The Sculpture of the Louisiana Purchase Exposition 
surface so that the growing figure shall re¬ 
main an inch or so under the final size. The 
finished shape is indicated first by nails 
driven into the body of the figure to fix 
the exact level or curve of the surface, d'he 
figure is then built up to the desired form 
by the application of more plaster of Paris. 
The rough form may be cut or hacked to 
make the necessary corrections, for the use 
of burlap and excelsior obviates the possi¬ 
bility of brittleness. The last touches, how¬ 
ever, are put on by the sculptors, of whom 
Mr. Bitter had a score of assistants, and 
with the second coat of plaster and the sur¬ 
facing the figure is finished. Necessarily, 
many of the groups were so large that they 
had to be built in sections and subsequently 
put together. 
In the main, the sculptural decorations 
of the Louisiana Purchase Exposition are 
the work of the younger generation of 
American artists. There is nothing from 
LIGHT AND DARKNESS 
By Bela Pratt For the Electrical Building 
the hand of the 
great Saint Gaudens. 
J. Q, A. Ward has 
served only in an 
advisory capacity. 
Mr. French, to be 
sure, is represented, 
but he has essayed 
nothing approach¬ 
ing in im p o r t a n c e 
or significance his 
colossal figure of 
the “ Republic ” at 
the Columbian Ex¬ 
position. In the 
way of fountains, ex¬ 
cluding the Cascades, 
which must be 
considered as an 
architectural and 
sculptural unit, the 
showing, it must be 
confessed, is some¬ 
what meager. There 
is nothing in any 
way comparable with 
the Columbian fountain, better known 
as the MacMonnies fountain, of the 
World’s Fair at Chicago. Yet when all is 
said, measured as a whole, the sculpture 
at St. Louis marks a very decided advance 
over that at Chicago, in uniformity of ex¬ 
cellence, in wealth and variety of detail, in 
the disposition and execution of the mani¬ 
fold features of the general scheme, and 
especially in historical intent and suggestive¬ 
ness. Mr. Bitter very modestly says that 
“ as a whole it will not only be a credit 
to the profession of sculptors, but it gives 
great encouragement as to the future of 
this art in America. ” The case may well 
be stated more strongly, without danger of 
exaggeration. What has been accomplished 
at St. Louis is the best testimony that, after 
a century of territorial and industrial develop¬ 
ment unparalleled in the history of the world, 
sculpture has become with us a vital and 
national art, expressive in external form and 
inmost meaning of the soil and age and 
cou ntry. 
VICTORY 
By Enid Vandell 
