Autumn follows, the time of harvest. The central figure of the fountain group is Providence. The fruits of the year are brought in, and the vintage is in progress. Last of all comes Winter, the melancholy time when the trees are bare and the bark splits with the frost. The central figure is naked Nature resting in the period of conception. On one side is bowed an old man, after preparing the ground for the seed; on the other is a strong man sowing. This is perhaps the best of the four fountain groups it expresses admirably the bleakness and sadness of the season. There is a wintry chill about it, the gloom of a dark December day. Of the others, Spring is most likable, with its conception of the seasonal impulse to love; and Autumn, for the strength of its figures and the beauty of their modeling. In the forecourt, appropriately placed between the Palaces of Agriculture and Food Products, stands the Fountain of Ceres. (p. 79.) It is an odd fountain, with the water gushing from the mouths of satyrs set barely above the level of the ground, as though for the watering of small animals. Ceres stands above, with a wreath of cereals and a scepter of corn. The frieze pictures the dance of joyous nature. Fountain of Earth.--In Mullgardt's Court of Ages is the Fountain of Earth, by Robert Aitken, the most magnificently virile of all the Exposition fountains, conceived of a powerful imagination and executed in strength and beauty. (p. 70, 73.) The sculpture of the fountain must be described in three parts. Aitken's own interpretation is condensed in the following account. On the wall of the parapet at the foot of the pool, sixty feet from the central structure, is a colossal figure symbolizing Helios, in his arms the great globe of the setting sun after it has thrown off the nebulous mass that subsequently became the earth. The whole expresses primitive man's idea of the splashing of the sun into the water as it sets. On the side of the central structure toward the figure of Helios, and leading up to the Earth, are two groups, each of five crouching figures, and divided by a conventional plane. At the outer extremity, Destiny, in the shape of two enormous hands and arms, gives life with one and takes it with the other. The five figures on the left side represent the Dawn of Life, those on the right, the Fullness and End of Existence. The first group begins with a woman asleep, just from the hand of Destiny; while the succeeding figures symbolize the Awakening, the Joy of Being, finally, the Kiss of Life, with the human pair offering their children, representing the beginnings of fecundity.