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Updated: May 15, 2025
However, this is Aitken, not Mullgardt. The allegories of the group are detailed in the chapter on Fountains. The Court of the Seasons A charming bit of Italian Renaissance Its quiet simplicity The alcove Fountains of the Seasons, by Furio Piccirilli Milton Bancroft's Murals The forecourt, with Evelyn Longman's Fountain of Ceres Inscriptions.
The Court of the Four Seasons harbors four groups by Piccirilli, representing the seasons in the conventional way, dividing the year into four distinct parts spring, summer, autumn, and winter. These four groups of Piccirilli are not equally successful. By far the most effective is the one representing winter.
There now remain the seven fountains of the lesser courts, connected more or less intimately in theme with their immediate surroundings. In the Court of Seasons. Four are in the Court of Seasons, where Spring, Summer, Autumn and Winter, by Furio Piccirilli, have each its own alcove in the wall and its own play of water. These are pleasant fountains, simple and quiet.
In detail Bitter explained the situation in San Francisco and outlined his ideas of what ought to be done. Already Henry Bacon had sent in his design for his Court of the Four Seasons and sculptors were set to work on its ornamentation, Albert Jaegers, Furio Piccirilli, Miss Evelyn Beatrice Longman and August Jaegers, a time limit being made for the turning in of their plans.
We lingered in front of these fountains, admiring the classic grace of the groups and the play of water over the steps. We thought that Piccirilli had been most successful with his "Spring." "Of course, it's very conventional work," said the architect, "but the conventional has its place here. It explains just why Milton Bancroft worked out those murals of his in this particular way.
Urns, on the wall on either side of the doorways and in the rotunda, designed by William G. Merchant. Suggested by urns in the Vatican, Rome. Maiden of the Roman Campagna, by Albin Polasek. A Fawn's Toilet, by Attilio Piccirilli. Apollo, by Haig Patigian. The Scalp, by Edward Berge. Primitive Man, by Olga Popoff Muller. Youth, by Victor D. Salvatore. Soldier of Marathon, by Paul Noquet.
In voluminous, decorative draperies this female figure stands between two young orange trees, her arms about them significant of the harvest of California. Fountain of Spring Court of the Four Seasons The seasons of the year are expressed in the Court that honors them by four wall-fountains, the work of Furio Piccirilli.
Here is no elusive mysticism, no obscure symbolism to be dug out with the help of guidebooks, like a hard lesson. The treasures of the Seasons are on the surface, glowing in the face of all. The Seasons are sheltered in the four alcoves, distinguished from each other only by the fountain groups of Furio Piccirilli and the murals by H. Milton Bancroft.
Woman brings child to husband. Laborer with first sheaf from field. Northeast corner, "Autumn," by Piccirilli. Young woman carrying wine jar, suggests fruitfulness. Harvest of fields and human race; one girl offers grapes, other a child. Southeast corner, "Winter," by Piccirilli. Bare tree at back; laborer rests after tilling; one begins to sow, preparing for spring.
This epic figure, "An Outcast," compelling by its earnestness and the tragedy of its motive idea, is handled with firmness, assurance and a perfect sense of volume and sculptural mass values. It is exhibited by Attilio Piccirilli, the artist who designed the Maine Memorial in New York City. The appeal of "An Outcast" is too direct to need any illumination.
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