"The fourth stratum, the second group in the altar tower, symbolizes human struggle for emancipation from ignorance and superstition, in which Religion and War are dominating factors. The kneeling figures on the side altar are similarly expressive. The torches above these mediaeval groups symbolize the Dawn of Understanding. The chanticleers on the finials surrounding the court symbolize the Christian Era. The topmost figure of the altar symbolizes Intelligence, 'Peace on Earth, Good Will Towards All,' the symbols of Learning and Industry at her feet. The topmost figure surmounting the side altar symbolizes Thought. The arched opening forming the enclosure of the altar contains alternating masks expressing Intelligence and Ignorance in equal measure, symbolizing the Peoples of the World. A gradual development to the higher forms of plant life is expressed upward in the altar tower, the conventionalized lily petal being the highest form." This, then, is the lesson, the deepest and most spiritual attempted in any of the Exposition structures, and surely entitling the court to be called, as its creator wished, the Court of the Ages. Brangwyn's Murals.--The mural paintings by Frank Brangwyn in the four corners of the arcades are rich, glorious in color, freighted with the opulence of the harvest, but they symbolize the four primeval elements-- Earth, Air, Fire and Water. Their themes have nothing to do with Abundance. It is unfortunate that these pictures, far and away the best in the decoration of the Exposition, have been hidden in the corners of a court. The canvases are bold, free, vast as the elements they picture. They need space. When they were unpacked and hung on the walls of Machinery Hall, they were far more effective. Here they are cramped by their close quarters, and easily overlooked. People are not going in to see them as they should, and so are missing one of the chief joys of the Exposition,--the masterpieces of one of the world's greatest living painters. These representations of the four elements glow and burn with the vivid hues of nature. All of the pictures have a setting of autumn,, that season of the year when nature puts on her dying hues, and floods the earth with color. Their rich reds, purples, yellows, browns, greens and indigoes are the hues of autumn skies, the falling leaves of hardwoods, the dense foliage of pines, colors of the harvest, of fruit and grapes, of flowers, and of deep waters. The men and women in them are primeval, too, of Mediterranean type, and garbed in the barbaric colors in which Southern folk express the warmth of their natures. Free and vivid as is their color, the breadth of primeval liberty is not less seen in the splendid spaces of Brangwyn's pictures. The forest vistas are illimitable; the air has the freedom of the Golden Age; the skies stretch out and up to heaven.