one's attention will be attracted to a number of pieces of detached
statuary. The most important among them is "The Four Elements," by
Robert Aitken. We all remember Aitken as the very promising young man
who left us before the fire to make a career in the East, after having
exhausted all local possibilities, the Bohemian Club included. His
figures of the Four Elements are typical of his temperament and he
acknowledges in them his indebtedness to Michael Angelo without being in
the least imitative. These four figures are allegorically full of
meaning, and taken simply as sculpture, they are excellently modeled.
His "Fire," showing a Greek warrior defending himself from the fiery
breath of a vicious reptile, is novel in its motive, while "Water"
discloses Father Neptune bellowing out into the briny air, accompanied
by dolphins in rhythmic motions. "Air," on the south, discloses Aitken
as the skillful modeler of less muscular forms of a winged female
figure, which in itself, without the birds, is suggestive of its
meaning. It was very daring to introduce the story of "Icarus" in this
group, by the small-scaled figure of this first mythological aviator on
the outside of the wings of the larger figure. It helps to add a note of
interest to an otherwise not so interesting part of the group.

The Fountains of the Rising and the Setting Sun are most impressive by
their architectonic quality, and Weinman's clear style of modeling is
seen at its best in the Tritons in the fountain bowl. The figure of the
Setting Sun is one of the finest figures of the entire Exposition. The
suggestion of the termination of day, indicated in the folding of the
wings and in the suggestion of physical fatigue, is very well conveyed.
A fine relaxation runs through the whole figure.

The Rising Sun, on the other side, has all the buoyancy of an energetic
youth ready for his daily task. With widespread wings, looking squarely