H ouse and Garden 
By Robt. B. Bringhurst 
THE THREAD OF FATE 
For the Palace oJ~ Education 
portraying pioneer and frontier life by Solon 
H. Borglum, whose predilection for such 
subjects is unconquerable. Frederick Rem¬ 
ington has also attempted the sculptural 
treatment of some of the strenuous cow- 
punchers, whom he delights to sketch in 
black and white. Cyrus E. Dallin, whose 
“Medicine Man ” is now to be seen in Fair- 
mount Park, Philadelphia, is also represented 
by several distinctly Western figures. But by 
far the most ambitious of the groups in this 
class is a monument by Adolph A. Wein- 
mann, called “The Destiny of the Red Man,” 
in which the proud and free spirit of the race 
and the presentiment of extinction, are graph¬ 
ically set forth to the eye and mind. It is 
a finely imagined group, conceived in admi¬ 
ration and sorrow for the aboriginal people 
whom the advance of civilization has relent¬ 
lessly driven from their rightful domain. 
The duty of supervising and directing the 
department of sculpture was assigned to Karl 
Bitter, who held a similar position at the 
Pan-American Exposition. With him, as an 
advisory board, were associated Augustus 
Saint Gaudens, J. Q. A. Ward and Daniel 
Chester French. About one hundred 
American sculptors have assisted in 
the mere decoration ot the buildings 
and grounds, for the art exhibits 
proper bear no relation to the work ot 
Mr. Bitter’s department. Roughly 
speaking, there are about three hun¬ 
dred and fifty groups, including mon¬ 
uments, fountains and single figures. 
The sketch models for the sculpture 
to be made of staff were sent to Mr. 
Bitter’s headquarters at Weehawken, 
N. J., where an old roundhouse was 
converted into a workshop. The 
actual enlargement was done mechan¬ 
ically by a “ pointograph,” which is a 
device operated on the same principle 
as the pantograph used by artists in 
enlarging drawings. The first frame 
or skeleton is built by a carpenter, 
who is guided in his measurements 
by the needle of the pointing machine. 
Over this framework ot wood is put 
a covering of burlap, wire and excel¬ 
sior mixed with plaster of Paris. Then 
for the first time the figure begins to 
take on some sort of resemblance to 
its final form, but all the while the pointing 
machine is kept in operation, marking the 
By Cyrus E. Dallin THE PROTEST OF THE SIOUX 
