We have today real American sculpture - work that savors of American soil - a splendid national expression.
Never before have so many remarkable works been brought together; and American sculpture is only in its infancy - born, one might say, after the Centennial Exposition of 1876.
The wholesome part of it all is that men and women are working independently in their expressions. We do not see that effect here of one man trying to fit himself to another man's clothing. The work is all distinctly individual. This individualism for any art is a hopeful outlook.
The sculpture has vitalized the whole marvelous Exposition. It is not an accessory, as has been the sculpture of previous Expositions, but it goes hand in hand with the architecture, poignantly existing for its own sake and adding greatly to the decorative architectural effects. In many cases the architecture is only the background or often only a pedestal for the figure or group, pregnant with spirit and meaning.
Those who have the city's growth at heart should see to it that these men of brain and skill and inspiration are employed to help beautify the commercial centers, the parks, the boulevards of our cities.
We need the fine lessons of beauty and uplift around us.
We beautify our houses and spend very little time in them. Why not beautify our outside world where we spend the bulk of our time?
We, a pleasure-loving people, are devoting more time every year to outside life. Would it not be a thorough joy to the most prosaic of us to have our cities beautified with inspiring sculpture?
We do a great deal in the line of horticultural beautifying - we could do far more - but how little we have done with one of the most meaningful and stimulating of the arts.
Let us see to it, in San Francisco at least, that a few of these works are made permanent.