Art-Lovers guide to the Exposition | Page 6

be
seen of Destiny, the force with which the allegorical story begins and ends.
To "read" the fountain in proper sequence, one must start with the west face of the
secondary group. This represents The Beginning of Things. The arm of Destiny is calling
forth life and points the way to the earth. The three women figures next to the hand show
the gradual awakening from Oblivion. The adjoining two figures represent the kiss of life
or of love, and the woman is holding forth to the earth the children created of that love.
The entire group on this west face, considered in relation to the main composition, may
be taken as representing the peopling of the earth.
There is now a gap which one must pass over, to reach the South panel of the central
composition. This gap represents the lost period of time between the peopling of the earth
and the beginning of history.
The South panel of the main structure has as its central figure Vanity with her hand-glass.
Whether the artist intended it as a pessimistic commentary on all human life, or not, his
series of episodes on earth begins and ends with the figure of Vanity. Reading to the left
on this same panel one sees a man and a woman starting the journey of life on earth,
apparently with suffering but certainly with courage perhaps for the sake of the children
they carry.
The West panel now shows the first of three incidents or problems of life on earth. This is
entitled Natural Selection. Two women turn to one man who is clearly superior to the two
men they are leaving. The two who have been spurned as mates cling to the hands of the
women even while they are turning away.
The North panel represents The Survival of the Fittest. Two men are in combat, the
woman at the left evidently to be the prize of the victor. At the other side a woman tries
to draw away one of the combatants. The sculptor has given this group a second title,
"The Awakening of the War Spirit," which is equally applicable.
The East panel is entitled The Lesson of Life. A young man and a young woman turn to
each other through natural impulse, while an older woman with the experience of life

attempts to counsel them. On the other side an old man restrains an impetuous youth who
evidently would fight for the girl.
Turning the corner now to the South panel again, there are two figures representing Lust
trying to embrace a reluctant woman. Then one comes to Vanity once more, and the story
of life on earth is done. Again there is a gap, and the scene leaves the earth for the
unknown world after physical death.
The East face of the minor group first shows the figure of Greed, with his worldly goods
now turned literally to a ball of clay in his hands, gazing back at earth in puzzlement. The
next two figures show Faith offering the hope of immortality (as symbolized in the scarab)
as consolation to a sorrowing woman. Finally there are two figures sinking back into
Oblivion, drawn by the hand of Destiny. Thus the cycle from Oblivion through life and
back to Oblivion is completed.
In the same basin, at the far south end, is a figure of The Setting Sun. This was part of the
artist's conception of the Fountain of Earth, the relation to the main group being found in
the supposition that the earth is a mass thrown off by the sun. Thus is emphasized the
idea that the earth and life on earth are but a very small part of the wider unknown
universe and life.
At the four corners of the main composition of the fountain, separating the four panels,
are Hermae, terminal pillars such as the Greeks and Romans were fond of, decorated with
the head of Hermes, god of boundaries.
Having worked out the story, it is well to go back to appreciate the purely aesthetic
qualities of the fountain. Note especially the feeling of strength in the figures, the firm
modeling, and the fine way in which the figures are grouped. The composition of the
west face of the minor monument is especially fine, and the very graceful lines here make
an intimate appeal that is not evident in some of the other groups. The whole monument
is austere and strongly compelling rather than intimately charming. If it is the first duty of
art to make people think, this is the most successful bit of sculpture on the grounds.
Mural Paintings
The mural paintings in, the Court of Abundance consist of eight panels by Frank
Brangwyn, perhaps the greatest living mural decorator, placed in the four corners