The symbolism of the "Pioneer" and "The End of the Trail" is, first of
all, a very fine expression of the destinies of two great races so
important in our historical development. The erect, energetic, powerful
man, head high, with a challenge in his face, looking out into early
morning, is very typical of the white man and the victorious march of
his civilization. His horse steps lightly, prancingly, and there is
admirable expression of physical vigor and hopeful expectation. The gun
and axe on his arm are suggestive of his preparedness for any task the
day and the future may bring.

Contrast this picture of life with the overwhelming expression of
physical fatigue, almost exhaustion, that Fraser gives to his Indian in
"The End of the Trail." It is embodied in rider and horse. Man and
beast seem both to have reached the end of their resources and both are
ready to give up the task they are not equal to meet.

The psychology of this great group is particularly fine. It is in things
like these that our American sculpture will yet find its highest
expression, rather than in the flamboyant type of technically skillful
work so abundantly represented everywhere. "The End of the Trail" could
have been placed more effectively in the midst of, or against, groups of
shrubbery in a more natural surrounding, where so close a physical
inspection as one is invited to in the present location would not be
possible.

The Tower of Jewels, however, with its lofty arch and suggestion of
hidden things behind it encourages the spirit of investigation. On
entering this great arch, one is suddenly attracted by the pleasing
sound of two fountains, sheltered in the secluded abutting walls of the
great tower. Minor arches, piercing the base of the tower west and east,