attempted since the ancients imposed the quadriga form of composition.
They were first of all made possible by the receptive attitude of the
distinguished architects, Messrs. McKim, Mead and White - which proves
conclusively to me that those who are most versed in the various forms
of antique arts are also those who are most capable of accepting the
application of new motifs when sufficiently proven, and of quickly
assimilating genuine contributions to the growth of progressive art. By
so doing they lend to them all that wealth of refined elegance that has
come down through the ages. This acceptance in itself is fraught with
much encouragement to the growing school of public sculpture that aims
to understand the principles of co-operation and to weld them to an
ideal.

The above is true also of the Column of Progress, which was again made
possible by the instant comprehension of the architect, Mr. W. Symmes
Richardson. The Column illustrates a new use for an ancient motif. A
type of monument which while distinctly architectural in mass has been
humanized by the use of sculpture embodying a modern poetic idea. Now,
Mr. Critic, it does not matter in the least whether you care for this
idea or not. The fact remains, and is all important, that as a type of
sculptured column it is new and fills architectural and aesthetic
requirements, so that other columns of the same or kindred types will be
designed.

The Fountain of Energy and the Fountain of the Earth are the two
original fountain compositions. By which is meant that while there are
many other very charming fountains on the grounds they are distinctly
conceived within the rules of precedent and offer no new suggestion of
type. An exposition is the proper place to offer new types in design and
execution and happy are they who accept the challenge.