In recent years the most important work o: an historical nature, whether in painting or sculpture, has been done upon commission in the decoration of public buildings like some those mentioned. Thus, instead of isolated works there result mural paintings in logical series, in panels or other architectural features of the edifice, or reliefs and tablets or sculpture in the round, all having an artistic and histori cal relation, often portraying episodes in the development of nation or commonwealth, like the work of Miss Violet Oakley and George Grey Barnard for the Pennsylvania State mt. itol. Often it is difficult to draw lines between work that is mainly decorative and that which is primarily historical. In general historical art has a decorative motive. This is especially true in the case of exposition sculpture, of which much that was worthy of preservation has been done. This applies to such achieve ments as Solon Borglum's picturesque figure of "The American Pioneer* for the recent Panama-Pacific Exposition at San Francisco; to Cyrus E. Dallin s splendid Indian types in sculpture, some originally executed for exposi tion adornment; to Albert Weinert's "Primi tive Man* and MacNeil's 'Adventurous Bow man,* at the San Francisco Exposition, and works there by Calder and Aitken, and others. At several of the expositions notable attention has been given in the decorative sculpture to the portrayal of the American Indian and such work has much historical value. H. K. Bush Brown's superb model of the "Buffalo Hunt,' representing an Indian on horseback attacking a buffalo, was accorded the place of honor at the Jamestown Exposition. Dallin, whose fame
rests largely on his depiction of Indian sub jects, has contributed much work of the kind to expositions and this has resulted in com missions for permanent groups like his 'The Appeal to the Great Spirit* in Boston, and "The Signal of Peace? Chicago. Edwin Wil lard Deming is also a valuable contributor to such records of the Red Man, and though his art has been applied mainly in the direction of painting, it includes some interesting Indian sculpture. Some of the most striking of Mac Neil's early successes were his 'The Sun Vow' 'The Last Act of the Moqui Snake Dance' and °Welcoming the White Man's a group for the city park of Portland, Ore., commemorating the arrival of the white men of the Lewis and Clark expedition on the shores of the Pacific 'here are Indian figures also in Mr. MacNeil's !lief s for the Marquette Building, Chicago, howing scenes in the life of the hero-priest, 'ather Marquette. Frederic Remington's cow oy types are graphic portrayals of a pictur sque period now vanishing, like that of the ndian, one of them being his °Cow Boy° in 'hiladelphia, while cowboys, Indians and pio leers have been the themes inspiring Solon 3orglum's most original work, work that is ypically American. In all such art there is tistorical as well as decorative motive and the nfluence that flows from it is educational and ?atriotic, even though it is imparted without the onscious effort of the beholder and the artis ic emotion seems to be the predominating one. lee SCULPTURE IN THE UNITED STATES.