The Court of Ages was designed by Louis Christian Mullgardt of San Francisco. Of all the Exposition courts it is the most original and imaginative in conception, the most complete in its organic, structural unity, the richest in ornament, in poetic suggestion, in the depth and dramatic appeal of its symbolism.
The Court suggests many architectural periods and types, yet eludes classification under any one of them. The Gothic clearly predominates, with traces of English, Spanish, and Portuguese elements. With further hint of Romanesque, of Moorish and of French influence, these varying elements have been so fused in the imagination of the architect that the resultant creation is independent of all of them in its daring, yet restrained, originality. In the magnificent square tower at the center of its northern end, all the beauty and spiritual import of the Court culminate. Its aspiring length of line, unbroken from base to summit, faces poise and uplift, the broad, plain surfaces give nobility and strength and the exquisite richness and delicacy of the ornament give lightness and grace, while the sculpture blends and crowns the deep pervading symbolism of the Court.
-Maud Wotring Raymond
Court of Ages
The Fountain of Earth
While it is possible to find keen enjoyment in the Court of Ages for its delicate beauty and exquisite refinement alone, even the slightest study of its architectural and sculptural detail reveals a depth of underlying purpose and meaning that invites further analysis. The architect calls it "an historical expression of the successive ages of the world's growth." He suggests four stages: the nebulous world, symbolized by the central fountain, in which Robert Aitken of San Francisco has worked out a stupendous study of primeval passions. Out of chaos, come the elemental forces, Water, Land and Light. The braziers and cauldrons symbolize Fire. The two sentinel columns, flanking the tower on either side, are Earth and Air. The eight paintings, by Frank Brangwyn of London, in the corridors in great richness of color depict Earth, Air, Fire and Water. Thus the first state is indicated.
The second stage is symbolized by the decorative motifs employed on the arcade surrounding the court, where on piers, arches, reeds and columns, in marvelously wrought sculptural ornament, is shown the transition from plant to animal life through kelp, crab, lobster and other sea animals and shell motifs.
—M. W. R.
Court of Ages
The Garden of Hyacinths
Following the symbolism of the Court of Ages through the first nebulous period of the world's growth, through the second, which shows the transition in successive forms of sea-plant life, the third period is reached where are illustrated the earliest forms of human, animal, reptile and bird life prevailing in the stone age. This age is indicated, in the court, by the prehistoric figure surmounting the piers of the arcade and by the first sculptured group over the entrance to the tower. The repeated arcade figures, which were designed by Albert Weinert, represent alternately Primitive Man and Primitive Woman.
The perfection of the landscape planting and the skill with which it subtly accentuates the meaning of architecture and sculpture are worthy of study. In the background, close against the piers of the arcade, tall, slender Italian cypresses emphasize their rhythmic length of line. Amid a growth of tropical luxuriance stand glossy-leafed orange trees laden with fragrant blossoms and golden fruit. Balled acacias in formal rows outline the paths, while a succession of plantings has given a varying color scheme and a new perfume to each season.