The sun., 1901-06-30
ART AT THE PAN-AMERICAN.
The sculpturai Decoration Of the GROUNDS
and Buildings.

sign. and the same Is true In the case OF some
OF the buildings IL has been used 10 IN
crease the vivacity Of the scene and TO ahoro
spots Of part ,icular emphasis And this Is the
aspect Of II upon which one prefers to cweli'
for. Individually, many Of the groups are un-
interesting: the result. no doubt. In measure
AZ least OF the haste with which they had 10 be
produoed Another reason. however. ia the
lack OF opportunity which our sculptors have
enjoyed OF exercising their Imagination and
technical resources in the direction Of monu-
mental decoration Indeed. one suspects
that an underlying motive on this occasion
was to give an obi ect lesson In the treatment
Of omen spaces surrounded by architecture
for the sake OF the suggestion that II m'eh'
afford for municipal embellishment
In view, therefore. Of its influence upon pub
lie taste one may well examine the scheme
closely. noting what seem TO be Its sood ana
bad points To dispose OF the latter orleny
two weaknesses enforce themselves One Is
the comparative absence Of greenery ana the
other an exaggeration OF effects. II Is auite
possible 10 transplant trees OF conNderaoie
size. as was done at Paris with thousands OF
poplars, the story being current that Mone'
bought MP all those In the immediate nelsh-
borhood Of Giverney 10 save them from being
carried OF to the Exposition. The archi-
tects Of the Pan-American SGT themselves
a separate problem. determining to have the
sculpture specially executed for Its individual
share in the ensem bic and to make the latter
one OF formal design Butitisapity that they
did not take a hint from the Parisians and In
corporate in their scheme some OF the pro-
fusion Of foliage. so grateful ~ the eye ana
agreeable also In the way Of shelter; hint.
moreover. which Is abundantly afforded In
all the beat examples Of formal gardens. IL
IL true that in tho intersecting thoroughfare
called the Mall they have introduced broad
slopes Of grass and free use OF poplars. ana
very charming Is the effect But the trees
are mere spires Of foliage. which give scarcely
any protection from the sun. and IKE the
shrubs in the great court. set In boxes ana
trimmed 10 shape. suggest their use as EN-
phnses rather than as reliefs TO the prevalence
Of architectural feeling
The exaggeraton Of soulptnral effects
IA shown in several ways, In the multlplic-
irv OF embellishments the restlesshess
apparent in the grouping and, occasionally.
I'm over-largeness OF scale. As an example
OF the last are the herm1 which stand IN
double rows along the all and STUD Two
of the courts They are very gross In con-
ception and modelling quito unbeautiiul
in themselves but apart from that their
bi gness disturbs the repose OF their enVir-
onment An instance OF the tendency toward
supera bundance Of sculpture IA the treat
mpnt Of some Of the balustrades round the
fountain basins. the line OF which IL inter-
rirted with vexatious frequency by the
recurrence Of alternate vases and little
groups, In themselves very pleasing. Again.
in the court before the Horticultural Build
ing. where the main feature Is fountain
supported by groups at varying distances.
an arrangement fully sufficient for the space.
two smaller fountains have been introduced:
which are dwarfed by the surrounding features
and have the appearance OF not being essen-
TALLY part of the design. an Impression
enforced by the lack Of any architectural
provision for their support. the sculpture
rising Immediately out OF the water. The
same thing occurs in the case Of four groups
az the north end Of the basin OF the court
Of fountains where they emerge direct from
the water and are stuck against the para
net wall: an arran cement or want Of arrange
mant which detracts from their value a.
in,rlne O parts Of the architectural design.
The restlessness one has noted is apparently
due IN nm exaggerated striving after vivacity.
n signal example being the scheme. before
alluded to. in front Of tho Horticultural Build
ing. As one faces Il. there are three groups
on each side, one hchiud tho other. At con-
siderable intervals, supporting the fountain
at the other end But, instead OF building
IN 10 this central feature with a consensus
OF movement. the second pair have direc-
ton inward aud the third pair a direction
outward. this sep-saw effect interfering
very materially both with the dignity and
with the organic unity Of the ensemble.
These sucgCs stions have been prompted
wholly bv the seriousness with which this
important schene OF outdoor decoration
has been evolved and with a view to the proba-
bility Of ia hearing permanent truit Ia civic
improvements throughout the country. On
the other hand. one can join In emphatic tes-
timony to the general beauty OF the various
sornc-. their stately planning and air ofex-
ubcrant joyousnoss Many Of the individual
pinccs Of sculpture do more than join In the
universal ruan and strike their own notes
There I, the Goddess OF
Light" bv Herbert Adams. to which all eyes
ara drawn as it poi3cs IN its swing Of move
mrnt upon tie top Of the electric tower:
radiautIy animated IN ia flash OF gilded limbs
and wi'hpl az pure In its type and fu,l Of eie-
waited suggestion Very stately In tho non
simplicity Of it, marsy composition
IA the group Of Isidore KOntl Tho Age Of
ne.potl-m.- and admirably 1t tells Its story.
In a chariot drawn by human beings sits q
man. cold and sternly indifferent. fine EN-
bodment Of dcs7otic power. while his COM
panion. voluptuously beautiful woman.
leans forward iupctuously to lash the naked
backs In front Of her: and the other less for
unatc women are dragged a. oaptives be-
hind the wheels Tho subject might so easily
ha ve becn ovcr-tated, but. as II IL. tho intense
control that has been exercised greatly adds
TO the imprcs,lycness
Near to this group isa Fountain Of Man.
by Charles Crafty. which also we'll repays
examination. The theme is symbolical
one, such az appeals to this sculptor. and has
been worked out very intelligbly. unless
one excepts tho Crowning feature Of the COM
position. mass formed OF two figures back
tn back merged into one by the drapcry which
ouslstsof short cloak over one that reaches
TO tho feet. Rising up between the heads II a
pointed device. apparently the emblem Of
The conception Is of cous,s
the twofold nature Of man. tho idea being
further developed by ngures Of the Senses.
circlng hand In hand around the pedestal
and bv groups Of male and female figures,
supporting the basin below. which typify
various phases Of the struggle between vice
and virtue. the man In each case being the