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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/6631.txt b/6631.txt new file mode 100644 index 0000000..29d7e32 --- /dev/null +++ b/6631.txt @@ -0,0 +1,3147 @@ +The Project Gutenberg EBook of The Sculpture and Mural Decorations of the Exposition +by Stella G. S. Perry + +Copyright laws are changing all over the world. Be sure to check the +copyright laws for your country before downloading or redistributing +this or any other Project Gutenberg eBook. + +This header should be the first thing seen when viewing this Project +Gutenberg file. Please do not remove it. Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: The Sculpture and Mural Decorations of the Exposition + +Author: Stella G. S. Perry + +Release Date: October, 2004 [EBook #6631] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on January 6, 2003] + +Edition: 10 + +Language: English + +Character set encoding: ASCII + +*** START OF THE PROJECT GUTENBERG EBOOK, THE SCULPTURE AND MURAL DECORATIONS OF THE EXPOSITION *** + + + + +This eBook was produced by David Schwan <davidsch@earthlink.net>. + + + +The Sculpture and Mural Decorations of the Exposition + +A Pictorial Survey of the Art of the Panama-Pacific International +Exposition + + + +Described by +Stella G. S. Perry + + + +With an Introduction by +A. Stirling Calder, N. A. +Acting Chief of Sculpture of the Exposition + + + +Paul Elder and Company +Publishers - San Francisco + + + +Copyright, 1915, by +Paul Elder & Company +San Francisco + +The courtesy of the Cardinell-Vincent Company, official photographers of +the Panama-Pacific International Exposition, of granting permission to +reproduce the selection of official photographs appearing in this +volume, is gratefully acknowledged. + + + +To the Memory of Karl Bitter + + + +When I have fears that I may cease to be + Before my pen has glean'd my teeming brain, +Before high-piled books, in charactery, + Hold like rich garners the full ripen'd grain; +When I behold, upon the night's starr'd face, + Huge cloudy symbols of a high romance, +And think that I may never live to trace + Their shadows, with the magic hand of chance; +And when I feel, fair creature of an hour, + That I shall never look upon thee more, +Never have relish in the faery power + Of unreflecting love; then on the shore +Of the wide world I stand alone, and think + Till love and fame to nothingness do sink. + +-Keats + + + +Contents + +Sonnet. Keats +The Sculpture and Mural Decorations of the Exposition. A. Stirling +Calder, N. A. + +Illustrations + +Exposition Sculpture + +The Mother of Tomorrow - Detail from the Nations of the West. + Cardinell-Vincent, photo. (Frontispiece.) +Fountain of Energy - Central Group, South Gardens. Pillsbury Pictures +Equestrian Group - Detail, Fountain of Energy. Cardinell-Vincent, photo +North Sea-Atlantic Ocean - Details, Fountain of Energy. + Cardinell-Vincent, photo +Mermaid Fountain - Festival Hall, South Gardens. Cardinell-Vincent, + photo +Torch Bearer - Finial Figure, Festival Hall. Cardinell-Vincent, photo +The Muse and Pan - Pylon Group, Festival Hall. W. Zenis Newton, photo +Boy Pan - Detail, Pylon Group, Festival Hall. Cardinell-Vincent, photo +Detail, Spire Base, Palace of Horticulture. Cardinell-Vincent, photo +Cortez - In Front of Tower of Jewels. J. L. Padilla, photo +Pizarro - In Front of Tower of Jewels. William Hood, photo +The Pioneer - Avenue of Palms. W. Zenis Newton, photo +The End of the Trail - Avenue of Palms. W. Zenis Newton, photo +Historic Types - Finial Figures, Tower of Jewels. Cardinell-Vincent, + photo +Fountain of Youth - Colonnade, Tower of Jewels. W. Zenis Newton, photo +Fountain of El Dorado - Colonnade, Tower of Jewels. W. Zenis Newton, + photo +Frieze - Details, Fountain of El Dorado. Cardinell-Vincent, photo +Nations of the East - Group, Arch of the Rising Sun. Gabriel Moulin, + photo +Pegasus - Spandrels, East and West Arches. Cardinell-Vincent, photo +The Stars - A Detail of the Colonnade. Cardinell-Vincent, photo +Earth - Detail, one of "The Elements." Cardinell-Vincent, photo +The Signs of the Zodiac - Frieze on the Corner Pavilions. + Cardinell-Vincent, photo +Nations of the West - Group, Arch of the Setting Sun. Cardinell-Vincent, + photo +Enterprise - Detail, Nations of the West. Cardinell-Vincent, photo +Dance - Balustrade, Court of the Universe. Cardinell-Vincent, photo +The Rising Sun - Fountain, Court of the Universe. W. Zenis Newton, photo +Column of Progress - In the Forecourt of the Stars. Cardinell-Vincent, + photo +Frieze - Base, Column of Progress. Cardinell-Vincent, photo +Primitive Ages - Altar Tower, Court of Ages. Cardinell-Vincent, photo +Primitive Man - Arcade Finial, Court of Ages. Cardinell-Vincent, photo +Fountain of Earth - Central Group, Court of Ages. W. Zenis Newton, photo +Survival of the Fittest - A Panel, Fountain of Earth. Cardinell-Vincent, + photo +Lesson of Life - A Panel, Fountain of Earth. Cardinell-Vincent, photo +Helios - Separate Group, Fountain of Earth. Cardinell-Vincent, photo +Water Sprites - Base of Column, Court of Ages. Cardinell-Vincent, photo +A Daughter of the Sea - North Aisle, Court of Ages. W. Zenis Newton, + photo +The Fairy - Finial Figure, Italian Towers. Cardinell-Vincent, photo +Flower Girl - Niche, Court of Flowers. Cardinell-Vincent, photo +Beauty and the Beast - Fountain Detail, Court of Flowers. + Cardinell-Vincent, photo +Caryatid - Court of Palms. Cardinell-Vincent, photo +The Harvest - Court of the Four Seasons. Cardinell-Vincent, photo +Rain - Court of the Four Seasons. Cardinell-Vincent, photo +Fountain of Spring - Court of the Four Seasons. Cardinell-Vincent, photo +Fountain of Winter - Court of the Four Seasons. Cardinell-Vincent, photo +Fountain of Ceres - Forecourt of the Four Seasons. W. Zenis Newton, + photo +The Genius of Creation - Central Group, Avenue of Progress. + Cardinell-Vincent, photo +The Genius of Mechanics - Column Friezes, Machinery Hall. + Cardinell-Vincent, photo +The Powers - Column Finials, Machinery Hall. W. Zenis Newton, photo +Pirate Deck-hand - Niches, North Facade of Palaces. Cardinell-Vincent, + photo +From Generation to Generation - Palace of Varied Industries. + Cardinell-Vincent, photo +The Man With the Pick - Palace of Varied Industries. Cardinell-Vincent, + photo +The Useful Arts - Frieze over South Portals. Cardinell-Vincent, photo +Triumph of the Field - Niches, West Facade of Palaces. + Cardinell-Vincent, photo +Worship - Altar of Fine Arts Rotunda. Ralph Stackpole, photo +The Struggle for the Beautiful - Frieze, Fine Arts Rotunda. + Cardinell-Vincent, photo +Guardian of the Arts - Attic of Fine Arts Rotunda. Cardinell-Vincent, + photo +Priestess of Culture - Within the Fine Arts Rotunda. Cardinell-Vincent, + photo +Frieze - Flower-boxes, Fine Arts Colonnade. J. L. Padilla, photo + +Exhibit Sculpture + +The Pioneer Mother - Exhibit, Fine Arts Colonnade. W. Zenis Newton, + photo +Lafayette - Exhibit, Fine Arts Rotunda. W. Zenis Newton, photo +Thomas Jefferson - Exhibit, Fine Arts Rotunda. Cardinell-Vincent, photo +Lincoln - Exhibit, South Approach. Cardinell-Vincent, photo +Earle Dodge Memorial - Exhibit, Fine Arts Rotunda. Gabriel Moulin, photo +Fountain - Foyer, Palace of Fine Arts. Gabriel Moulin, photo +Wildflower - Garden Exhibit, Colonnade. W. Zenis Newton, photo +The Boy With the Fish - Garden Exhibit, Colonnade. W. Zenis Newton, + photo +Young Diana - Garden Exhibit, Colonnade. Pillsbury Pictures +Young Pan - Garden Exhibit, Colonnade. Cardinell-Vincent, photo +Fighting Boys - Garden Exhibit, Colonnade. W. Zenis Newton, photo +Duck Baby - Garden Exhibit, Colonnade. W. Zenis Newton, photo +Muse Finding the Head of Orpheus - Garden Exhibit, Colonnade. W. Zenis + Newton, photo +Diana - Garden Exhibit, South Lagoon. W. Zenis Newton, photo +Eurydice - Garden Exhibit, Colonnade. W. Zenis Newton, photo +Wood Nymph - Garden Exhibit, Colonnade. W. Zenis Newton, photo +L'Amour - Garden Exhibit, Colonnade. W. Zenis Newton, photo +An Outcast - Garden Exhibit, Colonnade. Gabriel Moulin, photo +The Sower - Garden Exhibit, Colonnade. W. Zenis Newton, photo +The Bison - Garden Exhibit, South Approach W. Zenis Newton, photo +The Scout - Garden Exhibit, South Lagoon W. Zenis Newton, photo +The Thinker - Exhibit, Court of French Pavilion. W. Zenis Newton, photo + + +Mural Decorations +Earth - Fruit Pickers. Court of Ages. W. Zenis Newton, photo +Fire - Industrial Fire. Court of Ages. W. Zenis Newton, photo +Water - Fountain Motive. Court of Ages. W. Zenis Newton, photo +Air - The Windmill. Court of Ages. W. Zenis Newton, photo +Half Dome - Court of the Four Seasons. Gabriel Moulin, photo +Art Crowned by Time - Court of the Four Seasons. Gabriel Moulin, photo +The Seasons - Court of the Four Seasons. Gabriel Moulin, photo +Westward March of Civilization - Arch, Nations of the West. Gabriel + Moulin, photo +Discovery - The Purchase. Tower of Jewels. Gabriel Moulin, photo +Ideals of Emigration - Arch, Nations of the East. Gabriel Moulin, photo +The Golden Wheat - Rotunda, Palace of Fine Arts. Gabriel Moulin, photo +Oriental Art - Rotunda, Palace of Fine Arts. Gabriel Moulin, photo +The Arts of Peace - Netherlands Pavilion. Gabriel Moulin, photo +Penn's Treaty with the Indians - Pennsylvania Building. Clayton + Williams, photo +Return from the Crusade - Court, Italian Pavilion. Cardinell-Vincent, + photo +The Riches of California - Tea Room, California Building. Gabriel + Moulin, photo + + + +The Sculpture and Mural Decorations of the Exposition + + + +The Sculpture and Mural Decorations + + + +"In this fair world of dreams and vagary, +Where all is weak and clothed in failing forms, +Where skies and trees and beauties speak of change, +And always wear a garb that's like our minds, +We hear a cry from those who are about +And from within we hear a quiet voice +That drives us on to do, and do, and do." + + + +The persistent necessity for creation is strikingly proved by the +prolific output of the Arts. Year after year, as we whirl through space +on our mysterious destiny, undeterred by apparent futility, the primal +instinct for the visualization of dreams steadily persists. Good or bad, +useful or useless, it must be satisfied. It amounts to a law, like the +attraction of the sexes. Discouraged in some directions, it will out in +others, never permanently satisfied. Each age and people must have its +own art as well as what remains of the arts of past ages and peoples - +in spite of scant patronage, commercial limitation, and critics' +hostility. The philosopher tells us that everything has been done, yet +we must do it again - personally. + +Art is so much a part of life that to discourage it is to discourage +life itself - as if one would say: "Others have lived; all imaginable +kinds of life have been lived. Therefore it is unnecessary for you to +experience life." + +The plastic and pictorial decoration of an Exposition offer unusual +opportunity to the Artist, at the same time imposing handicaps - the +briefness of time, the poverty of material. It affords chances for +experiment, invention, and originality only limited by the necessary +formal settings of the architecture, out of proportion to the initiative +of the artists, a majority of whom prefer, either from inclination or +necessity, to take the safe course, the beaten path of precedent. +Artists are of two kinds - the Imitators and the Innovators. The public +also is of two corresponding kinds - those who accept only what they +have learned to regard as good, preferring imitations of it to anything +requiring the acquisition of a new viewpoint; and that other kind, +receptive to new sensations. The first class is the more numerous, which +explains why most of our art, in fact most of all art, is imitative - +that is, imitative of the works of other artists. + +The sculpture and mural decorations of the buildings and grounds of the +Exposition adequately represent the output of American art today. It is +the best possible collection under existent conditions. + +Its many sources of inspiration - all European, like the sources of our +racial origin - are clothed in outward resemblances of the styles and +tinged with the thought of the masters, old and new, who constitute +Precedent. Thus, in sculpture we have imitations, conscious or +unconscious, of the Greek, of Michael Angelo, Donatello, Rodin, Barye, +Meunier, Saint Gaudens; in painting, of Besnard, Merson, Monet, et +cetera, as well as some more complex personal notes, more difficult to +relate, although they too are related in the main, adding only another +variation of character to the great mass of human ideality. As in +nature, there is nothing absolutely pure - nothing that can exist +totally unrelated to the whole - so it is in art. Its works should be +judged, not by their absolute adherence to any so-called standard, but +finally by the appeal they make to the receptive and unprejudiced mind. + +Be brave, Mr. Critic - Madame Public, think for yourself, at the risk of +ridicule. Be not ashamed to admire what appeals, before learning its +author, and when it no longer appeals leave it without remorse. + +In this introduction to the sculpture of the Exposition, it is unusually +fitting that grateful recognition be accorded the memory of the sculptor +whose lively faith in our growth, and tireless energy first launched the +enterprise. Karl Bitter possessed more than any other American sculptor +that breadth of vision that enabled him to discern talent - that +generosity that enabled him to give praise where he believed it due - +that suppleness of mind that could comprehend new concepts - and that +sense of justice that avoided no obligation. Such an unusual combination +of faculties defined a man broader and more profound than his broad +achievement - one of the rare personalities in our Art, the most this +exponent that sculpture has known in this land. In the initial stages of +planning, his fiery initiative and amazing grasp of detail commanded +attention, speedily resulting in the first general plan of the sculpture +of the buildings and grounds; while later his tenacity and generosity +assured the completed unity, as it now stands. Forty-four sculptors +contributed designs, the subjects of which were assigned to the number +of seventy-eight items, some of which comprise compositions involving a +score of figures. The number of replicas used as repeated architectural +motifs in order to create an effect of richness necessitated by the +styles of architecture, is very numerous. + +Vitality and exuberance, guided by a distinct sense of order, are the +dominant notes of the Arts of the Exposition and pre-eminently of the +sculpture. It proclaims with no uncertain voice that "all is right with +this Western world" - it is not too much to claim that it supplies the +humanized ideality for which the Exposition stands - the daring, +boasting masterful spirits of enterprise and imagination - the frank +enjoyment of physical beauty and effort - the fascination of danger; as +well as the gentler, more reverent of our attitudes, to this mysterious +problem that is Life. + +One of the strongest influences the sculpture will have will be in the +direction of a new impulse to inventive decoration. This field has +remained relatively undeveloped, partly owing to our fondness for the +portrait idea, but the direction is legitimate and worthy. Architecture, +which is the growth of a selective precedence, must be continually +supplied with new impulses - new blood to re-energize, rehumanize its +conventions - and on the other hand, all such new impulses must be +trained into order with architecture. Within the last few years a school +devoted to the development of this, as it might be styled, applied +sculpture, has been maintained by a group of public-spirited architects +under the management of the Society of Beaux Arts Architects and the +National Sculpture Society of the United States of America. + +The Star Goddess on the colonnades of the Court of the Universe amounts +to a definite creation of a new type of repeated architectural finial - +a human figure conventionalized to be come architecturally static - yet +not so devitalized as to be inert. Based on another style of +architecture the finials of the cloister of the Court of Ages serve a +correspondingly related purpose, and the crouching figures on columns in +this court are excellent examples of decorative crestings. + +The groups of the Nations of the East and the Nations of the West are +new types in motif and composition of arch-crowning groups - to be seen +in silhouette against the sky at all points. + +Both of these are grandly successful solutions of problems never before +attempted since the ancients imposed the quadriga form of composition. +They were first of all made possible by the receptive attitude of the +distinguished architects, Messrs. McKim, Mead and White - which proves +conclusively to me that those who are most versed in the various forms +of antique arts are also those who are most capable of accepting the +application of new motifs when sufficiently proven, and of quickly +assimilating genuine contributions to the growth of progressive art. By +so doing they lend to them all that wealth of refined elegance that has +come down through the ages. This acceptance in itself is fraught with +much encouragement to the growing school of public sculpture that aims +to understand the principles of co-operation and to weld them to an +ideal. + +The above is true also of the Column of Progress, which was again made +possible by the instant comprehension of the architect, Mr. W. Symmes +Richardson. The Column illustrates a new use for an ancient motif. A +type of monument which while distinctly architectural in mass has been +humanized by the use of sculpture embodying a modern poetic idea. Now, +Mr. Critic, it does not matter in the least whether you care for this +idea or not. The fact remains, and is all important, that as a type of +sculptured column it is new and fills architectural and aesthetic +requirements, so that other columns of the same or kindred types will be +designed. + +The Fountain of Energy and the Fountain of the Earth are the two +original fountain compositions. By which is meant that while there are +many other very charming fountains on the grounds they are distinctly +conceived within the rules of precedent and offer no new suggestion of +type. An exposition is the proper place to offer new types in design and +execution and happy are they who accept the challenge. + +The fountains in the Court of the Universe are examples of how the charm +of sculpture can vitalize architectural conventions. The crowning +figures of these fountains, representations of the Rising and the +Setting Suns, have achieved great popularity. + +The still potent charm of archaic methods applied to modern uses is well +illustrated in the groups of the "Dance" and of "Music" on the terraces +of the Court of the Universe. Again on the rotunda of the Fine Arts +Palace and elsewhere this tendency crops out and always with the +assurance of pleasing. The group representing the "Genius of Creation" +lends a modifying note of refinement against the vigorous Western facade +of Machinery Building, and adds much to the interest of the vistas north +and south of the Avenue of Progress. + +There are figures and reliefs of genuine feeling that do not gain by +resemblances to the mannerisms of Rodin and Meunier, that are not in +harmony with the surrounding architecture. The original figures in the +south portal of the Palace of Varied Industries and the panel over the +entrance to the Palace of Liberal Arts are quite successful inserts of +new thought in old frames in spite of a touch, of this influence. Rodin, +the emancipator of modern sculpture, and a notorious anarchist as +regards architecture, is not always applicable. The imitation of his +style induces a negation of modeling only in evidence in one of his +manners of execution. + +There is a vague tendency voiced by some critics to advance the theory +that the real future democracy of art depends on the verdict of the man +in the street. This is ridiculous. The future of art depends on no one +class of men, aristocratic or democratic. It depends on all men. Art is +neither democratic nor aristocratic. It knows no class - it is concerned +with life at large - elemental life. Art is praise and all things in +life are its subjects. + +The group "Harvest" surmounting the great niche in the Court of the +Seasons is a fine placid thing - and the bull groups on the pylons are +time-honored, virile conceptions strikingly placed. + +The three-tiered sculpture groupings of the Tower of Ages make rich +appeal in relation to the romantic architecture. + +There are groups in niches in the west walls that will remain caviar to +the general, but which are conceived with a fine sense of decoration, +and need only a touch of relation to reconcile them to the observer. To +him they are too strange. Yet strangeness exists and if sufficiently +medicated is even admired. It is strange when one thinks of it, to have +had an Exposition. + +"The End of the Trail" is perhaps the most popular work on the grounds - +the symbolism is simple and reaches many, with just the right note of +sentiment. On the other hand, there are those who have gone beyond the +obvious and prefer less realistic subjects particularly in relation to +architecture. Of this kind may be found many inserts and details making +no particular claim for attention except that of delightful enrichment. +The details of the Exposition are excellent and sometimes brilliant. + +"The Pioneer" is not well understood. The trappings here puzzle the +realists who insist on a portrait of a certain personage - Joaquin +Miller. The sculptor, I know, intended nothing of the sort. It is his +vision of an aged pioneer living over again for a moment his prime. +Astride his ancient pony hung with chance trappings, symbols of +association, with axe and rifle with which he conquered the wilderness, +he broods the past. + +A mural decoration should be fitting for the place which it embellishes +- both in color and composition. The subject, also, should be relatively +interesting, but not the first consideration as is the color, the line, +the chiaros-curo. At a glance the decoration should be the jewel for the +surrounding space. The murals at the Exposition are rather unusual in +their settings, where every building and every court is so replete with +Mr. Guerin's splendid coloring. + +Mr. Brangwyn's decorations are by far the most interesting in their free +joyous use of color and amusing composition. From about the middle of +the cloister under the arches one turns to the right or left and is +greeted with a pleasant surprise of color. Then the story appears and is +buoyant and rich in execution. One is rather shocked when standing +directly near or underneath by the big patches of color and coarse +drawing, the vulgar types not well enough drawn to move our admiration. +The cloister looked poor to have such rich notes in each corner, but one +glance without the arches into the rich and teeming court, and we were +reconciled to their placing. + +Mr. Simmons' color note is pleasant, seen across the great court. How +much more pleasant it is than to have adopted the blue of the heavens as +the dominating note - all the blue decorations in spite of their many +excellences look dull and grey and weary - the painters have not been +able to play up to and dominate the brilliant blue of the sky. In the +Court of the Four Seasons one finds color notes that are fitting, though +lacking in imaginative interest. + +From the Avenue of Palms one looks across the Court of Flowers and sees +over an opening what appears to be a crucifixion. On nearer view one is +undeceived. The rich orange coloring and darker contrast is very +handsome. It is to be regretted that the lunettes over the other doors +are again that watery blue from heaven. Though brilliant in themselves +and clear in coloring, none of the three decorations in this court are +sufficiently naive in design for the space - much too smart and knowing, +they might be easel picture motifs used for the occasion. The American +public is so quick and clever that it is difficult to find in the +painters the simplicity of mind necessary for such work. Again we find +good composition and brilliant coloring in the two wall paintings in the +Pennsylvania Building. + +The Italians have given us an imitation of their frescoing - the doing +of it in this manner illustrates the simplicity of the Italian mind, but +does not convey to one who has not been to Italy the absolute grandness +of Italian fresco. + +This is not a detailed review nor can justice here be done to all that +honest, earnest, hopeful effort of the world-loving artist - he who +delights in the myriad phases of our lovely-terrible life, who naively +labors to bring forth his sonnet of praise. Be kind to him all ye who +contemplate, and remember how much easier it is to criticize than to - +be intelligently sympathetic. It is all for you. Take what you like, and +leave the rest without pollution. It may serve to comfort and to joy thy +fellow-man. + +A. Stirling Calder. + + + +Illustrations and Descriptive Notes of the Sculpture and Mural +Decorations of the Exposition + + + +Fountain of Energy +Central Group, South Gardens + + + +The Fountain of Energy in the place of honor within the main entrance +gives the keynote of the Exposition - a mood of triumphant rejoicing. +The proud bearing of the equestrian group, the wide sweep of water when +the fountain is in play, the sportive movement of the figures in the +basin, all express the joy of achievement. In the conception of the +sculptor, A. Stirling Calder, this was fitting tribute to the completion +of the Panama Canal which the Exposition celebrates. + +The fountain has a double significance. In the first aspect it records +the conquest by Energy of the labors of the Canal. In the second it +proclaims the approach of the Super-Energy of the future. Both +interpretations are detailed upon the following pages. On the globe +supporting the horseman are indicated the sun's course North and South +and the evolution of mankind from lower to higher forms of life. That of +the strenuous Western hemisphere is connoted by a bullman; the quiet +East by a cat-human. Great oceans and lesser waters revel in the +fountain-bowl. A garland of merfolk join globe to base with great +sculptural beauty. + + + +Equestrian Group +Detail, Fountain of Energy + + + +In the more obvious phase of the fountain's meaning, Energy, the Lord of +the Isthmian Way, rides grandly upon the earth, triumphing because of +the Canal so well achieved. His outstretched arms have severed the lands +and let the waters pass. Upon his mighty shoulders stand Fame and Glory, +heralding the coming of a conqueror. The second and more subtle +intention is nobly prophetic. Energy, the Power of the Future, the +Superman, approaches. Twin inspirations - of two sexes to denote the +dual nature of man - urge him onward. His hands point upward, contacting +human energy with Divine. It is interesting to note the steadiness of +the central figure, the sense of firmness, security, in spite of the +feeling of motion in the whole. This is largely due to the hold of the +feet upon the stirrups and the weight of the body in the saddle. + + + +North Sea - Atlantic Ocean +Details, Fountain of Energy + + + +The basin of the Fountain of Energy is devoted to the revel of the +waters. The genii of the four great oceans dominate the scene. They are +mounted upon cavorting marine monsters and surrounded by the smaller +waters, fearlessly playing, head-downwards, upon dolphins about to dive. +The Atlantic Ocean faces East; the Pacific, West; the North and South +Seas their appropriate quarters. The symbolic figures are designed to +interpret the spirit of the oceans they represent - the Atlantic, fine +and bright, upon her armored sword-fish; the Pacific, a beautiful, +graceful, happily brooding Oriental; the North Sea, finned and +glistening, strange and eerie; the South Sea, savage and tempestuous, +blowing a fitful blast. The lesser waters have a lighter quality. The +hair of the sea-spirits suggests seaweed and coral. From the mouths of +of the sea-chargers jets of water rise to meet the nimbus and rainbows +of the semi-spherical downpour of the main fountain. + + + +Mermaid Fountain +Festival Hall, South Gardens + + + +Long, quiet mirror pools flank the great Fountain of Energy, giving +balance and calm to the entrance plaza, or South Gardens. They are +oblong in shape with the farther ends curving into a graceful convex. +The pools are surrounded by formal flowerbeds planted to correspond to +the beds surrounding the central fountain, thus giving continuity to the +whole. These beds are enclosed by a decorative fence which follows the +outline of the pools; the entering paths, emphasized at the outer ends +by flower urns, at the inner by sculptural light standards. + +The curved ends of the pools are marked by Arthur Putnam's beautiful +Mermaid Fountain, in duplicate. The crowning figure is by no means the +conventional mermaid. She is free, full of grace, charmingly poised. The +bifurcated tail is original and gives sculptural distinction as well as +greater human appeal. The figure is instinct with a spirit of play but +is not boisterous. Arthur Putnam is a Californian who has greatly +influenced the development of art in the West. + + + +Torch Bearer +Finial Figure, Festival Hall + + + +As Festival Hall is the seat of the Exposition's musical life, all the +sculpture on and about the building expresses a lyrical mood. The +sculptor has contrived to give this feeling great variety; but, on the +whole, the large reclining figures - the beautiful, relaxed Reclining +Nymph and the Listening God over the great pylons - seem to be +meditatively listening, the seated figures have a fanciful, lighter +suggestion and those standing give a gentle effect of rhythm. The great +arches are marked by a cartouche emphasizing this intention. + +"The Torch Bearer" here pictured is lightly yet firmly poised above the +minor domes. Exquisitely silhouetted against the sky, she has a spiral +beauty, and the grace of one posed in the midst of a dance. The work of +Sherry Edmundsen Fry, who made all the sculpture on Festival Hall, is, +generally characterized by a classic correctness combined with a modern +robustness. It lends itself well to this French Renaissance building - a +type that depends upon its sculptured embellishments. + + + +The Muse and Pan +Pylon Group, Festival Hall + + + +At the base of the great pylons that flank the columnar entrance court +of Festival Hall, are low pyramidal masses of foliage and flowering +shrubs. An interesting group by Sherry E. Fry is set in the midst of +each. The more evident figure, mounted upon a decorative pedestal, is +identical in both groups - a classic, flower-bearing Muse, who seems to +step softly forward. But though the Muse is repeated, the groups vary in +the smaller seated figures at the base of the pedestals. This variation +is not felt architecturally, for the figures balance perfectly and are +nestled in a mass of leafage. At the feet of the Muse before the +northern pylon a Boy Pan sits among the flowers, balanced in the +southern group by a Young Nymph or Dryad. + +The gentle dignity of the standing Muse and the reality and softness of +her draperies recall the same sculptor's figure, Peace, exhibited in the +department of Fine Arts and awarded a medal by the jury. The +architectural beauty of these groups, in relation to the arched panels +of the pylons forming their background, is worthy of study. It will be +seen that the group, in spite of its statuesque quality, is actually +part of the wall surface. The beauty of the ensemble is greatly enhanced +by the sympathetic planting. + + + +Boy Pan +Detail, Pylon Group, Festival Hall + + + +Without doubt the most popular, if not the most admired, of the statues +that adorn Festival Hall is the "Boy Pan," nestled in the foliage at the +base of the pedestal in the group just described. This roguish little +god of woodland music has, besides his traditional attributes, a certain +urchin quality that is very appealing. He has just taken his pipe from +his lips, momentarily diverted by the presence of an alert lizard his +melody has attracted. The lizard is here hidden in the leafage. The arch +amusement of the whole figure, the mischievous, boyish smile upon his +face, have allurement, just lifted from the normal by the quaint +suggestion of small horns still in velvet. Here in his youth is the +wholesome, simple, poetic Pan of the earlier myths, he who grew into the +"Great God Pan," rather than the hero of the more subtle and diversified +later legends. His pertness is contrasted with the shy modesty of the +Young Nymph, the companion figure at the foot of the opposite pylon. + + + +Detail, Spire Base +Palace of Horticulture + + + +The Palace of Horticulture, a combination of French Renaissance with the +Byzantine, is consistently flowery in decoration. It has been given a +carnival expression. The general sculptured adornments are heavy +garlands and overflowing baskets, and profuse ornamentations of flowers. +Large flower-decked jars stand in niches; the cartouches bear the flower +motif. Suggestions of lattices and arbors appear in the low domes on the +porches surrounding the great greenhouses, reminiscent of French garden +architecture of the Great Age. + +The superb central glass dome that gives the building distinction is +crowned by a huge flower basket and draped at its base by a long +garland. At the foot of the sharply ascending spires - the slender +shafts of which are carved with conventionalized vines and bear tapering +flower urns as finials - stand graceful garlands of girls. These +pleasing spire bases, the attendants of Flora, are by Ernest Louis +Boutier, a Parisian. They carry small baskets of flowers on their heads, +a chain of flowers binds them. The same feeling is continued in the +caryatids on this building, by John Bateman. These, also flower-capped, +are repeated on the Press and Y. W. C. A. buildings, smaller structures +in the South Gardens adjoining the Horticultural Palace, thus unifying +the buildings in the plaza. + + + +Cortez +In Front of Tower of Jewels + + + +Equestrian statues of Cortez and Pizzaro stand in the Avenue of Palms at +the base of the Tower of Jewels to suggest the early history of the +South and West of this hemisphere as a background to the present +achievements at Panama and, indeed, at San Francisco. This spirited and +romantic presentation of the fearless conquistador, Hernando Cortez, +shows him at the very height of his proud successes. Charles Niehaus, +whose work is always direct and convincing, has made us feel the Spanish +conqueror's own sense of victory. We know that now Mexico, the +Tlascalans and the Emperor Montezuma have been vanquished, that the +victor's ruthless ambition is already dreaming of the conquest of New +Spain and the navigation of the Pacific. There are infused into the work +a brilliancy and dash that fill the imagination with the glamor of that +picturesque period of history. The perfect horsemanship, the restrained +but vigorous motion, the whole bearing, have a stirring beauty. There is +also intended and expressed in the countenance a sense of vision, as if +Cortez had here a prophetic moment in which he saw the future of the +continent he claimed. + + + +Pizarro +In Front of Tower of Jewels + + + +Pizzaro, the companion equestrian to Cortez, is the work of Charles Cary +Rumsey. The grim, stern and epic history of the bold, arrogant +adventurer who was merciless in success and dauntless in failure is +ruggedly suggested by this figure, mounted upon a heavily armored +charger and advancing with drawn sword. The fact that Pizzaro was a +member of Balboa's party when that explorer discovered the Pacific and +that he himself was in charge of a Spanish colony at Darien in 1510, +makes his appearance at this Exposition appropriate. But it is, after +all, the conqueror of the Incas, the indomitable, who spared neither his +men nor his enemy until the rich cities of the Southern Empire had been +pillaged of their gold and destroyed, who is here portrayed. After +achieving wealth and honors Pizzaro was slain by the followers of a +rival conquistador. The position of these two equestrians is well +chosen; the colonnade of the Tower makes an impressive background. + + + +The Pioneer +Avenue of Palms + + + +History of a later period, nearer to the heart of Westerners, is +embodied in Solon Borglum's lusty and venerable Pioneer. This impressive +equestrian stands on the Avenue of Palms at the entrance to the court of +Flowers. It is interesting to note that, in this rugged and commanding +figure, fineness, dignity and nobility are emphasized as well as the +more customary endurance and hardihood conventionally associated with +the character. On the leather trappings of the old Pioneer's horse, the +tepee, the canoe and other symbols of Indian life are marked. The +sculptor is himself the son of pioneers and has treated this subject +with sincerity and affectionate insight. The Pioneer has been greatly +appreciated and has received special notice in a number of addresses +delivered by distinguished guests of the Exposition. Its veracity is +attested by the fact that resemblance to several famous pioneers has +been imagined in it by their admirers. + + + +The End of the Trail +Avenue of Palms + + + +Still further back into the historical records of American stamina goes +The End of the Trail by James Earle Fraser. No single work of art at the +Exposition has attracted more popular applause than this. It has a +gripping, manly pathos that makes a direct appeal. The physical vigor of +the rider, over-tried but sound, saves it from mere sentiment. An Indian +brave, utterly exhausted, his strong endurance worn through by the long, +hard ride, storm-spent, bowed in the abandon of helpless exhaustion, +upon a horse as weary as he, has come to the end of the trail, beyond +which there is no clear path. It is easy to apply the message of this +statue to the tragedy of the American Indian's decline upon the +continent he once possessed. The sculptor acknowledges as his text these +words of Marian Manville Pope: The trail is lost, the path is hid and +winds that blow from out the ages sweep me on to that chill borderland +where Time's spent sands engulf lost peoples and lost trails. + + + +Historic Types +Finial Figures, Tower of Jewels + + + +As repeated alternating figures on the top of corner pedestals on the +first stage of the Tower of Jewels, stand The Four Agents of +Civilization, the historic influences that have developed our American +life. These, the Adventurer, the Soldier, the Priest and the +Philosopher, have been presented with vivid simplicity by John Flanagan. + +He has given us, first, the Adventurous Explorer, romantic, courageous, +he who crossed the uncharted seas and found new worlds; then the +formidable conquering Soldier, he who founded settlements and held them +with his sword or fought with natives for empire or riches for European +monarchs; then the Missionary Priest, inspired with a holy zeal to +spread the divine message to strange peoples; and, last, the +Philosopher, the Thinker, whose great influence is but now beginning. +The treatment of these figures is quiet, restful and architectural in +feeling, as becomes their position. They supply the serious note to the +gala Tower. + + + +Fountain of Youth +Colonnade, Tower of Jewels + + + +Within the colonnades of the Tower are two wall-fountains by American +women. The Fountain of Youth in the eastern colonnade is the work of +Edith Woodman Burroughs. She has given us the eternally desired fountain +in a new aspect, not as the legendary restorative that changes age to +adolescence, but as the fount of perpetual youth that keeps inspiring +and vivifying the race and every stage of our life. + +An exquisite nude girl stands in a beautifully balanced archway rising +like a flower from a pedestal on which are seen, like roots, vaguely +outlined, the faces of her ancestors. She is Youth, the center of life, +for which the world, its dreams and its rewards are made. The side +panels show the ships of life laden with the aged and manned by +infants, off on the sea of time on the endless quests upon which youth +and desire for its fulfillment's keep the world launched. However, the +enduring charm of the fountain certainly comes from the little-girlhood +of the central figure, the gentle, expectant sweetness of waning +childhood and the perfect purity of the emotion it produces. + + + +Fountain of El Dorado +Colonnade, Tower of Jewels + + + +Within the West colonnade of the Tower of Jewels is the other fountain +desired by all the world - the Fountain of El Dorado. Like the Fountain +of Youth it is connected by legend with early Spanish exploration in +America. Long ago, the story goes, there lived in Mexico or South +America a golden king who scattered treasures along his path. El Dorado +and his realm have long been symbols of the elusive gold sought by +mankind in all ages and every clime. + +In this fountain by Gertrude Vanderbilt Whitney, it is not the mere +possession of wealth that is so sought, but those joys of which our +mistaken imaginings make gold the symbol. In the central composition +here pictured, the Gilded One has vanished through the portals. +Impersonal, unresponsive attendants in Aztec garb guard the door from +suppliant followers. With subtle symbolism they give no sign as to +whether or not they will relent and give entrance. But the fact that +branches of trees have grown close across the opening seems to imply +that hope is slight. + + + +Frieze +Details, Fountain of El Dorado + + + +Two long curving panels supplement the main archway of the Fountain of +El Dorado. They represent the striving of humankind for Power and +Possession. Some by prowess, some by thought; some gaily, some +sorrowfully; some urgent, some patient; some rushing, some lingering - +all press onward toward the longed-for goal. Here and there one falls +fainting; another halts for love or pleasure or indifference. Some stop +to lift or help the fallen, others press by unheeding. The certain sad +fatality of the concept is relieved of its pang by the light and fluent +beauty of treatment. The idea is perhaps a little grim, but the handling +is pleasant and the impression agreeable. The beauty of both the +colonnade fountains is enhanced by the lines of the water in the cascade +stairway. In the Fountain of El Dorado this effect is increased by a +line of balanced jets flowing from dolphin heads in the lower panel. + + + +Nations of the East +Group, Arch of the Rising Sun + + + +Across the great Court of the Universe, the Court of Honor of the +Exposition, the Nations of the East and West face each other from the +summits of their triumphal arches. They express the coming brotherhood +of man, the nations brought closer by Canal and Exposition, and the fact +that civilization has girdled the earth. Inscriptions characteristic of +Eastern and Western wisdom are engraved beneath them. These heroic +groups are the result of the successful collaboration of A. Stirling +Calder, Frederick G. R. Roth, and Leo Lentelli. + +In the Eastern group here pictured, about a richly caparisoned elephant +stand the camel drivers, Egypt and Assyria; the equestrians, Arabian and +Mongolian; two Negro Servitors; the Bedouin Falconer and the Chinese +Llama. The pyramidal composition is massive and the Eastern spirit nobly +sustained. On pylons before both arches, Leo Lentelli's Guardian Genii - +calm, impressive, winged spirits - guard the universe. The unity of men +and nature are denoted by the Rising and Setting Sun fountains, the row +of Stars, the Zodiac friezes and the Elements. Of these, "Air and Earth" +appear in the foreground of the picture. In the distance is "Music," one +of the classic groups contacting the Court with the carnival spirit. All +these are described on later pages. + + + +Pegasus +Spandrels, East and West Arches + + + +These spandrels, by Frederick G. R. Roth, are interesting artistically, +not only for the eager sweep and sense of bigness not usual in the +narrow scope of a spandrel, but especially for their warm decorative +value to the wall surface and the aspiring way in which they follow the +rising line of the archway over which they are placed. The spandrels are +made in very vigorous low relief. They express the place of poetry in +the Universe. For, in this court that celebrates man's achievements in +the East and West, and Nature's gifts to all, the poet on his winged +horse appears to inspire the one and interpret the other. The spandrels +throughout the Exposition are noteworthy. It is significant of the +artistic conscientiousness in detail of those who planned the sculpture +that these and other smaller pieces are so uniformly beautiful. Notable +among them are August Jaegers' spandrels in the Court of the Four +Seasons and Albert Weinert's in the Court of Palms. + + + +The Stars +A Detail of the Colonnade + + + +A sense of eternal spaces, the feeling of calm and elemental +tranquillity, is given to the Court of the Universe by the surrounding +Colonnade of Stars. The quiet stars look, down upon the activities of +men. The semi-conventionalized Star figure, light and firm, repeated +about the Colonnade is a highly important factor in the architectural +beauty of the Court. She stands a-tiptoe on the globe that forms her +pedestal; the circle of her arms about the starry head-dress implies the +endlessness of space. The pointed headdress is hung with jewels of the +kind that decorate the tower. These carry the jubilant idea of the tower +around the Court. They twinkle brilliantly where the sun strikes them +and are illuminated by thin shafts of searchlight at night. This Star +figure by A. Stirling Calder has been reproduced in the insignia of the +Exposition on a number of its official engravings and is the central +design of the gold badges of the Directors and the silver badges of the +Chiefs of Departments. + + + +Earth +Detail, One of "The Elements" + + + +The Four Elements, heroic pieces by Robert I. Aitken, are placed at the +top of the main stairways leading down into the sunken gardens of the +Court of the Universe. In spite of their imaginative themes, these +massive works have the same gripping reality that characterizes all the +later method of this sculptor. He has treated the elements, especially +"Earth" and "Air," in their relation to man. As here pictured, "Earth," +the quiet mother, sleeps on her rocks, over which little human beings +struggle and toil. The rear view of "Air," the group on the opposite +side of the same stairway, may be seen in the foreground of the plate +illustrating The Nations of the East. "Air" holds a star in her hair; +she has great wings and is attended by floating sea-gulls. Behind her, a +man has strapped his arms to her mighty pinions, signifying the effort +of the present age to ride the winds. "Fire" and "Water," across the +gardens, are shown in vivid action; "Fire" roaring with his salamander, +and "Water" blowing a stormy gust across the waves. + + + +The Signs of the Zodiac +Frieze on the Corner Pavilions + + + +Low relief, the form that is so difficult and so beautiful and +satisfying when perfectly achieved, is at its finest in the sculptured +mural panels that crown the corner pavilions of the Court of the +Universe and the Forecourt of the Stars. These are the panels of "The +Signs of the Zodiac," by Hermon A. MacNeil, who is better known to +Exposition visitors by his finial group, "The Adventurous Bowman," on +the Column of Progress. The idea of the overhanging, serene heavens, +expressed by the Star Colonnade, is extended by these panels. About the +central figure of Atlas or Time, his heavenly daughters move, bearing +the Zodiacal symbols, to indicate the sweep of the constellations and +the onward march of time. This impression of the steady, slow passage of +our days is increased by the gentle motion of the figures, so slight as +to be felt rather than seen. The frieze has a clean-cut effect almost +cameo-like in its precision and the harmony and grace of the whole +composition have frequently been found suggestive of the decorations on +an Attic urn. + + + +Nations of the West +Group, Arch of the Setting Sun + + + +As we look across the Court of the Universe towards the Nations of the +West, the vastness of the Court and the commanding effect of these great +groups of the nations impress us. The high columns of the Rising and +Setting Sun fountains, the monumental groups of the "Elements," the +classic "Music" and "Dance" of heroic size, are merged in the splendid +sweep of the Court; the dignified circle of sculptured light-standards +is dwarfed by the perspective. But these mighty processional masses of +the Nations still dominate the whole. This western group, companion to +the Nations of the East, centers about the prairie schooner, which +balances the elephant in the opposing composition, and the girlish +figure of a young pioneer mother, poetically called "The Mother of +Tomorrow." Accompanying her are represented the nations that have +contributed to our American civilization. The group is by the same +sculptors in collaboration who made the group of eastern nations. The +four equestrians, the Latin-American, the French-Canadian, the +Anglo-American, the Indian and the trudging Squaw are by Leo Lentelli; +the pedestrian figures, the bowed Alaskan women, the German and the +Italian are by F. G. R. Roth, who made also the oxen and the prairie +schooner. The Mother and the crowning symbolic group of "Enterprise" and +the "Hopes of the Future" are by A. Stirling Calder, who is responsible +for the general composition. + + + +Enterprise +Detail, Nations of the West + + + +The prairie schooner that forms the axis of the Nations of the West is +crowned by an animated, imaginative group so perfectly co-ordinated with +the realistic main composition that it causes no sense of discord. This +group of "Enterprise" and the "Hopes of the Future" by A. Stirling +Calder, forms the apex of the pyramidal construction. It gives the +required height and balances the howdah on the elephant in the companion +group, the Nations of the East, on the opposite archway. The spirit of +Enterprise, a kneeling figure whose encircling wings carry the rewards +of the world, calls aloud to summon initiative, encouragement and +perseverance to the brave and adventurous who advance our progress. This +Enterprise is the pioneer spirit that discovered and developed America. +At the feet of Enterprise sit the Hopes of the Future; two boys, one +white, the other, negro. These sound the note of deep humanity that +underlies the poetry of the conception. This group of the Western +nations has an appropriate sub-title, "The Pioneers." + + + +Dance +Balustrade, Court of the Universe + + + +At the top of the longitudinal stairways in the Court of the Universe +are Paul Manship's "Music" and "Dance." These are typical examples of +that sculptor's power to combine classic restraint, sculptural dignity +and grace of line with complete freedom and untrammeled ease of method. +They express a musical mood, supplying the honor of musical art to the +otherwise incomplete celebration of man's achievements. In "Dance," here +reproduced, the beautiful movement of the figures and the garlands, full +in volume but light in weight, are superlatively well presented. A +glimpse of the companion group, "Music," can be had in the plate devoted +to the Nations of the East. In this are two classic male figures, the +Composer and the Musician. One holds an open scroll from which the other +reads as he pauses in touching the strings of a lyre. A number of +distinguished exhibits by Mr. Manship, showing all phases of his art, +appear in the Palace of Fine Arts where he has been awarded the honor of +a gold medal. + + + +The Rising Sun +Fountain, Court of the Universe + + + +"The Rising" and "The Setting Sun," by Adolph A. Weinman, stand high +against the heavens on tall shafts that rise from fountain bowls. They +are inspired with a sort of rapturous imagery and they so inspire the +beholder. "The Rising Sun," a youth with outstretched wings, a figure +suggestive of gladness, hope and the dawn of high adventure, is a +fitting symbol of the sunrise. He seems "a-tiptoe for a flight" on the +summit of his column; his profile against the sky is superb. On the +opposite column "The Setting Sun," a young woman with pensive face, +shaded by her hair and drooping wings, sinks to rest. These figures +stand on translucent shafts that are pillars of light in the evening. +They bear garlanded capitals and rise from double fountain bowls bound +together by rising and falling jets and sheets of water. The column +bases are finished with beautiful friezes, one symbolic of the Sun of +Truth, the other of the Peace of Night. Winged mermen support the upper +basin; sea-creatures gambol in the lower. + + + +Column of Progress +In the Forecourt of the Stars + + + +One of the most serious and thoughtful works of the Exposition sculpture +is the Column of Progress which faces the bay at the end of the +Forecourt of Stars. This column represents with direct imagery the +upward progress of man. The shaft itself is sculptured with +conventionalized waves in a gradually ascending spiral, upon which a +repeated vessel, the Ship of Life, sails upward, indicating the slow +upward rise of our life. The lower panels, significant of man's +endeavors, are described on the following page. The crowning group, "The +Adventurous Bowman," noble in intent and in sculptural power, is from +the hand of Hermon A. MacNeil. At the highest point of man's +achievement, stands this Adventurous Bowman, the super-hero, the leader, +the man with insight into the future, who shoots his arrow into the Sun +of Truth. Behind him the next man supports and is protected, by him. +Beside him kneels the woman with his reward in her hands. The frieze +beneath the group shows the Burden-Bearers on whose shoulders the hero +stands - an arresting thought; reminder of the true values in modern +life. + + + +Frieze +Base, Column of Progress + + + +The four panels at the base of the Column of Progress sympathetically +express its exalted idealism. They are by Isadore Konti, in richly +wrought high relief. The play of color values, the planes of light and +shade, are handled with mastery. These four panels indicate that the +thought, the dream, the aspiration, the dutiful devotion underlying all +the labors of the common day are the source of their progress. One panel +shows the higher toils of the mind, as in the arts and statesmanship. In +the center of this stands the inventor or leader of thought with the +eagle of aspiration above him. Another shows the motives of love and +pain and prayer and the central power of labor as movers of the world. +Still another, which is shown here, expresses the humbler toils of +mankind; even they, it says, progress upward through the thinker who +pauses in their midst to dream. The other panel here pictured represents +the triumph of man's endeavors, and the successes that spur to greater +achievements. + + + +Primitive Ages +Altar Tower, Court of Ages + + + +The Tower of Ages, in the Court of Ages, represents Evolution. The lower +group, here illustrated, presents "The Early Ages." This shows the +development of man from his physical beginnings among the creatures of +the ooze up through the cave man and the Stone Age to the growth of the +family ideal out of which sprang a higher civilization. The second group +shows "The Middle Ages." Its three figures are the Monk, the Armored +Bowman, and, at the apex, the Crusader, the highest expression of +idealism, of that period. "The Present Age" crowns the whole, upon an +altar sits the Woman Enthroned and Enshrined. Her children, the future, +are at her feet. Their finger-tips touch a symbol, the Cosmos. One bears +a book, the other the wheel of a machine. Figures of Mutation flank the +central composition. The sculpture on the Tower of Ages is by Chester A. +Beach, whose emancipated and vigorous manner is exactly suited to the +presentment of these strong ideas. + + + +Primitive Man +Arcade Finial, Court of Ages + + + +In accord with the basic idea of the beginning, change and upward growth +of the human race and its emotional life that are emphasized in this +eastern court, rough, plastic figures of "Primitive Man" and "Primitive +Woman" surmount the elaborate arcade. They harmonize with the conception +and treatment of the, group on the Tower of Ages. They are the work of +Albert Weinert, the sculptor who made the much-admired "Miner" in the +portal niches of the Palace of Mines and Metallurgy, and "Philosophy" on +Administration Avenue. He presents these parents of civilization at the +transition stage when they are still savage but have become physically +upright and begun to develop the elementary glimmering of intellectual +and emotional consciousness. They stand as finials on the continued +columns that pierce the arcade wall and emphasize the arches. Dividing +the spaces above them, on a higher level, are repeated finials of a pert +chanticleer, emblem of the east, the dawn and immortality. + + + +Fountain of Earth +Central Group, Court of Ages + + + +Here is one of the most majestic and imposing enrichments of +contemporary art developed by the Exposition. The Fountain of Earth by +Robert I. Aitken has compelled the attention of the world of art and won +the gold medal for sculpture of the year offered by the Architectural +League. In this fountain the idea of man's evolution takes a subtler and +more profound significance. In general, it shows the development and +growth of love from its lower to higher forms and the upward effect of +that spiritualization upon the life of the earth. In the secondary +group, a prelude and epilogue to the main composition, on the prow of +the Ship of Earth are grouped the loves, greeds, passions, griefs and +spiritual cravings of man and woman, who come and go from the Unknown to +the Unknowable. The great arms of Destiny, pushing and pointing, giving +and taking, guide the way. Between the four panels of Life on the Earth, +stand the Hermes, milestones of ancient Rome, here used as milestones +upon the road of Time. Sea-creatures indicate our origin in the waters. +The description of the panels follows on succeeding pages. + + + +Survival of the Fittest +A Panel, Fountain of Earth + + + +The central fountain shows the globe of Earth revolving in the Infinite. +Streams of water by day, clouds of luminous steam by night, give it the +effect of swimming out of chaos. The powerful panels of Earth are boldly +modeled in pierced relief, giving statuesque realism as well as the +picturesqueness demanded of a panel. They follow in a natural sequence +as regards their deep and arresting symbolism. The order is, first, the +Southern, then the Western, Northern and Eastern panels as the fountain +lies. The panel here illustrated is third in the sequence. In the first +panel are shown the motive Elemental Emotions - Vanity, Sexual Love and +mere Physical Parenthood without enlightenment. After the next milestone +is the second panel called "Natural Selection." This presents the +approach of the Strong Man; little wings beside his head indicate the +dawn of Intellect. Women turn to him attracted by his qualities. Of the +men whom they have deserted, one resigns in sorrow; the other prepares +to contend the the issue. In the next phase, here illustrated, "The +Survival of the Fittest," the struggle has begun. The following pages +resume the story. + + + +Lesson of Life +A Panel, Fountain of Earth + + + +In the panel of "The Survival of the Fittest" the battle of life is at +its height. The men are in a furious struggle of strength and prowess. +The interplay of human passions, the contests of wills and capacities, +has developed. The women, too, are taking a conscious part in life, one +weeping and shrinking from the fray, the other extending a restraining +hand. In the last and noblest panel, called "The Lesson of Life," we see +the spiritualized and intellect-guided emotions. A helmeted man and +pure-browed woman gaze tenderly in each other's eyes. Youth, full of +impulse and fire, stays to listen to the voice of Reason. The lover +keeps in touch with the guiding memory of the Mother. And the cycle is +completed from animal to mental toward the higher foundation of life +upon the earth. Seldom has more exaltation of thought or intensity of +feeling been infused, without mawkishness or exaggeration, into a work +of art. The Fountain of Earth, is deeply interpretive of the trend of +modern thought. + + + +Helios +Separate Group, Fountain of Earth + + + +On the wall of the basin of the Fountain of Earth, is a subsidiary group +called "Helios, the Sun." It is a decorative point of finish and is also +symbolic. The Sun is taken as the symbol of the Cosmos, the enduring, +the Day, the source of life. Man is pictured as clinging to it, in the +hope of being freed from the encircling coils of his baser self and the +old earthy entanglements that hold him down, and destroy him. This group +and the main fountain, as well as the sides of the beautiful court, are +mirrored in the long still pool in which the fountain stands - a pool +properly free from splashes or springs as befits the setting of this +intricate and massive work. The rapid and stable growth of Robert I. +Aitken, sculptor of the Fountain of Earth, is of particular interest to +San Francisco, the city of his birth, and the site of several of his +earlier efforts. + + + +Water Sprites +Base of Column, Court of Ages + + + +The "Water Sprite Columns" in the Court of Ages bring the somber +symbolism of this court back to the gay spirit of festival. The sprites +are the work of Leo Lentelli; they have a quaint elfin quality that is +very engaging. The amusing and lovely group seated about the base of the +column have a certain chic habit of pointing elbows, wrists and ankles +that lends an unworldly attraction. Their sister sprite at the top of +the slender decorated shaft is mischievously aiming an arrow downwards. +These Sprite Columns express the gay, frolicsome mood of the waters. +Their feeling harmonizes more with the sea-weed and shell decorations of +the court itself and its falling-water motif than with the weightier +sculpture it contains. They create a pleasing ripple of merriment. Their +light and airy modeling has the beauty of unconscious and unforced +artistry. The columns stand just within the northern entrance of the +court, guarding a vista of the bay. + + + +A Daughter of the Sea +North Aisle, Court of Ages + + + +In this "Daughter of the Sea," Sherry E. Fry has given us a nymph who +typifies the life within the watery sphere where it is deep and broad. +She has the robustness, volume and vigor of the great high seas. She is +deep-bosomed and broad of thigh and stands as though storms and monsters +had no terrors, as one accustomed to breast and conquer the waves. Water +creatures supplement her, but she seems made on too goddess-like a scale +to disport herself with them. It is interesting to contrast this nymph +of the fathomless trough of the sea with the arch and playful Water +Sprites of the froth and ripple, on the columns within the Court of +Ages. This statue is placed in the Forecourt of Ages, facing the Marina, +the court that is designed to graduate the richness of the larger court +toward the more severe facades on the Marina. Sherry E. Fry's work, in a +less rugged vein, appears upon Festival Hall. + + + +The Fairy +Finial Figure, Italian Towers + + + +The gay and gracefully ethereal towers on corner pavilions at the +entrance to the Court of Palms and the Court of Flowers, sometimes +called The Kelham Towers for their architect, are pointed by a long and +pleasing slope of wings. Carl Gruppe's slender Fairy stands upon them, +poised, as though just alighted. This finial figure has a pretty +wistfulness that suggests the whimsical firefly fairies of Peter Pan +more than the conventional gauzy creatures of ordinary fairy tale, and +is more like a female counterpart of Shakespeare's "delicate Ariel" who +sucks "where the bee sucks" than any other creature of fancy. The +curving antennae increase this impression. She carries in her hand a +whirling star. The silhouette of the figure is attractive and the halo +of sky behind the head framed within the circle of the wings, lends a +distinct charm. It is pleasant to have this symbol of imagination over +the Exhibit palaces, especially in the Courts of Palms and Flowers, more +suited to the fairy feeling than, perhaps, any other spot upon the +grounds. + + + +Flower Girl +Niche, Court of Flowers + + + +The perfect balance of this "Flower Girl" by A. Stirling Calder, saved +from any hint of rigidity by the graceful curves of its extended lines, +makes it an admirable wall decoration. Harmony with the wall-niche in +which it appears is part of its allurement. The sculptor has modestly +sought to merge the figure's loveliness into that of the Court and has +succeeded in increasing both. "The Flower Girl" appears in outer niches +of the attic cloister of the court bearing her name, the Court of +Flowers. A light garlanded mantle falls like a petal from her shoulders, +the floating edge following the line of the nymph's divided hair, so +that the maiden seems more like a flower itself than a flowerbearer. +However, she has the sculptural solidity necessary for her location and +resembles not some frail, wind-blown blossom, but the robust and buxom +California blooms that flourish in the court below her. + + + +Beauty and the Beast +Fountain Detail, Court of Flowers + + + +The Fountain of Beauty and the Beast in the Court of Flowers accentuates +the feeling of gentle fancy and the spirit of the fairytale that are the +mood of this and its companion court. It is by Edgar Walter, a +distinguished San Franciscan; he has given us a delightful, playful and +tender rendition of the old tale that has held the imagination of the +world since it first appeared in Straparola's "Piacevoli Notti" in 1550. +Since it was popularized by Madame le Prince de Beaumont in 1757, the +story has been translated into every language. The fountain shows, with +great restraint and refinement of handling, one of Beauty's +ministrations to the sick monster shortly before his transformation. It +is subject to the symbolism that may be read into the story itself; but +the note of fairy magic is the essential theme of the fountain. Quaint +fairy pipers, the unseen musicians of the Monster's Palace, stand about +the pedestal. The lower basin bears a frieze of charmed or enchanted +beasts, very lightly handled and not insistent. Their idea is continued +in the court by the gryphon decorations and Albert Laessle's +wreath-bearing Friendly Lions, at the entrances to the palaces. + + + +Caryatid +Court of Palms + + + +The Court of Palms is restful, meditative, a place where the feeling of +magical allure takes a deeper, more subjective character. It might well +be called the Court of Pools, for two, quiet pools, one circular, one +oblong except for its concave side to hold the other, fill the floor of +its sunken garden and reflect its pensive as well as its physical +charms. The Caryatids repeated throughout this court are the joint work +of John Bateman and A. Stirling Calder. They inject into the court its +fairy spirit without disturbing its repose. They are Puckish, +bat-winged, goblin-horned fairy creatures of an eerie beauty, elfin, +roguish and quaint. Their quality is enhanced by the beautiful color +that has been applied to them, to the garlanded panels between them, to +the cartouches over the archways and, indeed, to all the decorations on +the walls and columns of this court. This richness and depth of color +leads the eye to the three splendid mural lunettes in the arches. These +are Childe Hassam's "Fruit and Flowers" and Charles Holloway's "Pursuit +of Pleasure," at the entrances to the palaces, and Arthur Mathews' +"Victory of Culture Over Force" in the portal that leads to the Court of +the Four Seasons and frames a vista of the bay. + + + +The Harvest +Court of the Four Seasons + + + +The Court of the Four Seasons, classic in spirit, finished and chaste in +execution, required a perfect harmony of mass, line and feeling in the +sculpture that was to embellish it. It was the further task of the +sculptors and mural painters to give the court its meaning, to +illustrate the idea of the earth's abundance and the fruitful +beneficence of the seasons that is implied in the title of the court. +That they have nobly succeeded in this difficult double achievement is +an actual triumph. "The Harvest," by Albert Jaegers, crowning the +half-dome, is a magnificent bit of architectural sculpture. It seems a +faithful part of the surface it enriches; its outlines are faultlessly +balanced; although its sides are varied, its mass is superbly centered. +The Goddess of the Plentiful Harvest sits in the slope of an overflowing +cornucopia; a sheaf of ripe wheat rests in her supporting arm; she is +attended by a lad who can scarcely lift the weight of fruit he bears. +The group is bound more closely to the half-dome by a graceful garland +applied to the wall-surface Mr. Jaegers has further illustrated the +traditional idea of Harvest Home festivals by the vigorous groups, "The +Feast of Sacrifice," which adorn the huge pylons of this court. + + + +Rain +Court of the Four Seasons + + + +On separate columns flanking the Half-Dome of the Harvest, Albert +Jaegers has given us classic presentations of the two great resources of +nature that bring the blessing of rich harvest. These are symbolic +figures, "Rain," here pictured, and "Sunshine." In "Rain," the nymph of +the Earth, holds upward a shell, her cup, in grateful expectation of the +beneficent rainfall, while she shields her head from the storm with a +cloud-like mantle. On the other column, that of "Sunshine," the nymph +shades her head with an arching palm-branch, though she looks up in +happy appreciation to the welcome glow of the sun. As in his "Harvest" +and "The Feast of Sacrifice," Mr. Jaegers has here given with perfect +restraint a sense of generous weight, of richness, profusion and mass +that are highly satisfying in their artistic aspect and are valuable +interpreters of the message of the Court. August Jaegers, a younger +brother of this sculptor, has embellished the arcade of this court with +an attractive repeated attic figure. In voluminous, decorative draperies +this female figure stands between two young orange trees, her arms about +them - significant of the harvest of California. + + + +Fountain of Spring +Court of the Four Seasons + + + +The seasons of the year are expressed in the Court that honors them by +four wall-fountains, the work of Furio Piccirilli. The sculptured groups +are set in colonnaded niches, against a warm background of deep pastel +pink wall. The water flows over a cascade stairway. The floors of this +and of the basin are painted pale Oriental green, giving a luminous +beauty to the water, especially at night in the glow of hidden lighting. +The planting about the niches and the trailing green on the walls are +component parts of the fountains' beauty. The sculptor has felt the +Seasons in their gradual changes, as found in California, rather than in +the usual sharp divisions. He has infused them with a wistful sadness, +however, as at the passing of time. In "Spring," here illustrated, for +example, we feel something more than the Youth, Flowers, Love and +Promise obvious in the composition - something tender and romantic but +by no means gay. + + + +Fountain of Winter +Court of the Four Seasons + + + +Fountains of Summer, Autumn and Winter, by the same sculptor as Spring, +just described, are similarly installed in their respective niches in +the Court of Four Seasons. In "Summer" is represented the earth's early +fruition. A young mother lifts her new-born babe for its father's kiss. +A gleaner harvests the grain. Over all is a gentle solemnity. In +"Autumn," probably the most admired of the four, against the background +of a fruit-bearing tree, a superb nymph bears proudly the full jar of +wine or oil. On one side a crouched figure gathers a richly-laden +garland of the vine; on the other, a youthful, kneeling female figure +plays with a lusty child. Even this period of completion is marked by +the general pensive beauty. It is emphasized most, however, in "Winter," +here illustrated. The bowed, worn toiler rests on his shovel, the spirit +of the year waits, still and brooding. But, on the other hand, the sower +is ready to cast the new seeds; the cycle re-commences. + + + +Fountain of Ceres +Forecourt of the Four Seasons + + + +The Forecourt of the Seasons, the continuation of the Court of the Four +Seasons to the Marina, is officially called the Forecourt of Ceres, +because of Evelyn Beatrice Longman's Fountain of Ceres which commands +it. Ceres, or Demeter, the goddess of Agriculture, presided over the +Earth's abundance. By her favor, came the good harvest; she it was who +first instructed man in the use of the plough. In the loveliest of +antique myths she is the mother of Prosperine, the Spring. Miss Longman +has expressed her as exultant, regal, young - far less matronly than as +conventionally pictured - glorying in her power to bless the cooperative +labors of man and nature. She holds as her sceptre the stalk of corn, +and offers the crown of summer to the world. The central figure is not +more lovely than the pedestal base on which she stands. A frieze of +dancing maidens, wrought in cleancut low relief, Greek in manner, +celebrate the Harvest feast. In the accompanying illustration, the +groups on pylons, by Albert Jaegers, already described, may be seen in +the background. + + + +The Genius of Creation +Central Group, Avenue of Progress + + + +"The Genius of Creation," by Daniel Chester French, has the superb +simplicity of all works of that master of sculptural calm, intellectual +power and straightforward sincerity. Mr. French is said to make no +mistakes in composition; his precision is not dryness but technical ease +and infallibility; his classical quality is not obedience to tradition +but insight, into the underlying laws that made tradition. Here we have +a splendid example of his perfection of mass, balance and finish and of +quiet, inspiring depth and directness of feeling. Creation extends +life-giving arms over the universe. Serene, brooding, blessing, the +noble face emerges from mysterious shadows of the enveloping mantle. The +sculptural quality of the draperies, their weight and texture and grace +are notable. At the foot of the pedestal rock, man and woman stand - +facing different sides, but their hands are clasped at the back of the +group. The Serpent surrounds all, inevitably suggestive of the story of +Genesis, but symbolic of the waters from which life emerged and the +encircling oneness of the universe. + + + +The Genius of Mechanics +Column Friezes, Machinery Hall + + + +All of the sculpture about the Palace of Machinery partakes +appropriately of the size and strength of that huge building which +houses the world's progress in mechanical arts. The sculpture, like the +building, is Roman rather than Greek in type and modern American in +vigor and expression, as are the chief contents of the Palace. The +sculptor, Haig Patigian of San Francisco, has expressed this combination +with power and virility. The frieze here illustrated appears at the base +of massive columns, interestingly made of simulated Sienna marble, the +warm tones truly reproduced. The frieze is extremely energetic, although +well restrained, and supports the great column as a basic frieze should +do, especially when its subject is so appropriate to the purpose. Two +winged Genii, one holding a pulley, one upholding the column upon his +hands, alternate with two Disciples, for whom their extended wings +create a background. One of these is complemented by hammer and anvil, +the other by furnace and tongs. Both share the column's weight on +powerful arms. The imaginary figures show potential strength in repose, +the human figures potent strength in action. The frieze in low relief is +colorful and decorative. + + + +The Powers +Column Finials, Machinery Hall + + + +High upon the mighty columns that surround, relieve and give color to +the immense facades of Machinery Palace, are Haig Patigian's masculine +and trenchant figures "The Four Powers." These are of heroic height, and +create an impression of superhuman size and strength even when raised so +far above the ground. They have a simple robustness that accords well +with their theme. Two of the Powers are abstract, the driving powers of +thought; these are Invention and Imagination. Two are concrete, +representing the mightiest powers of modern mechanics, Steam Power and +Electric Power. Steam Power is forcing the driving arm of an engine; +Electric Power, the world at his feet, handles the lightnings. He wears +the winged cap of Mercury, messenger of the gods, for electricity is the +messenger of modern days. Invention, crowned with the bays of +achievement, holds in his hand a bird-man about to leave the earth; +Imagination, accompanied by the eagle making ready to soar, dreams with +closed eyes. + + + +Pirate Deck-Hand +Niches, North Facade of Palaces + + + +The northern facades of all the palaces along the Marina are beautifully +embellished above the vestibules with an intricate plateresque +decoration, modeled after portals in Old Spain. In the three ornate +statue-niches - in the original probably devoted to saintly images - are +romantic figures by Allen Newman. It is appropriate that these figures +facing the water-front should represent, as they do, the Conquistador +and the Pirate Deck-hand, who once were masters and terrors of the main. +The Conquistador stands in the central canopied niche, the strong line +from his helmet-point down his sword-hilt making a grimly decorative +axis for the whole. The Deck-hand is repeated in the niches on each +side. This ruthless minion of sea adventurers is here pictured beyond +the urchin's dreams. The line of the rope he carries is a touch of +excellently handled decoration. Both these figures are so well +harmonized architecturally and sculpturally to their pedestals and +location that the entire facade should be seen for their proper +appreciation. + + + +From Generation to Generation +Palace of Varied Industries + + + +In the portals on the south side of the group of palaces, facing the +Avenue of Palms, we have again the beauteous old Spanish doorways in +plateresque design, with niches filled with modern sculpture. The portal +of the Palace of Varied Industries, copied from a famous prototype in +the old hospice of Santa Cruz, in Toledo, Spain, was assigned to Ralph +Stackpole. He is a sculptor who delights to honor the laborer and the +craftsman and has supplied the figures for niches and keystone space and +the tympanum and secondary groups in the portal of Varied Industries +with evident affection. He treats the subject of labor with dignity, +according it respect and not sentimentality. In this secondary or +crowning group, a strong young man is taking the burden of labor from +the shoulders of the last generation - an old workman, bowed but still +hale and vigorous. There is a sense of responsibility and earnestness in +the group, but complete confidence and power. It might well have been +feared that these rugged types of American life might ill accord with +the ancient ornate doorway. But the decorative proprieties have been +thoroughly sustained. + + + +The Man with the Pick +Palace of Varied Industries + + + +In the repeated niches following the line of the archway in the portal +of Varied Industries, described in the foregoing page, appears Ralph +Stackpole's "Man With the Pick," a manly tribute to the intelligent, +self-respecting workman who is the basis of our national life. There is +a frank and unaffected realism in the work that attracts by its +uncapitulating sincerity. Its impression of rugged power and +self-respect saves it from becoming merely photographic, and its plastic +feeling is excellent. In this and the preceding group, as also in the +keystone figure and the tympanum, the courageous employment of the +actual commonplace garments of everyday labor instead of idealized +draperies has met success. The tympanum group is called "Varied +Industries." It appreciates the various daily labors of mankind through +which civilization continues and is almost devotional in its expression +- "in the handicraft of their work is their prayer." + + + +The Useful Arts +Frieze Over South Portals + + + +Another artist who appreciates the spirit and enterprise of our own day +and finds inspiration in its humble labors is Mahonri Young. This +feeling appears in much of his work and is notable in the panel of +"Useful Arts," as also in the niche figures that flank it and are really +part of the conception. These appear over the handsome portal arch of +the Liberal Arts Palace. The beautiful grouping of the many figures in +the panel is a delight; the planes of perspective are skillfully +handled, without in the least marring the flat surface requisite in a +mural panel. This panel of "Useful Arts" does honor to skilled labor. +Men and women are shown busy with the spinning-wheel, the anvil, the +forge and other implements of skilled craft. Satisfying figures in the +niches, the Woman with the Distaff and the Man with the Sledge-Hammer, +continue the same idea. Mr. Young's place in art is unique in that he +has won distinguished consideration in three branches - painting, +etching and sculpture. In the Palace of Fine Arts he exhibits twelve +etchings and nine works of sculpture, several of each devoted to the +phases of life expressed in this panel. + + + +Triumph of the Field +Niches West Facade of Palaces + + + +In the western facade of the Palaces of Food Products and Education are +examples of the new tendency in sculpture. These are "The Triumph of the +Field" and "Abundance" by Charles R. Harley, the modernist. He has made +them intricate and teeming with imagery, giving the beholder much food +for study and personal interpretation. These works have been useful in +arousing much artistic discussion. They endeavor to express a mood of +richness, fullness and success and have the effect of laden chariots in +a triumphant pageant. In "The Triumph of the Field," Man sits upon the +skeleton head of a steer, surrounded by a multitude of symbols +indicative of festivals of agricultural success in the past. Some are +pagan, some Christian. Above his head is the wheel of an antique wagon; +he holds crude farm implements of long-past days. In "Abundance," the +companion piece, Nature, a female figure, sits in the prow of a ship, +surrounded by the abundance of land and sea. Her hands are extended; +one, in order to receive greatly; the other, that she may greatly give. + + + +Worship +Altar of Fine Arts Rotunda + + + +This lovely, adoring figure, pure, devoted, appealing, emblematic of Art +Tending the Fires of Inspiration, is placed upon the Altar before the +Palace of Fine Arts and can be seen only from across the waters of the +lagoon. Her perfect self-surrender to her holy task of guarding +inspiration's flame is a sermon and a poem. She is the worshipful spirit +for whose reward the glow of genius is sent. She is an image of the +perfect reverence for an ideal. It is interesting to note that she is by +the same hand that fashioned those rugged laborers on the portals of the +Palace of Varied Industries, that of Ralph Stackpole. The altar of Fine +Arts, separated from the beholder by the whole width of the beautiful +lagoon, set before the great rotunda and surrounded by sculptured +barriers and growing green buttress walls of flowers that quite shut it +off from all access of the passerby, has the effect of a shrine. This +sense of seclusion adds much to the impressiveness of the statue. + + + +The Struggle for the Beautiful +Frieze, Fine Arts Rotunda + + + +A surpassingly beautiful contribution to the Exposition art has been +made by Bruno Louis Zimm in his panels of Greek culture. These lovely +panels in low relief, surely worthy of a permanent medium, are set in +the attic of the Rotunda or Belvedere before the Palace of Fine Arts, +used and known as the Temple of Sculpture. The panels express not so +much the historical Greek tradition - though they are, indeed, produced +in the purest Greek manner - as they do the high spirit and ideals of +Greek art, the devoted seeking for divine fire, the determined +opposition to the trivial and the base. Each of the panels is once +repeated. The panel of "The Triumph of Apollo" shows the fiery god of +Inspiration, Music and the Sun in a procession of worshipers; his +flaming wings are the rays of the sun. The panel of "The Unattainable in +Art" might well be called "The Struggle for the Beautiful." It pictures +the unending struggle with the gross and stupid, both objective and +subjective, that confronts the champion of the beautiful. Art stands +serene, aloof, unassailable in the center of the fray. The panel of +"Pegasus" shows the winged steed of the poets controlled by a true +aspirant, attended by Music, Literature and Art. + + + +Guardian of the Arts +Attic of Fine Arts Rotunda + + + +Two stately "Guardians of the Arts," one male, one female, of godlike +proportions and great dignity, are placed in the attic of the Fine Arts +Rotunda, separating the panels of Greek culture. They are the work of +Ulric H. Ellerhusen, who has shown a keen perception of the structural +necessities involved in these immense details. The Rotunda of Fine Arts, +the temple of Sculpture, is one of the most interesting architectural +features of the Exposition. It is the culminating beauty of the +marvelous colonnade of Fine Arts Palace, its chief distinction. Within +are some of the treasures of the exhibit sculpture. Under the arching +dome are Robert Reid's mural paintings described in a later place. The +Weeping Figures on top of the colonnade itself are also by Mr. +Ellerhusen. They express the humility that ennobles the true artistic +spirit and distinguishes it from the spurious. Instead of the +self-satisfied Triumph or Victory that might be expected to crown this +last of the Exposition palaces, these represent the spirit of Art +weeping at the impossibility of achieving her dreams. + + + +Priestess of Culture +Within the Fine Arts Rotunda + + + +High on the decorative columns that mark the great arches within the +beautiful Rotunda of Fine Arts, stand, repeated, the peaceful, dignified +and serene "Priestess of Culture," by Herbert Adams, an angelic figure, +modeled with the control and calm that fittingly express the mission of +culture upon the earth. Indeed the work of Mr. Adams may be said +generally to be characterized by that probity and intellectual beauty +ministering to the purposes of culture. These figures are harmonious +ornaments to the richly decorated ceiling which they touch and to which +they give a certain tranquillity. The slope of their wings connects +gracefully with that of the arches; this, with the quiet beauty of the +drapery and its accord with the line of the cornucopia, creates a +restful architectural effect. It is a pleasant coincidence that these +Priestesses of Culture look down upon the statue of William Cullen +Bryant by the same sculptor, an exhibit piece, charmingly installed at +the entrance to the great Rotunda. + + + +Frieze +Flower Boxes, Fine Arts Colonnade + + + +The very large flower boxes bearing masses of luxuriant California +shrubs that mark the Peristyle Walk in the Fine Arts Colonnade are +constantly admired for their own beauty, the beauty of their contents +and their part in the general effectiveness of the delightful Colonnade +they enrich. The friezes are by Ulric H. Ellerhusen, who made also the +Weeping Figures and the heroic "Guardians of Arts" already described. It +is interesting to note that the precision of handling has given this +design, in spite of its size, an exquisite delicacy. Standing at +charmingly balanced intervals, a circle of maidens bear a heavy +rope-garland. This rope makes a gratifying line that has given pleasure +to connoisseurs. The frieze is so successful largely because, though +frankly decorative as suits its purpose, its personality and charm +distinguish it from the pattern-like or conventional. The landscape +planting in the boxes, in the flower beds and above, is one of the +enduring attractions of this colonnade and walk. The green is +architecturally massed and the relief of flowers bright and delicate, +never intrusive. + + + +The Pioneer Mother +Exhibit, Fine Arts Colonnade + + + +The "Pioneer Mother" monument, by Charles Grafly, is a permanent bronze, +a tribute by the people of the West to the women who laid the foundation +of their welfare. It is to stand in the San Francisco Civic Center, +where its masterful simplicity will be more impressive than in this +colorful colonnade. It is a true addition to noteworthy American works +of art and fully expresses the spirit of this courageous motherhood, +tender but strong, adventurous but womanly, enduring but not humble. It +has escaped every pitfall of mawkishness, stubbornly refused to descend +to mere prettiness, and lived up to the noblest possibilities of its +theme. The strong guiding hands, the firmly set feet, the clear, broad +brow of the Mother and the uncompromisingly simple, sculpturally pure +lines of figure and garments are honest and commanding in beauty. The +children, too, are modeled with affectionate sincerity and are a +realistic interpretation of childish charm. Oxen skulls, pine cones, +leaves and cacti decorate the base; the panels show the old sailing +vessel, the Golden Gate and the trans-continental trails. The +inscription by Benjamin Ide Wheeler perfectly expresses what the +sculptor has portrayed. + + + +Lafayette +Exhibit, Fine Arts Rotunda + + + +Paul Wayland Bartlett's "Lafayette," of which this is a plaster copy, +should be known and honored by every loyal American. It is considered by +many the most successful equestrian statue of modern times and it was +the gift of the school children of America to the Republic of France. +The original bronze stands in the Court of the Louvre, the most coveted +location in Paris. The position of honor among the sculpture exhibits +accorded to this copy, as the central piece in the Temple of Sculpture, +gives the impressive beauty of the "Lafayette" the distinction it +deserves. Seen at a little distance, with the background of the lagoon, +the superb bearing of both horse and rider get their full effect. This +interpretation of Lafayette, commanding, heroic, graceful, +unselfconscious, his Gallic dash and fire evident but restrained by +military and aristocratic control, is stirring and convincing. The +upheld sword is a touch of fine artistry. Mr. Bartlett was Chairman for +Sculpture of the Exposition Jury of Fine Arts. He has just completed the +pedestal heads for the House wing of the Capitol at Washington. His +"Dying Lion," exhibited in plaster copy in the Fine Arts garden, has +been coupled by critics with the "Wounded Lion" of Rodin. + + + +Thomas Jefferson +Exhibit, Fine Arts Rotunda + + + +All the work of the late Karl Bitter bears a peculiar appeal at this +time, since he was Chief of Sculpture of the Exposition, was so close +personally to many of the men who made its beauty, was so valuable an +influence to the art of our nation and left so ennobling a memory as man +and as artist. His sustained, faithful and enduring works are well +represented in the exhibit galleries by his "Signing of the Louisiana +Purchase Treaty," made for the St. Louis Exposition and loaned by that +city; his Tappan Memorial from the University of Michigan; his +Rockefeller Fountain, and the appealing "Faded Flowers." A medal of +honor was awarded to him. Thomas Jefferson was always a sympathetic +study to Karl Bitter, who has interpreted that statesman, scholar and +patriot in his several capacities. The original of the present statue +was made for the University of Virginia; Jefferson said he preferred to +be remembered as founder of that institution rather than as President of +the United States. He is here represented in a moment of meditative +leisure. + + + +Lincoln +Exhibit, South Approach + + + +Two noble Lincolns by the great Augustus Saint-Gaudens do honor to the +city of Chicago and are distinguished by the titles "The Standing +Lincoln" and "The Seated Lincoln." Both have the homely beauty, +greatness and dignity of character that are essential to the presentment +of this national inspiration. "The Seated Lincoln" here shown is the +original bronze, not a replica. It was loaned, under the protection of +heavy insurance, to the Fine Arts Department, and will soon be installed +in a Chicago park. It is the property of the Lincoln Memorial Fund, a +foundation of $100,000 left by the late John Crerar to commemorate +Abraham Lincoln in Chicago. Saint-Gaudens, having made "The Standing +Lincoln" with such success, was given the opportunity for a new +presentation of this great theme. "The Seated Lincoln" has a +soul-stirring expression of figure and countenance; the crumpled shirt, +the square-toed shoes, the well-known shawl draped upon the chair, are +not more real than the simple greatness of soul that somehow expresses +itself throughout. + + + +Earle Dodge Memorial +Exhibit, Fine Arts Rotunda + + + +The "Princeton Student" made by Daniel Chester French as the Earle Dodge +Memorial, is lent to the Exposition by the trustees of Princeton +University. It is this master's expression of the type of young manhood +that makes for the winning of respect and enthusiastic friendship and +worthy leadership in our modern college life. Full of energy and spirit, +the youth steps forward, physically rugged, of athletic prowess and +sportsmanly character, intelligent, frank, clearbrowed, fearless and +straightforward of gaze, bearing his books with care and ease and draped +with the academic gown, symbol of scholastic achievement. To give this +figure of young manhood the solemnity of a memorial and still keep it +true to the hearty and cheerful vigor it depicts was a notable +achievement. The setting in one of the arches of the Rotunda, with the +lagoon and the landscape-planting in the background, is admirable. Two +great universities have in recent years been graced by Mr. French's +work; his "Alma Mater" on the great stairway of the Columbia University +Library is one of the art treasures of New York City. + + + +Fountain +Foyer, Palace of Fine Arts + + + +This fountain, by Gertrude Vanderbilt Whitney, who made the Fountain of +El Dorado for the Exposition, is strikingly different from that work in +treatment and character, showing a notable versatility and +responsiveness to change in motif. As that was poetically symbolic, this +is a massive direct work in a more virile and vigorous manner. It shows +three well-modeled nudes supporting a bowl heavy with richly laden +vines. Its installation in the center of the entrance hall of the Fine +Arts Palace is in itself a work of art. The white marble fountain - for +this is the original work, loaned by the artist - is cleverly contrasted +with vivid green water plants in the bowl; just enough of them and +tastefully placed. And in the rim small trees are set, of well-chosen +verdure, shape and size. The fountain was awarded a bronze medal. + + + +Wildflower +Garden Exhibit, Colonnade + + + +One of the most varied and interesting talents among the younger men of +distinction who have exhibited in the Department of Fine Arts is that of +Edward Berge of Baltimore. The entire originality and freedom from +mannerism with which each subject is met, and the variety of the +subjects themselves, are worthy of note, as are also Mr. Berge's +singular lightness and fluidity of method. His correctness is apparently +unlabored. No small piece has more admirers than this sweet and merry +little "Wildflower." A secret of her appeal may lie in the fact that the +artist is the father of the model. The little girl, crowned with a +wildflower, posed with the pertness of a wayside blossom, her hands +extended like pointed leaves, has a roguishness and playful grace that +charm. With something of the same humorous whimsy Mr. Berge exhibits a +Sundial showing a nude baby, buxom and cuddlesome, embracing a new doll +while the old one lies discarded, illustrating the legend, "There is no +Time like the Present." + + + +The Boy with the Fish +Garden Exhibit, Colonnade + + + +Bela Lyon Pratt, widely esteemed for his vital and imposing serious +works, of which a splendid collection here exhibited has been awarded a +gold medal, has amused himself and all of us with this jolly little +garden piece, "The Boy With the Fish." It is a unique bronze, never to +be reproduced or copied. Though hundreds of persons have wished to +purchase replicas, no one can ever do so, for the owner stipulated with +the sculptor never to allow reproduction. The moulds have been +destroyed. But no one can stop the joyous memory in many minds of this +spirited little elf, riding a turtle, struggling with his slippery fish +and having so much fun about the difficult feat. One of Mr. Pratt's more +serious works that is attracting the deserved attention of Exposition +visitors is "The Whaleman," a detail of his noble Whaleman's Memorial. +This sculptor has done much to encourage individuality and earnestness +among the younger men, not only by example but also in his capacity of +instructor in the Boston Museum of Fine Arts. + + + +Young Diana +Garden Exhibit, Colonnade + + + +Janet Scudder, an American artist whose work has been as highly honored +in France as in her native land, is known chiefly for her poetic and +happy expressions of the out-of-door spirit. Her fountains and garden +pieces are small and sportive but intensely sincere and never trivial. +She has a pagan sense of natural imagery and a deep feeling for +childhood. Her finish is delicate and perfect. The "Young Diana," here +illustrated, girlish, with singularly natural untrammeled grace - +slender, beautiful and novel in conception - was awarded honorable +mention in the Paris Salon of 1911. The young goddess of the chase, the +moon and of maidens, is presented as still more of a maid than a +goddess, glad with the freedom of girlhood, unconscious of her Olympian +inheritance. Miss Scudder has received the distinction of having one of +her fountains purchased by the Metropolitan Museum in New York. This is +the Frog Fountain which, loaned by that Museum, appears in the Palace of +Fine Arts. Her "Little Lady of the Sea," also here exhibited, received +notable consideration in the Paris Salon of 1913. She is the holder of a +silver medal awarded by the present Exposition. + + + +Young Pan +Garden Exhibit, Colonnade + + + +One of the charms of the Exposition lies in the fact that the long +rainless summer and beautiful plant-life of California permit the garden +pieces to be displayed out of doors in the setting desired for them by +their sculptors. This little Pan of Janet Scudder's, for instance, is +far happier in his appropriate mass of foliage than if he were inside of +a gallery. "Young Pan," a garden figure, is witty, elfin, very engaging. +He is a seaside Pan instead of the woodland dweller usually portrayed. +His foot is - rather recklessly one would think, were this not a +magical, superhuman being - placed heel-down upon the back of a great +crab. A pretty pedestal base, with sea-shell decoration, supports the +baby god. This base, by the way, Miss Scudder attributes as the work of +Laurence Grant White. Pan is enjoying the music of the two long pipes he +blows-playing one of the unplaced wild lilts of nature, we may be sure. +This sense of enjoyment and his debonair little swagger are festive and +delightful. His mischievous gaiety communicates itself to the beholder. +This humorous quality appears in another merry little god by the same +sculptor, her "Flying Cupid," close at hand. + + + +Fighting Boys +Garden Exhibit, Colonnade + + + +Another evidence of the charm of outdoor installation is seen in Miss +Scudder's Fountain of the Fighting Boys, so beautifully placed, with the +waters in actual play, in the Peristyle Walk about the Fine Arts Palace. +The original of this little fountain is owned by the Art Institute of +Chicago. There can be no doubt that this fight is without rancor; the +faces of the cherubic contestants are so gay and good-natured that only +the determined little tug of the hair, the business-like pressure of +chubby knee upon knee, the uncertain possession of the big fish that is +the cause of contention, makes us see that a battle is raging. The boys +fight merrily, evidently enjoying both the contest and the downpour of +water that complicates it. An unexpected accidental beauty has been +added to this and all the Exposition fountains. Some colorful substance +in the water that plays upon them has given soft touches of the same +rich ochre tone that appears in the columns. This increases the +effectiveness and takes away the appearance of boldness or newness, +substituting a weather-beaten and permanent aspect. When long spires of +flowers are in bloom and reflect their beauty in this little fountain +pool, the gayety and loveliness of the spot are entrancing. + + + +Duck Baby +Garden Exhibit, Colonnade + + + +The contagious mirth of "The Duck Baby," a garden figure by Edith +Barretto Parsons, is irresistible. This plump little image of good cheer +conquers the most serious; every observer breaks into answering chuckles +as this smile-compelling small person, holding fast her victims, beams +upon them. The frieze of busy ducklings on the pedestal base adds to the +amusing impression. This figure makes such a universal appeal that +thousands of postal card pictures and amateur photographs by exposition +visitors have been sent in a steady stream throughout the land, +scattering the Duck Baby's good cheer far and wide ever since the +Exposition opened. In the presence of so much that is weighty and +powerful, this popularity of the "Duck Baby" is significant and touching +indication of the world's hunger for what is cheerful and mirth +provoking. Another well-liked and winsome work with a chubby baby figure +at its center is "The Bird Bath" by Caroline Risque, in which a lovable +baby, with an expression of the tenderest sympathy, holds a little bird +to his breast. + + + +Muse Finding the Head of Orpheus +Garden Exhibit, Colonnade + + + +Under the branches of a low tree the poetic group by Edward Berge, "Muse +Finding the Head of Orpheus," a white marble group of superior elegance +and texture, arrests the passerby. A Muse kneels, drooping in exquisite +pathos over the head of Orpheus found in the waves. The sculptor has +chosen the tragic side of the Orphean myth. The son of Apollo and the +Muse Calliope, whose heaven-taught lyre charmed men and beasts, melted +rocks and even opened the gates of Erebus, had failed to win from death +his bride, Eurydice, lost to him for the second time. As he wandered +disconsolate, the Thracian bacchantes wooed him in vain. Maddened by +failure and by their bacchanal revels, they called upon Bacchus to +avenge, and hurled a javelin upon him. But the music charmed the weapon, +until the wild women drowned it with their cries. Then they dismembered +the singer and threw him to the waves; but the very fragments were +melodious and reached the Muses, who buried them where the nightingale +still sings "Eurydice." So runs the allegory; even drowned by earthly +clamors, slain and torn by wanton hands, the song of Poetry continues, +the weeping Muses save. + + + +Diana +Garden Exhibit, South Lagoon + + + +In a setting of surpassing appropriateness and beauty, installed high +amid the tall shrubbery as if emerging from the edge of one of her own +forests, the huntress Diana points the arrow she is about to let fly. +This rendering by Haig Patigian, who made the heroic Powers and other +decorations on Machinery Hall, is simple, classic, pure, imaginative, +poetic in purpose and in effect. He has softened the traditional +coldness of the goddess by a warmer humanity without injuring the sense +of proud aloofness. The Maiden goddess of the Hunt bears in her hand the +crescent bow, its lines here strongly suggestive of those of the young +moon, of which it is the symbol and this goddess the deity. Mr. Patigian +exhibits in the Colonnade a companion piece, "Apollo, the Sun God," twin +brother of Diana. A vivid figure of manly grace, Apollo is presented in +the guise of the sun of the morning. He kneels and shoots an arrow +upward; the long, pleasing curve of his bow suggests the outline of the +sun above the horizon as Apollo releases his first bright shaft of +light. + + + +Eurydice +Garden Exhibit, Colonnade + + + +This "Eurydice," by Furio Piccirilli, pictures the nymph as standing +against the background of an echoing rock, listening to the distant +strains of the magic lyre of her lover, Orpheus. Orpheus had been taught +to play by Apollo, his father, and could enchant the animate and +inanimate world by his music. So he charmed the nymph, Eurydice; but +Hymen, god of marriage, refused to prophesy happiness at their nuptials +and soon Eurydice, in escaping from a pursuer, trod upon a snake, was +bitten and died. Orpheus' sorrowful music moved all the earth to pity. +Even Pluto and the keepers of Erebus relented, allowed the musician to +descend into their forbidden realm and lead Eurydice back to life, +provided he should not turn backward to gaze upon her until they reached +the world of mortals. But the lover could not resist the desire to +assure himself of her presence, looked, and lost her forever. Furio +Piccirilli, who made this marble, is the sculptor who has graced the +Exposition with the four Fountains of the Seasons in the Court of that +name. For this "Eurydice" and his other small group, "Mother and Child," +he has taken a silver medal. + + + +Wood Nymph +Garden Exhibit, Colonnade + + + +Isadore Konti, from whose hand came also the inspiring, panels at the +base of the Column of Progress, described in a preceding page, is the +sculptor of this pretty "Hamadryad." The Dryads and Hamadryads lived, +according to old legend, within the trunks of trees and perished with +their homes. So it was an impious act to destroy a tree without cause. +This nymph of the woods has emerged from the tree-trunk home or from +some rocky fastness and taken the urn of a naiad, a sister nymph of +brook and fountain, to give drink to the gentle, confident fawn that is +her charge. The little animal is lapping the stream that flows from the +overturned vase. This study in white marble follows tradition and is +regarded chiefly for its gentle grace and careful tooling. It is +harmoniously composed and has a beautiful surface. Mr. Konti's varying +moods are, represented in the Fine Arts collection by a number of works, +each revealing a different intention - from the pretty and restful, like +this, to the large and stirring. + + + +L'Amour +Garden Exhibit, Colonnade + + + +There are few more complete examples of delicacy of feeling and of +refined, caressing perfection of tooling than this exquisite marble +group, "L'Amour," by Evelyn Beatrice Longman. The purity of its emotion, +the tenderness and fidelity of its poignant pose, are surpassed only by +the marvel of surface finish. The surface has been gone over so +lovingly, so painstakingly, so repeatedly that the marble has taken on +the soft, warm impression of living flesh. And the gentle unstrained +modeling has the plastic grace of the human body. Miss Longman, winner, +by the way, of a silver medal for exhibits in the Fine Arts, is the +maker of the Fountain of Ceres in the Forecourt of Seasons that has been +described. She is an earnest and serious artist of abundant talent whose +work is treated with ever-increasing respect and admiration. She won the +competition for the doors of the Naval Academy at Annapolis, for which +there were many distinguished aspirants. She presents Love in the group +under discussion as a rarefied and inspiring emotion in which the +physical and spiritual commingle and "sense helps soul" as well as "soul +helps sense." + + + +An Outcast +Garden Exhibit, Colonnade + + + +This epic figure, "An Outcast," compelling by its earnestness and the +tragedy of its motive idea, is handled with firmness, assurance and a +perfect sense of volume and sculptural mass values. It is exhibited by +Attilio Piccirilli, the artist who designed the Maine Memorial in New +York City. The appeal of "An Outcast" is too direct to need any +illumination. Its frank bigness and physical power and tenseness, so +suggestive and so desperate, are Rodinesque. But though the work is +influenced by that master's school and thought, it is by no means a copy +of his method. This sculptor has a number of interesting groups in the +exhibit palaces and has been granted a gold medal. The dejected and +desolate Outcast, so huge and so tragic, is in sharp contrast with the +quaint and fanciful "Fawn's Toilet," by the same hand, at the entrance +to the Colonnade. Attilio and Furio Piccirilli, whose work has been here +noticed, are brothers, members of a family of sculptors. + + + +The Sower +Garden Exhibit, Colonnade + + + +One of the most useful services of a great Exposition, especially as it +relates to the world of art, is its service in bringing to the attention +of the public the power of new and rising stars on the horizon of +achievement. Albin Polasek has made his work generally felt at this +Exposition, where he received a silver medal. He is one of the most +talented sculptors of the American Academy at Rome. He won honorable +mention in the Paris Salon in 1913, and the Prix de Rome in 1910. He was +the holder of the Cresson scholarship. His "Sower" was the culminating +work of his early labors, the product of his final year at Rome, in +which year a heroic figure is required of every student. It caused the +critics to prophesy for this sculptor the future that is developing. Mr. +Polasek's work has the same unassailable rigor of truth as that of +Charles Grafly, who was his teacher. "The Sower" ennobles an humble +theme. It has sweep and life and distinction of bearing. In "The Girl of +the Roman Compagna," close at hand in this Colonnade, the sculptor shows +his equal power in a softer theme. The Roman girl is a well-poised and +beautiful expression of the spirit of old Rome in the days of her grand +simplicity. + + + +The Bison +Garden Exhibit, South Approach + + + +These mighty monarchs of the plains, now disinherited by human progress, +the American bisons, are here more than portrayed; they are realized. +Their essential characteristics, their strong mass, bulky without +clumsiness, are made present and convincing in these two statues by A. +Phimister Proctor, a master of animal sculpture. There is good reason +for the living and sharp aspect of these plaster models. They are not +copies of the permanent statues; they are the sculptor's own original +plasters from which the permanent pieces were cast. A number of Mr. +Proctor's animal studies stand in the great zoological parks of our +nation. He does not idealize or humanize the beasts he depicts; but he +understands them and reverses the underlying life that gives them their +racial and personal individuality. Partly his Canadian love of the wild, +partly a technician's delight in mastering this difficult phase of art, +has caused a lifelong devotion to animal studies. They are not +photographic, but combine the qualities of sculptural beauty with rugged +and imposing freedom. A varied and stimulating collection of Mr. +Proctor's work, exhibited at the Exposition, has won a gold medal. It +includes the famous "Princeton Tiger." + + + +The Scout +Garden Exhibit, South Lagoon + + + +Cyrus Edwin Dallin has devoted many years and much of his high talent to +the poetry and beauty of the American Indian. He says that this Scout is +to be the last of his long series of Indian studies, and he believes it +to be the best of them all. Surely it has an exalted beauty and is a +noble example of Mr. Dallin's firm, finished, accurate method, +perfection of restraint and free grace of modeling. It has a clear and +beautiful directness that is almost Greek in feeling. Those who do not +believe in the picturesqueness and dignity of the Indian as celebrated +in these bronzes, need only to have seen the photographs in the exhibit +of the Indian Memorial booth in the Palace of Education. Some of the +chiefs there shown have the dignity of Caesar and the knightly splendor +of heroic periods. Copies of almost all the Dallin Indians and other of +his notable works appear in the Palace of Fine Arts, where Mr. Dallin is +a gold medalist; They include the famous "Appeal to the Great Spirit," +which stands before the Boston Museum of Art. + + + +The Thinker +Exhibit, Court of French Pavilion + + + +It is a satisfaction that at the entrance to the Pavilion of France +should stand this great work of the master sculptor of our age. This is +a replica of "Le Penseur" (The Thinker), placed before the doors of the +Pantheon in Paris. Paul Gsell says of it: "Before us, the Thinker, his +fist beneath his chin, his toes clutching the rock upon which he sits, +bends his back beneath the overpowering weight of a meditation that +surpasses the endurance of the human spirit." Here, tremendous, rugged, +primitive human strength at its highest power suffers under the first +great grapple of the human mind with problems of the unknowable +universe. It is majestic, true, an expression of our age; it is +everlasting art. Rodin kept this replica outdoors for a long time, +thinking the rigor of the elements helpful to its finish. "The Thinker" +and other Rodins in the French Pavilion are loaned by Mrs. A. B. +Spreckels of San Francisco. Americans and American museums have long +appreciated this master of whom Octave Mirbeau says: "Not only is he the +highest and most glorious artistic conscience of our time, but his name +burns henceforth like a luminous date in the history of art." + + + +Earth +Fruit Pickers, Court of Ages + + + +In the corners of the ambulatory about the Court of Ages, crystallizing +the color and design of its long, arched ceiling, are the opulent, warm, +vibrant murals by Frank Brangwyn. They introduce to the general public +of America this Belgian-English artist who has long been esteemed among +the great of the world. He has presented here the Elements, two +interpretations of each, in relation to their service to simple human +life. The paintings are neither allegorical nor photographic, but highly +interpretative of the luxuriant picturesqueness of nature and the +everyday labors of man. The luminosity of color, dash and daring of +contrast, fairly crackle with life and yet have rich depths of +quietness. The two panels of Earth glow with the earth's abundance. The +first, the "Fruit Pickers," here shown, in which harvesters gather +fruits from high trees and the laden ground, is notable for its +marvelous massing of composition and color. The second, "Dancing the +Grapes," is remarkable for its shimmering contrasts of light and shade. +In both you get the tang of the harvest season. + + + +Fire +Industrial Fire, Court of Ages + + + +The two Fire panels represent this element in its two phases of +serviceability. The first shows its simplest use, that of giving warmth +to man; the second, its more developed employment as an agent of +manufacture. In the "Primitive Fire," a gray, woodsy plume of smoke +rises to the autumn sky. A group of workers have made a fire at the edge +of a grove; they surround it, some encouraging the growing blaze by +blowing upon it, others leaning forward toward its warmth. The thin +pillar of waving smoke is executed with such fidelity that it explains +why this artist's admirers dwell upon his handling of fugitive surface +tones, as smoke or clouds, as much as upon his more obvious excellences. +In "Industrial Fire," here reproduced, the smoke rises not in fine line, +but in heavy mass from a kiln. It is a rich cloud, colorful with +iridescent metallic lustres. Workers feed the blaze, their warm flesh +glowing in the mixed light. Whole vessels and broken bits of pottery are +heaped and scattered upon the ground. + + + +Water +Fountain Motive, Court of Ages + + + +As the Earth panels are luxuriant, teeming with a sense of plentitude, +and the Fire panels are moving with the grace of rising smoke, those +that represent the phases of Water are moist and lush. In the one here +shown, "The Fountain," people have come through the damp grasses, +bearing their bright vessels to fill them with water that flows downward +from a spring in a long, fine, curving bow. The beautiful grouping, the +pose of the figures and the graceful lines of the vessels are +unforgettable. The air is fluid; great white clouds stretch across the +sky, which has the same liquid beauty as the water in the background. +Water-birds and dewy flowers add life and color. The grateful use of +water for man's thirst is beautifully told. In the other water panel, +"The Net," hardy fishermen, standing in the water-reeds and blossoming +flag-lilies, haul in the last catch of the brightly dying day. Others +bear on their heads baskets heavy with the success of earlier castings. +Heavy sea-clouds are tinted by the late afternoon sunshine. + + + +Air +The Windmill, Court of Ages + + + +The two panels of Air may well be thought of as the air that moves and +the air that supports. In the first, "The Windmill," which is +illustrated, the motion of the wind and of the world it blows is +dazzling. The field of, golden grain, bright in the glow of the sun that +has just broken through the rain clouds, is quivering with graceful +undulations. The great wings of the windmill turn, with flapping sails. +The little kites are blown tempestuously. The garments of the workers +wave forward as they walk, braced against the wind that blows from +behind them. A brilliant rainbow and wind-blown dark rain-clouds tell +the end of a passing storm. In the second Air panel, which is called +"The Hunters," the air supports the arrows just shot from the bows of +hunters who hide behind the last trees at the edge of a wood. It bears +also flocks of homing birds and light clouds blown across a ruddy sunset +sky. + + + +Half Dome +Court of the Four Seasons + + + +The murals in the Court of the Four Seasons are the work of Milton +Herbert Bancroft. They are smooth, flat, highly decorative to the wall +surfaces into which they blend with rare discretion and harmony. They +have a soft beauty of coloring and a classic definiteness of outline +that accord well with the pure feeling of this court. Mr. Bancroft has +kept two ideas consistently throughout these murals. One is the +abundance of rewards and delights brought by the changing seasons; the +other, the fruitful labors of man. In this second idea special honor is +tendered to those who labor in the arts and artistic crafts. To these +two ideals the sculptor has given the unifying title, "The Pleasures and +Work of the Seasons." The panels of The Seasons appear in the walls of +the fountain niches. In the place of honor is the beautiful Half Dome; +beneath its colorful decorated roof are the great, panels, "Man +Receiving Instruction in Nature's Laws" and "Art Crowned by Time." In +the former, Nature holds her child, Man, in her arms. She has summoned +for him all the forces of the Universe, who attend in a group of calm +dignity. She teaches him that by obedience to her laws all these forces, +Earth, Fire, Water, Life, and even Death, will serve and never harm. The +other panel is described on the following page. + + + +Art Crowned by Time +Court of the Four Seasons + + + +In this calm and classic panel, "Art Crowned by Time," the sculptor has +done honor not only to the Fine Arts but also to those artistic crafts +that fulfill the perfect combination of use and beauty. In the center of +the panel stands Art, a superb, regal figure, serenely indifferent to +the wreath of appreciation with which she is being crowned by the hand +of Time. She is surrounded by her attendants, the Useful Crafts: +Weaving, with her distaff; Glasswork, holding carefully a delicate +example of her skill; Jewelry, a beautiful youth severely garbed, +bearing an ornate casket; Pottery, with a finished vase upon her knee; +Smithery, carrying in his strong arm a piece of armor; and Printing, +cherishing in both hands a beautiful clasped book. The panel has a fine +Olympian dignity and an ornateness that becomes simplicity through grace +of handling, and does not mar the correct mural flatness of surface. In +spite of the gracefully composed grouping each figure has individual, +almost statuesque, distinction. The treatment of the draperies is +interesting. + + + +The Seasons +Court of the Four Seasons + + + +The fountain niches of the Seasons in the Court of the Four Seasons are +graced by Milton Herbert Bancroft's appropriate panels. Two of these, +one on each wall of the fountain niche, are devoted to each season. One +represents the pleasures that that period of the year brings forth for +man; the other shows the duties it demands of him. In "Spring," we have +the poet's conception of the time of blossoms and garlands, of young +loves, piping shepherds and dancing maidens, while the goddess of the +season dreams of coming glories. In the companion panel, "Seedtime," the +waiting farmers attend her as she stands, sceptered with an Easter lily, +and extends her benison on the land. "Summer" crowns the victors in +athletic sports; while in "Fruition" the goddess of the season receives +the tribute of the successful workers of the soil. The panel called +"Autumn" is gay with the dance of the vineyard festival; three happy +figures modeled with grace and much refinement are placed on a +background divided into panels by a vine. But "Harvest" is quiet and +serious; the goddess, bearing the torch of Indian Summer, receives the +sheaves of the gleaners. So in "Winter," one panel shows Festivity, with +the old bard, the Christmas garland and the gaieties of the home; the +other, the distaff by the fireside, the huntsman and the wood-cutter. + + + +Westward March of Civilization +Arch, Nations of the West + + + +Decorating the inner walls of the Arch of the Setting Sun are two long, +colorful panels by Frank Vincent Du Mond, inspired by the historical +background of the West. They have refreshing vividness of color, clear +precision of draughtsmanship and a bright enthusiasm for their subject. +With a narrative quality unusual in a mural they commemorate the +adventurous spirit that led a stable civilization in the march across +the continent of America. In the panel, "Leaving the East," emigrants +depart from a barren, snowy coast, upon which stands the meeting-house, +source of so many national traditions. A youth bids farewell to his +sorrowing friends; a group of adventurers bearing the bare necessities +of life leads the way to the frontier. In the central group, surrounding +the old Concord wagon laden with household goods, appear the Jurist, +Preacher, Schoolmistress, the Child - Symbol of the Home - the Plains' +Driver and the Trapper. A symbolic figure, "The Call of Fortune," +accompanies them. Some of the characters are actual portraits, as are +also the Artist, Writer, Scholar, Architect and Sculptor in the opposite +panel, "The Arrival in the West." In this the lavishness and opulence of +California welcome the pioneers. Mr. Du Mond is a member of the +International Jury of Awards in the Fine Arts Department of the +Exposition. + + + +Discovery - The Purchase +Tower of Jewels + + + +The murals in the great tower are properly dedicated to the Panama +Canal. In them William de Leftwich Dodge admirably interprets its +history, labors and triumphant achievement. Each of the long decorative +bands is divided into three panels. The central panels, 96 feet long, +are, on the west wall, "The Atlantic and the Pacific," celebrating the +united nations face to face across the united waters, and on the east, +"The Gateway of All Nations," an allegorical pageant of triumph. The +"Gateway of All nations" is flanked by "Achievement" and "Labor +Crowned," noble and timely tributes to the Workers who made the canal. +Those here reproduced, opposing them on the western wall, are historic. +"Discovery" shows Balboa, "on a peak in Darien," in awe at his great +moment of discovering the Pacific. The Spirit of Adventurous Fortune +attends him. Watching him, sits the Indian guarding his treasures, a +tragic prophecy in face and figure. "The Purchase" commemorates the part +of France in this achievement. Columbia is purchasing the title from her +sister republic. American workmen, led by Enterprise, take up the tools +that French laborers have relinquished. + + + +Ideals of Emigration +Arch, Nations of the East + + + +The mural panels in the Eastern arch are devoted to the ideals and +motives that brought men across the sea. They are by Edward Simmons and +show that fresh juvenility of touch, that exquisite lucid tenderness of +color and gentle lightness of motion that give his work its delightful +poetic quality. But Mr. Simmons' art has always a deep accent and the +imagery in these panels touches fundamentals. "Visions of Exploration," +the upper as here pictured, are Hope and Illusory Hope - she who casts +bubbles behind her - Adventure, following the lure of the bubbles; then, +in a dignified central group, Commerce, Imagination, Fine Arts and +Religion; these, followed at a little distance by Wealth and The Family, +potent motives of the immigrant of today. In the background, the Taj +Mahal and a modern city indicate the ideal and the practical. On the +opposite panel, called the "Lure of the Atlantic," the Call of the New +World, a youth blowing a trumpet, summons the brave explorers, the man +of Atlantis, of the Classic Age, of Northern and Southern Europe, the +Missionary Priest, the Artist and the Modern Immigrant. They are +followed by the Veiled Future, still hearkening to the onward call. + + + +The Golden Wheat +Rotunda, Palace of Fine Arts + + + +The richly ornate ceiling of the Rotunda of Fine Arts is embellished by +a double series of eight panels from the brush of Robert Reid, in the +luminous, fervid, joyous vein that characterizes the method of this +highly honored American artist. The task assigned him here was a test of +skill. The arched effect, so beautifully achieved, and the great +accomplishment of merging the huge, brilliant panels into the decorative +plan, were not the only difficulties. He had also to calculate the scale +of proportion to a mathematical nicety, to make the figures large enough +to appear the proper size when viewed so high overhead. The panels are +in two sequences, four of them devoted to each subject. The sequence of +which an example is illustrated is the Four Golds of California: "The +Golden Poppy," the "cup of gold" that makes the spring a glory on +California hills; "The Golden Fruit," the citrus fruits that are her +pride; "The Golden Metal" that called the world to her hill-sides, and +"The Golden Wheat," here shown, the treasure of her fields, borne high +in honor. These alternate with the sequence of the Golden Arts, +described on the succeeding page. + + + +Oriental Art +Rotunda, Palace of Fine Arts + + + +The great panels of the Golden Arts alternate, in the ceiling of the +Rotunda of Fine Arts, with the Four Golds of California. All of these +panels so tone their brilliancy into the great sweep of the ceiling that +the beholder gets a sense of the beauty of the whole rather than that of +any part. This arching, floating unity of the ceiling is an admirable +example of the self-control of the muralist. The Golden Arts are +interpreted by symbolic groups including a larger number of figures than +The Four Golds. They are entitled "Inspirations of All Art," "Ideals in +Art," "The Birth of European Art," and "Oriental Art," here illustrated +as typical. In this, against the soft but sparkling background of bright +sky and clouds that supports all of the panels, are set with much verve +the historical, legendary and romantic inspirations of Oriental art. The +group is dominated by a contest between an eagle and a knight mounted +upon a dragon - based upon a legend of the Ming dynasty. Fugi, the +sacred mountain, is in the distance; the sacred dog attends the Chinese +hero in the foreground. A beautiful Japanese woman - indicating the +inspiration of romance, East and West - sits among flowers. The space is +filled in a manner appropriately and charmingly suggestive of Oriental +composition. + + + +The Arts of Peace +Netherlands Pavilion + + + +The Pavilion of The Netherlands is inevitably reminiscent of the Peace +Palace of The Hague, by natural association of ideas and because of the +spirit of its central mural painting, "The Arts of Peace." It is +therefore an interesting fact that Hermann Rosse, the artist who painted +this imposing work, and, indeed, designed the entire interior decoration +of the pavilion, was also muralist and decorator of the Palace of Peace. +The pavilion walls and hangings - steel blue, olive green and silver +grey, relieved by quaint conventional stencils of orange trees and +tulips and severe shields of the four divisions of the kingdom - has a +broad, cool puritanism that lends itself well to the rich depth of the +painting. Holland holds high the image of Peace, surrounded by the +peace-nurtured arts and industries on whose support all human welfare +rests. Among them stand not only representatives of trades and crafts, +with their symbols and implements, but also the Art of Motherhood and +the Art of Play shown by a happy child. Ships of all ages in side-panels +and background tell of the maritime history of Holland which so largely +and peacefully colonized the world. Beneath the painting is a comforting +and inspiring legend. + + + +Penn's Treaty with the Indians +Pennsylvania Building + + + +The Pennsylvania Building was designed with the patriotic purpose of +enshrining the Liberty Bell. The Bell stands in a loggia between two +wings, the architectural motif following that of Independence Hall. On +the walls of the loggia are two mural lunettes of distinction by Edward +Trumbull of Pittsburg. Their deep glowing color and massive grouping +mark Mr. Trumbull a worthy pupil of his master, Frank Brangwyn. "Penn's +Treaty with the Indians," here given, shows William Penn and the +foremost of his shipmates on "The Welcome" making with Chief Tamanend +and his braves the Treaty of Shackamaxon in 1683, the treaty that never +was broken. The plainness of the kindly Friends, the barbaric splendor +of the Indians, the deep green of the overarching Treaty Elm and the +lovely typical Pennsylvania landscape have enduring attraction. The +panel is in contrast with Mr. Trumbull's vigorous and burning modern +picture, "The Steel Workers," on the opposite wall. In the reception +room of this building are seven delightful small panels by Charles J. +Taylor, showing the early life of Pennsylvania villages. They are +painted in the quaint style of old colonial decorations and have charm, +humor, naivete and beauty too pleasing to be overlooked. + + + +Return from the Crusade +Court, Italian Pavilion + + + +The courts and palaces of Italy, with their appearance of age and their +remote, sheltered calm, present an education in artistic reserve and +decorative uses of space that all who linger may learn. They represent +four centuries of architecture, of three historic types. The lovely +piazzetta with its antique well is the center of beauty. On one of its +walls is what appears to be an ancient mural, soft, flat, with that +faded, velvety coloring associated with age. It was recently painted by +Mathilde Festa-Piacentini, in the ancient manner to harmonize with the +court. It represents "The Return from the Crusade" of one noble +Pandolfo, and bears date and description in Latin. Quaint old-time +stiffness and weather-worn coloring combine with modern correctness and +fluency. The young artist is the wife of the architect of the pavilion +and has won a silver medal in the Italian section of Fine Arts. Below +this lunette stands a bronze copy of an antique David with the marble +head of Goliath. Other interesting murals appear in Italy's pavilion, by +Pierretto Banco and Bruno Ferrari, son of the sculptor, Ettore Ferrari. + + + +The Riches of California +Tea Room, California Building + + + +The tea-room of the Auxiliary to the Woman's Board, in the California +Building, was decorated by Florence Lundborg, a Californian whose work +has won consideration in this country and in France. In her large mural, +"The Riches of California," one of the most extensive ever painted by a +woman, and in the supplementary medallions she has expressed the +generous abundance of California's fruitage. Feeling a similarity +between copious California and Sicily, where she has lived and painted, +the artist chose for her text a line from Theocritus describing that +country: All breathes the scent of the opulent summer, the season of +fruits. This inscription, in old Spanish lettering, surrounds the great +canvas. Across a restful, soft-toned landscape, bright but tempered, the +peaceful, happy harvesters bear homeward the plenteous fruit. A mood of +quiet gladness is over all. The window arches, throughout the soft gray +walls of the room, are marked by brilliant medallions of fruit and +flowers, sumptuously composed upon a gold background. + + + +Here ends The Sculpture and Mural Decorations of the Exposition, with an +introduction by A. Stirling Calder. The Descriptive titles have been +written by Stella G. S. Perry. Edited by Paul Elder. Published by Paul +Elder and Company and seen through their Tomoye Press under the +typographical direction of H. A. Funke, in the city of San Francisco +during the month of October, Nineteen Hundred and Fifteen + + + + +*** END OF THE PROJECT GUTENBERG EBOOK, THE SCULPTURE AND MURAL DECORATIONS OF THE EXPOSITION *** + +This file should be named 6631.txt or 6631.zip + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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