I he Sculpture of the Louisiana Purchase Exposition 
somewhat higher level, is the Palace of Art, 
of which the main body, of gray limestone, is 
a permanent structure. In front, there is a 
drop of ninety feet from the brow of the hill 
to the Grand Basin, into which pour the three 
Cascades, from the center and sides, in abrupt 
streams converging at the lower level. Across 
the Grand Basin towers the Louisiana Pur¬ 
chase Monument, commemorative of the 
acquisition of the French province by the 
United States. 
First interest attaches to the Hall of Fes¬ 
tivals and the related structures because of 
their prominence. Cass Gilbert, the archi¬ 
tect of both the Hall of Festivals and the 
Palace of Art, had to solve the problem of 
making the former the keynote of a short¬ 
lived exposition without marring the value 
of the permanent Palace of Art placed so 
close behind it. He has brought the Hall 
of P'estivals as near to the edge of the hill 
as possible, so that when it is removed the 
Palace of Art will succeed to its conspicuous 
location. Even as it is, although the huge 
dome overshadows everything in its vicinity, 
By Charles Grajly 
I RUTH p' or the Art Palace 
NAPOLEON 
the low colonnades flank¬ 
ing the Hall of Festivals 
allow a partial view r of the 
Palace of Art. 
Necessarily the sculp¬ 
tural figures and decora¬ 
tions ornamenting the Hall 
of Festivals also serve a 
temporary purpose. For 
the most part they are 
placed in and about the 
deeply recessed entrance, 
where they proclaim the 
character and uses of the 
building. The action in 
“The Dance” by Michel 
Tonetti is fairly riotous, 
but the figures are so finely 
modeled and so eloquent 
of the joy of rhythmic 
motion that they almost 
prohibit the wish that a 
quieter tone had been taken 
by the artist. The counter 
piece, “ Music, ” by Au¬ 
gustus Lukeman, shows 
more restraint and poise 
By Daniel Chester French 
