At the top of the Column of Progress where the sea-wind blows thru his locks, stands the Adventurous Bowman, the symbol of achievement. At the base of the column are seen figures representing the progress of men thru life. We watch them file past, but it is with this man of splendid daring, of consummate achievement, that we are most concerned. He has striven and has reached the top. He has only just pulled the chord of his bow, and his arrow has sped on. With confident eye he looks to see it hit the mark. The laurel wreath and 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