The fountains in the Court of the Universe are examples of how the charm
of sculpture can vitalize architectural conventions. The crowning
figures of these fountains, representations of the Rising and the
Setting Suns, have achieved great popularity.

The still potent charm of archaic methods applied to modern uses is well
illustrated in the groups of the "Dance" and of "Music" on the terraces
of the Court of the Universe. Again on the rotunda of the Fine Arts
Palace and elsewhere this tendency crops out and always with the
assurance of pleasing. The group representing the "Genius of Creation"
lends a modifying note of refinement against the vigorous Western facade
of Machinery Building, and adds much to the interest of the vistas north
and south of the Avenue of Progress.

There are figures and reliefs of genuine feeling that do not gain by
resemblances to the mannerisms of Rodin and Meunier, that are not in
harmony with the surrounding architecture. The original figures in the
south portal of the Palace of Varied Industries and the panel over the
entrance to the Palace of Liberal Arts are quite successful inserts of
new thought in old frames in spite of a touch, of this influence. Rodin,
the emancipator of modern sculpture, and a notorious anarchist as
regards architecture, is not always applicable. The imitation of his
style induces a negation of modeling only in evidence in one of his
manners of execution.

There is a vague tendency voiced by some critics to advance the theory
that the real future democracy of art depends on the verdict of the man
in the street. This is ridiculous. The future of art depends on no one
class of men, aristocratic or democratic. It depends on all men. Art is