"Of course," said the architect. "But the music ought not to come as it does now, from a band. It ought to come from the orchestra. Violins belong there. Put brass never!" "Well, what happened to the pageant scheme?" "Oh, when Mullgardt showed the preliminary sketches it was ruled out as too expensive. Then he removed the balcony and the staircase and, in place of the staircase, he introduced a cascade, keeping the rest of the court as it had been before. His idea was to use the water in the cascade only in a suggestive way. It was to be almost completely hidden by vines, after the manner of Shasta Falls, and to symbolize the mysterious appearance and disappearance of water that came from - one didn't know where. But that scheme was rejected, too, as too expensive. However, Mullgardt accepted the situation. He was so interested that he worked out himself many of the details that most architects would have left to subordinates. He really cared enough to make the whole effect as close to perfection as he could. Everything he did he had a reason for doing. Not one thing here did he use gratuitously. He evidently doesn't agree with the idea that, in architecture, beauty is its own excuse for being; he wants to make it useful, too." Then I was initiated into the details of the workmanship. "Observe how the ideas in the structure of the walls of the court are carried on in the ornamental details and in the tower." The primitive man and primitive woman repeated in a row along the upper edge had been finely conceived and executed by Albert Weinert. And the nobility of outline in the tower was sustained by the three pieces of sculpture in front made by Chester Beach. That top figure some people believed to be Buddhistic in feeling. But it belonged to no particular religion. It stood for the Spirit of Intelligence. The ornamentation on the head was not an aureole, as bad been reported, but a wreath of laurel, symbolic of success. The group beneath was mediaeval, depicting mankind struggling for the light, expressed in the torches, through those conflicts that so pitifully came out of the aspirations of the soul, expressed in religion. The lowest group showed humanity in its elemental condition, related to the animal, close to the beasts. So, to be followed in sequence, the groups ought to be studied from the lowest to the highest, and then the eyes should be able to catch the meaning of the lovely ornamentation, crowning the tower, the petals of the lily, emblem of spirituality, the arrow-like spires above expressing the aspirations of the soul. On the sides of the tower the symbolism was consistently maintained, war and religion marking the progress of man toward the state indicated by the single figure of The Thinker.