The Sculpture and Mural Decorations of the Exposition / A Pictorial Survey of the Art of the Panama-Pacific international exposition

by Stella G. S. Perry

Earth
Detail, One of "The Elements"

The Four Elements, heroic pieces by Robert I. Aitken, are placed at the top of the main stairways leading down into the sunken gardens of the Court of the Universe. In spite of their imaginative themes, these massive works have the same gripping reality that characterizes all the later method of this sculptor. He has treated the elements, especially "Earth" and "Air," in their relation to man. As here pictured, "Earth," the quiet mother, sleeps on her rocks, over which little human beings struggle and toil. The rear view of "Air," the group on the opposite side of the same stairway, may be seen in the foreground of the plate illustrating The Nations of the East. "Air" holds a star in her hair; she has great wings and is attended by floating sea-gulls. Behind her, a man has strapped his arms to her mighty pinions, signifying the effort of the present age to ride the winds. "Fire" and "Water," across the gardens, are shown in vivid action; "Fire" roaring with his salamander, and "Water" blowing a stormy gust across the waves.

The Signs of the Zodiac
Frieze on the Corner Pavilions

Low relief, the form that is so difficult and so beautiful and satisfying when perfectly achieved, is at its finest in the sculptured mural panels that crown the corner pavilions of the Court of the Universe and the Forecourt of the Stars. These are the panels of "The Signs of the Zodiac," by Hermon A. MacNeil, who is better known to Exposition visitors by his finial group, "The Adventurous Bowman," on the Column of Progress. The idea of the overhanging, serene heavens, expressed by the Star Colonnade, is extended by these panels. About the central figure of Atlas or Time, his heavenly daughters move, bearing the Zodiacal symbols, to indicate the sweep of the constellations and the onward march of time. This impression of the steady, slow passage of our days is increased by the gentle motion of the figures, so slight as to be felt rather than seen. The frieze has a clean-cut effect almost cameo-like in its precision and the harmony and grace of the whole composition have frequently been found suggestive of the decorations on an Attic urn.

Nations of the West
Group, Arch of the Setting Sun

As we look across the Court of the Universe towards the Nations of the West, the vastness of the Court and the commanding effect of these great groups of the nations impress us. The high columns of the Rising and Setting Sun fountains, the monumental groups of the "Elements," the classic "Music" and "Dance" of heroic size, are merged in the splendid sweep of the Court; the dignified circle of sculptured light-standards is dwarfed by the perspective. But these mighty processional masses of the Nations still dominate the whole. This western group, companion to the Nations of the East, centers about the prairie schooner, which balances the elephant in the opposing composition, and the girlish figure of a young pioneer mother, poetically called "The Mother of Tomorrow." Accompanying her are represented the nations that have contributed to our American civilization. The group is by the same sculptors in collaboration who made the group of eastern nations. The four equestrians, the Latin-American, the French-Canadian, the Anglo-American, the Indian and the trudging Squaw are by Leo Lentelli; the pedestrian figures, the bowed Alaskan women, the German and the Italian are by F. G. R. Roth, who made also the oxen and the prairie schooner. The Mother and the crowning symbolic group of "Enterprise" and the "Hopes of the Future" are by A. Stirling Calder, who is responsible for the general composition.

Enterprise
Detail, Nations of the West

The prairie schooner that forms the axis of the Nations of the West is crowned by an animated, imaginative group so perfectly co-ordinated with the realistic main composition that it causes no sense of discord. This group of "Enterprise" and the "Hopes of the Future" by A. Stirling Calder, forms the apex of the pyramidal construction. It gives the required height and balances the howdah on the elephant in the companion group, the Nations of the East, on the opposite archway. The spirit of Enterprise, a kneeling figure whose encircling wings carry the rewards of the world, calls aloud to summon initiative, encouragement and perseverance to the brave and adventurous who advance our progress. This Enterprise is the pioneer spirit that discovered and developed America. At the feet of Enterprise sit the Hopes of the Future; two boys, one white, the other, negro. These sound the note of deep humanity that underlies the poetry of the conception. This group of the Western nations has an appropriate sub-title, "The Pioneers."

Dance
Balustrade, Court of the Universe

At the top of the longitudinal stairways in the Court of the Universe are Paul Manship's "Music" and "Dance." These are typical examples of that sculptor's power to combine classic restraint, sculptural dignity and grace of line with complete freedom and untrammeled ease of method. They express a musical mood, supplying the honor of musical art to the otherwise incomplete celebration of man's achievements. In "Dance," here reproduced, the beautiful movement of the figures and the garlands, full in volume but light in weight, are superlatively well presented. A glimpse of the companion group, "Music," can be had in the plate devoted to the Nations of the East. In this are two classic male figures, the Composer and the Musician. One holds an open scroll from which the other reads as he pauses in touching the strings of a lyre. A number of distinguished exhibits by Mr. Manship, showing all phases of his art, appear in the Palace of Fine Arts where he has been awarded the honor of a gold medal.