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 ordinarily judges mural painting.