Above the doorways we found the three murals that gave further distinction to this court and enriched the coloring. In "Fruits and Flowers" Childe Hassam had done one of his purely decorative pictures, without a story, contenting himself with graceful pictures and delicate color scheme. Charles Holloway made "The Pursuit of Pleasure" frankly allegorical, the floating figure of the woman pursued by admiring youths. Over the main doorway Arthur Mathews had also painted an allegory, "Victorious Spirit," the Angel of Light, with wide-spread wings of gold, standing in the center and keeping back the spirit of materialism, represented by a fiery horse driven by his rider with brutal energy. "Observe how successfully Mathews has chosen his colors. These deep purples help to bring out the splendor of those golden tones. This canvas is unquestionably one of the best of all the murals. It shows that in Mathews San Francisco has a man of remarkable talent, one of the great mural painters of the country." On the way to the second half-court we had a chance to see the South Wall at close range, with its rich ornamented doorways, its little niches and fountains devised to make it varied and gay. Those little elephant heads were another sign of Faville's careful attention to ornamental detail. And the coloring gave warmth to the background, contrasting with the deep green of the planting. At the Court of Flowers we met Solon Borglum's "Pioneer, too old to be typical, different from the man in lusty middle age or in youth who came to California in the early days. But it justified itself by suggesting perhaps the greatest of the pioneers in old age, one who had grown with the community, the poet, Joaquin Miller. "It's Miller sure enough," said the architect, "even if the likeness isn't close. But why those military trappings on the horse? Like the rest of the pioneers, Joaquin was a man of peace." The Court of Flowers we thought well named, both for its planting, McLaren at his best, and for its Italian Renaissance decoration, with that pretty pergola opening out on the scene, Calder's Oriental "Flower Girl" decorating the spaces between the arches. And those lions by Albert Laessle were a fine decorative feature. The fountain, "Beauty and the Beast," by Edgar Walter, of San Francisco, was one of the most original and decorative pieces of sculpture we had seen. The figure of the girl standing on the coils of the beast was remarkably well done and the water flowing over the bowl, with the pipes of Pan glimpsed underneath, made a charming picture. There was a whimsical and a peculiarly French suggestion in the use of the decorative hat and sandals on the nude figure. In detail those two towers at the end were slightly different from the other two. Like the others they served as a decoration of the wall, breaking the long lines." XIII Near Festival Hall