Groups on the Tower. The three main groups typify the rise of man, and
especially the rise of man's civilization through religion. The lowest
group, over the main arch, is called The Stone Age. Along the base are
prehistoric monsters, and above are figures representing various phases
of primitive life, as a man strangling an animal with his hands, and a
figure that may suggest the rude beginnings of art or industry. The
heads indicate a period of evolution when man was not very different
from the ape; but the central figures suggest the development of family
life, and a new outlook and a seeking for something higher.
The middle group, The Mediaeval Age, shows an armored figure with sword
and shield, a crusader perhaps, with the force of religion symbolized in
the priest or monk at one side, and the force of arms suggested by the
archer at the other, these being the two forces by which man was rising
in that age.
The third and highest group represents The Spirit of the Present Age
enthroned. At one side a child holds the book of learning, while at the
other a child holds the wheel of industry. The group also carries
inevitably a suggestion of motherhood.
Flanking the middle group are two figures, in which the whole idea of
human evolution is suggested by a modern man and woman outgrowing their
old selves. On the east and west faces of the tower are figures
representing "Thought."
All the sculpture on the tower is by Chester Beach.
Figures Surmounting Colonnade. Two figures of "The Primitive Man" and
one of "The Primitive Woman" are repeated above the cloister all around
the court. The woman carries a child on her back, one man is feeding a
pelican, and the other is a hunter returning with a club in one hand and
his quarry in the other. These figures are remarkably well suited to
their purpose, balancing one another exactly; they are so much a part of
the decorative scheme, indeed, that the average person is likely to
overlook their merits as individual statues. Albert Weinert was the
sculptor.
The Water Sprites. At the tower side of the court, flanking the stairway
that leads to the archway under the tower, are two free-standing
monuments that were designed as fountains. The original plan called for
cascades from below the Stone Age group on the tower to these monuments.
Although the elimination of this feature made the court more simple and
satisfying as a whole, the figures of the Water Sprites were left high
and dry, so that now there is a certain incongruity in their position.
Still one may admire the very spirited girl archers surmounting the two
columns, even if they are apparently launching arrows at their sister
sprites below, instead of into jets of water as was intended. The
figures at the bases of the columns, while lacking the grace and the
joyous verve of those above, still are very decorative. All are the work
of Leo Lentelli.
The Fountain of Earth. In the large basin in the center of the Court of
Abundance is Robert Aitken's "Fountain of Earth." While plainly out of
keeping with the spirit of the court, this is in itself one of the most
powerful and most interesting sculptural compositions at the Exposition.
It is deeply intellectual, and more than any other group it requires an
explanation of the symbolism before one can appreciate it.
The fountain is really in two compositions. The larger, and central, one
is composed of a globe representing the earth, with four panels of
figures on the four sides, representing certain of the incidents of life
on earth, or certain riddles of existence. The secondary composition
lies to the south of the central one, on the same pedestal; and this is
divided into two groups by a formalized wing through the center. The two
scenes here represent life before and after earthly existence. The two
huge arms and the wing are all that can be seen of Destiny, the force
with which the allegorical story begins and ends.
To "read" the fountain in proper sequence, one must start with the west
face of the secondary group. This represents The Beginning of Things.
The arm of Destiny is calling forth life and points the way to the
earth. The three women figures next to the hand show the gradual
awakening from Oblivion. The adjoining two figures represent the kiss of
life or of love, and the woman is holding forth to the earth the
children created of that love. The entire group on this west face,
considered in relation to the main composition, may be taken as
representing the peopling of the earth.
There is now a gap which one must pass over, to reach the South panel of
the central composition. This gap represents the lost period of time
between the peopling of the earth and the beginning of history.
The South panel of the main structure has as its central figure Vanity
with her hand-glass. Whether the artist intended it as a pessimistic
commentary on all human life, or not, his series of episodes on earth
begins and ends with the figure of Vanity. Reading to the left on this
same panel one sees a man and a woman starting the journey of life on
earth, apparently with suffering but certainly with courage perhaps for
the sake of the children they carry.
The West panel now shows the first of three incidents or problems of
life on earth. This is entitled Natural Selection. Two women turn to one
man who is clearly superior to the two men they are leaving. The two who
have been spurned as mates cling to the hands of the women even while
they are turning away.
The North panel represents The Survival of the Fittest. Two men are in
combat, the woman at the left evidently to be the prize of the victor.
At the other side a woman tries to draw away one of the combatants. The
sculptor has given this group a second title, "The Awakening of the War
Spirit," which is equally applicable.
The East panel is entitled The Lesson of Life. A young man and a young
woman turn to each other through natural impulse, while an older woman
with the experience of life attempts to counsel them. On the other side
an old man restrains an impetuous youth who evidently would fight for
the girl.
Turning the corner now to the South panel again, there are two figures
representing Lust trying to embrace a reluctant woman. Then one comes to
Vanity once more, and the story of life on earth is done. Again there is
a gap, and the scene leaves the earth for the unknown world after
physical death.
The East face of the minor group first shows the figure of Greed, with
his worldly goods now turned literally to a ball of clay in his hands,
gazing back at earth in puzzlement. The next two figures show Faith
offering the hope of immortality (as symbolized in the scarab) as
consolation to a sorrowing woman. Finally there are two figures sinking
back into Oblivion, drawn by the hand of Destiny. Thus the cycle from
Oblivion through life and back to Oblivion is completed.
In the same basin, at the far south end, is a figure of The Setting Sun.
This was part of the artist's conception of the Fountain of Earth, the
relation to the main group being found in the supposition that the earth
is a mass thrown off by the sun. Thus is emphasized the idea that the
earth and life on earth are but a very small part of the wider unknown
universe and life.
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.