BRONZE OF SPRINGER 
185 
head of a vast irrigation enterprise — verily he must ever stand foremost 
among those who are entitled to be numbered among the builders of this 
State. 
Other felicitous remarks were made by Senator A. A. Jones, 
and Signor Cartaino Scarpitta, sculptor. 
At the conclusion of the addresses Homer Grunn, of Los An¬ 
geles, composer and pianist, rendered with exquisite feeling three 
of his themes, that stand among the most pleasing and beautiful 
modern compositions based on Pueblo melody and rhythm. 
Following Mr. Grunn’s numbers Mr. Springer, who had not 
been present during the exercises, was escorted into the auditorium 
by Mrs. Laughlin and Mrs. Hewett, representing the Woman’s 
Museum Board, and was given a warm and generous ovation, the 
audience rising and remaining standing while he responded briefly, 
first in a lighter vein, to mask his evident emotion, and then grave¬ 
ly, voicing his real feeling in a single touching sentence. 
Mr. Springer said: 
My friends, I did not come here to make a speech, but I am here in 
obedience to the command of my superior authorities, representatives 
of the women of Santa Fe, to whose example and encouragement is 
due a large part of what the men have been able to accomplish for the 
betterment of this community. When I was summoned to appear at 
this stage of the proceedings, I knew, of course, that the summons 
came from the hearts of the friends whose infinite kindness and cour¬ 
tesy have been so often manifested, the recollection of which makes 
this beautiful place seem even more beautiful. But I thought that it 
might also be intended to give to those in attendance here an oppor¬ 
tunity to judge of the merit of the work which they have been invited 
to view by a direct comparison with the original. On that point I 
think there can be but one opinion. Looking at such an example of the 
sculptor’s art, one is inclined to marvel at his power to create out of 
inanimate materials so faithful a delineation of the human features; 
but come to think of it, it isn’t so very wonderful after all; it is really 
quite simple; all the sculptor has to do is to procure a supply of the 
proper kind of clay, and then put it in the right place. This disclosure 
of the mystery is not original with me, but probably has done duty 
ever since studios were invented. I cribbed it from a painter, who told 
an inquisitive visitor seeking to learn the secret of his canvasses that 
it was easy, all that was necessary being two things: first, to select the 
proper colors; that was very important, he said; and then — put them 
in the right place. So it is with one of Fritz Kreisler’s masterpieces: 
simple enough, just pressing the proper string, and drawing the bow 
the right way. 
