fine symbolism in this column deserves to be studied. The position of
the column itself is most artistic in its relation to the surroundings.
It is too bad, however, to see the view from the main court toward the
column spoiled by a music pavilion of dubious architectural merit. The
effect of the column as seen from any point is inspiring in its
monumental grandeur. The group on top, the Bowman, represents man's
supreme effort in life. He is supported on the left by his fellow-man,
adding strength and steadiness to his aim, while on the right the
crouching figure of a woman watches anxiously the sureness of his aim.
She holds ready in her hand the laurel wreath which she confidently
feels will be his just reward.

The great Column of Progress is the first column in the world, so far as
I know, whose design was inspired by a purely imaginative motive, and
the first sculpture column at any exposition. It must be considered the
most splendid expression of sculpture and architectural art in the
Exposition. Mr. Calder may justly feel proud of this great idea and Mr.
Hermon MacNeil has added new laurels to his many accomplishments in the
free modeling of the very daring group on top.

The column itself is decorated with the spiral ascending motive of the
Ship of Life, while at the base Isadore Konti expresses the striving for
achievement in four well modeled panels of huge scale, representing
human life in its progressive stages, showing men and women in attitudes
of hope and despair, of strength and weakness, in the never ending task
of trying to realize human destiny.

The Court of the Four Seasons harbors four groups by Piccirilli,
representing the seasons in the conventional way, dividing the year into
four distinct parts - spring, summer, autumn, and winter. These four