"The Fountain," the panel on the east wall, shows a group of people who have come to fill their jars at a spring. The colors here are softer, though quite as rich as elsewhere. The lower half of the painting is, indeed, like a richly colored mosaic. After examining "The Fountain" at close range it is well to step back to the middle of this south corridor. Look first at "The Windmill" and then turn to look again at "The Fountain." Note, how, when the subjects are once understood, the great distance increases rather than decreases the charm of the paintings. Note especially how beautiful each one is when considered merely as a pattern of color. These two panels, if not the finest of all, at least must take rank among the best three or four. The North Court of Abundance Passing under the tower from the Court of Abundance one comes out in the little north court that is conceived in the same spirit, and which likewise is dominated by the Mullgardt tower. The architecture here is like an echo of that of the main court, the decorated spaces alternating with bare spaces. The tower sculptures are all repeated on this side. The only sculpture within the north court is Sherry Fry's personification of Aquatic Life. The statue is of a heavy sort that should be anywhere but in this place of ethereal mood and exquisite detailed workmanship. Blot out the background and you can see that the figure has a certain solid grace. But if designed for this court it fails of its decorative purpose. Court of the Universe The Court of the Universe is the most magnificent of the courts. Considering the many units-the noble arches, the long colonnades with their corner pavilions, the sunken garden with its fountains and decorative sculpture, and the vista to the Column of Progress and the Marina-it is by far the richest in artistic interest. But is it so imposing, so vast, that it necessarily lacks the sense of quiet restfulness and intimacy of appeal of the smaller courts. It is in a sense the Civic Center of the great Exposition model city, and as such it offers many suggestions of wise planning-and one or two of poor planning, as in the case of the obtrusive band-stand. The meaning of the court is to be found in the symbolism of the groups surmounting the two triumphal arches-the Nations of the East meeting the Nations of the West. With the opening of the Panama Canal the peoples of the universe have met at last; West faces East on this shore of the Pacific. The idea is finely expressed in the lines by Walt Whitman, inscribed on the west arch, in which the spirit of the Aryan race, having traveled this far, is supposed to speak as she gazes westward to Asia, "the house of maternity," her original home: