The four mural paintings of the Court of the Universe, two under each of
the triumphal arches, represent the progress of civilization from the
old world to the American far West. The two under the Arch of the Rising
Sun, at the east of the court, represent the nations that crossed the
Atlantic and their ideals, while those under the western arch show the
march of the pioneers from New England to California. To obtain the
proper sequence of thought the ones under the eastern arch should be
examined first.
Murals in Arch of the Rising Sun. On the south wall of the arch is a
panel representing the nations that have dared to cross the Atlantic to
bring their civilization to America. The figure farthest to the
spectator's right represents the spirit of adventure or "The Call to
Fortune." Then follow representatives of the nations, in this order: 1.
the half-savage of the lost Continent of Atlantis; 2. the Roman
conqueror; 3. the Spanish explorer, typified by a figure resembling
Columbus; 4. the English explorer, resembling Raleigh; 5. a priest,
typifying the bringing of European religion to America; 6. the artist,
bringing the arts; and 7. the workman-immigrant of today. Then follows
an allegorical veiled figure, with hand to ear, listening to the hopes
and ideals of the men who are following the call to fortune.
The opposite panel shows what the veiled figure has heard-depicts the
hopes and ideals that have led men to cross the Atlantic. At the far
left are figures symbolizing True Hope and False Hope. Soap bubbles are
being scattered by False Hope, and the third figure, typifying
Adventure, tries to pick them up. Then follow the true ideals and hopes
in this order: 1. Commerce 2. Imaginative Inspiration; 3. Truth and
Beauty (one figure); 4. Religion; 5. Wealth; and 6. Family joys (a woman
with babes). In this panel the background contains suggestions of
Asiatic and American cities. In the other panel the background shows a
group of ships, ranging from those of the earliest times to the modern
liner.
These two paintings are worthy of study for the historical and symbolic
interest. Artistically they are notable chiefly for the remarkable
freshness of coloring and rich mosaic effect. Both are by Edward
Simmons.
Murals in Arch of the Setting Sun, at the west side of the court. The
painting on the north wall should be viewed first. This represents
pioneers from a New England village starting for California. There are
four groups of figures, as follows: 1. two workmen, and a woman holding
a child; 2. a symbolic figure of the Call to Fortune; 3. a group showing
the types of those who crossed the continent-the driver first, and
then the Preacher, the Pioneer, the Judge, and the Schoolmistress (there
are four children also in this group, and at the back is a wagon filled
with household goods); and 4. a youth bidding farewell to his parents as
he starts to join the band of emigrants. At the back of the last group
is seen a typical New England home, and in the distance a New England
meeting-house.
"The Arrival on the Pacific Coast" is the title of the painting on the
opposite wall, which represents the immigrants being welcomed as they
reach California. Here again there are four groups of figures. The first
shows two Spanish-American soldiers and their captain, following a
priest, typical of the days of Spanish rule in California and of the
Mission period. Second, there is a symbolic figure, "The Spirit of
Enlightenment." The third and main group shows types of immigrants. The
men here are: 1. the scientist; 2. the architect; 3. the writer; 4. the
sculptor; 5. the painter; 6. the agriculturist; and 7. the miner (or
other manual worker). A woman and several children complete the group,
and at the back is a prairie schooner, from which a girl waves a flag.
The fourth group represents California welcoming the immigrants, the
state being symbolized by tokens of the wealth it has to offer settlers:
the orange tree, sheaves of grain, and fruits-the figures including
the miner, the farmer, fruit pickers, and the California bear. This last
group is the most colorful, and in many ways the most appealing, of all
those in the two panels under the west arch. It is interesting to
compare the golden warmth here and indeed throughout the California
panel-with the cold atmosphere of the New England one.
Those who are familiar with the historical characters of the West will
be able to recognize in the California panel idealized portraits of
William Keith as the painter, Bret Harte as the writer, and Junipero
Serra as the priest. In the New England panel may be found William
Taylor, famous street preacher of the early days in California, as the
preacher, and "Grizzly" Adams as the pioneer.
Both murals under the Arch of the Setting Sun are by Frank Vincent
Dumond.