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〃They don't understand the conditions that the architects had to meet。 That plan was considered； but when it was pointed out that the strongest winds here blow from the south and southwest； it was seen that it would not be feasible。 Besides； the present arrangement has the advantage of leading the people directly to one of the most beautiful bays in the world。 The only bays at all like it that I know anything about are the Bay of Palermo and the Bay of Naples。 The view of the Exposition from the water is wonderfully fine。 It brings out the charm of the straight lines。 All things considered； the architects did an uncommonly fine job in making the courts run from the Esplanade。〃
Under the star figures； among the sculptured flowers' surrounding the head of the sacred bull； birds were nestling。 We wondered if those birds were really fooled by those flowers or whether； in these niches； they merely found a comfortable place to rest。 〃There's an intimate relation； by the way； between birds and architecture。 It's said that the first architectural work done in the world consisted in the making of a bird's nest。 Some critics think that architecture had its start in the making of a bird's nest。 Have you ever watched birds at work on their nests？ If you have； you must know that they go about the job like artists。 In our profession we like to insist； you know； that there's a big difference between architecture and mere building。 In its truest sense architecture is building with a fine motive。 It's the artistic printing press of all ages； the noblest of the fine arts and the finest of the useful arts。 I know； of course；〃 the architect went on； 〃that there's another tradition not quite so flattering。 It makes the architect merely the worker in the rough； with the artistic finish left to the sculptors。 But the outline is nevertheless the architect's； the structure； which is the basis of beauty。 Even now a good many of the great French buildings are roughed out in this way； and finished by the sculptors and the decorators。〃
Under the western arch； leading to the inner court that united the Court of the Universe with the Court of the Four Seasons； we found the two panels by Frank Vincent Du Mond。 Their simple story they told plainly enough； the departure of the pioneers from the Atlantic border for the Far West on the Pacific。 In the panel to the right we saw the older generation saying farewell to the younger； and on the other side we saw the travelers arriving in California and finding a royal welcome from the Westerners in a scene of typical abundance； even the California bear showing himself in amiable mood。 〃That bear bothered Du Mond a good deal。 He wasn't used to painting bears。 It isn't nearly as life…like as those human figures。〃
What I liked best about the murals was their splendor of coloring； and their pictorial suggestiveness and vigor of characterization。 Perhaps there was a little too much effort on the part of the painter to suggest animation。 But why； I asked； had Du Mond made most of the faces so distinctively Jewish？
My question was received with an exclamation of surprise。 Yes； the strong Jewish types of features were certainly repeated again and again。 Perhaps Du Mond happened to use Jewish models。 It hardly seemed possible that the effect could have been intentional。
When I pointed to one of the figures； a youth holding out a long bare arm； and remarked that I had never seen an arm of such length； my criticism brought out an unsuspected principle of art。 〃The Cubists would say that you were altogether too literal。 They are making us all understand that what art ought to do is to express not what we merely see with our eyes； but what we feel。 If by lengthening that arm； the painter gets an effect that he wants； he's justified in refusing to be bound by the mathematical facts of nature。 Art is not a matter of strict calculation； that is； art at its best and its purest。 It's a matter of spiritual perception。 All the resources of the artist ought to be bent toward expressing a spiritual idea and making it alive and beautiful through outline and color。〃
〃But how about the mixture of allegory and realism that we see in these murals and in so much of the art here？ Don't you find it disturbing？〃
〃Not at all。 There's no reason in the world why the allegorical and the real should not go together； provided； of course； they don't grossly conflict and become absurd。 What the artist is always working for is the effect of beauty。 If a picture is beautiful； no matter how the beauty is achieved； it deserves recognition as a work of art。 In these murals Du Mond has tried to reach as closely as he could to nature without being too literal and without sacrificing artistic effect。 He has even introduced among his figures some well…known Californians； a Bret Harte； in the gown of the scholar； and William Keith； carrying a portfolio to suggest his painting。〃
In that inner court we noticed how cleverly Faville had subordinated the architecture so that it should modestly connect the great central courts。 McLaren was keeping it glowing on either side with the most brilliant California flowers。 The ornamental columns； the Spanish doorways； and the great windows of simple and yet graceful design were all harmonious； and Guerin and Ryan had helped out with the coloring。
VIII
The Court of the Four Seasons
As we entered the Court of the Four Seasons the architect said： 〃If I were to send a student of architecture to this Exposition； I should advise him to spend most of his time here。 Of all the courts； it expresses for me the best architectural traditions。 Henry Bacon frankly took Hadrian's Villa for his model； and he succeeded in keeping every feature classic。 That half dome is an excellent example of a style cultivated by the Romans。 The four niches with the groups of the seasons； by Piccirilli； screened behind the double columns； come from a detail in the baths of Caracalla。 The Romans liked to glimpse scenes or statuary through columns。 Guerin has applied a rich coloring； his favorite pink； and McLaren has added a poetic touch by letting garlands of the African dew plant； that he made his hedge of； flow over from the top。 See how Bacon has used the bull's head between the flowers in the ornamentation； one of the most popular of the Renaissance motives。 And he has introduced an original detail by letting ears of corn hang from the top of the columns。 Those bulls up there； with the two figures； carry the mind back to the days when the Romans made a sacrifice of the sacred bull in the harvest festivals。 This Thanksgiving of theirs they called 'The Feast of the Sacrifice。' 〃
Crowning the half dome sat the lovely figure of Nature； laden with fruits； by Albert Jaegers。 On the columns at either side stood two other figures by Jaegers； 〃Rain；〃 holding out a shell to catch the drops； and 〃Sunshine；〃 with a palm branch close to her eyes。 At each base the figures of the harvesters carried out the agricultural idea with elemental simplicity in friezes that recalled the friezes on the Parthenon。 Here； on each side of the half…dome； we have a good example of the composite column； a combination of the Corinthian and the Ionic； with the Ionic scrolls and the acanthus underneath； and with little human figures between the two。
What we liked best about this court was its feeling of intimacy。 One could find refreshment here and rest。 Much was due to the graceful planting by John McLaren。 His masses of deep green around the emerald pool in the center were particularly successful。 He had used many kinds of trees； including the olive； the acacia； the eucalyptus； the cypress； and the English laurel。
We lingered in front of these fountains； admiring the classic grace of the groups and the play of water over the steps。 We thought that Piccirilli had been most successful with his 〃Spring。〃 〃Of course； it's very conventional work；〃 said the architect； 〃but the conventional has its place here。 It explains just why Milton Bancroft worked out those murals of his in this particular way。 He wanted to express the elemental attitude of mind toward nature； the artistic childhood of the race。〃
When we examined the figures of the Piccirilli groups in detail； we found that they possessed excellent qualities。 They carried on the traditions of the wall…fountains so popular in Rome and often associated with water running over steps。 The figures were well put together and the lines were good。 All of the groups had the surface as carefully worked out。 In 〃Spring〃 the line of festooning helped to carry on the line leading to the top of the group。 There was tender feeling and fine workmanship in 〃Summer；〃 with the feminine and masculine hands clearly differentiated。 〃The men of today have a chance to learn a good lesson from Rodin；〃 said the painter。 〃He is teaching them what he himself may have learned from the work of Donatello and Michael Angelo； the importance of surface accentuation； the securing of the light and shade that are just as necessary in modelling as in painting。 In these groups there is definite accentuation of the muscles。 It makes the figures seem life…like。 The work reminds me of the figure of The Outcast； by the sculpter's brother；