northwest corner, Nature is represented, in all the fecundity of the
earth. Only in our wildest dreams, and only in the advertisements of
California farm lands and orchards, do such grapes, pumpkins, pears, and
apples exist.

The picture to the left shows the grape-treaders, in the old-fashioned
and unhygienic practice of crushing grapes by dancing on them in
enormous vats. Others are seen gathering and delivering more grapes. As
in the other picture, showing the harvest of fruit, more people are
shown. Brangwyn never hesitates to use great numbers of people, which
seem to give him no trouble whatever in their modeling and
characterization.

Following on to the right, "Fire," represented as the primitive fire and
as industrial fire, in two pictures, continues the scheme. That group of
squatting woodmen carefully nursing a little fire is almost comical,
with their extended cheeks, and one can almost feel the effort of their
lungs in the strained anatomy of their backs. There does not seem to be
anything too difficult for Brangwyn. "Industrial Fire" is interesting
from the decorative note of many pieces of pottery in the foreground.
They seem to have come from the kiln which muscular men are attending.

"Water" is unusually graceful and delicate in its vertical arrangement
of trees and the curve of the fountain stream, coming from the side of a
hill. Women, children, and men have congregated, taking their turn in
filling all sorts of vessels, some carried on their heads, some in their
arms. Brangwyn's clever treatment of zoölogical and botanical detail is
well shown in flowers in the foreground, such as foxglove and freesia,
and the graceful forms of a pair of pinkish flamingoes. In the other
panel of the same subject, a group of men on the shore are hauling in