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+The Project Gutenberg EBook of The Art of the Exposition, by Eugen Neuhaus
+(#2 in our series by Eugen Neuhaus)
+
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+Title: The Art of the Exposition
+
+Author: Eugen Neuhaus
+
+Release Date: May, 2004  [EBook #5771]
+[Yes, we are more than one year ahead of schedule]
+[This file was first posted on September 1, 2002]
+
+Edition: 10
+
+Language: English
+
+Character set encoding: Latin1
+
+*** START OF THE PROJECT GUTENBERG EBOOK, THE ART OF THE EXPOSITION ***
+
+
+
+
+This eBook was produced by David Schwan.
+
+
+
+The Art of the Exposition
+
+Personal Impressions of the Architecture, Sculpture, Mural Decorations,
+Color Scheme & Other Aesthetic Aspects of the Panama-Pacific
+International Exposition
+
+
+
+By
+Eugen Neuhaus
+University of California
+Chairman of the Western Advisory Committee and Member of the San
+Francisco Jury in the Department of Fine Arts of the Exposition
+
+
+
+To the Panama-Pacific International Exposition. A Great Work of Peace.
+These lines are appreciatively dedicated May the First 1915
+
+
+
+Publisher's Announcement
+
+The following pages have grown out of many talks given during the year
+by Mr. Neuhaus to his students at the University of California.
+Presented to the public in the form of a series of evening lectures at
+the University, and repeated before many other organizations throughout
+California, his interpretation of the Art of the Exposition roused a
+demand for its repetition so widespread as only to be met by the aid of
+the printing press.
+
+San Francisco, California May 1, 1915
+
+
+
+Contents
+
+
+
+The Architecture
+The architectural scheme, the setting and the style of the architecture.
+
+The Sculpture
+Its relation to the architecture, its artistic meaning and its
+symbolism.
+
+The Color Scheme and the Landscape Gardening
+The color elements as furnished by the artist and by nature; the
+horticultural effects.
+
+The Mural Decorations
+The intellectual emphasis of the color scheme, and the significance of
+the mural decorations.
+
+The Illumination - Conclusion
+The Exposition at night.
+
+Appendix
+Guide to Sculpture, The Mural decorations, Biographical notes.
+
+
+
+List of Illustrations
+
+
+
+The Tower in the Court of Abundance. Louis Christian Mullgardt,
+Architect. (Frontispiece)
+Under the Arch of the Tower of Jewels. McKim, Mead and White, Architects
+View Through the Great Arches of the Court of the Universe. McKim, Mead
+      and White, Architects
+Niche Detail from the Court of the Four Seasons. Henry Bacon, Architect
+The Court of the Four Seasons. Henry Bacon, Architect
+Northern Doorway in the Court of Palms. George Kelham, Architect
+Entrance into the Palace of Education. Bliss and Faville, Architects
+Detail from the Court of Abundance. Louis Christian Mullgardt, Architect
+The Palace of Fine Arts. Bernard R. Maybeck, Architect
+Colonnade, Palace of Fine Arts. Bernard R. Maybeck, Architect.
+Portal of Vigor in the Palace of Food Products (in the distance). Bliss
+      and Faville, Architects
+Colonnade, Palace of Fine Arts. Bernard R. Maybeck, Architect
+The Setting Sun. Adolph A. Weinman, Sculptor
+The Nations of the West. A. Stirling Calder, Frederick C. R. Roth, Leo
+      Lentelli, Sculptors
+The Mermaid. Arthur Putnam, Sculptor
+The Adventurous Bowman Supported by Frieze of Toilers
+Details from the Column of Progress. Hermon A. MacNeil, Sculptor
+The End of the Trail. James Earl Fraser, Sculptor
+Autumn, in the Court of the Four Seasons. Furio Piccirilli, Sculptor
+The Pacific-Detail from the Fountain of Energy. A. Stirling Calder,
+      Sculptor
+The Alaskan-Detail from Nations of the West. Frederick C. R. Roth,
+      Sculptor
+The Feast of Sacrifice. Albert Jaegers, Sculptor
+Youth - From the Fountain of Youth. Edith Woodman Burroughs, Sculptor
+Truth - Detail from the Fountain of the Rising Sun. Adolph A. Weinman,
+      Sculptor
+The Star. A. Stirling Calder, Sculptor
+The Triton - Detail of the Fountains of the Rising and the Setting Sun.
+      Adolph A. Weinman, Sculptor
+Finial Figure in the Court of Abundance. Leo Lentelli, Sculptor
+Atlantic and Pacific and the Gateway of all Nations. William de Leftwich
+      Dodge, Painter
+Commerce, Inspiration, Truth and Religion. Edward Simmons, Painter
+The Victorious Spirit. Arthur F. Mathews, Painter
+The Westward March of Civilization. Frank V. Du Mond, Painter
+The Pursuit of Pleasure. Charles Holloway, Painter
+Primitive Fire. Frank Brangwyn, Painter
+Night Effect - Colonnade of the Palace of Fine Arts. Bernard R. Maybeck,
+      Architect
+Official Poster. Perham W. Nahl
+Ground Plan of the Exposition
+
+
+
+The Art of the Exposition
+
+
+
+The Architecture
+
+
+
+It is generally conceded that the essential lesson of the Exposition is
+the lesson of art. However strongly the industrial element may have
+asserted itself in the many interesting exhibits, no matter how
+extensive the appeal of the applied sciences may be, the final and
+lasting effect will be found in the great and enduring lesson of beauty
+which the Exposition so unforgetably teaches.
+
+The visitor is at once stirred by the many manifestations of art,
+presented so harmoniously by the architect, the sculptor, the landscape
+architect, and the painter-decorator, and his attention is kept
+throughout by artistic appeals at every turn. It must be said in the
+very start that few will realize what is the simple truth - that
+artistically this is probably the most successful exposition ever
+created. It may indeed prove the last. Large international expositions
+are becoming a thing of the past on account of the tremendous cost for
+relatively temporary purposes.
+
+There is still much of the popular conception abroad that the West has
+only very recently emerged from a state of semi-civilization inimical to
+the finer things of life, and to art in particular. But we may rest
+assured that the fortunate outsider who allows himself the luxury of
+travel will proclaim that the gospel of beauty has been preached most
+eloquently through the Panama-Pacific International Exposition.
+
+The critic who prefers to condemn things will find small opportunity
+here, no matter how seriously he may take himself.
+
+The first sight of that great mosaic, from the Fillmore-street hill, at
+once creates a nerve-soothing impression most uncommon in international
+expositions, and for that matter, in any architectural aggregate. One is
+at once struck with the fitness of the location and of the scheme of
+architecture. Personally, I am greatly impressed with the architectural
+scheme and the consistency of its application to the whole. I fear that
+the two men, Mr. Willis Polk and Mr. Edward Bennett, who laid the
+foundation for the plan, will never receive as much credit as is really
+due them. I hope this appreciation may serve that purpose in some small
+way.
+
+It was a typically big western idea, an idea that as a rule never gets
+any farther than being thought of, or possibly seeing daylight as an
+"esquisse" - but seldom any farther than that. The Burnham plan for San
+Francisco was such an unrealized dream, but here the dream has achieved
+concrete form. The buildings as a group have all the big essential
+qualities that art possesses only in its noblest expression. Symmetry,
+balance, and harmony work together for a wonderful expression of unity,
+of oneness, that buildings devoted to profane purposes seldom show.
+
+I do not know how many people who visit the Exposition are so
+constituted as to derive an aesthetic thrill from artistic balance, but
+I imagine that any person, no matter how inexperienced in matters of
+art, will rejoice at the fine feeling of orderly arrangement of major
+forms which runs through the entire grouping. It is simplicity itself,
+and it serves an excellent practical purpose, enabling one to visit the
+Exposition without being left a nervous wreck at the end.
+
+The main entrance leads one into the physical center of the Exposition.
+From there, on the first visit, one realizes the existence of an equally
+large area on either side, covered with objects of interest.
+
+The main exposition, composed of a compactly arranged group of large
+buildings of approximately equal size, is symmetrically placed on either
+side of the main central court, the Court of the Universe. This sends
+out its avenues into two equally proportioned side courts - the Court of
+the Four Seasons on the west and the Court of Abundance on the east.
+While the main court rests right in the center of the eight buildings,
+the side courts fit snugly into the center of the four buildings on
+either side. This arrangement of large masses, comprising the bulk of
+the Exposition, creates a grateful feeling of repose and of order,
+without being in the least uninteresting, for while there is perfect
+symmetry, on the one hand, in the larger masses, there is plenty and
+ever changing variety in the minor architectural forms and
+embellishments. The same balance, the same interesting distribution of
+architectural masses, continues on either side of the main building. In
+Machinery Hall, on the one hand, and the Fine Arts Palace on the western
+side, perfect balance is again maintained. That is, however, not the end
+of it all. Loosening up in a very subtle way, we find cleverly arranged
+the buildings of the various States of the Union and of Foreign Nations
+on the western side of the Fine Arts Palace, while at the other
+extremity of the main group, screened by Machinery Hall, is the
+amusement section, officially labeled "The Zone."
+
+I do not suspect that the Zone is intended to give any artistic thrills.
+If so, I would propose to call it "The Limit," and so I drop it as a
+subject for further artistic, reference. It is invaluable, however, as
+an object lesson in showing the fatal results of the utter disregard of
+all those fundamental laws of balance, harmony, and unity so uniformly
+and persistently applied through the seriously designed main body of the
+Exposition. There is no harmony whatever in the Zone anywhere, either in
+the form, style, or color, unless it be the harmony of ugliness which is
+carried through this riotous mêlée of flimsiness and sham. I cannot help
+but feel that this hodgepodge will convince the most doubting Thomas who
+might believe in the mob rule of hundreds of conflicting tastes. The
+Zone is not an improvement on similar things in former Expositions. Save
+for certain minor exceptions at the entrance, it will serve as a
+wonderfully effective illustration of the taste of the great masses of
+the people, and as a fine business investment.
+
+So far, we have moved only along the east and west axis of the
+Exposition. The north and south development is not without its charm.
+The terraced city of San Francisco, on the south, without a doubt looks
+best on a densely foggy day. With its fussy, incongruous buildings - I
+hesitate to call them architecture - it serves hardly as a background
+for anything, let alone a group of monumental buildings. The opposite
+side, where nature reigns, atones for multitudes of sins that man
+committed on the city's hills. But how great an opportunity there was
+lost! There are, however, some indications at the western end of
+Broadway that give fine promise for the future.
+
+The bay and its background of rising hills and blue mountain sides
+provide, the wonderful setting that so charmingly holds the Exposition.
+The general arrangement of the Exposition pays its respects to the bay
+at every possible angle. The vistas from the three courts towards the
+bay are the pièces de résistance of the whole thing. It was a fine idea,
+not alone from an economic point of view, to eliminate the two arches
+which appeared in the original plan at the end of the avenues running
+north from the Court of the Four Seasons and the Court of Abundance.
+There is hardly anything more inspiring than to stand in any of the
+three courts and to look north through those well proportioned
+colonnades over the blue bay towards the purple foothills of Marin
+County, crowned by the graceful slopes of Mount Tamalpais on one side
+and the many islands of the bay on the other. It is surprising into how
+many enchanting vistas the whole arrangement resolves itself. For the
+city-planner the Exposition contains a wonderful lesson. What fine
+cities we might have if some artistic control could be exercised over
+the buildings which are to stand opposite the junction of one street
+with another, not only at right angles, but also at lesser degrees - for
+instance, in all cases of streets running into Market street from the
+northwest.
+
+To point out some particularly fine vistas, among many, we should
+mention that from the Orchestral Niche in the Court of the Four Seasons,
+looking toward the bay, or from the same court toward the Fine Arts
+Palace - and many more. The natural background seems to have been
+considered always, even in the arrangements of the smallest apertures.
+One should not overlook the two open courts which run off the main
+avenue, like charming coves in an island, into the main group of
+buildings, connecting at their ends with the Court of the Four Seasons
+at the west and the Court of Abundance toward the east. These two, the
+Court of Palms and the Court of Flowers, have not so much the charm of
+seclusion of the more centrally located courts, but their architecture
+makes them of great interest.
+
+As to the style of the architecture of the main group of eight
+buildings, it has been called classic. If one means by that something
+excellent, something in good taste, we must admit that it is classic
+indeed. However, on closer examination it becomes very evident that the
+individuality of many men has found expression in the architectural
+structural forms, as well as in the minor and decorative forms.
+
+The main Tower of Jewels, by Carrère and Hastings, marking the center of
+the whole scheme, has a distinct character of its own. There is no doubt
+that it is effective, but while its chief merit lies in its colossal
+proportions and its relative position, I feel that it lacks that oneness
+of conception that characterizes almost every other architectural unit
+in the Exposition. One feels too much the stacking up of story after
+story, that effort to fill the requirements of a given great height,
+very much as a boy sets up blocks of diminishing size, one on top of the
+other, until he can go no further because there are no smaller blocks.
+The whole effect of the tower is too static. Of its architectural
+motives, almost too many seem devoid of much interest, and like the
+column motive, repeated too often. The very effective and decorative
+employment of "jewels" tends to loosen up and enliven the structure very
+much. On a sunny day the effect is dazzling and joyous. The tower has a
+feeling of dignity and grandeur, commensurate with its scale and
+setting. However, its great height is not apparent, owing largely to its
+breadth of base. The Sather Campanile in Berkeley looks higher, though
+it is actually one hundred and thirty-three feet lower. The side towers
+at the entrances of the Court of Palms and the Court of Flowers, while
+not so imaginative as the main tower, are far more sky-reaching. As
+towers go, John Galen Howard's tower at the Buffalo Exposition in 1901
+stands unsurpassed in every way as an Exposition tower.
+
+The main Court of Honor, or Court of the Universe, as it is also called,
+designed by McKim, Mead and White, impresses by its tremendous
+dimensions, which operate somewhat against its proper enjoyment. I
+believe that the court is too large - so many things are lost in it, and
+it does not convey the quality of shelter that the two lesser courts
+possess in such marked degree. The Court of the Universe will never be
+the resting place of the masses of the people, in spite of the recently
+added attraction of the band stand, a mixture of Roman and Arabic
+architecture out of keeping with the surroundings. The conventional
+architectural motives of this great court do not help very much in
+tempting one to stay, and if it were not for the great arches on the
+east and west and the very fine view toward the Column of Progress, I
+would feel tempted to classify it as a piece of architectural design of
+the stereotyped variety. It has all the great qualities and faults of
+the court in front of St. Peter's in Rome. There is too little play of
+landscape gardening in and near the Court of the Universe, a condition
+which will remedy itself with the breaking into bloom of the great
+masses of rhododendron which have been installed in the sunken garden in
+the center.
+
+Like all careful interpretations in the classic architectural
+traditions, the Court of the Universe has a great feeling of dignity and
+grandeur, which gives the visitor a feeling of the big scale of the rest
+of the architecture. The court lacks, however, the individual note of
+the two side courts.
+
+Toward the west, passing through a very characteristic avenue, in the
+style of the happiest phases of the Italian Renaissance to be found in
+Florence, one enters the Court of the Four Seasons, by Henry Bacon of
+New York. The chief quality of this court is that of intimacy. While by
+no means so original as the Court of Abundance, it has a charm all of
+its own, in spite of its conventional architectural characteristics,
+which are really not different from those of the main Court of Honor.
+However, a very happy combination of gardening effects and architecture,
+together with the interesting wall-fountains, screened by stately rows
+of columns, make for a picture of great loveliness. Of all the courts,
+it has the most inviting feeling of seclusion. The plain body of water
+in the center, without statuary of any kind, is most effective as a
+mirror reflecting the play of lights and shadows, which are so important
+an asset in this enchanting retreat. During the Exposition it will serve
+as a recreation center for many people who will linger in the seclusion
+of the groups of shrubbery and watch the shadows of the afternoon sun
+creep slowly up the surrounding walls.
+
+As an Exposition feature, the Court of the Four Seasons is a decided
+innovation. At St. Louis, for instance, in 1904, everything seemed to
+have been done to excite, to overstimulate, to develop a craving for
+something new, to make one look for the next thing. Here, in the Court
+of the Four Seasons, one wants to stay. Most emphatically one wants to
+rest for awhile and give one's self over entirely to that feeling of
+liberation that one experiences in a church, in the forest, or out on
+the ocean. I could stay in this court forever. To wander into this Court
+of the Four Seasons from any one of the many approaches is equally
+satisfactory, and it will prove a very popular and successful Exposition
+innovation.
+
+Speaking of the courts, one is bound to yield to the individual note of
+Louis Mullgardt's Court of Abundance, on the east of the Court of the
+Universe. Of all the courts it has, without a doubt, the strongest
+individual note. It seems on first acquaintance to be reminiscent of the
+Gothic, of which it has, no doubt, the quality of lightness, the
+laciness, and the play of many fine apertures and openings. It has,
+however, neither the Gothic arch nor the buttresses of that period, and
+so far as its ground plan goes, it is thoroughly original. It looks as
+if carved out of a solid block of stone. This monolithic quality is
+particularly well brought out in the tower on the north. While not quite
+so intimate as the Court of the Four Seasons, it conveys, a feeling of
+shelter and seclusion very well by showing an uninterrupted wall motive
+on all sides. The sculpture symbolism of this court is particularly
+fine. We shall return to it in a consideration of sculpture.
+
+The two minor courts by George Kelham are particularly fortunate in
+their open location toward the south. Their sheltered and warm
+atmosphere is quite in keeping with the suggestion of Spanish
+Renaissance which has been employed in the constructive and in the many
+decorative motives. The western court, or Court of Palms, is made
+particularly attractive by a sunken garden effect and pool. The effect
+of the Court of Flowers is similar in every way to its mate on the east.
+
+A consideration of these two courts, with their towers, leads easily
+into a study of the outer façade, which, so to speak, ties all of the
+eight Palaces together into a compact, snug arrangement, so typical of
+the Exposition.
+
+Bliss and Faville of San Francisco are responsible for the very skillful
+use of simple, plain surfaces, accentuated and relieved here and there
+by ornate doorways, wall-fountains, niches, and half-domes. On the
+south, along the Avenue of Palms, are found some very fine adaptations
+of old Spanish doorways, which deserve to be preserved. It is
+regrettable that we have no large museum on the coast where these fine
+doorways in the outer walls of the Palace of Varied Industries could be
+preserved permanently. The travertine marble has nowhere been used more
+effectively than in just such details. The entrance of the Palace of
+Education at the western end of the south façade is also of great beauty
+of design.
+
+On the western end two huge niches or half domes command attention by
+their noble beauty and fine setting amidst great clumps of eucalyptus.
+On the north, no special effort has been made. There is, however, a
+decorative emphasis of the doorways along the entire front. On the east,
+facing the Palace of Machinery, some very fine doorways, very much like
+some of the minor ones on the south, furnish the decoration. It was no
+small task to bridge the many diversified architectural motives which
+penetrate into the outer wall from within, in the shape of many avenues
+and courts, and one can appreciate the difficulties of the designer who
+met so well these conflicting requirements.
+
+Of the detached palaces outside of the eight forming the rectangular
+block nucleus, the Palace of Machinery attracts by its enormous size. I
+am not interested in how many kegs of nails and iron bolts and washers
+went into its anatomy. They add nothing to the artistic enjoyment of
+this very massive building. One point, however, in connection with the
+liberal use of the raw material is of artistic significance, and that is
+that the internal structural aspects of this great palace, as well as of
+the others, are not without charm and interest. It is only in recent
+years, and particularly in America, that the engineer has dared to
+invade the realm of the artist by attempting to make the constructive,
+anatomical material, like uprights, bracings, trusses, and beams, assume
+artistic responsibilities. It has been for many years the custom to
+expect the engineer to do his share in obscurity with the idea that it
+ultimately will be covered up by the work of the architect. The
+extraordinary development of engineering in this country, to meet new
+and original problems, sometimes of colossal proportions, particularly
+in the field of concrete design, has resulted in some conditions
+heretofore entirely unknown. I feel with much satisfaction that the
+unobscured appearance of the wood construction in the Palace of
+Machinery is very pleasing, owing to its sound constructive elements, as
+well as to a very fine regard for pattern-making in the placing of the
+bolts and braces. Here we discover the engineer in the role of the
+artist, which he seems to enjoy, and which offers endless new
+opportunities, particularly in the field of concrete construction, as
+well as in wood. The great size of the Machinery Palace is much more
+enjoyable from within, on account of the constructive patterns left in
+the raw, than from without, where there is not enough animation in the
+many plain surfaces of the outer walls. I do not know that it is
+customary to put the engineer's name, together with that of the
+architect, on a building; the time s approaching very rapidly when we
+shall be in duty bound to do so.
+
+Aside from the structural charm of the inside, the outer façade of
+Machinery Hall is not entirely devoid of architectural interest. Its
+general forms are apparently those of an early Christian church,
+although its decorative motives are all indicative of the profane
+purposes for which it is used.
+
+Festival Hall, by Farquhar, of Los Angeles, at the east end of the south
+gardens, does not look particularly festive, and it is not original
+enough to shine by itself, like its very happy mate at the south end,
+the Horticultural Palace. There is nothing like this Horticultural
+Palace anywhere on the grounds in its gorgeous richness of decorative
+adornment. It has no relation to any other building on the site. It is
+very happy, with its many joyous garlands, flower-baskets, and
+suggestions of horticultural forms - all very well done - so very much
+better done than so many of the cheap period imitations so common to our
+residence districts. It is so decidedly joyous in character that people
+looking for Festival Hall wander over to the Horticultural Palace,
+attracted by the very joyousness of its scheme.
+
+Good rococo ornamentation is rare abroad and even rarer in this country,
+which is essentially opposed in its tendencies and in its civilization
+to those luxurious days of the French kings who created the conditions
+under which this very delightful style could flourish.
+
+The Horticultural Palace is a great success as an interpretation of a
+style which rarely finds a sympathetic expression in this country. I do
+not feel at all that it ought, but in a case of this kind where a
+temporary purpose existed, it was happily chosen.
+
+Of all isolated units, none causes greater admiration than the Fine Arts
+Palace. It presents the astounding spectacle of a building which
+violates the architectural conventions on more than one occasion, and in
+spite of it, or possibly for that very reason, it has a note of
+originality that is most conspicuous. Everybody admits that it is most
+beautiful, and very few seem to know just how this was accomplished.
+Many of the "small fry" of the architectural profession enjoy themselves
+in picking out its faults, which are really, as suggested above, the
+reason for its supreme beauty. Save for Mullgardt's court, it is the
+only building that seems to be based on the realization of a dream of a
+true artistic conception. With many other of the buildings one feels the
+process of their creation in the time-honored, pedantic way. They are
+paper-designed by the mechanical application of the "T" square and the
+triangle. They do not show the advantage of having been experienced as a
+vision.
+
+With Bernard Maybeck's Palace of Fine Arts, one has the feeling that
+this great temple is a realized dream; that it was imagined irrespective
+of time, cost, or demand. Like all of Maybeck's buildings, it is
+thoroughly original. Of course the setting contributes much to the
+picturesque effect, but aside from that, the colonnades and the
+octagonal dome in the center of the semicircular embracing form of the
+main building present many interesting features There is a very fine
+development of vistas, which are so provided as to present different
+parts of the building in many ever-changing aspects. On entering the
+outer colonnade one forgets the proximity of everyday things; one is
+immediately in an atmosphere of religious devotion, which finds its
+noblest expression in that delicate shrine of worship, by Ralph
+Stackpole, beneath the dome. This spiritual quality puts the visitor
+into the proper frame of mind for the enjoyment of the other offerings
+of art within the building. Mr. Maybeck has demonstrated once again that
+his talent is equal to any task in the field of architectural art. I
+wish we had more of his rare kind and more people to do justice to his
+genius.
+
+Not far from the Palace of Fine Arts, on the shores of the bay, the
+monumental tower of the California building fits well into the scheme of
+things. Seen from a distance, from numerous points across the lagoon, it
+offers a great many effective compositions in connection with some very
+decorative groups of old acacia trees, the legacy of an old amusement
+park of the bygone days of San Francisco - the old Harbor View Gardens.
+In the shade of these old trees a fine old formal garden of exquisite
+charm, screened from the eyes of the intruder by an old clipped Monterey
+cypress hedge, really constitutes the unique note of this typically
+Mission building. The architect, Mr. Burditt, deserves great credit for
+an unusually respectful treatment of a very fine architectural asset.
+This very enchanting old flower garden, with its sundial and cozy nooks,
+has an intimate feeling throughout, and it furnishes the delightful
+suggestive note of old age, of historical interest, without which it
+would never have been convincing.
+
+Aside from the outdoor features, the building, exclusive of the county
+annex, discloses a very fine talent in a very happy combination of
+classic tradition and modern tendencies. The building is altogether very
+successful, in a style which is so much made use of but which is really
+devoid of any distinct artistic merit. Most of the examples of the
+so-called "Mission style" in California are very uninteresting in their
+decorative motives, however big their ground plans may be in their
+liberal use of space.
+
+The Oregon building is just across the way from the California building,
+and as an object of artistic analysis it is a most interesting single
+unit. Personally, I am not enthusiastic over it. It was most decidedly a
+very illogical idea to select a building to represent Oregon from a
+country which has nothing whatever in common with this northern state.
+One could hardly discover a more arid country, devoid of vegetation,
+particularly of trees, than Greece; and to compare it with the
+apparently inexhaustible wealth of virgin forests of Oregon makes the
+contrast almost grotesque. Besides, a building like the Parthenon,
+designed to grace and terminate the top of a hill, is surely not adapted
+for a flat piece of ground like the Exposition field. And in the choice
+of material used in its construction it shows a lack of appreciation for
+the fitness of things generally. The Parthenon was designed to be made
+in stone, as much for the construction as for the light color effect of
+the marble. Only the light color play of its exterior would do against a
+placid blue sky to relieve the otherwise exceedingly simple rigidity of
+its massive forms of construction. To make an imitation of this great
+building in uncouth, somber, almost black pine logs of dubious
+proportions is hardly an artistically inspired accomplishment.
+
+There must always be a certain regard for the use of the right material
+in the right place. A wooden bridge will disclose its material even to
+the uninitiated at a very great distance, because everybody knows that
+certain things can be done only in wood. A stone, concrete, iron, or
+cable bridge, for example, will each always look its part, out of sheer
+material and structural necessity. A log house would have been far
+better and more successful than this pseudo Parthenon. It is in the same
+class with the statues of Liberty made from walnuts that are the great
+attractions in our autumnal agricultural shows. The State of Oregon,
+however, is well represented by a fine immense flagpole, which could
+hardly have been cut anywhere else than on the Pacific Coast.
+
+Of other state buildings in this neighborhood, a number are impressive
+by their cost, like the New York building; others, again, by historical
+suggestions of great charm. There are several which reflect in a very
+interesting way the Colonial days of early American history; and
+buildings like those of New Jersey and Virginia, in spite of their
+unpretentiousness, are very successful. Nobody would take them for
+anything else but what they represent.
+
+The Pennsylvania building shows a very fine combination of the classic
+and of the modern. It was originally designed to hold the Liberty Bell.
+In order to avoid the necessity of building a fireproof building, the
+open hail was adopted, with its inviting spaciousness, and two lower
+enclosing wings at the side. The arrangement of the Pennsylvania
+building is formal, owing to its symmetry, but not at all heavy. Its
+decorative detail is full of interest, and to discover Hornbostel of New
+York, the designer of the Oakland City Hall, as the author of this
+building, is a pleasant surprise.
+
+Of most of the other state buildings, really nothing original could be
+claimed. They are, on the whole, dignified in their classic motives, and
+in most cases, in better taste than the many foreign buildings.
+
+Among these, the buildings representing Sweden, Denmark, Norway, Italy,
+and Bolivia, must claim particular attention. It must seem strange that
+the three northern countries named first should excel in originality of
+architecture, as well as in the allied arts.
+
+The Swedish building, designed by Ferdinand Boberg, presents admirably
+his great talent. The name "Boberg" means nothing to most people out
+here, but anybody at all familiar with the development of modern
+architecture abroad will always think of Boberg as the greatest living
+master of Swedish architecture. His very talented wife, Anna Boberg, is
+equally well represented in another department, that of the Fine Arts.
+
+The plan of the Swedish building is unsymmetrical, but well balanced,
+nevertheless. The typical northern wood tower, at one side, has a very
+fine outline, and like the roof, has a very fine decorative shingle
+covering, interesting in pattern as well as in color. I am very much
+tempted to speak of the treasures found inside of this building, but we
+must go on to Denmark's building.
+
+This building, situated near the southern end of the Fine Arts
+Colonnade, has a far more advantageous location than the Swedish
+building. Situated on a narrow tongue of triangular shape, the architect
+has taken the fullest advantage of this original piece of ground. The
+building gives a very good idea of some of the very best tendencies in
+the modern art of Europe, without being bizarre, like some recent
+American attempts, in the most wrongly labeled of all art expressions -
+the "Art Nouveau."
+
+The Norwegian building, somewhat remotely situated, back of the French
+building and near the Presidio entrance, has very much in common with
+the Swedish building, and offers the same attractive features of wood
+and stone construction as the building representing its sister state.
+Historical traditions and everything else are so much alike in these two
+countries that it must not surprise one to find the two buildings have
+so many points of interest in common.
+
+The north of Europe has given to the world many very excellent and
+genuine expressions of architecture, which, owing to their fine
+constructive qualities, have been absorbed wherever wood is the
+principal building material. The art contributions of Sweden, Norway,
+and Denmark will long remain in the memory of all Exposition visitors.
+
+Holland makes considerable pretensions as to originality of style in a
+curiously incongruous creation at the north of the Fine Arts Palace.
+During the last twenty years a peculiarly inadaptable type of building
+has been developed in Holland by a group of younger architects. Many of
+these buildings are suggestive of stone rather than of brick
+construction, and they do not fit in very well into the architectural
+traditions of the Dutch - builders traditionally of the finest brick
+structures in the world.
+
+The Holland building at the Exposition is not typical of that great and
+independent people. It looks cheap and has all the faults of the Art
+Nouveau, which has, unfortunately, been much discredited, by just such
+things in our own country, where classical traditions are so firmly and
+so persistently entrenched.
+
+While structurally this building is of a peculiar, affected,
+ultra-modern note, the general scheme of decoration inside as well as
+outside compels much praise. The general feeling of refinement, of
+serenity, that so strongly characterizes the interior is due to the able
+work of Hermann Rosse, a capable decorator-painter, who designed and
+supervised the entire color scheme.
+
+The color scheme inside the Holland building, while daring, is most
+original in using an unusual combination of steel-blue and warm grey
+silver tones. These two relatively cold notes are enhanced in a
+complementary color sense by touches of orange and yellow. A
+constructive stencil pattern based on the two national plants of
+Holland, the orange tree and the tulip, add richness to the general
+effect. Mr. Rosse's very decorative wall painting opposite the main
+entrance represents the Industries of Peace. While somewhat severe, it
+adds dignity in motive as well as in treatment.
+
+On the outside some fine decorative tile panels reflect one of the chief
+industries of the Dutch and also tell of the influence that Dutch art
+has long received from Holland's East Indian possessions. These tile
+panels are very decorative. To us, out here, they suggest artistic
+ceramic possibilities for architectural purposes of which we have taken
+little advantage. Considering the fact that we have quantities of good
+clay and that so much original good decorative design is lying idle,
+this inactivity in architectural ceramics in California is distressing.
+So far as I know, Batchelder, in Pasadena, still has the monopoly on
+architectural tiles for the entire Pacific coast.
+
+Other European countries besides Holland are interestingly represented.
+The Italian building is a dignified building of pure Florentine
+Renaissance lines, with here and there a modern note.
+
+This should rather be called a group of buildings, since it is a
+combination of some of the finest bits of Italian Renaissance
+architecture. The architects of this building succeeded admirably in
+giving a feeling of antiquity to the general treatment of the whole
+arrangement, which, under the blue sky of California, brings one
+straight back into the land of sunshine and artistic tradition. The
+whole arrangement of this Italian group seems somewhat bewildering at
+first, but on closer inspection resolves itself into a very interesting
+scheme which takes full advantage of the irregularly shaped site.
+
+There is a most impressive noble dignity in the hall of the main
+building, where mural decorations of figural character add much to the
+sumptuousness of the general effect. It is remarkable how in this age of
+low ceilings a return to great height for rooms, as in these, Italian
+chambers, produces a marked note of originality. The light effect
+created in this way, in all of these replicas of the mansions of the
+wealthy of the Renaissance period, is most helpful in the display of a
+multitude of lovely objects - furniture, jewelry, ceramics, tapestries,
+and yet more. The sculptural imitations of so many old pieces of
+statuary are not in very good taste. They bear too much the traces of
+the pneumatic drill, and most of them are cold and devoid of the spirit
+of the original. Some of the very modern marbles in the various rooms
+are almost pathetic in their disregard for the standards established by
+the forefathers of their creators.
+
+France, unfortunately, does not rise above the commonplace, in an
+extensive building hastily constructed. And Portugal is shining in all
+the glory of wedding-cake ornamentation that the plaster of Paris artist
+could produce.
+
+South America appears in a very typical building representing Bolivia.
+It is evident that it was not a costly building, but its dignified
+Spanish façade and the court effect inside are far more agreeable than
+the pretentious palace erected by the Argentine Republic.
+
+The Orient, with the oldest art traditions in the world, can justly be
+expected to outdo the rest of the world. We find Japan again, as on
+previous occasions, excelling in its typical arrangement of a number of
+small pavilions in an irregular garden. The entire Japanese display,
+architectural and all, is so perfect a unit that one cannot speak of the
+buildings alone without thinking of the gardens. The Japanese sense of
+detail and love of the picturesque are disclosed at every turn. We still
+have with us in San Francisco, as a memento of the Midwinter Fair of
+1894, the Japanese Garden in Golden Gate Park, and while this new
+creation at the Exposition is not so extensive, it is none the less
+charming.
+
+In contrast to the Japanese wonderland near the Inside Inn, the new
+Republic of China seems to be very unhappily represented, not very far
+away. The whole Chinese ensemble seems a riot of terrible colors, devoid
+of all the mellow qualities of Oriental art. If China's art was retired
+with the Manchu dynasty, then I hope the new Republic will soon die a
+natural death.
+
+
+
+The Sculpture
+
+
+
+The sculptural decorations of the Exposition are so much a part of the
+architectural scheme that their consideration must no longer be delayed.
+The employment of sculpture has been most judicious and has never lost
+sight of certain architectural requirements, so frequently overlooked.
+While there are a great many examples of sculptural decorations at the
+Exposition, there does not seem to be that over-abundance of
+ornamentation so often confused by the public with artistic effect.
+
+The best compliment that can be paid to the Exposition sculpture is that
+it is not evident at first and that one becomes aware of it only in the
+course of studying the architecture. I do not think that, with the
+exception of the Column of Progress and the groups of the Nations of the
+East and of the West, the Exposition has produced, through its very
+unusual and novel opportunities, any great work, or presented any new
+talent heretofore not recognized; but it will most certainly stand a
+critical examination and comparison with other Exposition sculpture and
+not suffer thereby. As a matter of fact, a number of the sculptors of
+our Exposition were commissioned to do similar work at St. Louis.
+
+In one respect our Exposition must immediately claim originality - that
+is, in the elimination of the glaring white, with its many ugly and
+distracting reflected lights, insisted upon for years, in practically
+all the great expositions of the past. This absence of white is surely a
+very novel and very helpful feature, from an artistic point of view. The
+Travertine staff material used, the highly successful work of Mr. Paul
+Denneville, with its innumerable fine accidental effects, so reminiscent
+of the tone and the weather-beaten qualities of really old surfaces, is
+an asset that the sculptors among all the collaborating artists
+gratefully acknowledge.
+
+The artistic value of the Travertine lies in its beautiful expression of
+architecture as well as of sculpture. A plain wall becomes a matter of
+interest and comfort. An ornamental feature or sculpture obtains a
+wonderful charm and delicacy in this material which is particularly
+unique in sculpture. The natural Travertine is a sedimentary deposit
+dating back, it is claimed, to the glacial ages. That imitated here
+forms the bed of the River Tiber near Rome and was extensively used for
+ages in the early Roman and Greek era as a building stone for their
+temples and works of art. While a poor material in cold climates,
+because of its striation, it was always sought in Italy for its
+wonderful texture and tone. It was used in the Coliseum and in many
+other buildings erected during the Roman period.
+
+It is evident that there has been a very happy and close co-operation
+between the architect and the sculptor - a desirable condition that,
+unfortunately, does not always exist. Architects will sometimes not
+allow the sculptor to give full expression to his ideas, will put
+unwarranted restrictions upon him, and the result is very one-sided.
+
+I had the pleasure of seeing much of the sculpture grow from the sketch
+to the finished full-scale work, and the kindliness and the vigorous
+personality of Mr. Stirling Calder added much charm and interest to this
+experience. Mr. Calder has been the director of the department of
+sculpture and the inspiration of his own work penetrates that of all his
+fellow-artists. Among them are many specialists, such as Frederick Roth,
+for instance, as a modeler of animals, who shows in the very fine figure
+of "The Alaskan" in the Nations of the West that he is not afraid nor
+unable to model human figures. Practically all of the animals in the
+grounds show the hand of Roth.
+
+Like Roth, Leo Lentelli did a good share of the task. His work is
+characterized by much animation and spirit, but well balanced wherever
+necessary, by a feeling of wise restraint. I remember with much horror
+some of the sculptural atrocities of former expositions that seemed to
+jump off pedestals they were intended to inhabit for a much longer
+period than they were apparently willing. Repose and restraint, as a
+rule, are lacking in much of our older American sculpture, as some of
+our Market-street statuary testifies. It seems that our unsettled
+conditions find an echo in our art. It is much to be hoped that a
+certain craving for temporary excitement will be replaced by a wholesome
+appreciation of those more enduring qualities of repose and balance.
+
+Calder's work, no matter how animated, no matter how full of action, is
+always reposeful. His "Fountain of Energy" gives a good idea of what I
+mean. It is the first piece of detached sculpture that greets the
+Exposition visitor. Its position at the main gate, in the South Gardens,
+in front of the Tower of Jewels, is the most prominent place the
+Exposition offers. It is worthy of its maker's talent. Its main quality
+is a very fine, stimulating expression of joyousness that puts the
+visitor at once in a festive mood. The Fountain of Energy is a symbol of
+the vigor and daring of our mighty nation, which carried to a successful
+ending a gigantic task abandoned by another great republic. The whole
+composition is enjoyable for its many fine pieces of detail. Beginning
+at the base, one observes the huge bulks of fanciful sea-beasts,
+carrying on their backs figures representing the four principal oceans
+of the world: the North and South Arctic, the Atlantic, and the Pacific.
+Some are carrying shells and their attitudes express in unique fashion a
+spirit of life and energy which makes the whole fountain look dynamic,
+in contrast with the static Tower of Jewels. Everything else in this
+fountain has the dynamic quality, from its other inhabitants of the
+lower bowls, those very jolly sea-nymphs, mermaids, or whatever one may
+want to call them. They are even more fantastically, shaped than the
+larger figures. In their bizarre motives some of the marine mounts look
+like a cross between a submarine and a rockcod.
+
+Rising from the very center of the fountain basin, a huge sphere,
+supported by a writhing mass of aquatic beasts, continues the scheme
+upwards, culminating in the youth on horseback as the dominating figure
+of the whole scheme. The sphere is charmingly decorated with reclining
+figures of the two hemispheres and with a great number of minor
+interesting motives of marine origin. The youth on horseback is not
+exactly in harmony with the fountain; one feels that the aquatic feeling
+running through the rest of the fountain is not equally continued in
+this exceedingly well-modeled horse and youth and those two
+smaller-scaled figures on his shoulders - I feel that the very clever
+hand of a most talented artist has not been well supported by a logical
+idea. Their decorative effect is very marked, taken mainly as a
+silhouette from a distance. They are no doubt effective in carrying
+upwards a vertical movement which is to some extent interfered with by
+the outstretched arms of the youth. Mr. Calder has given us so very many
+excellent things, alone and in collaboration with others throughout the
+Exposition, that we must allow him this little bizarre note as an
+eccentricity of an otherwise well-balanced genius.
+
+As long as we are in the South Gardens, we might take the time to
+investigate the two fountains on either side of the center, towards the
+Horticultural Palace on the left and Festival Hall on the right. There
+we find a very lithe mermaid, used alike on either side, from a model by
+Arthur Putnam. Many of us who for years looked forward to the great
+opportunity of the Exposition, which would give Arthur Putnam a worthy
+field for his great genius, will be disappointed to know that the
+mermaid is his only contribution, and scarcely representative of his
+original way in dealing with animal forms. The untimely breakdown, some
+two years ago, of his robust nature prevented his giving himself more
+typically, for his real spirit is merely suggested in this graceful
+mermaid.
+
+Sherry Fry's figural compositions on the west of Festival Hall might
+well be worthy of a little more attention than their somewhat remote
+location brings them. The two reclining figures on the smaller domes are
+reposeful and ornate. A stroll through the flower carpets of the South
+Gardens, amidst the many balustrade lighting Hermae, discloses a wealth
+of good architectural sculpture, which in its travertine execution is
+doubly appealing.
+
+There are four equestrian statues in different places on the north side
+of the Avenue of Palms. Two are in front of the Tower of Jewels, the
+"Cortez" by Charles Niehaus, and "Pizarro," by Charles Cary Rumsey. The
+third is in front of the Court of Flowers, and the last at the entrance
+to the Court of Palms. The two latter, Solon Borglum's "Pioneer," and
+James Earl Fraser's "The End of the Trail," belong as much together as
+the two relatively conventional Spanish conquerors guarding the entrance
+to the Court of the Universe.
+
+The symbolism of the "Pioneer" and "The End of the Trail" is, first of
+all, a very fine expression of the destinies of two great races so
+important in our historical development. The erect, energetic, powerful
+man, head high, with a challenge in his face, looking out into early
+morning, is very typical of the white man and the victorious march of
+his civilization. His horse steps lightly, prancingly, and there is
+admirable expression of physical vigor and hopeful expectation. The gun
+and axe on his arm are suggestive of his preparedness for any task the
+day and the future may bring.
+
+Contrast this picture of life with the overwhelming expression of
+physical fatigue, almost exhaustion, that Fraser gives to his Indian in
+"The End of the Trail." It is embodied in rider and horse. Man and
+beast seem both to have reached the end of their resources and both are
+ready to give up the task they are not equal to meet.
+
+The psychology of this great group is particularly fine. It is in things
+like these that our American sculpture will yet find its highest
+expression, rather than in the flamboyant type of technically skillful
+work so abundantly represented everywhere. "The End of the Trail" could
+have been placed more effectively in the midst of, or against, groups of
+shrubbery in a more natural surrounding, where so close a physical
+inspection as one is invited to in the present location would not be
+possible.
+
+The Tower of Jewels, however, with its lofty arch and suggestion of
+hidden things behind it encourages the spirit of investigation. On
+entering this great arch, one is suddenly attracted by the pleasing
+sound of two fountains, sheltered in the secluded abutting walls of the
+great tower. Minor arches, piercing the base of the tower west and east,
+open up a view toward these sheltered niches, harboring on the right the
+Fountain of Youth, by Mrs. Edith Woodman Burroughs, and the Fountain of
+Eldorado at the left, by Mrs. Harry Payne Whitney. These two fountains
+are totally different in character, and they could well afford to be so,
+since they are not visible as a whole at the same time, although
+physically not far apart.
+
+Mrs. Burrough's fountain is very naïve in feeling, very charming in the
+graceful modeling of the little girl. The decorative scheme of this
+poetic unit is very simple and well-sustained throughout its
+architectural parts.
+
+Mrs. Harry Payne Whitney's fountain is of the intellectual, dramatic
+kind. The treatment of this almost theatrical subject is well balanced.
+While it does not possess any too much repose, it is very effective. In
+general there are three parts to this fountain; the central doorway of
+Eldorado, just ajar, disclosing faintly this land of happiness; while on
+either side are two long panels showing great masses of humanity in all
+manner of positions and attitudes, all striving toward the common goal.
+Some are shown almost at the end of their journey, overtaken with
+exhaustion; others more vigorous are lending a willing arm to the
+support of their less successful brothers and sisters about to fall by
+the wayside. The whole composition of those two friezes shows Mrs.
+Whitney as a very skillful and imaginative artist. It is a gratifying
+spectacle to see a woman such as Mrs. Whitney, so much heralded,
+possibly against her own inclinations, in the society columns of New
+York, find the time to devote herself to so serious and professional a
+piece of work as the Fountain of Eldorado.
+
+Passing through the Tower of Jewels into the Court of the Universe,
+one's attention will be attracted to a number of pieces of detached
+statuary. The most important among them is "The Four Elements," by
+Robert Aitken. We all remember Aitken as the very promising young man
+who left us before the fire to make a career in the East, after having
+exhausted all local possibilities, the Bohemian Club included. His
+figures of the Four Elements are typical of his temperament and he
+acknowledges in them his indebtedness to Michael Angelo without being in
+the least imitative. These four figures are allegorically full of
+meaning, and taken simply as sculpture, they are excellently modeled.
+His "Fire," showing a Greek warrior defending himself from the fiery
+breath of a vicious reptile, is novel in its motive, while "Water"
+discloses Father Neptune bellowing out into the briny air, accompanied
+by dolphins in rhythmic motions. "Air," on the south, discloses Aitken
+as the skillful modeler of less muscular forms of a winged female
+figure, which in itself, without the birds, is suggestive of its
+meaning. It was very daring to introduce the story of "Icarus" in this
+group, by the small-scaled figure of this first mythological aviator on
+the outside of the wings of the larger figure. It helps to add a note of
+interest to an otherwise not so interesting part of the group.
+
+The Fountains of the Rising and the Setting Sun are most impressive by
+their architectonic quality, and Weinman's clear style of modeling is
+seen at its best in the Tritons in the fountain bowl. The figure of the
+Setting Sun is one of the finest figures of the entire Exposition. The
+suggestion of the termination of day, indicated in the folding of the
+wings and in the suggestion of physical fatigue, is very well conveyed.
+A fine relaxation runs through the whole figure.
+
+The Rising Sun, on the other side, has all the buoyancy of an energetic
+youth ready for his daily task. With widespread wings, looking squarely
+out into the world, he seems ready to soar into the firmament. The
+contrast is admirable in these two figures, and Weinman deserves all the
+popular applause bestowed upon his work.
+
+Paul Manship has contributed two groups at the head of the east and west
+steps leading to the sunken gardens, each group consisting of two
+figures, one representing Festivity, the other, Art and Music. These
+groups are used alike on either side. Manship deserves to be better
+represented in the Exposition than by these two groups alone. His
+position as one of the very successful of our younger men would have
+warranted a more extensive employment of his very strong talent.
+
+It is rather a flight from those Manship figures to the colossal groups
+of the Nations of the East and of the West, but one is irresistibly
+drawn to these wonderfully effective compositions. Their location makes
+them the most prominent groups in the Exposition ensemble.
+
+The harmonious co-operation of Calder, Roth, and Lentelli has resulted
+in the creation of a modern substitute for the old Roman quadriga, which
+so generally crowns triumphal arches. Both groups are so skillfully
+composed as to have a similar silhouette against the blue sky, but
+individually considered they are full, of a great variety of detail. It
+was an accomplishment to balance the huge bulk of an elephant by a
+prairie schooner on the opposite side of the court. Considering the
+almost painful simplicity of the costumes and general detail of the
+western nations as contrasted with the elaborately decorative
+accessories, trappings, and tinsel of the Orient, it was no small task
+to produce a feeling of balance between these two foreign motives. But
+what it lacked in that regard was made up by allegorical figures, like
+those on top of the prairie schooner, used not so much to express an
+idea as to fill out the space occupied by the howdah on the other side.
+There is a great deal of fine modeling in the individual figures on
+horse and camel back and on foot.
+
+In either one of the two groups much has been lost in the great height
+of the arches. Figures like "The Alaskan," "The Trapper," and "The
+Indian," for instance, are particularly fine and they would be very
+effective by themselves. "The Mother of Tomorrow" in the Nations of the
+West is a beautifully simple piece of sculpture.
+
+The Nations of the East, like the West, in its entirety, is the
+conception of A. Stirling Calder, who modeled the pedestrian figures.
+With Mr. Calder, Messrs. Frederick G. R. Roth and Leo Lentelli
+collaborated. The huge elephant in the center of the group was modeled
+by Mr. Roth, also the camels. The mounted horsemen were modeled by Leo
+Lentelli. From left to right the figures are - an Arab warrior, a Negro
+servitor bearing baskets of fruit, a camel and rider (the Egyptian), a
+falconer, an elephant with a howdah containing a figure embodying the
+spirit of the East, attended by Oriental mystics representing India, a
+Buddhist Lama bearing his emblem of authority, a camel and rider
+(Mahometan), a Negro servitor, and a Mongolian warrior. The size of the
+group, crowning a triumphal arch one hundred and sixty feet in height,
+may be inferred from the fact that the figure of the Negro servitor is
+thirteen feet six inches in height.
+
+On the arch beneath this group are inscribed these lines by Kalidasa:
+"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."
+
+The Nations of the West, crowning the arch of the Setting Sun, is also
+the conception of A. Stirling Calder, who modeled the imaginative
+figures of "the Mother of Tomorrow," "Enterprise," and "Hopes of the
+Future."' Messrs. Leo Lentelli and Frederick G. R. Roth collaborated in
+their happiest style, the former producing the four horsemen and one
+pedestrian, the Squaw, and the latter the oxen, the wagon, and the three
+pedestrians. From left to right the figures are, the French Trapper, the
+Alaskan, the Latin-American, the German, the Hopes of the Future (a
+white boy and a Negro, riding on a wagon), Enterprise, the Mother of
+Tomorrow, the Italian, the Anglo-American, the Squaw, the American
+Indian. The group is is conceived in the same large monumental style as
+the Nations of the East. The types of those colonizing nations that at
+one time or place or another have left their stamp on our country have
+been selected to form the composition.
+
+The following lines by Walt Whitman are inscribed on the arch beneath
+the group of the Nations of the West: "Facing west from California's
+shores, inquiring, tireless, seeking what is yet unfound, I a child,
+very old, over waves towards the house of maternity, the land of
+migrations, look afar: look off the shores of my western sea, the circle
+almost circled."
+
+It is popularly conceded that these two groups are magnificently daring
+conceptions, richly worked out. They are probably the largest groups of
+the kind ever made, the dimensions of the base being fifty-two by
+thirty-eight feet, and the height forty-two feet.
+
+Looking seaward from the Court of the Universe the Column of Progress
+commands attention, crowned by the "Adventurous Bowman" and decorated at
+the base with a frieze symbolizing achievement, or progress. The very
+fine symbolism in this column deserves to be studied. The position of
+the column itself is most artistic in its relation to the surroundings.
+It is too bad, however, to see the view from the main court toward the
+column spoiled by a music pavilion of dubious architectural merit. The
+effect of the column as seen from any point is inspiring in its
+monumental grandeur. The group on top, the Bowman, represents man's
+supreme effort in life. He is supported on the left by his fellow-man,
+adding strength and steadiness to his aim, while on the right the
+crouching figure of a woman watches anxiously the sureness of his aim.
+She holds ready in her hand the laurel wreath which she confidently
+feels will be his just reward.
+
+The great Column of Progress is the first column in the world, so far as
+I know, whose design was inspired by a purely imaginative motive, and
+the first sculpture column at any exposition. It must be considered the
+most splendid expression of sculpture and architectural art in the
+Exposition. Mr. Calder may justly feel proud of this great idea and Mr.
+Hermon MacNeil has added new laurels to his many accomplishments in the
+free modeling of the very daring group on top.
+
+The column itself is decorated with the spiral ascending motive of the
+Ship of Life, while at the base Isadore Konti expresses the striving for
+achievement in four well modeled panels of huge scale, representing
+human life in its progressive stages, showing men and women in attitudes
+of hope and despair, of strength and weakness, in the never ending task
+of trying to realize human destiny.
+
+The Court of the Four Seasons harbors four groups by Piccirilli,
+representing the seasons in the conventional way, dividing the year into
+four distinct parts - spring, summer, autumn, and winter. These four
+groups of Piccirilli are not equally successful. By far the most
+effective is the one representing winter. The severe rigidity of the
+lovely central standing figure expresses well that feeling of suspended
+activity which we associate with the conventional conceptions of the
+season of dormant life. The kneeling side figures are in full harmony of
+expression with the central figure. They support very well the general
+scheme.
+
+The next best, to my mind, seems "Spring," on account of the very fine
+psychological quality of the standing figure in giving expression in a
+very graceful fashion to that invigorating and reviving quality of our
+loveliest season. The two side figures seem to be gradually awakening to
+the full development of their powers.
+
+Next to "Spring," "Fall," by the fullness of the decorative scheme,
+suggests Peace and Plenty in the preparation for the Harvest Festival
+and in the touch of family life of the mother and child on the right.
+
+Mr. Piccirilli's naturalistic modeling does not express itself so well
+in "Summer." There is so little strictly architectural feeling in that
+group. I think that Albert Jaegers, with his two single figures on top
+of the two columns flanking the Orchestral Niche, actually represents
+our own two seasons much more successfully than does Piccirilli.
+Jaegers' "Rain and Sunshine" should be used to name the court properly -
+"The Court of the Two Seasons," as we know them in California - the dry
+season, the season of harvest; and the wet season, the one of
+recuperation. I regret that here an opportunity was lost to add
+distinction to the many different features of a great undertaking.
+
+Jaegers has contributed also the figure of "Nature" on top of the music
+niche and the capital bulls on the pylons toward the north of the court.
+These terra cotta bulls are surely worthy of the adjective derived from
+them. Their relative size is very good, and to see them in the richness
+of their color against the upper regions of a dark blue sky is very
+effective.
+
+Directly north of the Court of the Four Seasons stands Miss Beatrice
+Evelyn Longman's Fountain of Ceres, originally planned for the center of
+the court, but so very effective all by itself between the dignified
+colonnades of the avenue. The fountain is most impressive by its fine
+architectural feeling, so uncommon in the work of many women sculptors.
+The general feeling of it is refinement, combined with great strength.
+It is fully deserving of monopolizing a fine setting of dignified
+architecture, so richly emphasized by some of the finest old yew trees
+in the grounds.
+
+In the Court of Abundance a riot of interesting architectural sculptural
+details invites the attention of the visitor. Beginning with the lower
+animal forms, such as crabs and crayfish, etc., the entire evolution of
+Nature has been symbolized, reaching its climax in the tower, where the
+scheme is continued in several groups in Chester Beach's best style. The
+lowest of these groups shows the Primitive Age, followed above by the
+Middle Ages and Modernity. The great charm of this finest of all the
+towers in the Exposition is its wonderful rhythmic feeling. The graceful
+flow of line from the base toward the top is never interrupted, in spite
+of the many sculptural adornments used on all sides. In front of the
+tower are two very ornate illuminating shafts, showing Leo Lentelli's
+diabolical cleverness in making ornament out of human figures. Leo
+Lentelli's style is particularly well adapted to Mullgardt's Court of
+Abundance. Its care-free, subtle quality, full of animation, presenting
+new motives at every turn, is most helpful in the general spirit of
+festivity which characterizes this most interesting of all the courts.
+
+Aitken's Fountain of Life in the center of the court is totally
+different. Full of intellectual suggestion, it is almost bewildering in
+the storytelling quality of its many details. Aitken's fountain, which
+is situated in the center of a basin a hundred and fifty feet long by
+sixty-five feet wide, rises directly from the water. The main structure
+consists of a series of four groups of heroic-sized figures, carved in
+pierced relief, each flanked by colossal bronze Hermes, their arms
+reaching around the structure and held together by animal forms of
+reptilian or fishy origin. All these forms and figures surround a globe
+of enormous size, typifying the Earth, over the surface of which streams
+of water are thrown from the reptilian chain motive.
+
+Leading up to the main structure is a group of ten crouching figures,
+symbolizing Destiny in the shape of two enormous arms and hands, giving
+life with one and taking it with the other. Here, on the left side, are
+arranged figures suggesting the Dawn of Life, while on the right are men
+and women depicting the fullness and the end of existence.
+
+In the first, Prenatal Sleep, is the crouched form of a woman, while
+successively come the Awakening, the Ecstatic Joy of Being - or it may
+be the Realization of Living; the Kiss of Life, with the human pair
+offering up their children, representative of the beginnings of
+fecundity; a female, strong of limb and superb of physique, enfolds in
+her arms two infants, while her mate, of no less powerful build and rude
+force, kneeling beside her, gives her an embrace typical of the
+overpowering parental instinct. Here is the suggestion of the elemental
+feelings, the beginnings of things.
+
+Between the first group and the central one comes a gap, a space typical
+of that unknown time in history when conjecture alone permits
+speculation, and the story is taken up again with the first of the
+central groups, wherein stands a figure of Vanity, glass in hand,
+symbolizing the compelling motive of so much in human endeavor. To her
+left, in enormous contrast, are primitive man and woman, treated with
+great realism, these two carrying their burdens of life, in the form of
+their progeny, into the unknown future, their expression that of rude
+but questioning courage, the man splendid in his virility, superb in the
+attitude of his awkward strength, ready to meet whatever be the call of
+earth. His mate meanwhile suggests the overwhelming and eternal
+instincts of motherhood.
+
+An archaic Hermes, dividing these figures from the next group, allows
+for a space of time to elapse, and we come to their children, now grown
+to manhood and womanhood, in their rude strength finding themselves,
+with the result of Natural Selection. This is a group of five
+personages, the center figure a man of splendid youth and vigor,
+suggesting the high state both of physical and intellectual perfection,
+unconsciously attracting the female, two of whom regard him with favor,
+while two males on either side, deserted for this finer type, give vent
+to deep regret, despair, and anger. One attempts by brute force to hold
+the woman; the other reluctantly gives up his choice, in the obvious
+futility of his unequal intellectual endowment to comprehend.
+
+From this to the Survival of the Fittest we have a militant group, in
+which physical strength begins to play its part, and perhaps discloses
+the first awakening of the war spirit, the woman in this case being the
+exciting cause. The powerful chieftains struggle for supremacy of their
+time and tribe, their women making futile efforts to separate them. Here
+the sense of conquest receives its first impression and is finely
+indicated, with admirable action, while there is the symbolism of the
+conflict of the nations that has ever gone on, for one cause or another,
+and that struggle for the female which has ever been the actuating
+motive in war, conquest, and, for that matter, peace.
+
+The next group - always separated by the solemn and dignified Hermae -
+discloses "The Lesson of Life," wherein the elders, with the experience
+of the years, offer to hot-headed youth and to the lovelorn the benefit
+of their own trials and struggles. A beautiful woman is the central
+figure. She draws to her side splendid manhood, the Warrior, willing to
+fight for his love and his faith. To his left his mother offers him her
+affectionate advice, while to the right a father restrains a wayward
+offspring who, rejected by the female, is in a state of frenzied
+jealousy. Finally two figures represent Lust, a man struggling to caress
+the unwilling woman who shrinks from his embraces, and we are led down
+from this pair out of the composition to the crouching group at the
+approach of the structure, referred to at the beginning of this
+description, who here are departing from the central composition.
+
+First is a figure of Greed looking back on the Earth. He holds in his
+hands a mass suggestive of his futile and unsavory worldly possessions,
+the unworthy bauble toward which his efforts have been directed. Back of
+him we have the group of Faith, wherein kneels a Patriarch, who offers
+consolation to a woman to whom he presents the hope of immortality,
+holding in his hands a scarab, ancient symbol of renewed life. Next come
+two recumbent figures, a man and a woman, the first, Sorrow, the other
+typifying Final Slumber. These are about to be drawn into oblivion by
+the relentless hand of Destiny.
+
+In the center of a formal parapet at the end of the basin of water,
+sixty feet from the fountain, is a colossal figure symbolic of the
+setting sun, Helios, the great orb having thrown off the nebulous mass
+that subsequently resolved itself into the earth.
+
+In the immediate neighborhood of this Court of Abundance is found Sherry
+Fry's figure of Neptune's Daughter, in the open court north of the
+tower. The figure is not in keeping with the scheme of Mullgardt's
+court, extending in this direction. The effect of this figure, no matter
+how graceful it may be, is unquestionably too physical, in a certain
+measure owing to the opportunity for close inspection.
+
+On the south of the Court of Abundance, in the Court of Flowers, Edgar
+Walter's fountain has been placed. "Beauty and the Beast" have been
+combined in contrasting fashion, with much effect, by associating the
+youthful charms of a graceful maid with the angular ugliness of a
+dragon, who seems to feel honored by having been selected as the
+resting-place of a creature from outside his realm. He seems to be
+almost hypnotized into a state of abject lifelessness. The effect of
+this juxtaposition of the round forms of the human body and the almost
+geometrical angularity of the fabulous beast is very interesting and
+adds a new note to the many other ideas presented. The architectural
+scheme of the fountain is made doubly interesting by a rich use of
+animal forms of humorous character.
+
+The immediate vicinity of the Laguna remains still to be investigated in
+regard to sculptural adornments. The dozen or so niches in the west
+front of the main building present a repetition of two individual groups
+by Charles Harley, of New York, of decidedly archaeological character
+"The Triumph of the Field" and "Abundance." They are most serious pieces
+of work, possibly too serious, and they are in great danger of remaining
+caviar to the masses on account of the complexity of their symbolism and
+the intellectual character of their motives. Their setting is most
+attractive, amongst groups of trees and shrubs.
+
+Maybeck's Palace of Fine Arts is so overwhelming in its architectural
+effects that one seldom feels like doing justice to the fine sculptural
+detail everywhere in this building. Ralph Stackpole's interesting Shrine
+of Inspiration is the most charming bit of sculpture, more detached in
+its effect than most of the other motives. Bruno Zimm's eight fine
+friezes, showing the development and influences of the arts in a very
+severe, almost archaic style of modeling, add a fine note to the dome,
+and Ulric Ellerhusen's equally architectonic friezes are in good style
+and are in thorough harmony with the classic quality of this great
+palace.
+
+It is, of course, not possible to name all of the many pieces of
+architectural sculpture used at the Exposition. The general effect one
+receives is that it represents the best that is possible in Exposition
+sculpture today. It gives evidence of the increasing development of the
+qualities of design, as contrasted with the so much looser work of
+former expositions. Seldom before have sculptors anywhere, since
+sculpture and architecture first worked hand in hand, so played their
+most important roles together in the ensemble setting that constitutes
+our Exposition visually. On arch or column, in niches, in fountains, and
+in free-standing groups, they sing of many themes, and always in
+harmony, but with no loss of character or individuality. There is no
+doubt of it, that, for an Exposition, sculpture is the most important of
+all the arts, because it is the most human. Without it, architecture
+would be cold and without appeal. I foresee a great future for sculpture
+in America, where our temperament demands it. The educational value of
+sculpture at an exposition is incalculable. It is a school for the
+sculptors, too, as well as for the public.
+
+
+
+The Color Scheme & Landscape Gardening
+
+
+
+Nothing excites the Exposition visitor more than the color scheme of the
+buildings. But "excite" is really not the proper word, because there is
+nothing exciting about it. Nothing was farther from Mr. Guérin's mind
+than to create excitement, unrest, or any of those sensations that might
+lead to fatigue or even to a nervous breakdown. We understand fully by
+this time that it was Jules Guérin who is the responsible artist, and
+who supervised the putting into existence of the first real "Guérin"
+that ever was. Mr. Guérin has the distinction of being the first
+director of color and of decoration ever appointed for an international
+exposition.
+
+It must become evident to any person who is at all familiar with the
+fascinating tonal designs Guérin produces for many of our leading
+magazines that what he did was nothing but to paint nature as he has
+been used to represent it in his pictures. Guérin must have had a
+glorious time with that first great opportunity, so seldom to happen, of
+putting all those pet colors of his into the actual outdoors, there to
+feast his eyes upon them. It was a daring and novel undertaking, most
+successful in a large way. I hope we are going to benefit by this
+successful experiment and begin to give life to our dreary cement
+façades, mournful roofs, and lifeless window-sashes, ornamentations, and
+what not. We are, I admit, hopelessly at the mercy of the housepainter,
+who knows much about estimates, something about paint, and little about
+color. I hope we are going to learn the difference between paint and
+color, the purely physical, meaningless thing on the one hand, and the
+intelligence-conveying, pleasure-giving element on the other.
+
+Guérin certainly knows color, and I take it for granted that a man of
+his training and experience knows how to use paint. His exposition
+buildings look for all the world like a live Guérin print taken from the
+Century Magazine and put down alongside of the bay which seems to have
+responded, as have the other natural assets, for a blending of the
+entire creation into one harmonious unit. I fancy such a thing was
+possible only in California, where natural conditions invite such a
+technical and artistic innovation.
+
+The general effect is one of great warmth. The basic tone of the
+travertine furnishes a very rich foundation for the other colors added.
+The whole range of color is very simple and it is simplicity and
+repetition over large areas that make the colors so effective. There are
+three different greens, for instance - the patina green on many minor
+domes, suggesting aged copper surfaces; a very strong primary green, on
+the small doors of the palaces and most of the lattice work; and another
+very pale, pinkish green, a sort of an abalone shell green, used on all
+the flagpole bases, always topped off with a light pinkish red, used
+above the light green base on all the flagpoles.
+
+Then there are the reds, a number of different reds, running from a
+pinkish brick color to a darker russet red, to be found exclusively in
+all vertical panels serving as background for detailed statuary - for
+instance, in all the courts. Next to the red there is a brilliant
+orange, used in relatively small quantities here and there in the
+mouldings, as around the Brangwyn paintings in the Court of Abundance.
+
+This leaves yet to be named the few soothing blues that abound in the
+ceilings, in the deep recesses of the walls, and the coffered arches,
+serving as backgrounds for the many richly-modeled terra cotta rosettes.
+
+This is practically the entire range of colors, but they assume, of
+course, endless variations of tone and intensity, owing to the
+difference of the surfaces and the play of light and shadow. The
+relation of the whole color scheme to the colors furnished by nature is
+by no means accidental. The effect of the ensemble, on a calm, sunny
+day, is hard to describe in its gorgeous beauty.
+
+The pressing into service of nature as applied to color was particularly
+inviting, of course, on the bay side, where simple sweeps of skies,
+foothills, and plain bodies of water furnish almost ideal conditions.
+This is true in a similar way for the background in the west, but toward
+the south - well, we had better forget such mournful outward aspects of
+our great city of San Francisco, known around the world for its gay
+temperament.
+
+Appreciating the importance of detail, Guérin extended his color
+treatment to practically everything presenting surface. Nothing could
+escape his vigilant eyes. Even the sand covering of the asphalted roads
+is of a peculiarly attractive blend. It seems like a mixture of ordinary
+sand with a touch of cinnamon. Even that corps of stalwart guards had to
+submit to a tonal harmony of drabs, with touches of yellow metal, warm
+red puttees, and neat little yellow Spanish canes. They all seem very
+proud and appreciative of their part in the concert of colors. And they
+speak of it with feeling and reverence. Not long ago, during a rather
+stormy, wet day, I happened to notice several of these cicerones hiding
+in a doorway of one of the palaces, looking most disconsolate. The
+reason for it became immediately apparent; the un-Californian weather
+had forced them to put on civilian overcoats of indescribable hues, and
+the shame of being out of color was plainly written in their faces. It
+shows that art is largely a matter of education.
+
+I fancy that all that a respectful and appreciative public could do, in
+order to live up to the occasion, would be to have Exposition suits
+built of pongee silk, or some other harmonious material. So far, on all
+of my visits, I observed a shocking preponderance of black, which I hope
+will eventually yield to the softer colors of lighter materials, with
+the arrival of warmer weather.
+
+The careful observer will find that the crimson vermilion red of the
+fire alarm boxes had to yield to a more refined vivid orange, much, I
+understand, to the consternation of the Exposition fire marshal, who
+must have been shocked at this intrusion.
+
+The horticultural effect of the grounds, flower beds, and shrubbery will
+always adapt itself properly to the color scheme, and a preponderance of
+warm yellows, reds, and orange will simultaneously fill out the garden
+areas. At first yellow pansies and daffodils had control, to be replaced
+in due season by the uniform appearance of tulips, hyacinths, and
+successions of other flowers. This progressive appearance of new flower
+carpets will provide ever-changing elements of interest throughout the
+entire period of the Exposition.
+
+It seems only right at this time to speak of the great and modestly
+contributed services of John McLaren. He, with his wide experience and
+unceasing energy, created the garden setting which ties all the
+buildings into a natural harmony. Hardly ever have trees, shrubs, and
+flowers been used in such profusion in an Exposition. Conventional in
+aspect, all great expositions in the past have been lacking in the
+invigorating elements, no matter how naturalistic the site may have
+been. The few scraggly pines of St. Louis looked more like undesirable
+left-overs  of a former forest than like a supporting feature of the
+Exposition picture.
+
+The stony look of many former expostions is not evident at San
+Francisco. Considering the fact that the exposition is largely on made
+ground, it is amazing what has been accomplished. With the exception of
+the few scattering remains of an old amusement park - the Harbor View
+Gardens - so charmingly utilized in the courtyard of the California
+building, practically all the trees and shrubs had to be brought in from
+the outside. How well Mr. McLaren succeeded in moving whole gardens "en
+bloc" to the Exposition is shown by the fact that with the exception of
+a few Monterey cypresses on one of the lagoon islands, not a single tree
+has died. It was no small task to transplant eucalypti forty feet high,
+and aged yew trees, and the tradition that it is impossible to
+transplant old trees has again been demonstrated as in the same class
+with other old sayings based on the experience of the past, but applying
+no longer to our own conditions.
+
+The stately rows of palms on the south avenue contain some specimens of
+the Canary Island palms which must be nearly forty years old, and some
+of the yews in the colonnade between the Court of the Four Seasons and
+the Marina, near Miss Longman's Fountain of Ceres, are probably even
+older. The massing of large groups of black acacia, Monterey pines, and
+cypresses, filled in at the edge with veronica and many other flowering
+shrubs, gives many interesting notes, and serves frequently as
+backgrounds for statuary.
+
+Like everything else, from the architecture down, the garden aspect of
+the Exposition is not frugal nor skimpy, whatever floral effects are
+used. Like shrubbery, trees occur in great profusion, and without regard
+for difficulties in transplanting.
+
+The Court of the Universe did not receive the generous treatment from
+Mr. McLaren that it almost cries for. The few isolated Italian cypresses
+in the Court, near the tower, no doubt help a good deal, but one is
+tempted to ask why there are not more of them. Italian cypresses are
+hard to transplant, particularly if their feet have become accustomed to
+the peaceful conditions of Santa Clara Valley cemeteries, where most of
+them, I understand, enjoyed an undisturbed existence until they were
+used so very effectively in the Exposition. These successfully moved old
+trees are by far the most useful trees in architectural schemes, as
+anybody who knows the Villa Borghese in Rome must admit.
+
+I would like to see a law passed that every person at a certain age must
+plant six Italian cypresses. I humbly suggest this to our legislators,
+who seem to be suffering from a lack of measures to be introduced and
+passed for the benefit of the people.
+
+The Italian cypress is our most picturesque tree, and for combination
+with architecture, is unrivaled by any other tree. They grow rather
+slowly, but do not take much space, on account of their vertical habit.
+The making of the Court of Palms is due largely to the liberal use of
+these elegant trees, with their somber stateliness.
+
+The lover of outdoors will find no end to his pleasurable investigations
+in the many fine, luxurious groupings of flowering shrubs. Heather,
+which does so well with us, and blooms when only few flowers brighten
+our gardens, has been profusely used in solid beds at the base of the
+Kelham towers, around Festival Hall, and in many other places. The
+dainty, glistening foliage, interspersed with red berries of another
+acclimated alien from the Himalaya Mountains - the Cotoneaster - makes
+fine borders around the pool in the Court of the Four Seasons, in the
+Court of Palms, and in several of the colonnades.
+
+Evergreen plants and shrubs are the dominant features of the two Italian
+Avenues connecting the big court with the side courts. The rich and
+luxuriant carpets of the many varieties of box, thuya, taxus, and dwarf
+pine, in dark, somber greens and many lighter color variations, are
+superb.
+
+In the Court of Abundance great masses of orange trees furnish the
+dominant note. They are most effective with their branches heavily laden
+with fruit. They are not only a surprise to the outsider, but even to
+the Californian, who wonders at the skill and experience which made this
+feat possible.
+
+
+
+Mural Decorations
+
+
+
+In connection with the color, scheme, the mural decorations invite
+attention at many places. The outdoor character of the Exposition has
+given unusual locations to some of these decorations. There are in all
+some thirty. Mr. Guérin, as the director of color, had full charge of
+their production, and all of them were painted by men he trusted
+personally as regards their ability to execute and to finish on time.
+That his choice fell largely on Eastern men was only too natural.
+
+Few people have a proper idea of the magnitude of the work involved in
+painting a huge decoration, and Mr. Guérin can hardly be blamed for
+his choice of the men of experience who finally did the work, although
+not all of them justified the confidence placed in them. The work of
+painting such huge decorations is necessarily a big undertaking,
+involving many preliminary studies and much physical and mechanical
+labor in the end. Many painter-decorators employ large numbers of
+trained men, apprentices and independent artists, to assist in the
+execution of their commissions, and very frequently the temptation of
+yielding the pleasure of execution to other hands is the cause of the
+lowering of standards.
+
+Probably, none of the canvases by Mr. Robert Reid, in the dome of the
+Fine Arts Palace, can be said to do justice to the remarkable decorative
+talent of Mr. Reid. He is so well and prominently known as a painter of
+many successful decorations, in the East, that it is to be regretted
+that he was not in a happier mood when he came to the task of painting
+his eight panels of irregular shape for the Exposition.
+
+The very scattered style of painting so effective in many of his easel
+paintings, which show all the fine qualities of a modern impressionistic
+school, is not of great help in pictures intended to be viewed from a
+great distance. His decorations present very little opportunity for the
+eye to rest upon them, and they are altogether too involved, in their
+turbulent compositions. Their color is not unattractive, no matter how
+cold, and of sufficient interest to atone for the lack of dignified
+design. The subjects of all of these are by no means unattractive, and a
+description of them reads far better than the pictures look.
+
+The birth of European art is symbolized in the first panel. There are
+five dominant figures, grouped about an altar on which burns the sacred
+fire. An earthly messenger leans from his chariot to receive in his
+right hand from the guardian of the flame the torch of inspiration,
+while with his left hand he holds back his rearing steeds. In front of
+these a winged attendant checks for an instant their flight. The central
+figure, the guardian of the altar, still holds the torch, and below her
+are three satellites, one clasping a cruse of oil, another pouring oil
+upon the altar, while she holds in her hand a flaming brand, ready to
+renew the flame should it falter, a third zealously watching the fire as
+it burns. Opposite these a figure holds a crystal gazing-globe, in which
+the future has been revealed to her, but her head is turned to watch the
+flight of the earthly messenger.
+
+The birth of Oriental art is symbolized in the second panel. The forces
+of the earth, wresting inspiration from the powers of the air, are
+pictured by a contest between a joyous figure in ancient Chinese armor,
+mounted upon a golden dragon, combating an eagle. A female figure under
+a huge umbrella represents Japan, while on either side are two other
+Oriental figures, in gorgeous attire, symbolic of the long periods of
+Oriental art.
+
+The third panel represents the Ideals in Art. There are seven figures,
+the Greek ideal of beauty dominating all in a classic nude. Below this
+Religion is portrayed, in a Madonna and Child. Heroism is shown in
+Jeanne d'Arc, mounted on a war-horse and flinging abroad her victorious
+pennant. A young girl represents youth and material beauty, while at her
+side a flaunting peacock stands for absolute nature, without ideal or
+inspiration. A mystic figure in the background holds the cruse of oil.
+Over all of them floats a winged figure holding a laurel wreath for the
+victorious living, while a shadowy figure in the foreground holds a palm
+for the dead.
+
+The fourth panel represents the inspirations of all Art, five figures
+symbolizing Music, Painting, Architecture, Poetry, and Sculpture. Flying
+above these are two winged figures, one holding a torch flaming with the
+sacred oil that has been brought from the altar, the other drawing back
+the veil of darkness, revealing the tangible, visible expression of Art
+to mortal eyes.
+
+The four single panels symbolize the four golds of California; the
+poppies, the citrus fruits, the metallic gold, and the golden wheat. The
+idea of the four golds is particularly novel and will some day yield far
+more interesting results, and I hope the subject will not be allowed to
+lie idle. It is a very fine idea, too good not to be used permanently in
+some dignified building in California.
+
+The Court of the Four Seasons offers a decorative scheme of eight panels
+above the doorways in the colonnades and two large panels in the
+orchestral niche on the south. All of these ten paintings were done by
+Milton Bancroft, one of the younger of the Eastern decorator-painters,
+who took his task seriously enough, without rising in any of his
+decorations above the conventional, with the exception of the "Autumn"
+and the two larger panels in the half dome.
+
+All of the seven decorations belonging to the set of eight smaller ones
+are rather academic in their monotony of symmetrical compositions, not
+sufficiently relieved by variety of detail. These decorations have to
+excess what Reid's decorations are lacking in, namely, repose. Their
+coloring is quiet and in thorough harmony with the architecture.
+
+Bancroft's two more importantly placed decorations are, fortunately, his
+best efforts. "Art Crowned by Time" and "Man Receiving Instruction in
+the Laws of Nature" are very effective in their stateliness and
+thoroughly decorative quality. They show the artist's allegiance to the
+great decorations of the Renaissance in many quaint ways of filling out
+the background spaces by puttos holding tablets, simple bits of
+architecture, and conventionalized trees. His figure of "Art" is unique
+among his figures in the decorative pattern used on the mantle which
+falls gracefully from her shoulders. All the other Bancroft decorations
+are devoid of this use of surface patterns, which are so helpful and
+interesting in decorative arrangement.
+
+It is only a few steps from the Court of the Four Seasons into the Court
+of Palms. In entering through the orchestral niche one passes directly
+underneath the lunette which holds the very decorative canvas by Arthur
+Mathews, the acknowledged leader in the art of California. It must be
+said that it does not seem right, in the light of what has been
+contributed by men from elsewhere, that Mathews' superb talent should
+have been employed only in one panel. His "Victorious Spirit," a rich
+and noble composition, has certain enduring qualities which are not to
+be found in a single one of any of the others. Simply taken as a
+decoration, his picture is most effective by its richness of color, and
+without going into the question of its meaning, it is thoroughly
+satisfactory as a decoration.
+
+Childe Hassam's lunette, said to represent "Fruit and Flowers," is
+almost anaemic alongside Mathews' fullness of expression. Nobody ever
+suspected Childe Hassam of being a decorator, no matter how admittedly
+important a place he holds in the field of easel painting. The
+composition of his decorations is frugal in every sense, largely owing
+to the small scale of his figures. In the physical center of the
+composition nothing of interest happens, and the composition breaks
+almost in two. The coloring is insipid, and altogether not in keeping,
+in its extreme coldness, with the happy warmth of the travertine
+surrounding it.
+
+Directly opposite, Charles Holloway presents himself in a very happy
+painting called "The Pursuit of Pleasure." A study of this picture can
+result in nothing but complete satisfaction. It is well and
+interestingly composed, lively in arrangement, in good scale, and not
+lacking in a certain feeling of repose, so essential in a good
+decoration, and, for that matter, in any work of art.
+
+In the great arch of the Tower of Jewels the most elaborate decorations
+of Mr. William de Leftwich Dodge, of New York, command attention first
+of all by their fine and lively colors. These decorations show a most
+experienced artist, treating a wide variety of interrelated subjects
+with great skill. These enormous canvases, sixteen by ninety-six feet in
+size, are divided into a triptych, each picture continuing its central
+scheme into two smaller side panels.
+
+The great composition to the left is labeled "The Atlantic and the
+Pacific," with a picture of "The Purchase" on the right and "The
+Discovery" on the left. Opposite we have the "Gateway of all Nations,"
+with "Labor Crowned" and "The Achievement" on either side.
+
+Mr. Dodge has a very fine sense of decoration, which he used with much
+skill. His command of human forms, together with the complete mastery of
+all other detail, enables him to paint very easily decorations which
+leave no doubt as to his long and varied experience in this field.
+
+"The Atlantic and the Pacific" is very interesting in its formal
+symmetry, splendidly relieved by the individual treatment of the eastern
+and western nations which receive with expressions of joy the completion
+of the great waterway which means so much for the furthering of their
+mutual interests.
+
+"The Gateway of all Nations" on the opposite side is less symmetrical,
+but very well balanced in its arrangement of many elements, naturalistic
+as well as allegorical. On the left, in the middle picture, one sees the
+retiring forces of labor, proudly watching the great procession of
+varied ships, moving in a joyous parade, led by Father Neptune and
+attendants, towards the recently opened gate. Preceding Father Neptune
+are allegorical figures, rhythmically swinging away into the sky. All of
+Dodge's decorations are good for their sound decorative treatment,
+always sustaining well the architectural surrounding frame, so
+particularly important in this great and massive tower. Dodge's
+backgrounds are devoid of any naturalistic suggestion, which so often
+destroys otherwise effective decorations.
+
+The function of a decoration must always be to preserve the feeling of
+the wall, as opposed to the work of the easel painter, who wants to
+assist in forgetting that there is a canvas and to suggest that we are
+looking into the far distance. A good decoration should, as it were,
+allow the driving of a nail into any part of its surface - it should not
+make a hole in the wall.
+
+In the two triumphal arches of the Nations of the East and the West,
+Frank Vincent Du Mond and Edward Simmons, respectively, contributed to
+the scheme of decorations. In the western arch, DuMond painted a
+continuous frieze of the march of civilization towards the great West.
+His work is most conscientiously done, very intellectual, and most
+effective in color, as well as in arrangement. You see in his continued
+scheme the entire story of western development.
+
+It begins with the youth departing from his old father, who only
+reluctantly - feeling the infirmities of old age - stays behind.
+Preceding the young man, the historical prairie-schooner, accompanied by
+pioneers, continues the procession. This is developed further in
+historical groups of soldiers, priests, and men representing the
+intellectual rise of the great West. There is William Keith, with the
+palette, Bishop Taylor, Bret Harte, Captain Anza, and other well known
+western figures, taking their place in the procession of tent wagons and
+allegorical figures, all striving towards that very fine group
+representing California in all the gorgeousness and splendor of the
+Golden State. This composition of "California," taken by itself, is one
+of the very best passages in the whole decoration, and could very
+effectively be used all by itself.
+
+On the east, Edward Simmons presents two very charming compositions,
+full of great refinement and delicacy. The refined coloring of his
+decorations, so very delightful by themselves, is not in accord with the
+architecture, and in the overawing surroundings of the great arch they
+do not look as well as they might in a more intimate scheme of smaller
+scale. The one to the left, as seen from the Court of the Universe,
+tells of the dreams which led to the exploring and exploiting of the
+great West. Carefully designed figures of great refinement. represent
+"Hope" and "Illusory Hope," scattering tempting bubbles, heading the
+procession of stately women. They are followed by "Adventure," "Art,"
+"Imagination," "Truth," and "Religion" and a group suggesting family
+life.
+
+On the opposite side the westward trend of War, Commerce, Conquest,
+Imagination, and Religion from all corners of the earth is typified.
+
+Mr. Simmons in all his work employs a very unusual technique of broken
+columns, without losing a certain desirable simplicity of surface. His
+allegorical theme on the north side will linger in the minds of the
+people as one of the best of the Exposition decorations, particularly
+for its graceful drawing.
+
+It seems hardly possible to do adequate justice to the very unusual
+genius of Frank Brangwyn, who charms thousands of Exposition visitors
+with his eight panels, representing the Four Elements, in the Court of
+Abundance. Brangwyn's pictures have one great advantage over all of the
+others, which lies in their accessible location, well controlled by
+daylight. All the other decorations seem to me to be situated too high
+above the ground. Brangwyn's have no such disadvantage to contend with.
+How much more important, for instance, Mathews' lunette would look,
+placed somewhere nearer the level of the eye.
+
+Brangwyn's canvases are a veritable riot of color, full of animation and
+life. They are almost dynamic. There seems to be something going on in
+all of them, all the time, and one hardly knows whether it is the
+composition, the color, or the subject, or all three, which gives them
+this very pronounced feeling of animation. He knows how to approach the
+extreme possibilities in pictorial decoration without losing sight of
+certain elements of repose. Seen from a distance, their effect at first
+is somewhat startling, owing to their new note, not reminiscent in the
+very least of the work of any other living - or past - painter. On
+closer examination they disclose a great wealth of form, very skillfully
+treated. There is every indication that it gave the artist the utmost
+pleasure to paint them. This spirit of personal enjoyment, which all of
+them convey in a remarkably sustained fashion, is contagious, and
+disarms all criticism. They are primarily great paintings in a technical
+sense. Added to that quality is a passionate love of pure color,
+juxtaposed with fine feeling for complementary colors of great
+intensity.
+
+Brangwyn's glass window technique, of separation into many primary and
+secondary colors by many broad contrasts of neutral browns and grays, is
+very effective in bringing a feeling of harmony in all of his paintings,
+no matter how intense their individual color notes may be.
+
+His pictures are not intellectual in the least, and all of the people in
+his pictures are animals, more or less, and merely interested in having
+a square meal and being permitted to enjoy life in general, to the
+fullest extent.
+
+The quality of enjoyment that runs through all of Brangwyn's work is
+extremely useful in the general atmosphere of Mullgardt's court. In the
+northwest corner, Nature is represented, in all the fecundity of the
+earth. Only in our wildest dreams, and only in the advertisements of
+California farm lands and orchards, do such grapes, pumpkins, pears, and
+apples exist.
+
+The picture to the left shows the grape-treaders, in the old-fashioned
+and unhygienic practice of crushing grapes by dancing on them in
+enormous vats. Others are seen gathering and delivering more grapes. As
+in the other picture, showing the harvest of fruit, more people are
+shown. Brangwyn never hesitates to use great numbers of people, which
+seem to give him no trouble whatever in their modeling and
+characterization.
+
+Following on to the right, "Fire," represented as the primitive fire and
+as industrial fire, in two pictures, continues the scheme. That group of
+squatting woodmen carefully nursing a little fire is almost comical,
+with their extended cheeks, and one can almost feel the effort of their
+lungs in the strained anatomy of their backs. There does not seem to be
+anything too difficult for Brangwyn. "Industrial Fire" is interesting
+from the decorative note of many pieces of pottery in the foreground.
+They seem to have come from the kiln which muscular men are attending.
+
+"Water" is unusually graceful and delicate in its vertical arrangement
+of trees and the curve of the fountain stream, coming from the side of a
+hill. Women, children, and men have congregated, taking their turn in
+filling all sorts of vessels, some carried on their heads, some in their
+arms. Brangwyn's clever treatment of zoölogical and botanical detail is
+well shown in flowers in the foreground, such as foxglove and freesia,
+and the graceful forms of a pair of pinkish flamingoes. In the other
+panel of the same subject, a group of men on the shore are hauling in
+their nets.
+
+The last of the four, "Air," represents this element in two totally
+different ways; the one on the left gives the more tender, gentle
+movement of this element, in the suggestion of the scent of the bowmen
+screened by trees, moving toward their prospective prey, while the other
+very bold composition is of a windmill turned away from the destructive
+power of an impending windstorm. In the foreground people are rushed
+along by gusts of wind, while children, unaware of the impending storm,
+are flying kites.
+
+The masterful and varied treatment of these eight canvases show Brangwyn
+as the great painter he is known to be. We should rejoice to have such
+excellent examples of his brush permanently with us.
+
+While not exactly belonging to the number of official decorations,
+Edward Trumbull's wall paintings in the unique Pennsylvania building are
+of great interest. Thoroughly dignified in their composition, they are
+most descriptive in their subject-matter. The "Pennsylvania Industries"
+are on the west side and "Penn's Treaty with the Indians" on the other.
+It is evident that Trumbull is a disciple of Brangwyn, though a personal
+note is not lacking in his work.
+
+The tea-room of the California building harbors some mural decorations
+by Miss Florence Lundborg which the male part of the population can
+enjoy only by special invitation. I regret that they are not placed
+somewhere where the casual Exposition stroller can see them, because
+they are deserving of more attention than they are apt to receive. Miss
+Lundborg's artistic contributions have for many years been along the
+lines of decorations and in this big, well-composed figural scheme she
+discloses again a very fine, sympathetic understanding of the problems
+of a wall decoration. The color scheme is very refreshing and gives life
+to a large hall which has been endowed with unusual distinction by Miss
+Lundborg's art. A number of decorative floral medallions complete a
+scheme which is characterized throughout by dignity and sympathy.
+
+
+
+The Illumination
+Conclusion
+
+
+
+While a daytime investigation of the Exposition no doubt has its
+rewards, the full meaning of the Exposition reveals itself at night.
+Never before has an Exposition been illuminated in the unique fashion of
+the Panama-Pacific International Exposition.
+
+Former exposition lighting consisted of a lavish display of lighting
+fixtures, and of unavoidable millions of glaring bulbs, the number of
+which nobody was permitted to forget. The offensive glare of the direct
+light had to be eliminated to preserve that feeling of tonality, of
+restfulness, so impressive in daytime. In other words, the sources of
+all lights at night have been concealed, or so concentrated that they
+could be far removed, so as not directly to offend the eye. The effect
+is very much like the flood of light of a full-moon summer night.
+
+In speaking of the rich mellowness of the lighting effect, one feels
+again compelled to speak of the travertine stucco as the artistic
+foundation of not only the architecture, sculpture, painting, and
+landscape garden effects, but also of the illuminating effects designed
+by Mr. W. D'A. Ryan, and executed by Mr. Guy L. Bayley. Without the
+mellow walls and rich orange sculptural details, no such picture of
+tonal beauty could have been produced.
+
+It is difficult to single out, among the many suggestive pictures, the
+most alluring one, but I may safely say that the first half hour after
+the close of day, as enjoyed around the lagoon, with the Fine Arts
+Building in the background, reflected in the waters, will linger forever
+in the minds of all who are privileged to see it.
+
+Such blues I have seen only in pictures by Maxfield Parrish. Combined
+with the rich gold of the colonnade, they are almost supernatural. The
+whole effect, as reflected in the placid surface of the lagoon,
+occasionally broken here and there by a slowly moving waterfowl, or the
+protruding mouth of a carp, is inspiring, and must awaken an aesthetic
+response in the soul of the most ordinary mortal. Very quickly, however,
+does this colorful picture change, and the very intense blue of the
+early evening sky rapidly changes into a colorless black.
+
+The Palace of Fine Arts, above all others, offers many wonderful bits of
+enchantment at night. It seems to have been thought out not only for its
+daytime effect but for the night as well.
+
+Of the inner courts, those with larger and smaller bodies of water are
+most effective at night. The Court of the Four Seasons, with its placid,
+shrub-encircled pool, is doubly interesting at night. The four
+wall-fountains add much to the outdoor feeling that this court
+possesses, by reason of the suggestive murmur of the waters, descending
+in gentle splashes from bowl to bowl.
+
+The most striking court, in its mysteriousness, is Mullgardt's Court of
+Abundance, particularly so on a foggy night. Large volumes of vapor are
+lazily rising from huge bowls and torches, below, and in the tower,
+suggesting the early days of the cosmic All, cooling off from the
+turbulent period of its creation. The fogs sweeping from the bay add
+more mystery, and with the gorgeous perfume of the hyacinth carpet in
+the garden spaces, the effect is almost narcotic. The whole court, under
+these conditions, seems heavy with the atmosphere of abundance, of
+physical well-being, of slumbering natural powers.
+
+At the same time, it is truly religious in its effect of turning the
+mind away from the ordinary world into the realm of the mystic and the
+supernatural. I never realized what our San Francisco fogs could produce
+in artistic effects until I visited Mullgardt's court on a foggy night.
+The effect of the fog is absolutely ennobling.
+
+So many things like these, possibly not originally thought of, have
+added, together with the illumination, rare charm to the Exposition.
+Great masses of pigeons, attracted by the light thrown upon the two
+great groups of the Nations of the West and of the East, give an
+unusually inspiring touch to the Exposition at night. The spectacle of
+these graceful birds encircling rhythmically the great sculptural piles,
+apparently enjoying the bath of light, will never be forgotten. These
+pigeons seem to have decided to live in the Exposition; they are there
+always, and apparently glad to play their part in the Exposition
+ensemble.
+
+The lesson of the Exposition will be far reaching in its many
+demonstrations of the commercial value of artistic assets. The whole
+Exposition is really a city-planning exposition of the first order. Any
+city-builder, by the respectful use of the great fundamental principles
+of balance, harmony, and unity, cannot help but do on a large scale what
+the Exposition presents in a more condensed fashion. I admit that we
+have made tremendous strides in the remodeling of many of our large
+cities, particularly in the East, but we are still constantly starting
+new cities in the old planless way.
+
+Our only practical and lasting effort in San Francisco along the lines
+of civic progress has been made in the civic center, where a
+far-reaching plan has been adopted and partly put into existence, and in
+some of our very charming newer restricted residence districts in the
+western end of the city, like St. Francis Wood, or in Northbrae and
+Claremont, in Berkeley, and elsewhere around the bay.
+
+There is no doubt that we must better capitalize our own artistic
+assets, which we often allow to lie idle before we ever utilize them
+properly. The water front, Telegraph hill, the ocean shore, Sutro
+Heights, and Lincoln Park are all waiting to be developed in such a way
+as the Exposition suggests. The talk of cost is idle twaddle. If the
+Exposition, as an artistic investment, pays - and I see no reason
+whatever why it should not pay for itself - then we cannot do anything
+better than to invest our money wisely in other artistic improvements of
+a permanent character.
+
+San Francisco is known all the world over for its unique location,
+rivaled only by that of Marseilles, and we have now the responsibility
+to use this natural asset, for which many envy us. The Exposition will
+start an avalanche of improvements along artistic lines which will be
+given increasing momentum by the development of long periods of
+prosperity.
+
+The most urgent need, no, doubt, is the establishment of a municipal art
+gallery in the civic center, the only ideal place for it, where the
+workingman from the Mission and the merchant from west of Van Ness
+avenue will find it equally convenient of access. If a smaller number of
+citizens could raise the money for a municipal opera house, there should
+be no trouble in getting funds for a building devoted to a far more
+extensive public benefit, like an art gallery. People generally will
+want to know why it is that certain things can be given to them for one
+year, so successfully, and why it should not be possible to have them
+with us permanently. The inspiring lesson of beauty, expressed so simply
+and intelligently, will sink deep into the minds of the great masses, to
+be reborn in an endless stream of aesthetic expression in the spiritual
+and physical improvement of the people.
+
+We, out here in the West, have been measuring the tide of human progress
+in biological terms. We have almost forgotten the days of our great
+calamity, and still speak of them in that typical expression of
+apprehension of the "earthquake babies." Let us think now of the future
+and its bright prospects, inaugurated so auspiciously for the benefit of
+our Exposition generation.
+
+
+
+Appendix
+
+
+
+Guide to Sculpture
+
+
+
+South Gardens:
+
+Fountain of Energy (center) - A. Stirling Caller
+Directly opposite the main entrance, the most conspicuously placed
+fountain in the grounds. The four major figures in the bowl represent
+the Pacific, the Atlantic, and the two Arctic oceans. The minor eight
+figures suggest the marine character of the fountain. The reclining
+figures on the sphere typify the two hemispheres. The youth on horseback
+represents energy and strength.
+
+The Mermaid (fountains in long pools) - Arthur Putnam
+The same figure is used twice, near the Horticultural Palace on the west
+and Festival Hall on the east.
+
+Equestrian Statue, "Cortez" - Charles Niehaus
+Guarding the Tower of Jewels. This statue represents the great Spanish
+conqueror. As one faces the tower, this figure is on the left.
+
+Equestrian Statue of "Pizarro" - Charles Cary Rumsey
+Similar in type and feeling to the preceding statue on the right, in
+front of the Tower of Jewels.
+
+Horticultural Building:
+
+Frieze at Base of the Spires - Eugene Louis Boutier
+Loose arrangement of standing female figures surrounding the bases of
+the spires on all sides of the Horticultural Palace, with no other
+meaning than that of decoration.
+
+Pairs of Caryatides - John Bateman
+Architectural vertical members supporting the pergola around the
+Horticultural Palace. Used also on the Young Women's Christian
+Association and the Press buildings, near the main entrance.
+
+Tower of Jewels:
+
+Statues of "Priest," "Soldier," "Philosopher," and "Adventurer" - John
+      Flanagan
+Four figures suggestive of the forces which influenced the destinies of
+our country. Very big in scale - about twice life size. They are
+standing on a row of columns below the cornice on the tower and are
+repeated on all four sides.
+
+The Armored Horseman (Terrace of the Tower) - F. M. L. Tonetti
+A decorative equestrian statue on the lower terrace of the tower above
+the preceding figures - repeated sixteen times.
+
+Tower Colonnades:
+
+Fountain of Youth (east end) - Edith Woodman Burroughs
+Snugly placed inside the abutting walls, east of the Tower of Jewels.
+Naive in character and simple in treatment, without any further
+symbolical meaning than that suggested by the name. Motif in side
+panels, "Ship of Life."
+
+Fountain of El Dorado (west end) - Mrs. Harry Payne Whitney
+In position similar to the preceding, west of the Tower of Jewels. A
+triptych of dramatic expression, naturalistically treated.
+
+Festival Hall:
+
+Figure crowning the minor Domes - Sherry E. Fry
+A standing finial figure, on the minor domes, of graceful pose.
+
+Two groups in front of the Pylons - Sherry E. Fry
+Practically conceived as wall fountains, they are composed of the figure
+of a girl, suggesting the joy of life, emphasized by young Pan, with a
+lizard, at the base on the left, and a seated young girl on the right.
+
+Cartouche over the entrance (figures only) - Sherry E. Fry
+An architectural unit over the big arch of the main central dome,
+outside the building, for decorative effect.
+
+Reclining figures on Pylons - Sherry E. Fry
+A male and a female figure, reclining, crowning the architectural units
+projecting into the South Gardens. Suggestive of life and pleasure.
+
+Court of Palms:
+
+Equestrian statue, "The End of the Trail" - James Earl Fraser
+At the entrance of the Court of Palms, off the main avenue opposite the
+Horticultural Palace. Symbolical figure, representing the destinies of
+the vanishing red race; to be considered in connection with the
+"Pioneer" at the entrance of the Court of Flowers.
+
+The Fairy (Italian Towers - Palms and Flowers) - Carl Grupp
+A figural termination of the four towers guarding the entrances to the
+Courts of Palms and of Flowers.
+
+Caryatides - John Bateman and Mr. Calder
+Winged half-figure in the attic-space, repeated all around the court.
+
+Spandrels - Albert Weinert
+Reclining decorative figures composed into the triangular spaces over
+all the doorways in the corridor.
+
+Court of Flowers:
+
+Equestrian statue, "The Pioneer" - Solon Borglum
+At the entrance of this court. Representing the white man and his
+victorious civilization. (To be studied with "The End of the Trail.")
+
+Lions (at the entrances) - Albert Laessle
+Very conventional architectural decorative animal forms at the entrance
+inside the Court of Flowers - used six times.
+
+The Fairy (above the Italian Towers) - Carl Gruppe
+[See Fairy under Court of Palms by the same artist.]
+
+Central Fountain, "Beauty and the Beast" - Edgar Walter
+Decorative fountain inside the court, with crowning figure of a young
+woman, reposing on a fabulous beast.
+
+Flower Girls (in niches) - A. Stirling Calder
+Repeated figures, conventionally treated, of young women, decorated
+profusely with flower garlands, in the attic space.
+
+Court of Abundance:
+
+Groups on the altar in the main tower - Chester Beach
+These groups constitute the historical composition in the tower on the
+north side of the court. Beginning with the lower one, they represent
+the primitive ages, the middle ages, and modern times.
+
+Group at column bases and finials - Leo Lentelli
+Decorative figures. Used four times at the base of the shaft near the
+tower. A single finial figure of a girl with a bow is used on top of the
+same column.
+
+Fountain of the Earth (central pool) - Robert I. Aitken
+An architectural composition telling the story of human life in its many
+phases. The outstretched arms on the south side represent destiny giving
+and taking life.
+
+Figures on top of the Arcade - Albert Weinert
+Primitive men, with the pelican and deer; the mother with a child is
+repeated all around the court.
+
+Aquatic Life (north extension) - Sherry B. Fry
+A figure which might represent Neptune's daughter. This figure stands
+north of the tower in the open space toward the Marina below, between
+the Palaces of Transportation and Mines.
+
+Court of the Universe:
+
+The Nations of the East; The Nations of the West - A. Stirling Calder,
+      Leo Lentelli, and Frederick C. R. Roth, collaborators.
+Colossal groups on top of the two great arches, representing, in many
+types, Western and Eastern civilization.
+
+Statues on columns (eastern and western arches) - Leo Lentelli
+Winged statues standing on top of columns on the inside as well as the
+outside of the two great arches.
+
+Spandrels, Pegasus - Frederick G. R. Roth
+Triangular compositions spanning the arches, repeated on both sides.
+
+Medallion - B. Bufano
+Circular decorations of male figures on the left side of the arch
+without any meaning other than architectural effect.
+
+Medallion - A. Stirling Calder
+Same as above, of female figures, on the right side of the arches.
+
+The Stars (colonnades) - A. Stirling Calder
+Very conventional standing figure, with hands united above the head,
+forming a star with radiated head-dress, placed on the balustrades of
+buildings adjoining the court and in the avenue leading north from the
+court.
+
+Frieze on corner pavilions, "Signs of the Zodiac" - Hermon A. MacNeil
+Decorative friezes on four sides of the four corner pavilions, of
+mythological character.
+
+Two fountains, "The Rising Sun" and "The Setting Sun" - Adolph A.
+      Weinman
+Two columns rising from fountain bowls and crowned by winged figures, of
+a woman, representing the Setting Sun, on the left, and of a winged male
+figure, the Rising Sun, on the right.
+
+Four reclining figures, "The Elements" - Robert I. Aitken
+At the head of the stairs leading into the sunken garden; on the left,
+near the Music Pavilion, "Fire;" on the right, "Water;" on the left,
+near the tower, "Air;" on the right, "Earth."
+
+Two Groups - Paul Manship
+Near the arches at the head of the steps, two figural groups. One is of
+female figures, suggesting pleasure; the other, music and art.
+
+Western Plaza, in Front of Machinery Palace:
+
+Monument, "Genius of Creation" - Daniel Chester French
+Group of allegorical figures, suggestive of the development of the human
+race.
+
+Court of the Four Seasons:
+
+Four groups representing "The Seasons" - Furio Piccirilli
+In niches. Southeast corner, "Winter;" northeast corner, "Fall;"
+southwest corner, "Spring;" northwest corner, "Summer."
+
+The Harvest (above the half dome) - Albert Jaegers
+Seated figure with a horn of plenty and other agricultural emblems.
+
+Rain and Sunshine (figures on columns) - Albert Jaegers
+Standing female figures on columns on either side of the half dome.
+Sunshine, holding a palm branch, is on the left, and Rain, holding up a
+shell, on the right.
+
+Groups, "Feast of Sacrifice," on the pylons in the forecourt - Albert
+      Jaegers
+The two groups on top of the building, in which huge bulls predominate,
+led by a young woman and a young man; very decorative.
+
+Fountain, "Ceres" - Evelyn Beatrice Longman
+Situated halfway between the Court of the Four Seasons and the Marina,
+in an avenue leading north; architectural in character.
+
+Spandrels (arcade) - August Jaegers
+Reclining female figures above the arches at the west and east entrance
+of the Court of the Four Seasons.
+
+Attic figures - August Jaegers
+Standing decorative figures of architectonic feeling, in the attic above
+the preceding figures.
+
+Varied Industries Palace:
+
+Tympanum group in the doorway - Ralph Stackpole
+Groups of men and women in the lunette of the ornate doorway on the
+south side.
+
+Secondary group, doorway - Ralph Stackpole
+Groups above the preceding one, showing Age transferring his burden to
+Youth.
+
+Figure for niches, doorway (man with the pick) - Ralph Stackpole
+A repeated figure of a miner, of relatively small scale, on the consoles
+in the doorway.
+
+Figure for keystone in doorway - Ralph Stackpole
+A small seated figure of a laborer, on the headstone.
+
+Figure for niches, on the east façade of this Palace and of the Palace
+      of Mines - Albert Weinert
+Standing figure in niches above doors, also used in avenue leading into
+the Court of Abundance from the east.
+
+West Wall of the Palaces (facing Fine Arts):
+
+Motifs for wall niches ("Triumph of the Field" and "Abundance") -
+      Charles R. Harley
+Seated male and female figures surrounded by a great wealth of
+emblematic forms. The male represents "Triumph of the Field;" the
+female, "Abundance."
+
+Figures on columns (flanking the half domes): Philosophy and Physical
+      Vigor - Ralph Stackpole
+A colossal figure of a youth, on top of free-standing columns on the
+west wall of the main buildings.
+
+Palace of Fine Arts:
+
+Standing figure, inside of the rotunda on top of columns - Herbert Adams
+
+Figures in the attic of the rotunda - Ulric H. Ellerhusen
+Standing females and males between architectural friezes immediately
+below the cupola of the dome.
+
+Frieze on the altar - Bruno Louis Zimm
+Figural frieze at the base of the rotunda facing the Laguna can only be
+seen from a great distance across the water.
+
+Relief panels for the rotunda - Bruno Louis Zimm
+Eight panels on the outside, of strictly architectural character,
+representing a procession, showing the development and influence of art.
+
+Friezes around the base on the ground - Ulric H. Ellerhusen
+Figures with garlands, used everywhere at the base of the building.
+
+Figures on the flower boxes - Ulric H. Ellerhusen
+Standing figures, looking inward, representing introspection.
+
+Kneeling figure on the altar - Ralph Stackpole
+The shrine of worship. That delicate small figure seen best from across
+the laguna in front of the rotunda.
+
+North Façade, Main Group of Exhibit Palaces:
+
+Figure for central niches, "Conquistador" - Allen Newman
+A Spanish soldier, with helmet and sword and a large mantle.
+
+Figure for side niches, "The Pirate" - Allen Newman
+A coarsely shaped man, in small niches on the north side of the main
+buildings near the preceding one.
+
+Column of Progress:
+
+Bas-relief (four sides of the pedestal) - Isidore Konti
+Four allegorical friezes depicting man's striving for achievement.
+
+Finial group, "The Adventurous Bowman," frieze and decoration - Hermon
+      A. MacNeil
+The group on top of the column suggests man's supreme effort in life,
+the supporting frieze is "The Toilers."
+
+Palace of Machinery:
+
+Figures on columns (four "Powers") - Haig Patigian
+Repeated large scale figures of men, representing the industries
+exhibited within the building.
+
+Friezes for columns, vestibule - Haig Patigian
+Decorative architectural figure compositions of similar subjects.
+
+Spandrels (two pairs) - Haig Patigian
+Reclining figures filling out the triangular spaces above the doors in
+the vestibule reflecting the purpose of the building.
+
+Palace of Education:
+
+Repeated figure within the Half Dome, of Thought - Albert Weinert
+Standing figure of a maiden with a scroll inside the portal, repeated
+eight times.
+
+Palace of Food Products:
+
+Repeated figure within the Half Dome, "Physical Vigor" - Earl Cummings
+Similar to that above, inside the Portal of Vigor, showing a standing
+young man, with an oak wreath.
+
+Friezes and figures in niches, main south entrance (portals of the
+      Manufacturers and Liberal Arts Palaces) - Mahonri Young
+Figures representing domestic life and industries like foundry work,
+smithing, spinning, and sculpture. Figures in the niches: woman with
+spindles and men with hammers.
+
+Tympanum panels (north and south entrances of the Palace of Education) -
+      Gustave Gerlach
+Decorative panels above the doors outside of the building showing
+maternal instruction.
+
+Panels inlaid in the walls over the minor entrances
+Pupils of the School of Sculpture of the Society of Beaux Arts
+Architects and National Sculpture Society.
+Decorative panels of school life and of science.
+
+Figure, "Victory," on the gables of the palaces - Louis Ulrich
+A winged figure used on top of all the palaces.
+
+
+
+Mural Decorations
+
+
+
+Court of Abundance:
+
+Earth - Frank Brangwyn
+Northwest corner of the corridor, two panels: grape-crushers on the left
+and fruit-pickers on the right.
+
+Fire - Frank Brangwyn
+Two panels in the northeast corner of the corridor. Primitive Fire on
+the left and Industrial Fire on the right.
+
+Water - Frank Brangwyn
+Two panels in the southeast corner of the corridor. Fountain motive on
+the left and fishermen hauling nets on the right.
+
+Air - Frank Brangwyn
+Two panels in the southwest corner of the corridor. In the left panel,
+the scent of hunters carried toward their prospective prey. A windmill
+on the right.
+
+Court of the Four Seasons:
+
+Spring - H. Milton Bancroft
+Two murals above the doorway in the colonnade (southwest corner). To the
+left, Spring; to the right, Seedtime.
+
+Summer - H. Milton Bancroft
+Two murals similar to those in the northwest corner of the court.
+Fruition on the right; Summer on the left.
+
+Autumn - H. Milton Bancroft
+In the northeast corner of the court, two panels: Autumn on the right;
+Harvest on the left.
+
+Winter - H. Milton Bancroft
+Similar in location to the preceding, in southeast corner. Two murals,
+Festivity on the right; Winter on the left.
+
+Man Receiving Instruction in Nature's Laws - H. Milton Bancroft
+One upright panel, in the half dome on the right.
+
+Art Crowned by Time - H. Milton Bancroft
+On the left opposite the preceding.
+
+Eastern Arch, Court of the Universe:
+
+Hope and Attendants: (On the north wall) - Edward Simmons
+
+Historical types: (On the south wall) - Edward Simmons
+Representing Greece, Italy, Spain, England and France, on the south
+wall.
+
+Tower of Jewels:
+
+The Atlantic and Pacific (in the center);
+The Discovery (on the left;)
+The Purchase (on the right) - William de Leftwich Dodge
+Gateway of All Nations (in the center);
+Labor Crowned (on the left);
+Achievement (on the right) - William de Leftwich Dodge
+Six panels inspired by the construction of the Panama Canal. The first
+group is on the west wall, the second on the east.
+
+Western Arch, Court of the Universe:
+
+The Westward March of Civilization, in two panels by - Frank V. DuMond
+Beginning in the north panel and continued in the opposite one.
+
+Court of Palms:
+
+Fruits and Flowers - Childe Hassam
+Painting in a lunette over the entrance into the Palace of Education.
+
+The Pursuit of Pleasure - Charles Holloway
+A painting of the same shape as the preceding, over the entrance into
+the Palace of Liberal Arts.
+
+The Victorious Spirit - Arthur Mathews
+In the lunette over the doorway into the Court of the Four Seasons.
+
+Rotunda, Palace of the Fine Arts:
+
+The Four Golds of California (Golden Metal, Wheat, Citrus Fruits, and
+      Poppies) - Robert Reid
+In the ceiling inside the rotunda.
+
+Art, born of flame, expresses its ideals to the world through music,
+      poetry, architecture, painting, and sculpture - Robert Reid
+In the same location.
+
+Birth of European Art. Birth of Oriental Art - Robert Reid
+Belonging to the preceding group of eight pictures by the same artist.
+
+Pennsylvania Building:
+
+Decorative Paintings - Edward Trumbull
+In the east and west walls of the center court of the building, showing
+Penn's Treaty with the Indians on the right and Pennsylvania Industries
+on the left.
+
+
+
+Biographical Notes
+
+
+
+Adams, Herbert
+(Sculptor) New York. Born in West Concord, Vermont 1858. Studied in
+Paris. Figures on columns inside of Rotunda, Palace of Fine Arts.
+
+Aitken, Robert I.
+(Sculptor) New York. Born in San Francisco, California, 1878. Studied in
+Mark Hopkins Institute, San Francisco, and Paris. The Four Elements, in
+Court of the Universe, and Fountain of Earth in Court of Abundance.
+
+Bacon, Henry
+(Architect) New York. Born in Watseka Illinois, 1866. Studied at the
+University of Illinois and in Europe. Court of the Four Seasons.
+
+Bakewell and Brown
+(Architects). John Bakewell, Jr. San Francisco. Born in Topeka, Kansas
+1872. Studied at the Beaux Arts Paris. Arthur Brown, Jr. San Francisco.
+Born in Oakland, California, 1874. Studied in the University of
+California and at the Beaux Arts in Paris. Horticultural Palace.
+
+Bateman, John
+(Sculptor) New York. Born in Cedarville New Jersey 1877. Studied in the
+School of Industrial Art. Philadelphia and in Paris. Caryatides outside
+of Horticultural Building.
+
+Bayley, Guy L.
+(Electrical Engineer) San Francisco. Born in Vacaville, California,
+1875. Studied at University of California. Chief of Electric and
+Mechanical Department.
+
+Beach, Chester
+(Sculptor) New York. Born in San Francisco, California, 1881. Studied in
+Paris, New York and Rome. Groups on tower on Court of Abundance.
+
+Bennett, Edward
+(Architect) Chicago. Preliminary Plans of Exposition.
+
+Bitter, Karl
+(Sculptor). Born in Vienna, Austria, 1867. Died April 10, 1915, New
+York. Studied at Vienna Academy of Fine Arts. Chief of Sculpture.
+
+Bliss and Faville
+(Architects) Walter D. Bliss, San Francisco. Born in Nevada, 1868.
+Studied in the Massachusetts Institute of Technology and abroad. William
+B. Faville, San Francisco. Born 1866. Studied in the Massachusetts
+Institute of Technology. Main Buildings forming center unit of eight
+Palaces.
+
+Boberg, Ferdinand
+(Architect) Stockholm. Born in Falun, Sweden, 1860. Swedish Building.
+
+Borglum, Solon H.
+(Sculptor) New York. Born in Ogden, Utah, 1868. Studied in Art Academy
+of Cincinnati, and in Paris. The Pioneer.
+
+Bourgeois, Jean Louis
+(Architect) Born in Autun, France, 1876. Died February 26, 1915, in
+France. Collaborated with Bakewell and Brown in Horticultural Building
+design.
+
+Boutier, Eugene Louis
+(Sculptor) Frieze at Base of Spires on Horticultural Building.
+
+Brangwyn, Frank
+(Painter) London. Born in Bruges, Belgium, 1867. Mural paintings of the
+Four Elements in the Court of Abundance.
+
+Bufano, B.
+(Sculptor) New York. Medallions on the arches in Court of the Universe.
+
+Burditt, Thomas H.
+(Architect) San Francisco. Born in Nellore, India, 1886. California
+State Building.
+
+Burroughs, Mrs. Edith Woodman
+(Sculptor) Flushing, Long Island. Born in Riverdale-on-Hudson 1871.
+Studied in Art Students League of few York and in Paris. Fountain of
+Youth.
+
+Calder, A. Stirling
+(Sculptor) New York. Born in Philadelphia 1870. Studied in Pennsylvania
+Academy of Fine Arts and in Paris. Acting Chief of Sculpture. Fountain
+of Energy; The Star in Court of the Universe; Flower Girl in Court of
+Flowers; Nations of the East; Nations of the West, in collaboration with
+F. Roth and Leo Lentelli.
+
+Carrere and Hastings
+(Architects) John M. Carrere, deceased. Thomas Hastings, New York. Born
+New York, 1860. Studied in Beaux Arts, Paris. Tower of Jewels.
+
+Cummings, M. Earl
+(Sculptor) San Francisco. Born in Salt Lake City, Utah, 1876. Studied in
+San Francisco and Paris. Repeated figure in Portal of Vigor. Palace of
+Food Products.
+
+Denneville, Paul E.
+(Architectural Sculptor) New York. Born in Ancy France, 1873. Studied
+Cooper Institute New York, and abroad. Travertine finish of buildings.
+
+Dodge, William De Leftwich
+(Mural Painter) New York. Born in Liberty, Virginia, 1867. Studied in
+Munich and Paris. Two Murals in Tower of Jewels.
+
+Dumond, Frank V.
+(Painter) New York. Born in Rochester New York, 1865. Studied in Paris.
+Two Murals in arch of Setting Sun.
+
+Ellerhusen, Ulric H.
+(Sculptor) New York. Figures in attic of Rotunda and repeated frieze at
+base of Fine Arts Building.
+
+Farquhar, Robert David
+(Architect) Los Angeles. Born in Brookline. Massachusetts, 1872. Studied
+at Harvard and at Beaux Arts, Paris. Festival Hall.
+
+Flanagan, John
+(Sculptor) New York. Born in Newark, New Jersey, 1865. Studied in
+Boston, New York and Paris. Figures on Tower of Jewels.
+
+Fraser, James Earl
+(Sculptor) New York. Born in Winona. Minnesota, 1876. Studied in Paris.
+The End of the Trail.
+
+French, Daniel Chester
+(Sculptor) New York. Born in Exeter, New Hampshire, 1850. Studied in
+Boston, New York and Florence. Genius of Creation.
+
+Fry, Sherry E.
+(Sculptor) New York. Born in Creston, Iowa 1879. Studied in Art
+Institute, Chicago, and in Paris. Figural decorations on Festival Hall.
+
+Garnett, Porter
+(Writer) Berkeley. Born in San Francisco, California, 1871. Selection of
+inscriptions on monuments and arches.
+
+Gerlach. Gustave
+(Sculptor) Weehawken, New Jersey. Tympanum panels north and south
+entrances Palace of Education.
+
+Gruppe, Carl
+(Sculptor) New York. Fairy figure on Italian towers.
+
+Guerin, Jules
+(Painter) New York. Born in St. Louis Missouri, 1866. Studied in America
+and abroad. Director of color and decoration. Color scheme.
+
+Harley, Charles R.
+(Sculptor) New York. Born in Philadelphia, Pennsylvania, 1864. Studied
+in Pennsylvania Academy of Fine Arts and in Paris. "The Triumph of the
+Field" and "Abundance," on west facade of main buildings.
+
+Hassam, Childe
+(Painter) New York. Born in Boston, Massachusetts, 1859. Studied in
+Paris. Lunette, Fruits and Flowers, in Court of Palms.
+
+Holloway, Charles
+(Painter). Lunette, The Pursuit of Pleasure, in Court of Palms.
+
+Hornbostel, Henry
+(Architect) New York. Born in Brooklyn New York, 1867. Studied in New
+York and Paris. Pennsylvania State Building.
+
+Howard, John Galen
+(Architect) Berkeley. Born in Chelmsford Massachusetts, 1864. Studied in
+Boston and Beaux Arts, Paris. Exposition Auditorium in the Civic Center
+in collaboration with Frederick Meyer and John Reid, Jr.
+
+Jaegers, Albert
+(Sculptor) New York. Born in Elberfeld, Germany, 1867. Studied abroad.
+Figures of Harvest Rain and Sunshine, and Bulls in Court of Four
+Seasons.
+
+Jaegers, August
+(Sculptor) New York. Born in Barmen, Germany, 1878. Studied in Paris.
+Spandrels and attic figures in Court of Four Seasons.
+
+Kelham, George W.
+(Architect) San Francisco. Born in Manchester, Massachusetts, 1871.
+Studied at Harvard. Director of Architecture. Courts of Palms and
+Flowers.
+
+Konti, Isidore
+(Sculptor) New York. Born in Vienna, Austria, 1862. Studied in Imperial
+Academy, Vienna. Frieze at base of Column of Progress.
+
+Laessle, Albert
+(Sculptor) Philadelphia. Born in Philadelphia Pennsylvania, 1877.
+Studied in Philadelphia. Lions in Court of Flowers.
+
+Lentelli, Leo
+(Sculptor) New York. Born in Bologna, Italy, 1879. Figures on decorative
+shafts in Court of Abundance; Nations of the East and Nations of the
+West in collaboration with Stirling Calder and Frederick Roth.
+
+Longman, Miss Evelyn Beatrice
+(Sculptor) New York. Born in Winchester, Ohio, 1874. Studied in Chicago
+and New York. Fountain of Ceres.
+
+Lundborg, Florence
+(Painter) San Francisco. Born in San Francisco. Studied in San Francisco
+and in Paris. Mural decorations in Tea Room of the California Building.
+
+McKim, Mead and White
+(Architects) New York. Living members of the firm: William R. Mead. Born
+in Battleboro, Vermont 1846. Studied at Amherst and in Europe. W. Symmes
+Richardson. W. Mitchell Kendall. Court of the Universe.
+
+McLaren, John
+(Landscape Engineer) San Francisco. Born in Scotland. Horticultural
+effects.
+
+MacNeil, Hermon A.
+(Sculptor) New York. Born in Everett, Massachusetts, 1866. Studied in
+Boston and Paris. Adventurous Bowman and frieze of Toilers on Column of
+Progress.
+
+Manship, Paul
+(Sculptor) New York. Groups in Court of Universe.
+
+Markwart, Arthur
+(Engineer) San Francisco. Born in Illinois, 1880. Studied at University
+of California. Assistant Chief of Construction. Structural design of
+Machinery Palace.
+
+Mathews, Arthur F.
+(Painter) San Francisco. Born in Wisconsin, 1860. Studied in Paris.
+Lunette, the Victorious Spirit, in Court of Palms.
+
+Maybeck, Bernard R.
+(Architect) San Francisco. Born in New York, 1862. Studied in Beaux
+Arts, Paris. Palace of Fine Arts.
+
+Meyer, Frederick
+(Architect) San Francisco. Born in San Francisco, California, 1875.
+Studied in America. Exposition Auditorium in Civic Center in
+collaboration with John Galen Howard and John Reid, Jr.
+
+Mullgardt, Louis Christian
+(Architect) San Francisco. Born in Washington, Missouri, 1866. Studied
+at Harvard. Court of the Ages, also named Court of Abundance.
+
+Nahl, Perham W.
+(Painter) Berkeley. Born in San Francisco, California, 1869. Studied in
+Hopkins Institute, San Francisco, and in Europe. Exposition Poster, "The
+Thirteenth Labor of Hercules."
+
+Newman, Allen G.
+(Sculptor) New York. Born in New York, 1875. Pupil of J. Q. A. Ward.
+Conquistador and Pirate on north facade main buildings.
+
+Niehaus, Charles H.
+(Sculptor) New Rochelle, New York. Born in Cincinnati, Ohio, 1855.
+Studied in Cincinnati and Munich. Cortez.
+
+Patigian, Haig
+(Sculptor) San Francisco. Born in Armenia 1876. Studied in Paris.
+Decorations of Machinery Hall.
+
+Piccirilli, Furio
+(Sculptor) New York. Born in Massa, Italy, 1866. Pupil of Accademia San
+Luca, Rome. Groups of Four Seasons in Court of the Four Seasons.
+
+Polk, Willis
+(Architect) San Francisco. Preliminary plans of Exposition.
+
+Putnam, Arthur
+(Sculptor) San Francisco. Born in New Orleans, 1874. Mermaid in South
+Gardens.
+
+Reid, John, Jr.
+(Architect) San Francisco. Born in San Francisco 1880. Studied in the
+University of California and the Beaux Arts, Paris. Exposition
+Auditorium in Civic Center in collaboration with John Galen Howard and
+Frederick Meyer.
+
+Reid, Robert
+(Painter) New York. Born in Stockbridge, Massachusetts, 1862. Studied in
+Boston, New York, and Paris. Decorations in Rotunda of Fine Arts Palace.
+
+Rosse, Hermann
+(Designer and decorator) Palo Alto. Born in The Hague, Holland, 1887.
+Studied at The Hague, at Delft, Holland, and South Kensington, London.
+Decorative color scheme and mural painting in Netherlands Building.
+
+Roth, Frederick G. R.
+(Sculptor) Englewood New Jersey. Born in Brooklyn, New York, 1872.
+Studied in Vienna, Nations of the East and Nations of the West in
+collaboration with Stirling Calder and Leo Lentelli.
+
+Rumsey, Charles Cary
+(Sculptor) New York. Pizarro.
+
+Ryan, Walter. D'Arcy
+(Electrical Engineer) San Francisco. Born in Kentville, Nova Scotia,
+1870. Educated in Canada. Chief of Illumination. Lighting scheme.
+
+Simmons, Edward
+(Mural Painter) New York. Born in Concord, Massachusetts 1852. Studied
+in Paris. Murals in Arch of the Rising Sun.
+
+Stackpole, Ralph W.
+(Sculptor) San Francisco. Born in Oregon, 1885. Studied in Paris.
+Kneeling figure in front of Fine Arts rotunda. Figures on columns
+flanking Portal of Thought and Portal of Vigor. Figures in doorway of
+Palace of Varied Industries.
+
+Tonetti, F. M. L.
+(Sculptor) New York. Born in Paris, France, in 1863. Studied in Paris.
+Armored horseman on Tower of Jewels.
+
+Trumbull, Edward
+(Painter) Pittsburgh. Born in Stonington, Connecticut, in 1884. Mural
+decorations, Penn's Treaty and Pittsburgh Industries, in Pennsylvania
+Building.
+
+Ulrich, Louis
+(Sculptor) New York. Winged Victory on gables of all palaces.
+
+Walter, Edgar
+(Sculptor) San Francisco. Born in San Francisco, in 1877. Studied in
+Paris. Fountain of Beauty and the Beast in Court of Flowers.
+
+Weinert, Albert
+(Sculptor) New York. Born in Leipzig, Germany, in 1863. Studied in
+Leipzig and Brussels. Spandrels in Court of Palms; Decorative finial
+figure, in Court of Abundance repeated figure in Portal of Thought, etc.
+
+Weinman, Adolph A.
+(Sculptor) New York. Born in Karlsruhe, Germany in 1870. Studied in Art
+Students League, New York. Rising and Setting Sun.
+
+Ward and Blohme
+(Architects) Clarence R. Ward San Francisco. Born in Niles Michigan, in
+1976. Studied in America. J. H. Blohme, San Francisco. Born in San
+Francisco in 1878. Studied in America. Machinery Palace.
+
+Whitney, Mrs. Harry Payne
+(Sculptor) New York. Fountain of El Dorado
+
+Young, Mahonri
+(Sculptor) New York. Born in Salt Lake City Utah, in 1877. Studied in
+New York and Paris. Frieze over main portals Manufacturers and Liberal
+Arts Palaces.
+
+Zimm, Bruno Louis
+(Sculptor) New York. Frieze, Rotunda, Fine Arts Building.
+
+
+
+The Art of the Exposition, by Eugen Neuhaus, published by Paul Elder and
+Company, San Francisco, was printed at their Tomoye Press, under the
+direction of John Swart, in May and reprinted in June and again in
+August Nineteen Hundred and Fiftee
+
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK, THE ART OF THE EXPOSITION ***
+
+This file should be named 5771.txt or 5771.zip
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