After this fire a new note crept into the work of Meta Warrick Fuller. This was doubtless due not so much to the fire itself as to the larger conception of life that now came to the sculptor with the new duties of marriage and motherhood. From this time forth it was not so much the romantic as the social note that was emphasized. Representative of the new influence was the second model of the group for the Emancipation Proclamation Commission. A recently emancipated Negro youth and maiden stand beneath a gnarled, decapitated tree that has what looks almost like a human hand stretched over them. Humanity is pushing them forth into the world while at the same time the hand of Destiny is restraining them in the full exercise of their freedom. "Immigrant in America" is in somewhat similar vein. An American woman, the mother of one strong healthy child, is shown welcoming to the land of plenty the foreigner, the mother of several poorly nourished children. Closely related in subject is the smaller piece, "The Silent Appeal," in which a mother capable of producing and caring for three sturdy children is shown as making a quiet demand for the suffrage and for any other privileges to which a human being is entitled. All of these productions are clear cut, straightforward, and dignified. In May, 1917, Meta Warrick Fuller took second prize in a competition under the auspices of the Massachusetts Branch of the Woman's Peace Party, her subject being "Peace Halting the Ruthlessness of War." War is personified as on a mighty steed and trampling to death numberless human beings. In one hand he holds a spear on which he has transfixed the head of one of his victims. As he goes on his masterful career Peace meets him and commands him to cease his ravages. The work as exhibited was in gray-green wax and was a production of most unusual spirit. Among other prominent titles are "Watching for Dawn," a conception of remarkable beauty and yearning, and "Mother and Child." An early production somewhat detached from other pieces is a head of John the Baptist. This is one of the most haunting creations of Mrs. Fuller. In it she was especially successful in the infinite yearning and pathos that she somehow managed to give to the eyes of the seer. It bears the unmistakable stamp of power.