fellow-artists. Among them are many specialists, such as Frederick Roth,
for instance, as a modeler of animals, who shows in the very fine figure
of "The Alaskan" in the Nations of the West that he is not afraid nor
unable to model human figures. Practically all of the animals in the
grounds show the hand of Roth.

Like Roth, Leo Lentelli did a good share of the task. His work is
characterized by much animation and spirit, but well balanced wherever
necessary, by a feeling of wise restraint. I remember with much horror
some of the sculptural atrocities of former expositions that seemed to
jump off pedestals they were intended to inhabit for a much longer
period than they were apparently willing. Repose and restraint, as a
rule, are lacking in much of our older American sculpture, as some of
our Market-street statuary testifies. It seems that our unsettled
conditions find an echo in our art. It is much to be hoped that a
certain craving for temporary excitement will be replaced by a wholesome
appreciation of those more enduring qualities of repose and balance.

Calder's work, no matter how animated, no matter how full of action, is
always reposeful. His "Fountain of Energy" gives a good idea of what I
mean. It is the first piece of detached sculpture that greets the
Exposition visitor. Its position at the main gate, in the South Gardens,
in front of the Tower of Jewels, is the most prominent place the
Exposition offers. It is worthy of its maker's talent. Its main quality
is a very fine, stimulating expression of joyousness that puts the
visitor at once in a festive mood. The Fountain of Energy is a symbol of
the vigor and daring of our mighty nation, which carried to a successful
ending a gigantic task abandoned by another great republic. The whole
composition is enjoyable for its many fine pieces of detail. Beginning
at the base, one observes the huge bulks of fanciful sea-beasts,