PARK AND CEMETERY. 
128 
which a conventionally posed model bears, falls short of 
its mission here. The figure or group itself must deliver 
the message without extraneous devices, and it must fit 
its surroundings. 
With this idea in mind the first outdoor sculpture ex- 
hibition ever carried out in this country was last year 
inaugurated in Humboldt Park. It was hastily evolved 
with the material ready to hand, and even in this incom- 
plete state made a profound impression on citizens and 
artists alike. This year, with the aid of the same art 
institutions, a few public-spirited citizens, and the Fergu- 
son bequest which provides the interest on $1,000,000 for 
the placing of public works of art in Chicago, a much 
more elaborate, satisfying and complete exposition of the 
new idea in civic art was staged in Garfield Park early 
in September. 
That there was ample sculptural material to be had for 
an exhibit of this kind is due largely to two influences; 
The very practical and monumental character of the 
works that have been executed by the sculptors trained 
in the Art Institute schools, and the Ferguson bequest 
which has led sculptors to design imposing works for the 
definite purpose of outdoor decoration. The spirit of the 
exhibit, in the words of Mr. Lorado Taft, the sculptor, 
was to “people our parks, not with long-coated statesmen 
and restless warriors, but with figures of airy grace, fit 
denizens of w'oods and meadows.” 
The setting of this year’s exhibits admirably adapted 
to give full scope to both formal and informal sculptural 
at the bandstand end has been strengthened by balancing 
on either side, Mr. Lorado Taft’s colossal statue of Wash- 
ington, twenty feet high, with Mr. Daniel C. French’s 
Statue of the Republic, one of the landmarks of the Chi- 
cago World’s Fair, which has since held an honored posi- 
tion in the main corridor of the Art Institute. Facing 
these and the bandstand are two heroic architectural 
groups by Mr. Charles J. Mulligan, “Justice and Power” 
and * Law and Knowledge,” modeled for the Supreme 
Court building at Springfield, 111. These are separated 
from the other two by a small open space. Taken to- 
gether, the four form an effective monumental vista, sug- 
gestive of the possibilities in decorating the ends of a 
plaza or boulevard. 
The general design of the water court and gardens is 
the work of Mr. Jens Jensen, former superintendent of 
the West Park System, who has been one of the leaders 
in developing the outdoor sculpture display. He has been 
ably assisted by Messrs. Taft and Mulligan, and a score 
of other sculptors who have labored co-operatively and 
enthusiastically for the success of the work. The placing 
of the groups was in direct charge of Mr. Jensen and Mr. 
David Hunter, the sculptor. 
The vast size and the serene dignity of the two works 
flanking the bandstand, make them particularly appropri- 
ate for this important monumental position. The Wash- 
ington is a distinctly original conception of the Spirit of 
Washington, modeled with the broad, sweeping lines and 
subordination of detail to mass effect that are characteris- 
“THE BLIND.” 
Lorado Taft, Sc, 
“THE STILL HUNT. 
Edward Kemeys, Sc. 
effects, and both divisions have been planned with a dis- 
criminating eye to the landscape setting of the individual 
works and to the effect of the display as a whole. 
The formal division centers about the handsome water 
court that extends across Madison street for about a block 
and forms an axis at right angles with the flower garden. 
The court is in two parts, each including a large rec- 
tangular fountain basin appropriately bordered with floral 
planting, walks and turf, and screened by shrubbery from 
the surrounding landscape. At one end of this court is a 
monumental vista formed by the band stand, a substantial 
circular stone structure, and the view at the other end is 
closed by a handsome new boat house, the other side of 
which overlooks the park lake. The monumental effect 
tic of Mr. Taft’s best work. The heavy military coat falls 
in one simple fold, draping and relieving the figure. The 
great conventionalized sword on which the hands lightly 
rest, is roughly outlined and no insistent details are al- 
lowed to detract from the interest in the rapt, upturned 
face. 
In Mr. Mulligan’s two groups the sculptor has har- 
monized the architectural requirements of rigidity of line 
and stability of mass with more of real artistic expression 
than is commonly found in architectural groups. They 
are modeled largely, with an eye to the final material, 
Bedford stone, and grouped to give good side views from 
their final position, at the sides of the entrance to the new 
Supreme Court building. These two groups were given 
