"The Triumph of the Field" and "Abundance." They are most serious pieces
of work, possibly too serious, and they are in great danger of remaining
caviar to the masses on account of the complexity of their symbolism and
the intellectual character of their motives. Their setting is most
attractive, amongst groups of trees and shrubs.

Maybeck's Palace of Fine Arts is so overwhelming in its architectural
effects that one seldom feels like doing justice to the fine sculptural
detail everywhere in this building. Ralph Stackpole's interesting Shrine
of Inspiration is the most charming bit of sculpture, more detached in
its effect than most of the other motives. Bruno Zimm's eight fine
friezes, showing the development and influences of the arts in a very
severe, almost archaic style of modeling, add a fine note to the dome,
and Ulric Ellerhusen's equally architectonic friezes are in good style
and are in thorough harmony with the classic quality of this great
palace.

It is, of course, not possible to name all of the many pieces of
architectural sculpture used at the Exposition. The general effect one
receives is that it represents the best that is possible in Exposition
sculpture today. It gives evidence of the increasing development of the
qualities of design, as contrasted with the so much looser work of
former expositions. Seldom before have sculptors anywhere, since
sculpture and architecture first worked hand in hand, so played their
most important roles together in the ensemble setting that constitutes
our Exposition visually. On arch or column, in niches, in fountains, and
in free-standing groups, they sing of many themes, and always in
harmony, but with no loss of character or individuality. There is no
doubt of it, that, for an Exposition, sculpture is the most important of
all the arts, because it is the most human. Without it, architecture