Along the roadway to the left, as one leaves the circle, are two sculptures: Bird Fountain by Caroline Risque, and Prima Mater by Victor S. Holm. North of the lagoon are: 1. Fragment of the Fountain of Time by Lorado Taft. 2. Nymph by Edmond T. Quinn. 3. Dying Lion by Paul Wayland Bartlett. 4. Rock and Flower Group by Anna Coleman Ladd. 5. Whale-man by Bela L. Pratt. On the island at the north end of the lagoon is a fountain by Robert Paine. The Fine Arts Galleries Do not visit the Fine Arts exhibits blindly, without knowing what they are aimed to show; and do not try to see the whole exhibition in one day. First understand the scope and arrangement of the displays, and then follow some definite system by which you are sure to get the best out of each individual section. It is better to see one part thoroughly than to carry away a confused impression of the whole. The scope of the exhibit is limited to painting, sculpture and print-making, except in the Oriental sections. In painting the primary aim has been to make a representative display of contemporary work. Most of the galleries contain only canvases painted within the last ten years. But in order to correct the common misconception that American art is entirely a thing of today, without historical background, a few rooms are given up to historic works of the various early American schools, and to works of the foreign schools that have influenced the development of American art. The arrangement of the galleries should be mastered before one starts to study. In general there are three divisions of exhibits. At each end is a group of foreign sections, and the great middle space is given up to American art. The accompanying diagram is designed primarily to make clear the location of the several divisions. The visitor will find it worth while to remember that a main central corridor runs the whole length of the United States Section. By continually referring to this corridor, one can keep one's bearings fairly well. The method of seeing the galleries that is suggested in this guide is based on the official classification as far as possible: the foreign sections are taken in order, and the historical section is treated in that chronological sequence which the directors intended to show forth. But there is no system in the arrangement of the twenty-eight general rooms of contemporary American work, In treating these the guide aims to suggest tendencies and influences, rather than to point out this or that canvas as a good or bad one. Nevertheless it is believed that every really important picture or artist is individually mentioned-so that one who has used the manual consistently may be sure of having enjoyed the cream of the collection, at the same time gaining the wider knowledge of the main currents of development.