iy 
but have been temporarily occupying positions which would be 
filled by permanent appointments if the Botanic Garden had 
sufficient funds. For the most part, the work has been of 
the nature commonly understood by the titles of the different 
positions. 
PWAP (Public Works of Art Project).—‘ Provision for the 
encouragement of the fine arts has always been recognized as one 
of the functions of the Federal Government, and it is obvious that 
such provisions should be enlarged in time of depression. . . . We 
plan to find opportunities for this work in the embellishment of 
Federal Buildings with murals, sculpture, and craftsmanship, 
in similar work on state and municipal buildings financed by the 
Federal Government, and in other directions where the oppor- 
tunity develops. . . . We realize the encouragement of art is a 
vital factor in our civilization.’’ The quotation is from a state- 
ment issued in November, 1933, by Mr. L. W. Robert, Jr., Assist- 
ant Secretary of the Treasury. 
In February, 1934, the Brooklyn Botanic Garden was asked if 
it had any art work that could be undertaken under the PWAP. 
Two projects were submitted and accepted, as follows: 
a. Six Busts of Botanists.—The following subjects were chosen 
on the basis of the importance of their work, their local or national 
importance, and the availability of material (in the way of photo- 
graphs, etc.) with which the sculptors could work. Six sculptors 
were assigned to this work, as follows: 
Darwin. By Alexander Sambugnac. 
Linnaeus. By Moissaye Marans. 
Mendel. By Joseph D. Stott. 
Asa Gray. By Guilio Novani. 
Torrey. By Walter D. Plonski. 
Robert Brown. By Carl L. Schmitz. 
The plaster models, which have been approved by the Com- 
mittee of the PWAP, were made in anticipation of being cast in 
bronze. In almost every case, it was difficult to get the most 
helpful material to work from—such as full face and profile views. 
Photographs of the six busts are reproduced on page 16 
b. Mural Design for the Ceiling of the Main Rotunda of the 
