is a deep indigo lake. Great pregnant clouds float in the sky, and the
picture glows with autumn colors.

In the other, men and women come forward with water jars to a source
suggested by tall white water birds and flowers growing thick among the
sedges. There are the same clouds, big with the promise of rain, and the
same profusion of vivid hues.

Primitive Fire is suggested in the next pair by a thick-clustered group
of peasants with hands outstretched where a thin column of smoke rises
straight. Autumn skies and foliage tell of chill in the air. The colors
burn in dying leaves, in the sky, in fruit and grapes. A man is bringing
a burden of fagots. Men of bovine anatomy crouch before the fire, their
backs arched, their cheeks bulging, as they blow it into flame. These
folk are all primitive, candid in their animalism, Samsons in limb and
muscle. Brangwyn's mastery of anatomy is notable, and he builds his men
with every flexor showing, like a machine.

Pottery burners working around a furnace dimly suggested convey the idea
of Industrial Fire in the last of the pictures. There is the same motif
of cold in the sky and the fruits, intensified by the somber leafage of
fir and pine.

In striking contrast with the light and ethereal quality of the
allegorical murals in the arches of the Court of the Universe, these
paintings are rich to the point of opulence. There is an enormous depth
in them. The figures are full-rounded. The fruits, flowers and grain
hang heavily on their steams. The trees bear themselves solidly. The
colors, laid on with strong and heavy strokes, fairly flame in the
picture.