hint of Romanesque, of Moorish and of French influence, these varying
elements have been so fused in the imagination of the architect that the
resultant creation is independent of all of them in its daring, yet
restrained, originality. In the magnificent square tower at the center
of its northern end, all the beauty and spiritual import of the Court
culminate. Its aspiring length of line, unbroken from base to summit,
faces poise and uplift, the broad, plain surfaces give nobility and
strength and the exquisite richness and delicacy of the ornament give
lightness and grace, while the sculpture blends and crowns the deep
pervading symbolism of the Court.

-Maud Wotring Raymond



Court of Ages
The Fountain of Earth

While it is possible to find keen enjoyment in the Court of Ages for its
delicate beauty and exquisite refinement alone, even the slightest study
of its architectural and sculptural detail reveals a depth of underlying
purpose and meaning that invites further analysis. The architect calls
it "an historical expression of the successive ages of the world's
growth." He suggests four stages: the nebulous world, symbolized by the
central fountain, in which Robert Aitken of San Francisco has worked out
a stupendous study of primeval passions. Out of chaos, come the
elemental forces, Water, Land and Light. The braziers and cauldrons
symbolize Fire. The two sentinel columns, flanking the tower on either
side, are Earth and Air. The eight paintings, by Frank Brangwyn of
London, in the corridors in great richness of color depict Earth, Air,