The above is true also of the Column of Progress, which was again made possible by the instant comprehension of the architect, Mr. W. Symmes Richardson. The Column illustrates a new use for an ancient motif. A type of monument which while distinctly architectural in mass has been humanized by the use of sculpture embodying a modern poetic idea. Now, Mr. Critic, it does not matter in the least whether you care for this idea or not. The fact remains, and is all important, that as a type of sculptured column it is new and fills architectural and aesthetic requirements, so that other columns of the same or kindred types will be designed. The Fountain of Energy and the Fountain of the Earth are the two original fountain compositions. By which is meant that while there are many other very charming fountains on the grounds they are distinctly conceived within the rules of precedent and offer no new suggestion of type. An exposition is the proper place to offer new types in design and execution and happy are they who accept the challenge. The fountains in the Court of the Universe are examples of how the charm of sculpture can vitalize architectural conventions. The crowning figures of these fountains, representations of the Rising and the Setting Suns, have achieved great popularity. The still potent charm of archaic methods applied to modern uses is well illustrated in the groups of the "Dance" and of "Music" on the terraces of the Court of the Universe. Again on the rotunda of the Fine Arts Palace and elsewhere this tendency crops out and always with the assurance of pleasing. The group representing the "Genius of Creation" lends a modifying note of refinement against the vigorous Western facade of Machinery Building, and adds much to the interest of the vistas north and south of the Avenue of Progress. There are figures and reliefs of genuine feeling that do not gain by resemblances to the mannerisms of Rodin and Meunier, that are not in harmony with the surrounding architecture. The original figures in the south portal of the Palace of Varied Industries and the panel over the entrance to the Palace of Liberal Arts are quite successful inserts of new thought in old frames in spite of a touch, of this influence. Rodin, the emancipator of modern sculpture, and a notorious anarchist as regards architecture, is not always applicable. The imitation of his style induces a negation of modeling only in evidence in one of his manners of execution. There is a vague tendency voiced by some critics to advance the theory that the real future democracy of art depends on the verdict of the man in the street. This is ridiculous. The future of art depends on no one class of men, aristocratic or democratic. It depends on all men. Art is neither democratic nor aristocratic. It knows no class - it is concerned with life at large - elemental life. Art is praise and all things in life are its subjects.