"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 Period.
"The fourth stratum, the second group in the altar tower, symbolizes human struggle for emancipation from ignorance and superstition, 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 enclosure 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."
This, then, is the lesson, the deepest and most spiritual attempted in any of the Exposition structures, and surely entitling the court to be called, as its creator wished, the Court of the Ages.
Brangwyn's Murals.—The mural paintings by Frank Brangwyn in the four corners of the arcades are rich, glorious in color, freighted with the opulence of the harvest, but they symbolize the four primeval elements— Earth, Air, Fire and Water. Their themes have nothing to do with Abundance. 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 Machinery Hall, they were far more effective. Here they are cramped by their close quarters, and easily overlooked. People are not going in to see them as they should, and so are missing one of the chief joys of the Exposition,—the masterpieces of one of the world's greatest living painters.
These representations of the four elements glow and burn with the vivid hues of nature. All of the pictures have a setting of autumn,, that season of the year when nature puts on her dying hues, and floods 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 fruit and grapes, of flowers, and of deep waters. The men and women in them are primeval, too, of Mediterranean type, and garbed in the barbaric colors in which Southern folk express the warmth of their natures.
Free and vivid as is their color, the breadth of primeval liberty is not less seen in the splendid spaces of Brangwyn's pictures. The forest vistas are illimitable; the air has the freedom of the Golden Age; the skies stretch out and up to heaven.
Each set of two pictures represents one of the elements. The first of the Earth pictures in the northwest corner of the corridor is a harvest of orchard fruits, products of earth. Tall cypresses on the right enhance 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 represents a vintage, with great purple grapes hanging among the bronzing leaves on a trellis, and yellow pumpkins and flowers underfoot. The color is in these, and in the same Southern costumes seen in the first picture.
The first of the Air pictures is as easy to read as the second is difficult. (p. 74.) In it a huge windmill stands on a height against rain-laden clouds and a glowing rainbow. The slope is covered with heavy-headed grain, and stained with vivid flowers, all bending before the swift currents of air. Laborers, men and women, hurry homeward before the wind, from their task of winnowing grain. Boys flying their kites complete the symbolism.
In the companion picture a group of archers are loosing their arrows between the boles of tall, straight hardwoods on the brink of a deep valley. Great white birds are winging outward through the tops of the trees. The distance in the sky beyond is wonderful. The color is of the gorgeous autumn leaves of hardwoods and of rich flowers.
In one of the Water pictures fishermen are drawing a net from a lake suggested by a fringe of purple, white and yellow iris. The men seem to stand on an island or a peninsula, for behind them, beyond tall trees, is a deep indigo lake. Great pregnant clouds float in the sky, and the picture glows with autumn colors.