and of many of the household inventions been fully enjoyed up to this time.  The question involves much of the scientific success of the future along both physical, mental, moral, and educational lines, and, judging by the past, we feel assured that many brilliant achievements will owe their origin and accomplishment to women.

There was naturally nothing lacking in the merits of the installation of any exhibit presented by women, nor in the taste manifested in the placing of the same.  The women’s college booths were always effectively arranged and sometimes made up for the lack of range of exhibit by unusual artistic grouping and tasteful placing of the displays.

Several times I have referred to the progress in art displayed by woman at St. Louis.  This was evidenced not only in the magnificent specimens of her brush and chisel in the Fine Arts Museum in both the home and foreign art schools, but in the prolific efforts of her skill in outside exposition sculpture, where woman’s work, side by side with man’s, was pointed to with exultation as one of the greatest triumphs of the twentieth century exposition.  We all recall how many of the most notable pieces of statuary crowning the various great palaces were the work of divinely endowed women.  Such was the superb “Victory,” surmounting Festival Hall, the conception of Mrs. Evylyn B. Longman, while the spirit of “Missouri,” which winged its flight from the summit of the great Missouri Building, was executed by Miss Carrie Wood, of St. Louis.  To Miss Grace Lincoln Temple, the beautiful decorations of the interior of the United States Government Building were due.  The two “Victory” statues on the Grand Basin and the Daniel Boone statue were executed by Miss Enid Yandell, by birth a Kentuckian, but now of New York.  The statues of James Monroe, James Madison, George Rogers Clark, on Art Hill, were, respectively, done by Julia M. Bracken, Chicago; Janet Scudder, Terre Haute, and Elsie Ward, Denver.  The reclining figures over the central door of the Liberal Arts Building were by Edith B. Stephens, of New York, and the east and north spandrels of the Machinery Building were done by Melva Beatrice Wilson, New York.

Glancing at the portrait painting of Cecelia Beaux, the work of Mary MacMonnies, of Margaret Fuller, of Mrs. Kenyon Cox, and of Kate Carr, of Tennessee; of Virginia Demont-Breton, of France:  of Lady Tadema and Henrietta Rae, of Great Britain, we feel, as well as see, the exalted place woman’s genius has given her in the art world of to-day.  While in science we point with gratification not only to Madame Currie, but to the astronomical work of Miss Whitney, of Vassar; of Miss Agnes Clerke, of Cambridge, England, and of Dorothea Klumpke, born in San Francisco, but connected with the Paris Observatory and one of the foremost astronomers of France.  In archaeological works Miss Elizabeth Stokes, of Alexandra College, Dublin; in research