Robert Ingersoll Aitken has added to the cosmical meaning of the Court of the Universe his four elements — monumental, horizontal compositions of pronounced decorative effect.  Air is the one of finest poetic feeling.  She holds the star to her ear and listens to the music of the spheres.  The eagle, the symbol of the air, is used with finely balanced effect.  On her back are fastened wings, and man, puny man, is aiming, by attaching wings to himself, to overcome her — a subtle suggestion of airships.

The Signs of the Zodiac

Herman A. MacNeil, Sculptor

One of the loveliest gems of beauty in the Court of the Universe is Herman A. MacNeil’s cameo frieze of gliding figures.  In the centre, with wings outstretched, is Atlas, mythologically the first astronomer.  Passing to left and right glide maidens, two and two, carrying their symbols — for these are the signs of the zodiac.  These maids are the Hyades and Pleiades, the fourteen daughters of Atlas.  It is as if the figures of some rare old Greek vase had suddenly distributed themselves along the top of the great piers.  For absolute refinement, for a certain old Greek spirit in the Court of the Universe, these reliefs could not be excelled.

The Fountain of Ceres

Evelyn Beatrice Longman, Sculptor

The architectural side of the Fountain of Ceres, with its pleasing proportions, is most satisfying to the eye.  It was a happy selection to place the Goddess of Agriculture between the Food Products Palace and the Palace of Agriculture.  Ceres strikes the keynote of this delightfully beautiful court.  With corn sceptre and cereal wreath, Ceres is poised on the globe, the winds of the Golden Gate blowing thru her drapery.  Below on the die of the fountain are graceful figures in relief suggesting the decorations of a Greek vase.  Eight joyous, happy creatures trip past you, some with tambourines, others with pipes sounding roundelays, or carrying festoons of flowers.

The Survival of the Fittest

Robert Ingersoll Aitken, Sculptor

This is the initial expression of martial spirit, when the first combat is seen and man by physical force seeks to override the power of his fellows.  Far back in the childhood of history one finds, as often to-day is the case, that woman is the motive for the fray.  Three combatants are here — the one on the right separated from the most powerful by the hand of her who loves him.  The cause of the trouble stands at the left, steadfastly watching to see which of those that seek her is to be the victor.  A glance tells you that he of powerful build in the center of the panel is to hold sway.  He it is who is the most fitting survivor.

Earth

Robert Ingersoll Aitken, Sculptor