In his “Fountain of Man” at the Pan-American Exposition, Charles Grafly combined a cryptic motive with what was otherwise simply and intelligibly sculpturesque. The crowning and most prominent feature of the composition, to which the remainder served as an elaborate base, was a draped mass, which on nearer view proved to be two figures back to back, their heads covered with perforated casques, joined together over the top by what had the appearance of a handle. The faces were visible, but from the rim of the casques descended curtains of drapery, enshrouding the figures, but leaving exposed the hands, which grasped short cylinders. There can be no doubt of the general suggestion of the symbolism, the twofold nature of man, the mystery of it; but I must confess that I am baffled by the headgear and the cylinders. Yet the mass was impressive as a finial to the fountain, having something of the character of a low obelisk. Indeed, for decorative purposes it might almost as well have been a shaft, the special aptitude of the human form for the expression of ornamental design having been obliterated by the drapery. Not so, however, in the lower part of the composition. The pedestal on which the figure rested was surrounded by nude forms of youths and maidens intended to represent the seasons, while the platform on which they rested was supported by crouching male and female forms, personifying, I believe, the virtues and vices. Yet with all Grafly’s inclination toward symbolism, there is very little expressional suggestion in his treatment of the nude. He becomes preoccupied with the model and his imagination seems to leave him. However, in one statue at least, “The Vulture of War,” he has shown what he can accomplish, when he permits his imagination to control. Here the nude is made a vehicle of emotional force: a male figure stooping forward, as if he were on some lofty crag and about to hurl himself to earth; his face treacherous and cruel; the limbs constricted like a beast of prey’s. There is a largeness of design in this figure as well as expression; something infinitely finer than mere close studies of anatomy, accompanied with accessories of abstruse suggestion; a real incentive to one’s imagination which is lacking, if I mistake not, in such compositions as “Symbol of Life,” “In Much Wisdom” and “From Generation to Generation.” On the other hand, in his busts Grafly exhibits a directness of insight into character and a vigorous, very personal technique that make them most distinguished.