156 
SMITHSONIAN INSTITUTION 
work which they have been invited to view by a direct comparison with the original. On that 
point I think there can be but one opinion. Looking at such an example of the sculptor’s art, 
one is inclined to marvel at his power to create out of inanimate materials so faithful a de- 
lineation of the human features ; but come to think of it, it isn’t so very wonderful after all ; 
it is really quite simple ; all the sculptor has to do is to procure a supply of the proper kind of 
clay, and then put it in the right place. This disclosure of the mystery is not original with me, 
but probably has done duty ever since studios were invented. I cribbed it from a painter, who 
told an inquisitive visitor seeking to learn the secret of his canvasses that it was easy, all that 
was necessary being two things : first, to select the proper colors ; that was very important, he 
said ; and then — put them in the right place. So it is with one of Fritz Kreisler’s masterpieces ; 
simple enough, just pressing the proper string, and drawing the bow the right way. 
You know, it is against the rules for the subject who is being honored as I am to attempt 
to say anything serious ; but I am wondering if in all this nonsense I may not inadvertently 
have stumbled upon a great truth, which is, that one of the chief problems of life is to learn 
how to select the proper things, and to use them in the right way. 
Now, having broken the rule once, I am going to take another whack at it, and sum up 
what I really think and feel, by saying that the thing which is culminating tonight has touched 
me deeply ; and that I would rather have it occur here, in this place, than anywhere else on 
earth. 
One other privilege belongs to me, of which I avail myself with the most profound satis- 
faction ; and that is, to present to this audience the man whose inspired art has created the 
work which you have come here to see — Scarpitta, the sculptor. 
Mr. Scarpitta: Mr. Springer, Dr. Hezvett, Ladies and Gentlemen: I would like to say a 
word about this work of mine. I am not a speaker, as you know, but I cannot gO' through this 
without first of all telling you how profoundly inq^iressed I am that I was the one selected to 
make this portrait of Mr. Springer. The moment I came in contact with Mr. Springer I felt 
immediately the great force with which he has accomplished all that you have heard related 
by the Chairman and the other gentlemen. I went into this work with all my love, because I 
felt the sincerity of this man ; and I have, I hope you will agree with me, put into this bronze 
something that will live on forever, and reveal the inner feelings of Mr. Springer, his intense 
love for humanity, and his power of convincing any one of his profound sincerity, which I 
have admired so, and of which I am so proud to know and see that you all agree with me. 
I thank you. 
The program was then concluded by the gracious and beautiful Princess 
Tsianina in an exalted mood, who with the sympathetic accompaniment of 
Mrs. Doll, gave some of the finest Indian songs in her repertoire, among them 
the Zuni Invocation to the Sun-god, which, as she explained, she had substituted 
for another number because it better expressed her feeling after listening to the 
addresses which had preceded. 
In the patio of the art museum the Woman’s Museum Board had spread 
a table made colorful with magnificent dahlia blossoms. Moonlight flooded the 
scene, and garlands of colored lights swung across the sward. Here thronged 
the people after pouring past Mr. Springer, ofifering their words of appreciation 
for all he has done and all he has stood for, and lingered until midnight and 
after. The literary folk were present under the leadership of Mary Austin, who 
but recently returned from England; the anthropologists included Francis 
La Flesche and Miss Alice C. Fletcher, of Washington, D. C. ; other branches 
