The Jewel City

rt of t

led "The Court

Ages"-Mullgardt interprets his architectural masterpiece-Brangwyn's splendid murals, "Earth," "Ai

der its arcades and walk out into a region of the Sun, warm, bright, dazzling. The architect, Louis Christian Mullgardt, has caught the feeling of the South,-not the rank, jungle South of the tropics; nor the mild, rich South of our own Gulf states; but the hard, brilliant, arid South

mong the orange trees, of the wars and the hot passions of the desert. It might be a court in Seville

and it is the more interesting, as it is the more original, for that. Except for the central fountain, which, fine though it is as a sculptured story, is out of harmony with the filigreed arcades around it, all the sculpture in the court is, in feeling, an intimate part o

spirit of the Exposition. They called it the "Court of Abundance." In spite of the name, however, it is not the Court of Abundance. Mullgardt's title

on the gable above the arch, rude of face and form, with beasts low in the scale, are the people of the Stone Age. Above them is a mediaeval group, the Crusader, the Priest, the Peasant Soldier armed with a cross-bow, with similar figures on the side altars. Enthroned over all, with a crown on her brow, is Modern Civilization, expressed

ble cascade which was to have swept down to the court from the Altar of the Ages on the tower. The cascade was not built, much to the benefit of the beauty of the c

appily expressed that they are an intimate part of the arcade on which they stand. They seem almost to have grown from their supports. These figures alone, unless we add the florid

ificance as a whole is best explained by the architect himsel

n), and Land (the fountain), and Light (the Sun, supported by Helios, and the electroliers). The braziers and cauldrons symbolize Fire. The two sentinel columns to the right and left of the tower symbolize Earth and

tive motifs of the transition of plant to animal life in the forms of tortoise and other shell motifs;-kelp and its analogy to the prehistoric lobster, skate, cr

arcade, also the first group over the tower entrance, show earliest forms

standing. 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

ed in any of the Exposition structures, and surely entitling the

ce. It is unfortunate that these pictures, far and away the best in the decoration of the Exposition, have been hidden in the corners of a court. The canvases are bold, free, vast as the elements they picture. They need space. When they were unpacked and hung on the walls of Machiner

the earth with color. Their rich reds, purples, yellows, browns, greens and indigoes are the hues of autumn skies, the falling leaves of hardwoods, the dense foliage of pines, colors of the harvest, of frui

in the splendid spaces of Brangwyn's pictures. The forest vistas are illimitable;

the vast space of sky over the orchard, the best sky in all the eight paintings. The colors are those of the rich fruits, the autumn flowers, and the garish costumes of Brangwyn's peasantry. The companion picture rep

clouds and a glowing rainbow. The slope is covered with heavy-headed grain, and stained with vivid flowers, all bending before the swift currents

ds on the brink of a deep valley. Great white birds are winging outward through the tops of the trees. The dista

te and yellow iris. The men seem to stand on an island or a peninsula, for behind them, beyond tall trees

tall white water birds and flowers growing thick among the sedges. There are the

he colors burn in dying leaves, in the sky, in fruit and grapes. A man is bringing a burden of fagots. Men of bovine anatomy crouch before the fire, their backs arched, their cheeks bulging, as they blow i

Industrial Fire in the last of the pictures. There is the same motif of cold

ngs are rich to the point of opulence. There is an enormous depth in them. The figures are full-rounded. The fruits, flowers and grain hang

s on which it may be necessary to realize. But if the company finds itself financially able, it should see to it that the paintings remain in San Francisco as the property of the city. Like the g

o art a great service in San Francisco. Our cities, unlike those of Europe and of South Americ

ward facade of the palace group stands a massive female figure, Modern Time Listening to the Story of the Ages. Bey

but wholly realistic. Only at night, when, through clouds of rising steam, the globe of the Earth glows red like a world in the making, and from the forked tongues of the climbing serpents flames pour out on the altars set around the pool,-only then does the foun