groups of Piccirilli are not equally successful. By far the most
effective is the one representing winter. The severe rigidity of the
lovely central standing figure expresses well that feeling of suspended
activity which we associate with the conventional conceptions of the
season of dormant life. The kneeling side figures are in full harmony of
expression with the central figure. They support very well the general
scheme.

The next best, to my mind, seems "Spring," on account of the very fine
psychological quality of the standing figure in giving expression in a
very graceful fashion to that invigorating and reviving quality of our
loveliest season. The two side figures seem to be gradually awakening to
the full development of their powers.

Next to "Spring," "Fall," by the fullness of the decorative scheme,
suggests Peace and Plenty in the preparation for the Harvest Festival
and in the touch of family life of the mother and child on the right.

Mr. Piccirilli's naturalistic modeling does not express itself so well
in "Summer." There is so little strictly architectural feeling in that
group. I think that Albert Jaegers, with his two single figures on top
of the two columns flanking the Orchestral Niche, actually represents
our own two seasons much more successfully than does Piccirilli.
Jaegers' "Rain and Sunshine" should be used to name the court properly -
"The Court of the Two Seasons," as we know them in California - the dry
season, the season of harvest; and the wet season, the one of
recuperation. I regret that here an opportunity was lost to add
distinction to the many different features of a great undertaking.

Jaegers has contributed also the figure of "Nature" on top of the music