Alex. Stirling Calder 
and outer court of the college dormitory. 
Surmounting the fountain proper are two 
seated figures denoting the two types of 
college life—the student, in cap and gown, 
resting his hand on the stalwart shoulder of 
the hero of the gridiron, who, for all Kipling’s 
abuse of him as a “muddied oaf,” would 
stand the better chance of a summacum , if 
it were left to the decision of his college 
mates. The face of the bronze base is 
broken by a whimsical head, from whose 
gaping mouth spouts 
the water; at the four 
lower corners are 
griffins’ heads. A 
fanciful detail is the 
pair of drinking cups, 
which,when reversed, 
have tor handles the 
doubled figure of an 
acrobat “turning a 
crab.” It is to be 
regretted that circum¬ 
stances did not per¬ 
mit the figures to be 
cast on a larger scale. 
In that case, how¬ 
ever,another site must 
have been found for 
the fountain, which 
agai n would have 
been an advantage, 
as the light is bad in 
its present location. 
Another bit of Mr. 
Calder’s to be seen 
on the Universitv 
grounds is the shield 
bearing the inscrip¬ 
tion over the entrance 
of the Free Museum 
of Science and Art. 
More pretentious, but severely tree of orna¬ 
ment, is the competitive sketch model tor a 
bronze statue of Matthias W. Baldwin, founder 
of the Baldwin Locomotive Works. The 
appointed site for the monument is the nar¬ 
row park on Spring Garden Street, in Phila¬ 
delphia, close by the Baldwin plant. “ This 
model,” as described by Mr. Calder to the 
committee of judges, “ represents a stand¬ 
ing statue of Baldwin, clothed as a gentle¬ 
man of his day, wearing his habitual frock 
coat, unaffectedly standing without effort of 
any kind, yet with an evident reserve force 
strongly suggested. No attempt has been 
made to introduce extenuating toys, as 
spectacles, gloves, hat or other haberdashery, 
as it is the author’s opinion that the figure 
needs no excuse for so standing, mellowed 
and dignified, with all his works in sub¬ 
jection to his mental poise. 
“ The entablature of the square ped¬ 
estal is supported by four crouching cary¬ 
atides at the four cor¬ 
ners, making a sort of 
frieze about the ped¬ 
estal. These caryat¬ 
ides, or Genii, each 
bearing a symbol, 
which are thus sup¬ 
porting the statue, 
represent, beginning 
with that to the left 
of front: The ‘Genius 
of Labor,’ a male 
figure, with hammer 
and chisel; ‘ Genius 
of Motive Power,’ 
male figure, bound, 
with a wheel; ‘ Genius 
of Invention,’ male 
figure, with a lamp, 
searching; ‘ Genius of 
Charity,’ female fig¬ 
ure, pouring forth the 
fruits of labor. On 
the lower plinth, on 
the four sides making 
the circuit, the inscrip¬ 
tion, ‘ Matthias W. 
Baldwin, Citizen, 
Christian, Philan¬ 
thropist, Engineer.’ 
“ The entire ped¬ 
estal, including caryatides in rugged relief, 
would be in granite or bluestone ; the statue 
itself is of bronze. 
“Thus are the four Genii—Labor, Power, 
Invention and Charity—made to support the 
statue of the noble old man, who was at once 
Christian, Citizen, Philanthropist and En¬ 
gineer. The projections from the sides of 
the shaft of the pedestal correspond to such 
forms found on ancient terminals; and while 
as well a decorative feature, are intended to 
THE MINER 
A Sketch for a Heroic Architectural Statue 
