of columns, make for a picture of great loveliness. Of all the courts,
it has the most inviting feeling of seclusion. The plain body of water
in the center, without statuary of any kind, is most effective as a
mirror reflecting the play of lights and shadows, which are so important
an asset in this enchanting retreat. During the Exposition it will serve
as a recreation center for many people who will linger in the seclusion
of the groups of shrubbery and watch the shadows of the afternoon sun
creep slowly up the surrounding walls.

As an Exposition feature, the Court of the Four Seasons is a decided
innovation. At St. Louis, for instance, in 1904, everything seemed to
have been done to excite, to overstimulate, to develop a craving for
something new, to make one look for the next thing. Here, in the Court
of the Four Seasons, one wants to stay. Most emphatically one wants to
rest for awhile and give one's self over entirely to that feeling of
liberation that one experiences in a church, in the forest, or out on
the ocean. I could stay in this court forever. To wander into this Court
of the Four Seasons from any one of the many approaches is equally
satisfactory, and it will prove a very popular and successful Exposition
innovation.

Speaking of the courts, one is bound to yield to the individual note of
Louis Mullgardt's Court of Abundance, on the east of the Court of the
Universe. Of all the courts it has, without a doubt, the strongest
individual note. It seems on first acquaintance to be reminiscent of the
Gothic, of which it has, no doubt, the quality of lightness, the
laciness, and the play of many fine apertures and openings. It has,
however, neither the Gothic arch nor the buttresses of that period, and
so far as its ground plan goes, it is thoroughly original. It looks as
if carved out of a solid block of stone. This monolithic quality is