292 Field Museum of Natural History — Reports, Vol. V. 



sculptor to execute the whole of this decoration — perhaps the second 

 time on record that so extensive a task has been entrusted to the hands of 

 one American sculptor. Henry Hering has utilized the opportunity 

 presented him to create a group of architectural sculptures which is 

 unsurpassed in America today. Throughout the work he has kept con- 

 sciously before him the purposes for which each piece was designed, both 

 as regards its subject and its placing upon the building, with the result 

 that he has achieved a superlative consistency in the whole work, at the 

 same time infusing into each figure the utmost individuality and dis- 

 tinction. 



In the treatment of the caryatid figures there is observable a greater 

 conventionality and a less definite expression of personality than in any 

 others of the group. Here an actual structural problem had to be met 

 and a nice transition from the strong foundation course was desirable. 

 There are two types of caryatids which are to be duplicated, and while 

 they are very similar in mass and movement, in detail they are absolutely 

 individual. The inspiration is frankly Ionian and their dignity is as 

 unquestionable as is their structural quality. 



Above each caryatid porch the horizontal panel in relief represents 

 one of the four main departments of the Museum — Anthropology, 

 Zoology, Botany and Geology. The treatment here is very decorative, 

 and by the use of one flying figure in each panel the same scale as that 

 adopted in the other figures has been preserved while admitting the 

 introduction of a definitely horizontal sense into the whole panel, con- 

 trasting effectively with the repeated verticals of the other figures and of 

 the surrounding architecture. Interesting color is given by the wings, 

 the drapery treatment and the floating ribbon which bears the name of 

 the department symbolized in the figure. The length of the panel has 

 also allowed of the introduction of vertical bands of exquisite decoration, 

 each different in detail, though similar in general tone. The iconography 

 of the four panels is exceptionally pleasing and the choice of symbols for 

 each has brought into play the originality and discrimination of the 

 sculptor. 



The choice of subject for the attic figures exemplifies the generalization 

 appropriate to the decoration of such a building. The four central 

 figures above the columns represent the elements: Fire, Earth, Air and 

 Water; the four flanking figures typify the four points of the compass: 

 North, South, East and West. With this choice of subject comes the 

 necessity of giving to the figures, each so general in its conception, 

 definite and essential qualities and certain attributes which will differ- 

 entiate each from the other and at the same time preserve the unity of 

 the scheme. Of the attributes given to the figures their selection has 





