Astride his ancient pony hung with chance trappings, symbols of
association, with axe and rifle with which he conquered the wilderness,
he broods the past.

A mural decoration should be fitting for the place which it embellishes
- both in color and composition. The subject, also, should be relatively
interesting, but not the first consideration as is the color, the line,
the chiaros-curo. At a glance the decoration should be the jewel for the
surrounding space. The murals at the Exposition are rather unusual in
their settings, where every building and every court is so replete with
Mr. Guerin's splendid coloring.

Mr. Brangwyn's decorations are by far the most interesting in their free
joyous use of color and amusing composition. From about the middle of
the cloister under the arches one turns to the right or left and is
greeted with a pleasant surprise of color. Then the story appears and is
buoyant and rich in execution. One is rather shocked when standing
directly near or underneath by the big patches of color and coarse
drawing, the vulgar types not well enough drawn to move our admiration.
The cloister looked poor to have such rich notes in each corner, but one
glance without the arches into the rich and teeming court, and we were
reconciled to their placing.

Mr. Simmons' color note is pleasant, seen across the great court. How
much more pleasant it is than to have adopted the blue of the heavens as
the dominating note - all the blue decorations in spite of their many
excellences look dull and grey and weary - the painters have not been
able to play up to and dominate the brilliant blue of the sky. In the
Court of the Four Seasons one finds color notes that are fitting, though
lacking in imaginative interest.