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Seated Lincoln, by Augustus St. Gaudens. South of Lagoon Kirkpatrick Monument, by Gail Sherman Corbett, Indian pointing out spring to Jesuit priest. American Bisons, by A. P. Proctor. Peace, by Sherry E. Fry. Diana, by Haig Patigian. Fountain: Wind and Spray, by Anna Coleman Ladd. The Scout, by Cyrus E. Dallin. Sea Lions, by Frederick G. R. Roth. Court of Palms
The sculpture, like the building, is Roman rather than Greek in type and modern American in vigor and expression, as are the chief contents of the Palace. The sculptor, Haig Patigian of San Francisco, has expressed this combination with power and virility.
Corinthian columns at sides of portals; eagles at corners of capitals, at top, symbolize inspiration. Frieze around drums at base of columns "Genii of Machinery," by Haig Patigian; eyes closed, signifying Power of the spirit, or blind fate. "Steam Power," with lever. "Invention," carrying figure with flying wings, suggesting quickness of mind. "Imagination, eyes closed.
These relief designs are the work of Haig Patigian of San Francisco. This great archway is one of the most interesting achievements, from an architectural standpoint, to be found at the Exposition. The space covered is large, yet so cleverly handled that no bareness is suggested.
Although the work here is all concrete, Clarence Ward, the architect, says that with care, it could last hundreds of years." Now we were struck by those vigorous-looking figures, by Haig Patigian, that stood on top of the Sienna columns all evidently designed to express the power of machinery.
But they are not at all polished or subtle, lacking the refinement that would make them interesting as something besides vigorous types. All four figures are by Haig Patigian. They are repeated in different order on columns before the north and south portals of the building. The bas-relief friezes about the bases of the vestibule columns are also by Haig Patigian.
The Maiden goddess of the Hunt bears in her hand the crescent bow, its lines here strongly suggestive of those of the young moon, of which it is the symbol and this goddess the deity. Mr. Patigian exhibits in the Colonnade a companion piece, "Apollo, the Sun God," twin brother of Diana. A vivid figure of manly grace, Apollo is presented in the guise of the sun of the morning.
"The Miner," in niches of gateway, by Albert Weinert of New York. Small portals Italian, fine color effect; lattice-work, orange, blue, light green'. Sculpture on Machinery Palace, by Haig Patigian, of San Francisco. Large columns in front and in vestibule of half dome, imitation Sienna marble. Small portals, orange columns at sides, pink niche, blue dome, orange above dome; pleasing tone,
Mural sculpture, like mural painting, must never be allowed to "make a hole" in the wall. Notice how fully the figures cover the given space, without any background to draw the eye beyond the surface. These spandrels are also by Haig Patigian. The column reliefs and the spandrels are repeated at the minor doorways of the building.
Urns, on the wall on either side of the doorways and in the rotunda, designed by William G. Merchant. Suggested by urns in the Vatican, Rome. Maiden of the Roman Campagna, by Albin Polasek. A Fawn's Toilet, by Attilio Piccirilli. Apollo, by Haig Patigian. The Scalp, by Edward Berge. Primitive Man, by Olga Popoff Muller. Youth, by Victor D. Salvatore. Soldier of Marathon, by Paul Noquet.
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