H ouse and Garden 
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By Andrew O' Connor INSPIRATION For the Art Palace 
and is none the less successful for the difference in treat¬ 
ment. Over the arch of the entrance is another group, 
“Apollo and the Muses,” by Philip Martiny, in his 
habitual confident and direct manner. The colonnaded 
walls flanking the entrance contribute greatly to the 
richness of the effect at close quarters. 
The low crescent-shaped Colonnade of States, drawing 
away from its base in long curves to the east and west, 
relieves what might be considered the over-weighting of 
the Hall of Festivals, if the massive rotunda were viewed 
by itself. Its lightness and length perfectly balance the 
great elevation of the ponderous dome and the massive 
body of the substructure. In the shelter of the semi¬ 
circular portico at regular intervals are seated female fig¬ 
ures, typifying the fourteen States and Territories created 
out of the French territory. The difficulty of giving 
variety and distinctiveness to so many similar subjects 
where the conditions were so rigid has been effectively 
overcome by assigning no more than one statue to a 
single artist. It would be the part of rashness to dis¬ 
criminate where local sympathies count for so much. 
One may be pardoned, however, for noting the incon¬ 
gruity of employing types of different ages to represent 
two States admitted to the Union on the same date. It 
is understood that several, if not 
all, of these fourteen figures are 
eventually to be done in marble 
for the decoration of the Capitols 
of the various States represented. 
A graceful figure of “ Victory,” 
by Enid Yandell, surmounts each 
of the pavilions terminating the 
Colonnade of States. 
Of the half a million dollars set 
aside for sculpture at the fair the 
sum of one hundred thousand 
dollars was expressly reserved for 
permanent works in marble, stone 
and bronze for theCentral Pavilion 
of the Palace of Art. With the 
other three temporary pavilions, 
By Karl Bitter PEACE 
A figure for the Louisiana Purchase Monument 
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