As long as we are in the South Gardens, we might take the time to
investigate the two fountains on either side of the center, towards the
Horticultural Palace on the left and Festival Hall on the right. There
we find a very lithe mermaid, used alike on either side, from a model by
Arthur Putnam. Many of us who for years looked forward to the great
opportunity of the Exposition, which would give Arthur Putnam a worthy
field for his great genius, will be disappointed to know that the
mermaid is his only contribution, and scarcely representative of his
original way in dealing with animal forms. The untimely breakdown, some
two years ago, of his robust nature prevented his giving himself more
typically, for his real spirit is merely suggested in this graceful
mermaid.

Sherry Fry's figural compositions on the west of Festival Hall might
well be worthy of a little more attention than their somewhat remote
location brings them. The two reclining figures on the smaller domes are
reposeful and ornate. A stroll through the flower carpets of the South
Gardens, amidst the many balustrade lighting Hermae, discloses a wealth
of good architectural sculpture, which in its travertine execution is
doubly appealing.

There are four equestrian statues in different places on the north side
of the Avenue of Palms. Two are in front of the Tower of Jewels, the
"Cortez" by Charles Niehaus, and "Pizarro," by Charles Cary Rumsey. The
third is in front of the Court of Flowers, and the last at the entrance
to the Court of Palms. The two latter, Solon Borglum's "Pioneer," and
James Earl Fraser's "The End of the Trail," belong as much together as
the two relatively conventional Spanish conquerors guarding the entrance
to the Court of the Universe.