out into the world, he seems ready to soar into the firmament. The
contrast is admirable in these two figures, and Weinman deserves all the
popular applause bestowed upon his work.

Paul Manship has contributed two groups at the head of the east and west
steps leading to the sunken gardens, each group consisting of two
figures, one representing Festivity, the other, Art and Music. These
groups are used alike on either side. Manship deserves to be better
represented in the Exposition than by these two groups alone. His
position as one of the very successful of our younger men would have
warranted a more extensive employment of his very strong talent.

It is rather a flight from those Manship figures to the colossal groups
of the Nations of the East and of the West, but one is irresistibly
drawn to these wonderfully effective compositions. Their location makes
them the most prominent groups in the Exposition ensemble.

The harmonious co-operation of Calder, Roth, and Lentelli has resulted
in the creation of a modern substitute for the old Roman quadriga, which
so generally crowns triumphal arches. Both groups are so skillfully
composed as to have a similar silhouette against the blue sky, but
individually considered they are full, of a great variety of detail. It
was an accomplishment to balance the huge bulk of an elephant by a
prairie schooner on the opposite side of the court. Considering the
almost painful simplicity of the costumes and general detail of the
western nations as contrasted with the elaborately decorative
accessories, trappings, and tinsel of the Orient, it was no small task
to produce a feeling of balance between these two foreign motives. But
what it lacked in that regard was made up by allegorical figures, like
those on top of the prairie schooner, used not so much to express an