A joyous exuberance is the dominating quality; the tragic note, the eccentric, the pessimistic, is seldom the inspiration of their modeling. Instead, the outcome of woman's mental emancipation is expressed in figures dancing with joy in new-found freedom, piping in sheltered nooks of a shady garden, or, stretched in quiet contentment, musing with an unwonted seriousness. The subjects are nearly always of youth; they are creatures of joyous imagination and superb vitality. Women are growing out of their somewhat restricted preoccupation with sweet domestic cares, childhood and its innocent happenings, and are reaching forward to a different point of vision, from which they see that new worlds await them-worlds of exhilarating atmosphere, of beauty of a rarer order, and of a serenity that comes not from sheltered protection, but from a vigorous spirit that has dared venture forth into the unknown, and has conquered by its own strength.

The fountains of Janet Scudder have

become widely known. "The Little Lady of the Sea," purchased by Robert Huntington for his Pasadena estate, is a really delightful conception. It is a fountainfigure, standing with dripping seaweed held high above her head, reveling in the glistening water that streams upon her lithe body. So lovely is this little lady that Mr. Trask, the art director of the Panama-Pacific Exposition, requested the loan of it, together with a group of several others of Miss Scudder's fountainfigures and terra-cotta heads, to fill an entire room in the Fine Arts Building at San Francisco. Perhaps never before had the sculpture of one woman been accorded so much space in an exposition. It was an unusual honor, and came unsought.

Miss Scudder is an Indiana woman who, after receiving her preliminary training in this country, studied for several years in Paris under MacMonnies. She has been living in Ville-d'Avray, near Paris, where she has a studio. Out in the walled garden, in the brilliant sunlight,