PARK AND CEMETERY. 
291 
these groups the lesson of the appropri- 
ateness of these figures for their situa- 
tions was directly learned from the 
exhibit, and they have been placed in 
proper relation to the landscape and 
their surroundings. 
low-spreading pedestal has been given 
an interesting rough honed finish that 
harmonizes admirably with the sculp- 
tured group. 
The Rose Garden and Perennial Gar- 
den in this park constitute one of the 
of tall trees that blend admirably with 
the tall figure on the pedestal. In this 
statue Mr. Mulligan has wrought one of 
the most intimate and human of our 
Lincolns. The stiff, frock-coated Lin- 
colns that dot the country give strong 
FOUR CHILDREN'S FIGURES AT CORNERS OF ROSE GARDEN FOUNTAIN IN HUMBOLDT PARK. 
Leonard Crunelle, Sc. 
.How much better they fit their situa- 
tions and harmonize with the character 
of the park than some of the older con- 
ventional equestrian and portrait figures 
is proven by the greater interest they 
attract from the visitors than do the 
older and less fortunately placed statues. 
The entrance to Humboldt park at 
California avenue and Division street 
was recently remodeled, to admit a wide 
drive between an impressive design of 
monumental posts and pergolas. The 
drive divides immediately inside the en- 
trance, and between the two branches is 
set Mr. Mulligan’s “Miner and Child,” 
or “The Miner’s Home Coming,” as is 
suggested by the simple inscription 
“Home” on the pedestal. This is one 
of the most popular groups ever placed 
in the Chicago parks in its appeal to 
plain people that frequent this park. 
The strong realism of this homely senti- 
ment, expressed in the figure of the 
miner returning from work, stooping to 
embrace his little daughter, makes a uni- 
versal appeal. The group and pedestal 
are both executed in Georgia marble, 
a favorite material with Mr. Mulligan, 
who is one of the few sculptors who 
do their own carving. It is admirably 
adapted to the rendering of the broad 
monumental effects of sculpture, and the 
most beautiful and artistic gardens to 
be found anywhere in the country, and 
in the four children’s figures modeled by 
Leonard Crunelle, that stand at the cor- 
ners of the fountain basin in the Rose 
Garden, are four of the happiest play- 
figures ever modeled for a playground. 
Here is the “Fisher Boy” fountain fig- 
ure, a sturdy youth, beautifully modeled 
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 
natural and delicately rendered type as 
the other, and characteristic of the hap- 
pily wrought children’s figures which 
Mr. Crunelle has made his chief work. 
She holds the graceful folds of her 
drapery about her, and is accompanied 
by a goose that flaps at her feet. An- 
other boy figure is emerging from the 
rushes as a turtle escapes from under 
his foot. The other girl figure is accom- 
panied by a stork, and is just as grace- 
fully posed. 
In Garfield park the statue of “Lin- 
coln, the Rail Splitter,” a replica of the 
statue at Lincoln, 111., by Charles J. 
Mulligan, stands on a simple pedestal 
of Berlin Rhyolite, on a grass plat near 
Madison street, with a fine background 
evidence of the struggle between art and 
portraiture and here finally is a happy 
compromise, a truthful portrait of the 
man at the most picturesque point in his 
career, and an equally successful ideal- 
ized type of pioneer. The sculptor has 
found in this figure a rare opportunity 
to fuse his portrait studies of Lincoln 
into one of the sterling types of Ameri- 
can labor which have been among his 
most distinctive work. The rail splitter 
stands beside the stump of a felled tree, 
pausing from his labor without dropping 
his axe. Clad only in coarse shirt and 
trousers, every bone and angle of the 
sinewy frame speaks of toil, the rough 
lines of the body contrasting strongly 
with the animated, commanding face. 
In this park are also placed two beau- 
tiful, ideal groups by Lorado Taft, 
“Pastoral” and “Idyl,” that have been 
executed in Italian marble and placed in- 
side the entrance to the great conserva- 
tories, where they stand on either side 
of a small pool in the Fern House. The 
grace of line and sentimental suggestion 
of these two appealing groups make 
them particularly in harmony with the 
spirit of the flowers that surround them 
here in the largest park greenhouses in 
the country. 
