.129 
PARK AND 
CEMETERY. 
the medal of honor by the Chicago Society of Artists at 
the winter exhibition at the Art Institute, the highest 
honor awarded at the annual exhibits. 
In the perennial border of the flower garden, crossing 
the water court near these groups, a number of life size 
single figures- and groups of a pastoral character find 
congenial setting. Here is Mr. Leonard Crunelle’s “Fish- 
er Boy” fountain figure, a sturdy youth, beautifully mod- 
eled and happily posed, tugging at a net from which is 
flipping a fish of unmanageable size. • Opposite is a 
companion piece by the same sculptor, a girl of the same 
bronze group, “America,” which also includes a buffalo, 
with a pioneer and spirits attending the personification of 
America. 
Ranged regularly about the larger basin in the water 
court, are a series of symbolic groups about one-third life 
size that were architectural adornments to the Chicago 
exposition. While these lose something of their signifi- 
cance apart from the buildings whose exhibits they were 
designed to suggest, they serve a good decorative pur- 
pose, and are in keeping with the formal character of the 
DETAILS OP THE “SPIRIT OP THE MINES”; SEE COVER ILLUSTRATION. 
Charles J. Mullig-an, Sc. 
natural and delicately rendered type as the other, and char- 
acteristic of the happily wrought children’s figures which 
Mr. Crunelle has made his chief work. These with two 
others, are to be executed in bronze as a commission from 
the West Park Board,' and will stand permanently at the 
corners of the fountain basin in Humboldt Park. 
“Grief,” by Miss Nellie Walker, a life sized relief of a 
female figure, bowed in despair, rests on the turf in front 
of some drooping shrubbery. “At the Sign of the Spade,” 
modeled by Miss Laura Kratz, depicts an old gardener, 
clad, in one long peasant’s garment, bent over with his 
spade almost in the ground. 
Mr. Lorado Taft’s two groups, “Pastoral” and “Idyl,” 
in the center of the garden, facing the basin, are grace- 
fully posed and well modeled. They speak naturally the 
spirit and sentiment of the garden. 
At two of the garden entrances several beautiful termi- 
nal figures have been utilized in a suggestive manner as 
posts, showing by example how the ordinary posts and 
pillars may be made works of art. Two of these. 
“Autumn” and “Winter,” were modeled by Miss Clyde G. 
Chandler, and the other, a girlish figure holding doves 
and grapes, by Mr. Crunelle. Mr. Taft’s bust of Long- 
fellow, David Hunter’s bust of a child, and Mr. Crunelle’s 
kneeling maiden, also find place in the garden border. 
Edward Kemeys’ heroic buffaloes, from the World’s 
Fair, stand guard, one at either side of the west entrance 
to the garden. Facing them across the drive, is the heroic 
court. These groups are: War, Industry, Peace, Com- 
merce and Religion, by Karl Bitter, Glorification of Dis- 
covery by Bela L. Pratt, and Ceres, by Philip Martiny. 
At the ends of the water court, against the abutments 
of the boat house which forms the monumental closure 
to the view at this end, are two very decorative high 
reliefs, “Water Controlled,” and “Air Uncontrolled,” by 
Karl Bitter that lend character to the plain walls of the 
building. 
The most important and impressive part of the exhibit, 
however, was the informal division, comprised in the 
groups that were placed in the park landscape along the 
drives that curve around the water court and garden on 
three sides. While the decoration of formal plazas and 
gardens is not an unknown art, the placing of works that 
carry in themselves a message apart from their decorative 
character, so that they shall be in harmony with nature 
and the outdoor spirit of the parks, is the distinctively 
new idea of this exhibit. 
The first glimpse of this part of the show comes to the 
visitor from the city, in the view of a most remarkable 
Rodinesque sculptural conception, “The Spirit of the 
Mines,” which stands at the juncture of two of the main 
drives in the center of the roadway, where it is installed 
over the drinking fountain for horses. It is a rarely poetic, 
daring and imaginative idea, worked out by iMr. Charles 
J. Mulligan of the Art Institute, and executed by the stu- 
dents in his advanced class in sculpture. The inspiration 
