NORTH SHORE BREEZE and Reminder 
August 20, 1915. 
Naumkeag Steam Cotton Mills. : ; 
built a boarding house for its employes, with dining 
rooms, laundry and steam heating plant. A $200,000 
Masonic temple is also under construction on one of the 
niain streets, and an up-to-date business block has been 
erected on Washington street with two large garages on 
the adjoining streets. Stores and offices are being oc- 
cupied as fast as they near completion,—the new and up- 
to-date features being great drawing cards. 
Salem as a municipality is hard at work, relaying 
streets, puting a new water system into effect, so that 
never again will the city, in an emergency, fail in its water 
supply. A swimming pool and park are laid out in South 
Salem and a fine new school is rising in the same section 
of the city. A more efficient fire fighting force is being 
trained and modern apparatus is taking the place of the 
ancient pieces. 
Although historic Salem at first draws the hundreds 
of visitors, their attention is soon drawn to the inspiring 
new Salem, which is rising day after day, a splendid 
monument to the courage and enthusiam of her citizens. 
Motherhood and Childhood in Sculpture 
EVER before has motherhood and 
childhood been so explicably mani- 
fested in varied expressions as in the 
work of the modern American school 
of modelers in clay, marble and bronze. 
While over one-half the civilized 
world is bemoaning the loss of life, 
the American woman sculptor 1s 
causing the other half to rejoice over 
the renewal of life—as she creates 
motherhood and childhood in sculp- 
ture. 
With such notable sculptors as 
Anna Coleman Ladd: of Boston and 
Manchester in the fore they are 
bringing woman, in her supreme 
glory as a mother, and children in 
their finer state as potential world- 
makers, to the attention of the knowl- 
edge-seeking, leisure-loving and pleas- 
ure-craving populace. 
How the American woman sculp- 
tor sees American motherhood and 
childhood is strikingly exemplified at the Panama-Pacific 
Exposition, Not one building has omitted either in its archi- 
tectural adornment or its interior equipment an oppor- 
tunity for the sculptor to present some fitting reminder 
of woman and the part she must play in order that the 
work of earth must go on. 
By the time the exposition is over, a large part of 
peaceful civilization will have visited San Francisco and 
carried away with it a greater enthusiasm for woman's 
j 
Mrs. Ladd’s “Triton Babies.’ 
work in the world as a result of hav- 
ing viewed through the sculptor’s 
eyes the tribute that women have 
paid to the mother of the race and to 
the little child who is father or 
mother of the man or woman. 
Anna Coleman Ladd, the Boston 
sculptor, has in a remarkable manner 
modeled in bronze the very essence 
of childhood. Her contribution is 
that of the “Triton Babies,” a foun- 
tain of small bronze full of the spirit 
of play and the beauty of child-life. 
They depict childhood at its sweetest 
and the woman in Anna -Coleman 
Ladd has portrayed in their faces ex- 
pression that creates in the heart of 
all normal woman the desire to pos- 
sess just such dear, playful babies as 
their own, 
Ok OK OK ok ok 
As a final triumph the Pioneer Wo- 
men of California have erected a 
magnificent bronze statue, the work of Charles Grafly, 
who summers at Lanesville, in front of the Palace of 
Fine Arts at the entrance of the Palace of Sculpture. 
It represents the pioneer mother and her little son 
and daughter, standing strong and powerful with face 
turned toward the West. After the exposition this statue 
will be placed in a prominent place in San Francisco's 
civic center, which at present is undergoing construc- 
tion. 
