The Society, founded in 1893, and incorporated in 1896, has had from the first an extraordinarily vivifying influence in matters of sculpture. It has labored for the public good, in harmony with various private committees, with Municipal Art Commissions, and with the Federal Commission of Fine Arts. Its first president, John Quincy Adams Ward, believed enthusiastically in its work and destiny. His first annual report emphasizes the fact that its “reputation will be established by its deeds, not by empty promises.” In the Society’s second year, Ward was called upon, in association with Warner and Saint-Gaudens, to give counsel as to the sculptural decorations for the Library of Congress, the architecture of this building being at that time in the hands of Edward P. Casey. Mr. Casey showed a fine zeal in getting the best possible sculpture for the Library; besides the usual structural ornament, his scheme called for fountains, three pairs of bronze doors, and for a circle of twelve imposing bronze statues by almost as many sculptors. The results were in general very happy, and at once established a high standard. And this is important, because the fine public building enhanced by sculpture is of service in the progress of art, as we see from the Brooklyn Museum, the New York Public Library, the Cleveland Court House. Among the “deeds” foreshadowed by Mr. Ward were certain memorable exhibitions of sculpture, enterprises of genuine value to the community. These exhibitions were wisely and enthusiastically arranged in collaboration with landscape architects and florists; beautiful works fitly shown proved a surprise and a joy to both public and connoisseurs. The public was reminded that sculpture is a living art, with roots and branches; that it is not dedicated entirely to pediments, portrait statues, and other monumental grandeurs; and that sculptured forms may charm the eye of the home-maker and the garden-lover, in intimate possession.