Henry Moore’s The Archer (1964-5) arose out of Viljo Revell’s respect for and growing friendship with the English sculptor (then nearly at the height of his reputation). The idea that Moore might create something with this site in mind was necessarily an informal suggestion because the architect was in no position to commission a work in the months before he died. (Revell was to complain that ‘it was…strange that the architect was invited to be a member of the art committee,’ in a letter to Eric Arthur, its ubiquitous chairman, maintaining that in his experience ‘the architect acted as architect, in other words as preparer of the matters, presenting them and making proposals; and the committee would act as the client.’) In any case, the work proceeded, and purchase of a cast for $120,000 was recommended. But, worried about expensive frills, Council refused to authorize it. This touched off a controversy, ultimately resolved through a public subscription fund launched by Mayor Philip Givens. The Archer does more than grace Civic Square; from the day the sculpture took its place there (the unveiling was held on October 27, 1966), it appeared to focus the Square and the Hall, although far off the centre of either. Like its namesake, The Archer gives the appearance of a strong body responding, of equipoise and grace. It seems capable of action—and of evoking reaction—in any of several directions. Indeed, it seems not so much to respond to the curving planes of the building beyond and above it as to have called them into play—like trajectories charted and given substantial form.