DOI chapter:
Chapter IV Of Expositions and Collaborations
DOI Page / Citation link:https://doi.org/10.11588/diglit.65493#0134
94
THE SPIRIT OF
Nothing could be more serious in
matter or in manner than was Mr.
French’s stately Republic, a dominant
note of the plan of the Columbian Ex-
position. And no work was more
thoroughly appreciated. Some of the
very gayest of our exposition sculp-
tures owe their vitality to the very
serious studies and the very solid mas-
tery of the artists who have produced
them. There was wide-spread regret
because the MacMonnies Fountain,
that thing of joy for the exposi-
tion of 1893, could not sprinkle its
dews permanently for our refresh-
ment. And in our later expositions,
there have always been temporary
works achieved with bravura by the
artist, enjoyed without reservation by
the public, and (often with a real sad-
ness of farewell) consigned to oblivi-
on by the powers. The story of the
Fair of 1893, the exemplar, one might
say, for subsequent celebrations, has
IV
OF EXPOSITIONS
THE SPIRIT OF
Nothing could be more serious in
matter or in manner than was Mr.
French’s stately Republic, a dominant
note of the plan of the Columbian Ex-
position. And no work was more
thoroughly appreciated. Some of the
very gayest of our exposition sculp-
tures owe their vitality to the very
serious studies and the very solid mas-
tery of the artists who have produced
them. There was wide-spread regret
because the MacMonnies Fountain,
that thing of joy for the exposi-
tion of 1893, could not sprinkle its
dews permanently for our refresh-
ment. And in our later expositions,
there have always been temporary
works achieved with bravura by the
artist, enjoyed without reservation by
the public, and (often with a real sad-
ness of farewell) consigned to oblivi-
on by the powers. The story of the
Fair of 1893, the exemplar, one might
say, for subsequent celebrations, has
IV
OF EXPOSITIONS