Public auction is the fate said to be destined by the Exposition company
for these wonderful pictures. It is not to be blamed for this. It is a
business corporation, and these paintings are assets on which it may be
necessary to realize. But if the company finds itself financially able,
it should see to it that the paintings remain in San Francisco as the
property of the city. Like the great organ in Festival Hall, which the
Exposition has promised to install in the Civic Auditorium when the fair
ends, these splendid pictures should be hung in the Auditorium as a gift
to the city.

If the Exposition is not able to give them, an opportunity is presented
for men of wealth to do art a great service in San Francisco. Our
cities, unlike those of Europe and of South America, are not accustomed
to buy works of art. Private generosity, then, must supply the
deficiency.

In the northern extension of the court, beyond the tower, where the
Spanish decoration is carried almost to the bayward facade of the palace
group stands a massive female figure, Modern Time Listening to the Story
of the Ages. Beyond it are four standards of the Sun, like two at the
southern end of the pool in the main court, brilliant at night.

There remains but the central fountain, in the main court, symbolizing
the Earth, done by Robert Aitken. (p. 73.) Taken by itself, this is a
notable work, but it is not in keeping with the romantic spirit of the
Court of Ages. Its figures are magnificently virile, but wholly
realistic. Only at night, when, through clouds of rising steam, the
globe of the Earth glows red like a world in the making, and from the
forked tongues of the climbing serpents flames pour out on the altars