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Updated: June 15, 2025
"Beauty and the Beast," the central fountain which dominates the Court, is by Edgar Walters of San Francisco. The basin is upheld by four alternating fauns and satyrs and about the base of the fountain is a procession of beasts in low relief.
He has settled it now. He is up and off and at what a pace! Out of the way, Fauns and Hamadryads, if any be left in the forest. What a pace! And with what a grace beside! Oh Reinecke, beautiful thou art, of a surety, in spite of thy great naughtiness.
When he came home from his walks, he might find his floors flooded by a shower through the broken roof; but could spare no money for its reparation. In time his expenses brought clamours about him that overpowered the lamb's bleat and the linnet's song, and his groves were haunted by beings very different from fauns and fairies.
Further, the Fauns, the Italian counterpart of the Greek Pans and Satyrs, are described as being half goats, with goat-feet and goat-horns. Again, all these minor goat-formed divinities partake more or less clearly of the character of woodland deities. Thus, Pan was called by the Arcadians the Lord of the Wood. The Silenuses kept company with the tree-nymphs.
Fountain, "Beauty and the Beast," by Edgar Walter, of San Francisco. Sandals and hat on woman. Beast at her feet. Fauns and satyrs, piping, under circular bowl. Frieze outside edge of bowl, lion, bear, ape, and tiger repeated; playful. Designed for Court of Palms to be seen from above. Lophantha trees, trimmed four feet from ground, branching out six feet across, along walks.
For some notes have all the sea in them, and some cathedral bells; others a woodland joyance and a smell of greenery; in some fauns dance to the merry reed, and even the grave centaurs peep out from their caves. Some bring moonlight, and some the deep crimson of a rose's heart; some are blue, some red, and others will tell of an army with silken standards and march-music.
Between two huge laurel-bushes, against the right-hand wall, there was a sarcophagus of the second century with fauns offering violence to nymphs, one of those wild baccanali, those scenes of eager passion which Rome in its decline was wont to depict on the tombs of its dead; and this marble sarcophagus, crumbling with age and green with moisture, served as a tank into which a streamlet of water fell from a large tragic mask incrusted in the wall.
If the antiquary should lose himself in researches for the origin of this society, it is as well to admit at once that the landlord's sign of the 'Blue Goat' gave the initiative to the name, and that the worthy associates derived nothing from classical authority, and never assumed to be descendants of fauns or satyrs, but respectable shopkeepers of Moate, and unexceptional judges of 'poteen. A large jug of this insinuating liquor figured on the table, and was called 'Goat's-milk'; and if these humoristic traits are so carefully enumerated, it is because they comprised all that was specially droll or quaint in these social gatherings, the members of which were a very commonplace set of men, who discussed their little local topics in very ordinary fashion, slightly elevated, perhaps, in self-esteem, by thinking how little the outer world knew of their dulness and dreariness.
Then King Evander, founder of the fortress of Rome: 'In these woodlands dwelt Fauns and Nymphs sprung of the soil, and a tribe of men born of stocks and hard oak; who had neither law nor grace of life, nor did they know to yoke bulls or lay up stores or save their gains, but were nurtured by the forest boughs and the hard living of the huntsman.
His name in the plural, Fauns, expressed a class of gamesome deities, like the Satyrs of the Greeks. Quirinus was a war god, said to be no other than Romulus the founder of Rome, exalted after his death to a place among the gods. Bellona, a war goddess. Terminus, the god of landmarks. His statue was a rude stone or post, set in the ground to mark the boundaries of fields.
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