The courts and palaces of Italy, with their appearance of age and their remote, sheltered calm, present an education in artistic reserve and decorative uses of space that all who linger may learn. They represent four centuries of architecture, of three historic types. The lovely piazzetta with its antique well is the center of beauty. On one of its walls is what appears to be an ancient mural, soft, flat, with that faded, velvety coloring associated with age. It was recently painted by Mathilde Festa-Piacentini, in the ancient manner to harmonize with the court. It represents "The Return from the Crusade" of one noble Pandolfo, and bears date and description in Latin. Quaint old-time stiffness and weather-worn coloring combine with modern correctness and fluency. The young artist is the wife of the architect of the pavilion and has won a silver medal in the Italian section of Fine Arts. Below this lunette stands a bronze copy of an antique David with the marble head of Goliath. Other interesting murals appear in Italy's pavilion, by Pierretto Banco and Bruno Ferrari, son of the sculptor, Ettore Ferrari. The Riches of California Tea Room, California Building The tea-room of the Auxiliary to the Woman's Board, in the California Building, was decorated by Florence Lundborg, a Californian whose work has won consideration in this country and in France. In her large mural, "The Riches of California," one of the most extensive ever painted by a woman, and in the supplementary medallions she has expressed the generous abundance of California's fruitage. Feeling a similarity between copious California and Sicily, where she has lived and painted, the artist chose for her text a line from Theocritus describing that country: All breathes the scent of the opulent summer, the season of fruits. This inscription, in old Spanish lettering, surrounds the great canvas. Across a restful, soft-toned landscape, bright but tempered, the peaceful, happy harvesters bear homeward the plenteous fruit. A mood of quiet gladness is over all. The window arches, throughout the soft gray walls of the room, are marked by brilliant medallions of fruit and flowers, sumptuously composed upon a gold background. Here ends The Sculpture and Mural Decorations of the Exposition, with an introduction by A. Stirling Calder. The Descriptive titles have been written by Stella G. S. Perry. Edited by Paul Elder. Published by Paul Elder and Company and seen through their Tomoye Press under the typographical direction of H. A. Funke, in the city of San Francisco during the month of October, Nineteen Hundred and Fifteen