Art-Lovers guide to the Exposition | Page 6

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 of the cloister. Though not entirely in key with the color scheme and not an integral part of the court as a whole, these are distinctly the works of a master. Ultra-learned critics will tell you that they fail as decorations, since they are interesting as individual pictures rather than as panels heightening the architectural charm. But their placing shows clearly that there was no intention that they should appear as part of the architectural scheme. It is better to accept them as pictures, forgetting the set standards by which one