437 
PARK AND CEMETERY. 
■•THANATOS,” SURMOUNTING HUF.BARD MEMORIAL. 
KARL BITTER, SC. 
in this country, and the society is to be greatly con- 
gratulated on this result. 
For the first time has the background been adequate 
to relieve the larger groups and single figures, so that 
they could stand out independently and almost as if in 
their intended sites. The contrast between the round- 
ed yet rigid forms of stone, of bronze, and the masses 
of blossoms and foliage plants, with their depths of 
color, swaying stalks and leaning heads, is as suitable 
as possible. 
Indeed, such surroundings and accessories are the 
fitting and historic ones for sculpture. The images of 
the gods used to be set in groves and those of nymphs 
and fauns, of Pans and satyrs, were appropriate in the 
gardens and about the fountains that decorated them. 
So our own ideas of parks and especially of ceme- 
teries, run to the floral side, softening even the sever- 
est memorials with their touch of brightness and 
color. 
In all, sixty-five artists were represented by i86 ex- 
VILLARD MEMORIAL. KARL BITTER, SC 
orial,” “Architectural Group” and the bronze foun- 
tain figure, “Boy with Goose,” made for Biltmore. 
The “Thanatos” of Bitter is a most inspiring study 
of a draped and seated figure, suave in sweep, sooth- 
National Sculpture Society ExHibit 
The recent exhibition of the National Sculpture So- 
ciety, in connection wdth the New York Florists’ Club, 
w'as one of the most important that has ever been held 
amples — not all new, for a large proportion of them 
have been before seen in exhibition or in full size — 
like some of the group and single pieces from the Pan- 
American. Nearly all the noted names in American 
sculpture, that belong to the present of the art, were 
represented ; and beside, others who for one or an- 
ocher reason have not chosen to identify themselves 
with the various schools or associations ; a gratifying 
eclecticism for many reasons. 
Dominating the display, by virtue of size and posi- 
tion, rose the noble equestrian Washington, of French 
and Potter, the full-size model of the original in the 
Tuilleries Garden, Paris. 
Without any deprecation of the other work shown, 
it must be said that the strongest impression of power 
and vigor of conception, of restrained force and virile 
imagination, was given by two men of quite different 
tvjie — Bitter and Barnard, each represented by four 
examples ; Barnard by two pieces of heroic size — the 
bronze “God Pan” and the marble “Hewer,” and two 
life size marbles, “Boy,” and “Female Figure;” Bitter 
bv three plaster models — “Thanatos,” “Villard Mem- 
