TERRACE LOOKING NORTH
ROMANCE By Paul Bartlett
Sculpture. Of the sculptural designs, the two lions on either side of the main approach are by E. C. Potter. They have been subjected to much criticism, mainly of a humorous nature, and in the daily press. This adverse comment has not been endorsed by critics of art and architecture. Mr. Potter was chosen for this work by Augustus St. Gaudens, and again, after Mr. St. Gaudens' death, by Mr. D. C. French, also an eminent sculptor. Any layman can satisfy himself, by a brief observation of the building as a whole, that the architectural balance of the structure demands figures of heroic size to flank the main approach. With that requirement in view, the designer of such figures has but a limited choice of subject, since there are few living creatures whose forms possess dignity without being cumbrous. The sculptor in this instance has followed well-established precedents in designing the lions according to the canons of decorative art. They are as realistic as would be suitable for figures of this size, and in this position.
The groups in the pediments are by George Gray Barnard; the one in the northern pediment represents History, and the one in the southern, Art.
The figures above the fountains on either side of the main entrance are by Frederick MacMonnies; the man seated on the Sphinx, on the northern side of the entrance represents Truth. On the southern side, the figure of the woman seated on Pegasus represents Beauty. Above the figure of Truth is this inscription from the Apocrypha ([1 Esdras], chapter 3):
BUT ABOVE ALL THINGS
TRUTH
BEARETH AWAY
THE VICTORY
The inscription above the figure of Beauty is: