PARK AND CEMETERY. 
147 
any business pertaining to the ordinary- 
affairs of the association which all the 
members could transact, unless the By- 
Laws require a certain number to be pres- 
ent at a meeting, in which case a less num- 
ber is merely entitled to adjourn the meet- 
ing until a quorum can be obtained. An 
improvement of the kind you mention can 
certainly be authorized at an annual meeting, 
especially- when proper notice concerning 
the time and place of the same has been 
duly given ; and it is equally clear that a 
majority at such a meeting may authorize 
the trustees to carry out the plans adopted 
at the meeting, but the trustees should act 
strictly- within the authority given them at 
such meeting. A. L. H. Street, 
Attorney-at-Law. 
THE EXPOSITION SCULPTURE 
FOUNTAIN OF CERES, SAN FRANCISCO EXPOSITION. 
Evelyn B. Longman, Sc. 
FOUNTAINS IN 
Probably- the most interesting and in- ■ 
structive lessons in monumental sculp- 
ture of the San Francisco exposition are 
found in the exhuberance, originality, 
and monumental effects of the fountains 
that form the most interesting feature 
of the exposition sculpture. 
One of the most striking groups on 
the grounds is A. Stirling Calder’s 
"Fountain of Energy-.” This fountain, 
with its whimsies of strange fish and 
mermen and mermaids playing about a 
globe on which is perched the rider 
"Energy, the Victor,” celebrating his tri- 
umph over the Isthmian Way, is finely 
expressive of the very spirit of the ex- 
position. It denotes the joy of purpose 
and the joy of accomplishment and is 
spirited and exuberant in the extreme. 
It is also light and fanciful and the 
product of a creative and not an imita- 
tive art, with those little winged figures 
springing from the rider's shoulders and 
blowing a fanfare of triumph about his 
head. In its lightness and fancifulness 
this fountain is quite in key with the 
structures in the South Gardens, the 
truly festal Festival Hall, the happy Pal- 
POrNTAIN OF ENERGY. 
A. Stirling Calder, Sc. 
Tower of Jewels in Background. 
ace of Horticulture, and those bijou 
twins, the Press Building and the Y. W. 
C. A. 
The sculpture (apart from that in the 
informal garden surrounding the Palace 
of Fine Arts), was all intended as part 
of the decorative scheme of the exposi- 
tion. Famous sculptors were commis- 
sioned to prepare models upon certain 
themes. It was the task of A. Stirling 
Calder, acting chief of sculpture, to di- 
rect a number of other sculptors in the 
work of enlarging from the models. All 
of the sculpture of the exposition proper 
was reproduced in the imitation lami- 
nated travertine used for the exposition 
facades, with the result that not only the 
closely applied decoration and the fig- 
ures in niches, but the figures and 
groups that stand somewhat apart, blend 
with the buildings and courts and seem 
a part of them. As the size of all the 
sculpture was determined by the posi- 
tion it was to occupy, there again is 
harmony of proportion with the whole. 
Whatever criticism there may be of in- 
dividual works, the effect of the whole, 
is certainly felicitous. 
The much-lauded Tower of Jewels, 
with John Flanagan’s Soldier, Priest, 
Adventurer and Philosopher, repeated on 
each of its four sides, with its great 
mass of richly sculptured decoration, 
with its 125,000 jewels hung pendulously, 
and with its armored horsemen, by F. 
M. L. Tonetti, offers one of the most 
elaborate settings for sculptural foun- 
tains. 
Coming under the great arcade of the 
Tower of Jewels, we perceive passage- 
ways pierced through its arched walls to 
right and left, and to either side hear the 
music of a fountain. In the vista to the 
right is the sweet, docile maiden, the 
very personification of youth. The prim 
primroses under her feet, those two old 
people holding up their hands to support 
her, and those mural surfaces in bas re- 
lief on either side of the pedestal, where 
wistful old people sit in boats gazing 
with yearning eyes towards the human 
symbol of their lost youth, combine to 
make up this Fountain of Youth, by 
Edith Woodman Burroughs. 
The Fountain of El Dorado, by Mrs. 
Harry Payne Whitney, may seem to 
sound too keenly the note of regret. 
Those two stern, immovable figures, 
holding close the portals of the golden 
land of imagination, towards which mor- 
tals from either side strain, speak of 
hopelessness. But if the fountain speaks 
