In her sculptured fountain at the Panama-Pacific Exposition, Mrs. Harry Payne Whitney expresses the same idea, but even more forcefully than does the picture. Here are thirty-seven figures nearly all intent upon reaching their goal of happiness. They cannot even see what it is. Yet the eagerness depicted upon the faces, in the straining attitudes, the strenuous striving in that one direction, all typify the desire, the intentness, the resolute pursuit of happiness. Then, alas, when the doors are reached, they are both found closed, guarded by Assyrian and Egyptian figures, that suggest the occult mystery of the beyond, and that look down sternly and unyieldingly upon the two figures at their feet, long strivers, evidently pleading for the admission that is denied them. There are two definite, distinct, and different ways in which these two allegories can be interpreted. One is that mankind ever lives in the world of the senses, pursuing the gratifications of the now, the feastings, the drinkings, the carousings, the pleasuring, the wantonings of the sense-life, the sensual life, and that such a pursuit is ever doomed to failure, for man--the spiritual, created in God's own image--can never be satisfied with the temporary things of earth and sense. The other interpretation is that man is ever seeking for some _far-off_, great, _extraordinary_ pleasure, joy, or satisfaction, something in the future, rather than living in the smaller joys of the _now_. The child longs to be the youth or maiden, enjoying "sitting up at nights," "going to parties," "eating candies," "going out with the boys," "smoking like a man"; the youth eagerly works for the time when he shall be his own master, control his own business; the maiden, have her lover, marry successfully, become the mistress of her own house; the grown man looks forward to and works desperately for the time when he shall have "made his pile," and the woman to "an assured place in society." These, and a thousand and one "_pursuits_" engage men and women.