The statuary goes well with the court. There is a pretty, summery grace
about the flower girls designed by Calder for the niches above the
colonnade, and in the figures of Edgar Walter's central fountain. Here
on the fountain are Beauty and the Beast, Beauty clad in a summer hat
and nothing else, the Beast clothed in ugliness. (p. 100.) Never mind
the story. This is Beauty, and Beauty needs no story. Four airy pipers,
suggestive at least of the song of the cicada on long, hot afternoons,
support the fountain figure. Around the basin of the pool is carved in
low relief a cylindrical frieze of tiger, lion and bear, and, wonder of
wonders, Hanuman, the Monkey King of Hindoo mythology, leading the bear
with one hand and prodding the lion with the other.

Before the court The Pioneer sits his horse, a thin, sinewy, nervous
figure; old, too,--as old as that frontier which has at last moved
round the world. (See p. 87.) The statue, which is by Solon Borglum, is
immensely expressive of that hard, efficient type of frontiersmen who,
scarcely civilized, yet found civilization always dogging their
footsteps as they moved through the wilderness and crossed the deserts.
He is, indeed, the forerunner of civilization, sent forward to break
ground for new states. This group is offset against that other fine
historical sculpture, The End of the Trail, placed before the Court of
Palms. As representatives of the conquering and the conquered race, the
two must be studied together.

The elusive Grecian feeling of the Court of Palms comes in large part
from the simple Ionic columns, and the lines of the gabled arches.
Properly, this court is in the Italian Renaissance, but it is less
Italian than the Court of Flowers. Like that court, it is warm and
sunny, full of color and gladness. It has the same harmonious
perfection, but it is more formal. Its sunken garden is bordered with a