ridicule. Be not ashamed to admire what appeals, before learning its
author, and when it no longer appeals leave it without remorse.

In this introduction to the sculpture of the Exposition, it is unusually
fitting that grateful recognition be accorded the memory of the sculptor
whose lively faith in our growth, and tireless energy first launched the
enterprise. Karl Bitter possessed more than any other American sculptor
that breadth of vision that enabled him to discern talent - that
generosity that enabled him to give praise where he believed it due -
that suppleness of mind that could comprehend new concepts - and that
sense of justice that avoided no obligation. Such an unusual combination
of faculties defined a man broader and more profound than his broad
achievement - one of the rare personalities in our Art, the most this
exponent that sculpture has known in this land. In the initial stages of
planning, his fiery initiative and amazing grasp of detail commanded
attention, speedily resulting in the first general plan of the sculpture
of the buildings and grounds; while later his tenacity and generosity
assured the completed unity, as it now stands. Forty-four sculptors
contributed designs, the subjects of which were assigned to the number
of seventy-eight items, some of which comprise compositions involving a
score of figures. The number of replicas used as repeated architectural
motifs in order to create an effect of richness necessitated by the
styles of architecture, is very numerous.

Vitality and exuberance, guided by a distinct sense of order, are the
dominant notes of the Arts of the Exposition and pre-eminently of the
sculpture. It proclaims with no uncertain voice that "all is right with
this Western world" - it is not too much to claim that it supplies the
humanized ideality for which the Exposition stands - the daring,
boasting masterful spirits of enterprise and imagination - the frank