；　but　worked　out　with　splendid　vigor；　the　two　figures　under　earth　suggesting　the　competitive　struggle　of　men。　〃I　remember　Aitken　in　his　beginning　here　in　San　Francisco。　Though　he　often　did　poor　stuff；　everything　of　his　showed　artistic　courage　and　initiative。　Even　then　anyone　could　see　there　was　something　in　him。　Now　it's　coming　out　in　the　work　he　has　contributed　to　this　Exposition。　The　qualities　in　these　four　statues　we　shall　see　again　when　we　reach　the　fountain　that　Aitken　made　for　the　Court　of　Abundance。　They　are　individual　without　being　eccentric。　Compare　these　four　figures　with　the　groups　in　front　of　the　two　arches；　by　Paul　Manship；　another　American　sculptor　of　ability；　but　different　from　Aitken　in　his　devotion　to　the　early　Greek。　When　Manship　began　his　work　a　few　years　ago　he　was　influenced　by　Rodin。　Then　he　went　to　Rome　and　became　charmed　with　the　antique。　Now　he　follows　the　antique　method　altogether。　He　deliberately　conventionalizes。　And　yet　his　work　is　not　at　all　conventional。　He　manages　to　put　distinct　life　into　it。　These　two　groups；　the　'Dancing　Girls'　and　'Music；'　would　have　delighted　the　sculptors　of　the　classic　period。〃
  Under　the　Arch　of　the　Rising　Sun　two　delicate　murals　by　Edward　Simmons　charmed　us　by　their　grace；　their　lovely　coloring；　by　the　richness　of　their　fancy　and　by　the　extraordinary　fineness　of　their　workmanship。　〃There's　a　big　difference　of　opinion　about　those　canvases　as　murals。　But　there's　no　difference　of　opinion　in　regard　to　their　artistic　merit。　They　are　unquestionably　masterpieces。　Kelham　and　Guerin；　who　had　a　good　deal　to　do　with　putting　them　up　there；　believe　they　are　in　exactly　the　right　place。　But　a　good　many　others　think　they　are　almost　lost　in　all　this　heavy　architecture。　You　see；　Simmons　didn't　take　Guerin's　advice　as　to　a　subject。　Each　of　his　two　murals　has　a　meaning；　or　rather　a　good　many　meanings；　but　no　central　theme；　no　story　that　binds　the　figures　into　a　distinct　unity。　So；　from　the　point　of　view　of　the　public；　they　are　somewhat　puzzling。　People　look　up　there　and　wonder　what　those　figures　are　doing。　But　to　the　artist　they　find　their　justification　merely　in　being　what　they　are；　beautiful　in　outline　and　in　posture　and　coloring。　You　don't　often　get　such　atmosphere　in　mural　work；　or　such　subtlety　and　richness　of　feeling。〃
  Both　murals　unmistakably　showed　the　same　hand。　〃There's　not　another　man　in　the　country　who　could　do　work　of　just　that　kind。　That　group　in　the　center　of　the　mural　to　the　north　could　be　cut　out　and　made　into　a　picture　just　as　it　stands。　It　doesn't　help　much　to　know　that　the　middle　figure；　with　the　upraised　arm；　is　Inspiration　with　Commerce　at　her　right　and　Truth　at　her　left。　They　might　express　almost　any　symbols　that　were　related　to　beauty。　And　the　symbolism　of　the　groups　at　either　end　seems　rather　gratuitous。　They　might　be　many　other　things　besides　true　hope　and　false　hope　and　abundance　standing　beside　the　family。　But　the　girl　chasing　the　bubble　blown　out　by　false　hope　makes　a　quaint　conceit　to　express　adventure；　though　perhaps　only　one　out　of　a　million　would　see　the　point　if　it　weren't　explained。〃
  The　opposite　mural　we　found　a　little　more　definite　in　its　symbolism；　if　not　so　pictorial　or　charming。　The　figures　consisted　of　the　imaginary　type　of　the　figure　from　the　lost　Atlantis；　the　Roman　fighter；　the　Spanish　adventurer；　suggesting　Columbus；　the　English　type　of　sea…faring　explorer；　Sir　Walter　Raleigh；　the　priest　who　followed　in　the　wake　of　the　discoverer；　the　bearer　of　the　cross　to　the　new　land；　the　artist；　spreading　civilization；　and　the　laborer；　modern　in　type；　universal　in　significance；　interesting　here　as　standing　for　the　industrial　enterprise　of　today。
  〃Those　murals　suggest　what　a　big　chance　our　decorators　have　in　the　themes　that　come　out　of　our　industrial　life。　They've　only　made　a　start。　As　mural　decoration　advances　in　this　country；　we　ought　to　produce　men　able　to　deal　in　a　vigorous　and　imaginative　way　with　the　big　spiritual　and　economic　conceptions　that　are　associated　with　our　new　ideals　of　industry。〃
  One　feature　of　this　court　made　a　special　appeal　to　the　architect；　the　use　of　the　large　green　vases　under　the　arches。　〃They're　so　good　they're　likely　to　be　overlooked。　They　blend　perfectly　in　the　general　scheme。　Their　coloring　could　not　have　been　better　chosen　and　their　design　is　particularly　happy。〃
  VI
  On　the　Marina
  Along　one　of　the　corridors　we　passed；　enjoying　the　richness　of　the　coloring　and　the　beauty　of　the　great　lamps　in　a　long　row；　then　out　into　the　wide　entrance　of　the　court　to　the　Column　of　Progress。
  〃I　wonder　if　that　column　would　be　there　now；〃　said　the　architect；　〃if　Trajan　had　not　built　his　column　in　Rome　nearly　two　thousand　years　ago。　The　Christianizing　of　the　column；　by　placing　St。　Peter　on　top　instead　of　Trajan；　is　symbolic　of　a　good　deal　that　has　gone　on　here。　But　we　owe　a　big　debt　to　the　pagans；　much　more　than　we　acknowledge。〃
  When　I　expressed　enthusiasm　over　the　column　the　architect　ran　his　eye　past　the　frieze　to　the　top。　〃In　the　first　place；　that　dominating　group　up　there　ought　at　once　to　express　the　character　of　the　column。　But　it　doesn't。　You　have　to　look　twice　and　you　have　to　look　hard。　One　figure　would　have　been　more　effective。　But　there　is　a　prejudice　among　some　sculptors　against　placing　a　single　figure　at　the　head　of　a　column；　though　the　Romans　often　did　it。　But　if　a　group　had　to　be　used　it　could　have　been　made　much　clearer。　Now　in　that　design　MacNeil　celebrated　the　Adventurous　Archer　in　a　way　that　was　distinctly　old…fashioned。　He　made　the　archer　a　superman；　pushing　his　way　forward　by　force；　and　by　the　dominance　of　personality。　And　see　how　comparatively　insignificant　he　made　the　supporting　figures。　The　relation　of　those　three　people　implies　an　acceptation　of　the　old　ideals　of　the　social　organization。　MacNeil　had　a　chance　here　to　express　the　new　spirit　of　today；　the　spirit　that　honors　the　common　man　and　that　makes　an　ideal　of　social　co…operation　on　terms　of　equality。〃
  At　the　base　we　studied　the　figures　celebrating　labor。　〃Konti　is　a　man　of　broad　social　understanding　and　sympathy；〃　said　my　companion。　〃But　picturesque　as　those　figures　are；　they're　not　much　more。　They　give　no　intimation　of　the　mighty　stirring　among　the　laborers　of　the　world；　a　theme　that　might　well　inspire　the　sculpture　of　today；　one　of　the　greatest　of　all　human　themes。〃
  From　the　Column　of　Progress　the　Marina　drew　us　over　to　the　seawall。　〃The　builders　were　wise　to　leave　this　space　open　and　to　keep　it　simple。　It's　as　if　they　said：　'Ladies　and　gentlemen；　we　have　done　our　best。　But　here's　Mother　Nature。　She　can　do　better。'　〃
  To　our　right　stood　Alcatraz；　shaped　like　a　battleship；　with　the　Berkeley　hills　in　the　distant　background。　To　the　left　rose　Tamalpais　in　a　majestic　peak。
  When　I　mentioned　that　there　ought　to　be　more　boats　out　there　on　the　bay；　a　whole　fleet；　and　some　of　them　with　colored　sails；　to　give　more　brightness；　the　architect　shook　his　head。
  〃The　scene　is　typically　Californian。　It　suggests　great　stretches　of　vacant　country　here　in　this　State；　waiting　for　the　people　to　come　from　the　overcrowded　East　and　Middle　West　and　thrive　on　the　land。〃
  Our　point　of　view　on　the　Esplanade　enabled　us　to　take　in　the　sweep　of　the　northern　wall；　with　its　straight　horizontal　lines；　broken　by　the　entrances　to　the　courts　and　by　the　splendidly　ornate　doors　in　duplicate。　Of　the　design　above　the　doorway　the　architect　said：　〃It's　a　perfect　example　of　the　silver…platter　style　of　Spain；　generally　called　'plateresque；'　adapted　to　the　Exposition。　Allen　Newman's　figure　of　the　Conquistador　is　full　of　spirit；　and　the　bow…legged　pirate　is　a　triumph　of　humorous　characterization。　Can't　you　see　him　walking　the　deck；　with　the　rope　in　his　hand？　It　isn't　so　many　generations　since　he　used　to　infest　the　Pacific。　By　the　way；　that　rope；　which　the　sculptor　has　made　so　realistic　and　picturesque　at　the　same　time；　reminds　me　that　a　good　many　people　are　bothered　because　the　bow　up　here；　on　the　Column　of　Progress；　has　no　string。　The　artistic　folk；　of　course；　think　that　the　string　ought　to　be　left　to　the　imagination。〃
  In　the　distance；　to　the　west；　we　commented　on　the　noble　outlines　of　the　California　Building；　an　idealized　type　of　Mission　architecture；　a　little　too　severe；　perhaps；　lacking　in　variety　and　warmth；　but　of　an　impressive　dignity。　The　old　friars；　for　all　their　asceticism；　liked　gaiety　and　color　in　their　building。
  As　we　were　about　to　start　back　to　the　Court　of　the　Universe　the　architect　reminded　me　of　the　two　magnificent　towers；　dedicated　to　Balboa　and　Columbus；　that　had　been　planned　for　the　approach　to　the　Court　of　Four　Seasons　and　the　Court　of　Ages　from　the　bay　side；　but　had　been　omitted　to　save　expense。　They　would　have　given　the　Marina　a　far　greater　splendor；　but　they　would　have　detracted　from　its　present　simplicity。
  VII
  Toward　the　Court　of　Four　Seasons
  〃There　are　critics；〃　I　remarked；　as　we　walked　back　to　the　Court　of　the　Universe；　on　the　way　to　the　Court　of　Four　Seasons；　〃who　say　that　the　entrance　courts　ought　to　have　been　placed　on　the　other　side　that　the　Exposition　ought　to　have　been　turned　round。〃
  〃They　don't　understand　the　conditions　that　the　architects　had　to　meet。　That　plan　was　considered；　but　when　it　was　pointed　out　that　the　stronges