neither democratic nor aristocratic. It knows no class - it is concerned
with life at large - elemental life. Art is praise and all things in
life are its subjects.

The group "Harvest" surmounting the great niche in the Court of the
Seasons is a fine placid thing - and the bull groups on the pylons are
time-honored, virile conceptions strikingly placed.

The three-tiered sculpture groupings of the Tower of Ages make rich
appeal in relation to the romantic architecture.

There are groups in niches in the west walls that will remain caviar to
the general, but which are conceived with a fine sense of decoration,
and need only a touch of relation to reconcile them to the observer. To
him they are too strange. Yet strangeness exists and if sufficiently
medicated is even admired. It is strange when one thinks of it, to have
had an Exposition.

"The End of the Trail" is perhaps the most popular work on the grounds -
the symbolism is simple and reaches many, with just the right note of
sentiment. On the other hand, there are those who have gone beyond the
obvious and prefer less realistic subjects particularly in relation to
architecture. Of this kind may be found many inserts and details making
no particular claim for attention except that of delightful enrichment.
The details of the Exposition are excellent and sometimes brilliant.

"The Pioneer" is not well understood. The trappings here puzzle the
realists who insist on a portrait of a certain personage - Joaquin
Miller. The sculptor, I know, intended nothing of the sort. It is his
vision of an aged pioneer living over again for a moment his prime.