our American architects, painters, sculptors, and landscape gardeners working together in exalted collaboration. Those men set a great standard and a great stride for artists of the present century. To quote from Mr. Moore’s book a paragraph concerning the sculptors: “Marshalled by Augustus Saint-Gaudens, the sculptors for the first time in America took their rightful place in co-operation with the architects. And what a troop they were. There was Daniel French, embodying the spirit of permanence and clear-sightedness in the serene figure of the Republic that graciously presided over the Court of Honor; and again, in conjunction with Edward Potter, manifesting sustained ability in the quadriga surmounting the Peristyle; Frederick MacMonnies, giving vent to the exuberance of America in the joyous fountain that lent gayety to the great central motive of the Fair; Olin Warner, whose early death lost to the country an artist on the way to the heights; Paul Bartlett, then a promise which opportunity has fulfilled; Edwin Kemeys, with his animal sculpture that came to attract all the money Theodore Roosevelt could spare for art; and Louis Saint-Gaudens, wanting only the intellectual element to put him in the same class with his brother; and Karl Bitter, capable and conscientious, whose accidental death brought grief to a host of admirers; and Lorado Taft, who has put the ethereal, haunting spirit of the Great Lakes into his Chicago fountain; Larkin Mead, sculptor of the old school; Phimister Proctor, lover of American animals; besides Bela Pratt, Rohl-Smith, Bush-Brown, Rideout, Boyle, Waagen, Bauer, Martiny, Blenkenship, and the satisfactory Partridge.” Later Fairs have but exemplified what was well suggested by the White City. The Exposition at San Francisco, most recent of all, and taking place in bright evanescence while Europe was already in the bitter throes of the World War, brought forward, under the vigorous direction of Mr. Calder, sculptor of the Pioneer Mother and of the Triumph of Energy, much that was stimulating and fresh in our sculpture, even though none of these American exhibits labelled themselves as Dynamic Decompositions, and few attempted the earnest sort of modernism found in French works such as Bernard’s Maiden with Water Jar. The fountain in particular was delightfully renewed in Mr. Aitken’s Fountain of the Earth, Mrs. Burroughs’s Fountain of Youth, Mr. Taft’s Fragment from the Fountain of Time, Mrs. Whitney’s Fountain with Pristine Motives from Aztec Civilization, Mr. Putnam’s Fountain with Mermaids, and Miss Longman’s Fountain of Ceres. Individual pieces such as William Sergeant Kendall’s half-length portrait of a peasant girl, carved in wood and realistically colored, attracted attention for successful originality. IV