been in progress is expressed by the dress of the travellers.

This might be called the Material Movement to the West, for the picture
opposite depicts the Ideals of that progress. Hope leads the way, though
some of the Hopes, shown as bubbles, were but Illusions. Then follow
Adventure, Art, Imagination, Truth, Religion, and the spirits of
domestic life. Simmons' work is characterized by grace and delicacy. The
pictures are pleasing as form and color alone, but without titles the
allegories are too difficult for people unaccustomed to interpreting
this kind of art.

Du Mond's two murals in the western arch are easier. They make a
continuous story. The first chapter, on the north side, pictures the
emigrant train, led by the Spirit of Adventure, leaving for the West,
while the second shows the pioneers reaching the shores of the Pacific
and welcomed by California. To express the many-sided development of the
West, Du Mond has portrayed individuals as the types of the pioneers.
Here are Junipero Serra, the priest; Anza, the Spanish captain who first
trod the shores of San Francisco Bay; Joseph Le Conte, the scientist;
Bret Harte, the author; William Keith, the artist; and Starr King, the
divine. The energy of these men has actually outstripped the Spirit of
Adventure. Du Mond's story parallels in a way that pictured by Simmons.
Color and composition are both exceedingly grateful to the eye.

The Column of Progress, outside the court, commands the entire north
front of the Exposition, as the Tower of Jewels does the southern. (p.
57.) Symmes Richardson, the architect, drew his inspiration from
Trajan's Column at Rome, an inspiration so finely bodied forth by the
designer and the two sculptors who worked with him, MacNeil and Konti,
that this shaft stands as one of the most satisfying creations on the