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WHITNEY.                       -9-


impressive array of figures, which one critic, in an appreciative article, described as not having "yielded to the temptation to beautify, nor yet to sentimentalize."  Her war subjects include "The Doughboy," a panel for the Victory Arch in New York City; a public monument, "The Spirit of the Red Cross," in Washington, D.C. (a replica of which is to be placed in the Musee de l'Armée, in Paris); "His Bunkie," a two figure piece expressive of the brotherhood born of strife; "Blinded," a staggering soldier, sightless, suggesstive of the ecstasy of sacrifice; "Chateau Thierry," a single figure that in its resolute lines carries the power which made that conflict everlastingly memorable; "Home Again," the meeting of soldier and beloved; "Orders," a solidarity soldier reading a document that represents the call of duty at the front; "Honorably discharged," a crippled soldier limping on a crutch; "The Engineer;" "The Aviator;" and"Private of the Fifteenth," the last named, a colored soldier in full equipment at salute.  Richard Fletcher, the noted art critic of the "London Graphic," says in part,