At the four corners of the main composition of the fountain, separating
the four panels, are Hermae, terminal pillars such as the Greeks and
Romans were fond of, decorated with the head of Hermes, god of
boundaries.

Having worked out the story, it is well to go back to appreciate the
purely aesthetic qualities of the fountain. Note especially the feeling
of strength in the figures, the firm modeling, and the fine way in which
the figures are grouped. The composition of the west face of the minor
monument is especially fine, and the very graceful lines here make an
intimate appeal that is not evident in some of the other groups. The
whole monument is austere and strongly compelling rather than intimately
charming. If it is the first duty of art to make people think, this is
the most successful bit of sculpture on the grounds.

Mural Paintings

The mural paintings in, the Court of Abundance consist of eight panels
by Frank Brangwyn, perhaps the greatest living mural decorator, placed
in the four corners of the cloister. Though not entirely in key with the
color scheme and not an integral part of the court as a whole, these are
distinctly the works of a master. Ultra-learned critics will tell you
that they fail as decorations, since they are interesting as individual
pictures rather than as panels heightening the architectural charm. But
their placing shows clearly that there was no intention that they should
appear as part of the architectural scheme. It is better to accept them
as pictures, forgetting the set standards by which one ordinarily judges
mural painting.

The eight paintings represent the elements: two panels each for Fire,