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Updated: June 11, 2025


I intended to have everything in most beautiful and exemplary order, and that all should be done as quietly and with as much precision as the working of a machine. No shouting of praises, no loud praying, no hearty responding; and, above all, no extravagant crying for mercy, such as I had witnessed in Mr. Aitken's parish. In spite of all my prejudices, souls were quickened and born of the Spirit.

In the sunken garden there should be plenty of room for the actors to move about, using it as a stage. There should also be room for the sculptured caldron that was to be an architectural feature and that later developed into Aitken's massive evolutionary fountain. For the base of the tower there was designed a gorgeous semi-circular staircase, which was to serve as an entrance for the actors.

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.

But there still stands, retired somewhat from the right of the archway, Aitken's post the guard-house and treasury, its pillars and facade cut and dented all over with the marks of bullets fired by "Bob the Nailer" and his comrades from the Clock Tower which stood over against it.

Aitken and Wardlaw, when I descended from the cliffs, took me straight to Blaauwildebeestefontein. I was like a man who is recovering from bad fever, cured, but weak and foolish, and it was a slow journey which I made to Umvelos', riding on Aitken's pony. At Umvelos' we found a picket who had captured the Schimmel by the roadside.

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