The Jewel City

of Flower

ar Walter-Borglum's fine group, "The Pioneer"-The Court of Palms is Grecian in feeling-"The End of the Tr

Court of Palms. (See p. 85, 88, 93.) Both courts were designed by George W. Kelham. Each is a pleasant and colorful bay of sunshine facing southward between two graceful towers. One is bright with level fields of flower

e Court of Palms Grecian, though Grecian with an exuberance scarcely Athenian. Perhaps there is something Sicilian in the

yet curiously informal. Its paired Corinthian columns, its conventional lions by the porches and its flower girls around the balcony, its lamp standards and

reas of the court in the Exposition's opening weeks were solid fields of daffodils, thick as growing wheat, with here and there a blood-red poppy, set to accent the yellow gold of the mass. Other flowers have now r

to have crickets and cicadas in it, to rasp away as the warm afternoons turn int

eauty clad in a summer hat and nothing else, the Beast clothed in ugliness. (p. 100.) Never mind the story. This is Beauty, and Beauty needs no story. Four airy pipers, suggestive at least of the song of the cicada on long, hot afternoons, support the f

efficient type of frontiersmen who, scarcely civilized, yet found civilization always dogging their footsteps as they moved through the wilderness and crossed the deserts. He is, indeed, the forerunner of civilization, sent forward to break

full of color and gladness. It has the same harmonious perfection, but it is more formal. Its sunken garden is bordered with a conventional balustrade and grass slopes, with marble seats by the paths. There is no fountain, only a long pool in the sunken area, and a separate rai

se two courts were planned as the homes of the fairy tales, one of Oriental, the other of Occidental lore. Many beautiful things were designed for them. The attic of the Court of Flowers, which was intended as the place of

entablature and the arches. Horned and winged female caryatids mark off the entablature into garlanded panels. All the three ar

astride his exhausted cayuse, expresses the hopelessness of the Red Man's battle against civilization. (p. 86.) There is more significance and

s," by Childe Hassam. It is a triumph of straight line applied to the female form. Over the door of the Palace of Liberal Arts is "The Pursuit of Pleasure," ascribed to Charles Holloway. The figures are gracefully drawn, the coloring flowery. There is better quality in Arthur F. Mathews' "Triumph of Culture," over the entrance to the Court of Seasons. In color and force this comes nearer to the sp