The Court is an historical expression of the successive Ages of the World's growth. The Central Fountain symbolizes the nebulous world with its innate human pa.s.sions. Out of a chaotic condition came Water (the Basin) and Land (the Fountain) and Light (the Sun supported by Helios, and the Electroliers). The Braziers and Cauldrons symbolize Fire. The floor of the Court is covered with verdure, trees, flowers and fruits.

The two Sentinel Columns to the right and left of the Tower symbolize Earth and Air. The eight paintings in the four corners of the Ambulatory symbolize the elements of Earth, Air, Fire and Water. The Central Figure in the North Avenue symbolizes "Modern Time Listening to the Story of the Ages."

The decorative motifs employed on the surrounding Arcade are sea plant life and its animal evolution. The conventionalized backbone, the symbol for the vertebrates, is seen between the arches. The piers, arches, reeds and columns bear legendary decorative motifs of the transitional plant to animal life in the forms of tortoise and other sh.e.l.l motifs - kelp and its a.n.a.logy to prehistoric lobster, skate, crab and sea urchin.

The water-bubble motif is carried through all vertical members which symbolize the Crustacean Period, which is the second stratum of the Court.

The third stratum, the Prehistoric Figures, surmounting the piers of the Arcade, also the first group over the Tower Entrance, show earliest forms of human, animal, reptile and bird life, symbolizing the Stone Age.

The fourth stratum, the second group in the Altar Tower, symbolizes human struggle for emanc.i.p.ation from ignorance and superst.i.tion in which Religion and War are dominating factors. The kneeling figures on the side Altar are similarly expressive. The torches above these Mediaeval Groups symbolize the Dawn of Understanding. The Chanticleers on the finials surrounding the Court symbolize the Christian Era. The topmost figure of the Altar symbolizes Intelligence, "Peace on Earth, Good Will Towards All" - the symbols of Learning and Industry at her feet. The topmost figure surmounting the side Altar symbolizes Thought.

The Arched Opening forming the inclosure of the Altar contains alternating Masks expressing Intelligence and Ignorance in equal measure, symbolizing the Peoples of the World.

A gradual development to the higher forms of Plant Life is expressed upward in the Altar Tower, the conventionalized Lily Petal being the highest form.

L. C. Mullgardt.

Court of the Four Seasons

It will be noticed that this court is planted mainly with grey-green foliage, the banner poles being of the same color.

Flora

Olive trees.

Choisya ternata.

High-grade acacias.

Coprosma (from Chili - a shiny-leafed shrub on north front).

Eucalypti.

Cotoneaster bufolia (border).

English yews in couples of three groups.

Cypresses.

English laurel.

Architect - Henry Bacon of New York.

Architecture - Italian Renaissance.

There is a strong feeling of the architectural influence of Hadrian's Villa, near Rome, when the eye rests on the half dome and also on the treatment of the columns in front of the fountains of the seasons.

This is one of the chief beauty spots of the Exposition. A quiet, reposeful, happy place where birds have built their nests and where they sing their carols of spring.

As you pa.s.s into this court from the bay, or north side, your attention is drawn almost immediately to the bucrania, or bulls' heads, between festoons of flowers.

This is only a Renaissance motive, but the mind wanders back to the harvest festivals of olden days, when, after the great harvest procession was over, the bulls were sacrificed to the G.o.ds as a reward for the abundant harvest. The same idea is worked out in "The Feast of the Sacrifice," the magnificent bull groups atop the pylons (by Albert Jaegers), where youths and maidens lead the bulls in the harvest procession. Great garlands suggest the festivity.

The whole court is an expression of the abundance of the harvests - especially those of California.

Ceres, the G.o.ddess of agriculture, with her wreath of cereals and her corn sceptre, has just poised on the top of the lovely fountain (by Mrs.

Evelyn Longman), the die of which tells you by its cameo figures that this is the fountain of young, fresh, joyous nature. The graceful, happy creatures with garlands and fruits glide past you in song, shaking the tambourine or softly piping their roundelays.

Jolly satyrs, the happy creatures of the woodland, spout water into the basin below.

The Food Products Palace is on one side, the Agricultural Palace on the other, and the suggestions worked out in the corn of the Ionic capital, the cereal wreaths on the frieze, the sheaves of wheat, are most happy decorations for just this court.

Pa.s.s to the Pool beyond and stop to read the quotation. (from Spenser's "Faerie Queene") on the western gateway.

"So forth issew'd the seasons of the yeare First l.u.s.ty spring all dight in leaves and flowres Then came the jolly sommer being dight in a thin silken ca.s.sock coloured greene Then came the autumne all in yellow clad Lastly came winter, clothed all in frize Chattering his teeth, for cold that did him chill."

Facing the half dome, walk first to the second niche to the right of the colonnade to examine Furio Piccirilli's Seasons.

Spring - A pyramidal group with Spring with her flowers in the center of the group. To the right is modest, timid, fresh young Flora, bringing her wealth of flowers.

To the left, one sees man adoring, bringing to mind Tennyson's lines from Locksley Hall.

"In the spring a young man's fancies Lightly turn to thoughts of love."

Here is that fine feeling that one has in beautiful springtime - the adoration for all fresh young life. Look above now at Milton Bancroft's murals to left and right. He has painted all of the murals in this court.

"Spring" is here in floral dress and the shepherd pipes sweet notes.

"Seed-time" - This is the time when the seed bag stands open so that the crops for the coming year may be sown.

Marble group of Summer - Go to the left, along the corridor beyond the gateway, to the second niche - this group expresses fruition.

The mother brings to her husband the babe, the fruit of their love.

The laborer at the right brings in the first harvest.

Murals