International studio (14.1901)

American Studio Talk

the grounds. The fountain is flanked by two
groups, respectively The Story of Gold and The
Story of Light, by Charles H. Niehaus. These are
upon large plinths introduced into the balustrade,
while down below, rising abruptly out of the water,
are two subsidiary fountains, by F. Edwin Elwell,—
the Fountain of Kronos and the Fountain of Ceres,
for which it is difficult to see any architectonic
justification. They do not seem to connect vVith
the general scheme ; their depressed situation de-
tracts from their dignity, and moreover, considered
as a chapter in the story which the sculpture tells,
they introduce a mythological note, itself rather
abstruse, among accompaniments that are either
realistic, as in Mr. Niehaus’s groups, or symbolical
in a more modern way, as the two groups, celebrat-
ing Floral Wealth, by Bela L. Pratt. One of these
latter, representing a maiden in a garlanded car drawn
by children and young girls, is particularly happy in
its combination of decorative line and mass, with a
movement very spontaneous and joyous. It has
struck the festive key most aptly. The scheme is
completed by two groups, commemorating Animal
Wealth, by E. C. Potter.

At the opposite end of the Esplanade, adjoining
the Ethnological and the United States Government
buildings, the predominating motive is “ Man.”
Here the central piece is a Fountain of Man, by
Charles Grafly. It is surmounted by a draped mass
formed of two figures merged into one, that face
front and back, and are intended to symbolize man’s
twofold nature. Around the pedestal are nude
figures of youths and maidens with joined hands,
typifying the senses, while below, supporting a flat
basin, are groups of male and female figures, em-
blematic of the conflict between vice and virtue.
Like much of Mr. Grafly’s work, it involves a very
serious effort in the direction of symbolism, and,
moreover, considered solely as a decorative com-
position, is extremely effective in the simple gravity
of its lines. There has been no attempt to respond
to the suggestion of gayety, but as an impressively
dignified composition it will hold its own with any-
thing on the grounds. It is supported by a very
monumental group, the work of Isidore Konti; by
two groups by J. J. Boyle and one by H. A. Mac-
Neil, illustrating, respectively, the savage age and
the despotism of the East, all three vigorous in
action and impassioned in feeling, and again by
two very quiet compositions, The Heart of Man,
and The Mind of Man, by Herbert Adams. Of all
these attendant groups the most impressive is un-
questionably Mr. Konti’s Age of Despotism ; a man
vi

coldly cruel and indifferent to everything but self,
seated in a chariot that is drawn by men, whom a
female figure at his side is lashing with a whip,
while behind are dragged by chains the forms of
women. The symbolism is expressed with rare
succinctness and force, and the composition has a
quality of stern simplicity. One may emphasize
this, for elsewhere, as in some groups upon the
Temple of Music and in some slighter pieces of
children that adorn the balustrades, Mr. Konti has
shown what he can do in a lighter and more exu-
berant vein. He proves himself to be an artist of
versatile imagination, facile craftsmanship, and true
sense of decorative form.

Returning again to the centre of the Esplanade,
and looking towards the “ Court of Fountains,” one
faces the Fountain of Abundance, by Philip Mar-
tiny. At least he is responsible for the culminating
group of a maiden in floating drapery, holding a
garland of flowers, and skipping within a ring of
dancing babies. We have seen before how charm-
ingly Mr. Martiny can use the forms of children in
decorative compositions, and his contribution to
this fountain is as lightsome and ornamental as
could be desired. The large convex mass, ribbed
with rows of dolphins, on which it is mounted, was
designed, we understand, by one of the architects,
and not very appropriately, for in its rigid formality
and lack of imagination it forms but an inadequate
base for the figures above. To the right of this
fountain, mounted on a pedestal in the balustrade,
is a group by Phimister Proctor, representing Agri-
culture,— a father at the plough and his son urging
on the team, which consists of a horse pulling vig-
orously and an ox with slower, laboring movement,
—a contrast that allows of strongly accented lines
and fine masses, and results in a composition stir-
ringly attractive. On the Ethnological Building,
close by, is Mr. Proctor’s Quadriga, originally de-
signed for the Government Building at Paris, but
which looks far handsomer here, being in better
scale with the structure, and supported also by the
latter instead of being seen against the sky or with
a preponderating edifice behind it, as was the case
at Paris. At the other end of the basin are two
groups on pedestals by Charles L. Lopez, represent-
ing the Sciences and Arts, the latter being quite an
interesting composition. The story of the sculpture
at this point is supposed to represent the “ Genius of
Man,” but its realization is hardly secured. There
are two groups by Paul W. Bartlett, symbolizing
Human Intellect and Human Emotions, which, as
was mentioned above, rise abruptly from the water