he distinguished architects, Messrs. McKim, Mead and White - which proves conclusively to me that those who are most versed in the various forms of antique arts are also those who are most capable of accepting the application of new motifs when sufficiently proven, and of quickly assimilating genuine contributions to the growth of progressive art. By so doing they lend to them all that wealth of refined elegance that has come down through the ages. This acceptance in itself is fraught with much encouragement to the growing school of public sculpture that aims to understand the principles of co-operation and to weld them to an ideal.
The above is true also of the Column of Progress, which was again made possible by the instant comprehension of the architect, Mr. W. Symmes Richardson. The Column illustrates a new use for an ancient motif. A type of monument which while distinctly architectural in mass has been humanized by the use of sculpture embodying a modern poetic idea. Now, Mr. Critic, it does not matt