This monument symbolizes the energy, the unconquerable spirit that is forever pressing forward to overcome new obstacles, which has led to the building of the Canal. The idea of such a monument was conceived by A. Stirling Calder, the architectural design is from the hand of W. Symmes Richardson, the reliefs at the base are by Isidore Konti, and the crowning statue is by Hermon A. MacNeil. The Column of Progress as a whole is among the finest artistic achievements of the Exposition, and more than any other, perhaps, is worthy of perpetuation in permanent materials to commemorate for all time the opening of the Panama Canal and the holding of the Exposition.

Reliefs at base. The high relief frieze on the square base of the column represents mankind heeding the call to achievement. On the south face are allegoric figures calling mankind to the struggle, the two women holding palm branches, the insignia of victory. On the other three faces are shown groups of figures striving forward at the call, pressing on to achievement, some joyously, some laboriously, some stopped altogether in thought. The whole frieze suggests the beginning of progress.

In the spiral that winds about the column certain interpreters have found a symbol of the upward march of human achievement; but as this spiral decoration is found on the Column of Trajan and the Column of Marcus Aurelius, the Roman prototypes of the Column of Progress, there probably is no special significance in its use here.

Supporting the crowning group is a drum with crouching figures of toilers in relief, entitled "The Burden Bearers."

The Adventurous Bowman is the title of the surmounting statue. The heroic Bowman, facing the skies and the seas, and launching his arrow into the unknown, is the symbol of the impulse that leads men to dare all to achieve victory. At the left of the central figure is a man of smaller stature, leaning against the Bowman to give him support. On the other side a woman crouches, looking up as the arrow speeds on its way. The ring-like object in the woman's hand, which is so hard to identify when one views the group from the ground, is a wreath.

There is about the Bowman a remarkable sense of movement, of energy, of pressing forward, no matter what the view point of the spectator. The monument should be seen from as far north as possible, near the corner of the California building, perhaps. From here, from the Esplanade as one approaches from either east or west, and from the Court of the Universe at the rear, the group has the same inspirational quality, the same sense of joyous effort, of courageous striving toward achievement. The placing of the monument where it closes three important vistas is commended for study to those who have in charge the artistic destinies of our cities.

Palace of Agriculture

The north facade of the Palace of Agriculture is bare except for the central portal, which again duplicates that of the Palace of Mines.