park and cem et er} 
159 
ing over his shoulder for an arrow 
from his quiver. The “Old World” 
is represented by the figure of a patri- 
archal Caucasian of heroic mold and 
thoughtful mien. 
The globe at the top of the shaft 
remarkable and s characteristic art of 
Saint-Gaudens, with decorative effects 
in lettered inscriptions and with the 
harp and other symbols of Ireland. 
The picture illustrated herewith shows 
the monument at the moment of un- 
translated, 'May God prosper Ireland 
for her people.’ ” 
This is high praise for the work 
from a source not naturally friendly 
either to the object of the monument 
or the cause he represented. In ad- 
THE SPRING: MARBLE BUBBLE FOUNTAIN GR OUP FOR CHICAGO ART INSTITUTE. 
Agnes V. Fi’omen, Sc. 
is intended to suggest the influence of 
Columbus on the growth of popular 
knowledge of the shape of the earth. 
It is supported by four American 
eagles, which stand at the corners of 
the top of the shaft, with wings par- 
tially extended. The rear of the shaft 
carries a medallion representing Ferdi- 
nand and Isabella of Spain, and the 
group of figures is completed by r two 
enormous lions, which occupy the 
ends of the balustrade, running from 
the center to the sides of the fountain. 
The entire work is cut from Georgia 
marble, and J. C. Robinson & Son, of 
New York, were the contractors. 
The great Parnell monument, re- 
cently unveiled in Dublin, was one of 
the last and one of the greatest monu- 
mental works of the late Augustus 
Saint-Gaudens, and embodies one of 
his finest portrait sculptures in the 
figure of the great Irish leader stand- 
ing in front of a great triangular col- 
umn of Irish marble, adorned in the 
veiling, and shows the memorial clear- 
ly enough to bring out the magnifi- 
cent character of Saint-Gaudens’ work 
on the statue. The figure of Parnell, 
representing him loosely dressed, is 
thoroughly characteristic. 
The occasion of the unveiling was 
made an opportunity for a great con- 
course of sympathizers with Parnell 
and his movement. Saint-Gaudens 
was born in Dublin in 1848. but was 
taken to the United State? in infancy. 
The London Sphere says of his 
work: “Saint-Gaudens was one of the 
greatest of modern sculptors and. 
quite apart from any controversial as- 
pect of the subject. Dublin is fortunate 
in adding one more to its artistic 
statues, wherein it is happier than 
London. The O’Connell monument 
and the statues of Burke and Gold- 
smith are all infinitely superior to any 
work that is contained in England’s 
capital. The lines in the Irish lan- 
guage on the monument may be 
dition to the Gaelic inscripton, the 
rext of which has been given, beside 
the harp on the triangular pyramid 
facing the O’Connell monument is a 
quotation from a speech of Parnell 
made in Cork in 1885. It reads: “No 
man has a right to fix the boundary 
to the march of a nation. No man 
has a right to say to his country', 
'thus far shalt thou go and no fur- 
ther.’ We have never attempted to 
fix the ne plus ultra to the progress 
of Ireland’s nationhood, and we never 
shall.” 
Munich, the leading art center of 
Germany, has many fine works of pub- 
lic sculpture in the form of monu- 
ments and fountains, and one of the 
most interesting is the “Nornen- 
Brunnen,” shown in the illustration on 
next page. As may been in the picture, 
it is a particularly ingenious combina- 
tion of artistic forms and fine archi- 
tectural lines with the practical re- 
quirements of the utilitarian uses of 
