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+The Project Gutenberg Etext The City of Domes, by John D. Barry
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+Title: The City of Domes
+
+Author:  John D. Barry
+
+Release Date: April, 2002  [Etext #3151]
+[Yes, we are about one year ahead of schedule]
+[The actual date this file first posted = 01/10/01]
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+Language: English
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+The Project Gutenberg Etext The City of Domes, by John D. Barry
+******This file should be named 3151.txt or 3151.zip*****
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+
+The City of Domes
+
+
+A Walk with an Architect About the Courts and Palaces of the Panama
+Pacific International ExposItion with a Discussion of Its Architecture -
+Its Sculpture - Its Mural Decorations Its Coloring - And Its Lighting -
+Preceded by a History of Its Growth
+
+
+
+
+by John D. Barry
+
+
+
+
+To the architects, the artists and the artisans and to the men of
+affairs who sustained them in the cooperative work that created an
+exposition of surpassing beauty, unique among the expositions of the
+world.
+
+
+
+
+Contents
+
+
+
+Chapter
+
+        Preface
+        Introduction
+     I. The View from the Hill
+    II. The Approach
+   III. In the South Gardens
+    IV. Under the Tower of Jewels
+     V. The Court of the Universe
+    VI. On the Marina
+   VII. Toward the Court of the Four Seasons
+  VIII. The Court of the Four Seasons
+    IX. The Palace of Fine Arts from across the Lagoon
+     X. The Palace of Fine Arts at Close Range
+    XI. At the Palace of Horticulture
+   XII. The Half Courts
+  XIII. Near Festival Hall
+   XIV. The Palace of Machinery
+    XV. The Court of the Ages
+   XVI. The Brangwyns
+  XVII. Watching the Lights Change
+XVIII. The Illuminating and the Reflections
+        Features that Ought to he Noted by Day
+        Features that Ought to be Noted by Night
+        Index
+
+
+
+Illustrations
+
+
+
+"The Pioneer Mother"
+Design of the Exposition made in 1912
+Site of the Exposition before Construction was Begun
+Fountain of Youth
+Fountain of El Dorado
+Court of the Universe
+"Air" and "Fire"
+"Nations of the West" and "Nations of the Fast
+"The Setting Sun" and "The Rising Sun"
+"Music" and "Dancing Girls
+"Hope and Her Attendants"
+Star Figure; Medallion Representing "Art"
+California Building
+Spanish Plateresque Doorway, in Northern Wall
+Eastern Entrance to Court of Four Seasons
+Night View of Court of Four Seasons
+Portal in Court of Four Seasons
+The Marina at Night
+Rotunda of the Palace of Fine Arts
+Altar of Palace of Fine Arts
+"The Power of the Arts"
+Italian Fountain, Dome of Philosophy
+"The Thinker"
+"Aspiration"
+"Michael Angelo"
+Italian Renaissance Towers
+"The End of the Trail"
+Colonnade in Court of Palms
+"Victorious Spirit"
+Entrance to Palace of Horticulture
+Night View of the Palace of Horticulture
+Festival Hall at Night
+"The Pioneer"
+Fountain of Beauty and the Beast
+Entrance to Palace of Varied Industries
+Group above Doorway of Palace of Varied Industries
+Avenue of Palms at Night
+Avenue of Progress at Night
+Arcaded Vestibule in Entrance to Palace of Machinery
+"Genii of Machinery"
+"The Genius of Creation"
+Tower in Court of the Ages
+Fountain of the Earth
+"The Stone Age"
+"Fruit Pickers"
+Entrance to Court of the Ages, at Night
+"The Triumph of Rome"
+"The Thirteenth Labor of Hercules"
+
+
+
+Preface
+
+
+
+In the main, this volume consists of articles originally published in
+the San Francisco BULLETIN. It includes material gathered from many
+visits to the Exposition grounds and from many talks with men concerned
+in the organization and the building and ornamentation. The brief
+history that forms the Introduction gives an account of the development.
+For me, as, I presume, for most people, the thing done, no matter how
+interesting it may he, is never so interesting as the doing of the
+thing, the play of the forces behind. Even in the talk with the
+architect, where the finished Exposition itself is discussed, I have
+tried to keep in mind those forces, and wherever I could to indicate
+their play.
+
+The dialogue form I have used for several reasons: it is easy to follow;
+it gives scope for more than one kind of opinion; and it deals with the
+subject as we all do, when with one friend or more than one we visit the
+Exposition grounds. It has been my good fortune to he able to see the
+Exposition from points of view very different from my own and much
+better informed and equipped. I am glad to pass on the advantage.
+
+The Exposition is generally acknowledged to be an achievement
+unprecedented. Merely to write about it and to try to convey a sense of
+its quality is a privilege. I have valued it all the more because I know
+that many people, not trained in matters of architecture and art, are
+striving to relate themselves to the expression here, to understand it
+and to feel it in all its hearings. If, at times, directly or in
+indirectly, I have been critical, the reason is that I wished, in so far
+as I could, to persuade visitors not to swallow the Exposition whole,
+but to think about it for themselves, and to bear in mind that the men
+behind it, those of today and those of days remote, were human beings
+exactly like themselves, and to draw from it all they could in the way
+of genuine benefit.
+
+Though the volume is mainly devoted to the artistic features associated
+with the courts and the main palaces, I have included, among the
+illustrations, pictures of the California Building, both because of its
+close relation to California and because it is in itself magnificent,
+and of two notable art features, the mural painting by Bianca in the
+Italian Building, and "The Thinker", by Rodin, in the court of the
+French Pavilion.
+
+
+
+Introduction
+
+
+
+The First Steps
+
+
+
+In January, 1904, R. B. Hale of San Francisco wrote to his
+fellow-directors of the Merchants' Association, that, in 1915, San
+Francisco ought to hold an exposition to celebrate the opening of the
+Panama Canal. In the financing of the St. Louis Exposition, soon to
+begin, Mr. Hale found a model for his plan. Five million dollars should
+be raised by popular subscription, five million dollars should be asked
+from the State, and five million dollars should be provided by city
+bonds.
+
+The idea was promptly endorsed by the business associations.
+
+ From their chairmen was formed a board of governors. It was decided that
+the exposition should be held, and formal notification was given to the
+world by introducing into Congress a bill that provided for an
+appropriation of five million dollars. The bill was not acted on, and it
+was allowed to die at the end of the session.
+
+Soon after formulating the plan for the exposition Mr. Hale changed  the
+date from, 1915 to 1913, to make it coincide with the four hundredth
+anniversary of the discovery by Balboa of the Pacific.
+
+In 1906 came the earthquake and fire. The next few years San Franciscans
+were busy clearing away the debris and rebuilding. It was predicted that
+the city might recover in ten years, and might not recover in less than
+twenty-five years.
+
+Nevertheless, in December, 1906, within nine months of the disaster, a
+meeting was held in the shack that served for the St. Francis Hotel, and
+the Pacific Ocean Exposition Company was incorporated.
+
+In three years  the city recovered sufficiently to hold a week's
+festival, the Portola, and to make it a success.
+
+Two days afterward, in October, 1909, Mr. Hale gave a dinner to a small
+group of business men, and told of what had been done toward preparing
+for the Exposition. They agreed to help.
+
+Shortly afterward a meeting was held at the Merchants' Exchange. It was
+decided that an effort should at once be made to raise the money and to
+rouse the people of San Francisco to the importance of the project of
+holding the Panama-Pacific International Exposition in San Francisco in
+1915.
+
+As many as twenty-five hundred letters were sent to business men, asking
+if they favored the idea of holding an exposition. Out of about eight
+hundred replies only seven were opposed. Presently there were signs of
+enthusiasm, reflected in the newspapers.
+
+A committee of six representative business men was appointed and the
+announcement was made that the committee should be glad to hear from
+anyone in the city who had suggestions or grievances. It was determined
+that every San Franciscan should have his day in court.
+
+Later the committee of six appointed a foundation committee of two
+hundred, representing a wide variety of interests.
+
+The committee of two hundred chose a committee of three from outside
+their number.
+
+The committee of three chose from among the two hundred a directorate of
+thirty. The thirty became the directorate of a new corporation, made in
+1910, the Panama-Pacific International Exposition Company.
+
+
+
+Financing
+
+
+
+The Panama-Pacific Company two local millionaires, W. H. Crocker and W.
+B. Bourn, started financially with twenty-five thousand dollars each.
+They established the maximum individual subscription. They also secured
+forty subscriptions of twenty-five thousand dollars each. Then followed
+the call for a mass meeting. Before the meeting was held the business
+men of the city were thoroughly canvassed. The Southern Pacific and the
+Union Pacific together subscribed two hundred and fifty thousand
+dollars. There were many other large subscriptions from public-service
+organizations.
+
+On the afternoon of the meeting there was a crowd in the Merchants'
+Exchange Board Room. The announcement of the subscriptions created
+enthusiasm. In two hours the amount ran up to more than four million
+dollars. During the next few years they were increased to about
+$6,500,000.
+
+Meanwhile, the State voted a tax levy of five million dollars, and San
+Francisco voted a bond and issue of the same amount, and by an act of
+the Legislature, in special session, the counties were authorized to
+levy a small tax for county Participation, amounting, in estimate, to
+about three million dollars.
+
+
+
+Recognition From Congress
+
+
+
+Next came the task of securing from Congress official recognition of San
+Francisco as the site of the International Exposition in celebration of
+the Panama Canal.
+
+Headquarters were established in Washington. Presently serious
+opposition developed. Emissaries went from San Francisco to Washington
+singly and in delegations. Stress was laid on San Francisco's purpose
+not to ask for an appropriation from the national government. There were
+several cities in competition - Boston, Washington, Baltimore and New
+Orleans. New Orleans proved the most formidable rival. It relied on the
+strength of of a united Democracy and of the solid South.
+
+In the hearings before the Congressional Committee it was made plain
+that the decision would go to the city with the best financial showing.
+As soon as the decision was announced New Orleans entered into generous
+cooperation with San Francisco.
+
+The Exposition was on the way.
+
+
+
+Naming the President.
+
+
+
+The offer of the presidency of the Exposition Company was made to a
+well-known business man of San Francisco, C. C. Moore. Besides being
+able and energetic, he was agreeable to the factions created by the
+graft prosecution of a half dozen years before. Like the board of
+directors, he was to serve without salary. He stipulated that in the
+conduct of the work there should be no patronage. With the directors he
+entered into an a agreement that all appointments should be made for
+merit alone.
+
+
+
+Choosing the Site
+
+
+
+The choice of site was difficult. The sites most favored were Lake
+Merced, Golden Gate Park and Harbor View. Lake Merced was opposed as
+inaccessible for the transportation both of building materials and of
+people, and, through its inland position, as an unwise choice for an
+Exposition on the Pacific Coast, in its nature supposed to be maritime.
+The use of the park, it was argued, would desecrate the peoples
+recreation ground and entail a heavy cost in leveling and in restoring.
+
+Harbor View and the Presidio had several advantages. It was level. It
+was within two miles or walking distance of nearly half the city's
+inhabitants. It stood on the bay, close to the Golden Gate, facing one
+of the most beautiful harbors in the world, looking across to Mount
+Tamalpias and backed by the highest San Francisco hills. Of all the
+proposed sites, it was the most convenient for landing material by
+water, for arranging the buildings and for maintaining sanitary
+conditions.
+
+After a somewhat bitter public controversy the Exposition directors, in
+July, 1911, announced a decision. It caused general surprise. There
+should be three sites: Harbor View and a strip of the adjoining
+Presidio, Golden Gate Park and Lincoln Park, connected by a boulevard,
+specially constructed to skirt the bay from the ferry to the ocean.
+
+That plan proved to be somewhat romantic. The boulevard alone, it was
+estimated, would cost eighteen million dollars.
+
+Harris D. H. Connick, the assistant city engineer was called on as a
+representative of the Board of Public Works, and asked to make a
+preliminary survey of Harbor View. He showed that, of the proposed
+sites, Harbor View would be the most economical. The cost of
+transporting lumber would be greatly reduced by having it all come
+through the Golden Gate and deposited on the Harbor View docks. The
+expense of filling in the small ponds there would be slight in
+comparison with the expense of leveling the ground at the park.
+
+A few weeks later Harbor View and the Presidia was definitely decided on
+as the site, and the only site.
+
+For months agents had been at work securing options on leases of
+property in Harbor View, covering a little more than three hundred
+acres, the leases to run into December 1915. Reasonable terms were
+offered and in one instance only was there resort to condemnation. The
+suit that followed forced the property owner, who had refused fifteen
+hundred dollars, to take nine hundred dollars. President Moore was
+tempted to pay the fifteen hundred dollars, but he decided that this
+course would only encourage other property owners to be extortionate.
+Some trouble was experienced with the Vanderbilt properties, part of
+which happened to be under water. After considerable negotiating and
+appeals to the public spirit of the owners, it was adjusted. About seven
+hundred thousand dollars was paid for leases and about three hundred
+thousand dollars for property bought outright.
+
+
+
+The Director of Works
+
+
+
+While President Moore was looking for the man he wanted to appoint as
+head of the board of construction, Harris D. H. Connick called to
+suggest and to recommend another man. Later the president offered
+Connick the position as director of works.
+
+Connick had exactly the qualifications needed: experience, youth,
+energy, skill and executive ability. He hesitated for the reason that he
+happened to be engaged in public work that he wished to finish. But he
+was made to see that the new work was more important. He removed all the
+buildings at Harbor View, about 150, and he filled in the ponds, using
+two million cubic yards of mud and sand, and building an elaborate
+system of sewers. The filling in took about six months. On the last day
+mules were at work on the new land. And within a year the ground work
+and the underground work was finished.
+
+
+
+The Architects
+
+
+
+Meanwhile, President Moore asked for a meeting of the San Francisco
+Chapter of the American Institute of Architects, with more than 250
+members. He explained that his purpose was to have them, select twelve
+representatives from whom he should himself appoint five to act as an
+architectural board. When the board was formed with Willis Polk at its
+head, it included John Galen Howard, Albert Pissis, William Curlett, and
+Clarence R. Ward. This board was dissolved and an executive council
+composed of Polk, Ward and W. B. Faville was put in charge. Later it
+gave way to a commission consisting of W. B. Faville, Arthur Brown,
+George W. Kelham, Louis Christian Mullgardt, and Clarence R. Ward, of
+San Francisco; Robert Farquhar, of Los Angeles; Carrere & Hastings,
+McKim, Mead & White, and Henry Bacon, of New York, When it had completed
+the preliminary plans the board discontinued its meetings and G. W.
+Kelham was appointed Chief of Architecture.
+
+
+
+The Block Plan
+
+
+
+At the first meeting President Moore explained that, at the St. Louis
+Exposition, according to wide-expressed opinions, the buildings had been
+too far apart. He favored maximum of space with minimum of distance. The
+architects first considered the conditions they had to meet, climate and
+physical surroundings. They were mainly influenced by wind, cold and
+rain.
+
+The result was that for the Protection of visitors, they agreed to
+follow what was later to be generally known, as the block plan, the
+buildings arranged in, four blocks, joined by covered corridors and
+surrounded by a wall, with three central courts and two half-courts in
+the south wall. It had been developed in many talks among the
+architects. Valuable suggestions came from Willis Polk and from E. H.
+Bennett, of Chicago, active in the earlier consultations. The plan
+finally accepted was the joint work of the entire commission.
+
+Twelve buildings were put under contract, each designed to illustrate an
+epoch of architecture, ranging from the severity of the early classic to
+the ornate French renaissance of to-day.
+
+
+
+The Architecture
+
+
+
+ From the start it was realized that, vast as the Exposition was to be,
+representing styles of architecture almost sensationally different, it
+must nevertheless suggest that it was all of a piece. The relation of
+San Francisco to the Orient provided the clue. It was fitting that on
+the shores of San Francisco Bay, where ships to and from the Orient were
+continually plying, there should rise an Oriental city. The idea had a
+special appeal in providing a reason for extensive color effects. The
+bay, in spite of the California sunshine, somewhat bleak, needed to be
+helped out with color. The use of color by the Orientals had abundantly
+justified itself as an integral part of architecture. The Greeks and the
+Romans had accepted it and applied it even in their statuary. It was,
+moreover, associated with those Spanish and Mexican buildings
+characteristic of the early days of California history.
+
+
+
+The General Arrangement
+
+
+
+The general arrangement of the Exposition presented no great
+difficulties. The lay of the land helped. Interest, of course, had to
+center in the palaces and the Festival Hall, with their opportunities
+for architectural display. They naturally took the middle ground. And,
+of course, they had to be near the State buildings and the foreign
+pavilions. The amusement concessions, it was felt, ought to be in a
+district by themselves, at one end. Equally sequestered should be the
+livestock exhibit and the aviation field and the race track, which were
+properly placed at the opposite end. There would undoubtedly be many
+visitors concerned chiefly, if not wholly, with the central buildings.
+If they chose, they could visit this section without going near the
+other sections, carrying away in their minds memories of a city ideal in
+outline and in coloring.
+
+
+
+Construction
+
+
+
+As soon as the plans were decided on, the architects divided the work
+and separated. Those who had come from a distance went home and in a few
+months submitted their designs in detail. A few months later they
+returned to San Francisco and the meetings of the architectural board
+were resumed. Soon the modifications were made and the practical
+construction was ready to begin. Incidentally there were compromises and
+heartburnings. But limitations of funds had to be considered. Finally
+came the question of the tower, giving what the architects called "the
+big accent." There were those who favored the north side for the
+location. Others favored the south side. After considerable discussion
+the south side was chosen. At one of the meetings, Thomas Hastings did
+quick work with his pencil, outlining his idea of what the tower should
+be. Later, he submitted an elaborate plan. It was rejected. A second
+plan was rejected, too. The third was accepted. It cost five hundred
+thousand dollars.
+
+Designs for two magnificent gateways, to be erected at the approaches to
+the Court of the Ages and the Court of the Four Seasons were considered.
+They had to be given up to save expense.
+
+
+
+Clearing The Land
+
+
+
+The task of clearing the land was finished in a few months. In addition
+to the government reserve, the Exposition had seventy-six city blocks.
+They represented two hundred parcels of land, with 175 owners, and
+contained four hundred dwellings, barns and improvements. Most of the
+buildings were torn down. A few were used elsewhere. Precautions were
+taken to re-enforce with piles the foundations of the buildings and of
+the heavy exhibits.
+
+The director of works became responsible for the purchase of all the
+lumber to be used in building. It was bought wholesale, shipped from the
+sawmills and delivered to the sites. So there was a big saving here,
+through the buying in bulk and through reduced cost in handling and
+hauling. The first contracts given out were for the construction of the
+palaces. An estimate was made of the exact number of feet available for
+exhibits and charts were prepared to keep a close record on the progress
+of the work. Incidentally, other means of watching progress consisted of
+the amounts paid out each month. During the earlier months the
+expenditures went on at the rate of a million a month. Every three weeks
+a contract for a building would be given out. The same contractors
+figured on each building. From the start it was understood that the work
+should be done by union men. The chief exceptions were the Chinese and
+the Japanese. The exhibitors had the privilege of bringing their own
+men. In all about five thousand men were employed, working either eight
+or nine hours a day. During the progress of the work there were few
+labor troubles.
+
+One wise feature of the planning lay in the economy of space. It
+succeeded in reaching a compactness that made for convenience without
+leading to overcrowding. Great as this Exposition was to be, in its
+range worthy to be included among the expositions of the first class, it
+should not weary the visitors by making them walk long distances from
+point to point. In spite of its magnitude, it should have a kind of
+intimacy.
+
+
+
+Choice of Material
+
+
+
+There were certain dangers that the builders of the Exposition had to
+face. One of the most serious was that buildings erected for temporary
+use only might look tawdry. It was, of course, impracticable to use
+stone. The cost would have been prohibitive, and plaster might have made
+the gorgeous palaces hardly more than cheap mockeries.
+
+Under the circumstances it was felt that some new material must be
+devised to meet the requirements. Already Paul E. Denneville had been
+successful in working with material made in imitation of Travertine
+marble, used in many of the ancient buildings of Rome, very beautiful
+in texture and peculiarly suited to the kind of building that needed
+color. He it was who had used the material in the Pennsylvania Station,
+New York, in the upper part of the walls. After a good deal of
+experimenting Denneville had found that for his purpose gypsum rock was
+most serviceable. On being ground and colored it could be used as a
+plaster and made to seem in texture so close to Travertine marble as to
+be almost indistinguishable. The results perfectly justified his faith.
+As the palaces rose from the ground, making a magnificent walled city,
+they looked solid and they looked old and they had distinct character.
+Moreover, through having the color in the texture, they would not show
+broken and ragged surfaces.
+
+
+
+The Color Scheme
+
+
+
+For the color-effects it was felt that just the right man must be found
+or the result would be disastrous. The choice fell on Jules Guerin, long
+accepted as one of the finest colorists among the painters of his time.
+He followed the guidance of the natural conditions surrounding the
+Exposition, the hues of the sky and the bay, of the mountains, varying
+from deep green to tawny yellow, and of the morning and evening light.
+And he worked, too, with an eye on those effects of illumination that
+should make the scene fairyland by night, utilizing even the tones of
+the fog.
+
+
+
+The Planting
+
+
+
+There was no difficulty in finding a man best suited to plan the
+garden that was to serve as the Exposition's setting. For many years
+John McLaren had been known as one of the most distinguished
+horticulturists in this part of the world. As superintendent of Golden
+Gate Park he had given fine service. Moreover, he was familiar with the
+conditions and understood the resources and the possibilities. Of course
+a California exposition had to maintain California's reputation for
+natural beauty. It must be placed in on ideal garden, representing the
+marvelous endowment of the State in trees and shrubs and plants and
+flowers and showing what the climate could do even with alien growths.
+
+The first step that McLaren took was to consult the architects. They
+explained to him the court plan that they had agreed on and they gave
+him the dimensions of their buildings. Against walls sixty feet high he
+planned to place trees that should reach nearly to the top. For his
+purpose he found four kinds of trees most serviceable: the eucalyptus,
+the cypress, the acacia and the spruce. In his search for what he wanted
+he did not confine himself to California. A good many trees he brought
+down from Oregon. Some of his best specimens of Italian cypress he
+secured in Santa Barbara, in Monterey and in San Jose. He also drew
+largely on Golden Gate Park and on the Presidio. In all he used about
+thirty thousand trees, more than two-thirds eucalyptus and acacia.
+
+
+
+Preparing the Landscape
+
+
+
+Two years before the Exposition was to open McLaren built six
+greenhouses in the Presidia and a huge lath house. There he assembled
+his shrubs, his plants, and his bulbs. In all he must have used nearly a
+million bulbs. From Holland he imported seventy thousand rhododendrons.
+ From Japan he brought two thousand azaleas. In Brazil he secured some
+wonderful specimens of the cineraria. He even sent to Africa for the
+agrapanthus, that grew close to the Nile. Among native flowers he
+collected six thousand pansies, ten thousand veronicas and five thousand
+junipers, to mention only, a few among the multitude a flowers that he
+intended to use for decoration. The grounds he had carefully mapped and
+he studied the landscape and the shape and color of the buildings
+section, by section.
+
+The planting of trees consumed many months. The best effects McLaren
+found he could get by massing. He was particularly successful with the
+magnificent Fine Arts Palace, both in his groupings and in his use of
+individual trees. About the lagoon he did some particularly attractive
+planting, utilizing the water for reflection. There was a twisted
+cypress that he placed alone against the colonnade with a skill that
+showed the insight and the feeling of an, artist. On, the water side,
+the Marina, he used the trees to break the bareness of the long
+esplanade. And here and there on the grounds, for pure decoration, he
+reached some of his finest effects with the eucalyptus, for which he
+evidently had a particular regard. As no California Exposition would be
+complete without palm trees, provision was made for the decorative use
+of palms along of the main walks.
+
+About two weeks before the opening, the first planting of the gardens
+was completed, the first of the three crops to be displayed during the
+Exposition. The flowers included most of the spring flowers grown here
+in California or capable of thriving in the California spring climate.
+In June they were to be re-placed with geraniums, begonias, asters,
+gilly-flowers, foxglove, hollyhocks, lilies and rhododendrons. The
+autumn display, would include cosmos and chrysanthemums and marguerites.
+
+
+
+The Hedge
+
+
+
+As the work proceeded, W. B. Faville, the architect, of Bliss and
+Faville, made a suggestion for the building of a fence that should look
+as if it were moss-covered with age. The result was that developing the
+suggestion McLaren devised a new kind of hedge likely to be used the
+world over. It was made of boxes, six feet long and two feet wide,
+containing, a two-inch layer of earth, held in place by a wire netting,
+and planted with South African dew plant, dense, green and hardy and
+thriving in this climate. Those boxes, when piled to a height of several
+feet, made a rustic wall of great beauty, Moreover, they could be
+continuously irrigated by a one-inch perforated line of pipe. In certain
+lights the water trickling through the leaves shimmered like gems. In
+summer the plant would produce masses of small purple flowers.
+
+McLaren found his experiment so successful that he decided to build a
+hedge twenty feet high, extending more than a thousand feet. He also
+used the hedge extensively in the landscape design for the Palace of
+Fine Arts.
+
+
+
+The Sculptors
+
+
+
+The department of sculpture was placed under the direction of one of the
+most distinguished sculptors in the country. Karl Bitter, of New York,
+whose death from an automobile accident took place a few weeks after the
+Exposition opened. He gathered around him an extraordinary array of
+co-operators, including many of the most brilliant names in the world of
+art, with A. Stirling Calder as the acting chief, the man on the ground.
+Though he did not contribute any work of his own, he was active in
+developing the work as a whole, taking special pains to keep it in
+character and to see that, even in it its diversity, it gave the
+impression, of harmony.
+
+Calder welcomed the chance to work on a big scale and to carry out big
+ideas. With Bitter he visited San Francisco in August, 1912, for a
+consultation with the architectural commission. Minutely they went over
+the site and examined the architectural plans. Then they picked the
+sculptors that they wished to secure as co-operators.
+
+In December, 1912, Bitter and Calder made another visit to San Francisco
+for further conferring with the architectural commission, bearing
+sketches and scale models. Bitter explained his plans in detail and
+asked for an appropriation. He was told that he should be granted six
+hundred thousand dollars. The amount was gradually reduced till it
+finally reached three hundred and seventy-five thousand dollars.
+
+It was at this period that Calder submitted his plan for the Column of
+Progress. He had worked it out in New York and had the scale models made
+by MacNeil and Konti. It won the approval of McKim, Mead & White, who
+declared that it made an ideal feature of the approach from the bay side
+to their Court of the Universe, then called the Court of the Sun and
+Stars.
+
+The next few months of preparation in New York meant getting the
+sculptors together and working out the designs. The first meeting of the
+sculptors took place in January, 1913, in Bitter's studio, with a
+remarkable array of personages in attendance, including D. C. French,
+Herbert Adams, Robert Aitken, James E. Fraser, H. A. MacNeil, A. A.
+Weinman, Mahonri Young, Isidore Konti, Mrs. Burroughs and several
+others. 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.
+
+
+
+Developing the Sculpture
+
+
+
+In June, 1913, Calder returned to San Francisco to stay till the
+Exposition was well started. On the grounds he established a huge
+workshop. Then he began the practical developing of the designs, a great
+mass, which had already been carefully sifted. Hitherto, in American
+expositions the work had been done, for the most part, in New York, and
+sent to its destination by freight, a method costly in itself and all
+the more costly on account of the inevitable breakage. San Francisco,
+by being so far from New York, would have been a particularly expensive
+destination. From every point of view it seemed imperative that the work
+should be done here.
+
+In a few weeks that shop was a hive of industry, with sculptors,
+students of sculpture front the art schools, pointers, and a multitude
+of other white-clad workers bending all their energies toward the
+completion on time of their colossal task. A few of the sculptors and
+artisans Calder had brought from New York. But most of the workers he
+secured in San Francisco, chiefly from the foreign population, some of
+them able to speak little or no English.
+
+The modeling of the replicas of well-known art works were, almost
+without exception, made in clay. Most of the original work was directly
+modelled in plaster-staff used so successfully throughout the
+Exposition. For the enlarging of single pieces and groups the pointing
+machine of Robert Paine was chosen by Calder. It was interesting to see
+it at work, under the guidance of careful and patient operators, tracing
+mechanically the outlines and reproducing them on a magnified scale. For
+the finishing of the friezes the skill of the artist was needed, and
+there Calder found able assistants in the two young sculptors, Roth and
+Lentelli, who worked devotedly themselves and directed groups of
+students.
+
+In all the sculpture Calder strove to keep in mind the significance of
+the Exposition and the spirit of the people who were celebrating. With
+him styles of architecture and schools were a minor consideration, to
+be left to the academicians and the critics. He believed that sculpture,
+like all other art-forms, was chiefly valuable and interesting as human
+expression.
+
+
+
+The Decorative Figures
+
+
+
+Less successful on the whole than the blending of sculpture and
+architecture were the individual figures designed to be placed against
+the walls. Some of them were extremely well done. Others were obvious
+disappointments. The unsophisticated judgment, free from Continental
+bias, might have objected to the almost gratuitous use of nudity. For a
+popular exhibition, even the widely-traveled and broad-minded art
+lover might have been persuaded that a concession to prejudice could
+have been made without any great damage to art.
+
+In the magnificent entrance to the grounds it was deemed fitting that
+the meaning of the Exposition should be symbolized by an elaborate
+fountain. So in the heart of the South Gardens there was placed the
+Fountain of Energy, the design of A. Stirling Calder, the athletic
+figure of a youth, mounted on a fiery horse, tearing across the globe,
+which served for pedestal, the symbolic figures of Valor and Fame
+accompanying on either side. The work, as a whole suggested the triumph
+of man in overcoming the difficulties in the way, of uniting the two
+oceans. It made one of the most striking of all the many fountains on
+the grounds, the dolphins in the great basin, some of them carrying
+female figures on their backs, contributing to an effect peculiarly
+French.
+
+
+
+The Column of Progress
+
+
+
+The Column of Progress, suggested by Calder and planned in outline by
+Symmes Richardson, besides being beautiful symbol and remarkably
+successful in outline, was perhaps the most poetic and original of all
+the achievements of the sculptors here. It represented something new in
+being the first great column erected to express a purely imaginative and
+idealistic conception. Most columns of its kind had celebrated some
+great figure or historic feat, usually related to war. But this column
+stood for those sturdy virtues that were developed, not through the
+hazards and the excitements and the fevers of conquest, but through the
+persistent and homely tests of peace, through the cultivation of those
+qualities that laid the foundations of civilized living. Isidore Konti
+designed the frieze typifying the swarming generations, by Matthew
+Arnold called "the teeming millions of men," and to Hermon A. MacNeil
+fell the task of developing the circular frieze of toilers, sustaining
+the group at the top, three strong figures, the dominating male, ready
+to shoot his arrow straight alit to its mark, a male supporter, and the
+devoted woman, eager to follow in the path of advance.
+
+
+
+The Aim of the Sculptors
+
+
+
+It was evidently the aim of the sculptors to express in their work, in
+so far as they could, the character of the Exposition. And the breadth
+of the plans gave them, a wide scope. They must have welcomed the chance
+to exercise their art for the pleasure of the multitude, an art
+essentially popular in its appeal and certain to be more and more
+cultivated in our every-day life. Though this new city was to be for a
+year only, it would surely influence the interest and the taste in art
+of the multitudes destined to become familiar with it and to carry away
+more or less vivid impressions.
+
+The sculpture, too, would have a special advantage. Much of it, after
+the Exposition, could be transferred elsewhere. It was safe to predict
+that the best pieces would ultimately serve for the permanent adornment
+of San Francisco - by no means rich in monuments.
+
+
+
+Mural Painting
+
+
+
+It was felt by the builders of the Exposition that mural decorating
+must be a notable feature.
+
+The Centennial Exposition of '76 had been mainly an expression of
+engineering. Sixteen years later architecture had dominated the
+Exposition in Chicago. The Exposition in San Francisco was to be
+essentially pictorial, combining, in its exterior building,
+architecture, sculpture and painting.
+
+When Jules Guerin was selected to apply the color it was decided that he
+should choose the mural decorators, subject to the approval of the
+architectural board. The choice fell on men already distinguished. all
+of them belonging to New York, with two exceptions, Frank Brangwyn of
+London, and Arthur Mathews, of San Francisco. They were informed by
+Guerin that they could take their own subjects. He contented himself
+with saying that a subject with meaning and life in it was an asset.
+
+In New York the painters had a conference with Guerin. He explained the
+conditions their work was to meet. Emphasis was laid on the importance
+of their painting with reference to the tone of the Travertine. They
+were instructed, moreover, to paint within certain colors, in harmony
+with the general color-scheme, a restriction that, in some cases, must
+have presented difficult problems.
+
+The preliminary sketches were submitted to Guerin, and from the sketches
+he fixed the scale of the figures. In one instance the change of scale
+led to a change of subject. The second sketches were made on a larger
+scale. When they were accepted the decorators were told that the final
+canvases were to be painted in San Francisco in order to make sure that
+they did not conflict with one another and that they harmonized with the
+general plan of the Exposition. Nearly all the murals were finished in
+Machinery Hall; but most of them had been started before they arrived
+there.
+
+
+
+Painting For Out-Doors
+
+
+
+Some concern was felt by the painters on account of their lack of
+experience in painting for out-of-doors. There was no telling, even by
+the most careful estimate, how their canvases would look when in place.
+Color and design impressive in a studio might, when placed beside
+vigorous architecture, become weak and pale. Besides, in this instance,
+the murals would meet new conditions in having to harmonize with
+architecture that was already highly colored. Furthermore, no two of the
+canvases would meet exactly the same conditions and, as a result of the
+changes in light and atmospheric effects, the conditions would be subject
+to continual change. Finally, they were obliged to work without precedent.
+It was true that the early Italians had done murals for the open air,
+but no examples had been preserved.
+
+That the painters were able to do as well as they did under the
+limitations reflected credit on their adaptability and good humor. The
+truth was they felt the tremendous opportunity afforded their art by
+this Exposition. They believed that in a peculiar sense it testified to
+the value of color in design. It represented a new movement in art, with
+far-reaching possibilities for the future. That some of them suffered as
+a result of the limiting of initiative and individuality, of
+subordination to the general scheme, was unquestionable. Some of the
+canvases that looked strong and fine when they were assembled for the
+last touches in Machinery Hall became anaemic and insignificant on the
+walls. Those most successfully met the test where the colors were in
+harmony with Guerin's coloring and where they were in themselves strong
+and where the subjects were dramatic and vigorously handled. The
+allegorical and the primitive subjects failed to carry, first because
+they had little or no real significance, and secondly because the spirit
+behind them was lacking in appeal and, occasionally, in sincerity.
+
+In one regard Frank Brangwyn was more fortunate than the other painters.
+His murals, though intended to be displayed in the open air, were to
+hang in sequestered corners of the corridors running around the Court of
+the Ages, the court, moreover, that was to have no color. Besides, there
+were no colors in the world that could successfully compete against his
+powerful blues and reds.
+
+
+
+The Lighting
+
+
+
+The lighting of the Exposition, it was determined, should be given to
+the charge of the greatest expert in the country. Several of the leading
+electric light companies were consulted. They agreed that the best man
+was Walter D'Arcy Ryan, who had managed the lighting at the
+Hudson-Fulton Celebration and at the Niagara Falls Exposition. Mr. Ryan
+explained his system of veiled lighting, with the source of the light
+hidden, and made plain its suitability to an Exposition where the
+artistic features were to be notable, and where they were to be
+emphasized at night, with the lighting so diffused as to avoid shadows.
+After his appointment as director of illuminating he made several visits
+to San Francisco, and a year before the opening of the Exposition, he
+returned to stay till the close. His plan of ornamenting the main tower
+with large pieces of cut glass, of many colors, to shine like jewels,
+created wide-spread interest on account of its novelty. It was generally
+regarded as a highly original and sensational Exposition feature.
+
+
+
+Watching the Growth
+
+
+
+As the building went on the San Franciscans gradually became alive to
+the splendor. Each Sunday many thousands would assemble on the grounds.
+About a year before the date set for the opening an admission fee of
+twenty-five cents brought several thousands of dollars each week. On the
+Sundays when Lincoln Beachey made his sensational flights there would
+often be not less than fifty thousand people looking on.
+
+
+
+The Walled City
+
+
+
+If there were any critics who feared that the walled city might present
+a certain monotony of aspect they did not take into account the Oriental
+luxuriance of the entrances, breaking the long lines and making splendid
+contrast of design and of color. Those entrances alone were worth minute
+study. Besides being beautiful, they had historic significance.
+Furthermore, the long walls were broken by artistically designed windows
+and by groups of trees running along the edge. Within the walls, in the
+splendidly wrought courts, utility was made an expression, of beauty by
+means of the impressive colonnades, solid rows of columns, delicately
+colored, suitable for promenading and for protection against rain.
+
+ From the hills looking down on the bay the Exposition began to seem
+somewhat huddled. But the nearer one approached, the plainer it became
+that this effect was misleading. On the grounds one felt that there was
+plenty of room to move about in. And there was no sense of incongruity.
+Very adroitly styles of architecture that might have seemed to be alien
+to one another and hostile had been harmoniously blended. Here the color
+was a great help. It made the Exposition seem all of a piece.
+
+
+
+The War
+
+
+
+In the summer of 1914 the Exposition received what for a brief time,
+looked like a crushing blow in the declaration of war. How could the
+world be interested in such an enterprise when the great nations of
+Europe were engaged in what might prove to be the most deadly conflict
+history?
+
+The directors, in reviewing the situation, saw that, far from being a
+disadvantage in its effect on their plans, the war might be an
+advantage. In the first place, it would keep at home the great army of
+American travelers that went to Europe each year. With their fondness
+for roaming, they would be almost certain to be drawn to this part of
+the world. And besides, there were other travelers to be considered,
+including those Europeans who would be glad to get away from the alarms
+of war and those South Americans who were in the habit of going to
+Europe. Furthermore, though the Exposition had been designed to
+commemorate the services of the United States Army in building the
+Panama Canal, it was essentially dedicated to the arts of peace. It
+would show what the world could do when men and nations co-operated.
+
+
+
+The Department of Fine Arts
+
+
+
+Meanwhile, the war was upsetting the plans for the exhibits, notably the
+exhibit of painting and sculpture.
+
+When John E. D. Trask, for many years director of the Pennsylvania
+Academy of Fine Arts, was appointed Director of the Fine Arts Department
+at the Panama-Pacific International Exposition, he had made a careful
+survey of the field he had to cover. It virtually consisted of the whole
+civilized world. After arranging for the formulation  of committees in
+the leading cities of the East and the Middle West to secure American
+work, he made a trip to Europe, visiting England, France, Holland,
+Sweden, Germany, Hungary, Austria and Italy. With the exception of
+England and Germany, the governments were sympathetic. The indifference
+of those two countries was at the time was not quite comprehensible.
+There might have been several explanations, including the threat of war.
+There were also those who said that England and Germany had entered into
+a secret alliance against this country for the purpose of minimizing the
+American influence in commerce, soon to be strengthened by the opening
+of the Panama Canal. Wherever the truth lay, the fact remained that both
+countries maintained their attitude of indifference. Individual English
+and German artists and organizations of artists, however, showed a
+willingness to co-operate.
+
+Through emissaries, mainly unofficial, Americans of influence, Trask
+drew on the resources of all Europe. He also entered into negotiations
+with China and Japan, both of which countries, with their devotion to
+art, as might have been expected, co-operated with enthusiasm. The
+display at the Fine Arts Palace promised to make one of the greatest
+international exhibits in history, if not the greatest.
+
+At the outbreak of the war it looked as if the whole of Europe might
+become involved and it might be impossible to secure anything that could
+properly be called a European art exhibit. Meanwhile, the space reserved
+for the European exhibitors must he filled. It happened that, at the
+time, Trask was in the East. He quickly put himself into personal
+communication with the New York artists, who had been invited to send
+three or four works, and he asked them to increase the number. He also
+arranged with his committee for the securing of a much larger number of
+American pictures. Under the circumstances he was bound to rely on the
+discretion of his juries. The result was that he had to take what came.
+It included a large number of excellent works and others of doubtful
+merit.
+
+
+
+An Emissary to France and Italy
+
+
+
+Meanwhile, during the few months after the outbreak of war, the art
+situation in Europe began to look more hopeful. It seemed possible that
+some of the nations concerned in the war would be persuaded to
+participate. Captain Asher C. Baker, Director of the Division of
+Exhibits, was sent on a special mission to France, sailing from New York
+early in November. The United States collier "Jason" was then preparing
+to sail from New York with Christmas presents for the children in the
+war zone, and the secretary of the navy had arranged with the Exposition
+authorities that, on the return trip, the ship should be used to carry
+exhibits from Europe. The first plan was that the exhibits should come
+only from the warring nations; it was later extended to include other
+nations.
+
+In Paris Captain Baker found the situation discouraging. The first
+official he saw told him that, under the circumstances, any
+participation of France whatsoever was out of the question: France was
+in mourning, and did not wish to celebrate anything; if any Frenchman
+were to suggest participation he would be criticised; furthermore, Albert
+Tirman, at the head of the French committee that had visited San
+Francisco the year before to select the site of the French Pavilion, had
+come back from the front in the Vosges and was hard at work in the
+barracks of the Invalides, acting as an intermediary between the civil
+and military authorities.
+
+Then Captain Baker appealed to Ambassador Myron T. Herrick. Although the
+ambassador was enthusiastic for the Exposition, he said that, in such a
+crisis, he could not ask France to spend the four hundred thousand
+dollars set apart for use in San Francisco. Captain Baker said: "Don't
+you think if France came in at this time a wonderfully sympathetic
+effect would be created all over the United States?" The ambassador
+replied, "I do." "Wouldn't you like to see France participate?" The
+ambassador declared that he would. "Will you say so to Mr. Tirman?" The
+ambassador said, "Willingly."
+
+A week later Baker and Tirman were on their way to Bordeaux to see
+Gaston Thomson, Minister of Commerce. They made these proposals: The
+exhibits should be carried by the Jason through the canal to San
+Francisco; the building of the French Pavilion should be undertaken by
+the Division of Works of the Exposition, on specification to be cabled
+to San Francisco of the frame work, the moulds for the columns and
+architectural ornaments to be prepared in France and shipped by express;
+the French committee of organization was to work in France among
+possible exhibitors; a statement was to be made to the ministry of what
+each department of the government could do in sending exhibits and what
+exhibits were ready; a statement should come from the Minister of Fine
+Arts as to how much space he could occupy and how many paintings could
+be secured for the Palace of Fine Arts; a complete representation of the
+Department of Historical Furniture and Tapestries, known as the Garde
+Meuble, was to be made for the pavilion.
+
+In the interview with the Minister of Commerce Baker argued that,
+without France, an Exposition could not be international, and that the
+participation of France at this time, with her flag flying in San
+Francisco, would be like winning a battle before the world. It would
+show the people of the United States France's gratitude for the money
+sent the wounded and the suffering, and would warm the hearts of the
+American people.
+
+Thomson responded with enthusiasm, and soon the government became
+enthusiastic. Several thousand dollars were spent in cabling; Henri
+Guillaume, the distinguished French architect, experienced in many
+expositions, was sent out. When the Jason stopped at Marseilles it took,
+on board one of the most remarkable collections of art treasures ever
+shipped to a foreign country, the finest things in one of the world's
+great storehouses of treasure, including even the priceless historical
+tapestries, and a large collection of French paintings for the Fine Arts
+Palace, gathered by the French committee after great labor, due to the
+absence of many of the painters in the war.
+
+When Captain Baker left France he had accomplished far more for the
+Exposition than he realized himself. Reports of his success in securing
+French participation preceded him to Italy and helped to prepare the
+way. The Italians listened to his proposition, all the more willingly
+because France had been won over. Besides, he had a warm supporter in
+Ernesto Nathan, ex-Mayor of Rome, who had paid an extended visit to San
+Francisco and had become an enthusiastic champion of the Exposition. In
+a few days he had made arrangements that led to the collection of the
+splendid display of Italian art, shipped on the Vega, together with many
+commercial exhibits. Captain Bakers work in France and in Italy,
+accomplished within three weeks, was a triumph of diplomacy.
+
+
+
+Foreign Participation in General
+
+
+
+Germany was not to be completely over-shadowed by France notwithstanding
+previous indifference on the part of the government. German
+manufacturers wished to be represented, and they actually received
+governmental encouragement. Austrians, not to be outdone by Italy,
+unofficially came in. In fact, despite the war, every country had
+some representation, England and Scandinavia and Switzerland included,
+even if they did not have official authority.
+
+There are those who maintain that, in spite of criticism, the Fine Arts
+Department is now making a better showing than it could have made if
+there had been no war. American collectors, with rare canvases, were
+persuaded to help in the meeting of the emergency by lending work that,
+otherwise, they would have kept at home. It was thought that many of the
+Europeans would be glad to send their collections to this country for
+safe keeping during war time. But such proved not to be the case. A good
+deal of concern was felt about sending the treasures on so long a
+journey, subject to the hazards of attack by sea. Furthermore, from the
+European point of view, San Francisco seemed far away.
+
+
+
+Looking for Art Treasures
+
+
+
+A short time after Captain Baker sailed from New York another emissary
+went abroad for the Exposition, J. N. Laurvik, the art critic. A few
+weeks before Mr. Laurvik had returned from Europe, where he had
+represented the Fine Arts Department, looking for the work of the
+artists in those countries that were not to participate officially. At
+the time of the outbreak he was in Norway and he had already secured the
+promise of many collections and the co-operation of artists of
+distinction. His report of the situation as he left it persuaded the
+authorities that, in spite of the difficulties, he might do effective
+work.
+
+When Laurvik arrived in Rome he found that Captain Baker had already
+prepared for his activities. Ernesto Nathan was devoting himself heart
+and soul to the cause. But the Italian authorities, for the most part,
+were absorbed in the questions that came up with the threat of war.
+Working with the committee, and aided by Ambassador Thomas Nelson Page,
+Laurvik quickly made progress. He secured magnificent canvases by the
+President of the French Academy in Rome, Albert Besnard, painted, for
+the most part, in Benares, with scenes on the Ganges, and a collection
+of pieces by the Norwegian sculptor, Lerche.
+
+
+
+Notable Collections
+
+
+
+ From Rome Laurvik went to Venice, where he was greatly helped by the
+American consul, B. H. Carroll, Jr. Though the International Exhibit
+held in Venice every two years had closed several months before, many of
+the works of art were still there, their owners, either afraid or unable
+to take them away and yet concerned about their being so close to the
+scene of war. It was the general concern that enabled Laurvik to secure
+some of his finest material. Together with the Italian work, he arranged
+to have shipped here on the Jason, Norwegian and Hungarian paintings and
+fifty canvases by the man regarded as the greatest living painter in
+Finland, Axel Gallen-Kallela. He also made a short journey from Venice
+to the home of Marinetti, the journalist, poet and leader of the.
+Italian Futurist painters, who, after much persuading, promised to send
+fifty examples of the work done by the ten leaders in his group.
+
+On leaving Venice Laurvik started for Vienna. In spite of the war, he
+was promised support by the Minister of Art. Unfortunately, the art
+societies fell to quarreling, and gave little or no help. Then Laurvik
+appealed to the artists themselves. In Kakosha, one of the best known
+among the Austrian painters, he found an ally. The collection he made in
+Vienna included several of Kakosha's canvases, lent by their owners, and
+a large number of etchings.
+
+
+
+The Hungarian Collection
+
+
+
+In Hungary Laurvik had a powerful friend in Count Julius Andrassy, a
+man, of wealth and influence, the owner of one of the newspapers
+published in Budapest. From, his own collection of Hungarian art
+Andrassy made a large contribution and he inspired other collectors to
+do likewise. The getting together of the material was full of
+difficulties. Much of it had been taken away for safekeeping. The
+museums were all closed and some of their treasures were buried in the
+ground. Already the Russians, during their raid on the Carpathian
+Mountains, had possessed themselves of rare art works, some of the best
+canvases cut from the frames and carried off by the officials. Among the
+sufferers was Count Andrassy himself, who lost valuable heirlooms from
+one of his country estates, including several Titians. In spite of that
+experience, Andrassy, refused to hide his possessions. He preferred the
+risk of losing them to showing fear, perhaps helping to start a panic.
+
+The Hungarian collection came near missing the Jason. It was
+mysteriously held up in the train that carried it through the Italian
+territory to Italy, arriving in Genoa three days after the Jason was
+scheduled to so sail from there. But the Jason happened to be delayed
+three days, too.
+
+By the German steamer, the "Crown Princess Cecilie," it happened that an
+interesting collection of German Paintings, after being exhibited in the
+Carnegie Institute of Pittsburgh, was started on the way to Germany; but
+the war caused the ship to return to an American port. After a good deal
+of negotiating the canvases were secured for the Exposition and taken
+off the ship.
+
+On the opening day of the Exposition it was found that the Palace of
+Fine Arts, far from having too little material, had too much. Not only
+were China and Japan and several of the European nations well
+represented, but on the way were many art works that there would not be
+room for. The consequence was that a new building had to be erected. It
+was finished in July and it became known as the Fine Arts Annex.
+
+
+
+I
+
+The View From the Hill
+
+
+
+"The best way to see the Exposition, in my opinion," said the architect,
+"is to stand on the top of the Fillmore Street hill and look down. Then
+you will find out what the architects were up to. The finest point of
+observation would be at the corner of Divisadero Street and Broadway."
+
+The next day, as we stood at that point, the Exposition stretched out
+beneath us like a city of the Orient.
+
+"When the architects first discussed the construction they knew it was
+to be looked at from these hills. So they had to have a scheme that
+should hide the skylight and avoid showing lack of finish on top and
+that should be pictorial and impressive from above. One of the problems
+was to make the roof architectural. Now as we look down, see how
+stunning the effect is - like a Persian rug."
+
+"And the color helped there, too, didn't it?"
+
+"Of course. And notice how skilfully the architecture and the coloring
+harmonized. As the Exposition was to be built on low, flat ground, it
+had to be lifted up. One way was by using the domes. The central portion
+of each of those palaces was lifted above the main surface of the roof
+to introduce a row of semi-circular windows to light the interior like a
+church. And the domes, besides being ornamental in themselves, gave
+spring to the towers. The big tower provided scope for the splendid
+archway that served as an approach and set the standard for the other
+arches."
+
+It was plain enough that the top of the Exposition had not received the
+praise it deserved. "Think how crude that scene would have been if it
+had presented a straggling mass of roofs. And even as it is, with its
+graceful lines, if it were lacking in color it would seem crude. Perhaps
+it will help us to realize how unsightly most of the roofs of our houses
+are, and how unfinished. There's no reason in the world why they should
+be. The Greeks and the Romans had the right idea. They were very
+sensitive to lack of finish. They felt the charm of decorated roofs. See
+that angel down there that keeps recurring at the points of the gables.
+What a pretty bit of ornamentation. The Greeks used it to suggest the
+gifts of the gods coming down from heaven. 'Blessings on this house.' I
+suppose the wreath in the hand used here was meant to suggest the
+crowning of the work. It explains why the figure is called "Victory." By
+the way, it has an architectural value in giving lightness and grace to
+the roofs."
+
+The builders, we could see, had cleverly adapted their plans to the
+conditions. "The effect might so easily have been monotonous and cold,
+and it might have been flat and dreary. It was a fine idea to lift the
+central portion of each of those main palaces above the surfaces of the
+roofs to introduce the semicircular windows in the domes. It helped to
+infuse the scene with a kind of tenderness and spirituality. And see how
+the two groups on top of the triumphal arches, the Orientals and the
+Pioneers, contribute to the soaring effect and to the finish at the same
+time. The Romans disliked bareness on the top of their arches. They
+wanted life up there, the more animated the better. So they put on some
+of their most dramatic scenes, like their chariot races."
+
+The expert proceeded to point out the architectural balance of the
+buildings. The severe and mighty Palace of Machinery, impressive in its
+long sweep of line, at one side made a dramatic contrast with the
+delicately imagined and poetic Palace of Fine Arts on the other. In
+front of the walled city, between the long stretch of garden, stood two
+harmonious buildings, the Palace of Horticulture, with its glorious roof
+of glass, and the Festival Hall, closely related in outline, and yet
+very different in detail. And the garden itself, with its dark, pointed
+trees standing against the wall, and with its simplicity of design, made
+an agreeable approach to the great arched entrance under the Tower of
+Jewels. "Those banners down there, shielding the lights, are a stroke of
+genius, both in their orange color and their shape. And those
+orange-colored streamers, how they add to the spirit of gaiety. The
+trees have been placed against the wall to keep it from seeming like a
+long and uninteresting stretch. And observe the grace in line of the
+niches between the trees. Even from here you can feel the warmth of the
+color in the paths. The pink effect is made by burning the sand. Only a
+man like Guerin, a painter, would have thought of that detail. I wonder
+how many visitors down there know that the very sand they walk on has
+been colored."
+
+Around the Tower pigeons were flying, somehow relieving the mechanical
+outlines. Was the disproportion between the great arch, forming a kind
+of pedestal, and the outlines above due to mathematical miscalculation
+or to the interference of the ornamentation? We finally decided that the
+proportions had probably been right in the first place. But they had
+been changed by the Exposition authorities' cutting the Tower down one
+hundred feet, thereby saving $100,000. A matter of this kind could be
+reduced almost to an exact science. Besides, though the ornamentation
+interfered with the upward sweep of line, the effect of flatness was
+made by those horizontal blocks which seemed to be piled up to the top.
+If the outline had been clean, it would have achieved the soaring effect
+so essential to an inspiring tower, creating the sense of reaching up to
+the sky, like an invocation.
+
+Thomas Hastings had a sound idea when he made that design. He wanted to
+do something Expositional, exactly as Guerin did when he applied the
+coloring. Now there were critics who said that the coloring was too
+pronounced. It reminded them of the theater. Well, that was just what it
+ought to remind them of. It had life, gaiety, abandon. The critic who
+said that the orange domes provided just the right tone, and that this
+tone ought to have been followed throughout, didn't make sufficient
+allowance for public taste. He wanted the Exposition to be an
+impressionistic picture in one key. But one key was exactly what Guerin
+didn't want. His purpose was to catch the excitement in variety of color
+as well as the warmth, to stimulate the mind. He succeeded in adapting
+his color scheme to architecture that had breadth and dignity. At first
+he expected to use orange, blue, and gold, carefully avoiding white. He
+did avoid white; but he expanded his color scheme and included brown and
+yellow and green. But, in that tower, Hastings did something out of
+harmony with the architecture, something barbaric and crude.
+
+Here and there the bits of Austrian cut glass were sparkling on the
+tower like huge diamonds. "At times the thing is wonderfully impressive.
+There's always something impressive about a mass if it has any kind of
+uniformity, and here you can detect an intention on the part of the
+architect. There are certain lights that have a way of dressing up the
+tower as a whole, giving it unity and hiding its ugliness. And at all
+times it has a kind of barbaric splendor. It might have come out of an
+Aztec mind, rather childish in expression, and seeking for beauty in an
+elemental way. I can imagine Aztecs living up there in a barbaric
+fashion, their houses piled, one above another, like our uncivilized
+apartment houses."
+
+In studying the Tower of Jewels in detail, we decided that it was not
+really so crude as it seemed on first sight. Much might be done even now
+by a process of elimination. And the arch was magnificent. "In its
+present condition the tower unquestionably provides a strong accent. It
+has already become a dominating influence here. But it's an influence
+that teaches people to feel and to think in the wrong way. It encourages
+a liking for what I call messy art, instead of developing a taste for
+the simplicity that always characterizes the best kind of beauty, the
+kind that develops naturally out of a central idea."
+
+ From the Tower of Jewels we turned our attention to those other towers,
+the four so charming in design and in proportion, Renaissance in
+feeling, their simplicity seeming all the more graceful on account of
+the contrast with the other tower's over-ornamentation. "I wonder what
+the world would have done without the Giralda Tower in Seville? It has
+inspired many of the most beautiful towers in the world. It helped to
+inspire McKim, Mead and White when they built the Madison Square Tower,
+and the Madison Square Tower might be described as a relative of our own
+Ferry Tower, which is decidedly one of the best pieces of architecture
+in San Francisco. And it's plain enough that these four towers and the
+Ferry Tower are related. The top of the four towers, by the way, has a
+history. It comes from the Choragic Monument of Lysicrates, the little
+temple in Athens that was built by one of the successful chorus-leaders
+in the competitive choral dances of the Greeks, who happened to be a man
+of wealth. Afterward, when a chorus-leader won a prize, which consisted
+of a tripod, it was shown to the people on that monument."
+
+"Some critics," I said, "have complained of the coloring and the pattern
+on those towers."
+
+"They can't justify themselves, however. Though this plaster looks like
+Travertine, it nevertheless remains plaster, and it lends itself to
+plastic decoration. The Greeks and the Romans often used plaster, and
+they did not hesitate to paint it whenever they chose. Kelham's four
+towers have been criticised on account of their plastic design, which
+has a good deal of pink in it. But that design provides one of the
+strongest color notes in the whole Exposition, a delightful note, too.
+It happens that makers of wallpaper have had the good sense to use a
+design somewhat similar. But this fact does not make the design any the
+less attractive or serviceable."
+
+Between the houses on the hill we could catch glimpses of the South
+Gardens between the glass dome of the Horticultural Palace and Festival
+Hall. The architects rightly felt that in general appearance they had to
+be French to harmonize with the French architecture on either side. In
+the distance the Fountain of Energy stood out, like a weird skeleton
+that did not wholly explain itself. Stirling Calder, the sculptor, must
+have forgotten that the outline of those little symbolic figures perched
+on the shoulder of his horseman would not carry their meaning.
+
+Now, before our eyes, the Exposition revealed itself as a picture, with
+all the arts contributing. It suggested the earlier periods of art, when
+the art-worker was architect, painter and sculptor all in one.
+
+
+
+II
+
+The Approach
+
+
+
+"You see," said the architect as we started down the hill, "when the
+Exposition builders began their work they found the setting of the
+Mediterranean here. It justified them in reproducing the art of the
+Orient and of Greece and Rome which was associated with it, modified of
+course to meet the special requirements. Besides, they didn't want to be
+tied down to the severe type of architecture in vogue in this country."
+
+First of all, he went on to explain, they had created a playground.
+There they appealed to the color sense, strong in the Italians and the
+Orientals, and weak among the people in this country, decidedly in need
+of fostering, and the appeal was not merely to the intellect, but to the
+emotions as well. Color was as much a part of architecture as of
+painting. So, in applying the color, Guerin worked with the architects.
+He never made a plan without taking them into consultation. Then, too,
+Calder, acting head of the Department of Sculpture, and Denneville, the
+inventor of the particular kind of imitation Travertine marble used on
+the grounds, were active in all the planning. In fact, very little was
+done without the co-operation of Guerin, Calder, Denneville and Kelham,
+chief of the Architectural Board. In getting the Exposition from paper
+to reality, they had succeeded in making it seem to be the expression of
+one mind. Even in the development of the planting the architects had
+their say. Here landscape gardening was actually a part of the
+architecture. Faville's wall, for example, was built with the
+understanding that its bareness was to be relieved with masses of
+foliage, creating shadows.
+
+Before the Scott Street entrance we paused to admire the high hedge of
+John McLaren. We went close to examine the texture. The leaves of the
+African dewplant were so thick that they were beginning to hide the
+lines between the boxes.
+
+"Faville realized the importance of separating the city from the rest of
+the world, making it sequestered. He knew that a fence wouldn't be the
+right sort of thing. So he conceived the idea of having a high, thick
+wall, modeled after an old English wall, overgrown with moss and ivy. As
+those walls were generations in growing, he saw that to produce one in a
+few months or even a few years required some ingenuity. He set to work
+on the problem and he devised a scheme for making an imitation hedge by
+planting ivy in deep boxes and piling the boxes on one another. When he
+submitted it to McLaren he was told that it was good except for the use
+of the ivy. It would be better to use African dew plant. Later McLaren
+improved on the scheme by using shallow boxes.
+
+"Faville designed a magnificent entrance here," the architect went on,
+glancing up at the three modest arches that McLaren had tried to make as
+attractive as possible with his hedge. "It would have been very
+appropriate. But the need of keeping down expenses caused the idea to be
+sacrificed. However, the loss was not serious. As a matter of fact, in
+spite of the efforts of the Exposition to persuade visitors to come in
+here, a great many preferred to enter by the Fillmore Street gate.
+During the day this approach is decidedly the more attractive on account
+of leading directly into the gardens and into the approach to the court.
+The Fillmore Street entrance, with the Zone shrieking at you at one
+side, hardly puts you in the mood for the beauty in the courts. At night
+the situation is somewhat different. The flaring lights of the Zone make
+the dimness of the court all the more attractive."
+
+
+
+III
+
+In the South Gardens
+
+
+
+Though the arrangement of the landscape might be French, these flowers
+were unmistakably Californian. The two pools, ornamented with the Arthur
+Putnam fountain of the mermaid, in duplicate, decidedly French in
+feeling, were brilliant with the reflected coloring from both the
+flowers and the buildings.
+
+The intention at first had been to make a sunken garden here; but the
+underground construction had interfered. Now one might catch a
+suggestion of Versailles, except for those lamp posts. "Joseph Pennell,
+the American etcher, who has traveled all over Europe making drawings,
+finds a suggestion of two great Spanish gardens here, one connected with
+the royal palace of La Granga, near Madrid, and the other with the royal
+palace of Aranjuez, near Toledo. They've allowed the flowers to be the
+most conspicuous feature, the dominating note, which is as it should be.
+Masses of flowers are always beautiful and they are never more beautiful
+than when they are of one color."
+
+"And masses of shrubbery are always beautiful, too,", I said, nodding in
+the direction of the Palace of Horticulture, where McLaren had done some
+of his best work.
+
+"There's no color in the world like green, particularly dark green, for
+richness and poetry and mystery. It's intimately related to shadow,
+which does so much for beauty in the world."
+
+"The Fountain of Energy almost hits you in the face, doesn't it?" I
+said.
+
+"Of course. That's exactly what Calder meant to do. In a way he was
+right. He wanted to express in sculpture the idea of tremendous force.
+Now his work is an ideal example of what is expositional. It has a
+sensational appeal. One objection to it is that it suggests too much
+energy, too much effort on the part, not only of the subject, but of the
+sculptor. The artist ought never to seem to try. His work ought to make
+you feel that it was easy for him to do. But here you feel that the
+sculptor clenched his teeth and worked with might and main. As a matter
+of fact, he did this piece when he must have been tired out from
+managing all the sculpture on the grounds. He made two designs. The
+first one, which was not used, seemed to me better because it was
+simpler in the treatment of the base. Even the figures at the base here
+are over-energized, the human figures I mean. Still, in their
+sportiveness and in the sportiveness of Roth's animals, they have a
+certain charm. And with the streams spouting, the work as a whole makes
+an impression of liveliness. But it's a nervous liveliness,
+characteristically American, not altogether healthy."
+
+The Fountain of Energy and the Tower of Jewels, we decided, both
+expressed the same kind of imagination. Like the fountain, the tower
+gave the sense of overstrain. "It's pretty hard to see any architectural
+relation between those figures up there on the tower and the tower
+itself. See how the mass tries to dominate Kelham's four Italian towers,
+but without showing any real superiority."
+
+The heraldic shields on the lamp posts near by attracted us both by
+their color and by the variety and grace of their designs. How many
+visitors stopped to consider their historic character? They went back to
+the early history of the Pacific Coast. For this contribution alone
+Walter D'Arcy Ryan deserved the highest recognition. Only an artist
+could have worked out this scheme in just this sensitive and appropriate
+way.
+
+We stopped at the vigorous equestrian statue of Cortez by Charles
+Niehaus at our right, close to the tower. "I always liked Cortez for his
+nerve. He didn't get much gratitude from his Emperor for conquering
+Mexico and annexing it to Spain. And what he got in glory and in money
+probably did not compensate him for his disappointment at the end. When
+he couldn't reach Charles V in any other way, he jumped up on the royal
+carriage. Charles didn't recognize him and asked who he was. 'I'm the
+man,' said Cortez, 'that gave you more provinces than your forebears
+left you cities.' Naturally Charles was annoyed. We don't like to be
+reminded of ingratitude, do we, especially by the people who think we
+ought to be grateful to them? So Cortez quit the court and spent the
+rest of his life in the country."
+
+At our right we met another of the many Spanish adventurers drawn to the
+Americas by the discovery of Columbus, Pizarro, who presented his
+country with the rich land of Peru. It was doubtless placed here on
+account of the relation between Spain and California. "Civilization is a
+development through blood and spoilation," the architect remarked. "If
+Pizarro hadn't been lured by the gold of the Incas we might not be here
+at this moment."
+
+The figures on the tower, insignificant when viewed from a distance, at
+close range took on vigor: the philosopher in his robes, the bearer of
+European culture of the sixteenth century to these shores; the Spanish
+priest, typical of the early friars; the adventurer, so closely related
+to Columbus; and the Spanish soldier. The armored horseman, by Tonetti,
+in a row all by himself, suffering from being rather absurdly out of
+place, might have won applause if he had been brought on a pedestal
+close to the ground. His being repeated so often up there made an effect
+almost comic. The vases and the triremes, the pieces of armor, with the
+battle-axe designs on either side, the Cleopatra's needles, and the
+richly-girdled globe on top, sustained on the shoulders of three
+figures, were all well done. The only trouble was that they had not been
+made to blend into one lightly soaring mass.
+
+"It's curious that Hastings should have gone astray in the treatment of
+the tower. He must have known the psychological effect of parallel
+horizontal lines. When skyscrapers were first built in New York a few
+years ago they were considered unsightly on account of their great
+height. So the architects were careful to use parallel horizontal lines
+in order to diminish the apparent height as far as possible. Then people
+began to say that there was beauty in the sky-scrapers, and the
+architects changed their policy. They built in straight parallel lines
+that shot up to the sky. In this way they increased the apparent
+height."
+
+The inscriptions on the south side of the tower's base reminded us of
+the Exposition's meaning, Conspicuously and properly emphasized here.
+The pagan note in the architecture was indicated in the ornamentation by
+the use in the design of the head of the sacred bull. And Triumphant
+America was celebrated in the group of eagles.
+
+The dark stains on the yellow columns made us see how clever Guerin had
+been in his application of the coloring. In most places he had applied
+one coat only, trusting to nature to do the rest. Most of all, he wished
+to avoid the appearance of newness and to secure a look of age. On these
+columns the smoke from the steam rollers had helped out. One might
+imagine that they had been here for generations.
+
+Here the builders had used the Corinthian column, with the acanthus
+leaves varied with fruit-designs and with the human figure. "It was a
+lucky day for architecture when the column came into use. It doubtless
+got its start from a single beam used for support. Then the notion
+developed of making it ornamental by fluting it and decorating the top.
+In this Exposition three kinds of columns are used, the Doric, which the
+Greeks favored, with the very simple top or capital; the Ionic, with the
+spiral scroll for the capital, and the Corinthian, with the acanthus
+flowing over the top, and the Composite which uses features from all the
+other three."
+
+"Do you happen to know how the acanthus design was made? Well, Vitruvius
+tells the story. Anyone that wants to get a line on this Exposition
+ought to read that book, or, at any rate, to glance through it and to
+read parts of it pretty thoroughly. It is called 'The Architecture of
+Marcus Vitruvius Pollio.' There's a good translation from the Latin by
+Joseph Gwilt. It has become the architect's bible. According to
+Vitruvius, the nurse of Corinthian girl who had died carried to the
+girl's tomb basket filled with the things that the girl had particularly
+liked. She left the basket on the ground near the tomb and covered it
+with a tile. It happened that it stood over the root of an acanthus
+plant. As the plant grew its foliage pressed up around the basket and
+when it reached the tile the leaves were forced to bang back in graceful
+curves. Callimachus, a Corinthian architect, noticed the effect and put
+it into use."
+
+
+IV
+
+Under the Tower of Jewels
+
+
+
+When we entered the arch we looked up at the magnificent ceiling used by
+McKim, Mead & White, in panels, with a pictorial design beautifully
+colored by Guerin. "The blue up there blends into the deeper blue of the
+Dodge murals just beneath. Those murals are in exactly the right tone.
+They give strength to the arch. But they are weakened by being in the
+midst of so much heavy architecture. Their subjects, however, are in
+harmony with the meaning of the tower. Guerin was right when he told the
+mural decorators that a good subject was an asset. By studying these
+murals you can get a glimpse of all the history associated with
+California and with the Panama Canal. Dodge has made drama out of
+Balboa's discovery of Panama and out of the union of the two oceans, a
+theme worthy of a great poet. And Dodge is one of the few men
+represented in the art on the grounds who have made pictorial use of
+machinery. There's the discovery by Balboa, the purchase by the United
+States, the presentation of the problem of uniting the two oceans, very
+imaginative and pictorial, the completion of the Canal, and the crowning
+of labor, with the symbolic representation of the resulting feats of
+commerce suggested by the want of the winged Mercury. Dodge is dramatic
+without being too individual. His murals don't call the attention away
+from their surroundings to themselves. They are a part of the
+architecture, as murals always should be."
+
+On either side we found the columned niches designed by McKim, Mead and
+White, each ornamented with a fountain. The back wall made a splendid
+effect as it reached up toward the tower.
+
+To the right we turned to view Mrs. Edith Woodman Burroughs' "Fountain
+of Youth," lovely in the girlish beauty of the central figure, and in
+the simplicity and the sincerity of the design as a whole. In some ways
+the figure reminded us of the celebrated painting by Ingres in the
+Louvre, "The Source," the nude girl bearing a jug on her shoulder,
+sending out a stream of water. There was no suggestion of imitation,
+however.
+
+"The symbolism in the design," said the architect, "does not thrust
+itself on you, and yet it is plain enough. That woman and man pushing up
+flowers at the feet of the girl make a beautiful conception. The whole
+fountain has an ingenuousness that is in key with the subject. Across
+the way," he went on, turning to view the Fountain of El Dorado, by Mrs.
+Gertrude Vanderbilt Whitney, "there's a piece of work much more
+sophisticated and dramatic, fine in its conception and strong in
+handling. No one would say offhand that it was the work of a woman; and
+yet it shows none of the overstrain that sometimes characterizes a woman
+artist when she wishes her work to seem masculine."
+
+In approaching the "El Dorado" we noted the skill shown in the details
+of the conception. "This fountain might have been called 'The Land of
+Gold,' in plain English, or 'The Struggle for Happiness,' or by any
+other name that suggested competition for what people valued as the
+prizes of life. When Mrs. Whitney was asked to explain whether those
+trees in the background represented the tree of life, she said she
+didn't have any such idea in her mind. What she probably wanted to do
+was to present an imaginative scene that each observer could interpret
+for himself. These two Egyptian-looking guardians at the doors, with
+the figures kneeling by them, suggest plainly enough the futility that
+goes with so much of our struggling in the world. So often people
+reach the edge of their goal without really getting what they want."
+
+
+
+V
+
+The Court of the Universe
+
+
+
+Through the arch we passed into the neck of the Court of the Universe,
+which charmed us by the warmth of its coloring, by McLaren's treatment
+of the sunken garden, by its shape, by the use of the dark pointed
+cypress trees against the walls, and by the sweep of view across the
+great court to the Marina, broken, however, by the picturesque and
+inharmonious Arabic bandstand. We glanced at the inscriptions at the
+base of the tower carrying on the history of the Canal to its
+completion. Then we stopped before those graceful little elephants
+bearing Guerin's tall poles with their streamers. "That little fellow is
+a gem in his way. He comes from Rome. But the heavy pole on his back is
+almost too much for him. He's used pretty often on the grounds, but not
+too often. After the Exposition is over we ought to keep these figures
+for the Civic Center. They would be very ornamental in the heart of the
+city."
+
+As we walked toward the main court, the architect called my attention to
+the view between the columns on the other side of the Tower of Jewels,
+with the houses of the city running down the hills. "San Francisco
+architecture may not be beautiful when you study individual houses. But
+in mass it is fine. And, of a late afternoon, it is particularly good in
+coloring. It seems to be enveloped in a rich purple haze. That color
+might have given the mural decorators a hint. It would have been
+effective in the midst of all this high-keyed architecture. It's easy
+here to imagine that you're in one of those ancient Hindu towns where
+the gates are closed at night. You almost expect to see camels and
+elephants."
+
+What was most striking in the Court was its immensity. "Though it comes
+from Bernini's entrance court to St. Peter's in Rome, it is much bigger.
+There are those who think it's too big. But it justifies itself by its
+splendor. The use of the double row of columns is particularly happy.
+The double columns were greatly favored by the Romans. In St. Peter's
+Bernini used four in a row. And what could be finer than those two
+triumphal arches on either side, the Arch of the Rising Sun and the Arch
+of the Setting Sun, with their double use of symbolism, in suggesting
+the close relation between California and the Orient, as well as their
+geographical meaning? They are, of course, importations from Rome, the
+Arch of Constantine and the Arch of Titus all over again, with a rather
+daring use of windows with colored lattices to give them lightness and
+with colossal groups of almost startling proportions used in place of
+the Roman chariot or quadriga."
+
+Originally, the intention had been to use here the name of the Court of
+Sun and Stars. Then it was changed to the Court of Honor, and finally to
+its present name, to suggest the international character of the
+Exposition.
+
+Those two groups represented by far the most ambitious work done by the
+sculpture department. From designs by Calder, they were made by three
+sculptors, Calder, Roth and Lentelli. They presented problems that must
+have been both difficult and interesting to work out. First, they had to
+balance each other. What figure in the Pioneer group could balance the
+elephant that typified the Orient? Calder had the idea of using the
+prairie schooner, associated with the coming of the pioneers to
+California, drawn by great oxen.
+
+The Oriental group doubtless shaped itself in picturesque outlines much
+more quickly than the sturdy, but more homely Americans of the earlier
+period. The Orientals displayed an Indian prince on the ornamented seat,
+and the Spirit of the East in the howdah, of his elephant, an Arab shiek
+on his Arabian horse, a negro slave bearing fruit on his head, an
+Egyptian on a camel carrying a Mohammedan standard, an Arab falconer
+with a bird, a Buddhist priest, or Lama, from Thibet, bearing his symbol
+of authority, a Mohammedan with his crescent, a second negro slave and a
+Mongolian on horseback.
+
+The Nations of the West were grouped around that prairie wagon, drawn by
+two oxen. In the center stood the Mother of Tomorrow a typical American
+girl, roughly dressed, but with character as well as beauty in her face
+and figure. On top of the wagon knelt the symbolic figure of
+"Enterprise," with a white boy on one side and a colored boy on the
+other, "Heroes of Tomorrow." On the other side of the wagon stood
+typical figures, the French-Canadian trapper, the Alaska woman, bearing
+totem poles on her back, the American of Latin descent on his horse,
+bearing a standard, a German, an Italian, an American of English
+descent, a squaw with a papoose, and an Indian chief on his pony. The
+wagon was modelled on top of the arch. It was too large and bulky to be
+easily raised to that great height.
+
+The architect was impressed by the boldness of the designs and to the
+spirit that had been put into them. "It's very seldom in the history of
+art that sculptors have had a chance to do decorative work on so big a
+scale. It must have been a hard job, getting the figures up there in
+pieces and putting them together. Some of the workers came near being
+blown off. Some of them lost their nerve and quit. I wonder, by the way,
+if that angel on top of the prairie wagon would be there if Saint
+Gaudens hadn't put an angel in his Sherman statue, and if he hadn't made
+an angel float over the negro soldiers in his Robert Gould Shaw monument
+in Boston. He liked that kind of symbolism. He must have got it from the
+mediaeval sculptors who worked under the inspiration of the Catholic
+Church."
+
+Varying notes we found around the American group. Cleopatra's needle,
+used for ornamentation, suggested Egypt and the Nile. That crenellated
+parapet once belonged to military architecture: between those pieces
+that stood up, the merlons, in the embrasure, the Greek and Roman
+archers shot their arrows at the enemy and darted back behind the
+merlons for protection. In spite of its being purely ornamental it told
+its story just the same, and it expressed the spirit that still
+persisted in mankind. Nowadays it was even used on churches. But
+religion and war had always been associated. Besides, in an
+International Exposition it was to be expected that the art should be
+international. How many people, when they looked at Cleopatra's needle,
+knew how closely it was related to the newspapers and historical records
+of today? The Egyptians used to write on these monuments news and
+opinions of public affairs. The Romans had a similar custom in
+connection with their columns. On the column of Trajan they not only
+wrote of their victories, but they pictured victorious scenes in stone.
+
+The little sprite that ran along the upper edge of the court in a row,
+the star-figure, impressed me as making an unfortunate contrast with the
+stern angel, repeated in front of each of the two arches. My criticism
+brought out the reply that it was beautiful in itself and had its place
+up there. "These accidental effects of association are sometimes good
+and sometimes they're not. Here I can't see that they make a jarring
+effect. In the first place, a Court of the Universe ought to express
+something of the incongruity in our life. Ideally, of course, it isn't
+good in art to represent a figure in a position that it's hard to
+maintain without discomfort. But here the outlines are purely decorative
+and don't suggest strain. In my judgment that figure is one of the
+greatest ornaments in the court. It gives just the right note."
+
+The two fountains in the center of the sunken garden were gaily throwing
+their spray into the air. The boldness of the Tritons at the base
+represented a very different kind of handling from the delicacy of the
+figure at the top of each, the Evening Sun and the Rising Sun, both
+executed with poetic feeling. In the Rising Sun, Weinmann had succeeded
+in putting into the figure of the youth life, motion and joy. Looking at
+that figure, just ready to spread its wings, one felt as if it were
+really about to sweep into the air. Though the Evening Sun might be less
+dramatic, it was just as fine. "It isn't often that you see sculpture of
+such imaginative quality," said the architect.
+
+Those great symbolic figures by Robert Aitken, at once giving a reminder
+of Michael Angelo, impressed me as being perfectly adapted to the Court,
+and to their subjects, Earth, Air, Fire, and Water. But my companion
+thought they were too big. He agreed, however, that they were both
+original and strong. There was cleverness in making the salamander, with
+his fiery breath and his sting, ready to attack a Greek warrior,
+symbolize fire. Under the winged girl representing air there was a
+humorous reference to man's early efforts to fly in the use of the
+quaint little figure of Icarus. Water and earth were more conventional,
+but worked out with splendid vigor, the two figures under earth
+suggesting the competitive struggle of men. "I remember Aitken in his
+beginning here in San Francisco. Though he often did poor stuff,
+everything of his showed artistic courage and initiative. Even then
+anyone could see there was something in him. Now it's coming out in the
+work he has contributed to this Exposition. The qualities in these four
+statues we shall see again when we reach the fountain that Aitken made
+for the Court of Abundance. They are individual without being eccentric.
+Compare these four figures with the groups in front of the two arches,
+by Paul Manship, another American sculptor of ability, but different
+from Aitken in his devotion to the early Greek. When Manship began his
+work a few years ago he was influenced by Rodin. Then he went to Rome
+and became charmed with the antique. Now he follows the antique method
+altogether. He deliberately conventionalizes. And yet his work is not at
+all conventional. He manages to put distinct life into it. These two
+groups, the 'Dancing Girls' and 'Music,' would have delighted the
+sculptors of the classic period."
+
+Under the Arch of the Rising Sun two delicate murals by Edward Simmons
+charmed us by their grace, their lovely coloring, by the richness of
+their fancy and by the extraordinary fineness of their workmanship.
+"There's a big difference of opinion about those canvases as murals. But
+there's no difference of opinion in regard to their artistic merit. They
+are unquestionably masterpieces. Kelham and Guerin, who had a good deal
+to do with putting them up there, believe they are in exactly the right
+place. But a good many others think they are almost lost in all this
+heavy architecture. You see, Simmons didn't take Guerin's advice as to a
+subject. Each of his two murals has a meaning, or rather a good many
+meanings, but no central theme, no story that binds the figures into a
+distinct unity. So, from the point of view of the public, they are
+somewhat puzzling. People look up there and wonder what those figures
+are doing. But to the artist they find their justification merely in
+being what they are, beautiful in outline and in posture and coloring.
+You don't often get such atmosphere in mural work, or such subtlety and
+richness of feeling."
+
+Both murals unmistakably showed the same hand. "There's not another man
+in the country who could do work of just that kind. That group in the
+center of the mural to the north could be cut out and made into a
+picture just as it stands. It doesn't help much to know that the middle
+figure, with the upraised arm, is Inspiration with Commerce at her right
+and Truth at her left. They might express almost any symbols that were
+related to beauty. And the symbolism of the groups at either end seems
+rather gratuitous. They might be many other things besides true hope and
+false hope and abundance standing beside the family. But the girl
+chasing the bubble blown out by false hope makes a quaint conceit to
+express adventure, though perhaps only one out of a million would see
+the point if it weren't explained."
+
+The opposite mural we found a little more definite in its symbolism, if
+not so pictorial or charming. The figures consisted of the imaginary
+type of the figure from the lost Atlantis; the Roman fighter; the
+Spanish adventurer, suggesting Columbus; the English type of sea-faring
+explorer, Sir Walter Raleigh; the priest who followed in the wake of the
+discoverer, the bearer of the cross to the new land; the artist,
+spreading civilization, and the laborer, modern in type, universal in
+significance, interesting here as standing for the industrial enterprise
+of today.
+
+"Those murals suggest what a big chance our decorators have in the
+themes that come out of our industrial life. They've only made a start.
+As mural decoration advances in this country, we ought to produce men
+able to deal in a vigorous and imaginative way with the big spiritual
+and economic conceptions that are associated with our new ideals of
+industry."
+
+One feature of this court made a special appeal to the architect, the
+use of the large green vases under the arches. "They're so good they're
+likely to be overlooked. They blend perfectly in the general scheme.
+Their coloring could not have been better chosen and their design is
+particularly happy."
+
+
+
+VI
+
+On the Marina
+
+
+
+Along one of the corridors we passed, enjoying the richness of the
+coloring and the beauty of the great lamps in a long row, then out into
+the wide entrance of the court to the Column of Progress.
+
+"I wonder if that column would be there now," said the architect, "if
+Trajan had not built his column in Rome nearly two thousand years ago.
+The Christianizing of the column, by placing St. Peter on top instead of
+Trajan, is symbolic of a good deal that has gone on here. But we owe a
+big debt to the pagans, much more than we acknowledge."
+
+When I expressed enthusiasm over the column the architect ran his eye
+past the frieze to the top. "In the first place, that dominating group
+up there ought at once to express the character of the column. But it
+doesn't. You have to look twice and you have to look hard. One figure
+would have been more effective. But there is a prejudice among some
+sculptors against placing a single figure at the head of a column,
+though the Romans often did it. But if a group had to be used it could
+have been made much clearer. Now in that design MacNeil celebrated the
+Adventurous Archer in a way that was distinctly old-fashioned. He made
+the archer a superman, pushing his way forward by force, and by the
+dominance of personality. And see how comparatively insignificant he
+made the supporting figures. The relation of those three people implies
+an acceptation of the old ideals of the social organization. MacNeil had
+a chance here to express the new spirit of today, the spirit that honors
+the common man and that makes an ideal of social co-operation on terms
+of equality."
+
+At the base we studied the figures celebrating labor. "Konti is a man of
+broad social understanding and sympathy," said my companion. "But
+picturesque as those figures are, they're not much more. They give no
+intimation of the mighty stirring among the laborers of the world, a
+theme that might well inspire the sculpture of today, one of the
+greatest of all human themes."
+
+ From the Column of Progress the Marina drew us over to the seawall. "The
+builders were wise to leave this space open and to keep it simple. It's
+as if they said: 'Ladies and gentlemen, we have done our best. But
+here's Mother Nature. She can do better.' "
+
+To our right stood Alcatraz, shaped like a battleship, with the Berkeley
+hills in the distant background. To the left rose Tamalpais in a
+majestic peak.
+
+When I mentioned that there ought to be more boats out there on the bay,
+a whole fleet, and some of them with colored sails, to give more
+brightness, the architect shook his head.
+
+"The scene is typically Californian. It suggests great stretches of
+vacant country here in this State, waiting for the people to come from
+the overcrowded East and Middle West and thrive on the land."
+
+Our point of view on the Esplanade enabled us to take in the sweep of
+the northern wall, with its straight horizontal lines, broken by the
+entrances to the courts and by the splendidly ornate doors in duplicate.
+Of the design above the doorway the architect said: "It's a perfect
+example of the silver-platter style of Spain, generally called
+'plateresque,' adapted to the Exposition. Allen Newman's figure of the
+Conquistador is full of spirit, and the bow-legged pirate is a triumph
+of humorous characterization. Can't you see him walking the deck, with
+the rope in his hand? It isn't so many generations since he used to
+infest the Pacific. By the way, that rope, which the sculptor has made
+so realistic and picturesque at the same time, reminds me that a good
+many people are bothered because the bow up here, on the Column of
+Progress, has no string. The artistic folk, of course, think that the
+string ought to be left to the imagination."
+
+In the distance, to the west, we commented on the noble outlines of the
+California Building, an idealized type of Mission architecture, a little
+too severe, perhaps, lacking in variety and warmth, but of an impressive
+dignity. The old friars, for all their asceticism, liked gaiety and
+color in their building.
+
+As we were about to start back to the Court of the Universe the
+architect reminded me of the two magnificent towers, dedicated to Balboa
+and Columbus, that had been planned for the approach to the Court of
+Four Seasons and the Court of Ages from the bay side, but had been
+omitted to save expense. They would have given the Marina a far greater
+splendor; but they would have detracted from its present simplicity.
+
+
+
+VII
+
+Toward the Court of Four Seasons
+
+
+
+"There are critics," I remarked, as we walked back to the Court of the
+Universe, on the way to the Court of Four Seasons, "who say that the
+entrance courts ought to have been placed on the other side that the
+Exposition ought to have been turned round."
+
+"They don't understand the conditions that the architects had to meet.
+That plan was considered; but when it was pointed out that the strongest
+winds here blow from the south and southwest, it was seen that it would
+not be feasible. Besides, the present arrangement has the advantage of
+leading the people directly to one of the most beautiful bays in the
+world. The only bays at all like it that I know anything about are the
+Bay of Palermo and the Bay of Naples. The view of the Exposition from
+the water is wonderfully fine. It brings out the charm of the straight
+lines. All things considered, the architects did an uncommonly fine job
+in making the courts run from the Esplanade."
+
+Under the star figures, among the sculptured flowers' surrounding the
+head of the sacred bull, birds were nestling. We wondered if those birds
+were really fooled by those flowers or whether, in these niches, they
+merely found a comfortable place to rest. "There's an intimate relation,
+by the way, between birds and architecture. It's said that the first
+architectural work done in the world consisted in the making of a bird's
+nest. Some critics think that architecture had its start in the making
+of a bird's nest. Have you ever watched birds at work on their nests? If
+you have, you must know that they go about the job like artists. In our
+profession we like to insist, you know, that there's a big difference
+between architecture and mere building. In its truest sense architecture
+is building with a fine motive. It's the artistic printing press of all
+ages, the noblest of the fine arts and the finest of the useful arts. I
+know, of course," the architect went on, "that there's another tradition
+not quite so flattering. It makes the architect merely the worker in the
+rough, with the artistic finish left to the sculptors. But the outline
+is nevertheless the architect's, the structure, which is the basis of
+beauty. Even now a good many of the great French buildings are roughed
+out in this way, and finished by the sculptors and the decorators."
+
+Under the western arch, leading to the inner court that united the Court
+of the Universe with the Court of the Four Seasons, we found the two
+panels by Frank Vincent Du Mond. Their simple story they told plainly
+enough, the departure of the pioneers from the Atlantic border for the
+Far West on the Pacific. In the panel to the right we saw the older
+generation saying farewell to the younger, and on the other side we saw
+the travelers arriving in California and finding a royal welcome from
+the Westerners in a scene of typical abundance, even the California bear
+showing himself in amiable mood. "That bear bothered Du Mond a good
+deal. He wasn't used to painting bears. It isn't nearly as life-like as
+those human figures."
+
+What I liked best about the murals was their splendor of coloring, and
+their pictorial suggestiveness and vigor of characterization. Perhaps
+there was a little too much effort on the part of the painter to suggest
+animation. But why, I asked, had Du Mond made most of the faces so
+distinctively Jewish?
+
+My question was received with an exclamation of surprise. Yes, the
+strong Jewish types of features were certainly repeated again and again.
+Perhaps Du Mond happened to use Jewish models. It hardly seemed possible
+that the effect could have been intentional.
+
+When I pointed to one of the figures, a youth holding out a long bare
+arm, and remarked that I had never seen an arm of such length, my
+criticism brought out an unsuspected principle of art. "The Cubists
+would say that you were altogether too literal. They are making us all
+understand that what art ought to do is to express not what we merely
+see with our eyes, but what we feel. If by lengthening that arm, the
+painter gets an effect that he wants, he's justified in refusing to be
+bound by the mathematical facts of nature. Art is not a matter of strict
+calculation, that is, art at its best and its purest. It's a matter of
+spiritual perception. All the resources of the artist ought to be bent
+toward expressing a spiritual idea and making it alive and beautiful
+through outline and color."
+
+"But how about the mixture of allegory and realism that we see in these
+murals and in so much of the art here? Don't you find it disturbing?"
+
+"Not at all. There's no reason in the world why the allegorical and the
+real should not go together, provided, of course, they don't grossly
+conflict and become absurd. What the artist is always working for is the
+effect of beauty. If a picture is beautiful, no matter how the beauty is
+achieved, it deserves recognition as a work of art. In these murals Du
+Mond has tried to reach as closely as he could to nature without being
+too literal and without sacrificing artistic effect. He has even
+introduced among his figures some well-known Californians, a Bret Harte,
+in the gown of the scholar, and William Keith, carrying a portfolio to
+suggest his painting."
+
+In that inner court we noticed how cleverly Faville had subordinated the
+architecture so that it should modestly connect the great central
+courts. McLaren was keeping it glowing on either side with the most
+brilliant California flowers. The ornamental columns, the Spanish
+doorways, and the great windows of simple and yet graceful design were
+all harmonious, and Guerin and Ryan had helped out with the coloring.
+
+
+
+VIII
+
+The Court of the Four Seasons
+
+
+
+As we entered the Court of the Four Seasons the architect said: "If I
+were to send a student of architecture to this Exposition, I should
+advise him to spend most of his time here. Of all the courts, it
+expresses for me the best architectural traditions. Henry Bacon frankly
+took Hadrian's Villa for his model, and he succeeded in keeping every
+feature classic. That half dome is an excellent example of a style
+cultivated by the Romans. The four niches with the groups of the
+seasons, by Piccirilli, screened behind the double columns, come from a
+detail in the baths of Caracalla. The Romans liked to glimpse scenes or
+statuary through columns. Guerin has applied a rich coloring, his
+favorite pink, and McLaren has added a poetic touch by letting garlands
+of the African dew plant, that he made his hedge of, flow over from the
+top. See how Bacon has used the bull's head between the flowers in the
+ornamentation, one of the most popular of the Renaissance motives. And
+he has introduced an original detail by letting ears of corn hang from
+the top of the columns. Those bulls up there, with the two figures,
+carry the mind back to the days when the Romans made a sacrifice of the
+sacred bull in the harvest festivals. This Thanksgiving of theirs they
+called 'The Feast of the Sacrifice.' "
+
+Crowning the half dome sat the lovely figure of Nature, laden with
+fruits, by Albert Jaegers. On the columns at either side stood two other
+figures by Jaegers, "Rain," holding out a shell to catch the drops, and
+"Sunshine," with a palm branch close to her eyes. At each base the
+figures of the harvesters carried out the agricultural idea with
+elemental simplicity in friezes that recalled the friezes on the
+Parthenon. Here, on each side of the half-dome, we have a good example
+of the composite column, a combination of the Corinthian and the Ionic,
+with the Ionic scrolls and the acanthus underneath, and with little
+human figures between the two.
+
+What we liked best about this court was its feeling of intimacy. One
+could find refreshment here and rest. Much was due to the graceful
+planting by John McLaren. His masses of deep green around the emerald
+pool in the center were particularly successful. He had used many kinds
+of trees, including the olive, the acacia, the eucalyptus, the cypress,
+and the English laurel.
+
+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. He wanted to express the elemental
+attitude of mind toward nature, the artistic childhood of the race."
+
+When we examined the figures of the Piccirilli groups in detail, we
+found that they possessed excellent qualities. They carried on the
+traditions of the wall-fountains so popular in Rome and often associated
+with water running over steps. The figures were well put together and
+the lines were good. All of the groups had the surface as carefully
+worked out. In "Spring" the line of festooning helped to carry on the
+line leading to the top of the group. There was tender feeling and fine
+workmanship in "Summer," with the feminine and masculine hands clearly
+differentiated. "The men of today have a chance to learn a good lesson
+from Rodin," said the painter. "He is teaching them what he himself may
+have learned from the work of Donatello and Michael Angelo, the
+importance of surface accentuation, the securing of the light and shade
+that are just as necessary in modelling as in painting. In these groups
+there is definite accentuation of the muscles. It makes the figures seem
+life-like. The work reminds me of the figure of The Outcast, by the
+sculpter's brother, Attilio Piccirilli, that we shall see in the
+colonade of the Fine Arts Palace. So many sculptors like to secure these
+smooth, meaningless surfaces that excite admiration among those people
+who care for mere prettiness. It is just about as admirable as the
+smoothing out of character lines from a photograph. But the Piccirillis
+go at their work like genuine artists."
+
+Those murals we were inclined to regard as somewhat too simple and
+formal. "After all," said the architect, "it's a question whether this
+kind of effort is in the right direction. So often it leads to what
+seems like acting in art, regarded by some people as insincerity. At any
+rate, the best that can be said of it is that it's clever imitation. But
+here it blends in with the feeling of the court and it gives bright
+spots of color. Guerin has gone as close to white as he dared. So he
+felt the need of strong color contrasts, and he got Bancroft to supply
+them. And the colors are repeated in the the other decorations of the
+court. It's as if the painter had been given a definite number of colors
+to work with. In this matter of color, by the way, Bancroft had a big
+advantage over the old Roman painters. Their colors were very
+restricted. In this court they might have allowed more space for the
+murals. They're not only limited in size, but in shape as well. Bancroft
+used to call them his postage-stamps.
+
+In the entrance court we found Evelyn Breatrice Longman's "Fountain of
+Ceres," the last of the three fountains done on the grounds by women,
+and decidedly the most feminine. "Mrs. Longman hasn't quite caught the
+true note," the architect remarked. "The base of the fountain is
+interesting, though I don't care for the shape. But the figure itself is
+too prim and modish. Somehow I can't think of Ceres as a proper old
+maid, dressed with modern frills. The execution, however, shows a good
+deal of skill. The frieze might be improved by the softening of those
+sharp lines that cut out the figures like pasteboard. And these women
+haven't as much vitality as that grotesque head down near the base,
+spouting out water." The architect glanced up and noticed the figure of
+"Victory" on one of the gables, so often to be seen during a walk over
+the grounds. "There's more swing to that figure than to the one here,
+and yet there's a certain resemblance between them. They both show the
+same influence, the Winged Victory of Samothrace. Of course, Miss
+Longman has purposely softened the effect on account of the mildness of
+her subject. But she might have been more successful with her draperies
+if she had followed the suggestions in the Winged Victory more closely.
+There the treatment of the draperies is magnificent. Both the Greeks and
+the Romans were very fond of this type of figure. And it's often found
+among the ruins of Pompeii, which kept so close to Rome in its artistic
+enterprise."
+
+The need of separating the entrance to the Court of the Four Seasons
+from Ryan's display of scintillators on the imitation of Morro Castle at
+the edge of the bay, had given John McLaren a chance to create another
+of these deep green masses that surrounded the pool. It shut the court
+off from the rest of the world and deepened the intimacy, leaving,
+however, glimpses of the bay and the hills beyond.
+
+
+
+IX
+
+The Palace of Fine Arts From Across the Lagoon
+
+
+
+In returning to the Court of the Four Seasons, we started along another
+of those inner courts, made charming by those Spanish doorways and by
+the twisted columns, a favorite of the Romans, evidently borrowed from
+the Orientals. "All through the Exposition," the architect remarked, "we
+are reminded of the Oriental fondness for the serpent. Some people like
+to say that it betrays the subtlety and slyness of the Oriental people.
+But they admired the serpent chiefly because, in their minds, it
+represented wisdom, the quiet and easy way of doing things, a little
+roundabout perhaps, but often better than the method of opposition and
+attack."
+
+Before us, looking down as if from an eminence, stood, the Palace of
+Fine Arts. The architect reminded me of the clever planning that had
+placed this magnificent conception in so commanding a position, looking
+down into the courts, on what he called "the main axis."
+
+"It's the vision of a painter who is also a poet, worked out in terms of
+architecture. Maybeck planned it all, even to the details. He wanted to
+suggest a splendid ruin, suddenly come upon by travelers, after a long
+journey in a desert. He has invested the whole place with an atmosphere
+of tragedy. It's Roman in feeling and Greek in the refinement of its
+ornamentation. That rotunda reminds one of the Pantheon in Rome. Those
+Corinthian columns, with the melancholy drooping of the acanthus and the
+fretwork and the frieze, by Zimm, are suggestive of Greece. Maybeck says
+that his mind was started on the conception, 'The Island of Death,' by
+Boecklin, the painting that the German people know so well as the
+'Todteninsel,' and by 'The Chariot Race,' of Gerome."
+
+The architect went on to say that the resemblance was remote and chiefly
+interesting as showing how a great artist could carry a suggestion into
+an entirely new realm. The Boecklin painting merely suggested the
+general scope of the work, and the chariot race gave the hint for that
+colonnade, which Maybeck had made so original and graceful by the use of
+the urns on top of groups of columns with the figure of a woman at each
+corner. He had used that somewhat eccentric scheme on account of its
+pictorial charm. All through the construction Maybeck had defied the
+architectural conventions; but he had been justified by his success.
+
+My attention was directed to a group of columns at the end of the
+colonnade. "There's just a hint of the Roman Forum over there. Perhaps
+it's accidental. Perhaps it's developed from a picture way down in
+Maybeck's consciousness. However, the idea of putting two columns
+together in just that way comes from the French Renaissance. The great
+French architect, Perrault, used it in the Louvre. In the competition he
+won out over Bernini, who is living again in the Court of the Universe.
+It gives great architectural richness."
+
+People had wondered what McLaren had meant to indicate by the high
+hedges he had made over there with his dew plant. He had merely carried
+out the designs put into his hands. Maybeck had intended the hedge to be
+used as a background for willow trees that were to run up as high as the
+frieze, in this way gaining depth. Through those trees the rotunda was
+to be glimpsed. Willow trees, with overhanging boughs, were also to be
+planted along the edge of the lagoon, the water running under the leaves
+and disappearing.
+
+In the lagoon swans were swimming and arching their long necks. "The old
+Greeks and Romans would have loved this scene, though they would, of
+course, have found alien influences here," said the architect. "They
+would have enjoyed the sequestration of the Palace, its being set apart,
+giving the impression of loneliness. The architects were shrewd in
+making the approach long and circuitous."
+
+"They might have done more with the water that was here before they
+filled in," I said. "It offered fine chances."
+
+"Yes, and they thought of them and some ambitious plans were discussed.
+But the expense was found to be prohibitive."
+
+At that moment a guard, in his yellow uniform with brass buttons, came
+forward with a questioning lady at his side. They stood so close to us
+that we could not help hearing their talk.
+
+"What are those women doing up there?"
+
+The guard looked at the urns, surmounting the columns. "They're supposed
+to be crying," he said.
+
+"What are they crying about?"
+
+The guard looked a little embarrassed. "They are crying over the sadness
+of art," he said. Then he added somewhat apologetically, "Anyway, that's
+what the lecturer told us to say."
+
+The lady appealed to us for information. "What this gentleman says is
+true," remarked the authority at my side. "The architect intended that
+those figures should express something of the sadness of life as
+reflected in art."
+
+"Oh," said the lady, as if she only half understood.
+
+Then she and the guard drifted away.
+
+"Those people have unconsciously given us a bit of art criticism,
+haven't they? One of the most pictorial notes in this composition of
+Maybeck's is the use of these figures. But it's also eccentric and it
+puzzles the average looker-on who is always searching after meanings,
+according to the literary habit of the day, the result of universal
+reading. Perhaps the effect would have been, less bewildering if those
+urns were filled with flowers as Maybeck intended they should be. Then
+the women would have seemed to be bending over the flowers. The little
+doors were put into the urns so that the man in charge of the flowers
+could reach up to them. But this item of expense was included among
+the sacrifices."
+
+The coloring of the columns had been a subject of some criticism. The
+ochre columns were generally admired; but the green columns were
+considered too atmospheric to give the sense of support. And that
+imitation of green marble directly under the Pegasus frieze of Zimm's,
+near the top, had been found to bear a certain resemblance to linoleum.
+But in applying, the colors Guerin had worked with deliberate purpose.
+The green under the frieze was really a good imitation of marble, and
+the shade used on the column suggested the weather-beaten effect
+associated with age.
+
+"There are columns that, in my opinion, have more beauty than those
+Maybeck used. But that's a matter of taste. In themselves those columns
+are fine and they blend into impressive masses. That altar under the
+dome, with the kneeling figure, only a great artist could have conceived
+in just that way. Ralph Stackpole, the sculptor of the figure, worked it
+out in perfect harmony with Maybeck's idea. To appreciate his skill one
+ought to get close and see how roughly it has been modeled in order that
+the lines should be clear and yet give an effect of delicacy across the
+lagoon. And those trees along the edge of the lagoon, how gracefully
+they are planted, in the true Greek spirit. The lines in front of the
+rotunda are all good, as they run down to the water's edge. And how
+richly McLaren has planted the lagoon. He has given just the luxuriance
+that Maybeck wanted."
+
+
+
+The Western Wall
+
+
+
+We turned to get the effect of the western wall looking out on this
+magnificence. "Faville has done some of his finest work there. All over
+the Exposition he has expressed himself; but as his name is not
+connected with one of the great courts we don't hear it very much. When
+he tackled the Western Wall he had one of the hardest of his problems.
+There was a big expanse to be made interesting and impressive, without
+the aid of towers or courts. It was a brilliant idea to break the
+monotony with those two splendid Roman half-domes."
+
+The figure of "Thought" on the columns in front of the Dome of Plenty
+and repeated on the Dome of Philosophy started the architect talking on
+the subject of character and art. "Only a sculptor with a very fine
+nature could have done that fellow up there. In that design Stackpole
+shows the qualities that he shows in the kneeling girl at the altar in
+the rotunda across the lagoon and in his figure of the common laborer
+and the little group of artisans and artists that we shall see on the
+doorway of the Varied Industries. They include fineness and cleanness of
+feeling, reverence and tenderness. This particular figure is one of
+three figures on the grounds that stand for virtually the same subject,
+Rodin's "Thinker," in the courtyard of the French Building, and Chester
+Beach's "Thinker," in the niches to the west and east of the tower in
+the Court of the Ages. They are all different in character. Stackpole's
+gives the feeling of gentle contemplation. That man might be a poet or a
+philosopher or an inventor; but a man of the kind of thought that leads
+to action or great achievement in the world - never. You can't think of
+him as competing with his whole heart and soul in order to get ahead of
+other men. However, it would be an achievement just to be that type and
+it's a good type to be held up to us for our admiration, better than the
+conventional ideal of success embodied in the Adventurous Bowman, for
+example."
+
+The proportions of the domes we could see at a glance had been well
+worked out. Earl Cummings' figure of the Youth had a really youthful
+quality; but there was some question in our minds as to the wisdom of
+repeating the figure in a semi-circle. "After all," the architect
+remarked, "in this country art owes some concession to habit of mind. We
+are not trained to frankness in regard to nudity. On the contrary, all
+our conventions are against it. But our artists, through their special
+professional training, learn to despise many of our conventions and they
+like to ignore them or frankly show their contempt for them."
+
+That elaborate Sienna fountain was well adapted to the Dome of Plenty,
+though it was by no means a fine example of Italian work, with its
+design built up tier on tier. "It's the natural expression of a single
+idea that leads to beauty, isn't it? The instant there's a betrayal of
+effort, the charm begins to fade."
+
+There was no criticism to be made, however, of the Italian fountain in
+the Dome of Philosophy, the simplest of all the fountains, and one of
+the most beautiful, the water flowing over the circular bowl from all
+sides. "It makes water the chief feature," said the architect
+approvingly, "which is the best any fountain can do. Is there anything
+in art that can compare for beauty with running water? This fountain
+comes from Italy and these female figures, above the doorway, with books
+in their arms, are by one of the most interesting of the sculptors
+represented here, Albert Weinert. We'll see more work of his when we get
+to the Court of Abundance."
+
+At sight of the curious groups in the niches I expressed a certain
+disappointment. It seemed to me that, in the midst of so much real
+beauty, they were out of key. But the architect had another point of
+view. "They are worth while because they're different," he said. "They
+ought not to be considered merely as ornaments. They have an
+archaeological interest. They are related to those interesting studies
+that Albert Durer used to make, and they are full of symbolism. When
+Charles Harley made them he knew just what he was doing. The male figure
+in 'The Triumph of the Fields' takes us back to the time when harvesting
+was associated with pagan rites. The Celtic cross and the standard with
+the bull on top used to be carried through the field in harvest time.
+The bull celebrates the animal that has aided man in gathering the
+crops. The wain represents the old harvest wagon. That head down there
+typifies the seed of the earth, symbol of the life that comes up in the
+barley that is indicated there, bringing food to mankind. The woman's
+figure, unfortunately, is too small for the niche, 'Abundance.' The horn
+of plenty on either side indicates her character. She's reaching out her
+hands to suggest her prodigality. The head of the eagle on the prow of
+the ship where she is sitting, gives the idea an American application,
+suggesting our natural prosperity and our reason for keeping ahead in
+the march of progress. In one sense, those figures represent a
+reactionary kind of sculpture. Nowadays the sculptors, like the
+painters, are trying to get away from literal interpretations. They
+don't want to appeal to the mind so much as to the emotions."
+
+
+
+X
+
+The Palace of Fine Arts at Close Range
+
+
+
+The path leading to the northern end of the colonnade attracted us. It
+brought us to the beautiful little grove of Monterey cypress that
+McLaren had saved from the old Harbor View restaurant, for so many years
+one of the most curious and picturesque of the San Francisco resorts,
+one of the few on the bay-side. Though the architect frankly admired
+Paul Bartlett's realistic "Wounded Lion," the pieces of sculpture set
+out on the grass bothered him somewhat. He couldn't find any
+justification for their being there. He wanted them, as he said, in a
+setting. "I think I can see what the purpose was in putting them here,
+to provide decoration that would be unobtrusive. But some of these
+pieces, like Bartlett's, stand out conspicuously and deserve to be
+treated with more consideration. Besides, there's always danger of
+weakening a glorious conception like Maybeck's by putting too many
+things into it, creating an artistic confusion."
+
+We began to see how the colonnade in Gerome's painting had worked its
+influence. It was easy to imagine two chariots tearing along here,
+between the columns, after the ancient fashion. And those bushes, to the
+right, rising on the lower wall, between the vases, surely had the
+character of over-growth. They carried out Maybeck's idea of an
+abandoned ruin.
+
+The architect pointed to the top of the wall: "The little roof-garden on
+the edge of the upper wall gives the Egyptian note in the architecture
+that many people have felt and it is emphasized by the deep red that
+Guerin has applied, the shade that's often found in Egyptian ruins."
+
+Above the main entrance of the palace we saw Lentelli's "Aspiration,"
+that had been the cause of so much criticism and humorous comment during
+the first few weeks of the Exposition. "Lentelli had a hard time with
+that figure. It drove him almost to distraction. Perhaps a genius might
+have solved the problem of making the figure seem to float; but I doubt
+if it could have been solved by anyone. The foot-rest they finally
+decided to put under it didn't help the situation much."
+
+Directly in front of "Aspiration," on its high pedestal, stood Charles
+Grafly's monumental statue of "The Pioneer Mother." "I suppose the
+obvious in sculpture has its place," the architect remarked, "and this
+group will appeal to popular sentiment. Its chief value lies in its
+celebrating a type of woman that deserves much more recognition than she
+has received in the past. Most of the glory of the pioneer days has gone
+to the men. The women, however, in the background, had to share in the
+hardships and often did a large part of the work. It's a question in my
+mind whether this woman quite represents the vigorous type that came
+over the plains in the prairie schooner. However, just as she is, she is
+fine, and she has a strong hand that looks as if it had been made for
+spanking. I wonder why the sculptor gave her that kind of head-covering.
+She might have appeared to better advantage bare-headed. The children
+are excellent. Observe the bright outlook of the boy and the timid
+attitude of the girl. There's a fine tenderness in the care the girl is
+getting from her mother and from the boy, too, suggesting dawning
+manhood. Altogether, the group has nobility and it's worthy of being a
+permanent monument for San Francisco. By the way, there's the old Roman
+idea of the decorative use of the bull's head again, at the base of the
+group. It has a very happy application here. It reminds us of the oxen
+that helped to get the Easterners out to California in the old days
+before the railroads. A good many of them must have dropped in their
+tracks and left their skulls to bleach in the sun."
+
+The other ornamental design we found very appropriate and direct, as we
+studied the pedestal. There was the ship that used to go round the horn,
+with the torches that suggested civilization, and, at the back of the
+pedestal, the flaming sun that celebrated the Golden Gate.
+
+In the rotunda we found Paul Bartlett, represented again by the
+equestrian statue of Lafayette, in full uniform, advancing sword in the
+air. It unquestionably had a magnificent setting, though it suffered by
+being surrounded by so many disturbing interests. "The director of the
+Fine Arts Department cared enough about this figure to have it
+duplicated for the Exposition. It's a good example of the old-fashioned
+heroic sculpture, where the subjects take conventional dramatic
+attitudes."
+
+The ceiling of the rotunda displayed those much-discussed murals by
+Robert Reid. Up there they seemed like pale reflections. "You should
+have seen them when they were in Machinery Hall. Then they were
+magnificent. But the instant they were put in place it was plain that
+the effect had been miscalculated. At night, under the lighting, they
+show up better. Judged by themselves, apart from their surroundings,
+they are full of inspiration and poetry. Only a man of genuine feeling
+and with a fine color-sense could have done them. But in all this
+splendor of architecture they are lost."
+
+On examining them in detail we found that they covered an
+extraordinarily wide range of fancy, graceful and dramatic, even while,
+save in one panel, they showed an indifference to story-telling. One
+group celebrated "The Birth of European Art," with the altar and the
+sacred flame, tended by a female guardian and three helpers, and with a
+messenger reaching from his chariot to seize the torch of inspiration
+and to bear it in triumph through the world, the future intimated by the
+crystal held in the hands of the woman at the left. Another, "The Birth
+of Oriental Art," told the ancient legend of a Chinese warrior who,
+seated on the back of a dragon, gave battle to an eagle, the symbol
+relating to man's seeking inspiration from the air. "Ideals in Art"
+brought forward more or less familiar types: the Madonna and the Child,
+Joan of Arc, Youth and Beauty, in the figure of a girl, Vanity in the
+Peacock, with more shadowy intimations in two mystical figures in the
+background, the tender of the sacred flame and the bearer of the palm
+for the dead, and the laurel-bearer ready to crown victory. "The
+Inspiration in All Art" revealed the figures of Music, Architecture,
+Painting, Poetry and Sculpture. Four other panels glorified the four
+golds of California, gold, wheat, poppies and oranges, a happy idea,
+providing opportunities for the splendid use of color.
+
+"It's a pity those murals couldn't have been tried out up there and then
+taken down and done over," said the architect. "But sometime they will
+find the place where they belong, perhaps in one of our San Francisco
+public buildings. They're too good not to have the right kind of
+display."
+
+"The Priestess of Culture," by Herbert Adams, one of the best-known of
+American sculptors, eight times repeated, we felt, had its rightful
+place up there and blended into the general architectural scheme. But
+some of the other pieces of statuary might have been left out with
+advantage.
+
+Through the columns we caught many beautiful vistas. And those groups of
+columns themselves made pictures. "What is most surprising about this
+palace is the way it grows on you. The more familiar you are with it the
+more you feel the charm. Maybeck advises his friends to come here by
+moonlight when they can get just the effect he intended. In all the
+Exposition there's no other spot quite so romantic. It might have been
+built for lovers."
+
+
+
+XI
+
+At the Palace of Horticulture
+
+
+
+At the Palace of Horticulture the architect said: "Here is the Mosque of
+Ahmed the First, taken from Constantinople and adapted to horticulture
+and to the Exposition. It has a distinct character of its own. It even
+has temperament. So many buildings that are well proportioned give the
+impression of being stodgy and dull. They are like the people that make
+goodness seem uninteresting. But here is use that expresses itself in
+beauty and adorns itself with appropriate decoration."
+
+When I mentioned that some people found this building too ornate, the
+architect replied:
+
+"There's an intimate and appropriate relation between the ornament and
+the architecture. Personally I shouldn't care to see just this kind of
+building in the heart of the city, where you'd have it before your eyes
+every day. But for the Exposition it's just right. And how fitting it is
+that the splendid dome should be the chief feature of a building that is
+really an indoor garden and that the most prominent note of the coloring
+should be green, nature's favorite and most joyous color. Some joker,"
+he went on, "says that this Exposition is domicidal. He expresses a
+feeling a good many people have here, that there are too many domes. But
+I don't agree. The domes make a charming pictorial effect, and they
+harmonize with the general spirit of the architecture. And as for this
+dome, it is one of the greatest in the world. See how cleverly the
+architects, following the spirit of the French Renaissance, have used
+those ornamental shafts. The only criticism that can be made on them is
+that they serve no architectural purpose, which ought, of course, always
+to be intimately associated with use. Instead of growing from the nature
+of the building, they are put on from outside. Now, in the mosque they
+were very important in their service. They were the minarets where the
+Muezzins used to stand in order to call the faithful to prayer. Those
+minarets up there, carrying on the dome motive, on the corners of the
+walls of the main palaces are much closer to the old idea."
+
+Our talk turned to the subject of domes in general. The idea had come
+from the bees, from the shape of their hives. Prehistoric man used for a
+dwelling-place a hut shaped like a hive, as well as an imitation of a
+bird's nest. In formal architecture, the dome showed itself early. The
+Greeks knew it; but they didn't use it much. The greatest users of the
+dome were the Byzantines. It was all dome with them. The first important
+dome was built in Rome in the second century, to crown the Pantheon. Of
+all the domes in the world the most interesting historically was St.
+Peter's, the work of several architects. It was the inspiration of the
+dome of St. Paul's in London, built by the English architect, Sir
+Christopher Wren. Architecturally the most interesting of the domes was
+Brunelleschi's, built for the Florence Cathedral in the fifteenth
+century, known throughout the world by the Italian name for Cathedral,
+the Duomo.
+
+It was in connection with the Duomo that the architect reminded me of
+the celebrated story about Brunelleschi. When the Florentine church
+authorities decided to build the Duomo they were puzzled as to how so
+mighty a dome should be developed. So they invited the architects to
+appear before them in competition, and to present their ideas. One
+architect, Donatello, explained that, if he secured the commission, he
+should first build a mound of earth, and over it he would construct his
+dome. But the authorities replied that there would be great labor and
+expense in taking the earth out. He said that he would put coins into
+the earth and, by this means, he would very quickly have the earth
+removed by the people. When Brunelleschi was asked how he would build
+his dome he said: "How would you make an egg stand on end?" They didn't
+know how, and he showed them, by taking a hard-boiled egg and pressing
+it down at one end, an idea like the one that occurred to Christopher
+Columbus about fifty years later.
+
+The Palace of Horticulture as an illustration of French Renaissance
+architecture fascinated this observer, in spite of its
+overelaborateness. "It's marvelous to think of what the Renaissance
+meant throughout Europe," he said, "and how it showed itself in art
+through the national characteristics. French Renaissance and Italian
+Renaissance, though they have qualities in common, are very different.
+And you'll find marked differences even in the Renaissance art of the
+Italian cities, such as Rome and Florence and Venice. But the
+Renaissance showed that no matter how far apart the people of Europe
+might have been they were all stirred by a great intellectual and
+spiritual movement. It was like a vast moral earthquake. It meant the
+rediscovery and the joyous recognition of the relation of the past to
+the present and the meaning of the relation for mankind. It led to a new
+kind of self-emancipation and individualism. It created art-forms that
+have stamped themselves on the work all over these grounds. In a sense
+it was a declaration of artistic independence."
+
+"Is there really such a thing as independence in art?" I ventured to
+ask.
+
+The architect began to smile. "I'm afraid there isn't much independence.
+If there were this Exposition would not be quite so intimately related
+to Europe and the Orient. But wait till we get into Mullgardt's Court of
+the Ages. Then you'll find an answer to your question."
+
+At this palace the architect found much to speculate on. "Here is one of
+the few buildings in the whole Exposition done in what might be called
+the conventional exposition spirit. I like it immensely as an exposition
+building, but I should hate it as a public building that I had to see
+every day. It's too fantastic. In this place it serves its purpose. But
+it might fit into a setting like the Golden Gate Park, where it would be
+close to nature. Now this Exposition is very different from most of the
+enterprises of the kind that have taken place in Europe. It is probably
+the most serious exposition ever known, with the possible exception of
+the one in Chicago. If it were in a great European capital, for example,
+it would mainly express the spirit of gaiety. But the builders here,
+though they have been gay in their use of color, have been tremendously
+serious in purpose. They have worked largely for the sake of education."
+
+The use of green on the building was unquestionably one of the most
+successful features of the coloring, particularly when it suggested, as
+it so often did, old copper. "To me the deeper green that Guerin uses is
+the more charming shade, far more charming, for instance, than the light
+green applied to Festival Hall. And the suggestion of green in the dome
+is altogether delightful. But it's a pity they didn't use another kind
+of glass. When people criticise Ryan for not doing more with his
+lighting effects-in this dome they evidently don't know that a mistake
+was made when the glass was sent and Ryan could do very little with it.
+In order to carry out his original plans Ryan would have to apply a coat
+of varnish to the interior of the dome, a rather expensive process.
+However, it may be done later."
+
+
+
+Returning to the South Gardens
+
+
+
+ From where we stood we could get a good view of those green columns in
+the Tower of Jewels, occasionally criticised as being too atmospheric to
+give the sense of support. "Those columns were colored by Guerin to get
+an effect of contrast. That shade was one of the first of the shades he
+experimented with. He tried it out on the sashes in Machinery Hall. The
+French landscape painters used it a good deal in outdoor scenes, on
+trellises, for example. It made a pleasing effect against the deeper
+tones of the grass and foliage. The notion that it isn't suited to
+columns seems to me unwarranted. As a matter of fact, there are several
+kinds of green stone that have often been successfully used for columns
+in architecture, like malachite and Connemara marble. The Bank of
+Montreal has some magnificent Connemara columns. Of course, the use up
+there is theatrical, exactly as Guerin intended it to be. People seem to
+forget that Guerin got his earlier training as a scene painter. He was
+recognized as one of the greatest scene painters of his time. He
+deliberately undertook to make this Exposition a great spectacle, and he
+ought to be judged according to what he tried to do. It seems to me that
+his success was astonishing. He created a picture that was spectacular
+without being garish or cheap and that harmonized with the dignity and
+the splendor of the architecture. One explanation of his success lies in
+his being so fond of the Orient, where the architects have worked in
+color as far back as we can go. Every chance he makes a trip to the
+Orient and he comes back with a lot of Oriental canvases that he has
+painted there. Only a lover of the Orient would have dared to put that
+orange color on the domes. See what a velvety look he got, almost
+wax-like. He was careful not to apply, in most instances, more than one
+coat of paint. He wanted it to sink in and to become weathered. He knew
+that nature was the greatest of all artists, always trying to remove the
+shiny appearance of newness and to give seasoning."
+
+As we looked up toward the center of the South Garden the white globes
+on the French lamp posts caught the architect's eye. "Don't you remember
+how cheap they looked on the first days?" he said. "The trouble was that
+they were too white. They seemed cold and raw. So they were sprayed with
+a liquid celluloid to soften them into their present ivory hue. The
+change shows how important detail is, and how carefully Guerin's
+department has worked. While the construction was going on there was one
+remark that often used to be heard, 'It will never be noticed,' and a
+most foolish remark it was. It showed that the people who made it were
+lacking in imagination. Millions of eyes have been watching the details
+of this Exposition and very little has escaped notice."
+
+A great crowd was pouring out of the afternoon concert in Festival Hall.
+The architect, as he looked on, remarked: "It's like being in Paris,
+isn't it? Or, perhaps, it's more like being in a lovely old French
+provincial city, where the theater is the chief architectural monument.
+It's hard for me to understand why the French have encouraged that kind
+of architecture for their theaters and opera houses. It seems so
+unrelated to sound, which ought to give the clue to the building. The
+use of the word festival here is a little old-fashioned and misleading.
+It doesn't mean what we usually consider festivity. It is essentially a
+concert hall, and the architecture ought to suggest concentration of
+sound by being built in a way that shall make such concentration
+inevitable. But this kind of building is obviously related to
+dissipation of sound. No wonder the acoustics turned out bad and the
+interior had to be remodeled."
+
+
+
+XII
+
+The Half Courts
+
+
+
+In front of the Court of Palms we stopped to admire James Earl Fraser's
+"End of the Trail," the most popular group of sculpture in the
+Exposition. "It deserves all its popularity, doesn't it? It's finely
+imagined and splendidly worked out. The pony is excellent in its
+modeling and the Indian is wonderfully life-like."
+
+At our side a man and a woman were standing, the man more than six feet
+tall, with broad shoulders and a face that had evidently seen a good
+deal of weather. "I've known fellers just like that Indian," we heard
+him say, "up in Minnesota. He might be a Blackfoot after a couple of
+days' tusselling with the wind and the rain in the mountains. I've seen
+'em come into town all beat out. The man that made that statue knew his
+business. An' I guess he knew what he was doing when he called it 'The
+End of the Trail."'
+
+When the visitor had passed, the architect said: "The symbolism gets
+them all, doesn't it; and the realism, too? But Fraser couldn't have
+expressed so much if he hadn't put a lot of heart into his 'Work. He
+really felt all that the Indian represented, as a human being and as a
+representative of a dying race."
+
+"The Court of Palms" captured us both, by its shape, by the splendor of
+the Ionic columns, by the loveliness of its detail, by its coloring and
+by that charm of its sunken garden. "You can feel here the mind that
+developed those four Italian towers. It shows the same balanced
+judgment, and skill and taste. The two towers here, though they stand at
+either end of the court, and make a beautiful ornamentation, are really
+a part of the wall. They help to give it dignity and variety. And how
+artistically the palms  have been used here. They can be among the least
+graceful of plants; but here they are really decorative. And those
+laurel trees at the side of the main doorway make fine ornamental notes.
+The sculptured vases, too, are wonderfully graceful."
+
+Above the doorways we found the three murals that gave further
+distinction to this court and enriched the coloring. In "Fruits and
+Flowers" Childe Hassam had done one of his purely decorative pictures,
+without a story, contenting himself with graceful pictures and delicate
+color scheme. Charles Holloway made "The Pursuit of Pleasure" frankly
+allegorical, the floating figure of the woman pursued by admiring
+youths. Over the main doorway Arthur Mathews had also painted an
+allegory, "Victorious Spirit," the Angel of Light, with wide-spread
+wings of gold, standing in the center and keeping back the spirit of
+materialism, represented by a fiery horse driven by his rider with
+brutal energy. "Observe how successfully Mathews has chosen his colors.
+These deep purples help to bring out the splendor of those golden tones.
+This canvas is unquestionably one of the best of all the murals. It
+shows that in Mathews San Francisco has a man of remarkable talent, one
+of the great mural painters of the country."
+
+On the way to the second half-court we had a chance to see the South
+Wall at close range, with its rich ornamented doorways, its little
+niches and fountains devised to make it varied and gay. Those little
+elephant heads were another sign of Faville's careful attention to
+ornamental detail. And the coloring gave warmth to the background,
+contrasting with the deep green of the planting.
+
+At the Court of Flowers we met Solon Borglum's "Pioneer, too old to be
+typical, different from the man in lusty middle age or in youth who came
+to California in the early days. But it justified itself by suggesting
+perhaps the greatest of the pioneers in old age, one who had grown with
+the community, the poet, Joaquin Miller. "It's Miller sure enough," said
+the architect, "even if the likeness isn't close. But why those military
+trappings on the horse? Like the rest of the pioneers, Joaquin was a man
+of peace."
+
+The Court of Flowers we thought well named, both for its planting,
+McLaren at his best, and for its Italian Renaissance decoration, with
+that pretty pergola opening out on the scene, Calder's Oriental "Flower
+Girl" decorating the spaces between the arches. And those lions by
+Albert Laessle were a fine decorative feature. The fountain, "Beauty and
+the Beast," by Edgar Walter, of San Francisco, was one of the most
+original and decorative pieces of sculpture we had seen. The figure of
+the girl standing on the coils of the beast was remarkably well done and
+the water flowing over the bowl, with the pipes of Pan glimpsed
+underneath, made a charming picture. There was a whimsical and a
+peculiarly French suggestion in the use of the decorative hat and
+sandals on the nude figure. In detail those two towers at the end were
+slightly different from the other two. Like the others they served as a
+decoration of the wall, breaking the long lines."
+
+
+
+XIII
+
+Near Festival Hall
+
+
+
+At close view we found the Festival Hall more interesting than it had
+seemed at a distance. It unquestionably had something of the elegance
+associated with the best French architecture. But, unlike most of the
+buildings here, it did not develop out of a central idea. Much of its
+ornamentation seemed put on from the outside.
+
+Of all the domes this dome impressed us as being the least interesting.
+It did not even justify itself as being a means of giving abundant
+light. "This kind of architecture doesn't really belong in this country;
+but it seems to be making its way. Observe the waste of space involved.
+However, the curving arches on either side are rather charming. And the
+architect has succeeded in putting into the whole structure a certain
+amount of sentiment. In fact, throughout the whole Exposition you feel
+that the architects haven't worked merely for money or for glory. They
+have appreciated the chance of doing something, out of the commonplace."
+
+The sculpture by Sherry Fry was evidently executed with the idea of
+festivity in mind, the "Bacchus" and "The Reclining Woman" and two
+"Floras" decorated with flowers, and "Little Pan," and "The
+Torch-bearer" reproduced above each of the smaller domes. But, somehow,
+those figures did not quite indicate the real character of the building,
+intended for concerts and lectures and conventions, rather serious
+business. The coloring, too, of the statues, was disappointing, the dull
+brown being out of key with the light green of the domes.
+
+"In the smaller concert room upstairs, Recital Hall," said the
+architect, "there is some very fine stained glass; two windows, and on
+the landing of the north stairway there's a third window, all done by
+the man who has been called the Burne-Jones of America, Charles J.
+Connick, of Boston. Instead of being hidden away there, they ought to
+have been put in the Fine Arts Building. They represent something new in
+the way of stained glass, and they have a wonderful depth and
+brilliancy."
+
+As we drew near the Avenue of Progress we saw the magnificent doorway of
+the Varied Industries, overladen with ornamentation. "It was clever of
+Faville to put that doorway just in this spot where it would be seen by
+the crowds that entered by Fillmore Street. It comes from the Santa Cruz
+Hospital, in Toledo, Spain, built by the Spanish architect, De Egas, for
+Cardinal Mendoza, one of the most famous portals in Europe. The
+adaptation has been wonderfully done by Ralph Stackpole, with those
+figures of the American workman carrying a pick at either side and the
+semicircular panel just above the door and the group on top. That panel
+is one of the finest pieces of sculpture in the Exposition. It has
+tenderness and reverence. It's the kind of thing the mediaeval sculptors
+who worked on religious themes would have been enthusiastic over. See
+how simple it is, just a group of workers, with the emblems of their
+work, the women spinning with the lamb close by, the artist and the
+artisan, and the woman with the design of a vessel's prow in her hands,
+suggesting commerce. The single figure in the center is the intelligent
+workman who works with his hands and knows how to work, too. The group
+on top is a very pretty conception, the Old World Handing Its Burden to
+the Younger World, with its suggestions of the European people coming
+over here and raising American children."
+
+
+
+XIV
+
+The Palace of Machinery
+
+
+
+On reaching the Avenue of Progress we found ourselves at the gayest
+corner of the Exposition, with two fine vistas of the two avenues. To
+our right stood the massive Palace of Machinery, one of the largest
+buildings in the world, so successfully treated by the architect that it
+did not give the faintest suggestion of being cumbersome or monotonous.
+"It's the Baths of Caracalla in Rome," said the architect, "adapted by a
+master. Those three gables above the main entrance are taken directly
+from the baths. See how simple the ornamentation is and yet how
+satisfying. The building as a whole is a perfect example of old Roman
+architecture, feeling its way toward the big architectural principles
+that are in vogue today, among others the economical principle involved
+in the counteracting of thrusts. If the Roman Emperor who was nicknamed
+Caracalla on account of the hooded military tunic that he made
+fashionable in his day hadn't built those baths we should probably not
+have the glorious Pennsylvania station in New York, that some of the
+architectural authorities consider the most important building of its
+kind built in this country. Although the work here is all concrete,
+Clarence Ward, the architect, says that with care, it could last
+hundreds of years."
+
+Now we were struck by those vigorous-looking figures, by Haig Patigian,
+that stood on top of the Sienna columns all evidently designed to
+express the power of machinery. At the entrance the reliefs of the
+columns were in the same spirit and, as one might have surmised, by the
+same sculptor working out the meaning of the buildings in designs that
+kept the contour of the columns, strong and well-modeled.
+
+"There's distinctive character in this building," said the architect.
+"It actually conveys the sense of tremendous energy, and by the simplest
+means. And inside, Ward has done something new and interesting."
+
+When we entered we found the supports of the roof left bare. Instead of
+being unsightly, they had a kind of beauty and impressiveness. "Observe
+the magnificence of the spaces here on the floor and up to the ceiling.
+Some one asked Ward if all this height were necessary. He said it
+wasn't; but he wanted it for pictorial effect, to carry out the feeling
+of massiveness and splendor."
+
+In the great figures that stood on the columns in front of the Palace of
+Machinery the architect found a theme for a discourse on the human
+figure as the chief inspiration of art. "It is possible that we shall
+change our minds on that subject," he remarked. "Already the world is
+showing a tendency to get away from the worship of the body. Ever since
+the Christian era, of course, the physical has been deprecated. We may
+come to see that the body is useful as it develops and serves the
+spiritual, that is, as it subordinates itself. The marvel is that the
+pagan tradition has persisted so long in spite of the Christian
+influence. This Exposition shows how strong it remains."
+
+"But what would you have in place of the human figure as the inspiration
+of art?" I asked.
+
+"Oh, there are plenty of things that might take its place. Flower themes
+are just as beautiful in decoration as the shapes of men and women. I
+can conceive of the time when it will be considered uninteresting and
+commonplace to have human bodies used as a means of aesthetic display.
+The self-glorification in it alone becomes wearying. We are gradually
+learning that the best we can do in life is to forget about ourselves
+and our old bodies. There are even those who go so far as to look
+forward to the time when we shall escape from our bodies altogether. It
+would be interesting, by the way, to get the point of view of a very
+spiritual Christian Scientist on the display here. I suppose that it
+would see good in the tendency to reach finer and nobler conceptions of
+art according to our present understanding."
+
+Then the architect proceeded to discuss the artistic superiority of the
+Japanese. Though they used the human figure in their art, they did not
+play it up, after the habit of the Western world. They did not make it
+seem to be of supreme importance. They conventionalized and subordinated
+it to outline and color. The use of the nude they never cultivated.
+Their attitude toward the body was characterized by discretion and
+modesty, qualities that they showed in their dress. You would never see
+a Japanese woman, for example, wearing a dress that conspicuously
+brought out the lines of her figure.
+
+"On the other hand," the architect went on, "there's no doubt we've
+become absurdly prudish in this country. We're afflicted with shame of
+the body which, in itself, is unhealthy. If art can help us to get back
+to a more normal attitude it will do a big service. All the more reason
+then why it should keep within reasonable bounds."
+
+
+
+XV
+
+The Court of the Ages
+
+
+
+As we turned from the Avenue of Progress toward the Court of the Ages
+the architect said: "The workmen about here call this inner court 'Pink
+Alley,' not a bad name for it, though its real name is the Court of
+Mines. Throughout the Exposition Guerin shows that he is very fond of
+pink, probably on account of its warmth. He has been criticised for
+using it so much on the imitation Travertine for the reason that there
+is no stone of exactly this color. And yet there is pink marble. But
+even if there weren't any pink stone in the world, Guerin would be
+justified in his use of the color for purely decorative purposes, just
+as he was justified in using it on his four towers."
+
+Inside the Court of the Ages the architect drew a long breath.
+
+"In this court we architects feel puzzled. We think we can read new
+architectural forms like a book, and find that they are saying things
+repeated down the ages. But we can't read much here. In that lovely
+round arch there are hints of Gothic, and yet it is not a Gothic arch.
+Throughout the treatment there are echoes of the Spanish, and yet the
+treatment is not Spanish. The more one studies the conception and the
+workmanship the more striking it grows in originality and daring.
+Mullgardt has succeeded in putting into architecture the spirit that
+inspired Langdon Smith's poem 'Evolution,' beginning 'When you were a
+tadpole and I was a fish.' In the chaotic feeling that the court gives
+there is a subtle suggestiveness. The whole evolution of man is
+intimated here from the time when he lived among the seaweed and the
+fish and the lobsters and the turtles and the crabs. Even the straight
+vertical lines used in the design suggest the dripping of water. When
+you study the meaning of the conception you find an excuse for Aitken in
+flinging his mighty fountain into the center of all this architectural
+iridescence. He caught the philosophy of Mullgardt without catching the
+lightness and gaiety of the execution. In that fountain he has brought
+out the pagan conception of the sun, and he has used the notion that the
+sun threw off the earth in a molten mass to steam and cool down here and
+to bring forth those competitions between human beings that reveal the
+working of the elemental passions. Aitken is material and hard, where
+Mullgardt is delicate and fine. How subtly Mullgardt has interwoven the
+feeling of spirituality with all the animal forces in man. That tower
+alone is a masterpiece. I know of no tower just like it in the world.
+ From every side it is interesting. And at night it is particularly
+impressive from the Marina."
+
+The architect went on to explain something of the court's history. "When
+Mullgardt started to work out his plans he must have had in mind the
+transitional character of an exposition. He knew that he could afford to
+try an experiment that might have been impracticable if the court had
+been intended for permanency. He evidently was determined to cast
+tradition to the winds and to strike out for himself."
+
+"I should think most architects would like to work in that way."
+
+"The usual process is very different. As soon as an architect decides to
+design a building. he first chooses a certain type of architecture; then
+he saturates his mind with designs that have already been done along
+that line. Out of the mass of suggestions that he receives he is lucky
+if he evolves something more or less new. Often he merely re-echoes or
+he actually reproduces something that he is fond of or that has happened
+to catch his fancy. The chances are that Mullgardt will go down into
+history for his daring here. It isn't often that a man takes a big
+biological conception and works it out in architecture with such
+picturesqueness. It's never intrusive and yet it's there, plain enough
+for anyone to see who looks close. It represented a magnificent
+opportunity and Mullgardt was big enough to get away with it."
+
+Then the architect told me the human story behind all this beauty as we
+wandered back into the center of the court and stood there. "Notice the
+incline," he said, "from the entrances? It reminds me that Mullgardt had
+originally intended to have the floor of the court like a sunken garden.
+And remember that the name expresses the original idea. The Court of
+Abundance, that it is wrongly called, would have applied much better to
+the Court of Four Seasons. Well, after the notion came to Mullgardt to
+suggest in the court the development of man from the life of the sea to
+his present state as a thinking being, less physical than spiritual, he
+planned to build a court that should be the center of the pageants for
+the Exposition, where art should have its living representation in the
+form of processions and of plays, some of them written for the purpose.
+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. Around the court there
+was to run an ornamental balcony, covered with a great canopy in red and
+gold, making an effect of Oriental magnificence. The people were to
+watch the spectacles from the balcony and from between the arches. In
+addition to the main tower, very like the present tower, but to contain
+a great pipe organ, there were to be two others, in the corner at right
+angles, to be called echo towers. The music of the organ was to be
+transmitted to the echo towers by wires and the echoes were to serve as
+a sort of accompaniment. The effect, if it had been managed right, would
+have been stunning."
+
+"Mullgardt has kept the spirit of the pageant in his court," I said.
+"Just as it is it would make an ideal setting, particularly for pageant
+with music, opera, for example."
+
+"Of course," said the architect. "But the music ought not to come as it
+does now, from a band. It ought to come from the orchestra. Violins
+belong there. Put brass never!"
+
+"Well, what happened to the pageant scheme?"
+
+"Oh, when Mullgardt showed the preliminary sketches it was ruled out as
+too expensive. Then he removed the balcony and the staircase and, in
+place of the staircase, he introduced a cascade, keeping the rest of the
+court as it had been before. His idea was to use the water in the
+cascade only in a suggestive way. It was to be almost completely hidden
+by vines, after the manner of Shasta Falls, and to symbolize the
+mysterious appearance and disappearance of water that came from - one
+didn't know where. But that scheme was rejected, too, as too expensive.
+However, Mullgardt accepted the situation. He was so interested that he
+worked out himself many of the details that most architects would have
+left to subordinates. He really cared enough to make the whole effect as
+close to perfection as he could. Everything he did he had a reason for
+doing. Not one thing here did he use gratuitously. He evidently doesn't
+agree with the idea that, in architecture, beauty is its own excuse for
+being; he wants to make it useful, too."
+
+Then I was initiated into the details of the workmanship. "Observe how
+the ideas in the structure of the walls of the court are carried on in
+the ornamental details and in the tower." The primitive man and
+primitive woman repeated in a row along the upper edge had been finely
+conceived and executed by Albert Weinert. And the nobility of outline in
+the tower was sustained by the three pieces of sculpture in front made
+by Chester Beach. That top figure some people believed to be Buddhistic
+in feeling. But it belonged to no particular religion. It stood for the
+Spirit of Intelligence. The ornamentation on the head was not an
+aureole, as bad been reported, but a wreath of laurel, symbolic of
+success. The group beneath was mediaeval, depicting mankind struggling
+for the light, expressed in the torches, through those conflicts that so
+pitifully came out of the aspirations of the soul, expressed in
+religion. The lowest group showed humanity in its elemental condition,
+related to the animal, close to the beasts. So, to be followed in
+sequence, the groups ought to be studied from the lowest to the highest,
+and then the eyes should be able to catch the meaning of the lovely
+ornamentation, crowning the tower, the petals of the lily, emblem of
+spirituality, the arrow-like spires above expressing the aspirations of
+the soul.
+
+On the sides of the tower the symbolism was consistently maintained, war
+and religion marking the progress of man toward the state indicated by
+the single figure of The Thinker.
+
+"And, speaking of the soul," the architect went on, "Observe these great
+clusters of lights that illuminate this court and the approach on the
+other side of the tower. They look like stars, don't they? And the
+intention evidently is to use them for their star-like character. But
+there is history behind them. They are like the monstrance used in the
+Catholic Church, to hold the sacred host, the wafer that is accepted by
+the faithful as the body and blood of Jesus Christ. Since the sixteenth
+century it has been used by the church, a beautiful emblem, made of gold
+and designed to suggest the prayer of the sun, the Spirit of God in
+radiance. Its use here helps to give the court its ecclesiastical
+character."
+
+As we made our way toward the Marina we noted how much the court gained
+by its general freedom from color. In the colonnade, to be sure, Guerin
+had been particularly successful with the shade of blue. But he would
+have done better if he had omitted the color, in fact all color, from
+the niches in the tower.
+
+Viewed from the Marina, the entrance to the court proved to be a vision
+of loveliness. There was only one intrusive note to jar the harmony, the
+coarse sea figure by Sherry Fry, presumably Neptune's, Daughter,
+standing in the center, with a great fish at her feet, plainly out of
+place here, in spite of the court's celebration of the sea as the source
+of human life.
+
+
+
+XVI
+
+The Brangwyns
+
+
+
+We lingered in the colonnade to view the eight mural decorations by
+Frank Brangwyn, of London. In front of The Bowmen we found a friend, a
+gifted woman painter, fairly bursting with enthusiasm. "What delights me
+in Brangwyn," she said, "is his artistic courage. He dares to put down
+just what he feels. This sturdy figure in the foreground, for example,
+peering through the trees, how many other painters would have allowed
+him to turn his back on the spectator? And yet how interesting he is and
+how alive."
+
+"Some of those heads strike me as curious," I remarked. "That fellow
+closest to the center, just about to let his arrow fly, seems to have no
+head to speak of."
+
+"Sometimes he's careless with his drawing. And yet he can draw
+magnificently, too. He evidently had a purpose in making so many of the
+heads in these murals almost deformed. He wanted to suggest that these
+types were in no way mental. They were wholly physical. Notice the care
+he has lavished on their muscular bodies, their great shoulders and
+legs."
+
+"It doesn't seem like English work, does it?" said the architect.
+
+"No, there's something almost Oriental about it both in the feeling and
+the coloring. And there's the Pagan love of the elemental life."
+
+"But what a chance Brangwyn had to do something new with this
+magnificent subject," the architect went on. "At last, after centuries
+of effort, men are actually conquering the air. They've learned to fly.
+They've become birds. Now why didn't Brangwyn give us a pictorial
+expression of that miracle? Why didn't the artist have as much sense as
+the man of affairs who pays Art Smith to come out here and fly before
+the multitude?"
+
+I argued that Brangwyn preferred to deal with antique themes - they were
+so much more pictorial.
+
+The architect interrupted with some impatience. "But that's exactly what
+they're not. In my opinion Whistler was perfectly right when he said
+that if a mural decorator couldn't make modern life pictorial he didn't
+know his business. Flying through the air is only one of many wonders in
+the life of today that cry out for expression in art; but you scarcely
+catch a note of them here."
+
+"For example?" said the painter.
+
+"Industry - our great machines, the new power they bring into the world,
+the change in industrial relations and social and moral ideals. Now in
+these murals, Brangwyn has simply repeated himself and he hasn't by any
+means done his best work. And I question whether his observation is so
+accurate as you admirers of his try to make it appear. Look at the way
+those fellows are holding their bows - with the left hand, presumably
+for the pictorial effect of the composition. Well, let that point pass.
+One fellow has shot his arrow. The other is holding his arrow between
+the fore finger and the middle finger. Well, it won't go very far. The
+Indians know better. They let the arrow rest on the thumb to give it
+plenty of freedom to fly. One of those bows, by the way, has no string.
+Brangwyn probably thought it wouldn't be missed."
+
+As we looked at the other panels the architect conceded that the points
+the painter raised for Brangwyn, the brilliant use of color; the
+dramatic grouping and the fineness of characterization, were true
+enough. "But he's too monotonous. Though his groups are of different
+periods, some of them ages apart, they're all essentially alike and the
+figures are even dressed alike. I'm perfectly willing to make allowance
+for artistic convention. But why should an artist limit himself
+unnecessarily when he has all the ages to draw on? Why should he neglect
+the present, the greatest of all the ages?"
+
+"Ah, I'm afraid you're too literal said the painter. "You want to limit
+a genius to rules."
+
+We turned from The Bowmen to study in detail the second illustration of
+Air, much more modern and yet charmingly old-fashioned, the windmill and
+the little mill high in the background, the group of naked boys flying
+kites, the toilers and their children, going home as fast as they could,
+fighting the wind, their picturesque draperies flying around them.
+
+The architect was impressed. "He's caught the feeling of the
+thunderstorm, hasn't he?" he said.
+
+"And he's brought out all the picturesqueness and the color and the
+majesty and even the humor," said the painter. "See how wonderfully be
+has composed the picture, what pictorial use he has made of every
+detail. The background of the clouds and the rain, the dark blues and
+the green and the pink; and the kites catching some of the color, and
+the lovely color of the mill and of the grass dried by the sun. And see
+that figure up there on the steps, all windblown and rushing under
+cover. It's all beautiful and yet there's not one face or figure there
+that would be considered beautiful by the painter who works for
+prettiness. He has no interest whatever in what the average mural
+decorator considers beautiful. And yet he sees beauty everywhere and he
+makes it felt. How pictorially he has used those purple flowers in the
+foreground at the base of the composition. And observe their relation to
+the purple clouds on top. And then what character he has put into those
+active figures, particularly in this queer little boy, naked except for
+the purple drapery flying from his waist. He has caught something of the
+fantastic spirit that you often see in children."
+
+In nearing the two panels illustrating Water we had a chance to see how
+dexterously Brangwyn could manage his design without perspective, which
+would have made a hole in the wall. Those women with jars on their heads
+stood against a sky none the less lovely because it was flat. It was
+exquisite in its varieties of blue and white and green. That sturdy
+fellow lifting a heavy jar was actually working and working hard. "And
+how splendidly Brangwyn has modeled the figure with his back turned to
+us," the painter exclaimed. "What a stroke of genius it was that a
+yellow handkerchief of just that shade should hang from his neck. And
+the figures in the companion panel drawing their nets, they are putting
+their heart and soul into their work and they are having a good time,
+too. And this man here in the corner, with the purple shadows on his
+bare back, lifting his net, he's evidently had a big catch. He's holding
+the net in a way that shows it's heavy. And how decorative those men in
+the background are, with the baskets on their heads. Brangwyn loves to
+use figures in this attitude. They are interesting and picturesque and
+dramatic at the same time."
+
+"But they're too conscious," the architect insisted, "too posed.
+
+"Remember, they're not paintings," the painter insisted. "They're formal
+decorations."
+
+In the panel representing the elementary use of Fire we were all struck
+by Brangwyn's daring and fine treatment of the ugly. Nearly every face
+was almost grotesque. And yet every face was appealing for the simple
+reason that it expressed attractive human qualities. Two, a man and a
+woman, had noses ridiculously large. The group of men in the center of
+the background, at the base, around the fire, had apparently started the
+fire by rubbing sticks together. One was intently leaning forward, as if
+in the act of blowing. Among the figures behind the group stood a man
+with an infant in his arms, vividly characterized by the unseeing eyes.
+
+That infant was instantly singled out by the painter.
+
+"Brangwyn is very wonderful in his observation of children. He has a
+quality that is almost maternal. Observe the difference between the
+expression in the face of that baby and the expression in the face of
+that little boy to the left of the fire-makers. How intently he is
+looking on as he leans against the brown jar. He shows all the interest
+of a boy just learning how to do things."
+
+The kiln charmed us, too, though we regretted that it did not explain
+itself quite so spontaneously as most of the other panels. "But
+symbolism ought not to be too obvious, you know," the painter argued.
+"There's a certain charm in vagueness. It makes you feel your way toward
+a work- of art. The more you think about this panel the more you find
+there. To me it suggests the relation between fire and the abundance of
+the earth. See how cleverly, in each case of these two panels, Brangwyn
+has used smoke, first as a thin line, breaking into two lines as it goes
+up and interweaving, and then as a great flowing wreath, dividing the
+panel in two parts without weakening the unity."
+
+For composition we decided that the two Earth panels were among the most
+remarkable of all. With satisfaction I heard Brangwyn compared by the
+painter to a great stage manager. "When I look at these groupings, I am
+reminded of Forbes-Robertson's productions of plays." Now we could see
+how brilliantly the decorator had planned in securing his effects of
+height by starting his group of figures close to the top of the canvas.
+And with what skill he had used trees and vines and vegetables and
+fruits, both for design and for coloring. "He has always been mad about
+apples and squashes," said that feminine voice. "In nearly every picture
+here you will find not one squash only, but several squashes. He loves
+them for their color and their shape. And how wonderful he makes the
+color of the grape. He suggests the miracle of its deep purple."
+
+We admired the painter's pictorial use of shadow on those powerful and
+scantily draped figures and the animation he put into the bodies of the
+wine-pressers. And down there in a corner he had perfectly reproduced
+the attitude and facial expression of the worker at rest, holding out
+his cup for a drink. "There's another of those queer and interesting
+children. But oh, most wonderful of all is the opposite panel that ought
+to be called Abundance. See that mother, holding her lusty baby. The
+face is commonplace enough, but it has all motherhood in it. And the
+woman behind, she looks as if she might be a mother bereft or one of
+those women cheated out of motherhood."
+
+The architect, though he still had his reservations on the subject of
+the Brangwyns, conceded that they were distinctly architectural. They
+blended into the spirit of the court.
+
+The painter at once supported the opinion. "In these colonnades Guerin
+has done some of his finest coloring. The blue and the red are in
+absolute harmony with Brangwyn's rich tones. They must have been applied
+to fit the canvases. But the marvel is that the murals should show up so
+magnificently. Brangwyn painted them in London and he must have had
+second sight to divine just the right scheme. Do you realize," she went
+on enthusiastically, fairly losing herself in her enjoyment, "the
+immense difficulties he had to contend with? In the first place, see how
+huge those canvases are. Their size created all kinds of problems. To
+view them right, to get a line on the detail, so to speak, would have
+meant, for the average painter, walking long distances. But, in his
+studio, Brangwyn could not have taken anything like accurate
+measurements."
+
+"Perhaps he painted them out of doors," the architect suggested.
+
+"I believe the explanation is that he thought them all out and he saw
+them in their places. From Mr. Mullgardt he had probably received a
+complete account, with drawings, of just what the court was going to be
+like. Then it lived before him and he made the murals live. His work
+shows that he begins in the right place, unlike so many people who paint
+from outside. He feels the qualities of the people he is going to paint.
+He really loves them. He loves their surroundings. He must be very
+elemental in his nature. They say he is a great, uncouth sort of a
+fellow. When he first went to London he was very contemptuous of the
+work done by the academicians. It must have seemed to him, a good deal
+of it, effeminate and trifling. Can't you see how those murals show that
+he is a man clear through? They are masculine in every detail."
+
+"And yet they have a good deal of delicacy, too, haven't they?" said the
+architect. "See how atmospheric those backgrounds are. They actually
+suggest nature."
+
+"Because they are unconventional and because they are true. And yet they
+are purely decorative. You wouldn't like to think of them as standing
+apart in a great frame. When you go close you will see that the colors
+are laid on flat. And they don't shine. For this reason they have great
+carrying power. Observe The Bowmen down there in the distance. Even from
+this remote end of the court it expresses itself as lovely in color and
+composition. Let us walk down and see how it grows on us as we
+approach."
+
+Slowly we moved along the colonnade, the figures seeming to grow more
+and more lifelike as the painter indicated their technical merits. "They
+are of the earth, those men, aren't they? They are the antithesis of the
+highly civilized types used by so many of the painters today. They
+suggest red blood and strength of limb and joy in the natural things of
+life, eating, drinking, the open air, and simple comradeship. They make
+us see the wonder of outdoor living, the kind of living that most of us
+have missed. What a pleasure it is to find a worker in any kind of work
+trying to do a thing and actually doing it and doing it with splendid
+abandon. Now if Brangwyn hadn't entered into the feelings of those
+bowmen in the foreground, he couldn't have made the figure alive. And
+the life, remember, isn't merely brought out by the happy use of the
+flesh tints or by the play of the muscles. It's in the animating spirit.
+As Brangwyn painted those fellows, he felt like a bowman. So he
+succeeded in putting into his canvas the strength that each bowman put
+into his bow. He isn't pretending to shoot, that sturdy fellow in front.
+He is shooting, and he's going to get what he is after."
+
+Before each of the four pairs of murals, the painter indicated to us the
+happy way in which, by the deft use of the coloring, each blended into
+the other, and she called my attention to the clearness of the
+symbolism. So often, she remarked, the mural decorators used
+compositions that seemed like efforts to hide secrets, a childish way of
+working, sure to defeat itself. Brangwyn had no secrets. He was sincere
+and direct. He was happy over this work. He said that he had enjoyed
+doing it more than anything else he had ever done before. If these
+canvases had been found in the heart of Africa they would have been
+identified as coming from Brangwyn. No one else used color just as he
+did, with his kind of courage. His colors were arbitrary, too. He didn't
+follow nature and yet he always conveyed the spirit of natural things.
+Throughout his work he showed that he was a close and subtle observer.
+The sweep of rain through the air, the movement of figures and of
+draperies in the wind, the expression of human effort, how wonderfully
+he managed to suggest them all and to make them pictorial. But he wasn't
+interested in merely an activity. He loved repose. In nearly all of
+these eight canvases, so brimming with life, there were figures looking
+on serenely, calmly, conveying the impression of being absolutely at
+rest.
+
+In every particular, according to the searching observer, Brangwyn was
+successful, with the exception of one, his treatment of birds. He
+evidently didn't know birds. If he had known them he would have loved
+them, and if he had loved them he would have entered into their spirit
+and he would have flown with them and he would have made them fly in his
+painting. Now they merely flopped. They were just about as much alive as
+the clay figures used in a shooting match. Even his highly decorative
+flamingoes weren't right. They did not stand firmly on the ground. They
+weren't alive. And the necks of the two flamingoes never could have met
+in the curves that Brangwyn gave them. This very failure, amusing as it
+was and hardly detracting from the effect of his work as a whole, was
+another proof that he was an instinctive painter, who relied for his
+guidance on feeling. But it was plain enough that he had chosen those
+flamingoes for their color, and a right choice it was.
+
+We could not decide which of the eight murals we liked best. Perhaps,
+after all, they could not be considered apart. Though each was in itself
+a unity, the eight completely expressed a big conception. And in detail
+each canvas was full of delightful bits. If you closed your hand and
+peered between your thumb and your fingers, you could see how
+beautifully the color had been applied and how, throughout the whole
+surface, the workmanship sustained itself. Never was there the sense of
+faltering or of petering out. And everywhere there were expressions of
+fine understanding and sympathy, in the study of a peasant mother
+holding her babe, nude boys flying kites, a happy face with the lips
+blowing a pipe, a muscular figure lifting a jar, all conveying abundant
+life and rich coloring.
+
+The painter finally ran away from us, apologizing for her enthusiasm.
+
+In discussing her opinions, the architect said: "Well, I don't
+altogether agree. But she may be right. She sees from the inside, which
+is very different from seeing from the outside. There is a great deal of
+artistic appreciation that can be felt only by the artist, by the
+fellow-craftsman. No wonder we go so far astray when we criticise
+aspects of art that we're only related to indirectly or not related at
+all."
+
+We walked to the Marina. From there we saw the sun, a great red ball,
+sinking behind the Golden Gate.
+
+
+
+XVII
+
+Watching the Lights Change
+
+
+
+"There probably never was an Exposition in a more magnificent setting,"
+said the architect. "The stretch from here to the Golden Gate makes one
+of the most splendid bits of scenery in the whole world. It was a good
+idea on the part of the Exposition people to build the little railway
+here so that visitors should get a glimpse of all the beauty. But,
+ideally, the view ought to be seen from a height. The curve from here to
+the Cliff House makes our foreign visitors gasp. It also makes them
+wonder why our boasting over San Francisco doesn't include some of the
+things we have the best excuse to boast about."
+
+We stopped at one of the open-air restaurants, where we could eat and
+watch the fading light at the same time. Then we went to the lagoon,
+which the architect declared to be particularly interesting at this time
+of day.
+
+The rotunda and the colonnade began to take on a deeper mystery. Across
+the surface of the water ran a faint ripple. In the background, over the
+Golden Gate, the sky was turning to flame. Delicate, gray cobwebs seemed
+to float in the air like veils, dusk and fog intermingled.
+
+The light grew dim as we sauntered along the colonnade of the Palace.
+Through the columns we could see the Tower of Jewels, suddenly
+illuminated from inside, all in red, obscuring the sculptured figures
+and giving the lines greater unity and reach.
+
+In the red glow the Italian towers fairly leaped into the air. "It's
+curious how the light makes them taller," said the architect.
+
+Now the grounds were twinkling with a multitude of bulbs.
+
+Presently the red light in the tower softened into white. Two of the
+Italian towers grew paler, the other two retaining their brilliancy.
+Ryan was putting on his colors like a painter, one over another.
+
+We made our way back to the Marina, where the scintillators were soon to
+blaze. Before we arrived they informed us of their presence by the great
+feathered fan, of many colors, that rose into the sky.
+
+"There was some opposition to the decorating of the Tower with jewels.
+The architects with conservative ideas very naturally felt that
+architecture which depended on its lines for beauty didn't need that
+kind of ornament. But Ryan has unquestionably justified himself. The
+feature has been talked about throughout the country more than any
+other. See how the light falls on the tower like a great shimmering
+robe. It gains by the contrast it makes with the subdued lighting
+beneath."
+
+The group on the Column of Progress stood out against the sky.
+
+The doorways were taking on the color of gold, becoming even more
+beautiful than they had been by day.
+
+"What Ryan tried hardest to get," said the architect, "was evenness of
+lighting. He wanted to bring out clearly the details of the architecture
+and he succeeded."
+
+
+
+XVIII
+
+The Illuminating and the Reflections
+
+
+
+That motionless steam engine, all in gray, harmonizing with the
+Travertine, was furiously at work. Into the air it sent clouds of steam
+that turned to red and blue and green under Ryan's magic. And up there,
+at the top of the Column of Progress, we saw the Adventurous Bowman and
+his companions in two groups, one reflected on the illuminated fog.
+
+Through the smoke and the fog the bombs were shooting and breaking into
+great masses of liquid fire, golden and green and pink and yellow.
+"Someone says we're all children at heart," the architect remarked.
+"These fireworks get more attention than all the architecture and the
+art put together. But, after all, they're just about as beautiful as
+anything man can make and, in the way of color, they put the artists to
+shame."
+
+We were part of the crowd that swept to the Court of the Universe, never
+so splendid as at night, with the columns reflected in the pool and
+Calder's star figures shining from the concealed electric bulbs. On
+reaching the court itself we stood at the end of one of the corridors
+and looked down. Great drops of light hung on the columns like molten
+gold. "Ryan has done something very artistic and unusual there," the
+architect remarked. "So far as I know nothing just like it has ever been
+done before. It suggests the tongues of fire mentioned in the Scripture
+that descended from Heaven."
+
+In the sunken garden those two shafts, rising from the fountains,
+looking like stone by day, had become great candles, glowing from the
+base to the glass globe on top. "They're practically the sole means of
+illuminating this court. The other lights are merely ornamental. So far
+as I'm aware nothing just like these shafts has ever been tried in an
+Exposition or anywhere else. It's a novel Expositional effect. Some
+people don't like it; but most people admire it immensely. It symbolizes
+the gold that first drew the multitude to this part of the world. If the
+golden color had been used more extensively throughout the Exposition it
+would have helped a lot. Guerin gets it at night by means of the light
+that shines through the windows and Faville gets it in the light behind
+those wonderful doorways of his that haven't been praised half as much
+as they ought to be."
+
+The Court of the Ages lured us along the dimly lighted inner court, the
+arches taking on an even more delicate beauty in the night light. Once
+within the court we found ourselves under the spell of Mullgardt's
+genius. The architecture, the cauldrons sending out pink steam, the
+flaming serpents, the torches on the tower, the warm lights from within
+the tower, the great ecclesiastical stars, brilliant with electricity,
+all carried out the idea of the earth, cast off by the sun.
+
+In the entrance court we found the effects less magnificent but, in
+their way, just as beautiful. The lighting emphasized the refinement of
+the court, the rich delicacy of the ornamentation. "Mullgardt ought to
+go down into history for this contribution to the Exposition," said the
+architect. "He has shown that originality is still possible in
+architecture."
+
+In the Court of the Four Seasons we watched the Emerald Pool turning the
+architecture into a mermaids' palace. The water flowing under the four
+groups of the seasons shone from an invisible light beneath, coloring it
+a rich green. "When Ryan promised to illuminate the water here without
+letting the source of the light be seen, it was thought by the people it
+couldn't be done." For a long time we sat in front of the lagoon where
+the swans were silently floating and, and the Palace of Fine Arts was
+reproduced with a deeper mystery. Now we could feel the relation between
+the colonnade and Gerome's chariot race. "It would please Gerome if he
+could know that he had helped to inspire so magnificent a conception,"
+said the architect. "And if Boecklin could see this vision and hear that
+his Island of the Dead had started Maybeck's mind thinking of it he
+would probably be astonished and delighted at the same time. With his
+fine understanding of the influences operating in art he would see that
+his contribution did not in any way detract from Maybeck's originality.
+Down the centuries minds have been influencing one another and, in this
+way, adding to the sum of wisdom and beauty in the world. Now and then,
+as in this instance, we can plainly see the influences at work. Behind
+Boecklin and Gerome there were doubtless influences that led to their
+making those two pictures, inspirations from nature or from other
+artists, or both together. And this palace will doubtless inspire many
+another noble conception."
+
+"When we apply that thought to the Exposition as a whole," I said, "we
+can see what a big influence it is likely to have on the art of the
+country."
+
+"It has undoubtedly had a big influence already, even though we may not
+he able, as yet, to see it working. The very interest the Exposition
+has, aroused in the people that come here, whether they are artists or
+not, can't help being productive."
+
+
+
+Seeing the Lights Fade
+
+
+
+We went over to the South Gardens to see the lights change on the Tower
+of Jewels, passing the half-dome of Philosophy, the stained glass of the
+windows enveiling the background. They were still robing the tower in
+pure white, and the hundred thousand pieces of Austrian cut glass were
+shimmering. "They must have had a hard time getting those jewels
+fastened on the ornamentation of the upper tiers. The wind up there is
+very strong. Some of the men came near being blown off. It took pretty
+expert acrobatic work to hang the jewels out on the extreme edges.
+
+Suddenly the lights on the tower glowed into red. The tower itself
+seemed to become thinner and finer in outline.
+
+"There are people who don't like this color," said the architect. "It's
+fashionable nowadays to feel a prejudice against red. But it is one of
+the most beautiful colors in nature and one of nature's greatest
+favorites, associated with fire and with flowers. To me the tower is
+never so beautiful as it is when the red light seemed to burn from a
+fire inside. See how it tends to eliminate the superfluous
+ornamentation. It brings out the grace of line in the upper tiers, like
+folded wings. With just a few eliminations the improvement in that tower
+would be astonishing."
+
+Presently the lights in the tower went out altogether. The four Italian
+towers also grew dim. It was getting late. People were hurrying out. But
+we lingered. We wished to see this city of domes as it appeared without
+any lights at all, except for those that were kept burning to meet the
+requirements of the law.
+
+For an hour we roamed about the deserted place. Here and there we would
+meet a belated visitor or a group of people from some indoor festivity.
+
+The material had taken on a finer quality. It looked like stone.
+Wonderful as the Exposition was by day and in the evening, it was far
+more wonderful at this hour.
+
+Now it was easy to imagine the scene as a city, with the inhabitants
+asleep in their beds. But just what kind of city it was I could not make
+up my mind. When I expressed this thought to the architect, he said:
+
+"Have you ever seen David Roberts' big illustrated volumes, 'Travels in
+the Holy Land'? If you haven't, look them up. Then you will see what
+kind of a city this city is. It's a city of Palestine. It's Jerusalem
+and Jaffa and Akka all over again."
+
+
+
+Features that Ought to be Noted by Day
+
+
+
+The South Gardens
+
+
+
+Hedge. Idea suggested by W. B. Faville, of Bliss & Faville, architects,
+of San Francisco, and developed by John McLaren, landscape gardener and
+superintendent of the Golden Gate Park, San Francisco, to give
+impression of old English wall. African dew plant grown in shallow
+boxes, two inches deep, covered with wire netting.
+
+Design of entrance at Scott Street, by Joseph J. Rankin.
+
+South Gardens, French in character, with suggestions of Spanish.
+Planting by John McLaren.
+
+In center, "Fountain of Energy," by A. Stirling Calder, acting chief of
+sculpture; French influence. Expresses triumph of energy that built the
+canal. Youth on horseback, standing in stirrups, "Energy." Figures on
+shoulders, "Fame" and "Valor." Figures on globe, two hemispheres;
+Western, bull-man; Eastern, lioness-woman. Figures on base, sea-spirits.
+Upright figure on globe, Panama. Large figures in pool, the oceans: The
+Atlantic, a woman with coral in her hair, riding on back of armored
+fish; North Sea, an Eskimo hunting on back of walrus; Pacific, a woman
+on back of large sea lion; and South Sea, a negro on back of trumpeting
+sea-elephant. Sea-maidens on dolphins' backs, in pool.
+
+To right and left, in front of Festival Hall, and Horticultural Palace,
+at ends of long pools, French fountain of "The Mermaid," figure, by
+Arthur Putnam, of San Francisco.
+
+To right, large building, Festival Hall, by Robert Farquhar, of Los
+Angeles; French theatre architecture. Studied from the theatres of the
+Beaux Arts style of French architecture. Details, French Renaissance
+developed from the Italian influence.
+
+To right, Press Building, designed and built by the Exposition; Harris
+H. D. Connick, Director of Works.
+
+To left, large building, Palace of Horticulture, Bakewell & Brown,
+architects.
+
+To left, Young Women's Christian Association.
+
+French light standards, by Walter D'Arcy Ryan and P. E. Denneville.
+
+French ornamental vases, filled with flowers, by E. F. Champney.
+
+The wall, by Faville, with ornamental Spanish entrances, runs around
+main courts and palaces, making the walled city. Tiled roofs suggesting
+mission architecture, associated with early California missions, a style
+developed from the Spanish.
+
+Four smaller towers, two on either side of large tower, by George W.
+Kelham, of San Francisco; Italian Renaissance.
+
+Sand on walks, selected by Jules Guerin for its pink color to harmonize
+with color scheme. Binds together buildings, its pink harmonizing with
+pink of walls. Grains of sand in walks translucent.
+
+Flag poles, ornamented with gilt star, by Faville. Orange-colored
+streamers by Guerin.
+
+Heraldic designs related to history of Pacific Coast, by Ryan.
+
+Thoroughfare running along wall and lined with palms, Avenue of Palms.
+
+Equestrian statue, to right of Tower of Jewels, by Charles Niehaus,
+"Cortez," conquerer of Mexico.
+
+Equestrian statue, to left, by Charles Cary Rumsey, "Pizarro," conqueror
+of Peru. Fine in action and spirit.
+
+
+
+Tower of Jewels
+
+
+
+Main tower breaking southern wall, facing South Gardens, the Tower of
+Jewels, by Thomas Hastings, of Carrere & Hastings, New York. Developed
+from Italian Renaissance architecture, with Byzantine modifications, and
+designed to suggest an Aztec tower; 433 feet high; original intention to
+make it 100 feet higher.
+
+Inscriptions on wall at base of tower chosen by Porter Garnett of
+Berkeley, explain steps that led to building of Panama Canal, celebrated
+by Exposition. On both sides of inscriptions Roman fasces denoting
+public authority. From left to right: "1501 Rodrigo de Bastides pursuing
+his course beyond the West Indies discovers Panama"; "1513 Vasco Nunes
+de Balboa crosses the Isthmus of Panama and discovers the Pacific
+Ocean"; "1904 the United States, succeeding France, begins operations on
+the Panama Canal"; "1915 the Panama Canal is opened to the commerce of
+the world."
+
+Large Composite columns on base. Arched capitals with acanthus,
+ornamented with the American eagle, the nude figure of child, and
+ornamental design suggesting California fruits. Colored to resemble
+Sienna marble.
+
+Corinthian columns at either side, eagles at corners of capital, human
+head above.
+
+Figures by John Flanagan, of New York, represent types in early
+California history: Spanish adventurer of sixteenth century, who came to
+California and started Spanish influence; priest, who brought the
+Catholic religion to California Indians; philosopher, or scholar and
+teacher; and the Spanish warrior, the soldier of sixteenth century, who
+came to win territory for Spanish king. Above cornice of tower stand
+four figures on each of the four sides, twice life-size.
+
+Between statues by Flanagan, square decorative panels; youthful figures
+with wreath, repeated on north of tower. Designed by Hastings, modelled
+by Newman and Evans, New York.
+
+Armored horsemen on terrace, by F. M. L. Tonetti, type of Spanish
+soldier. Repeated four times on each side. Well modeled, but damaged in
+effect by being placed in row.
+
+Rows of eagles on niches of tower, symbol of American initiative.
+
+Decorative vase on wings of tower, Italian. Use of ram's head below
+bowl.
+
+Wreaths of laurel under eagles, rewards of courage, suggesting triumph
+of building canal.
+
+Prows of triremes, at corners on third lift, denoting worldwide
+commerce.
+
+Ornamental use of niches, columns, vases, head-piece, breastplates,
+shields, the pagan bull, Cleopatra's Needle.
+
+Human figures supporting globe, encircled with girdle, point of tower;
+suggest Atlas; ancient idea; somewhat like the group of the four
+quarters of the world by Jean Baptiste Carbeaux in the gardens of the
+Luxembourg.
+
+Tower broken into seven stages. Horizontal lines have flattening effect;
+tower does not appear so high as it really is.
+
+One hundred and thirty-five thousand jewels on tower, suspended to
+vibrate. Ruby, emerald, aquamarine, white, yellow. Made in Austria, of
+Sumatra stone.
+
+Arch of Tower of Jewels, 110 feet high, 60 feet broad; fine example of
+Roman arch, like Arch of Constantine and Arch of Titus.
+
+Figure of Minerva on centerpiece of arch, north and south.
+
+Recessed or coffered panels in ceiling, richly colored, blue harmonizing
+with murals on east and west walls.
+
+Murals by William de Leftwich Dodge, of New York. To west, "Atlantic and
+the Pacific," with the "Purchase" to right, and the "Discovery" to left.
+Opposite, "Gateway of All Nations," with "Labor Crowned" and the
+"Achievement" on sides. Tone of murals strengthens arch. Subjects
+related to history of California and the Panama Canal.
+
+Fountains, one in each of the colonnades. To right, "Fountain of Youth,"
+by Mrs. Edith Woodman Burroughs, of Flushing, New York. Figure of girl,
+simple and well-modeled; panels at either side show boats, youth rowing
+the older people; eagle and laurel wreath at back, suggest that central
+figure is United States. One figure shows a woman with hand at ear, her
+attention turned toward the beauty and happiness of lost youth. To left,
+"Fountain of El Dorado," by Gertrude Vanderbilt Whitney (Mrs. Harry
+Payne Whitney), of New York. Panels at either side show human struggle
+for "land of gold," or "happiness," or "success." Portals ajar, but
+Egyptian guardians bar the way. Dramatic subject, vigorous handling.
+
+View of San Francisco hills between the columns, one of the most
+beautiful views on the grounds.
+
+Inscriptions on north of tower, by Garnett, discovery of California and
+union with United States. From left to right: "1542 Juan Rodriguez
+Cabrillo discovers California and lands on its shores." "1776 Jose
+Joaquin Moraga founds the Mission of San Francisco de Asis"; "1846 the
+United States upon the outbreak of war with Mexico takes possession of
+California"; "1850 California is admitted to the Union as a sovereign
+State."
+
+Forecourt of Court of Universe; coloring good, graceful planting of
+cypress.
+
+Trees in niches under tower; contrast of colors, dark green, blue and
+pink.
+
+
+
+Court of the Universe
+
+
+
+Elephant poles, Roman, by McKim, Mead & White; streamers by Guerin.
+
+Bear fountains, in walls of Palaces of Liberal Arts and Manufactures,
+north of Tower of Jewels. Three on each wall. Colors, pink, dark blue,
+light green.
+
+Largest court in Exposition. By McKim, Mead & White, architects, of New
+York. Inspired by Bernini's entrance to St. Peter's, in Rome.
+
+Area of court, seven acres; 650 feet wide from arch to arch; 1200 feet
+from Tower of Jewels to Column of Progress.
+
+Palaces around court: northeast, Transportation; northwest, Agriculture;
+southwest, Liberal Arts; southeast, Manufactures.
+
+Sunken Garden, planted by John McLaren.
+
+Height of Arches of Rising Sun and Setting Sun, 203 feet from base to
+tip of sculpture.
+
+East, Arch of Rising Sun; Arch of Setting Sun, in west. Suggested by
+arches of Constantine and Titus in Rome; modified by use of green
+lattices, Oriental, and by colossal sculptural groups, the East and the
+West, in place of Roman chariot or quadriga.
+
+Columns in front of arches; composite, mingling of Ionic and Corinthian;
+female figure used as decoration.
+
+"Angel of Peace," by Leo Lentelli, on each side of arches on Sienna
+columns, repeated four times. Sword is turned down, but not sheathed, a
+commentary on modern peace.
+
+"Pegasus," in triangular spaces above arch, by Frederick G. R. Roth,
+repeated on the other side.
+
+Medallions, right and left sides of arches. Female figures suggesting
+Nature, by Calder; male figures suggesting Art, by B. Bufano, of New
+York.
+
+Above medallions on frieze, decorative griffons.
+
+Quotations on Arch of Rising Sun, west side, facing court, chosen by
+Garnett. Panels from left to right: "They who know the truth are not
+equal to those who love it," from Confucius, the Chinese philosopher;
+"The moon sinks yonder in the west while in the east the glorious sun
+behind the herald dawn appears; thus rise and set in constant change
+those shining orbs and regulate the very life of this, our world," from
+"Shakuntala" by Kalidasa, the Indian poet; "Our eyes and hearts uplifted
+seem to gaze on heaven's radiance," from Hitomaro, the Japanese poet.
+
+Quotations on Arch of Rising Sun, east side, facing Florentine Court.
+Panels from left to right: "He that honors not himself lacks honor
+wheresoe'er he goes," from Zuhayr, the Arabian poet; "The balmy air
+diffuses health and fragrance; so tempered is the genial glow that we
+know neither heat nor cold; tulips and hyacinths abound; fostered by a
+delicious clime, the earth blooms like a garden," from Firdausi, the
+Persian poet; "A wise man teaches, be not angry. From untrodden ways
+turn aside," from Phra Ruang, the Siamese poet.
+
+Crenellated parapet on arches, note from military architecture. Archers
+used to shoot from behind.
+
+Cleopatra's Needle repeated on edge of arches. Used by the Egyptians as
+historical records and public bulletins. Merely decorative.
+
+Green jars, beautifully designed, in niches at base of Arches of Rising
+and Setting Sun, McKim, Mead & White. Eight in each arch.
+
+Arch of the Rising Sun, surmounted by group representing types of
+Oriental civilization. "Nations of the East," designed by Calder, and
+executed in collaboration with Lentelli and Roth. From left to right:
+Arab sheik on horse, negro slave, Egyptian on camel, Arab falconer,
+Indian prince, Buddhist priest or lama from Thibet, Mohammedan with
+crescent, negro slave, and Mongolian on horseback.
+
+Murals in arch by Edward Simmons, of New York. On north wall, from left
+to right, True Hope and False Hope, Commerce, Inspiration, Truth,
+Religion, Wealth, Family; in background Asiatic and American cities. On
+south wall: historical types, nations that have crossed the Atlantic;
+from left to right, "Call to Fortune," listening to the past, the
+workman, the artist, the priest, Raleigh the adventurer, Columbus the
+discoverer, the savage of lost Atlantis, the Graeco-Roman, and the
+Spirit of Adventure sounding the call to fortune. In background, ancient
+and modern ships.
+
+Arch of Setting Sun. Statues, frieze, spandrels, parapet, identical with
+Arch of Rising Sun. Group on top, "The Nations of the West," designed by
+Calder, executed in collaboration with Lentelli and Roth. American
+figures grouped around prairie wagon, drawn by two oxen. Above wagon,
+"Enterprise"; in front, "The Mother of Tomorrow," white boy on one side,
+colored boy on other; south, a French-Canadian, an Alaskan woman, a
+Spanish-American, a German; north, an Italian, British-American, squaw,
+American Indian.
+
+Quotations on Arch of Setting Sun, chosen by Garnett. Panels from left
+to right, facing court: "In Nature's infinite book of secrecy a little I
+can read," from "Antony and Cleopatra," by Shakespeare, the English
+poet;
+
+      "Facing west from California's shores,
+      Inquiring, tireless, seeking what is yet unfound,
+
+I, a child, very old, over waves, toward the house of maternity, the
+land of migrations, look afar,
+
+Look off the shores of my Western sea, the circle almost circled. from
+"Leaves of Grass," by Walt Whitman the American poet; "Truth, witness
+of the past, councillor of the present, guide of the future," from "Don
+Quixote," by Cervantes, the Spanish novelist.
+
+Murals in Arch of the Setting Sun, by Frank Vincent Du Mond of New York.
+"Westward March of Civilization," beginning on north and continuing on
+south wall. Four groups in north panel, from left to right, Emigrants
+setting out for the west; two workmen and a woman holding child;
+symbolic figure of the Call to Fortune; types of those who crossed the
+continent, the driver, the Preacher, the Pioneer, the Judge, the
+Schoolmistress, the children; youth bidding farewell to parents; in
+background, New England home and meeting place. South wall: four groups
+in panel, from left to right; two Spanish-American soldiers and captain
+with a Spanish priest, suggesting Mission period; symbolical figure
+"Spirit of Enlightenment"; types of immigrants, the Scientist, the
+Architect, the Writer Bret Harte, the Sculptor, the Painter William
+Keith, the Agriculturist, the Laborer, women and children; California
+welcoming the easterners, figures of California bear, farmer, miner,
+fruit pickers; orange tree, grain and fruit, symbols of state.
+
+Classic groups at head of steps in front of arches leading down into
+gardens by Paul Manship, of New York. North side, "The Dancing Girls";
+south, "Music and Art."
+
+Star-figure, along upper edge of court, by Calder. Repeated ninety
+times. Contrast with angel in front of arches.
+
+Lion's head, on cornice below star-figure, repeated around court.
+
+Gilt balls on the domes of all six pavilions. Represent an ornamental
+motive borrowed from the Byzantines and often used on synagogues. A
+feature of St. Mark's. Dr. Jacob Nieto, rabbi of the Temple Israel, of
+San Francisco, has an interesting theory as to their origin. "The
+ancients always had the greatest regard for the central star of each of
+the constellations that made tip the zodiacal signs. No doubt in their
+method of representation they would symbolize the central stars by a
+globe, as they also did the sun and the moon, looking upon them all as
+servants of the earth, and having, possibly, no idea that these other
+constellations might be separate solar systems."
+
+Frieze on pavilions at corners of court, "Signs of the Zodiac," Atlas
+and fourteen daughters, seven Pleiades and seven Hyades twelve bearing
+plaques, by Herman A. MacNeil, of New York. On four sides of each of the
+six dome-covered pavilions. The third figure from the end on either side
+represents Electra. Sculptor, in modelling the form, put it on one side
+and then reversed it on the other side. The daughters of Atlas: only
+those representing signs of the Zodiac, have shields. On each shield is
+one of the signs of the Zodiac. What the sculptor has designed on the
+right is reversed on the left, securing absolute symmetry. The figures
+are finely done and merit special attention.
+
+Lamps around sunken garden. Women; the Canephori, priestesses who
+carried baskets in ancient Greek religious festivals; men, suggestive of
+Hermes, used by Romans at ends of roads. Instead of baskets, they all
+carry jars.
+
+"Fountain of the Rising Still." Ninety-foot column crowned by figure of
+Rising Sun, by Adolph A. Weinman, of New York. Reliefs at base of
+column, "Day Triumphant"; Time, Light, Truth, Energy, conquering
+Falsehood, Vice, and Darkness. Ornamental figures under upper bowl
+looking down into water, suggest Neptune, but are winged, "Spirit of the
+Waters."
+
+"Fountain of Setting Sun." Column with figure of Setting Sun, a woman;
+called also "Descending Night." Reliefs at base of fountain, "Gentle
+Powers of Night," with Dusk covering Labor, Love, and Peace, followed by
+the Stars, Luna, Illusions, and Evening Mists.
+
+Tritons in pools of Fountains of Rising and Setting Sun, by Weinman. Two
+statues; one, triton struggles with snake; in the other, with fish. Two
+duplicated in each pool.
+
+Sheetlike appearance of water when full force of water is on; streams
+from figures in pool, overflowing from bowl, spouting from lion heads
+above frieze.
+
+"The Elements," reclining figures at head of main stairs leading down to
+sunken gardens by Robert Aitken, of New York. In size and treatment,
+suggestive of Michael Angelo. Northeast, "Water," riding a wave, with
+his trident in one hand, sea weed in the other. Northwest, "Fire," a
+Greek warrior lies in agony, grasping fire and lightning, with Phoenix,
+bird of flame, at back, and the salamander, reptile of fire, under his
+right leg. Southeast, "Earth," a woman leaning against a tree,
+apparently sleeping; at back two human figures struggle to uproot tree,
+symbol of man's war with nature. Southwest "Air" woman holding star to
+ear; birds, symbol of air; Icarus, mythological aviator who fell into
+sea, tied to wings of woman, typifying man's effort to conquer the air.
+
+Small lion fountains below "The Elements," by McKim, Mead & White.
+
+Bandstand, Arabic; picturesque, but inharmonious; obstructs view through
+entrance court.
+
+Four tigers at base of bandstand, facing pool; decorative.
+
+Court leading from gardens to Column of Progress. Designs repeated in
+frieze and in jeweled lamps of shell design, McKim, Mead & White; fine
+detail.
+
+Colonnades on either side of court leading to Marina. Large Roman
+hanging lamps. Stars in ceilings. Beauty in design, coloring and sweep
+of corridor.
+
+Frieze around main doorway in colonnades, bird and conventionalized
+foliage; skilfully designed.
+
+
+
+On the Marina
+
+
+
+View from Marina: Extreme right, Berkeley and Oakland; in center of bay,
+Alcatraz Island, like a white citadel; left of Alcatraz, Angel Island;
+left of Angel Island, Belvedere; left, Marin County, including Sausalito
+and Mount Tamalpais, with military reservation facing the Golden Gate
+and looking across to the large military reservation, Presidio.
+
+Column of Progress, celebrating the Progress of Man. Preliminary sketch
+by Calder. W. Symmes Richardson, architect. Reliefs at base, by Isidore
+Konti, of New York. Surmounting statue, by Hermon A. MacNeil, of New
+York.
+
+Tablets on four sides of base, in commemoration of aerial advancement.
+To the west, the scientific phase, a tribute to Langley, who first
+solved the problem of flying. To the north, aerial achievement. To the
+east, aerial organization. To the south, history of flying.
+
+Frieze at base on four sides celebrates beginning of progress. On south
+front, two women holding palm branches, symbol of victory, call mankind
+to achievement.
+
+Wreath at base of column, reward of achievement.
+
+Top of pedestal, ornamental garland, with figure of Sphinx at corners.
+
+Spiral, winding around column, with ships in full sail, suggestive of
+upward progress of world. Similar spiral on Column of Trajan and Column
+of Marcus Aurelius, in Rome.
+
+Circular frieze sustaining main group at top, "The Burden Bearers," by
+MacNeil.
+
+Group on top, "The Adventurous Bowman," the Superman, representing
+moment of attainment. Three figures, the dominating male, with the male
+supporter steadying his arm, and the devoted woman ready to crown him
+with laurel.
+
+First use of this kind of column for an idealistic conception.
+Prototypes of this column, like Trajan's Column, but to celebrate some
+warlike figure or feat.
+
+Best place to view column, from north, near California Building.
+
+Esplanade, straight northern wall, broken by Court of Four Seasons,
+Court of the Universe, and Court of the Ages. Northern facades of all
+four buildings, ornate doors in duplicate of Spanish plateresque
+doorways.
+
+Main doorways, rich detail. Statues in niches, by Allen Newman, of New
+York. Center, "Conquistador," sixteenth century Spanish adventurer.
+Figure on either side in duplicate, Newman's "Pirate," who preyed on
+shore commerce of South America. Humorous touch in bowlegs.
+
+Magnificent view from Marina of San Francisco back of the Tower Of
+Jewels. Like a painting by Cezanne.
+
+
+
+Approaching the Court of Four Seasons From the Court of the Universe
+
+
+
+Venetian Court.
+
+Palaces on sides of court; to the north, Agriculture; to the south,
+Liberal Arts.
+
+Quotation on Arch of Setting Sun, facing Venetian Court, chosen by
+Garnett. Panels from left to right: "The world is in its most excellent
+state when justice is supreme," from Dante, the Italian poet; "It is
+absolutely indispensable for the United States to effect a passage from
+the Mexican Gulf to the Pacific Ocean, and I am certain that they will
+do it. Would that I might live to see it. But I shall not," from Goethe,
+the German poet; "The Universe, an infinite sphere, the center
+everywhere, the circumference no where," from Pascal, the French
+philosopher.
+
+Italian Renaissance architecture.
+
+Colors rich and well harmonized; pink and green.
+
+Picturesque lattice work in small doorways.
+
+Lighting standards, by Faville.
+
+Goats' heads at top of standards, just below the globe.
+
+Arches on sides, coupled Corinthian columns. Endeavor to make them more
+interesting than formal type of fluted columns. Four designs. They add
+to richness of court.
+
+Winged figures over arches, by Faville.
+
+Blue medallions above arches, Faville. Italian adaptation of Byzantine,
+Ship of State, the Bison, the Twins holding garlands representing
+abundance, the horn of plenty and cadeucus, and tree.
+
+Coloring under eaves, bright shades, blue and orange.
+
+Planting, by McLaren, well-massed, in great profusion.
+
+
+
+Court of Four Seasons
+
+
+
+Court of Four Seasons, Henry Bacon, of New York, architect. Hadrian's
+Villa used as model for half-dome and columns in front of fountain.
+Italian Renaissance in feeling. Every detail in classic spirit. Gives
+impression of seclusion and peace.
+
+Quotations on gateways chosen by Garnett. On the eastern gateway, "So
+forth issew'd the seasons of the yeare - first, lusty spring all dight
+in leaves and flowres - then came the jolly sommer being dight in a thin
+cassock coloured greene, then came the autumne all in yellow clad -
+lastly came winter cloathed all in frize, chattering his teeth for cold
+that did him chill," from "The Faerie Queene," by Edmund Spenser. On the
+western gateway, "For lasting happiness we turn our eyes to one alone,
+and she surrounds you now, great nature, refuge of the weary heart and
+only balm to breasts that have been bruised. She bath cool hands for
+every fevered brow and gentlest silence for the troubled soul," from
+"The Triumph of Bohemia," by George Sterling.
+
+Palaces around court: northeast, Agriculture; northwest, Food Products;
+southwest, Education; southeast, Liberal Arts.
+
+Emerald pool. Surrounded by shrubbery. No sculpture. Architectural term,
+a "black mirror." Fine reflections.
+
+Planting, by McLaren, simple and effective. Trees, olive, acacia,
+eucalyptus, cypress, laurel. All foliage, grey-green; banner poles same
+color.
+
+Banners, by Ryan; no heraldic designs.
+
+Best view of court from between columns of Fountains of Spring or
+Autumn.
+
+Bulls at sides, above entrance to north court, "Feast of the Sacrifice,"
+by Albert Jaegers, of New York. Youth and maiden leading bulls to
+harvest festival, suggested by great garlands.
+
+Roman eagles below bulls on four corners of north court.
+
+Bull's head with festoons, skull motive, at base of corner pavilions at
+four corners of north court, Roman.
+
+Lion's head around cornice, designed by the architect, modelled by
+artisans of Exposition.
+
+Bulls' heads above cornices between festoons of flowers around court.
+Roman motive.
+
+Statue above south dome, "Harvest," by Albert Jaegers. Seated figure
+with horn of plenty. Fruits and grains on either side.
+
+"Abundance," statue repeated four times over each gateway, by August
+Jaegers.
+
+Vases repeated twenty-four times on balustrade around court; simple
+design, in harmony with classic plan of court.
+
+Wreaths above cornice around court, harvest motive, wheat and grape.
+
+Figures in triangular spaces over three arches of each gateway,
+repeated. By August Jaegers. Harvest motive.
+
+In ceiling of east and west arches, faint relief, terra-cotta effect,
+Greek designs; coloring, orange, faint greens, and browns.
+
+Signs of zodiac on gateways, Aries, Taurus, Gemini, Cancer, Leo, Virgo,
+Libra, Scorpio, Sagittarius, Capricornus, Aquarius, Pisces.
+
+Half-dome to south, "Niche of Ceres." Rich coloring in vault, contrasted
+with light tones in arched section.
+
+Figures on composite columns at right and left of half-dome, "Rain" and
+"Sunshine," Albert Jaegers. "Rain," a woman shielding head with mantle
+and holding shell; "Sunshine," woman shading head from sun with palm
+branch.
+
+Capitals of columns of "Rain" and "Sunshine," agricultural figures,
+small harvesters. Modelled by Donnelly and Ricci after designs of the
+architect.
+
+Pedestals at base of columns, agricultural scenes in low relief,
+modelled by Donnelly and Ricci after designs of the architect. Farmers
+going to work with women and children and dog.
+
+In niches at corners of court, "Fountains of the Seasons," surmounted by
+statue groups representing seasons, Furio Piccirilli, of New York.
+
+Delicate pink tinting of walls in niches, by Guerin, in imitation of
+pink marble.
+
+Columns of colonnades, Ionic, with harvest suggestion in ears of corn
+hanging from capitals, flower at top.
+
+Flower boxes, in walls of niches near top and at top; African dew plant
+hanging over edge; give note of age and break sharp outline of wall
+against sky, and contrast with color of background.
+
+Southwest corner, "Spring," by Piccirilli. Young woman with floral
+garland, man adoring, Flora bringing flowers.
+
+Northwest corner, "Summer," by Piccirilli. Group expresses fruition.
+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.
+
+Murals in colonnades with fountains, by H. Milton Bancroft. Simple and
+obvious, in the pagan spirit.
+
+Above doorway in southwest corner, Spring. "Spring" and "Seedtime."
+
+Northwest corner, Summer. "Summer" and "Fruition."
+
+Northeast corner, Autumn. "Autumn" and "Harvest."
+
+Southeast corner, Winter. "Festivity" and "Winter."
+
+Murals in half-dome to south, Bancroft. Coloring and arrangement of
+figures finer than in smaller panels.
+
+On east wall under dome, "Art Crowned by Time." Father Time crowns Art;
+on one side, figures of Weaving, Jewelry Making, Glassmaking; on other
+Printing, Pottery, and Smithery.
+
+"Man Receiving Instruction in Nature's Laws." Woman holds before a child
+a tablet inscribed "Laws of Nature." Nature's laws applied to Earth,
+Water, Fire, Love, Life, and Death.
+
+North court, entrance to Court of Four Seasons. Wreaths, lion heads,
+bulls' beads, harvest design on capitals of columns, repeated.
+
+"Ceres," by Miss Beatrice Evelyn Longman, goddess of agriculture, wreath
+of cereals and corn scepter. Figure conventional, prim and modish;
+flowing skirt.
+
+Figures below "Ceres" on drum represent carefree nature. In deep relief.
+cameo-like. Figures of women, gracefully modeled, with garlands and
+tambourines.
+
+Satyrs spout water into bowl of fountain.
+
+Trees, yews in couples, on either side of walks and center of lawn;
+redwoods and eucalypti at sides of entrance to court.
+
+Shiny-leaved dark green shrub, on borders in court, coprosma.
+
+Mass of green, placed at end of court to hide Morro Castle. Deepens
+intimate note of court.
+
+French lighting standards at north end of court, by Ryan and Denneville.
+
+
+
+Aisle of Sunset
+
+
+
+Aisle approaching the Palace of Fine Arts, leading from Court of Four
+Seasons, west to Administration Avenue, by Faville.
+
+Central portal, Spanish Renaissance, with twisted Byzantine columns.
+
+Globe above, symbolical of universal education.
+
+Main sculptural group: "Education," by Gustave Gerlach, Weehawken, New
+Jersey. Tree of knowledge in background. Left, kindergarten stage.
+Center, half-grown children. Right, man working out problems for
+himself.
+
+Below, open book of knowledge radiating light in all directions. Small
+figures draw aside curtains of darkness and ignorance. Hour-glass, "Time
+Flies." Crown, for seekers of knowledge.
+
+Educational panels inlaid in wall over smaller entrances, by pupils of
+School of Sculpture of Beaux Arts Architects, and National Sculpture
+Society.
+
+Woman teacher, by W. H. Peters.
+
+Man teacher, by Cesare Stea.
+
+"Victory," on gables of buildings, by Louis Ulrich, of New York;
+"Acroterium"; like "Victory of Samothrace."
+
+Charm of green lattice-work in small doorways of palace.
+
+Main doorway, Palace of Food Products, by Faville. Terra cotta effect on
+sides of door. Eagles above door, inspiration. Green lattice-work in
+doors.
+
+
+
+Administration Avenue
+
+
+
+West wall, magnificent; facing Palace of Fine Arts, broken by Aisle of
+Spring, and two large Roman half-domes in Palace of Food Products and
+Palace of Education.
+
+Palaces facing avenue: from north to south, Food Products and Education;
+across lagoon, Fine Arts.
+
+Greenery and niches in pink and blue prevent wall from being monotonous.
+
+"Dome of Plenty," in Palace of Food Products, harmonizes with half-dome
+in Court of Four Seasons.
+
+Fountain in dome; elaborate; Sienna design.
+
+Man with oak wreath, repeated eight times above columns in portal
+representing strength, by Earl Cummings.
+
+Great columns of imitation Sienna on either side of portal, surmounted
+by "Physical Vigor," by Ralph Stackpole.
+
+Niches along wall, archaeological figures, by Charles Harley, of
+Philadelphia. "Triumph of the Field," man with harvest symbols,
+alternating with "Abundance," woman with horn of plenty.
+
+Half-dome of Palace of Education, "Dome of Philosophy." Architecture as
+in "Dome of Plenty." Charm of background, ornamented ceiling, Corinthian
+columns with acanthus leaves.
+
+Over doorways, beautiful use of stained glass.
+
+Female figure repeated eight times above inner columns, by Albert
+Weinert; carries books; "Ex Libris," representing education.
+
+Statue by Stackpole surmounting Sienna columns, reversed duplicate of
+figure before "Dome of Plenty," with different name, "Thought." Really
+represents vigorous man thinking.
+
+Figures in niches repeated.
+
+Roman fountain, "Dome of Philosophy," by Faville; simplest and one of
+the most beautiful of the fountains on grounds. Suggested by fountains
+in Sienna and Ravenna.
+
+
+
+Palace of Fine Arts
+
+
+
+Palace of Fine Arts, Bernard R. Maybeck, of San Francisco. Conception
+inspired by Boecklin's painting, "The Island of the Dead." Rotunda like
+Pantheon in Rome. Colonnade suggested by Gerome's "Chariot Race."
+Columns at end of colonnade, hint of Forum. Greek suggestion in
+Corinthian columns and fretwork and frieze around rotunda. Roof garden
+or pergola around edge of roof and the Egyptian red of wall gives
+Egyptian note. Suggestion of overgrown ruin; atmosphere of melancholy
+beauty. Originality of architectural design and treatment.
+
+Curved hedge, obscuring view of floor of rotunda from opposite side of
+lagoon, by John McLaren. African dew plant, as in south hedge. Laurels
+and willows were originally planned to cover hedge and to reach to top
+of columns. Monterey cypress at north end of colonnade.
+
+Kneeling figure on altar directly in front of rotunda, "Reverence," by
+Ralph Stackpole. Can be seen from across pool only.
+
+Altar rock, planting grown down over edge gives effect of draped altar
+cloth.
+
+Frieze on altar rock, below kneeling figure, by Bruno Louis Zimm, of New
+York. Represents "Source of Genius." In center, Genius; to left and
+right, mortals seeking to approach genius; lions guard the youth. Seen
+from across lagoon only.
+
+Panels on exterior of rotunda just below dome, by Zimm, representing
+progress and influence of art.
+
+Eastern panel, "Struggle for the Beautiful"; in center, Truth; at sides,
+Persistence and Strength, struggling with centaurs, symbols of
+materialism.
+
+Panel to left, "Power of the Arts"; Genius taming Pegasus, inspiration
+in art; Wisdom inspiring Youth; Music with lyre; figures of Literature
+and Sculpture.
+
+Panel to right, "Triumph of the Arts"; Apollo, patron of arts, in
+chariot; Fame, with olive branches; Ictinius, builder of Parthenon,
+leads procession of devotees.
+
+Three panels,  repeated on five sides of rotunda.
+
+Decorative figure, man and woman alternating, between panels, repeated
+around rotunda.
+
+Corinthian columns, ochre grouped with pale green ones; capitals of
+burnt orange.
+
+Flower boxes by Ulric H. Ellerhusen; women at corners. Original plan was
+to have vines from boxes droop over, shoulders of women. Architect's
+purpose in attitude of women to suggest sadness of art.
+
+Roman vases, eight or ten feet high around colonnade. Massive and
+graceful detail.
+
+
+
+Sculpture Outside Fine Arts Palace Beginning at Northeast Corner of
+Lagoon
+
+
+
+North of Lagoon
+
+
+
+The Illustrious Obscure, by Robert Paine. (Fountain on island at north
+end of lagoon.)
+
+Whaleman, by Bela L. Pratt.
+
+Garden Group by Anna Coleman Ladd.
+
+Dying Lion, by Paul Wayland Bartlett.
+
+Garden Figure, Nymph, by Edmond T. Quinn.
+
+Fragment of "Fountain of Time," by Lorado Taft. Representing the
+troubled generations.
+
+
+
+Roadway to Right Before Entering Circle
+
+
+
+Bird Fountain, by Caroline Risque.
+
+The First Mother, by Victor S. Holm.
+
+
+
+Circle at North End of Peristyle
+
+
+
+Mother of the Dead, by C. S. Pietro. (Lagoon side of circle.)
+
+Chief Justice Marshall, by Herbert Adams. (In walk.)
+
+Destiny, by C. P. Dietsch.
+
+Sundial, by Edward Berge.
+
+Head of Lincoln, by A. A. Weinman.
+
+Fountain Groups, by Anna Coleman Ladd. Sun-God and Python, Water
+Sprites, and Triton Babies. (To right.)
+
+Sundial, by Gail Sherman Corbett.
+
+Daughter of Pan, by R. Hinton Perry.
+
+Boy Pan with Frog, by Clement J. Barnhorn,
+
+Bondage, by Carl Augustus Heber. (Only feminist note in the grounds.)
+
+Saki, Sundial, by Harriet W. Frishmuth. (In walk.)
+
+Great Danes, by Anna Vaughan Hyatt.
+
+Young Diana, by Janet Scudder.
+
+Flower Urns, base of building along colonnade; Greek figures with
+garlands. Ulric H. Ellerhusen.
+
+Wall of building facing colonnade, seventeen feet high. Acacia blooming
+there, suggesting over-growth, relieves severe lines of architecture.
+Broken by small doors, at corners decorated with spears. Doors suggest
+Greek design.
+
+Corinthian columns and pilasters; harmony of color, smoked ivory and
+ochre, with shades of green in foliage.
+
+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.
+
+
+
+North Peristyle (curved part colonnade north of rotunda).
+
+
+
+Maiden of the Roman Campagna, by Albin Polasek. (To left.) Fountain:
+Duck baby, by Edith Barretto Parsons.
+
+A Fawn's Toilet, by Attilio Piccirilli.
+
+Apollo, by Haig Patigian. (To right.)
+
+The Scalp, by Edward Berge. (To left.)
+
+Primitive Man, by Olga Popoff Muller.
+
+Youth, by Victor D. Salvatore. (To right.)
+
+Soldier of Marathon, by Paul Noquet. (To left.)
+
+Fountain: Fighting Boys, by Janet Scudder.
+
+Garden Figure, by Edith Woodman Burroughs. (To right.)
+
+L'Amour, by Evelyn Beatrice Longman. (To right.)
+
+Returning from the Hunt, by John J. Boyle. (To left.)
+
+Boy with Fish, by Bela L. Pratt. (To right.)
+
+The Centaur, by Olga Popoff Muller.
+
+The Sower, by Albin Polasek.
+
+Beyond, by Chester Beach. (By main doorway.)
+
+Aspiration, by Leo Lentelli. (Over main doorway.)
+
+Pioneer Mother Monument, by Charles Grafly. (Before main doorway.)
+
+Portrait of a Boy, by Albin Polasek. (Outside west archway.)
+
+The Awakening, by Lindsey Morris Sterling. (Outside west archway.)
+
+"Sculpture," relief on walls of west archway. Bela L. Pratt.
+
+
+
+Rotunda, Entrance Through North Archway
+
+
+
+William Cullen Bryant, by Herbert Adams. (At northwest archway.)
+
+Lafayette, by Paul Weyland Bartlett. (Center of rotunda.)
+
+The Young Franklin, by Robert Tait.
+
+Princeton Student Memorial, by Daniel Chester French.
+
+"Architecture," relief by Richard H. Recchia.
+
+Commodore John Barry, by John J. Boyle.
+
+"Architecture," relief by Richard H. Recchia.
+
+Lincoln, by Daniel Chester French.
+
+Thomas Jefferson, by Karl Bitter. (Outside southwest arch way.)
+
+Murals in dome of rotunda, Robert Reid. Two series of paintings, four in
+each, "Birth and Influence of Art," alternating with "The Four Golds of
+California."
+
+"Birth of Oriental Art," panel on west wall, toward main doorway. Man on
+dragon attacking eagle, heavenly bird of inspiration. China, man in
+bright robe. Japan, woman with parasol.
+
+"Gold," panel to right, woman with wand; sits on horn of plenty pouring
+gold.
+
+"Ideals of Art," panel to right. Greek ideal, nude. Religion Madonna and
+child. Heroism, Joan of Arc. Material youthful beauty, woman at left.
+Nature without inspiration or ideal, peacock. Figures with wreath and
+palm, rewards of art.
+
+"Poppies," panel to right, second gold of California.
+
+"Birth of European Art," panel to right. Altar with divine fire,
+guardian with torch. Mortal in chariot grasps torch of inspiration.
+Woman in lower corner with crystal globe, predicting future of art.
+
+"Oranges," panel to right, third gold of California.
+
+"Inspiration of Art," panel to right. Angels of inspiration above.
+Figures of Sculpture, Architecture, Painting, Music, and Poetry.
+
+"Wheat," panel to right, fourth gold of California.
+
+"Priestess of Culture," Herbert Adams, of New York; female figure
+surmounting columns within rotunda.
+
+Coloring of dome, burnt orange, turquoise green, Sienna columns.
+
+
+
+South Peristyle (curved colonnade).
+
+
+
+Youth, by Charles Carey Rumsey. (To south of doorway.)
+
+An Outcast, by Attilio Piccirilli. (To right.)
+
+Idyl, by Olga Popoff Muller.
+
+Dancing Nymph, by Olin L. Warner.
+
+Boy and Frog, by Edward Berge. (To left.)
+
+Eurydice, by Furio Piccirilli. (To right.)
+
+Wild Flower, by Edward Berge.
+
+Young Mother with Child, by Furio Piccirilli. (To right.)
+
+Wood Nymph, by Isidore Konti.
+
+Young Pan, by Janet Scudder, (To left.)
+
+Michael Angelo, by Robert Aitken. (To right.)
+
+Muse Finding the Head of Orpheus, by Edward Berge. (To left.)
+
+Flying Cupid, by Janet Scudder.
+
+Piping Pan, by Louis St. Gaudens.
+
+
+
+Circle at South End of Peristyle
+
+
+
+Bust of William Howard Taft, by Robert Aitken. (To right.)
+
+Henry Ward Beecher, by John Quincy Adams Ward.
+
+Bust of Halsey C. Ives, by Victor S. Holm. (To left.)
+
+Seated Lincoln, by Augustus St. Gaudens.
+
+
+
+South of Lagoon
+
+
+
+Kirkpatrick Monument, by Gail Sherman Corbett, Indian pointing out
+spring to Jesuit priest. (To right on roadway running back of palace.)
+
+American Bisons, by A. P. Proctor. (Sides of roadway.)
+
+Peace, by Sherry E. Fry. (To left.)
+
+Diana, by Haig Patigian.
+
+Fountain: Wind and Spray, by Anna Coleman Ladd. (In lagoon, south end.)
+
+The Scout, by Cyrus E. Dallin.
+
+Sea Lions, by Frederick G. R. Roth.
+
+
+
+Court of Palms
+
+
+
+Court of Palms, by Kelham; opposite Palace of Horticulture, between
+Palaces of Education and Liberal Arts. Italian Renaissance. Sunken
+garden.
+
+Palaces at sides of court: to the west, Education; to the east, Liberal
+Arts.
+
+"The End of the Trail," equestrian statue at entrance, by James Earl
+Fraser. Exhausted Indian, suggests destiny of the American Indian race.
+
+Italian Towers, Byzantine influence, by Kelham. Both sides of entrance
+to court; identical. Simpler than towers at Court of Flowers, to cast.
+
+Coloring of towers, by Jules Guerin. Walls frankly treated, not as
+stone, but as plaster, after Italian method. Blue checkered border, pink
+and blue diaper design; turquoise columns on little towers above, in
+harmony with domes and columns of Tower of Jewels.
+
+Design on top, repeated four times at corners, from choragic monument of
+Lysicrates, in Venice.
+
+Sienna columns at entrances of towers. Effective contrast.
+
+Reclining women, purely decorative, in triangular spaces above entrances
+to towers, by Albert Weinert.
+
+Figures on side of shield over all portals, very graceful. Pink and
+turquoise.
+
+"The Fairy," crowning Italian Towers, Carl Gruppe.
+
+Female figures, the caryatides on wide frieze, above columns, by Calder
+and John Bateman, of New York. Flushed pink, against pink and blue
+background of imitation marble and terra cotta.
+
+Festoons of fruit in panels, blues and reds.
+
+Coupled Ionic columns, smoked. Effective against pink walls.
+
+Vases, before entrances, by Weinert. Bacchanalian revels, low relief.
+Satyr handles.
+
+Lighting standards on balustrade, designed by Ryan, modeled by
+Denneville.
+
+"Pool of Reflections," no sculpture.
+
+Italian cypresses, on sides of portals.
+
+Balled acacias between columns on corridors.
+
+Palms, in garden.
+
+Corridors, pink walls, blue ceiling.
+
+Lamp standards, smoked ivory globes. Designed by Kelham, modeled by
+Denneville.
+
+Lamps in corridors Roman, hanging. Light pink, green, and cream;
+effective. By Kelham.
+
+Murals, in corridors, at east, north, and west portals.
+
+"Pursuit of Pleasure," east arch, Charles W. Holloway. Light touch,
+bright reds and blues in keeping with court; difficult use of floating
+figure.
+
+"Victorious Spirit," north arch, Arthur F. Mathews. Spirit of
+Enlightenment protecting Youth from Materialism, symbolized by rampant
+horse and the rider, Brute Force. Arrangement good, coloring deep and
+beautiful.
+
+"Fruits and Flowers," west arch, Childe Hassam. Early Italian.
+
+Symbolism, obvious. Warmth of color.
+
+Vista from south, graceful curve of court, view through north portal
+through Court of the Four Seasons, long colonnade, to purple bills and
+bay beyond.
+
+
+
+Palace of Horticulture
+
+
+
+Palace of Horticulture, Bakewell & Brown, architects, San Francisco.
+
+Architecture dome and spires Byzantine, suggest mosque of Ahmed the
+First, in Constantinople. Ornamentation Renaissance, popular with modern
+French architects.
+
+Basket on top of dome, 33 feet in diameter.
+
+Dome, 186 feet in height, 152 feet in diameter steel construction St.
+Peter's, 137 feet, concrete. Pantheon, 142 feet, concrete.
+
+Ornamental shafts, suggestive of minarets, in French style.
+
+Semi-circular colonnade forming entrances, French lattice-work.
+
+Hanging lamp, in entrances, flower basket design; elaborate.
+
+Lamps, hanging along porches, simple design.
+
+Female figures at base of spires, by Eugene Louis Boutier; purely
+ornamental.
+
+Lavish decorations on building suggest variety and abundance of
+California horticulture. Floral designs; green wreaths with fruit
+motives and leaves; lamps; flowered shields over doorway; decorated
+columns; entrance under green lattice-work; great ornamental vases on
+sides.
+
+Female figures used as columns supporting roof of porch, the caryatides,
+by John Bateman.
+
+Building suggests festivity, done in exposition spirit.
+
+Coloring, green, old copper. Green lattice-work in domes.
+
+
+
+Along the South Wall, West of the Tower of Jewels
+
+
+
+South Wall, by Faville. Spanish Renaissance. Domes, Byzantine.
+
+Palaces facing Avenue of Palms, from west to east: Education,
+Palace Liberal Arts, Manufactures, and Varied Industries.
+
+Vases beside doorways of Palace of Education, finely designed; pedestal
+of one, a Corinthian capital; of the other, an Ionic capital.
+
+Main portals, Faville. Suggest Roman gateway. Coloring, pink, turquoise
+blue, and burnt orange; accentuates sculpture. Duplicated on Palaces of
+Manufactures and Liberal Arts.
+
+Panel over doorway, by Mahonri Young, Ogden, Utah; figures of domestic
+life and industries, making of glass, metal work, statuary, textiles.
+Figures at side, to left, woman with spindle; to right, man with
+sledge-hammer.
+
+Flat columns at side of portals, pilasters. Corinthian.
+
+Lion, over centerpiece of arch.
+
+"Victory," on gables by Louis Ulrich, like the winged figure used by the
+Greeks, " Blessings on this house."
+
+Niches in wall, colored pink and blue. Heads of lions and elephants used
+as fountains, alternately by Faville.
+
+Panel over niches, figures with garland, by Faville.
+
+
+
+Festival Hall
+
+
+
+Festival Hall, Robert Farquhar, of Los Angeles, architect. Modern French
+architecture, of the Beaux Arts style, Paris. Used in many French
+theatres; not a natural growth in this country, but growing in favor;
+building arrangement fine. Details from Le Petit and Le Grand Trianon.
+Coloring. light green, not so effective as on Horticultural Palace,
+popular with French architects.
+
+Figure on corner domes, "The Torch Bearer," Sherry F. Fry, of New York.
+
+Figures on sides of shield over big central arch, by Fry. Decorative.
+West entrance.
+
+Reclining figures, above, on sides of entrance, by Fry. To right,
+Bacchus with grapes and wine-skin. To left, a woman listening.
+
+Groups in front of ball, on sides of stairway, by Fry. "Flora," flower
+girl on pedestal, repeated. On left below pedestal, "Young Pan," seated
+on Ionic capital covered with fawn skin, his music arrested by sight of
+lizard. On right, young girl seated.
+
+Greek drinking horns, rhytons, repeated around entrance, on cornice,
+suggest festivity.
+
+Symbol of Music, the lyre, above entrance.
+
+Recital Hall, on the second floor of Festival Hall, eastern end,
+contains fine stained glass windows. Designer and executor, Charles J.
+Connick, of Boston. Three windows, a small one or, the landing of the
+north stairway, and two larger ones on the west wall of the hall itself.
+
+On the stairway. Figure of a young monk bearing a scroll inscribed with
+"Venite exultamus domin" ("Come, let us exalt the Lord").
+
+In the hall, window to the left. In the large tipper section, a figure
+of St. Martha of Bethany. Below, Christ and three women, one kneeling.
+
+In the hall, window to the right. In the large tipper section, figures
+of two men, the wise men, one watching the star, one seated reading; an
+owl and a lantern in the window also. In the small section below, a ship
+with a cross on the main sail; the cross is of the design used in the
+Crusades.
+
+
+
+Court of Flowers
+
+
+
+Court of Flowers, by Kelham. Italian Renaissance, Byzantine touches.
+Opposite Festival Hall, between Palaces of Varied Industries and Mines.
+Details different from Court of Palms; ornament richer.
+
+Figure on tower, "The Fairy," by Carl Gruppe.
+
+Palaces at sides of court: to the west, Manufactures; to the east,
+Varied Industries.
+
+Italian towers, by Kelham, same feeling. Outlines on top different from
+those in Court of Palms.
+
+"The American Pioneer," equestrian statue at entrance, by Solon Borglum,
+of New York. Patriarchal. Suggests Joaquin Miller. Warlike trappings of
+horse picturesque, but sixteenth century Spanish, out of place.
+
+Spanish loggia around second story of court, southern in feeling,
+implying warm climate.
+
+"Oriental Flower Girl," female figure in niches along loggia, by Calder.
+
+Griffons around frieze on top of columns.
+
+Corridors, pink walls, smoked olive columns with orange capitals.
+
+Against wall, Corinthian coupled pilasters.
+
+Roman banging lamps, by Kelham, suggest bronze, great weight. Bronze,
+pink, green, and cream. Italian bronze lanterns suggest blue eucalyptus.
+
+Lamp standards between columns, globe half concealed, by Kelham. Charm
+of effect, improvement on those with globe wholly visible.
+
+Conventionalized lions in pairs at portals, by Albert Laessle, of
+Philadelphia.
+
+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.
+
+Vista through fairy-like Court of the Ages to Florentine Tower and blue
+sky beyond, from south entrance of Court of Flowers.
+
+
+
+Along the South Wall, East of Tower of Jewels
+
+
+
+Palaces facing Avenue of Palms, from east to west: Varied Industries,
+Manufactures, Liberal Arts, Education.
+
+South facade of Palace of Varied Industries, by Faville. High walls,
+seventy feet in height, suggest eighteenth century California missions.
+
+Green domes on corners, Byzantine, inspired by mosques of
+Constantinople.
+
+Coloring of flags, cerulean blue, pastel red, and burnt orange.
+
+Windows in corners, mosque design. Little hexagonal kiosks at corners
+below domes, Moorish.
+
+Central portal, after portal of Santa Cruz Hospital, in Toledo, Spain.
+Sixteenth century Spanish Renaissance, plateresque. Lattice-work effect
+in doorway in harmony with lace-like silver-platter style. Niche walls
+pink, with ultramarine blue.
+
+Pope Calixtus III sent for a Spanish goldsmith, Diaz, to do work for him
+in Rome. Diaz returned to Spain, carrying the influence of the Italian
+Renaissance. He met the son of the architect of the cathedral at Toledo,
+De Egas. To the son he imparted his knowledge and the son applied it to
+architecture, creating the plateresque style. Till then all Spanish
+cathedrals had shown the Gothic influence from the north.
+
+Figures on large door by Stackpole. Upper figures, "Age Transferring His
+Burden to Youth," America. Figure in center piece of arch, "Power of
+Industry," the American workman. Figures in half circle above door,
+"Varied Industries," from left to right, Spinning, Building,
+Agriculture, Manual Labor, and Commerce. Figure repeated four times in
+lower niches, "Man with the Pick."
+
+"California Bear" and "California Shield" on buttresses, or square
+columns supporting wall. Used in old mission buildings.
+
+
+
+Avenue of Progress
+
+
+
+Planting, some of the best landscape effects in Exposition. Against
+buildings, Monterey cypress; banked by Lawson cypress in front and
+between these, spruces and Spanish fir.
+
+Machinery Palace, Ward & Blohme, of San Francisco, architects. Italian
+Renaissance, inspired by Roman baths. Like Baths of Caracalla. Largest
+building of its kind in world; three blocks long, seven acres in area.
+
+Banners, by Ryan, heraldic designs of early Spanish explorers and
+soldiers.
+
+Lophantha lawn, designed by John McLaren, trees trimmed off four feet
+above ground, and trained to grow flat alongside Palace of Varied
+Industries.
+
+East facade of Varied Industries, made Italian to harmonize with Italian
+Machinery Palace.
+
+Main portal, like gateways of old Roman walled cities.
+
+"The Miner," in niches of gateway, by Albert Weinert of New York.
+
+Small portals Italian, fine color effect; lattice-work, orange, blue,
+light green'.
+
+Sculpture on Machinery Palace, by Haig Patigian, of San Francisco.
+
+Large columns in front and in vestibule of half dome, imitation Sienna
+marble.
+
+Small portals, orange columns at sides, pink niche, blue dome, orange
+above dome; pleasing tone,
+
+Corinthian columns at sides of portals; eagles at corners of capitals,
+at top, symbolize inspiration.
+
+Frieze around drums at base of columns "Genii of Machinery," by Haig
+Patigian; eyes closed, signifying Power of the spirit, or blind fate.
+
+Figures in triangular spaces on either side above doorways, "Application
+of Power to Machinery," by Haig Patigian.
+
+Figures on tall Sienna marble columns, "Power," "by Haig Patigian.
+"Steam Power," with lever. "Invention," carrying figure with flying
+wings, suggesting quickness of mind. "Imagination, eyes closed. Eagle
+bird of inspiration, about to fly. "Electricity," foot on earth,
+carrying symbol.
+
+Eagles repeated on bar, the entablature, across front of domes; symbol
+of inspiration.
+
+Coloring in vestibule of Machinery Palace: Finely harmonized; brown and
+brick-colored walls; orange and blue ceilings; green lattice work.
+
+"Genius of Creation," group before court leading to Court of Ages,
+Daniel Chester French. Spirit above, a woman, creating life from
+shapeless mass of earth below. Man at left, courageous and enterprising;
+woman at right, timid, hesitating. Serpent, symbol of wisdom, coiled
+about mass.
+
+
+
+Court of Mines, Leading to Court of Ages
+
+
+
+Coloring, pink walls, pink streamers, by Guerin. Green shell lamp posts,
+by McKim, Mead & White, architects. Called "Pink Alley" by workmen
+during construction.
+
+Palaces on sides of court: to the north, Mines; to the south, Varied
+Industries.
+
+Lamp standards against walls, dark bronze, smoked ivory globes, by
+Faville.
+
+Flat Ionic columns, called pilasters, against walls, by Faville.
+
+Figure in niches, "The Miner," by Albert Weinert.
+
+
+
+Court of the Ages
+
+
+
+Court of Ages, Louis Christian Mullgardt, of San Francisco, architect.
+Most original of the courts. Faint influence of Spanish Gothic,
+Romanesque, French, Moorish. Richness and profusion. Suggests evolution
+of man.
+
+Palaces around court: northeast, Mines; northwest, Transportation;
+southwest, Manufactures; southeast, Varied Industries,
+
+Decorations on columns of archways around court, kelp, crabs, lobsters,
+and other sea animals. Vertical lines in columns suggest falling water.
+
+Fairy lamps, two in each archway, delicately designed.
+
+"Primitive Man and Woman," by Albert Weinert, repeated alternately above
+corridors around court. Man, a hunter, feeding pelican. Woman, the
+child-bearer.
+
+Tower at north entrance, suggestive of French cathedral architecture,
+massive, but gives appearance of lightness. One of the great successes
+of the Exposition.
+
+"The Rise of Civilization," groups of sculpture on tower, by Chester
+Beach. Central idea, evolution, Stone Age, Mediaeval Age, and Present
+Age. "Primitive Man," lowest group, just above great reptiles in
+foreground. Man is holding child and protecting mate. "Mediaeval Age"
+directly above, Crusader in center, Priest and Warrior on sides. The
+candlesticks on sides of crusader, used in mediaeval churches, the light
+of understanding. On sides of altar, "Modern Man and Woman," struggling
+for freedom from the physical to the spiritual. "Spirit of Intelligence"
+enthroned above; on one side, child with book; on the other side, child
+with wheel of industry.
+
+Chanticleer, repeated on highest pinnacles of court, at level with
+altar. Signifying dawn of Christianity.
+
+"Thought," figure on east and west sides of tower. Candlesticks at
+sides.
+
+Design on upper part of tower, suggested by the lily, emblem of purity.
+
+Star clusters, at south end of court and in north court, by Ryan,
+modeled from snow crystal, and deepening the ecclesiastical character of
+the court by suggesting the golden monstrance, shaped like the rays of
+the sun, used in the Catholic church and, in the small glass-covered
+circle at the center, holding the sacred host.
+
+"Water Sprites," by Leo Lentelli. Girl archers on top of columns at four
+corners of central court, launching arrow at sprites on base of columns.
+Originally designed as fountains.
+
+Serpent cauldrons, around pool, designed by Mullgardt.
+
+"Fountain of the Earth," by Robert Aitken, in center of court. Two Parts
+to fountain; large central one with globe representing earth, surrounded
+by panels showing life on earth; and on same pedestal to south, groups
+representing life before and after death. "Setting Sun," group at
+extreme south of pool, by Aitken. Man holding golden ball, Helios;
+serpent, heat of sun.
+
+Figures on west side of southern group, "The Dawn of Life." Hand of
+Destiny giving life, pointing toward earth; Sleep of Woman before Birth;
+the Awakening; Joy of Life; Kiss of Life; Birth. Gap to central group
+represents time between peopling and history.
+
+Panels around earth; South Panel; Vanity in center with handglass; man
+and woman with children, representing Fecundity, starting on earthly
+journey.
+
+West Panel: "Natural Selection;" women turn to fittest male; one
+rejected suitor angry, other despairing.
+
+North Panel: "Physical Courage" or "Awakening of War Spirit." Two men
+fight for possession of woman on left. Woman on right attempts to draw
+one aside.
+
+East Panel: "Lesson of Life." Old woman gives counsel to young man and
+woman. Old man restrains an angry, jealous youth.
+
+Right of south panel, "Lust."
+
+East side of southern group: Greed, looking back on earth. Faith
+offering Immortality, symbolized by scarab, to Woman. Figures of man and
+woman sinking back into oblivion, "Sorrow" and "Sleep." Hand of Destiny
+drawing mortality to itself.
+
+Hermae, pillars with head of Hermes, god of boundaries, separating
+panels around earth.
+
+Reptilian and fishy forms above panels of central mass of fountain.
+
+Corridors, walls red, blue vault above, arches of smoked ivory, lines of
+blue on wall. Illumination by half-globes in cups on inner side of
+columns.
+
+Murals, by Frank Brangwyn, of London, representing Elements. Best placed
+of all murals. At corners of court in corridors.
+
+Northeast corner, "Fire." "Primitive Fire," figures around fire nursing
+it, or feeding it. "Industrial Fire," use of fire in service of man.
+
+Southeast corner, "Water": Fishermen dragging in net, carriers with
+baskets on backs, "The Net." Women and men filling jars at a spring,
+flamingoes in water, luxuriant growth, clouds, "The Fountain."
+
+Southwest corner, "Air": Men shooting arrows through trees, birds in
+flight, "The Hunters." Huge mill, children flying kites, clouds, grain
+blown by wind, "The Windmill."
+
+Northwest corner, "Earth": Men high in trees and on ground, "The Fruit
+Pickers." Figures crushing juice out with feet, group in front with
+wine, "The Dancing of the Grapes."
+
+Planting in Court: Tall Italian cypress before arches; orange trees;
+balled acacia; denseness of growth along colonnades; heavy and rank,
+suggesting tropical flora.
+
+Large cauldrons, at side of steps leading down to sunken gardens,
+designed by Mullgardt.
+
+
+
+North Entrance to Court of Ages
+
+
+
+"Daughter of Neptune" or "Aquatic Life," large female figure in north
+Court of Ages, by Sherry E. Fry.
+
+Planting: eucalyptus, acacia, laurel.
+
+
+
+Features that Ought to be in Noted by Night
+
+
+
+Illumination
+
+
+
+Three kinds of light used; white arc lamps, extensively behind banners
+and shields to flood facades of outer walls and Court of Four Seasons;
+warmer light of Mazda lamps in clear and colored globes; and
+searchlights concealed on tops of buildings trained on towers and on
+high groups of sculpture.
+
+Lighting scheme and scope completed long before buildings were up; made
+possible by advance in illuminating engineering, developed under name of
+science of lighting and art of illumination.
+
+Chief of Department of Illumination, Walter D'Arcy Ryan, of the General
+Electric Company, Schenectady, New York; field assistant, A. F.
+Dickerson.
+
+Ornamental details of lighting standards and fixtures, designed by J. W.
+Gosling; designs made at Illuminating Engineering Laboratories,
+Schenectady.
+
+Keynote of lighting scheme - life and gaiety, without garishness.
+
+Lighting kept subordinate to architecture; walks shaded to throw
+emphasis on brilliantly lighted facades and to bring out architecture,
+landscape and flowers. Same lighting principle used throughout; but
+effect in different courts radically different.
+
+Area of surface illuminated, 8,000,000 square feet; 2,000,000 of wall
+surface, and 6,000,000 of ground surface.
+
+Number of searchlights used: 373 arc searchlights, in diameter from 13
+to 36 inches; 450 small searchlights, called the "Mosquito Fleet"; 250
+incandescent projectors for flag lighting.
+
+
+
+Fillmore Street Entrance
+
+
+
+South facade of entrance, outline illumination, with bare electric
+lights following outlines of architecture; used elsewhere only in Zone.
+
+Inside Fillmore Street entrance, Zone to right; brilliant lighting,
+outline illumination, more or less refined; exaggerated effects
+prohibited.
+
+Zone, element of festivity in arches crossing street at short intervals,
+ribbons of turkey red suspended from each lamp give warmth and action.
+
+Contrast of Zone lights with illumination in other parts of Exposition.
+
+To left, Service Building, administration offices; coloring, Pinks and
+blue; ceiling of porch, intense blue, deepest used on grounds.
+
+Corner of Avenue of Palms and Avenue of Progress: lights banners,
+towers, facades of buildings, walks, flood lights, spots of light and
+color.
+
+Fairy-like effect of Avenue of Palms: towers look luminous; in early
+evening Italian Towers red hot, throbbing; glow stronger than Tower of
+Jewels; later, Tower of Jewels most brilliant spot on avenue.
+
+Tower illumination, floods of light from searchlights; white light
+creates shadows, in turn illuminated by concealed colored light on
+various stages, on Tower of Jewels and Italian Towers.
+
+Single light standards along Avenue of Palms, light yellow, dull points
+of light; contrast with white pearly light on tops of booths.
+
+
+
+Avenue of Progress
+
+
+
+Along Avenue of Progress: fine flag display; no direct sources of light;
+banners; beautiful scenes made by planting against walls and quality of
+green on lawn; daylight effect from luminous arcs which produce whitest
+artificial light in use.
+
+Gas lights on tops of booths, emergency lights if electricity fails.
+
+Banners and heraldic shields, designed by Ryan; banners, of early
+explorers and pioneers, heraldic shields related to history of
+California, Mexico, Central America, and Pacific Ocean.
+
+Purpose of banners: to form beautiful lines of color, to screen eyes
+from direct light source, to reflect light toward buildings, and to
+suggest history of court.
+
+Banners suspended, swung by wind, form moving spots of color.
+
+Roman gateway, Palace of Varied Industries: faint light through small
+arches above doorway; delicate green lattice or grill work in door.
+
+Light in doorways: appearance of life within, produced by reflectors
+inside palaces throwing light through glass of doors; new idea; contrast
+with dark windows of other expositions.
+
+Arches of Machinery Palace: warm red glow in domes above; strong yellow
+through doors below.
+
+
+
+Inner Court of Mines Leading From Palace of Machinery to Court of Ages
+
+
+
+Illumination strongest on upper sections of wall; it becomes more
+subdued as it approaches flowers and lawns, and reaches lowest point on
+center of avenue; plan used on all avenues.
+
+Green lattice work, filling entire main doorway, in harmony with lawns.
+
+Single globe lamps placed against walls; only court with lights in this
+position.
+
+Shell lamps, flooding walls with light, advanced method of wall
+illumination.
+
+View of central fountain in Court of Ages: glow of red lights, faint
+shimmer in pools, steam rising to suggest the earth cooling after being
+thrown off by the sun.
+
+
+
+Court of the Ages
+
+
+
+Court of the Ages: mystery in blending of illumination from searchlights
+above; lack of direct illumination on court itself; steam cauldrons,
+with illumination, incandescent lights, gas torches in small serpent
+cauldrons, lanterns in arches of the arcade that burn around cloister.
+
+Fountain of Earth in center of pool, carrying mind down the ages to
+correspond with architect's conception of court.
+
+Steam rising from base of fountain; figures silhouetted in warm red
+glow; lighter tone of red at upper portion of ball; shimmering
+reflection of panels, with red background in pool at sides of fountain.
+
+Serpent cauldrons, around edge of pool, to heighten weird effect, by the
+flickering of the gas lamps.
+
+Large cauldrons at east and west entrances; effect of simmering molten
+liquid.
+
+Steam used in court, obtained from twenty horse-power boiler under
+tower.
+
+Main tower, only tower without direct light thrown on exterior;
+religious feeling, increased by candlesticks, two on each side; steam to
+suggest smoke drifting upward.
+
+Reflection of tower in pool, to be seen from south.
+
+Cathedral appearance of windows at sides of court, by illumination in
+warm orange tone from within.
+
+Sunburst standards modelled in imitation of snow crystal, and resembling
+monstrance used in Catholic church; two at south of court; only large
+light sources in court; contrast with other illumination.
+
+Two fairy lanterns in each arch around court.
+
+Brangwyn murals lighted without glare by indirect diffusion from four
+corners.
+
+Play of lights along colonnade; lighting on murals adds to apparent
+distance.
+
+
+
+North Entrance to Court of the Ages
+
+
+
+Similar treatment of lights, brighter than in central court; four star
+clusters, sixteen serpent cauldrons; effect heightened.
+
+Tower, more beautiful from Marina side; note of refinement illumination
+in altar, shadow in two colors, created by red light illuminated by pale
+amber lights.
+
+Star clusters convey to mind religious feeling in keeping with design;
+cathedral effect.
+
+View of Italian Towers at sides of Court of Flowers, from north court,
+red glow and green columns of towers on either side of Mullgardt tower,
+vivid contrast.
+
+To Court of the Universe, through Florentine Court.
+
+
+
+Florentine Court
+
+
+
+Florentine Court; only illumination, single lamp standards; contrast
+with intense light in Court of Universe, beyond.
+
+Fine shadow effects against walls; vertical shadows of columns in arches
+contrasted with shadows of trees and shrubbery.
+
+
+
+Court of the Universe
+
+
+
+Arch of Rising Sun; light through latticed windows in arch to give faint
+spots of luminous color.
+
+Illumination of main and side arches; curvature preserved and details
+thrown into relief by lights of different strengths and colors;
+concealed red light on one side and pale lemon light on other side
+thrown on arch. All main arches similarly accentuated.
+
+Urns in side arches, effect heightened by lights thrown from sides,
+bring out lines; red on one side, on the other pale green.
+
+Colonnade, illuminated by three translucent shell cups sunk into central
+groove of each column at rear; spear of light from each shell up the
+grooves or fluting; pleasant glow through shells from below. Effect of
+melted gold, suggesting the tongues of fire mentioned in the Scriptures.
+
+Sculptural groups on Arches of Rising and Setting Sun, flooded with
+light from searchlights, creating black shadows, in turn illuminated by
+purple lights on top of arch. Figures thrown into relief.
+
+Tower of Jewels, gradual illumination; early evening, faintly lighted;
+later, when searchlights are turned on, tower dominates southern wall;
+blaze of white light; jewels sparkle like diamonds; turquoise columns,
+faintly colored in bright light; statues, orange color.
+
+Star figures around court above colonnades, jewelled; each has forty-two
+stones, illuminated by small searchlights on opposite side of court.
+Early evening, pretty effect; little jets of light from figures shoot
+across the court in clearly defined rays. Later, flood of lights from
+columns in court above the small rays.
+
+Fountains of Rising and Setting Sun; columns, said to be strongest light
+sources ever created; aggregate 500,000 candlepower sufficient to
+illuminate 500,000 square feet of surface; fluting of columns glazed with
+special diffusion glass. For elimination of shadows caused by structure,
+there is diffusive glass inside. The glare from the light source is not
+excessive; brilliancy low; daring illumination of entire court.
+
+Lights under water in pools of fountains; source and reflection
+concealed; yellow light diffused over surface.
+
+Figures on pedestals of balustrades mark boundary of Sunken Garden; not
+for illumination, but for ornament merely.
+
+Domes of corner pavilions, north of Tower of Jewels, fine contrasts in
+interior; delicate blue ceiling; orange at sides.
+
+Bear fountains at sides of Palaces of Manufactures and Liberal Arts,
+north of Tower of Jewels; three on each wall in flat niches; coloring,
+pink wall, turquoise blue, green; lights concealed under water; when
+water is flowing, wavering light like heat waves; niches hardly
+noticeable when water is not flowing.
+
+Tower of Jewels, interior of main arch, accentuated by lights at sides
+above columns; no illumination on murals.
+
+In niches at either side, Fountains of Youth and El Dorado,
+flood-lighted from above; no colored lights; two single lamp standards
+in each court; reflection of fountain figures in pools.
+
+
+
+On the Way to the Marina
+
+
+
+Lighting of colonnades, vivid pinks and blues. Illumination in colonnade
+from lamps concealed in cups in one of the inner flutes of each column.
+Notice reflections of colonnade in pool.
+
+Column of Progress; flood light on figures on top of column by
+searchlights.
+
+
+
+On the Marina
+
+
+
+North facade of buildings, tall dark-green planting against walls, black
+vertical shadows; shading of lawn; flood light standards, spots of dull
+orange light through translucent rigid shields. Spots of light from
+single globes along avenue, on water front, white lights on booths; glow
+from lamps at entrance to Court of Four Seasons.
+
+Spanish doorway of Palaces of Food Products, Agriculture, Transportation
+and Mines, among most successfully illuminated portals on grounds; light
+pink walls in two shades, light blue vaulted ceiling, green edges; three
+arches; light green lattice work; dark shadows in niches of
+"Conquistador" and "Pirate."
+
+"Adventurous Bowman," profile view of group from entrance to Court of
+Four Seasons; outlined against blue-black sky; stars, in sky about it,
+mere points of light. Group sometimes reproduced in the fog.
+
+
+
+Venetian Court
+
+
+
+Inner Court, between Court of the Universe and Court of Four Seasons.
+
+Only illumination, single globe standards. Contrast of bright
+illumination in Court of Universe with more subdued light in Court of
+Four Seasons.
+
+Coloring, pink walls in harmony with walls of corridors in Courts at
+either end.
+
+Planting, low shrubbery, with tall trees massed in corners.
+
+
+
+Court of the Four Seasons
+
+
+
+Court of Four Seasons; flood illumination on the bulls at sides, glowing
+half-dome at south, figure of "Harvest" above dome, and twin Italian
+towers at sides.
+
+Illumination of court in harmony with architecture, very quiet.
+
+Charm of lighting in colonnades against Pompeian red walls; three half
+globes in cups at rear of plain columns.
+
+Fountains of Four Seasons, illumination of red walls against intense
+blue of sky, in early evening like color in paintings by Maxfield
+Parrish. Concealed lights, red, orange, yellow and lemon, fall on walls
+and create interesting luminous shadows on fountain figures.
+
+Water falling from cascades, a luminous green; not only are lights
+concealed, but also reflection of sources, an effect that, it was
+predicted, could not be achieved.
+
+Figures on fountains reflected in green water.
+
+Reflections in pool in center of court; from north, half dome and figure
+of "Harvest" above dome; from south, the bulls on the pylons.
+
+View through north court toward bay, from half-dome, very interesting;
+intense white light of scintillator directly opposite court; statute of
+"Ceres," silhouetted against rays.
+
+Banners in court, no heraldic designs.
+
+Half dome in Court of Four Seasons; even distribution of light, ceiling
+lighted from base of dome, lights diffused through dome and softly
+graded down to floor by ten shell lamps up wall, back of vertical
+projection on each side.
+
+Through Aisle of Spring to Administration Avenue, facing Palace of Fine
+Arts.
+
+
+
+Along the Western Wall
+
+
+
+Illumination: Yellow glow from single lamp standards along
+Administration Avenue. Searchlights on top of wall, flooding Palace of
+Fine Arts. Wall, lighted by reflection from shields; orange light
+through translucent portion of shields.
+
+High wall flooded with light, in strong contrast with dark rippling
+surface of lagoon across the avenue.
+
+Half-domes; warm golden glow; light from interior through stained glass
+windows in domes.
+
+Planting, trees cast tall vertical shadows against wall; heavier shadows
+at base, from massed shrubbery.
+
+
+
+Palace of Fine Arts
+
+
+
+Illumination, "triple moonlight," three times the strength of the moon's
+rays. Searchlights flood the building; concealed yellow lights on
+cornices in rear of columns. Three effects; flood lighting, relief
+lighting, and combination of both. One night, flood light; next,
+combination.
+
+View from Administration Avenue across lagoon; finest reflections on
+grounds; changing views; small sections of lagoon, mirror-like; others,
+rippled or wavering; entire colonnade and rotunda reflected.
+
+Suggestion of ancient ruin, intended by architect, brought out by
+lighting. Great shadows, deepening toward base of columns.
+
+Contrasted colors in colonnade, from across lagoon; pink walls, dark
+green doors, columns silhouetted against walls.
+
+
+
+In the Colonnade, Entering From North
+
+
+
+"Triple moonlight," bright rays across colonnade through columns, making
+intense shadows; when moon is shining the fainter rays cut weirdly
+through shadows; suggestion of moonlight coming from two directions.
+
+Reflections in lagoon, from along colonnade, north of rotunda; West
+facade of walled city, with half domes of Palaces of Education and Food
+Products, and dim reflections of Italian towers. Changing reflections
+all along colonnade, and from rotunda.
+
+Rotunda, on nights when relief illumination is used, lights on capitals
+of Corinthian columns; deep color effects in murals on dome.
+
+View of palace from south across lagoon, with flood lights on rotunda
+and colonnade.
+
+
+
+Avenue of Palms
+
+
+
+Quality of light brings out color detail; fine display of flowers;
+massing of shrubbery at base of wall, and tall trees casting vertical
+shadows.
+
+Elephant and lion fountains along south wall; colors, pink and blue;
+rippling of water causes light to wave.
+
+Central doorway of Palace of Liberal Arts, rosetta or rose-window effect
+in semi-circular space above door; orange light through lattice work of
+door.
+
+
+
+Court of Palms
+
+
+
+Court of Palms, illumination of towers from searchlights. Only direct
+light, from single white globes painted to imitate Travertine, and Roman
+hanging lamps around in corridors; faint red shines through from below.
+
+Reflections in circular and rectangular pools; north, east, and west
+portals; the columns, the colonnades at sides of entrances, the murals
+above doorways; pinks, blues, reds, orange.
+
+Murals above east, west, and north doorways, best effect at night.
+Illumination at base of arches throws light on upper part of mural,
+shading softly and gradually down to base.
+
+
+
+Palace of Horticulture
+
+
+
+Dome of Palace of Horticulture; beams of light from concealed
+searchlights play through revolving lenses and color screens of green,
+orange, and red, fading slowly into each other in moving designs on
+glass dome.
+
+Floral hanging lamps in east and north entrances; deep green of lattice
+work in domes above; hanging lamps along porches, pearl-white light.
+
+
+
+South Gardens
+
+
+
+French lighting standards, pale yellow light, hundreds of Travertined
+globes, soft light unique ivory color.
+
+Clusters of lights- look like bunches of grapes.
+
+Reflections in pools north of Young Women's Christian Association
+Building and Press Building
+
+Flood lights on equestrian figure in Fountain of Energy.
+
+
+
+Court of Flowers
+
+
+
+No searchlights, no direct illumination; suggestion of dimness and
+seclusion.
+
+Italian towers, glow of light through small doors above entrances;
+appearance of life inside; strong strong red shadows on first lift;
+turquoise columns on next lift, pink background.
+
+Lamps in corridors, Italian and Roman; translucent, dull red light.
+
+Floral lamp standards between columns in corridors, pale yellow light.
+
+Flood light shields at south entrance to court; too bright necessarily.
+
+
+
+Festival Hall
+
+
+
+Reflection of Festival Hall in pool; Fountain of the Mermaid silhouetted
+against entrance window of hall; golden light through colored glass.
+
+Warm pink illumination inside towers at corners of large dome; green
+coloring of dome, more effective than by day.
+
+Blending of lines of building with planting against walls.
+
+
+
+
+
+End of The Project Gutenberg Etext The City of Domes, by John D. Barry
+
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