The proportions of the domes we could see at a glance had been well worked out. Earl Cummings' figure of the Youth had a really youthful quality; but there was some question in our minds as to the wisdom of repeating the figure in a semi-circle. "After all," the architect remarked, "in this country art owes some concession to habit of mind. We are not trained to frankness in regard to nudity. On the contrary, all our conventions are against it. But our artists, through their special professional training, learn to despise many of our conventions and they like to ignore them or frankly show their contempt for them." That elaborate Sienna fountain was well adapted to the Dome of Plenty, though it was by no means a fine example of Italian work, with its design built up tier on tier. "It's the natural expression of a single idea that leads to beauty, isn't it? The instant there's a betrayal of effort, the charm begins to fade." There was no criticism to be made, however, of the Italian fountain in the Dome of Philosophy, the simplest of all the fountains, and one of the most beautiful, the water flowing over the circular bowl from all sides. "It makes water the chief feature," said the architect approvingly, "which is the best any fountain can do. Is there anything in art that can compare for beauty with running water? This fountain comes from Italy and these female figures, above the doorway, with books in their arms, are by one of the most interesting of the sculptors represented here, Albert Weinert. We'll see more work of his when we get to the Court of Abundance."