The Court of the Universe is not Oriental, the Court of the Ages is. Not in architecture, but in feeling, in the atmosphere with which the architect has invested it, this court brings to mind those brilliant lands of the Mediterranean touched by the East through the Moors. You pass under 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 of the desert. This court expresses Arizona, New Mexico, Spain, Algiers,—lands of the Sun. The very flowers of its first gardens were desert blooms, brilliant in hue, on leafless stalks. There are orange trees, but they, also, are trees of the Sun, smooth of leaf, to retain moisture.
It is a court, too, of romance. It might be a garden of Allah, with a plaintive Arab flute singing, among the orange trees, of the wars and the hot passions of the desert. It might be a court in Seville or Granada, with guitars tinkling and lace gleaming among the cool arcades. It is a place for dreams.
The architecture has been called Spanish Gothic, but, according to the architect, it "has not been accredited to any established style." We may well be content to call it simply Mullgardt. The court is an artist's dream, rather than a formal study in historic architecture; 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 of the romantic architecture. This portion of the art of the court is best considered as decoration, finding its justification in the beauty it imparts to the whole. It has genuine meaning, but what that is remains inscrutable so long as the court is called that of Abundance.
Mullgardt called his creation the "Court of the Ages." He was overruled because the officials deemed the name not in accord with the contemporaneous 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 gives a key to the cipher of the statues. Read by it, the groups on the altar of the Tower become three successive Ages of Civilization. (See p. 70.)
Tower of the Ages.—This is the most admired of all the Exposition towers, and with reason. The originality, strength and beauty of its design set it above anything else of the sort yet seen in America; and the symbolism of its sculptures, which are the work of Chester Beach, is of almost equal interest with the tower itself. At the base, 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 as Intelligence. At her feet are two children, one with an open book, symbolizing Learning; the other, a boy with a part of a machine, representing Industry. The supporting figures on the sides are the Man and Woman of the Present, sprung from the earlier types. The delicate finials rising from the summit of the tower express Aspiration.
The two shafts at the head of the court, each surmounted by a huntress with bended bow, symbolize Earth and Air. Originally they were intended as finials to the double 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 court, but the ornaments were suffered to remain. The giddy females who support each shaft are sufficiently romantic to be in keeping with the decoration of the court.
The three figures repeated around the top of the arcade are of a hunter dragging a deer, a woman with her offspring on her shoulder, and a primitive man feeding a pelican, all so happily 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 ladies of the ornamental shafts, with the rich filigree of the arcades and the tower, are all that express in any way the idea of Abundance carried in the present name of the court.
Mullgardt conceived this court as a sermon in stone. Its significance as a whole is best explained by the architect himself. He interprets the court as rising in four horizontal strata:
"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 passions. 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 two sentinel columns to the right and left of the tower symbolize Earth and Air. The eight paintings of 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 piers, arches, reeds and columns bear legendary decorative 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, 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.