possess in such marked degree. The Court of the Universe will never be
the resting place of the masses of the people, in spite of the recently
added attraction of the band stand, a mixture of Roman and Arabic
architecture out of keeping with the surroundings. The conventional
architectural motives of this great court do not help very much in
tempting one to stay, and if it were not for the great arches on the
east and west and the very fine view toward the Column of Progress, I
would feel tempted to classify it as a piece of architectural design of
the stereotyped variety. It has all the great qualities and faults of
the court in front of St. Peter's in Rome. There is too little play of
landscape gardening in and near the Court of the Universe, a condition
which will remedy itself with the breaking into bloom of the great
masses of rhododendron which have been installed in the sunken garden in
the center.

Like all careful interpretations in the classic architectural
traditions, the Court of the Universe has a great feeling of dignity and
grandeur, which gives the visitor a feeling of the big scale of the rest
of the architecture. The court lacks, however, the individual note of
the two side courts.

Toward the west, passing through a very characteristic avenue, in the
style of the happiest phases of the Italian Renaissance to be found in
Florence, one enters the Court of the Four Seasons, by Henry Bacon of
New York. The chief quality of this court is that of intimacy. While by
no means so original as the Court of Abundance, it has a charm all of
its own, in spite of its conventional architectural characteristics,
which are really not different from those of the main Court of Honor.
However, a very happy combination of gardening effects and architecture,
together with the interesting wall-fountains, screened by stately rows