On the summit of the half-dome is a group representing the Harvest, and
before it, on two splendid columns, are Rain, a woman bearing the cup of
the waters, and Sunshine, another with a palm branch. All three are by
Albert Jaegers. At the other extremity of the court each of the two
pylons is surmounted by a bull, wreathed in garlands, and led by man and
maiden to the sacrifice. These groups, each called the Feast of the
Sacrifice, are also by Albert Jaegers. (p. 79.) The spandrels on the
arches and the female figures on the cornices are by his brother, August
Jaegers.

The abundance of the Seasons is symbolized in the fruit-bearing figures
that form the pilasters of the cornices of the arches, and by the fat
ears of corn depending from the Ionic capitals of the columns. These
types of fruitfulness have a further justification in the neighborhood
of the Palaces of Agriculture and Food Products, which border the court
on the north.

The eastern and western arches are exquisite in their simple proportion,
and the delicate charm of the fresco of their vaulted passages. The
quality of this interior decoration is enhanced by the beauty of the
staff work, which throughout this court is the most successful found in
the Exposition. Here this plaster is soft, rich and warm, and looks more
real and permanent than elsewhere.

I prefer to consider the northern approach between the two palaces as
not a part of this court. The pleasant intimacy of the court would have
been enhanced if it had been cut off from this approach by an arch. Half
way down the forecourt is the formal fountain of Ceres by Evelyn
Beatrice Longman, which must cheer the hearts of those who would have