themselves and move toward leadership, with Washington and Lincoln symbolically present. But symbolism, though necessary in a group of this kind, had great disadvantages in that it introduced an unnecessary idea of unreality in the passing of great individuals, which appeared to me to be hurtful in a work of art. It seemed that Lincoln and Washington standing together as historic characters introduced a thought that was hurtful to the life and reality of the group. It might give a mystical character that would detract from its vitality. Finally in the last sketch I introduced two horses because the horse is not only a companion to man but is his closest companion in times of danger, as a carrier, a weapon, or a friend. Artistically and sculpturally his excitement and nervous tension can be used either realistically or symbolically in a group to add life and strength and to suggest a fear that we would not want to show in a human figure. I felt also that in a group of so many figures an upward movement was preferable to keeping them flat on the ground. When I elevated the center of the base of the monument the change instantly increased the sense of struggle and effect. The defensive character of American wars is suggested in the first part of the work, consisting of a group of four figures. I have drawn the figures of men who will resist anything they think unjust. I have clothed these men in the uniforms of three wars, over a century apart, and strangely enough there is no incongruity of effect. Although these figures represent mass resistance in the Colonial and Civil War and World War periods, only one man in the group has drawn a weapon. I have shown here four men who form the front and bulwark of a group of forty-odd characters, representing an entire nation mobilizing under pressure of war, and only one man among them displays an implement that could injure another. I have chosen the sword because it is symbolic of authority. Immediately back of this group I have represented the only organized mass action indicating battle. There are five or six figures, infantry and marines, charging forward with their rifles, six guns in the hands of as many men, and they represent the entire armament of this national monument. Just at this point, as an allegro of the symphony, I have introduced the two horses to accent the power and movement of an irresistible forward plunge, with plain indication of the loss of control that always appears under great stress. In these horses I have shown a different character to indicate their separate response to the movement.