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PARK AND CEMETERY. 
LINCOLN, THE RAIL SPLITTER. ENTRANCE TO GARDEN. “BUCKY” O'NEIL. 
Charles J. Mulligan, Sc. Buffaloes by Edward Kemeys. Solon H. Borglum, So. 
Chicago’s efTort to find a more practical and appropriate 
form of sculptural decoration for parks and public places 
last year inspired the first American exposition of outdoor 
sculpture in Humboldt Park. This year it has made possible 
an exhibit, now on view in Garfield Park, that is 
recognized as a striking demonstration of how public art 
may be no less art, when it is popular, appropriate 
to its surroundings, and “practical,” if you please. This 
unique object lesson in outdoor art and its landscape 
setting, resulted from the growing consciousness of the 
artistic insufficiency of the average frock-coated statues 
and prancing bronze soldiers that frequently mar the 
landscape in our parks and malls. 
There have long been those among the members of the 
Municipal Art League of Chicago, the officials of the Art 
Institute, and the West Park Board who believe there is 
a more fitting form of public art for the parks; the kind 
that has a decorative beauty appropriate to its site and 
surroundings, and a meaning in itself that the person of 
average intelligence may read without the aid of a guide 
book. Even the so-called symbolic statue, whose sym- 
bolism is too often expressed only in the classic device 
MINER AND CHILD. 
Charles J. Mulligan, Sc. 
THE AWAKENING. 
Lorado Taft, Sc. 
THE TOILERS. 
George E. GaniSre, Sc. 
