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.