Victory

Louis Ulrich, Sculptor

Against the blue sky, with wings poised and draperies blown back, appears a Victory from every gable point of the palaces of the Exposition.  She is positively charming in her sweep forward.  Poised far above you, she holds the laurel wreath ready for the victor.  Blessed Victories!  We rejoice that there are so many of you for we have found so many victors.  Sideview, against the clear blue sky, she suggests the great victory of Samothrace.  Mr. Ulrich, we feel sure that the Lady Samothrace has exerted her subtle influence.

The Priestess of Culture

Herbert Adams, Sculptor

There are few sculptors with greater refinement or more cultured reserve than Herbert Adams.  He understands the selection of the significant and in many ways seems most fitting to represent the Priestess of Culture.  This figure at the base of the dome of the rotunda of the Fine Arts Palace, on the inside, is eight times repeated.  Simple, dignified, beautifully balanced, with elegance expressed in every line of her garment with its rich border sparingly used, she holds in either arm an overflowing cornucopia, the symbol of what she is able to give you.

The Adventurous Bowman

Herman A. MacNeil, Sculptor

At the top of the Column of Progress where the sea-wind blows thru his locks, stands the Adventurous Bowman, the symbol of achievement.  At the base of the column are seen figures representing the progress of men thru life.  We watch them file past, but it is with this man of splendid daring, of consummate achievement, that we are most concerned.  He has striven and has reached the top.  He has only just pulled the chord of his bow, and his arrow has sped on.  With confident eye he looks to see it hit the mark.  The laurel wreath and palm of victory await his efforts.

Pan

Sherry Fry, Sculptor

You cannot look upon this little figure without feeling that he is inimitably charming.  Pan, a god of the woodland, the symbol of the festive side of the Exposition, sits among the shrubs in front of Festival Hall.  He has selected a marble capital on which to sit — quick reminder of those classic days when he roamed the Greek glades.  Over the cold seat he has spread his fawn-skin.  He has just been moving his lips over the pan-pipes, but a rustle among the leaves has caused him to pause in his melody.  In the grass he sees a lizard which is as intent on Pan as Pan is on him.  Care-free Pan with pointed ear and horned brow, we love thee, for dost thou not give us all our jollity and fun, the tonic for our daily walks!

Air

Robert Ingersoll Aitken, Sculptor