niche and the capital bulls on the pylons toward the north of the court.
These terra cotta bulls are surely worthy of the adjective derived from
them. Their relative size is very good, and to see them in the richness
of their color against the upper regions of a dark blue sky is very
effective.

Directly north of the Court of the Four Seasons stands Miss Beatrice
Evelyn Longman's Fountain of Ceres, originally planned for the center of
the court, but so very effective all by itself between the dignified
colonnades of the avenue. The fountain is most impressive by its fine
architectural feeling, so uncommon in the work of many women sculptors.
The general feeling of it is refinement, combined with great strength.
It is fully deserving of monopolizing a fine setting of dignified
architecture, so richly emphasized by some of the finest old yew trees
in the grounds.

In the Court of Abundance a riot of interesting architectural sculptural
details invites the attention of the visitor. Beginning with the lower
animal forms, such as crabs and crayfish, etc., the entire evolution of
Nature has been symbolized, reaching its climax in the tower, where the
scheme is continued in several groups in Chester Beach's best style. The
lowest of these groups shows the Primitive Age, followed above by the
Middle Ages and Modernity. The great charm of this finest of all the
towers in the Exposition is its wonderful rhythmic feeling. The graceful
flow of line from the base toward the top is never interrupted, in spite
of the many sculptural adornments used on all sides. In front of the
tower are two very ornate illuminating shafts, showing Leo Lentelli's
diabolical cleverness in making ornament out of human figures. Leo
Lentelli's style is particularly well adapted to Mullgardt's Court of
Abundance. Its care-free, subtle quality, full of animation, presenting