diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-29 07:16:22 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-29 07:16:22 -0800 |
| commit | 628180c6af6761be43e075276f649cf1676ab8d9 (patch) | |
| tree | 9d1f2a619f93ebc3f78ba2a49ed311b7ff8b284e | |
| parent | cfe5ceb5d12ed167f361395e4d13309f93dbc5d0 (diff) | |
103 files changed, 17 insertions, 5323 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..175a47a --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #61989 (https://www.gutenberg.org/ebooks/61989) diff --git a/old/61989-0.txt b/old/61989-0.txt deleted file mode 100644 index 4d13215..0000000 --- a/old/61989-0.txt +++ /dev/null @@ -1,2504 +0,0 @@ -The Project Gutenberg EBook of Some Artists at the Fair, by -Frank D. Millet, J. A. Mitchell, Will H. Low, W. Hamilton Gibson and F. Hopkinson Smith - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Some Artists at the Fair - -Author: Frank D. Millet - J. A. Mitchell - Will H. Low - W. Hamilton Gibson - F. Hopkinson Smith - -Release Date: May 2, 2020 [EBook #61989] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK SOME ARTISTS AT THE FAIR *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - - - - - - - - - Some Artists at the Fair - - Frank D. Millet - Will H. Low - J. A. Mitchell - W. Hamilton Gibson - F. Hopkinson Smith - - [Illustration] - - New York - Charles Scribner’s Sons - 1893 - - - - - SOME ARTISTS AT THE FAIR - - [Illustration: THE COURT OF HONOR--DOME OF ADMINISTRATION BUILDING.] - - - - - SOME ARTISTS AT THE FAIR - - FRANK D. MILLET - WILL H. LOW - J. A. MITCHELL - W. HAMILTON GIBSON - F. HOPKINSON SMITH - - [Illustration] - - NEW YORK - CHARLES SCRIBNER’S SONS - 1893 - - - - - COPYRIGHT, 1893, BY - CHARLES SCRIBNER’S SONS - - - TROW DIRECTORY - PRINTING AND BOOKBINDING COMPANY - NEW YORK - - - - -CONTENTS - - - PAGE - -_THE DECORATION OF THE EXPOSITION_ _1_ - -_TYPES AND PEOPLE AT THE FAIR_ _43_ - -_THE ART OF THE WHITE CITY_ _59_ - -_FOREGROUND AND VISTA AT THE FAIR_ _81_ - -_THE PICTURESQUE SIDE_ _100_ - - - - -LIST OF ILLUSTRATIONS - - - PAGE - -_The Court of Honor--Dome of Administration Building_, _Frontispiece_ - -_Riders of Winged Horses, from W. L. Dodge’s Decoration in the -Administration Building_, 1 - -_Figure Emblematic of the Textile Arts, by Robert Reid, in one of -the Domes of the Manufactures Building_, 3 - -_Allegorical Figure of “Needle-work,” by J. Alden Weir, in one of -the Domes of the Manufactures Building_, 7 - -_“Forging,” Figure by E. E. Simmons, in the Dome of the East -Portal, Manufactures Building_, 11 - -_“Musicians,” Fragment from the Procession, by W. L. Dodge, in -the Dome of the Administration Building_, 14 - -_“Ceramic Painting,” by Kenyon Cox, in a Dome of the East -Portal, Manufactures Building_, 15 - -_“Autumn,” Panel by G. W. Maynard, in the Agricultural Building_, 18 - -_“Pearl,” by Walter Shirlaw, in a Dome of the North Portal, -Manufactures Building_, 19 - -_“The Telephone,” by J. Carroll Beckwith, in a Dome of the North -Portal, Manufactures Building_, 23 - -_“Decoration,” Figure by C. S. Reinhart_, 29 - -_“The Armorer’s Craft,” one of Four Figures by E. H. Blashfield, -Representing the Arts of Metal Working_, 33 - -_Female Figure from W. L. Dodge’s Decoration in the Administration -Building_, 37 - -_Banner Adopted from the Standard of Spain under Ferdinand and -Isabella_, 39 - -_Banner Adopted from the Expeditionary Flag of Columbus_, 39 - -_Trying to Get the Better of the Native_, 45 - -_Fakirs_, 47 - -_A Bride and Groom_, 52 - -_Wheeled About at Seventy-five Cents per Hour_, 54 - -_The Question of Finance_, 56 - -_Café in the Midway Plaisance_, 57 - -_Lighting the Natural Gas Torches on the Roof of the Administration -Building_, 61 - -_At Night on the Midway Plaisance_, 64 - -_Indian Girl and Bull, Modelled by French & Potter_, 65 - -_German Building_, 66 - -_Central Portion of MacMonnies Fountain--Effect of Electric Light_, 73 - -_The Border of the Lagoon_, 84 - -_A Bit of the Californian Building_, 86 - -_The Californian Building_, 87 - -_A Cove in Wooded Island_, 88 - -_The Edge of the Rose Garden, Wooded Island_, 91 - -_Japanese Building on Wooded Island_, 92 - -_An Aged Japanese Dwarf, One Hundred Years Old--A Corner -of the Horticultural Building_, 93 - -_Portal of the Fisheries Building_, 95 - -_Elkhorn Fern, a Suggestion for an Architect--In the Australian -Exhibit, Horticultural Hall_, 97 - -_The Peristyle_, 102 - -_Distant View of Dome of the Horticultural Building_, 103 - -_Dome of Horticultural Building at Night_, 106 - -_In Old Vienna_, 107 - -_Mosque of the Sultan Selim_, 111 - -“_Far-away Moses_,” 114 - -_Doorway of the Transportation Building_, 116 - -_In Cairo Street_, 119 - - - - -[Illustration: RIDERS OF WINGED HORSES, FROM W. L. DODGE’S DECORATION IN -THE ADMINISTRATION BUILDING.] - - - - -THE DECORATION OF THE EXPOSITION - -_By F. D. Millet_ - - -The grand style, the perfect proportions, and the magnificent dimensions -of the buildings of the World’s Columbian Exposition, excite a twofold -sentiment in the mind of the visitor--wonder and admiration at the -beauties of the edifices, and regret and disappointment that they are -not to remain as monuments to the good taste, knowledge, and skill of -the men who built them, and as a permanent memorial of the event which -the Exposition is intended to celebrate. This complex feeling is a -natural one, and is perfectly comprehensible in the presence of the -noble porticos and colonnades, the graceful towers, superb domes, and -imposing façades. Previous exhibitions, with the possible exception of -that in Vienna in 1873, have been confessedly ephemeral in the character -of their construction, and have shown a distinctly playful and festal -style of architecture, with little attempt at seriousness or dignity of -design. The monumental character of the group of Exposition buildings in -Chicago is not the result of accident, but of deliberate forethought and -wise judgment. - -In the heat of the fever of construction, which has spread like a -contagion from the rocks of Mount Desert to the white sands of the -Pacific coast, a new race of architects has sprung up, fertile in -resources and clever in execution, but with little well-grounded -knowledge of the real principles of their art. Beginning with the -bulbous conglomerations of material which have been forced upon a -long-suffering public by the Government architects, and ending with -consciously picturesque structures that hint more of the terrors of -mediæval dungeons than of the comforts of domestic life, and bear the -title of villa but the aspect of military strongholds, the architecture -of the past two decades has, with some - -[Illustration: FIGURE EMBLEMATIC OF THE TEXTILE ARTS, BY ROBERT REID, IN -ONE OF THE DOMES OF THE MANUFACTURES BUILDING.] - -notable exceptions, been distinguished by increasing ingenuity in -imitation rather than the development of skill in adaptation. It would -be worse than foolish to demand that an architect should be thoroughly -original, as it would be to ask an artist to cut loose from all the -proven principles and traditions of his profession, and invent an -entirely new method and a novel system. What may be reasonably asked of -an architect is that he have an individual point of view, and modernize -the adaptation of old principles without disturbing the real spirit of -the same; that he develop and extend these principles to meet the -requirements of modern life; that, in fact, he work as nearly as -possible in the same direction that the masters of ancient architecture -would have done if they had been dealing with modern problems of design, -plan, and construction. There are certain immutable laws of harmony and -proportion which have always governed and will always rule in -architecture as in art, and though they are disregarded and tampered -with for the sake of novelty and so-called originality, this -faithlessness always meets its just punishment in the result. The -majority of modern architects have, in these days of abundant -photographs, models, and measurements, been led to cater to the vanity -of half-educated clients, and have engrafted French châteaux on -Romanesque palaces, have invented wonderfully ingenious but viciously -hybrid combinations, one of which has been aptly described as “Queen -Anne in front and Mary Ann in the back.” The precept and example of the -scholarly men in the profession have been powerless to stem this tide of -ill-considered design, and nothing short of gradual regeneration and -slow revulsion of sentiment against this tendency has been hoped for -until the present year. - -Mr. D. H. Burnham, the Director of Works of the World’s Columbian -Exposition, took the first important step toward the renaissance of the -true spirit of architecture in this country by ignoring all precedents -of competition, and selecting as associates certain architects and firms -whose records established their position as true leaders of the -profession. These architects, after studious contemplation of the -situation, decided on the adoption of a general classical style for the -buildings, subject, of course, to such modifications as were found -necessary by the requirements of each individual case. The result is a -satisfactory and sufficient proof of the wisdom of Mr. Burnham’s action, -and there is now before the country a more extensive and instructive -object-lesson in architecture than has ever been presented to any -generation in any country since the most flourishing period of -architectural effort. The educational importance of this feature of the -great Exposition can scarcely be over-estimated, - -[Illustration: ALLEGORICAL FIGURE OF “NEEDLE-WORK,” BY J. ALDEN WEIR, IN -ONE OF THE DOMES OF THE MANUFACTURES BUILDING.] - -and its salutary influence on the future architecture of this country -can be prophesied with absolute certainty. The scheme has not been -considered complete, however, nor the lesson properly emphasized, -without the necessary adjuncts of the two arts so closely allied to -architecture, sculpture and painting, both of which have been drawn upon -with freedom and good judgment to supplement and enrich the -architectural features. Sculpture has been employed far more extensively -than its sister art, for the very good reason that few of the buildings -have been constructed with any intention of carrying the interiors to -any high degree of finish. It would have been impracticable, under the -circumstances, to bring the interiors up to the same perfection as the -exteriors, even with the cheapest material, for it would have added an -enormous per cent to the cost of construction. The architects have, -therefore, in most cases frankly accepted the situation and confined -their efforts at embellishment to the façades, considering the buildings -simply as great sketches of possible permanent structures, confessedly -utilitarian as to the interior, but as sumptuous and suggestive in -exterior treatment as the conditions permitted. Indeed, this was the -only reasonable view to take, both because of the enormous size of the -buildings and the complex uses for which they are intended. The exhibits -themselves are necessarily such prominent features of the interiors -that they only need a background of more or less simple character to -complete, with the elaborate installation which is being carried on, -quite as agreeable a decoration scheme as might be reasonably expected -on such an enormous scale. - -Without going into details of construction, it is proper to call -attention to one feature of the interiors, notably of the Machinery and -Manufactures and Liberal Arts buildings, where the architect and the -engineer have joined forces and produced a result far ahead of anything -before accomplished. I refer to the wonderfully beautiful iron-work of -these buildings, which satisfies to an eminent degree both the -utilitarian and æsthetic requirements. Mr. C. B. Atwood, Designer in -Chief, co-operated with Mr. E. C. Shankland, Chief Engineer, in working -out a plan of construction of the immense trusses with the connecting -girders, purlins, and braces, which has been carried out in great -perfection. The ugly forms of ordinary bridge-builders’ construction, -which have hitherto been endured as necessary for rigidity and strength, -have been largely eliminated, and graceful curves, well-balanced -proportions, and harmonious lines unite to make the iron-work, beautiful -in itself, a distinctly ornamental feature of the interiors. Thus, -without flourish of trumpets, a great advance has been made, and the -great truth promulgated - -[Illustration: “FORGING,” FIGURE BY E. E. SIMMONS, IN THE DOME OF THE -EAST PORTAL, MANUFACTURES BUILDING.] - -that the useful may be beautiful even in engineering. Painting of an -artistic character has been confined for the most part to a few domes -and panels in various pavilions, to wall spaces under colonnades and -porticos, and to the two or three interiors in which there is -sufficiently high finish to permit of mural decoration. - -The Administration Building, by Mr. Richard M. Hunt, which was built for -the uses of the World’s Columbian Commission with the numerous branches -of its executive force, is the real focus of the group of buildings, not -only from its position in the centre of a grand plaza of enormous -extent, but on account of its monumental character. The portals and the -angles of this building are adorned with groups of sculpture by Mr. Carl -Bitter, of New York, and spandrels and panels, both outside and inside, -are enriched by designs by the same sculptor. The dome, which is two -hundred and sixty-five feet high, is truncated at the top and is lighted -by a great eye forty feet in diameter. The interior of this dome around -the great eye, a surface of the approximate dimensions of 35 x 300 feet, -is to be covered with a figure composition painted by Mr. W. L. Dodge, -representing in general terms the figure of a god on a high Olympian -throne crowning with wreaths of laurel the representatives of the arts -and sciences, and flanked by figures of Agriculture, Commerce, - -[Illustration: “MUSICIANS,” FRAGMENT FROM THE PROCESSION, BY W. L. -DODGE, IN THE DOME OF THE ADMINISTRATION BUILDING.] - -and Peace. A Greek canopy, supported by flying female figures, contrasts -agreeably with the clear blue of the sky background, against which the -principal groups are shown in strong relief. Three winged horses drawing -a vehicle with a model of the Parthenon, troops of warriors cheering the -victors in the peaceful strife of the arts, and a wealth of minor -figures, make up the composition, which is bold and imposing not only in -magnitude but in line. The interior walls of the great Rotunda are -tinted so as to give the effects of colored marbles and mosaics and -under the outside the massive white Doric columns have a background of -Pompeian richness - -[Illustration: “CERAMIC PAINTING,” BY KENYON COX, IN A DOME OF THE EAST -PORTAL, MANUFACTURES BUILDING. - -(From an unfinished sketch.)] - -of tone. With the exception of Mr. Dodge’s composition in the -Administration Building, neither of the other buildings fronting on the -grand plaza has any purely artistic decoration, although the hemicycle -and portions of the Electricity Building, and the extensive arcades of -the Machinery Building, are all treated with flat colors to supplement -this architectural ornament, the former by Mr. Maitland Armstrong, the -latter by Mr. E. E. Garnsey, of F. J. Sarmiento & Co. Across the south -canal, however, a blaze of richly colored panels in the pavilions of the -Agricultural Building, with here and there a figure of an animal half -hidden by the superb Corinthian columns, shows where Mr. G. W. Maynard -and his assistant, Mr. H. T. Schladermundt, have converted, by the magic -of their art, the uninteresting plaster surfaces into a series of -elaborate pictures. This decoration has been planned with great -attention to the appropriate character of its individual features. There -are two pavilions at either end of the building, with a large doorway -breaking the wall into two panels, each one of which has a dado of -elaborate ornament, a narrow border of conventionalized Indian corn on -each side, and great garlands of fruit on top framing an oblong -rectangle of rich Pompeian red with a colossal female figure of one of -the seasons. Above the two panels, and connecting them by a band of -color, is - -[Illustration: “AUTUMN,” PANEL BY G. W. MAYNARD, IN THE AGRICULTURAL -BUILDING.] - -a frieze with rearing horses, bulls, oxen drawing a cart of ancient -form, and other small groups of agricultural subjects. The focus of the -decorative scheme is naturally at the main portico, the entrance to the -Rotunda, called the Temple of Ceres, with the statue of the goddess in -the mysterious twilight of the graceful and impressive interior. The -portico is treated on much the same plan as the side pavilions, but as -it provides a much greater area of wall surface, Mr. Maynard has been -able to introduce a richer combination of colors and a greater variety -of figures. “Abundance” and “Fertility,” two colossal - -[Illustration: “PEARL,” BY WALTER SHIRLAW, IN A DOME OF THE NORTH -PORTAL, MANUFACTURES BUILDING.] - -female figures, occupy, with the richly ornamented borders, great flat -niches on either side of the entrance, and are flanked in turn on the -side-walls by the figure of King Triptolemus, the fabled inventor of the -plough, and the goddess Cybele, symbolical of the fertility of the -earth, the one in a chariot drawn by dragons, the other leading a pair -of lions. These figures, as well as those in the four porticos, are -treated in a broad, simple manner, so that they carry perfectly to a -great distance and at the same time lose nothing by close inspection. - -The sumptuousness of the color decoration is balanced by the lavish -abundance of sculpture work which fills the pediments and crowns the -piers and pylons, and, in general terms, the main features of the -façades. The main pediment is by Mr. Larkin G. Mead; and the other -statues--figures of abundance with cornucopiæ, a series of graceful -maidens holding signs of the Zodiac, groups of four females representing -the quarters of the globe supporting a horoscope, and various colossal -agricultural animals--are all by the hand of Mr. Philip Martiny, who -joins Mr. Olin L. Warner in supplementing the architectural -ornamentation of the Art Building with various figures and bas-reliefs. -Dominating the grand outlines of the edifice, perched high on the flat -dome, is the gilded figure of Diana, by Mr. Augustus St. Gaudens, -familiar as the finial of the tower of the Madison Square Garden in New -York, a fitting apex of the monumental structure. - -The north front of the Agricultural Building, with the Peristyle and the -south façade of the Manufactures and Liberal Arts Building, form a grand -court of honor, so to speak, facing the Administration Building, which -may be appropriately termed the Gateway of the Exhibition, for it rises -directly in front of the Terminal Station, a building of vast -proportions and noble aspect, designed to accommodate the thousands of -visitors who reach the Fair by the numerous lines of railways -concentrated at this point. Six rostral columns, surmounted by a figure -of Neptune, by Mr. Johannes Gelert, accent this court at different -points. Mr. Frederick MacMonnies’s _fin-de-siècle_ colossal fountain -fills the west end of the basin with a busy group of symbolical figures -and a flood of rushing water. Opposite, at the east end of the -glittering sheet of water which reflects the architectural glories of -the colonnades, the dignified, simple statue of the Republic, by Mr. D. -C. French, towers high in air, relieved against the beautiful screen of -the Peristyle, with its forest of columns showing clear cut against the -blue waters of the lake. Every column and every pier of the Peristyle -has its crowning figure, the work of Mr. Theodore Baur, and the great -central arch, or Water-Gate supports a colossal Quadriga executed - -[Illustration: “THE TELEPHONE,” BY J. CARROLL BECKWITH, IN A DOME OF THE -NORTH PORTAL, MANUFACTURES BUILDING.] - -by Mr. D. C. French and Mr. Edward C. Potter, the former undertaking the -figure work, and the latter the horses. Two pair of horses, led by -classical female figures, draw a high chariot with a male figure -symbolizing the spirit of discovery of the fifteenth century, and pages -on horseback flank the chariot on either side, enriching the composition -so that it presents a well-sustained mass from every possible point of -view. This group is an achievement well worthy of its situation as the -dominating embellishment of the great court with its wealth of sculpture -and ornament. - -The terraces afford another inviting field for open-air decoration. -Numerous pedestals have tempted the skill of the sculptors of the -Quadriga to produce distinguished types of the horse and the bull, and -formal antique vases on the balustrade and reproductions of the -masterpieces of ancient statuary break the long lines of parapet and -greensward. The graceful bridges spanning the canals are guarded by -sculptured wild animals native of the United States, part of them by Mr. -Edward Kemeys, others by Mr. A. P. Proctor, in appropriate contrast to -the classicality of their surroundings and suggesting future -possibilities in sculpture inspired by similar motives. The eye cannot -take in at a glance the sumptuous beauties of this grand court, even in -its ragged state of partial finish, but roves from statue to column, -portal to terrace, resting agreeably on broad masses of rich color and -on the gleaming reflections in the basin. Imagination can scarcely -picture the scene with the addition of the festal features of fluttering -banners, rich awnings, gayly decorated craft giving life and movement to -the water front, and everywhere the crowd of visitors all on recreation -bent. - -The casual observer might well be pardoned for failing at first to mark -how the grand pavilions and porticos of the Manufactures and Liberal -Arts Building are accented by frequent spaces covered with artistic -decoration. In each of the four corner pavilions there are two tympana, -those on the south side having been given to Mr. Gari Melchers and Mr. -Walter MacEwen to fill with a decorative design. Both these artists have -made elaborate compositions representing, in general terms, “Music” and -“Manufactures” and “The Arts of Peace,” and “The Chase and the -Manufacture of Weapons,” respectively. - -In the foreground of “Music,” at the left, a group of Satyrs pipes to a -dancing cluster around the Muse Euterpe, and with various other -personages make up a composition of great distinction of live and -skilful arrangement. The second panel, which illustrates manufactures or -textiles, is equally rich in groups, and in the background of both -compositions is continued a procession in the honor of Pallas Athena, -who was credited by the Greeks with the invention of spinning. The -general color gamut is light with an intricate harmony of delicate -tones. The procession is silhouetted in bluish tones against a warm sky -with the colors of early evening, the golden reflections touching the -figures with beautiful lines of light. Mr. Melchers has followed out -much the same general plan of color in a varied but well-sustained -composition, so that the four tympana make, in a sense, a series of -harmonious pictures. - -The four grand central portals of the Manufactures and Liberal Arts -Building recall triumphant arches of Roman times. Each of these portals -has a lofty central entrance with rich bas-reliefs by Mr. Bitter and -smaller side arches under pendentive domes. These eight domes have been -filled with figure decorations, each by a different artist. Those on the -south front of the building have been painted by Mr. J. Alden Weir and -Mr. Robert Reid, who, with distinctly individual compositions, have -harmonized their designs in a remarkably agreeable and skilful manner. -Mr. Weir has chosen allegorical female figures of “Decorative Art,” “The -Art of Painting,” “Goldsmith’s Art,” and the “Art of Pottery.” Each of -these figures is seated on a balustrade and is relieved against a sky of -pale broken blue tones. Flying draperies and capitals of four orders of -architecture serve to connect the lines of the composition, which is -further enriched by a cupid holding a tablet inscribed with the -different arts and decorated with a wreath. The figures are large and -simple in line, and the general scheme of color is pale blue varied with -purple and green, a combination suggested by the evanescent hues of Lake -Michigan. Mr. Reid has also selected seated allegorical figures to carry -out his ideas, with the addition of four youths, one on the keystone of -each arch, holding high above their heads wreaths and palm branches -which meet and cross so as to form a band of decorative forms around the -upper part of the dome. A semi-nude figure of a man with an anvil and -wrought-iron shield represents “Ironworking;” a young girl in white -resting one arm on a pedestal and the hand of the other arm touching a -piece of carved stone, signifies “Ornament;” another in purple, -finishing a drawing of a scroll, suggests the principle of “Design,” as -applied to mechanical arts, and the fourth figure is readily interpreted -as honoring the “Textile Arts.” In the east portal Mr. E. E. Simmons has -placed a single figure of a man in each pendentive of the dome, -symbolizing “Wood Carving,” “Stone Cutting,” “Forging,” and “Mechanical -Appliances.” The general scheme is pale gray and flesh-colored tones -relieved and accentuated by the forms of the tools and accessories -appropriate to each figure. The - -[Illustration: “DECORATION,” FIGURE BY C. S. REINHART.] - -composition is bold in line, firm in outline, and original in -conception. Mr. Kenyon Cox in the adjacent dome has worked so far in -harmony with Mr. Simmons that he has decorated the pendentives rather -than the upper part of the vault, placing a standing female figure in -each against a balustrade and foliage. Above the heads, graceful -banderoles, bearing the subjects illustrated, convert each pendentive -into a shield-shaped space. A robust woman in buff jacket testing a -sword, suggests “Steel Working.” A graceful girl in blue and white -drapery holding a rare vase needs no title to show that she represents -“Ceramic Painting.” “Building” is symbolized by a tall and shapely -damsel in golden green robes, standing near an uncompleted wall, and -“Spinning” by a stately maiden of fair complexion dressed in -rose-colored stuffs, with the significant accessory of a spider-web. In -the north portal Mr. J. Carroll Beckwith has illustrated the subject of -Electricity as applied to Commerce. Four female figures occupy the -pendentives. The “Telephone” and the “Indicator” are personified by a -woman standing holding a telephone to her ear and surrounded by tape -issuing from the ticker; “The Arc Light” by a figure kneeling holding -aloft an arc light; “The Morse Telegraph” by a woman in flying draperies -seated at a table upon which is the operating machine, while she reads -from a book; and “The Dynamo” by a woman of a type of the working-class -seated upon the magnet with a revolving wheel and belt at her feet. -Above, in the upper dome, is placed the “Spirit of Electricity,” a -figure of a boy at the top of the dome from which radiate rays of -lightning, to which he points. Mr. Walter Shirlaw, who has decorated the -neighboring dome, shows distinct originality of conception in his four -allegorical figures, “Gold,” “Silver,” “Pearl,” and “Coral,” symbolizing -the abundance of the land and the sea. The maiden representing “Gold” -steps forward freely, her mantle of yellow falling as she advances. A -silver-gray cloak, fastened with silver disks, distinguishes the figure -of “Silver.” “Pearl” stands erect with glistening pearls around her neck -and on her garments. “Coral,” with raised arms, places a coral ornament -in her hair. A spider’s web in decorative pattern connects the figures -and occupies the central surface of the dome. White, green, and gold, -treated in monotones, form the color plan. - -The figure on page 29 is taken from a sketch of one of Mr. C. S. -Reinhart’s figures in the south dome of the West Portal, and was -materially changed in the enlargement, and improved in action and -accessories. The effort of the artist has been to bring all the separate -tones into harmony with each other, making the design and color -appropriate - -[Illustration: “THE ARMORER’S CRAFT,” ONE OF FOUR FIGURES BY E. H. -BLASHFIELD, REPRESENTING THE ARTS OF METAL WORKING.] - -to the purposes of the building, the architecture, and the construction -of the pendentive dome itself. A white-marble terrace describes a -complete circle just above the four arches of the dome, the railing of -which is a repetition of the actual one which finishes the top of the -walls of the building itself; above a vibrating blue sky, with touches -of salmon pink; in the pendentives four seated female figures, -representing the Arts of Sculpture, Decoration, Embroidery, and Design. -Between the figures and above the arches are urns with cactus, from -which vines and flowers are trailing, thus uniting the composition. The -treatment is mural--broad, flat tones within the severe contours. Above, -in the sky, faint in color and harmonizing with the sky itself, four -cherubs are having a merry-go-round with pale ribbons. - -The pendentives of the adjacent dome, painted by Mr. E. H. Blashfield, -are filled by four winged genii, representing the “Arts of Metal -Working.” The “Armorer’s Craft” is personified by a helmeted figure; the -“Brass Founder” and “Iron Worker” by two half-nude youths, one holding -an embossed trencher, the other a hammer, while a maiden, in the closely -clinging gown of the fifteenth century, with a statuette in her hand, -symbolizes the “Art of the Goldsmith.” The extreme points of the -pendentives are filled by appropriate attributes, a pair of gauntlets, -brass workers’ tools, a horse-shoe, and a medal. Behind the figures, and -a little above their heads, is a frieze of Renaissance scroll work, and -the whole composition is bound together by flying banderoles and by the -sweep of the widely extended wings. The centre of the dome is occupied -by two winged infants supporting a shield. The general color scheme -comprises a series of peacock blues, greens, and purples, brilliant -white tones in wings and frieze, and pale blue of the sky as a -background to the composition. - -The sculpture groups on the roof of the Woman’s Building, and the -elaborate pediments executed by Miss Alice Rideout, with the Caryatides, -by Miss Enid Yandell, were early finished and in place. The same is true -of Lorado Taft’s graceful groups and friezes which adorn the -Horticultural Building, and of Mr. John J. Boyle’s realistic and -expressive embodiments of ideas suggested by the fertile theme of -Transportation, and ranged in almost bewildering profusion around the -building which bears that name. The regiment of statues on the Machinery -Building, by Mr. M. A. Waagen and Mr. Robert Kraus, those on the -Electricity Building, by Mr. J. A. Blankingship and Mr. Henry A. -MacNeil, the statue of Franklin, by Mr. Carl Rohl-Smith, together with -scores of other works of more or less importance, would, if listed, make -a long catalogue of - -[Illustration: FEMALE FIGURE FROM W. L. DODGE’S DECORATION IN THE -ADMINISTRATION BUILDING.] - -interesting objects of the sculptor’s art. The immense numbers of these -works, proportionate, of course, to the colossal magnitude of the -Exposition, forbid even the bare mention of them in detail. In addition -to this great mass of sculpture work executed for the special purpose of -supplementing the architecture, it is intended to place at different -places, notably in the Grand Court and on the grounds, and in the -colonnades of the Art Building, selected examples of ancient sculpture, -various reproductions of antique monuments. - -An essential part of the decoration of the building is, of course, the -architectural details, the models of which have been executed by various -parties, notably Ellin & Kitson, of New York, and Evans, of Boston, with -distinguished taste and skill. The capitals, mouldings, and ornaments of -Greek and Roman buildings have been accurately copied on a scale and in -a manner never before attempted. A few short months ago there was in -this country but a very limited number of full-sized reproductions of -any of the notable details of ancient architecture. The cast of the -great Jupiter Stator capital was, it is said, found in but a single -architect’s office. Now the whole range of details, from the beautiful -Ionic capitals of the Temple of Minerva Polias to the mouldings of the -Arch of Titus, are practically at the command of any architect and -student. - -Much has been said and much written about the proper color to be given -to the exteriors of the great edifices. Experience shows, even if reason -had not already dictated the decision, that the nearer they are kept to -white the better for the architecture. Every experiment which has been -made to produce - -[Illustration: - - BANNER ADOPTED FROM THE STANDARD OF SPAIN UNDER FERDINAND AND - ISABELLA. -] - -[Illustration: - - BANNER ADOPTED FROM THE EXPEDITIONARY FLAG OF COLUMBUS. -] - -æsthetic effects of texture suggested by the usual treatment of plaster -objects has resulted in partial or in total failure, and every time the -warm white of the staff has been meddled with, its glory has departed. -But the conditions imposed by the climate, by the impossibility of -securing a homogeneous surface, and by the exposure and consequent -discoloration of a certain portion of the work, have made it necessary -to apply some sort of paint to all the buildings. Ordinary white-lead -and oil have been found to give the best results, for the irregular -absorption of the staff and the weathering rapidly produce an agreeable, -not too montonous an effect, and the surface deteriorates less rapidly -after this treatment. The single notable exception to this simple scale -of color is found on the Transportation Building, which was given to -Healy and Millet, of Chicago, to cover with a polychromatic decoration, -carrying out the original intention of the architects, and making it -unique and splendid in appearance. All the statuary of this building was -treated with bronze and other metals, the great portal, commonly called -the “Golden Door,” was exceedingly rich and gorgeous in effect, and the -intricate ornamentation of the architectural relief decoration had an -echo in the flat surfaces covered with rich designs. - -The decoration of the Exposition would be incomplete without careful -attention to the informal and festive features, such as flags and -awnings. Every building presented new conditions, and demanded special -study and design. A large proportion of the flag-staffs carried -gonfalons or banners, but a certain number were reserved, naturally, for -the United States flag and the flags of all nations. At various points -large poles were planted in the ground, most of them for the purpose of -displaying the Stars and Stripes, and a group of three poles, with -ornate bases, elaborate flutings, and proper finials were placed in -front of the Administration Building. The middle pole to carry a United -States flag of large dimensions, and flanked on either side by a large -and sumptuous banner, one adapted from the expeditionary banner of -Columbus, the other from the standard of Spain at the time of the -discovery of America. - - - - -[Illustration] TYPES AND PEOPLE AT THE FAIR - -_By J. A. Mitchell_ - - -It is no reflection on the Columbian show to confess that perhaps the -pleasantest moments are those spent in resting one’s rebellious limbs -upon a bench and in watching the crowd. It may be less novel and -possibly less instructive than some other exhibits, but it is often more -amusing. One realizes in studying this infinite stream of humanity how -little he really knows, personally, of his own countrymen. New types -seem to have sprung into existence for the sole purpose of appearing at -this fair. It gives one a startling realization of the varying effects -of climate, food, and mode of life upon our brothers and sisters. Voice, -manner, color, size, shape, and mental fittings are so widely different -as to surest varieties in race. But we are all Americans, and those from -the interior are more American than the others. - -If the native Indian were of a reflective turn of mind, all this might -awaken unpleasant thoughts. Judging from outside appearance, however, he -has no thoughts whatever. He stalks solemnly about the grounds with a -face as impassive as his wooden counterparts on Sixth Avenue. And yet -_he_ is the American. He is the only one among us who had ancestors to -be discovered. He is the aboriginal; the first occupant and owner; the -only one here with an hereditary right to the country we are -celebrating. Perhaps the native realizes this in his own stolid fashion. -As he stalks about among the dazzling structures of the Fair, and tries, -or more likely, does not try, to grasp the innumerable wonders of art -and science that only annoy and confuse him, it may require a too -exhausting mental effort to recall the fact that his own grandfather -very likely pursued the bounding buffalo over the waste of prairie now -covered by the city of Chicago. He, at least, if his education permitted -it, could claim historic connection with the country when Columbus came -so near discovering it; whereas our own connection with the discoverer -is certainly remote, and sometimes suggests (with the fact that he from -whom we have named the Fair never actually saw this particular country) -that we are taking liberties with his name. - -[Illustration: TRYING TO GET THE BETTER OF THE NATIVE.] - -The unconquerable American desire to do things on a bigger scale than -anybody else, which often results in our “biting off more than we can -chew,” has again run away with us. There are many illustrations of this -gnawing hunger at the World’s Fair. In fact the Fair itself, as a whole, -comes painfully near being an illustration in point. A colossal -enterprise too vast and complex to permit of its attaining a perfect -finish in the time allowed, seems to give more joy to our occidental -spirits than any possible perfection on a smaller scale. Crudity has -little terror for us. The whole scheme is so vast and comprehensive, and -the scale so hopelessly magnificent, that the visitor finds he has -neither the spirit, spine, nor legs to even partially take it in. In -fact the farther he goes the more he realizes the futility of the -undertaking. And the hapless enthusiast who proposes to see, even -superficially, the more important exhibits, should be fitted with a -wrought-iron spine, nerves of catgut, and one more summer. In all the -departments, from the fine arts to canned tomatoes, there is more than -enough in numbers and in area to wear out the energy and paralyze the -brain. To visit the Fair with profit or comfort you must leave your -sense of duty behind. Whoever goes there with intent to thoroughly “do -it,” is laying up for himself anguish of mind and the complete -annihilation of his muscular and nervous force. It is far too big for -any question of conscience to be allowed to enter in. Its bigness is -beyond description. No words or pictures can tell the story of its size. -Experience alone can teach it. You must go there day after day, to -return at night with tired eyes and aching limbs, and with the bitter -and ever-increasing knowledge that as an exhibition you can never grasp -it. Where other exhibitions have been satisfied with a display of an -hundred cubic feet of any special article, Chicago must have at least an -acre. Of whatever the world has seen before this time it now sees larger -specimens and more of them. This means for the visitor more steps, more -fatigue, more confusion, more time, and more money. - -[Illustration: FAKIRS.] - -But there is a good side to all this, if one can forget his physical -fatigue. Few of us fully realize what the Fair is doing for this country -æsthetically. Not so much by its art collections, for the average -American sees, or can see, enough good paintings in the course of a year -to bring up his standard to a respectable level if he so elects, but by -the architecture of the buildings themselves. Unless the aforementioned -“Average American” is an undeserving barbarian who has made up his mind -to prefer the wrong thing, these impressive monuments cannot fail to do -him good. The honest beauty of their design ought to stamp itself with -sufficient force upon his dawning reason to make him see the crudity of -the United States architecture in which he has wallowed up to date. No -praise is too high for what Chicago has achieved in this direction. -There are, of course, at the Fair some painful examples of what the -untamed American architect loves to do, but he is fortunately in the -minority. And the very contrast he offers works for progress in the -cause of good art and a higher standard. The United States Building, -designed by a Government architect, is a melancholy warning. - -The more intimate one becomes with this particular fair, the more -forcibly he realizes the fact that we are, above all else, a practical -people. After being duly impressed by the gigantic proportions and -artistic excellence of the buildings, for which no praise is too high, -we come gradually to learn, as we meander among the exhibits, that those -things which excite our surprise and curiosity are generally the results -of ingenuity and manual skill. In those departments, for instance, -relating to art, literature, and history, there is little to startle the -traveller who is at all familiar with previous international shows. The -best in the art galleries is, as usual, from Europe. There is no -dodging the fact that the average American is not overladen with the -artistic sense. His enthusiasm runs in other directions. When it comes -to the outward manifestations of human ingenuity, he is “on deck;” he is -“in it” and “with you.” The application of electricity to filling teeth, -or converting sawdust into table-butter, kindles in his bosom an -excitement he never experienced in the art department. It certainly -seems, after a visit to the electricity and machinery, that human hands -can do nothing that is not more quickly accomplished by some machine. -Not only this, but time and distance count for nothing, and, if we keep -on as we have started, the day will soon be here when the man in Maine -can shake hands with his friend in Arizona. Already the sun is a -hard-working slave. Light, air, water, and in fact all nature, seems -cruelly overworked. If she ever strikes, it will be an awkward period -for us. These mechanical and scientific surprises make it interesting to -speculate as to possible sights at our next grand exhibition, say twenty -years hence. The man in China, for instance, need not go to the future -fair at all. He will probably be able to see and hear it all at home. If -he does go he can return to Shanghai for his lunch. - -But the American as seen at this fair, although first of all practical, -is not, from another point of view, so far behind in his artistic sense -as we are in the habit of considering him. In the first place, he is -found, as a rule, standing before the best paintings and passing by the -poorer ones. Those galleries containing the finest works are invariably -the most crowded. And this is the greatest compliment we can pay -ourselves. If, on the other hand, enthusiastic groups collected about -the impressionists, and took pleasure in the purple and yellow -“effects,” that are sprinkled about the French and American sections, -there would be cause for anxiety. But such is not the case. That the -impressionists still count their warmest admirers among themselves, -their wives, sisters, and aunts, is a hopeful sign. As a people, we take -many things less seriously than some of our contemporaries, but in -matters of art we like it with a purpose. Too little clothing still -strikes us as frivolous and improper. Blood, violence, and all -unpleasantness are sometimes historically instructive, but, as a rule, -we are fond of comfortable subjects. We still like a taste of sugar in -our art. - -But the brightest sign of all is the universal and hearty appreciation -by the multitude of the buildings themselves. The expressions of delight -by those who see for the first time these marvels of architectural -beauty, indicate at least a capacity for artistic enjoyment. In fact, -the American who steps for the first time upon the borders of the Grand -Basin, and looks upon the scene before him without a tingle of pride and -pleasure is not of the stuff he should be. No words can give a just idea -of the magnificence and restful beauty of this gigantic achievement. -Rome and Greece were of marble and built for a more serious purpose. -This is a city for a single summer. As such it is a complete and -glorious triumph. - - * * * * * - -There is nothing like a colossal exhibition to emphasize the disastrous -effects of wealth upon the human spirit. Your friend with plenty of -money goes to the Fair because others do and because he hates to be “out -of it.” He reaches Chicago in a palace car, occupies luxurious rooms at -a comfortable and expensive hotel, takes a carriage when others walk, -and at the exhibition itself derives pleasure only from those things -that are unexpectedly novel. And to him such sights are few and such -sensations rare. What he does realize, however, continually and with -force, is the enormity of the crowd with its thoughtless persistence in -holding the best places in front of those exhibits he wishes to see -himself. Moreover, there is an ever-increasing sense of physical -discomfort, and that is something your moneyed friend is slow to -forgive. But he does his duty, and he is glad above all to get home -again. - -But how different with your less prosperous friend, who has been -economizing for months in order to get there! It being an expensive -business, his time is limited, and he drinks it in through all his -senses, excitedly and with large gulps. It is hard work, but how -interesting! That dull pain which overtakes the great majority of -sightseers soon catches him in the back of his neck, but as long as he -can see, hear, and walk, he profits by his opportunities. And he goes to -his home mentally refreshed, a broader and a wiser man. He has gained an -experience he would not exchange for many dollars. - -[Illustration: A BRIDE AND GROOM.] - -An unlooked-for feature of the exhibition is the profusion of newly -married couples. Whether all this individual ecstasy adds gayety or -mournfulness to the Fair depends, of course, entirely upon the point of -view from which the victims are regarded. It is evident that many happy -grooms have considered this a chance to kill two birds with one stone, -and, as far as one can judge results from outward appearances, there is -no question as to the practical working of the scheme. The happy couple -find themselves in a sort of fairy land, wandering about among countless -strangers, whose very numbers seem to lend security and to harden the -over-sensitive soul. The crowd also seems to create a feeling of -isolation which the innermost recesses of a virgin forest could never -supply. Moreover, there is here so much else to occupy the attention of -the usually obnoxious public that the bride and groom can hold hands -with absolute security and be as bold or blushing as their temperaments -may demand. - -The rolling-chairs that run about the grounds and through the buildings -are the salvation of many a fainting spirit. To thousands of human -beings with nothing but a human back and human legs the fair would be a -failure without them. They are support for the weary, strength for the -weak, and hope and a new life for the despairing. The guides who -navigate them are, as a rule, college students, profiting by this -opportunity to see the fair and to secure additional dollars toward -completing their studies. The result is, for the occupant of the chair, -an intelligent and agreeable companion, who is ready and willing to give -any information he may possess. And besides, they are neither sharks nor -liars, but fair and honorable respecters of truth. There is sometimes a -contrast in manners and education between the occupant of the chair and -the man behind that is not in favor of the former. When one sees what is -evidently a citizen with far more money than brains, and without the -faintest appreciation of the beauties that encompass him, wheeled about -at seventy-five cents an hour by a youth so far his superior that any -comparison is impossible, it causes one to realize that Fortune is -indeed an irresponsible flirt, who is never so happy as when doing the -wrong thing. - -A not uncommon sight, and one of the countless illustrations of what an -excellent husband the American becomes when properly trained, is that of -the weary, uninterested man, lingering patiently among laces, china, and -views of Switzerland. His heart all the while is off with the machinery, -possibly with that more than human little machine that winds the cotton -on the spools. Such cases are, of course, offset by the devoted women -who wear themselves out in tramping through soulless acres of -agricultural products, locomotives, wagons, models of ships, and all the -other follies that appeal to man. - -[Illustration] - -The burning question of the hour for the visitor from another city is -the question of finance. He who is worth his million and intends -spending a fortnight in Chicago, will do well to take his million with -him. He may bring some of it away, but that will depend entirely upon -his own capacity for economy. Before registering at the hotel let him be -sure to secure his return ticket, for it is a long walk from Chicago to -New York. These remarks are not intended to discourage all who are not -millionaires from visiting the exhibition. It can be done with less -money. The writer has himself accomplished it. In fact, it is only fair -to say that many of the stories of extortion which have come from the -White City are much exaggerated. The most successful brigands are in the -city of Chicago, and not at the Fair. - -The writer can testify, from his own personal experience, that a very -good lunch can be procured in the State of Illinois for less than one -hundred dollars. Thirty dollars is more than enough for a sandwich, and -a glass of water can be purchased anywhere for less than ninety cents. -While to walk by the _cafés_ and restaurants and look upon others who -are eating, costs the promenader nothing whatever. But these moderate -prices do not obtain at your hotel. The object of keeping a hotel is, -like some other occupations, partly to make money. The Chicago -hotel-keeper does not ignore this fact. [Illustration: THE QUESTION OF -FINANCE.] - -His ideas of the relation of profit to expenditure are well calculated -to startle the guest of reasonable expectations. If the guest is not -overweeningly ambitious and is satisfied to sleep in a closet or hang -from the stairs, his expenses need be no greater than if he occupied a -handsome suite of rooms at any first-class New York hotel. But if he -insists on having a real chamber, larger even than his own bathroom at -home, and with a real window in it, then he must pay. And it is then -that he begins to discover why his landlord keeps a hotel. Any previous -extravagances in the way of horses, real estate, or precious stones are -as nothing to the present outlay. He finds that the rate per diem is, as -far as he can judge, based upon the supposition that the hotel is to be -closed to-morrow and must be paid for to-day. And real estate is high, -even in Chicago. In matters of nourishment, the wealth of Ormus is of no -avail, unless the waiter receives a tip exceeding in value the -handsomest Christmas present ever given to a dearest friend. - -Within the grounds there is little extortion, thanks to the firmness of -the ruling powers. - -[Illustration: CAFÉ IN THE MIDWAY PLAISANCE.] - -But let not the Chicagoan whose eye may fall upon these lines suppose -for an instant that they are intended as reflections on his character. -The city that secured the prize is simply fulfilling its inevitable -destiny. Had New York drawn the plum we should have witnessed a worse -extortion, with the added mortification of a much inferior exhibition. -Moreover, there is no public spirit in New York, and there is a great -deal of it in Chicago. This sentiment alone is more than enough to make -the difference between success and failure. The woods are full of -citizens willing to begin at sunrise and discourse to you until midnight -of the wonders of Chicago. In ordinary times this burning desire to -impart just that kind of information is not always appreciated by the -outside world; but in times of fairs the spirit that prompts it becomes -a mighty engine. It was soon demonstrated that these citizens could work -as well as talk, and as a result the White City has risen as from a -fairy’s wand. - -The important question for the individual citizen is whether it is worth -his while to go to this fair. And this, of course, depends altogether -upon his purse, his stomach, his back, his legs, nerves, wife, children, -and business. He may never have another such opportunity for mental -expansion and physical discomfort. It is a marvel of architectural -beauty. It is days of instruction, of art and science, of surprise and -exasperation, of mental development, fatigue, and financial ruin. In the -end his personal preferences, however, will probably have little to do -with it. All the world are going, and he must go too. - - - - -THE ART OF THE WHITE CITY - -_By Will H. Low_ - - -On the way west to the White City, to “the stately pleasure-dome -decreed,” where the arts of civilization by the unwritten law of -International Expositions hold their court, the observant traveller -finds abundant food for thought. Beyond Niagara, assuming his point of -departure to be New York, he sees in the landscape through which he is -whirled a continuous sweep of flat farming land, but little water; -fences everywhere, trees sparsely scattered, and plain box-like houses -telling only of shelter; abundant barns differing little from the -dwellings, and from time to time towns of varied nomenclature ranging -from Delhi to Kalamazoo. Through the horizontal blur caused by the speed -of the train through which all this is seen, there appear, principally -about the stations, figures which lend a languid interest to the dead -level of monotony. - -The human interest of the picture, however, tells the same story as the -landscape--a story of hard work, of material reward, an acquiescence in -the law by which labor gains bread and shelter, and little else. -Occasionally, in the immediate vicinity of the stations, there is some -attempt at adornment, generally confined to “tidying up” the -surroundings; but around the farm-houses few or no flowers, little or no -attempt to beautify the home, nothing of the almost frantic suburban -effort of the East which has made the country kaleidoscopically varied -with color, for the most part bad, yet giving hope that the next -generation will do better, and pointing at least to a desire for beauty. -Individual effort, unseen along the route, may be slandered by the -preceding, but such for many monotonous miles seemed the foreground of -the picture we were journeying to see. - -At last a plain, varied by marshes, through which boarded walks running -at right angles, with an occasional house here and there, testified to -the various suburban excrescences of a great city; then a dome or two, -towers, flags fluttering in the sun, innumerable trains, clangor of -bells and shrieking of whistles; and with Chicago seven miles away, -hidden in a pall of smoke, the White City was at hand. - -There are certain mastering impressions in one’s life, certain scenes -which stamp the memory, and, like the priceless _kakemono_ which the -reverent Japanese withdraws from hiding when in the mood to - -[Illustration: LIGHTING THE NATURAL GAS TORCHES ON THE ROOF OF THE -ADMINISTRATION BUILDING.] - -enjoy it, rise obedient to one’s thought in aftertime. Such a memory is -that of a first sunny morning in Paris: a ride from the Madeleine across -the Place de la Concorde, along the Tuileries Gardens and the Louvre, -across the Seine with the island and Notre Dame in the distance, and -then through older Paris to the gardens of the Luxembourg. Or again, a -certain early moonlit evening in Florence, with the Duomo looming at the -end of the street, Giotto’s Campanile standing sentinel at its side, the -narrow street to the Piazza della Signoria with its Palazzo Vecchio and -the Loggia dei Lanzi, thence by the side of the Uffizi to the Arno and -across the Ponte Vecchio up to the Pitti Palace. These memories, common -to so many, are often gained on ground made familiar through study of -guide-books and photographs which, instead of dulling realization, add -to it the zest of more thorough appreciation. In like manner, study, -discussion, photographs, and engravings prepare one for the Columbian -Exposition; but the first few hours of living in its architectural -dreamland gives reality to the shadowy preconception, and adds the -priceless gift of another masterpiece to memory’s picture-gallery. - -It is probably impracticable in any case, and when we think of the -transformation that this prairie has witnessed in two short years, quite -impossible, in the case of the Exposition, to keep the approaches of a -great popular resort in any degree beautiful. Here we have on the land -side of the Fair the usual assemblage of cheap shows, lemonade venders, -and the like, which line the unsightly fence and make up what a friend -has dubbed the Sideway Unpleasant. The fence is hard to pardon in a land -where energy is predominant, desire to do the best not wanting, and -_staff_ abundant. A high white wall enclosing the substantial fabric of -their dream would have done much to give the western approach something -of the festal magnificence which the architects have given to the -entrance by the Peristyle at the lake side. - -[Illustration: AT NIGHT ON THE MIDWAY PLAISANCE.] - -But once within, to pick flaws criticism must take a higher flight than -one, frankly astonished at the goodness of it all, is disposed to permit -it to. Nothing is perfect in this mundane sphere, but this effort on -lines as yet untrodden by these States has such measure of success that -one is proud to feel that this has been done in our own time, in one’s -own country, by men of one’s own race--the race that peoples our -seaboard, fills our manufacturing towns, tills our great farms, and -stretching westward extracts precious metals here and cultivates -orange-groves and vineyards there; the race which is daily urged, on the -“whaleback” steamer from the city to the Fair, to purchase its -chewing-gum before the boat starts, as none is sold after leaving the -pier; the race that is so cosmopolitan, so made up from strange and -opposing elements, and is withal so homogeneous, so American--and proud, -above all, to feel that this curious people have had, at the crucial -moment, the good sense to be inconsistent, to make haste slowly, to -defer to the few, to make their Exposition the most beautiful before -setting to work to make it, as things needs must be here, the biggest in -all creation. - -[Illustration: INDIAN GIRL AND BULL, MODELLED BY FRENCH & POTTER.] - -To be of this race and a follower of the arts; to have noted for years -the growth of public desire for - -[Illustration] - -art and the frequent lapses to indifference on its part; to have seen -that our artists as they grow in strength and numbers claimed the right -to do something larger and finer and better than the private house, the -portrait statue, or the _genre_ picture; and then to come here, where -for the first time they have found opportunity, and where the alliance -of architecture, sculpture, and painting has produced its first work, to -find that first work surprisingly good, is to feel proud not alone for -the valiant craftsmen who have produced this result, but for the country -at large which has stood behind them, and above all for the solid men -of the city of Chicago who have planned the work so bravely and so -wisely. So many elements enter into an enterprise of this kind that to a -community like ours (unaided by a parental government which, as in -France, takes upon itself, as one of its functions, the provision of -public pageant and amusement, and keeps as it were all the material in -stock) the problem was more than difficult, and the solution, solved as -it has been, most surprising. Eighteen months ago in Paris, as I stood -with a French friend in the shadow of the Eiffel Tower, he said, -indicating the colossal construction, “I suppose that at Chicago you -will have a tower bigger than that, and that your exposition will be a -triumph of that sort of thing.” “I suppose that it may,” was the answer; -but the tower which is such a blot on Paris, diminishing in scale her -most beautiful monuments, is nowhere to be seen in Chicago, and though -the bones and sinews of the Liberal Arts building may be a “triumph of -that sort of thing,” its flesh of staff effectively covers and adorns it -without concealment of construction or strength, but with due -consideration paid to beauty. - -To house the exhibits, to provide for instruction, and to make a -pleasure-ground for the people (it could be urged from a utilitarian -point of view) might indeed have been done more simply, or, as the -phrase runs, in a more “business-like” way. One rugged old farmer I -overheard, as I stood leaning on the balustrade at the back of the -MacMonnies fountain, as he pulled his wife away from the contemplation -of the charming group of mermaids and sea-babies who disport themselves -in the wake of Columbia’s triumphal galley, “Come along, Maria, I never -see no use in them things; women with fishes’ tails.” Maria went along, -but I fancied that Maria’s daughter lingered a moment, and she may have -found the “use” of the artist in the social system. At any rate, the -Chicago business man who individually and collectively represents the -controlling power of this vast enterprise knew the use of beauty, and -with the sagacity born of commercial success called to his aid the men -most eminent in their professions, and then--left them alone. - -Arguing without absolute knowledge, is it not easy to imagine that many -times during the two years spent in constructing these superb -structures, the heart of the business man must have failed him in seeing -this child of his creation grow in beauty and strength to be sure, but -at a cost of so many millions? No record exists, it is safe to say, of -any questioning. The artists had been called in, they were doing their -work loyally; and no less loyally, through financial crisis, business -depression, and public indifference, the business man performed his part -of the contract. He had pledged himself to the whole country to do his -best, the pledge had been given and accepted in the hour when he bore -the coveted privilege to hold the Exposition away from competing cities, -and the Court of Honor shows how well the pledge has been kept. A detail -of organization, one of the many which would make the history of the -Exposition most interesting if written, was told the other day, and is -so characteristic of the spirit in which the Fair has been put through, -that it is worth incorporating here. At a time when the Exposition had -reached the limits of all possible insurance, when every sound insurance -company in the world was carrying all the risks it was able to take, the -Exposition concluded to do its own insurance, the details of which -procedure need not be gone into here. At this time there were a number -of pictures, about nine in all, which had been promised for the Loan -Collection of Foreign Masterpieces, and were not forthcoming because of -the inability of the Exposition to procure special insurance policies -which had been promised when, long before, the owners of the pictures -had consented to lend them. There seemed no way out of the difficulty, -when the simple question was asked of the head of the Art Department, if -it was essential to the completeness of the Loan Collection that these -pictures should be in it? To which was answered, that if not essential, -it was at least desirable; whereat this business man gave instructions -that the owners of the pictures be at once communicated with and -informed that he would personally guarantee them against loss if they -would allow the pictures to come. As this little show of public spirit -involved a personal liability of over two hundred thousand dollars, the -figures may be considered eloquent enough to find place in such a paper -as this. - -The wisdom of a large policy is to be found on every hand. The -Exposition has been called a dream, and as it is so soon to vanish may -well be one; but if the intent had been to deceive, it could hardly have -been made more deceptive. To one in the gondolas or the launches -speeding between these walls, they stand as though for all time; and for -one walking in the long arcades, detail and veracity of construction -force themselves on the attention most plausibly. It has been too often -described how the architects, adopting certain dimensions, have obtained -a conformity of effect; but that once obtained, they have shown the -greatest freedom, and though all of them are men of many works, they -have never perhaps been more happily inspired. The Administration -building is the appropriate crown to the buildings leading up to it, and -Mr. McKim’s Agricultural building is characterized by great charm of -proportion, and though heavily charged with sculptured decoration is in -nowise overloaded. In addition to the very decorative sculptures due to -Mr. Martiny, there is on this building some of the most satisfactory -ornament in purely classical vein that I can remember on any modern -structure. In fact, though the treatment of this group of buildings is -thoroughly classic, it is pleasant to record the belief that in no other -country would the traditions have been so well observed and at the same -time so revivified as in ours. Our men owe their education to the Old -World, chiefly to France; but it seems as though a certain separation -from the influences of their schools had given them an independence -which their foreign schoolmates lack. It is probable that had Paris in -1889 adopted the programme followed here the result would have been as -correct, as thorough, as noble as this; but the result as a whole would -have been colder, and lacking in the individual character observable -here, where every man seems to continue the tradition rather than follow -it. Mr. Post had long accustomed us to his capacity to build big and -well; but never to build so big and so well as in the Liberal Arts -building. When sailing along the lake-front one appreciates the -immensity of the structure, which seems to equal that of all the other -buildings combined; but near at hand one feels its beauty more than its -bigness, and the simplicity by which this result is arrived at. The -portals, taking almost all the decorative features, are admirable. Mr. -Atwood’s Fine Arts building is perhaps the best where all is so good, -owing almost nothing to its decorative features--which, as the building -is to be permanent, one may hope to see changed. The frieze of the -Parthenon should hardly be borrowed to grace so fine a modern building. -At night Mr. Atwood’s building is seen in all its beauty of proportion, -and the nights when it is illuminated best of all. The torches running -along the top of the building burn great flames of natural gas, and the -illumination is at once simple and effective. On the roof of the -Administration building something of the same effect is obtained in -conjunction with the electric light outlining the dome; but as the -torches on the Fine Arts building are seen against the sky, the effect -is finer. - -Night and electric light play a great part in the spectacular side of -the Fair. Solomon in all his glory never saw such a sight as the plain -people of this continent have had on illumination nights this summer. -Innumerable incandescent lights sparkle along the cornices and -pediments; the top of the wall inclosing the grand basin is outlined in -fire; search-lights from the top of the Liberal Arts building cut their -wide swaths of light in gigantic circles, resting for a moment here and -there to bring out now this detail or to throw into dazzling relief a - -[Illustration: CENTRAL PORTION OF MACMONNIES FOUNTAIN--EFFECT OF -ELECTRIC-LIGHT.] - -sculptured figure or beast. It lingers longest on MacMonnies’s fountain, -the fitting jewel resting lightly on the bosom of this Venetian beauty -whom but yesterday we called Chicago; and well it may, as in a degree -the fountain is the _clou_ of the Exposition. It seems but fair to call -this fountain the most important of all the decorative sculptures. Every -exposition has its great fountain, and the choice of Mr. MacMonnies to -execute this one was most happy. Our sculptors as a rule have had too -little opportunity to exercise the decorative side of their art, and we -do not possess as does France a small army of sculptors who can be, as -they were in ’89, turned loose to decorate a great exposition with -groups and figures. It demands not only a decorative instinct but -practice as well, a certain habit of and delight in handling huge masses -of form which men who are capable perhaps of graver and more ponderated -work may lack or have lost. Thus fifteen years ago Saint-Gaudens, fresh -from school and filled with its traditions, would have in the course of -natural selection been the man for the work; but with years and widening -experience it is a question whether he would have undertaken to design -and carry out in the short space of time that which his brilliant pupil -has undertaken and carried through with all the audacity and fire of -youth, tempered by a delicacy of taste which gives it after all its -greatest value. Anything more typical of the youth and hope which we -fondly believe to be the characteristic of our nation is hard to -conceive; and if, as is to be so greatly desired, the monument is to be -made permanent (which the completeness of the modelling of individual -parts, an unusual quality in works like this, would render easy), it -might well stand to represent an era. Mr. French’s massive and dignified -figure of America may be taken as the matron of this generation, tried -and made strong through war; but MacMonnies’s epitome of youth -represents the future of our as yet experimental civilization, and -though the boat is propelled by the arts and sciences, it is the young -girl who fills such a large part in our experiment who is really to the -fore. It is Smith and Wellesley who row with the young girl enthroned; -and _vogue la galère_, with pleasant waters ahead and a safe port at -last! - -Of Mr. Saint-Gaudens we have only a figure of Columbus, which he has -signed in collaboration with another of his pupils, Miss Mary G. -Lawrence. It is a good exemplification of what has already been said -that at the first glance this figure seems almost out of place here. It -is of a character--the highest character--of work which depends on the -most serious study. Conception and pose are reduced to the simplest, -almost archaic form, and while it does not seem quite as successful, it -is of the same family as the Lincoln here in Chicago or the Deacon -Chapin in Springfield. The best of the sculpture here, while subject to -the limitations twice mentioned, has perhaps gained a quality more -essentially American by the absence of what may be called the ready-made -decorative quality. The quadriga on the Peristyle, by French & Potter, -the Indian girl and the bull, and indeed all the figures and animals at -which these artists have worked together, are thoroughly satisfactory as -decoration, and more native and appropriate to our soil than the lighter -touch and greater facility of the sculpture at the exhibition on the -Champ de Mars would have been. - -The painters of the band of allied artists had the more difficult task. -In the first place our country has arbitrarily forced our painters to -work on a miniature scale, and with little exception our men affronted -their task with theory and enthusiasm as their preparation. The -sculptors had at least the practice of modelling large works; but with -the exception of Mr. Maynard, who has taken Pompeian motives and given -us under the porches of the Agricultural building a thoroughly -architectural and adequate decoration in which his past experience has -rendered him service, the painters were virtually winning their first -spurs. Taking this into consideration their success is marked. Tried by -the standard that the space allotted to a decoration should be filled, -and filled by a composition which could not serve within any other -shaped space than that for which it is devised, Mr. Blashfield’s seems -the most successful. In addition to this quality it has great charm of -color and dignity of conception, which latter quality, combined with -clean, workmanlike drawing, is shared by Mr. Cox. Mr. Reid’s and Mr. -Weir’s domes also have charming qualities, while Mr. Shirlaw’s gives one -the impression of a complete mastery of his scheme and intention. At the -southern end of the Liberal Arts building, Mr. Melchers and Mr. McEwen -have large compositions, those of the latter being marked perhaps by the -greater individuality; but while they are all (each painter having two -compositions) executed in a very able manner, they seem somewhat lacking -in spontaneity. In another part of the grounds in the Women’s building -the feminine contingent makes a brave show. Mrs. MacMonnies here leads -the van with a composition sober in line and excellent in color. Miss -Cassatt, having apparently defied the laws of decoration, has divided -her space in three parts, in each of which she has painted pictures -which, from her previous work, must be judged to be of excellent -quality, but which, from the height at which they are seen and by reason -of the small scale of the figures, are virtually lost. But this partial -and cursory enumeration of what may be seen at the Fair could be -continued beyond the limits of an article like this, and still leave -unnamed and apparently unappreciated much that is admirable and more -that is hopeful. Of the delights of living in the midst of this, of -seeing our people in holiday trim and, albeit, taking their pleasure -somewhat sadly and getting as much instruction combined with it as -possible, still enjoying it, much could be said. No mention has been -made of the State buildings, which give, however, so much character to -the grounds. New York’s imperial palace, bright and luxurious, is -flanked on one side by Massachusetts’s staid and trim reproduction of -John Hancock’s mansion, with additions of a character which must temper -the smile of gentle reproof with which it regards its frivolous -neighbor; while on the other stands Pennsylvania’s broad piazzaed home -which shelters the Liberty bell. New Jersey reproduces a colonial -“Head-quarters” mansion, and Washington is big and new and booming; -California shows her fruits and extols her wines in a lowlying structure -which recalls the _adobe_ missions of her first settlers; and each and -every State has here its home, first for its own people and then for the -neighbors. Strange neighbors we have too, for the Midway Plaisance is -not far away with its turbaned, sandalled, greased, and befeathered -inhabitants, with its German and Austrian bands, its great difference of -tongues and great similarity of _cuisine_. The outdoor life which is -made so much of in Europe here seems unappreciated; the numberless -cafés and out-of-door restaurants which make up so much of the comfort -with which one sees an exposition there still “leave to be desired” -here. But these are details and of things earthy. The moral of the tale -is short and easily read. - -Our work-a-day nation awakened, it has been frequently said, to -knowledge of the existence of art as a factor in life at Philadelphia -seventeen years ago, and here and now attains as it were its majority. -We may leave out our exhibit in the Fine Arts building proper, with the -mere registration of the fact that by general consent it holds its own -as well or better than close students of our art have known that it has -done for several years past. The exhibition, or that part controlled by -the Columbian Commission, is our best sign of progress, nay, of -achievement. It has proved that throughout the land when occasion arises -to build, to carve, or to paint, we have the men to do it. Art hath her -victories no less than commerce; the qualities which have given us our -place among nations, now that the struggle is past, are turned in -gentler paths; and that which was prophecy so short a time ago is now -truth realized: - - “Following the sun, westward the march of power, - The rose of might blooms in our new-world mart; - But see just bursting forth from bud to flower - A late, slow growth, the fairer rose of art.” - - - - -[Illustration] FOREGROUND AND VISTA AT THE FAIR - -_By W. Hamilton Gibson_ - - -By the time this brief sketch shall have appeared in print the world’s -greatest international fair will have thrown open its gates to the -impatient multitudes, and millions will have looked with rapture upon -its impressive perspectives of palaces and enjoyed their treasures. Even -to the great general public, who are as yet awaiting with eager -anticipation the indispensable outing at the Fair, its surpassing -architectural features are already enticingly familiar. The “White City” -is already a heritage of delight and inspiration to a vast multitude who -have spent their available days beneath the spell of its enchantment. - -It is no small thing thus to have penetrated the veil, as it were, as is -here actually done for many--to have materialized a vision--to have -embodied a paradise. The “Heavenly City,” the “New Jerusalem,” with -gates of gold and pearl, which in one questionable shape or another -hovers in the hopeful, faithful fancy of so many of the sons of Adam -will here find a realization, supplanting or exalting the ideal which -has hitherto not always been to the glory of Heaven. - -But in thus paying tribute to the architect we are perhaps unconsciously -crediting him with more than his due; certainly more than he would -himself claim. Of what avail were beautiful palaces if they could not be -seen? and how easily might such an assemblage of heroic structures such -as these at Jackson Park, as in previous similar expositions, have been -so disposed, with relation to each other and their environment, as to -have completely lost not only their individual impressiveness but the -infinite advantage of their imposing _ensemble_. - -We traverse the winding lagoon for an hour in continual delight, every -passing moment, every quiet turn of our launch or gondola beneath -arching bridge or jutting revetement opening up in either direction new -and ravishing vistas of architectural beauty. Yet how little have we -considered that the very means of our enjoyment, the pure blue waterway -upon which our gondola so listlessly floats, is the crowning artifice by -which the work of the architect is glorified--a very triumph and -inspiration in the great scheme of landscape--say rather -waterscape--gardening, which has made this Columbian Fair a unique model -for all others of its kind. I think it is conceded by the architects of -the Fair that in no way are its buildings to be seen to such -satisfaction or full effect as from the lagoon. And it is well to -remember, if only as an instructive object-lesson, as we glide upon this -liquid street, how much of our present enjoyment is due to the -forethought of a supreme design, which, even before a single -foundation-wall was laid, had taken into account the most effective -grouping of the architectural features. - -More than this, too, how many of these fortunate architects must have -realized the rare satisfaction of having builded better than they knew, -when for the first time they viewed their works from the vantage point -afforded by their collaborator, the landscape artist, and saw these -superb creations given back to them in twofold beauty from the clear -mirror of the lagoon. The unique character and important innovation of -this lagoon feature may be inferred when we consider that we have here -an Exposition covering over five hundred and fifty acres, comfortably -filled to its limits with the ample buildings, and yet no vehicles are -to be allowed within its enclosure, and none will be required. The -circuitous elevated - -[Illustration: THE BORDER OF THE LAGOON.] - -railroad will of course transport the multitudes; while by the interior -skilful distribution of the water-ways, rippling with gayly caparisoned -gondolas by the score, and a hundred trim electric launches and other -equally picturesque craft, every portion of the grounds will be easily -accessible. The entire circuit on this water-course, from any given -point, will occupy nearly an hour. The luxurious tourist arriving at his -destination is invited at the water’s edge by ascending terraces of -marble steps, their balustrades on either side overtopped by picturesque -masses of tropic and other luxuriant vegetation. Huge bronze-like -agaves surmount the lofty marble urns; cannas, musas, caladiums, in most -effective and artistic groups, are dispersed among broad expanses of -velvety sward, begemmed with parterres of brilliant bloom. - -But it is not alone in these picturesque settings of lawn and garden -which everywhere abound throughout the grounds that we find our fullest -appreciation of the landscape art. In the spell of these imposing -structures, towering above the revetement walls on each side as we -traverse the lagoon, we had utterly ignored another feature of its -banks, or perhaps had our attention only momentarily inveigled thither -by the invitation of the bevy of snowy ducks or geese or graceful swans -hastening from our prow, and gliding beneath the overhanging boughs of -feathery gray willows. Here indeed is a haven for a tired soul, a fairy -realm whose modest charms are apt to be overlooked in the claims of the -overwhelming architectural surroundings. But sooner or later its restful -refuge will be discovered and welcomed. How many a foot-sore mortal, -weary from the very excess of enthusiasm, will seek this quiet -retirement, content for the moment to consign the architect to the -accessory place of vista and horizon, while he roams and pries and muses -among the labyrinthian paths, fragrant bowers, and shadowy glades, and -along the reedy flowery borders of this sylvan fairy island, which the -artistic genius of Olmsted and Codman has here, in two short years, -conjured up like magic from the muddy, dreary marsh. - -[Illustration: A BIT OF THE CALIFORNIAN BUILDING.] - -Connected to the mainland by a half-dozen spans of bridges, it is -readily accessible from any approach. It is a realm of strange -inconsistencies and surprises, harmonies and pleasant discords, unified -with the rarest skill. The familiar park or garden at one moment, its -curving walks encircling more or less--generally less--conventional -parterre, diversified with closely bedded mosaic of bright blossoms; and -now a path leading us between high walls of blossom-laden shrubbery, -skirting a rustic arbor, or winding beneath the shade of tall, dense -branches of trees, which, however at home they may appear, so -wonderfully has the skill of the landscapist concealed his artifice, are -still almost as much strangers to the soil as ourselves; the adjustment -and grouping giving the complete illusion of nature’s random planting. - -[Illustration: THE CALIFORNIAN BUILDING.] - -Only a very few of the thousands of trees upon this “wooded -island”--medium-sized white-oaks--are native tenants of the place. Only -two years ago isolated in the more elevated dunes of a great morass, -they now find themselves in strange company; the soil from the bed of -the lagoon, having levelled the former slopes about their feet, is now -peopled with individuals as large as themselves. Many a rare nook upon -the island’s borders would defy the critical scrutiny of the botanist or -artist to detect a single tell-tale evidence of artifice. Would you step -from the conventional park to the wild garden in - -[Illustration: A COVE IN WOODED ISLAND.] - -ten paces? Follow me through this winding path, embowered with its snowy -banks of spiræa. Pry your way here beneath the branches. A few more -steps, and the ripples gleam through the branches before us, and we -emerge at the water’s edge beneath a tangle of willows, while a brood of -white ducks, disturbed at our approach, glide out upon the -mill-pond--for such indeed is the irresistible association from the -surroundings. This haphazard chaos of willows and alders disarms all -suspicion of artificial planting. We already anticipate the scene at the -brink, and as we press our way among the yielding oziers, find ourselves -listening for the familiar “c-r-o-n-k” among the spatter-docks. In a -moment more we confront a tiny cove bordered with sedges and tall -bulrushes, and intermingled gray-green willows and alders, while the -water beneath is hidden by dense clumps of lush pickerel-weed, luxuriant -in their feathery spikes of azure bloom. A tiny sportive frog leaps from -the border mud, and a dragon-fly darts past on shimmering wing. - -It is only as we contemplate the vista across the water that we realize -the beautiful deception as yonder beetling dome, in its gilded splendor, -or sunlit palaces everywhere gleaming through the waters are brought to -our feet in ripples from gliding gondola, swan, or duck. - -Was ever border-tangle brushed by mill-pond raft or fishing-punt more -wild or spontaneous than this! Foreground and vista in endless -combination and surprise greet us as we follow our course about the -shore, with Flora’s own wild calendar from week to week. Here a secluded -harbor, bristling with arrowheads and white with its spires of bloom, -its sedgy banks aflame with cardinal flowers, whose scarlet reflections -mingle with the snowy glints from the sunlit façade or spangling flashes -from the crystal dome across the water. Here we invade the sheltered -retreat of a bittern or small heron, which stalks away with ruffled -temper at our intrusion. Creeping between the neighboring bank of -alders, we emerge upon a sequestered nook shut off from the main lagoon -by a small, straggling islet, plumy with willows and sedges, the main -banks fringed with rushes and burr-marigolds and tall galingales that -wave their graceful heads above a wild garden of blossoming blue flag. -In and out among its willows beyond, the ever-present fleet of ducks -glides among the dancing ripples, or snow-white swans “float -double--swan and shadow,” as in the enchanted vision of “St. Mary’s -Isle.” - -As we leave this beguiling haunt the air is suddenly bewitched with -entrancing perfume, and our fancy lit with luminous visions of the -Orient from the great golden doorway which glows through the branches -from the opposite brink and floods the water with its liquid replica. -Attar of roses! One such inviting whiff is sufficient. Leaving the -water’s edge we return toward the interior of the island, and are soon -confronted by the wonderful rose-garden wherein are assembled all the -roses of the world, with their thousands of varieties. Roses single and -double, pink roses, white roses, roses yellow, crimson, orange, and -saffron, and, indeed, of every hue but blue, mingling their beauty and -their fragrance in an acre of bloom, and sprinkling the ground in -showers of petals with every breeze. - -[Illustration: THE EDGE OF THE ROSE GARDEN, WOODED ISLAND.] - -The now famous rose-garden lies in the southern end of the island, -approached through winding walks, garlanded with flowery shrubs of every -habit and hue, of graceful blossom-burdened spiræas, drooping as with a -weight of snow, or varied with rare foliaged plants which vie with the -flowers in the endless play of their brilliant colors. Through the -skilful foresight and planning of Mr. John Thorpe, the custodian of this -realm dedicated to Flora, the fair goddess has crowned him with a new -decoration of wreath or laurel for every week, from the earliest yellow -glow of May to the brilliant maples and the final autumnal glory of the -chrysanthemum. - -[Illustration: JAPANESE BUILDING ON WOODED ISLAND.] - -Japonica! Japonica! How continually does the spirit of the flowery land -hover here! It is, indeed, scarcely a surprise that the actual, familiar -outlines of its quaint massive gables suddenly confronts us, looking -down above a mass of the Mikado’s own chrysanthemum, and we suddenly -find ourselves transported to Tokio or Yokohama, surrounded by a -veritable epitome of Japan, embracing all the actual features, floral, -ornamental, and utilitarian, with which, through the educational -influence of painted fan and screen and household gods of vase and -kakemono, we have become so pleasantly familiar. - -The long, low-roofed, wooden temple is surrounded from its foundation by -a characteristic terraced garden, embracing many examples of those -“precious goods done up in small parcels,” which have always been the -particular fad of the Japanese horticulturist--tiny giants of trees, so -to speak, arranged in miniature parks, which, for the moment, make the -beholder seem to be upon a mighty cliff or in flight with the soaring -falcon, else how could he thus gaze down upon the summit of such a huge, -lofty pine as this which he now sees beneath him! A fine example of one -of these arboreal paradoxes is to be seen in the Japanese exhibit in the -Horticultural Building--an aged dwarf of an _arbor vitæ_ (_Thuja_) like -a gigantic cedar of Lebanon, which, while having all the inherent -characteristics of an actual age and dignity of over one hundred years, -is still, with the big vase which it occupies, barely the height of -one’s shoulders. - -[Illustration: - - AN AGED JAPANESE DWARF, ONE HUNDRED YEARS OLD--A CORNER OF THE - HORTICULTURAL BUILDING. -] - -In no structure within the grounds is the outward expression so -sympathetically reflective of its architectural purpose as in the -Fisheries Building. Itself reflected in the blue lagoon, in its -architectural functions and sculptural ornament, it in turn reflects the -lacustrine life of the waters, which not only almost lave its foundation -walls but actually pour into its interior in fountain and cascade and -gigantic aquaria. As we follow around these green translucent walls -within, our passage lit only from the diffused light transmitted from -above the water, we can almost fancy ourselves walking on the actual -river-bed, ogled by familiar forms of sun-fish, perch, or pickerel; or -perhaps wandering as in a dream among fair ocean caves abloom with -brilliant sea-anemones, and embowered with mimic groves of branching -corals and all manner of softly swaying sea-weed--graceful crimson -laminaria reaching to the surface of the water, responding in serpentine -grace to the soft invasion of waving fin. Rare living gems of fishes, -very butterflies of the deep, float past flashing in iridescence with -every subtile turn of their painted bodies. Star-fish, at first -apparently stationary, as though in mid-water, glide across the illusive -plane of glass, with their thousand fringy discs of feet. Strange crabs -and mollusks and bivalves sport on the pebbly bottoms, and portentous -monsters, with great gaping mouths, threaten us as they emerge from -their nebulous obscurity and steal to within a few inches of our faces. - -[Illustration: PORTAL OF THE FISHERIES BUILDING.] - -All of its interior ichthyological features might have been anticipated -even at the threshold of the building, with its rich and effective -portals, where so many of these very forms are seen petrified in surface -ornament. The building is in the form of a rectangular central structure -with two octagonal annexes, each with its own beautiful portal, and -connected to the main edifice by curved colonnades, with arch and -balustrade--portal and pillar, capital, entablature and arch and -panel--everywhere sculptured with ornaments whose themes are drawn from -the subaqueous life to which the building is dedicated. The very balcony -upon which we lean is supported by columns composed of four ingeniously -and gracefully interlocked dolphins, while the pillars on right and left -and throughout the entire exterior suggest curious geometric fossils -from the deeps. Here a spiral procession of huge toads, whose uncouth -shapes thus embodied in conventional ornament are singularly agreeable -and effective. Each successive pillar is a study alike for the -naturalist or designer--here a sinuous procession of river-horses -(hippocampus), the incurved tail forming a volute repeated with pleasant -effect in the spiral bands of ornament. Accommodating star-fishes -embrace their respective pillars, touching points in geometric design. -Here are eels and fishes meandering among bulrushes and arrowheads. -Lizards, crabs, and turtles, each combine in effective ornament about -their particular columns, which are surmounted by capitals of even -greater ingenuity and effectiveness of design, perhaps because less -geometric. Gaping frogs leaping among water-weeds; lobsters captive and -sprawling in their wicker “pots;” fishes entangled in the meshes of -nets, or engaged in mortal combat, their gaping mouths finely utilized -in effective points of shadow--the modelling of each and all suggests -the perfection of a cast from nature. To those who look for a happy -blending of architectural purpose and harmonious ornament, this building -will be a welcome innovation. To the naturalist or the idler in quest of -the mere picturesque, the Fisheries Building with its wandering façade -and colonnade, its roof of ruddy tiles and almost Moresque richness of -surface ornament in high relief, will be found well worth careful study. - -How many are the obvious natural themes yet awaiting their sculptured -memorial in the temple of architecture. Must the classical and testy -acanthus - -[Illustration: - - ELKHORN FERN, A SUGGESTION FOR AN ARCHITECT--IN THE AUSTRALIAN - EXHIBIT, HORTICULTURAL HALL.] - -forever guard that exalted basket unchallenged, and the antique, indeed -almost palæontologic lotus forever keep us oblivious to the abounding -wealth of natural suggestion of even surpassing opportunity? What a rare -suggestion for a national architectural theme, for instance, has nature -thus far wasted on the wilderness in that elk-horn fern of Australia, -which forms one of the most conspicuous features of the arboreal -exhibit of that land of tropic contradictions and zoölogical anomalies. -Where can there be found another such ready-made and graceful model for -a massive capital? - -Had this remarkable plant chanced to have been a native of ancient Egypt -or Rome or Greece, it is difficult to conceive of its having escaped -being immortalized in stone. Will the future national architecture of -Australia ever embody its opportunities? Here is a veritable capital of -clustered fern-forms, springing in graceful relief from a solid -sculptured base. In some of the examples shown it simply surrounds the -trunk upon which it is a parasite, and in others, the architectural -suggestion is heightened by the cluster appearing at the summit of its -pillar, the dead continuation of the trunk above having fallen. - - * * * * * - -Superlative anticipation of our hopes is often disastrous to their full -realization. But no such danger awaits the visitor to the Columbian -Fair. The most extreme glorification of this superb achievement at -Chicago still leaves us the superlative of actual experience. - -Dull indeed must be the intelligence which fails to respond to the -vision of beauty which the genius of architecture has here created. -Whatever oblivion may await the other features of the Exposition, the -fame of the architect is secure. Even though in their substance his -creations here are but as the flowers of a day, to be cut down ere the -coming of winter, their very evanescence constitutes their most abiding -charm. - -Though we may spend weeks in the enjoyment of the unexampled treasures -within these walls, confusion will at length claim most of our minor -reminiscences, and the winnowing process of the years will at last leave -few tokens. But the glamour of this celestial city, this throng of -ethereal palaces hovering between sky and sky, buoyant as with uplifting -archangel wings from dome and pinnacle and acroteria--these will abide -to the end of our days. - - - - -[Illustration] THE PICTURESQUE SIDE - -_By F. Hopkinson Smith_ - - -I. - -A blazing sun and a clear limpid sky, a long lagoon, gray-green and -silver, a noble flight of steps serving as water-landing for half a -dozen gay-colored gondolas, a grand balustrade protecting a broad -platform leading to the porch and entrance of the most exquisitely -beautiful building of modern times--the Art Palace of the Great -Exposition! - -From the corner of this balustrade a red rag of an awning, torn from an -old tarpaulin, is stretched to an oar, its black shadow spilling down -the white steps. Under this awning, flat on his back, sound asleep, lies -a gondolier, fresh from Venice. Despite his nondescript costume of -brigand’s leggings and cavalier’s cap I cannot mistake that broad chest -and sunny face, the crisp black hair, and the fine lines of the throat -and thigh. - -“Espero!” I call out in glad surprise. - -“_Commandi Signore_,” comes the quick reply, as he springs to his feet. - -Other gondoliers join us: Marco, who at home plys a boat at the -_Traghetto_, just above the _Salute_; and Luigi, who for five years past -has won at the Annual Regatta on the Grand Canal--a superb fellow is -Luigi, as handsome as a Venetian, and every inch a gondolier; and -Francesco, his brother, first gondolier to the Countess, whose palace -fronts the _Accademia_. For the instant I am in Venice again, while they -all talk to me at once, telling me of their friends and mine whom we -have known there--subjects far more absorbing than all the surprises of -this new world. Five minutes later we are swinging up the Lagoon, Marco -bending his oar aft, Espero on the cushions beside me. - -There is to me a seeming fitness in entering the Court of Honor -reclining in a gondola and rowed by a gondolier. No other craft that -floats could so perfectly harmonize with these surroundings; none so -dainty, so graceful, so dignified. There are no other oarsmen who could -move with such ease and finish. These stately water-birds of Venice and -their masters add, too, an element of the picturesque. They are to the -lagoons what the flowers are to the esplanades, or the swans to the -smaller inlets. The launches, noiseless as they are, seem out of place -here and jar upon your senses; they are too new, too suggestive of -progress and revenue and time-saving. But the gondola revives the -traditions and customs of those earlier centuries, when this great White -City of the Lake was still in its glory. Moreover, it is the only sort -of princely craft which these noble families, whom you feel sure have -lived for centuries in these great palaces, could use in their -magnificent goings and comings. - -[Illustration: THE PERISTYLE.] - -For whenever I stand on the bridge of the Peristyle and look across the -Court of Honor, surrendering myself to the magic spell of its beauty, I -cannot help yielding to the conviction that this noble quadrangle is -surrounded by palaces of marble - -[Illustration: DISTANT VIEW OF DOME OF THE HORTICULTURAL BUILDING.] - -which have taken centuries to perfect; that the grounds and walks, -stretches of grass, masses of flowering plants, and bold colossal -statues have all been added from time to time, as in other palace -gardens of old, when opportunity or royal whim dictated; that this great -city was built ages ago, long before the time of the Greeks, who -modelled their own temples along their classic lines; and that not only -were its builders the ablest and most learned men of all ages, but that -their descendants, those who live beneath these roofs, are the wisest, -the most cultured, and the most artistic men and women of their time. - -To me, moreover, the City is never evanescent nor unreal; never like a -house built upon the sands. It is, when I look at it in amazed delight, -not only entirely genuine, but firm and solid as the marble which it -resembles. It is too vast, and the elements of atmosphere, perspective -and proportion, enter too largely into its _ensemble_ to make it appear -other than genuine. When, for instance, you stand in Athens, near the -Parthenon, and your eye falls on a broken column at your feet, you _see_ -that it is marble, and you _know_ that it is heavy. But without this -sample stone in the foreground, and your knowledge of the character and -quality of the material, the whole temple is to you, from where you -look, only a film of light, now ivory, now alabaster, now lost in -purple shadows. Here, about the White City, there is no broken column as -an eye test, there are only superb façades, reaching skyward, and great -stretches of columns and arches, relieved by gilded domes and sculptured -frieze. They are never close to you--no comprehensive view is possible -nearer than two hundred feet, and who can tell “staff” from marble at -that distance--but far away, across the shimmer of the Lagoon, or over -the massing of foliage or clustered roofs. - -[Illustration: DOME OF HORTICULTURAL BUILDING AT NIGHT.] - -There is, in addition to all this element of reality, a reality which -every one must feel for himself, still another charm--an undefinable -quality that constantly surprises and delights you. To this is united a -majestic picturesqueness investing these superb palaces and royal -gardens with a distinction never attained by any of their predecessors. -This does not seem to be due so much to colossal proportions nor to the -never-ending series of buildings piled one behind the other, as to the -skill shown by architects - -[Illustration: IN OLD VIENNA.] - -and landscape gardeners in the general plan. Especially is this charm -felt in the absence of rectangular lines of construction; in the winding -in and out of the lagoons; in the neglected fringing of untrimmed -foliage skirting the water’s edge; in the half submerged bits of islands -where the ducks plume their feathers; in the informal formality of great -massing of plants; in the dotting of broad stretches of gray-green water -with gay-colored gondolas; and in the colossal proportions of superb -decorative statues, so that a glimpse of Venice can be caught between -the forelegs of a huge sculptured bull, and the columns of a classic -temple be outlined over the back of some water-sprayed mermaid. - -It is easy while under the spell of this Ancient City to persuade myself -that in this their festival year, these nobles who dwell here are -holding high carnival, with much feasting and merry-making, and -illuminations at night. That they have bidden all the nations of the -earth to join them in these gracious festivities lasting many months; -and that as an especial honor, and for the delight and entertainment of -these distinguished guests, they have decreed that a great fair shall be -held where may be seen many strange people from the uttermost parts of -the earth, who, with barbaric dancing and weird music may depict the -manners and customs of their climes. That this Fair of the Festival Year -shall be placed, not within the lines of the Palaces but outside the -walls of the Great City, at the end of a broad highway, rolled out like -a huge carpet of many colors. - - * * * * * - -Rousing myself from these reveries, I bid Espero good-by, join the -throng, follow through the gates and so out upon this broad highway, the -Plaisance. My dreams are all true. Along the crowded thoroughfare move -half the wild tribes of the earth--Javanese, Esquimaux, natives of the -Soudan, Bedouins from beyond the Great Desert, Algerians, Arabs, Greeks, -Armenians, Syrians, and Turks. Fringing each edge of this gay promenade -I find the huts of the Javanese and Soudanese, the tents of the Bedouins -and Arabs, and the more pretentious booths and structures of the -Algerians and kindred people. Here, too, are the quaint gateways and -open squares of old German and Austrian towns; the low-roofed, deftly -constructed houses of the Japanese; the intricate carvings of India -covering the booths, and, draping the doors of the Eastern bazaars the -rich stuffs, rugs, and tapestries of the Orient. - -Near the entrance to the Turkish village, tucked away on one side of the -highway, just out of the rush of the never-ceasing throng, and yet close -enough to be within call, rises the dome of a small Mosque. Above this -a single, snow-white minaret shoots up into the blue. - -[Illustration: MOSQUE OF THE SULTAN SELIM.] - -When the sun is gone there leans from a tiny balcony high up on this -needle of a minaret, a white-robed priest. Suddenly above the whirl and -hurry there filters down through the soft twilight air the Muezzin’s -call for prayer: - -“La Ilah Ell-Allah Muhammed Rassoul Ell-Allah.” - -To me there is nothing so simple, nothing so impressive, nothing so -devout, as a Muhammedan standing in the presence of his God. There is a -childlike faith, a manly trust, a sincere belief evinced and experienced -by these believers, that never seems to predominate in any other form of -religion. - -How often, in a great cathedral, do you come upon a figure silently -leaving the confessional, and catching a full view of the face, detect a -lingering trace of sorrow, or anxiety, or doubt. But watch the faces of -these Muhammedans, these poor sedan-chair carriers, and of that -broad-shouldered Arab, who has been moving great boxes of unpacked goods -on his back all day. How tired they all look as they enter the Mosque, -bowing low with reverent awe, and prostrating themselves wearily to the -pavement. It is as if each penitent had brought his very burden within -these sacred precincts, supplicating for relief. - -Now look, when the silent service is over, and study these same faces -as, with a light-hearted spring, each man rises from his knees and with -serene expression, and calm, restful eyes takes up once more the burden -of his life. - -This exquisite and picturesque little Mosque--it is the prototype of the -purest bit of Eastern architecture in Stamboul--these thoroughly genuine -people, this sacred service--not as a necessary part of the Oriental -exhibit, but as an essential, indispensable part of the life of the -natives themselves--this combination of the genuine and the picturesque -is to me the true keynote of the Great Exposition. - - -II. - -My old and valued friend, Far-away Moses:--What a superb old Shylock he -is; not in the sense of “three thousand ducats and for three months,” -but in the unique quality of the character itself! Neither Irving nor -Booth ever conceived so fine and fitting a costume as this old man wears -every day in and out of his bazaar, and along the streets of his -transplanted village; a costume of soft material, with an under-vest -delicately embroidered, the over-jacket a coat of brown camel’s-hair -with dark red voluminous waist-sash and the wide Eastern skirts covering -his still sturdy legs. - -My old and valued friend, Far-away Moses, I say, invited me to dinner. I -have enjoyed this especial privilege very often in his own bazaar in -Stamboul, and the aroma of the Mocha and the soothing qualities of his -Narghilehs have haunted me ever since. Now, thanks to his courtesy, I -can enjoy them every day. There is nothing missing in the surroundings -of his own bazaar here on the - -[Illustration: “FAR-AWAY MOSES.”] - -Plaisance. The walls are hung with the wealth of the East. Divans are -scattered about. On a low table, octagon-shaped and inlaid with -mother-of-pearl and ivory, lie yataghans and Turkish arms, embossed with -silver and enriched with quaint design. The light struggles in through -the small windows and half defines the odd interior, quite as it does -in his shop along the Bosphorus. I throw myself upon a pile of Eastern -rugs and begin adjusting the pillows in true Oriental fashion. - -The old man claps his hands, and instantly, as if rising through the rug -itself, an attendant appears, receives an order in Turkish, and -vanishes. Not a gentleman, if you please, in a soiled necktie, frayed -shirt-front, and hired-by-the-month swallow-tail coat, but a swarthy -Turk in gold-embroidered vest and the rest of it, who reappears in a -flash with one of those exquisite squatty little tables that might serve -in a baby house. Then more clapping of hands, and more Turks, one a -gorgeous fellow in a solid gold jacket (the light is dim), under-vest of -purple and silver, sash brilliant scarlet, and so on, down to his -magnificent slippers of red morocco, very much turned up at the toes. -And then an inlaid tray with two dainty little cups, mere thimbles, into -which is poured from a long-handled brass pot, sizzling hot over a -charcoal fire, two mouthfuls of fragrant Mocha. Then the Narghilehs, -with their long flexible tubes, amber mouth-pieces, and the bits of -burning coal, keeping alight the little heap of Turkish tobacco on the -top of the slender caraffe-shaped glass. - -We talk of the old days in Stamboul and of the morning we spent at the -Bath, where I was parboiled and rubbed full of holes by two -insufficiently clad Greeks; and then of the festival night at Saint -Sophia when, as a member of his household, I entered the Sacred Mosque -barefooted and befezzed. Later on a lighted lantern is brought in, and -we follow another gorgeous slave into the mysteries of my host’s private -apartments where a repast of kebabs and boiled rice is served. - -[Illustration: DOORWAY OF THE TRANSPORTATION BUILDING.] - -After dinner other lights are fixed against the walls of an outer court, -and a dozen or more of his retinue--Far-away and his _confrère_, Roberto -Levy, count five hundred and fifty followers--with weird song and -gesture, throw themselves with perfect abandon into one of their wild -native dances. - -This small army of the Faithful eat, sleep, and dress precisely as they -do at home. The Bedouin women huddle in the dust outside their tents, -baking their wafer-like bread over rounded pans covering heaps of live -coals; the men smoke and lounge on the mats; the dancing-girls from -Damascus and Syria, in the intervals of their stage work, shut -themselves up in their curtain-closed rooms, attended only by their -women. - -They allow no difference in their surroundings or atmosphere; there is -no hurry nor rush nor noise; only the indolent, lazy life of the East. -Had the genie of the lamp been summoned from space to work these -marvellous effects it could not have been better done. - -But the picturesque does not end with the Turkish village, its mosques, -bazaars, café, theatre, and attendants. Enter the gates leading to the -little toy houses of the Javanese, and stop for a moment at one of the -doors. Half a dozen of the dancing-girls are cuddled together in the -middle of the floor. There is no light except through the open door. -Some are smoking cigarettes. One is painting the eyebrows of a comrade, -who in turn is combing the other’s hair. Two are stretched out on either -side of the entrance lolling lazily. They smile courteously, and when -one rises and trips away to the next miniature house, she drops you a -slight deferential courtesy as she passes--not to attract your -attention, but as challenging permission--to cross in front of you. - -If you, an admirer of Western civilization, offer some one of its -subjects a piece of silver, you receive either the customary gruff -thanks or the incredulous stare. If you have doubts about the courtesy, -the refinement, and the charm of the semi-barbarous East, try the same -experiment on one of these little Javanese maidens, fully of age and yet -hardly as tall as the curly haired daughter that you hold in your arms. -When you tender her the coin she walks to where you stand without the -slightest trace of either forwardness or timidity, drops on one -knee--clasping the money in her right hand--crosses both arms over her -bosom, places the piece on her head, and then bowing low, her face -toward you, retraces her steps into the bungalow. With each gesture she -intends some graceful service--she is your slave--her heart is always -true, her head in subjection. It is only her way of saying thank -you--this poor little half-clad, half-civilized, Javanese maid; but it -is so gracefully, so charmingly done, it is so naïve and sincere, that -if you leave the door of her hut with a cent in your pocket you should -be sentenced to spend a month in her village to learn better manners. - -As you are still in search of the picturesque, follow that barefooted -Arab with fez and long yellow gown, who has just saluted with such -respect and humility Roberto Levy (chief commissioner of all these -Muhammedan people), touching his heart and lips and forehead after the -manner of his race. He has some complaint to make or grievance to right. -You note that the man enters a gate farther down - -[Illustration: IN CAIRO STREET.] - -on the Plaisance, above which you catch the minaret of another mosque, -overlooking “A Street in Cairo.” Later on you discover that this -barefooted Arab drives a camel along this tortuous thoroughfare. - -Here again the quality of the picturesque is inseparably joined to the -quality of the genuine. The street itself is a fair reproduction of the -original, with its overhanging latticed windows, iron gratings and -decorations; but the motley crowd that throngs through its crookedness -is the native element itself. Camels with the dust of the desert ground -into their scarred hides, every knot in the harness a guarantee of long -service; donkeys and donkey boys; women closely veiled or wearing the -_burgi_--a wooden spool bound over the nose, with a heavy fringe of -black thread falling below the chin; rows of idlers in dirty garments -sprawled along the edges of the houses hugging the shade; Nubians, black -as ink, in white burnoose and long gowns; pedlers, street venders in odd -Eastern costumes, and scattered throughout the curious throng the man -from Maine and the gentleman from Texas. - -Everywhere you find the same element of the picturesque, everywhere is -evident the same quality of the genuine. To accomplish these results -space and time seem to have been annihilated. - -“It is I who went up into the Soudan country and brought out this -family, come in and see,” says a dark, black-bearded man, who might have -the blood of all the races of the East in his veins. - -I thrust my head and shoulder through a narrow slit in the hut, shaped -like an inverted teacup, and am confronted by a girl wearing a single -garment of coarse cotton cloth, such as would cover a sack of salt. -Behind her, squatting on the earth-floor, sit her husband and father, -beating rude drums covered with skins. The girl instantly advances, -lifts up her face and gazing into mine with half-closed eyes, gives -herself up with slow movement of her feet to that peculiar spell which -seems to possess all Eastern women when under the influence of the -dance. The inmates are all uncleanly, unkempt, and, but for the earnest -face and fawn-like eyes of the Soudanese girl-wife, forbidding and -repulsive. Of one thing, however, you are sure: had you wandered into -the heart of their country and entered any one of their huts, you would -have found the exact counterpart of what is before you now. - -So with the Algerians and Nubians, the Chinese and natives of Ceylon, -Dahomey and the South Sea Islands, the Esquimaux even down to the -glass-blowers from Murano: they are not a part of a show--they are the -people themselves. How long this unconscious individuality will continue -and what degrading effects our civilization will produce on these -strangers is a question which cannot be settled until the Fair is over. - -It is safe to say that never in the lives of the present generation will -these things be repeated. Before the summer comes again the beautiful -city will fade away like the frost-work of an early morning. This broad -highway, teeming with life and color, will be but a neglected waste, -while the lovely lagoons will once more yield themselves up to the -ever-encroaching lake. Every square foot of the wide inclosure should be -sacred to every American, as marking for them and for the intelligent -world a point in civilization never before reached by any people; as -marking the dawn of a new era in the progress of the Republic; a new -light in architecture, in mural decoration and sculpture; in the weaving -of exquisite stuffs, in the glazing of porcelains, the making of glass -and perfecting of all the lesser arts that serve to beautify our homes -and gladden our lives; and in the proving, by comparison with the best -work of the other nations of earth, the high standard reached by our own -artists, and the fixing forever of that position in the art of the -world. - -[Illustration] - - - - - - - - - -End of the Project Gutenberg EBook of Some Artists at the Fair, by -Frank D. Millet, J. A. Mitchell, Will H. Low, W. Hamilton Gibson and F. Hopkinson Smith - -*** END OF THIS PROJECT GUTENBERG EBOOK SOME ARTISTS AT THE FAIR *** - -***** This file should be named 61989-0.txt or 61989-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/1/9/8/61989/ - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/old/61989-0.zip b/old/61989-0.zip Binary files differdeleted file mode 100644 index c970ede..0000000 --- a/old/61989-0.zip +++ /dev/null diff --git a/old/61989-h.zip b/old/61989-h.zip Binary files differdeleted file mode 100644 index 9997186..0000000 --- a/old/61989-h.zip +++ /dev/null diff --git a/old/61989-h/61989-h.htm b/old/61989-h/61989-h.htm deleted file mode 100644 index 076e3f6..0000000 --- a/old/61989-h/61989-h.htm +++ /dev/null @@ -1,2819 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" -"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> - -<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> - <head> <link rel="coverpage" href="images/cover.jpg" /> -<meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> -<title> - The Project Gutenberg eBook of Some Artists at the Fair. -</title> -<style type="text/css"> - p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:4%;} - -.c {text-align:center;text-indent:0%;} - -.ityl {font-style:italic;padding-left:2em;text-indent:-2em;} - -.letra {font-size:250%;float:left;margin-top:-1%;} - @media print, handheld - { .letra - {font-size:250%;padding:0%;} - } - -.nind {text-indent:0%;} - -.nonvis {display:inline;} - @media print, handheld - {.nonvis - {display: none;} - } - -.rredd {color:#9D2B07;} - -.r {text-align:right;margin-right: 5%;} - -.rt {text-align:right;} - -small {font-size: 70%;} - -big {font-size: 130%;} - - h1 {margin-top:5%;text-align:center;clear:both; -font-weight:bold;} - - h2 {margin-top:4%;margin-bottom:2%;text-align:center;clear:both; - font-size:100%;font-weight:normal;} - - h3 {margin:4% auto 2% auto;text-align:center;clear:both;font-weight:normal; -font-size:100%;} - - hr {width:90%;margin:2em auto 2em auto;clear:both;color:black;} - - hr.full {width: 60%;margin:2% auto 2% auto;border-top:1px solid black; -padding:.1em;border-bottom:1px solid black;border-left:none;border-right:none;} - - table {margin-top:2%;margin-bottom:2%;margin-left:auto;margin-right:auto;border:none;} - - body{margin-left:4%;margin-right:6%;background:#ffffff;color:black;font-family:"Times New Roman", serif;font-size:medium;} - -a:link {background-color:#ffffff;color:blue;text-decoration:none;} - - link {background-color:#ffffff;color:blue;text-decoration:none;} - -a:visited {background-color:#ffffff;color:purple;text-decoration:none;} - -a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;} - -.smcap {font-variant:small-caps;font-size:100%;} - - img {border:none;} - -.caption {font-weight:normal;} -.caption p{font-size:75%;text-align:center;text-indent:0%;} - -.figcenter {margin-top:3%;margin-bottom:3%;clear:both; -margin-left:auto;margin-right:auto;text-align:center;text-indent:0%;} - @media handheld, print - {.figcenter - {page-break-before: avoid;} - } - -.figleft {float:left;clear:left;margin-left:0;margin-bottom:1em;margin-top:1em;margin-right:1em;padding:0;text-align:center;} - -.figright {float:right;clear:right;margin-left:1em;margin-bottom:1em;margin-top:1em;margin-right:0;padding:0;text-align:center;} - -div.poetry {text-align:center;} -div.poem {font-size:90%;margin:auto auto;text-indent:0%; -display: inline-block; text-align: left;} -.poem .stanza {margin-top: 1em;margin-bottom:1em;} -.poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} -.poem span.i1 {display: block; margin-left: .45em; padding-left: 3em; text-indent: -3em;} - -.pagenum {font-style:normal;position:absolute; -left:95%;font-size:55%;text-align:right;color:gray; -background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;} -@media print, handheld -{.pagenum - {display: none;} - } -</style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of Some Artists at the Fair, by -Frank D. Millet, J. A. Mitchell, Will H. Low, W. Hamilton Gibson and F. Hopkinson Smith - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Some Artists at the Fair - -Author: Frank D. Millet - J. A. Mitchell - Will H. Low - W. Hamilton Gibson - F. Hopkinson Smith - -Release Date: May 2, 2020 [EBook #61989] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK SOME ARTISTS AT THE FAIR *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - - - - - -</pre> - -<hr class="full" /> - -<p class="figcenter"> -<img src="images/cover.jpg" alt="[Image of -the book's cover unavailable.]" /> -</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="border: 2px black solid;margin:auto auto;max-width:50%; -padding:1%;"> -<tr><td> - -<p class="c"><a href="#CONTENTS">Contents.</a></p> -<p class="c"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers] -clicking on the image will bring up a larger version.)</span></p> - -<p class="c">(etext transcriber's note)</p></td></tr> -</table> - -<h1><span class="rredd">Some Artists at the Fair</span></h1> - -<table border="0" cellpadding="2J. A. Mitchell" cellspacing="0" summary=""> -<tr><td>Frank D. Millet </td><td>J. A. Mitchell</td></tr> -<tr><td>Will H. Low</td><td>W. Hamilton Gibson</td></tr> -<tr><td colspan="2" class="c">F. Hopkinson Smith</td></tr> -</table> - -<p class="c"><img src="images/title-1.jpg" -width="300" -alt="" -/></p> - -<p class="c">New York<br /> -Charles Scribner’s Sons<br /> -1893</p> - -<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span> </p> - -<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span> </p> - -<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span> </p> - -<p><span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span> </p> - -<p class="c">SOME ARTISTS AT THE FAIR</p> - -<p><span class="pagenum"><a name="page_v" id="page_v">{v}</a></span> </p> - -<div class="figcenter" style="width: 368px;"><a name="ill_1" id="ill_1"></a> -<a href="images/frontispiece_lg.jpg"> -<img src="images/frontispiece_sml.jpg" width="368" height="582" alt="[Image unavailable.]" /></a> -<div class="caption"><p>THE COURT OF HONOR—DOME OF ADMINISTRATION BUILDING.</p></div> -</div> - -<h1>Some Artists at the Fair</h1> - -<table border="0" cellpadding="2J. A. Mitchell" cellspacing="0" summary=""> -<tr><td>Frank D. Millet </td><td>J. A. Mitchell</td></tr> -<tr><td>Will H. Low</td><td>W. Hamilton Gibson</td></tr> -<tr><td colspan="2" class="c">F. Hopkinson Smith</td></tr> -</table> - -<p class="c"><img src="images/title-2.jpg" -width="300" -alt="" -/></p> - -<p class="c">New York<br /> -Charles Scribner’s Sons<br /> -1893</p> - -<p class="c"><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span> <br /><br /><br /> -<small> -<span class="smcap">Copyright, 1893, by</span><br /> -CHARLES SCRIBNER’S SONS<br /> -<br /> -<br /> -TROW DIRECTORY<br /> -PRINTING AND BOOKBINDING COMPANY<br /> -NEW YORK<br /></small></p> - -<p><span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span> </p> - -<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> - -<table border="0" cellpadding="5" cellspacing="0" summary=""> -<tr><td> </td><td class="rt"><small>PAGE</small></td></tr> - -<tr class="ityl"><td valign="top"><a href="#THE_DECORATION_OF_THE_EXPOSITION">THE DECORATION OF THE EXPOSITION</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr> - -<tr class="ityl"><td valign="top"><a href="#TYPES_AND_PEOPLE_AT_THE_FAIR">TYPES AND PEOPLE AT THE FAIR</a></td><td class="rt" valign="bottom"><a href="#page_43">43</a></td></tr> - -<tr class="ityl"><td valign="top"><a href="#THE_ART_OF_THE_WHITE_CITY">THE ART OF THE WHITE CITY</a></td><td class="rt" valign="bottom"><a href="#page_59">59</a></td></tr> - -<tr class="ityl"><td valign="top"><a href="#FOREGROUND_AND_VISTA_AT_THE_FAIR">FOREGROUND AND VISTA AT THE FAIR</a></td><td class="rt" valign="bottom"><a href="#page_81">81</a></td></tr> - -<tr class="ityl"><td valign="top"><a href="#THE_PICTURESQUE_SIDE">THE PICTURESQUE SIDE</a></td><td class="rt" valign="bottom"><a href="#page_100">100</a></td></tr> -</table> - -<p><span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span> </p> - -<p><span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span> </p> - -<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2> - -<table border="0" cellpadding="5" cellspacing="0" summary=""> -<tr><td> </td><td class="rt"><small>PAGE</small></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_1">The Court of Honor—Dome of Administration Building</a></td><td class="rt" valign="bottom"><a href="#ill_1">Frontispiece</a></td></tr> - -<tr><td valign="top" class="ityl"><a href="#ill_2">Riders of Winged Horses, from W. L. Dodge’s Decoration in the Administration Building</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_3">Figure Emblematic of the Textile Arts, by Robert Reid, in one of the Domes of the Manufactures Building</a></td><td class="rt" valign="bottom"><a href="#page_3">3</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_4">Allegorical Figure of “Needle-work,” by J. Alden Weir, in one of the Domes of the Manufactures Building</a></td><td class="rt" valign="bottom"><a href="#page_7">7</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_5">“Forging,” Figure by E. E. Simmons, in the Dome of the East Portal, Manufactures Building</a></td><td class="rt" valign="bottom"><a href="#page_11">11</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_6">“Musicians,” Fragment from the Procession, by W. L. Dodge, in the Dome of the Administration Building</a></td><td class="rt" valign="bottom"><a href="#page_14">14</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_7">“Ceramic Painting,” by Kenyon Cox, in a Dome of the East Portal, Manufactures Building</a></td><td class="rt" valign="bottom"><a href="#page_15">15</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_8">“Autumn,” Panel by G. W. Maynard, in the Agricultural Building</a></td><td class="rt" valign="bottom"><a href="#page_18">18</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_9">“Pearl,” by Walter Shirlaw, in a Dome of the North Portal, Manufactures Building</a></td><td class="rt" valign="bottom"><a href="#page_19">19</a></td></tr> -<tr><td valign="top" class="ityl"><span class="pagenum"><a name="page_x" id="page_x">{x}</a></span> -<a href="#ill_10">“The Telephone,” by J. Carroll Beckwith, in a Dome of the North Portal, Manufactures Building</a></td><td class="rt" valign="bottom"><a href="#page_23">23</a></td></tr> - -<tr><td valign="top" class="ityl"><a href="#ill_11">“Decoration,” Figure by C. S. Reinhart</a></td><td class="rt" valign="bottom"><a href="#page_29">29</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_12">“The Armorer’s Craft,” one of Four Figures by E. H. Blashfield, Representing the Arts of Metal Working</a></td><td class="rt" valign="bottom"><a href="#page_33">33</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_13">Female Figure from W. L. Dodge’s Decoration in the Administration Building</a></td><td class="rt" valign="bottom"><a href="#page_37">37</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_14">Banner Adopted from the Standard of Spain under Ferdinand and Isabella</a></td><td class="rt" valign="bottom"><a href="#page_39">39</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_15">Banner Adopted from the Expeditionary Flag of Columbus</a></td><td class="rt" valign="bottom"><a href="#page_39">39</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_16">Trying to Get the Better of the Native</a></td><td class="rt" valign="bottom"><a href="#page_45">45</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_17">Fakirs</a></td><td class="rt" valign="bottom"><a href="#page_47">47</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_18">A Bride and Groom</a></td><td class="rt" valign="bottom"><a href="#page_52">52</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_19">Wheeled About at Seventy-five Cents per Hour</a></td><td class="rt" valign="bottom"><a href="#page_54">54</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_20">The Question of Finance</a></td><td class="rt" valign="bottom"><a href="#page_56">56</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_21">Café in the Midway Plaisance</a></td><td class="rt" valign="bottom"><a href="#page_57">57</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_22">Lighting the Natural Gas Torches on the Roof of the Administration Building</a></td><td class="rt" valign="bottom"><a href="#page_61">61</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_23">At Night on the Midway Plaisance</a></td><td class="rt" valign="bottom"><a href="#page_64">64</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_24">Indian Girl and Bull, Modelled by French & Potter</a></td><td class="rt" valign="bottom"><a href="#page_65">65</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_25">German Building</a></td><td class="rt" valign="bottom"><a href="#page_66">66</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_26">Central Portion of MacMonnies Fountain—Effect of Electric Light</a></td><td class="rt" valign="bottom"><a href="#page_73">73</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_27">The Border of the Lagoon</a></td><td class="rt" valign="bottom"><a href="#page_84">84</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_28">A Bit of the Californian Building</a></td><td class="rt" valign="bottom"><a href="#page_86">86</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_29">The Californian Building</a></td><td class="rt" valign="bottom"><a href="#page_87">87</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_30">A Cove in Wooded Island</a></td><td class="rt" valign="bottom"><a href="#page_88">88</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_31">The Edge of the Rose Garden, Wooded Island</a></td><td class="rt" valign="bottom"><a href="#page_91">91</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_32">Japanese Building on Wooded Island</a></td><td class="rt" valign="bottom"><a href="#page_92">92</a></td></tr> -<tr><td valign="top" class="ityl"><span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span> -<a href="#ill_33">An Aged Japanese Dwarf, One Hundred Years Old—A Corner of the Horticultural Building</a></td><td class="rt" valign="bottom"><a href="#page_93">93</a></td></tr> - -<tr><td valign="top" class="ityl"><a href="#ill_34">Portal of the Fisheries Building</a></td><td class="rt" valign="bottom"><a href="#page_95">95</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_35">Elkhorn Fern, a Suggestion for an Architect—In the Australian Exhibit, Horticultural Hall</a></td><td class="rt" valign="bottom"><a href="#page_97">97</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_36">The Peristyle</a></td><td class="rt" valign="bottom"><a href="#page_102">102</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_37">Distant View of Dome of the Horticultural Building</a></td><td class="rt" valign="bottom"><a href="#page_103">103</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_38">Dome of Horticultural Building at Night</a></td><td class="rt" valign="bottom"><a href="#page_106">106</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_39">In Old Vienna</a></td><td class="rt" valign="bottom"><a href="#page_107">107</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_40">Mosque of the Sultan Selim</a></td><td class="rt" valign="bottom"><a href="#page_111">111</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_41">“Far-away Moses”</a></td><td class="rt" valign="bottom"><a href="#page_114">114</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_42">Doorway of the Transportation Building</a></td><td class="rt" valign="bottom"><a href="#page_116">116</a></td></tr> -<tr><td valign="top" class="ityl"><a href="#ill_43">In Cairo Street</a></td><td class="rt" valign="bottom"><a href="#page_119">119</a></td></tr> </table> - -<p><span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span> </p> - -<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span> </p> - -<div class="figcenter"><a name="ill_2" id="ill_2"></a><a name="THE_DECORATION_OF_THE_EXPOSITION" id="THE_DECORATION_OF_THE_EXPOSITION"></a> -<a href="images/ill_pg_001_lg.jpg"> -<img src="images/ill_pg_001_sml.jpg" width="375" height="281" alt="[Image unavailable.]" /><br /></a> -<div class="caption"><p>RIDERS OF WINGED HORSES, FROM W. L. DODGE’S DECORATION IN -THE ADMINISTRATION BUILDING.</p></div> -</div> - -<h2>THE DECORATION OF THE EXPOSITION<br /><br /> -<small><i>By F. D. Millet</i></small></h2> - -<p class="nind"><span class="letra">T</span>HE grand style, the perfect proportions, and the magnificent dimensions -of the buildings of the World’s Columbian Exposition, excite a twofold -sentiment in the mind of the visitor—wonder and admiration at the -beauties of the edifices, and regret and disappointment that they are -not to remain as monuments to the good taste, knowledge, and skill of -the men who built them, and as a per<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span>manent memorial of the event which -the Exposition is intended to celebrate. This complex feeling is a -natural one, and is perfectly comprehensible in the presence of the -noble porticos and colonnades, the graceful towers, superb domes, and -imposing façades. Previous exhibitions, with the possible exception of -that in Vienna in 1873, have been confessedly ephemeral in the character -of their construction, and have shown a distinctly playful and festal -style of architecture, with little attempt at seriousness or dignity of -design. The monumental character of the group of Exposition buildings in -Chicago is not the result of accident, but of deliberate forethought and -wise judgment.</p> - -<p>In the heat of the fever of construction, which has spread like a -contagion from the rocks of Mount Desert to the white sands of the -Pacific coast, a new race of architects has sprung up, fertile in -resources and clever in execution, but with little well-grounded -knowledge of the real principles of their art. Beginning with the -bulbous conglomerations of material which have been forced upon a -long-suffering public by the Government architects, and ending with -consciously picturesque structures that hint more of the terrors of -mediæval dungeons than of the comforts of domestic life, and bear the -title of villa but the aspect of military strongholds, the architecture -of the past two decades has, with some<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span></p> - -<div class="figcenter" style="width: 365px;"><a name="ill_3" id="ill_3"></a> -<a href="images/ill_pg_004_lg.jpg"> -<img src="images/ill_pg_004_sml.jpg" width="365" height="522" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FIGURE EMBLEMATIC OF THE TEXTILE ARTS, BY ROBERT REID, IN -ONE OF THE DOMES OF THE MANUFACTURES BUILDING.</p></div> -</div> - -<p><span class="pagenum"><a name="page_5" id="page_5">{5}</a></span></p> - -<p class="nind">notable exceptions, been distinguished by increasing ingenuity in -imitation rather than the development of skill in adaptation. It would -be worse than foolish to demand that an architect should be thoroughly -original, as it would be to ask an artist to cut loose from all the -proven principles and traditions of his profession, and invent an -entirely new method and a novel system. What may be reasonably asked of -an architect is that he have an individual point of view, and modernize -the adaptation of old principles without disturbing the real spirit of -the same; that he develop and extend these principles to meet the -requirements of modern life; that, in fact, he work as nearly as -possible in the same direction that the masters of ancient architecture -would have done if they had been dealing with modern problems of design, -plan, and construction. There are certain immutable laws of harmony and -proportion which have always governed and will always rule in -architecture as in art, and though they are disregarded and tampered -with for the sake of novelty and so-called originality, this -faithlessness always meets its just punishment in the result. The -majority of modern architects have, in these days of abundant -photographs, models, and measurements, been led to cater to the vanity -of half-educated clients, and have engrafted French châteaux on -Romanesque palaces, have invented wonderfully in<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span>genious but viciously -hybrid combinations, one of which has been aptly described as “Queen -Anne in front and Mary Ann in the back.” The precept and example of the -scholarly men in the profession have been powerless to stem this tide of -ill-considered design, and nothing short of gradual regeneration and -slow revulsion of sentiment against this tendency has been hoped for -until the present year.</p> - -<p>Mr. D. H. Burnham, the Director of Works of the World’s Columbian -Exposition, took the first important step toward the renaissance of the -true spirit of architecture in this country by ignoring all precedents -of competition, and selecting as associates certain architects and firms -whose records established their position as true leaders of the -profession. These architects, after studious contemplation of the -situation, decided on the adoption of a general classical style for the -buildings, subject, of course, to such modifications as were found -necessary by the requirements of each individual case. The result is a -satisfactory and sufficient proof of the wisdom of Mr. Burnham’s action, -and there is now before the country a more extensive and instructive -object-lesson in architecture than has ever been presented to any -generation in any country since the most flourishing period of -architectural effort. The educational importance of this feature of the -great Exposition can scarcely be over-esti<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span>mated,</p> - -<div class="figcenter" style="width: 355px;"><a name="ill_4" id="ill_4"></a> -<a href="images/ill_pg_007_lg.jpg"> -<img src="images/ill_pg_007_sml.jpg" width="355" height="428" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ALLEGORICAL FIGURE OF “NEEDLE-WORK,” BY J. ALDEN WEIR, IN -ONE OF THE DOMES OF THE MANUFACTURES BUILDING.</p></div> -</div> - -<p><span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> </p> - -<p><span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> </p> - -<p class="nind">and its salutary influence on the future architecture of this country -can be prophesied with absolute certainty. The scheme has not been -considered complete, however, nor the lesson properly emphasized, -without the necessary adjuncts of the two arts so closely allied to -architecture, sculpture and painting, both of which have been drawn upon -with freedom and good judgment to supplement and enrich the -architectural features. Sculpture has been employed far more extensively -than its sister art, for the very good reason that few of the buildings -have been constructed with any intention of carrying the interiors to -any high degree of finish. It would have been impracticable, under the -circumstances, to bring the interiors up to the same perfection as the -exteriors, even with the cheapest material, for it would have added an -enormous per cent to the cost of construction. The architects have, -therefore, in most cases frankly accepted the situation and confined -their efforts at embellishment to the façades, considering the buildings -simply as great sketches of possible permanent structures, confessedly -utilitarian as to the interior, but as sumptuous and suggestive in -exterior treatment as the conditions permitted. Indeed, this was the -only reasonable view to take, both because of the enormous size of the -buildings and the complex uses for which they are intended. The exhibits -themselves<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> are necessarily such prominent features of the interiors -that they only need a background of more or less simple character to -complete, with the elaborate installation which is being carried on, -quite as agreeable a decoration scheme as might be reasonably expected -on such an enormous scale.</p> - -<p>Without going into details of construction, it is proper to call -attention to one feature of the interiors, notably of the Machinery and -Manufactures and Liberal Arts buildings, where the architect and the -engineer have joined forces and produced a result far ahead of anything -before accomplished. I refer to the wonderfully beautiful iron-work of -these buildings, which satisfies to an eminent degree both the -utilitarian and æsthetic requirements. Mr. C. B. Atwood, Designer in -Chief, co-operated with Mr. E. C. Shankland, Chief Engineer, in working -out a plan of construction of the immense trusses with the connecting -girders, purlins, and braces, which has been carried out in great -perfection. The ugly forms of ordinary bridge-builders’ construction, -which have hitherto been endured as necessary for rigidity and strength, -have been largely eliminated, and graceful curves, well-balanced -proportions, and harmonious lines unite to make the iron-work, beautiful -in itself, a distinctly ornamental feature of the interiors. Thus, -without flourish of trumpets, a great advance has been made, and the -great truth promulgated<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span></p> - -<div class="figcenter" style="width: 277px;"><a name="ill_5" id="ill_5"></a> -<a href="images/ill_pg_011_lg.jpg"> -<img src="images/ill_pg_011_sml.jpg" width="277" height="470" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“FORGING,” FIGURE BY E. E. SIMMONS, IN THE DOME OF THE -EAST PORTAL, MANUFACTURES BUILDING.</p></div> -</div> - -<p><span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> </p> - -<p><span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> </p> - -<p class="nind">that the useful may be beautiful even in engineering. Painting of an -artistic character has been confined for the most part to a few domes -and panels in various pavilions, to wall spaces under colonnades and -porticos, and to the two or three interiors in which there is -sufficiently high finish to permit of mural decoration.</p> - -<p>The Administration Building, by Mr. Richard M. Hunt, which was built for -the uses of the World’s Columbian Commission with the numerous branches -of its executive force, is the real focus of the group of buildings, not -only from its position in the centre of a grand plaza of enormous -extent, but on account of its monumental character. The portals and the -angles of this building are adorned with groups of sculpture by Mr. Carl -Bitter, of New York, and spandrels and panels, both outside and inside, -are enriched by designs by the same sculptor. The dome, which is two -hundred and sixty-five feet high, is truncated at the top and is lighted -by a great eye forty feet in diameter. The interior of this dome around -the great eye, a surface of the approximate dimensions of 35 x 300 feet, -is to be covered with a figure composition painted by Mr. W. L. Dodge, -representing in general terms the figure of a god on a high Olympian -throne crowning with wreaths of laurel the representatives of the arts -and sciences, and flanked by figures of Agriculture, Commerce,<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span></p> - -<div class="figleft" style="width: 241px;"><a name="ill_6" id="ill_6"></a> -<a href="images/ill_pg_014_lg.jpg"> -<img src="images/ill_pg_014_sml.jpg" width="241" height="339" alt="[Image unavailable.]" /></a> -<div class="caption"> -<p>“MUSICIANS,” FRAGMENT FROM THE PROCESSION, BY W. L. -DODGE, IN THE DOME OF THE ADMINISTRATION BUILDING.</p></div> -</div> - -<p class="nind">and Peace. A Greek canopy, supported by flying female figures, contrasts -agreeably with the clear blue of the sky background, against which the -principal groups are shown in strong relief. Three winged horses drawing -a vehicle with a model of the Parthenon, troops of warriors cheering the -victors in the peaceful strife of the arts, and a wealth of minor -figures, make up the composition, which is bold and imposing not only in -magnitude but in line. The interior walls of the great Rotunda are -tinted so as to give the effects of colored marbles and mosaics and -under the outside the massive white Doric columns have a background of -Pompeian richness<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span></p> - -<div class="figcenter" style="width: 346px;"><a name="ill_7" id="ill_7"></a> -<a href="images/ill_pg_015_lg.jpg"> -<img src="images/ill_pg_015_sml.jpg" width="346" height="514" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“CERAMIC PAINTING,” BY KENYON COX, IN A DOME OF THE EAST -PORTAL, MANUFACTURES BUILDING.</p> - -<p>(From an unfinished sketch.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> </p> - -<p><span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> </p> - -<p class="nind">of tone. With the exception of Mr. Dodge’s composition in the -Administration Building, neither of the other buildings fronting on the -grand plaza has any purely artistic decoration, although the hemicycle -and portions of the Electricity Building, and the extensive arcades of -the Machinery Building, are all treated with flat colors to supplement -this architectural ornament, the former by Mr. Maitland Armstrong, the -latter by Mr. E. E. Garnsey, of F. J. Sarmiento & Co. Across the south -canal, however, a blaze of richly colored panels in the pavilions of the -Agricultural Building, with here and there a figure of an animal half -hidden by the superb Corinthian columns, shows where Mr. G. W. Maynard -and his assistant, Mr. H. T. Schladermundt, have converted, by the magic -of their art, the uninteresting plaster surfaces into a series of -elaborate pictures. This decoration has been planned with great -attention to the appropriate character of its individual features. There -are two pavilions at either end of the building, with a large doorway -breaking the wall into two panels, each one of which has a dado of -elaborate ornament, a narrow border of conventionalized Indian corn on -each side, and great garlands of fruit on top framing an oblong -rectangle of rich Pompeian red with a colossal female figure of one of -the seasons. Above the two panels, and connecting them by a band of -color, is<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p> - -<div class="figleft" style="width: 212px;"><a name="ill_8" id="ill_8"></a> -<a href="images/ill_pg_018_lg.jpg"> -<img src="images/ill_pg_018_sml.jpg" width="212" height="407" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“AUTUMN,” PANEL BY G. W. MAYNARD, IN THE AGRICULTURAL -BUILDING.</p></div> -</div> - -<p class="nind">a frieze with rearing horses, bulls, oxen drawing a cart of ancient -form, and other small groups of agricultural subjects. The focus of the -decorative scheme is naturally at the main portico, the entrance to the -Rotunda, called the Temple of Ceres, with the statue of the goddess in -the mysterious twilight of the graceful and impressive interior. The -portico is treated on much the same plan as the side pavilions, but as -it provides a much greater area of wall surface, Mr. Maynard has been -able to introduce a richer combination of colors and a greater variety -of figures. “Abundance” and “Fertility,” two colossal<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span></p> - -<div class="figcenter" style="width: 323px;"><a name="ill_9" id="ill_9"></a> -<a href="images/ill_pg_019_lg.jpg"> -<img src="images/ill_pg_019_sml.jpg" width="323" height="459" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“PEARL,” BY WALTER SHIRLAW, IN A DOME OF THE NORTH -PORTAL, MANUFACTURES BUILDING.</p></div> -</div> - -<p><span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> </p> - -<p><span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> </p> - -<p class="nind">female figures, occupy, with the richly ornamented borders, great flat -niches on either side of the entrance, and are flanked in turn on the -side-walls by the figure of King Triptolemus, the fabled inventor of the -plough, and the goddess Cybele, symbolical of the fertility of the -earth, the one in a chariot drawn by dragons, the other leading a pair -of lions. These figures, as well as those in the four porticos, are -treated in a broad, simple manner, so that they carry perfectly to a -great distance and at the same time lose nothing by close inspection.</p> - -<p>The sumptuousness of the color decoration is balanced by the lavish -abundance of sculpture work which fills the pediments and crowns the -piers and pylons, and, in general terms, the main features of the -façades. The main pediment is by Mr. Larkin G. Mead; and the other -statues—figures of abundance with cornucopiæ, a series of graceful -maidens holding signs of the Zodiac, groups of four females representing -the quarters of the globe supporting a horoscope, and various colossal -agricultural animals—are all by the hand of Mr. Philip Martiny, who -joins Mr. Olin L. Warner in supplementing the architectural -ornamentation of the Art Building with various figures and bas-reliefs. -Dominating the grand outlines of the edifice, perched high on the flat -dome, is the gilded figure of Diana, by Mr. Augustus St. Gaudens, -familiar as the finial of the<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> tower of the Madison Square Garden in New -York, a fitting apex of the monumental structure.</p> - -<p>The north front of the Agricultural Building, with the Peristyle and the -south façade of the Manufactures and Liberal Arts Building, form a grand -court of honor, so to speak, facing the Administration Building, which -may be appropriately termed the Gateway of the Exhibition, for it rises -directly in front of the Terminal Station, a building of vast -proportions and noble aspect, designed to accommodate the thousands of -visitors who reach the Fair by the numerous lines of railways -concentrated at this point. Six rostral columns, surmounted by a figure -of Neptune, by Mr. Johannes Gelert, accent this court at different -points. Mr. Frederick MacMonnies’s <i>fin-de-siècle</i> colossal fountain -fills the west end of the basin with a busy group of symbolical figures -and a flood of rushing water. Opposite, at the east end of the -glittering sheet of water which reflects the architectural glories of -the colonnades, the dignified, simple statue of the Republic, by Mr. D. -C. French, towers high in air, relieved against the beautiful screen of -the Peristyle, with its forest of columns showing clear cut against the -blue waters of the lake. Every column and every pier of the Peristyle -has its crowning figure, the work of Mr. Theodore Baur, and the great -central arch, or Water-Gate supports a colossal Quadriga executed<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span></p> - -<div class="figcenter" style="width: 328px;"><a name="ill_10" id="ill_10"></a> -<a href="images/ill_pg_023_lg.jpg"> -<img src="images/ill_pg_023_sml.jpg" width="328" height="479" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“THE TELEPHONE,” BY J. CARROLL BECKWITH, IN A DOME OF THE -NORTH PORTAL, MANUFACTURES BUILDING.</p></div> -</div> - -<p><span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> </p> - -<p><span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> </p> - -<p class="nind">by Mr. D. C. French and Mr. Edward C. Potter, the former undertaking the -figure work, and the latter the horses. Two pair of horses, led by -classical female figures, draw a high chariot with a male figure -symbolizing the spirit of discovery of the fifteenth century, and pages -on horseback flank the chariot on either side, enriching the composition -so that it presents a well-sustained mass from every possible point of -view. This group is an achievement well worthy of its situation as the -dominating embellishment of the great court with its wealth of sculpture -and ornament.</p> - -<p>The terraces afford another inviting field for open-air decoration. -Numerous pedestals have tempted the skill of the sculptors of the -Quadriga to produce distinguished types of the horse and the bull, and -formal antique vases on the balustrade and reproductions of the -masterpieces of ancient statuary break the long lines of parapet and -greensward. The graceful bridges spanning the canals are guarded by -sculptured wild animals native of the United States, part of them by Mr. -Edward Kemeys, others by Mr. A. P. Proctor, in appropriate contrast to -the classicality of their surroundings and suggesting future -possibilities in sculpture inspired by similar motives. The eye cannot -take in at a glance the sumptuous beauties of this grand court, even in -its ragged state of partial finish, but roves from statue to column,<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> -portal to terrace, resting agreeably on broad masses of rich color and -on the gleaming reflections in the basin. Imagination can scarcely -picture the scene with the addition of the festal features of fluttering -banners, rich awnings, gayly decorated craft giving life and movement to -the water front, and everywhere the crowd of visitors all on recreation -bent.</p> - -<p>The casual observer might well be pardoned for failing at first to mark -how the grand pavilions and porticos of the Manufactures and Liberal -Arts Building are accented by frequent spaces covered with artistic -decoration. In each of the four corner pavilions there are two tympana, -those on the south side having been given to Mr. Gari Melchers and Mr. -Walter MacEwen to fill with a decorative design. Both these artists have -made elaborate compositions representing, in general terms, “Music” and -“Manufactures” and “The Arts of Peace,” and “The Chase and the -Manufacture of Weapons,” respectively.</p> - -<p>In the foreground of “Music,” at the left, a group of Satyrs pipes to a -dancing cluster around the Muse Euterpe, and with various other -personages make up a composition of great distinction of live and -skilful arrangement. The second panel, which illustrates manufactures or -textiles, is equally rich in groups, and in the background of both -compositions is continued a procession in the honor of<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> Pallas Athena, -who was credited by the Greeks with the invention of spinning. The -general color gamut is light with an intricate harmony of delicate -tones. The procession is silhouetted in bluish tones against a warm sky -with the colors of early evening, the golden reflections touching the -figures with beautiful lines of light. Mr. Melchers has followed out -much the same general plan of color in a varied but well-sustained -composition, so that the four tympana make, in a sense, a series of -harmonious pictures.</p> - -<p>The four grand central portals of the Manufactures and Liberal Arts -Building recall triumphant arches of Roman times. Each of these portals -has a lofty central entrance with rich bas-reliefs by Mr. Bitter and -smaller side arches under pendentive domes. These eight domes have been -filled with figure decorations, each by a different artist. Those on the -south front of the building have been painted by Mr. J. Alden Weir and -Mr. Robert Reid, who, with distinctly individual compositions, have -harmonized their designs in a remarkably agreeable and skilful manner. -Mr. Weir has chosen allegorical female figures of “Decorative Art,” “The -Art of Painting,” “Goldsmith’s Art,” and the “Art of Pottery.” Each of -these figures is seated on a balustrade and is relieved against a sky of -pale broken blue tones. Flying draperies and capitals of four orders of -architecture serve to connect the lines of<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> the composition, which is -further enriched by a cupid holding a tablet inscribed with the -different arts and decorated with a wreath. The figures are large and -simple in line, and the general scheme of color is pale blue varied with -purple and green, a combination suggested by the evanescent hues of Lake -Michigan. Mr. Reid has also selected seated allegorical figures to carry -out his ideas, with the addition of four youths, one on the keystone of -each arch, holding high above their heads wreaths and palm branches -which meet and cross so as to form a band of decorative forms around the -upper part of the dome. A semi-nude figure of a man with an anvil and -wrought-iron shield represents “Ironworking;” a young girl in white -resting one arm on a pedestal and the hand of the other arm touching a -piece of carved stone, signifies “Ornament;” another in purple, -finishing a drawing of a scroll, suggests the principle of “Design,” as -applied to mechanical arts, and the fourth figure is readily interpreted -as honoring the “Textile Arts.” In the east portal Mr. E. E. Simmons has -placed a single figure of a man in each pendentive of the dome, -symbolizing “Wood Carving,” “Stone Cutting,” “Forging,” and “Mechanical -Appliances.” The general scheme is pale gray and flesh-colored tones -relieved and accentuated by the forms of the tools and accessories -appropriate to each figure. The<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p> - -<div class="figcenter" style="width: 368px;"><a name="ill_11" id="ill_11"></a> -<a href="images/ill_pg_029_lg.jpg"> -<img src="images/ill_pg_029_sml.jpg" width="368" height="536" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“DECORATION,” FIGURE BY C. S. REINHART.</p></div> -</div> - -<p><span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> </p> - -<p><span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> </p> - -<p class="nind">composition is bold in line, firm in outline, and original in -conception. Mr. Kenyon Cox in the adjacent dome has worked so far in -harmony with Mr. Simmons that he has decorated the pendentives rather -than the upper part of the vault, placing a standing female figure in -each against a balustrade and foliage. Above the heads, graceful -banderoles, bearing the subjects illustrated, convert each pendentive -into a shield-shaped space. A robust woman in buff jacket testing a -sword, suggests “Steel Working.” A graceful girl in blue and white -drapery holding a rare vase needs no title to show that she represents -“Ceramic Painting.” “Building” is symbolized by a tall and shapely -damsel in golden green robes, standing near an uncompleted wall, and -“Spinning” by a stately maiden of fair complexion dressed in -rose-colored stuffs, with the significant accessory of a spider-web. In -the north portal Mr. J. Carroll Beckwith has illustrated the subject of -Electricity as applied to Commerce. Four female figures occupy the -pendentives. The “Telephone” and the “Indicator” are personified by a -woman standing holding a telephone to her ear and surrounded by tape -issuing from the ticker; “The Arc Light” by a figure kneeling holding -aloft an arc light; “The Morse Telegraph” by a woman in flying draperies -seated at a table upon which is the operating machine,<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> while she reads -from a book; and “The Dynamo” by a woman of a type of the working-class -seated upon the magnet with a revolving wheel and belt at her feet. -Above, in the upper dome, is placed the “Spirit of Electricity,” a -figure of a boy at the top of the dome from which radiate rays of -lightning, to which he points. Mr. Walter Shirlaw, who has decorated the -neighboring dome, shows distinct originality of conception in his four -allegorical figures, “Gold,” “Silver,” “Pearl,” and “Coral,” symbolizing -the abundance of the land and the sea. The maiden representing “Gold” -steps forward freely, her mantle of yellow falling as she advances. A -silver-gray cloak, fastened with silver disks, distinguishes the figure -of “Silver.” “Pearl” stands erect with glistening pearls around her neck -and on her garments. “Coral,” with raised arms, places a coral ornament -in her hair. A spider’s web in decorative pattern connects the figures -and occupies the central surface of the dome. White, green, and gold, -treated in monotones, form the color plan.</p> - -<p>The figure on page 29 is taken from a sketch of one of Mr. C. S. -Reinhart’s figures in the south dome of the West Portal, and was -materially changed in the enlargement, and improved in action and -accessories. The effort of the artist has been to bring all the separate -tones into harmony with each other, making the design and color -appropriate<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span></p> - -<div class="figcenter" style="width: 365px;"><a name="ill_12" id="ill_12"></a> -<a href="images/ill_pg_033_lg.jpg"> -<img src="images/ill_pg_033_sml.jpg" width="365" height="525" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“THE ARMORER’S CRAFT,” ONE OF FOUR FIGURES BY E. H. -BLASHFIELD, REPRESENTING THE ARTS OF METAL WORKING.</p></div> -</div> - -<p><span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> </p> - -<p><span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> </p> - -<p class="nind">to the purposes of the building, the architecture, and the construction -of the pendentive dome itself. A white-marble terrace describes a -complete circle just above the four arches of the dome, the railing of -which is a repetition of the actual one which finishes the top of the -walls of the building itself; above a vibrating blue sky, with touches -of salmon pink; in the pendentives four seated female figures, -representing the Arts of Sculpture, Decoration, Embroidery, and Design. -Between the figures and above the arches are urns with cactus, from -which vines and flowers are trailing, thus uniting the composition. The -treatment is mural—broad, flat tones within the severe contours. Above, -in the sky, faint in color and harmonizing with the sky itself, four -cherubs are having a merry-go-round with pale ribbons.</p> - -<p>The pendentives of the adjacent dome, painted by Mr. E. H. Blashfield, -are filled by four winged genii, representing the “Arts of Metal -Working.” The “Armorer’s Craft” is personified by a helmeted figure; the -“Brass Founder” and “Iron Worker” by two half-nude youths, one holding -an embossed trencher, the other a hammer, while a maiden, in the closely -clinging gown of the fifteenth century, with a statuette in her hand, -symbolizes the “Art of the Goldsmith.” The extreme points of the -pendentives are filled by appropriate attributes, a<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span> pair of gauntlets, -brass workers’ tools, a horse-shoe, and a medal. Behind the figures, and -a little above their heads, is a frieze of Renaissance scroll work, and -the whole composition is bound together by flying banderoles and by the -sweep of the widely extended wings. The centre of the dome is occupied -by two winged infants supporting a shield. The general color scheme -comprises a series of peacock blues, greens, and purples, brilliant -white tones in wings and frieze, and pale blue of the sky as a -background to the composition.</p> - -<p>The sculpture groups on the roof of the Woman’s Building, and the -elaborate pediments executed by Miss Alice Rideout, with the Caryatides, -by Miss Enid Yandell, were early finished and in place. The same is true -of Lorado Taft’s graceful groups and friezes which adorn the -Horticultural Building, and of Mr. John J. Boyle’s realistic and -expressive embodiments of ideas suggested by the fertile theme of -Transportation, and ranged in almost bewildering profusion around the -building which bears that name. The regiment of statues on the Machinery -Building, by Mr. M. A. Waagen and Mr. Robert Kraus, those on the -Electricity Building, by Mr. J. A. Blankingship and Mr. Henry A. -MacNeil, the statue of Franklin, by Mr. Carl Rohl-Smith, together with -scores of other works of more or less importance, would, if listed, make -a long catalogue of<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p> - -<div class="figcenter" style="width: 250px;"><a name="ill_13" id="ill_13"></a> -<a href="images/ill_pg_037_lg.jpg"> -<img src="images/ill_pg_037_sml.jpg" width="250" height="353" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FEMALE FIGURE FROM W. L. DODGE’S DECORATION IN THE -ADMINISTRATION BUILDING.</p></div> -</div> - -<p class="nind">interesting objects of the sculptor’s art. The immense numbers of these -works, proportionate, of course, to the colossal magnitude of the -Exposition, forbid even the bare mention of them in detail. In addition -to this great mass of sculpture work executed for the special purpose of -supplementing the archi<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span>tecture, it is intended to place at different -places, notably in the Grand Court and on the grounds, and in the -colonnades of the Art Building, selected examples of ancient sculpture, -various reproductions of antique monuments.</p> - -<p>An essential part of the decoration of the building is, of course, the -architectural details, the models of which have been executed by various -parties, notably Ellin & Kitson, of New York, and Evans, of Boston, with -distinguished taste and skill. The capitals, mouldings, and ornaments of -Greek and Roman buildings have been accurately copied on a scale and in -a manner never before attempted. A few short months ago there was in -this country but a very limited number of full-sized reproductions of -any of the notable details of ancient architecture. The cast of the -great Jupiter Stator capital was, it is said, found in but a single -architect’s office. Now the whole range of details, from the beautiful -Ionic capitals of the Temple of Minerva Polias to the mouldings of the -Arch of Titus, are practically at the command of any architect and -student.</p> - -<p>Much has been said and much written about the proper color to be given -to the exteriors of the great edifices. Experience shows, even if reason -had not already dictated the decision, that the nearer they are kept to -white the better for the architecture. Every experiment which has been -made to produce<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span></p> - -<div class="figcenter" style="width: 336px;"> -<a name="ill_14" id="ill_14"></a> -<a name="ill_15" id="ill_15"></a> -<a href="images/ill_pg_039_lg.jpg"> -<img src="images/ill_pg_039_sml.jpg" width="336" height="582" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<table><tr valign="top"><td><p> -BANNER ADOPTED FROM THE STANDARD OF SPAIN UNDER FERDINAND AND -ISABELLA.</p> -</td><td> -<p>BANNER ADOPTED FROM THE EXPEDITIONARY FLAG OF COLUMBUS.</p> -</td></tr> -</table></div> -</div> - -<p><span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> </p> - -<p><span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> </p> - -<p class="nind">æsthetic effects of texture suggested by the usual treatment of plaster -objects has resulted in partial or in total failure, and every time the -warm white of the staff has been meddled with, its glory has departed. -But the conditions imposed by the climate, by the impossibility of -securing a homogeneous surface, and by the exposure and consequent -discoloration of a certain portion of the work, have made it necessary -to apply some sort of paint to all the buildings. Ordinary white-lead -and oil have been found to give the best results, for the irregular -absorption of the staff and the weathering rapidly produce an agreeable, -not too montonous an effect, and the surface deteriorates less rapidly -after this treatment. The single notable exception to this simple scale -of color is found on the Transportation Building, which was given to -Healy and Millet, of Chicago, to cover with a polychromatic decoration, -carrying out the original intention of the architects, and making it -unique and splendid in appearance. All the statuary of this building was -treated with bronze and other metals, the great portal, commonly called -the “Golden Door,” was exceedingly rich and gorgeous in effect, and the -intricate ornamentation of the architectural relief decoration had an -echo in the flat surfaces covered with rich designs.</p> - -<p>The decoration of the Exposition would be incomplete without careful -attention to the informal<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> and festive features, such as flags and -awnings. Every building presented new conditions, and demanded special -study and design. A large proportion of the flag-staffs carried -gonfalons or banners, but a certain number were reserved, naturally, for -the United States flag and the flags of all nations. At various points -large poles were planted in the ground, most of them for the purpose of -displaying the Stars and Stripes, and a group of three poles, with -ornate bases, elaborate flutings, and proper finials were placed in -front of the Administration Building. The middle pole to carry a United -States flag of large dimensions, and flanked on either side by a large -and sumptuous banner, one adapted from the expeditionary banner of -Columbus, the other from the standard of Spain at the time of the -discovery of America.<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p> - -<h2><a name="TYPES_AND_PEOPLE_AT_THE_FAIR" id="TYPES_AND_PEOPLE_AT_THE_FAIR"></a> - -<a href="images/ill_pg_043_lg.jpg"> -<img src="images/ill_pg_043_sml.jpg" width="362" height="170" alt="[Image unavailable.]" /></a> -<br /> - -TYPES AND PEOPLE AT THE FAIR<br /><br /> - -<small><i>By J. A. Mitchell</i></small></h2> - -<p class="nind"><span class="letra">I</span>T is no reflection on the Columbian show to confess that perhaps the -pleasantest moments are those spent in resting one’s rebellious limbs -upon a bench and in watching the crowd. It may be less novel and -possibly less instructive than some other exhibits, but it is often more -amusing. One realizes in studying this infinite stream of humanity how -little he really knows, personally, of his own countrymen. New types -seem to have sprung into existence for the sole purpose of appearing at -this fair. It gives one a startling realization of the varying effects -of climate, food, and mode of life upon our brothers and sisters. Voice, -manner, color, size,<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> shape, and mental fittings are so widely different -as to surest varieties in race. But we are all Americans, and those from -the interior are more American than the others.</p> - -<p>If the native Indian were of a reflective turn of mind, all this might -awaken unpleasant thoughts. Judging from outside appearance, however, he -has no thoughts whatever. He stalks solemnly about the grounds with a -face as impassive as his wooden counterparts on Sixth Avenue. And yet -<i>he</i> is the American. He is the only one among us who had ancestors to -be discovered. He is the aboriginal; the first occupant and owner; the -only one here with an hereditary right to the country we are -celebrating. Perhaps the native realizes this in his own stolid fashion. -As he stalks about among the dazzling structures of the Fair, and tries, -or more likely, does not try, to grasp the innumerable wonders of art -and science that only annoy and confuse him, it may require a too -exhausting mental effort to recall the fact that his own grandfather -very likely pursued the bounding buffalo over the waste of prairie now -covered by the city of Chicago. He, at least, if his education permitted -it, could claim historic connection with the country when Columbus came -so near discovering it; whereas our own connection with the discoverer -is certainly remote, and sometimes suggests (with the fact that he from -whom we have<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span> named the Fair never actually saw this particular country) -that we are taking liberties with his name.</p> - -<div class="figcenter" style="width: 295px;"><a name="ill_16" id="ill_16"></a> -<a href="images/ill_pg_045_lg.jpg"> -<img src="images/ill_pg_045_sml.jpg" width="295" height="287" alt="[Image unavailable.]" /></a> -<div class="caption"><p>TRYING TO GET THE BETTER OF THE NATIVE.</p></div> -</div> - -<p>The unconquerable American desire to do things on a bigger scale than -anybody else, which often results in our “biting off more than we can -chew,” has again run away with us. There are many illustrations of this -gnawing hunger at the World’s Fair. In fact the Fair itself, as a whole, -comes painfully near being an illustration in point. A colossal -enterprise too vast and complex to permit of its attain<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span>ing a perfect -finish in the time allowed, seems to give more joy to our occidental -spirits than any possible perfection on a smaller scale. Crudity has -little terror for us. The whole scheme is so vast and comprehensive, and -the scale so hopelessly magnificent, that the visitor finds he has -neither the spirit, spine, nor legs to even partially take it in. In -fact the farther he goes the more he realizes the futility of the -undertaking. And the hapless enthusiast who proposes to see, even -superficially, the more important exhibits, should be fitted with a -wrought-iron spine, nerves of catgut, and one more summer. In all the -departments, from the fine arts to canned tomatoes, there is more than -enough in numbers and in area to wear out the energy and paralyze the -brain. To visit the Fair with profit or comfort you must leave your -sense of duty behind. Whoever goes there with intent to thoroughly “do -it,” is laying up for himself anguish of mind and the complete -annihilation of his muscular and nervous force. It is far too big for -any question of conscience to be allowed to enter in. Its bigness is -beyond description. No words or pictures can tell the story of its size. -Experience alone can teach it. You must go there day after day, to -return at night with tired eyes and aching limbs, and with the bitter -and ever-increasing knowledge that as an exhibition you can never grasp -it. Where other exhibitions<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> have been satisfied with a display of an -hundred cubic feet of any special article, Chicago must have at least an -acre. Of whatever the world has seen before this time it now sees larger -specimens and more of them. This means for the visitor more steps, more -fatigue, more confusion, more time, and more money.</p> - -<div class="figcenter" style="width: 302px;"><a name="ill_17" id="ill_17"></a> -<a href="images/ill_pg_047_lg.jpg"> -<img src="images/ill_pg_047_sml.jpg" width="302" height="180" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FAKIRS.</p></div> -</div> - -<p>But there is a good side to all this, if one can forget his physical -fatigue. Few of us fully realize what the Fair is doing for this country -æsthetically. Not so much by its art collections, for the average -American sees, or can see, enough good paintings in the course of a year -to bring up his standard to a respectable level if he so elects, but by -the architecture of the buildings themselves. Unless the aforementioned -“Average American” is an undeserving<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span> barbarian who has made up his mind -to prefer the wrong thing, these impressive monuments cannot fail to do -him good. The honest beauty of their design ought to stamp itself with -sufficient force upon his dawning reason to make him see the crudity of -the United States architecture in which he has wallowed up to date. No -praise is too high for what Chicago has achieved in this direction. -There are, of course, at the Fair some painful examples of what the -untamed American architect loves to do, but he is fortunately in the -minority. And the very contrast he offers works for progress in the -cause of good art and a higher standard. The United States Building, -designed by a Government architect, is a melancholy warning.</p> - -<p>The more intimate one becomes with this particular fair, the more -forcibly he realizes the fact that we are, above all else, a practical -people. After being duly impressed by the gigantic proportions and -artistic excellence of the buildings, for which no praise is too high, -we come gradually to learn, as we meander among the exhibits, that those -things which excite our surprise and curiosity are generally the results -of ingenuity and manual skill. In those departments, for instance, -relating to art, literature, and history, there is little to startle the -traveller who is at all familiar with previous international shows. The -best in the art galleries is, as usual,<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> from Europe. There is no -dodging the fact that the average American is not overladen with the -artistic sense. His enthusiasm runs in other directions. When it comes -to the outward manifestations of human ingenuity, he is “on deck;” he is -“in it” and “with you.” The application of electricity to filling teeth, -or converting sawdust into table-butter, kindles in his bosom an -excitement he never experienced in the art department. It certainly -seems, after a visit to the electricity and machinery, that human hands -can do nothing that is not more quickly accomplished by some machine. -Not only this, but time and distance count for nothing, and, if we keep -on as we have started, the day will soon be here when the man in Maine -can shake hands with his friend in Arizona. Already the sun is a -hard-working slave. Light, air, water, and in fact all nature, seems -cruelly overworked. If she ever strikes, it will be an awkward period -for us. These mechanical and scientific surprises make it interesting to -speculate as to possible sights at our next grand exhibition, say twenty -years hence. The man in China, for instance, need not go to the future -fair at all. He will probably be able to see and hear it all at home. If -he does go he can return to Shanghai for his lunch.</p> - -<p>But the American as seen at this fair, although <span class="pagenum"><a name="page_50" id="page_50">{50}</a></span>first of all practical, -is not, from another point of view, so far behind in his artistic sense -as we are in the habit of considering him. In the first place, he is -found, as a rule, standing before the best paintings and passing by the -poorer ones. Those galleries containing the finest works are invariably -the most crowded. And this is the greatest compliment we can pay -ourselves. If, on the other hand, enthusiastic groups collected about -the impressionists, and took pleasure in the purple and yellow -“effects,” that are sprinkled about the French and American sections, -there would be cause for anxiety. But such is not the case. That the -impressionists still count their warmest admirers among themselves, -their wives, sisters, and aunts, is a hopeful sign. As a people, we take -many things less seriously than some of our contemporaries, but in -matters of art we like it with a purpose. Too little clothing still -strikes us as frivolous and improper. Blood, violence, and all -unpleasantness are sometimes historically instructive, but, as a rule, -we are fond of comfortable subjects. We still like a taste of sugar in -our art.</p> - -<p>But the brightest sign of all is the universal and hearty appreciation -by the multitude of the buildings themselves. The expressions of delight -by those who see for the first time these marvels of architectural -beauty, indicate at least a capacity for artistic enjoyment. In fact, -the American who steps for<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span> the first time upon the borders of the Grand -Basin, and looks upon the scene before him without a tingle of pride and -pleasure is not of the stuff he should be. No words can give a just idea -of the magnificence and restful beauty of this gigantic achievement. -Rome and Greece were of marble and built for a more serious purpose. -This is a city for a single summer. As such it is a complete and -glorious triumph.</p> - -<p> </p> - -<p>There is nothing like a colossal exhibition to emphasize the disastrous -effects of wealth upon the human spirit. Your friend with plenty of -money goes to the Fair because others do and because he hates to be “out -of it.” He reaches Chicago in a palace car, occupies luxurious rooms at -a comfortable and expensive hotel, takes a carriage when others walk, -and at the exhibition itself derives pleasure only from those things -that are unexpectedly novel. And to him such sights are few and such -sensations rare. What he does realize, however, continually and with -force, is the enormity of the crowd with its thoughtless persistence in -holding the best places in front of those exhibits he wishes to see -himself. Moreover, there is an ever-increasing sense of physical -discomfort, and that is something your moneyed friend is slow to -forgive. But he does his duty, and he is glad above all to get home -again.<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p> - -<p>But how different with your less prosperous friend, who has been -economizing for months in order to get there! It being an expensive -business, his time is limited, and he drinks it in through all his -senses, excitedly and with large gulps. It is hard work, but how -interesting! That dull pain which overtakes the great majority of -sightseers soon catches him in the back of his neck, but as long as he -can see, hear, and walk, he profits by his opportunities. And he goes to -his home mentally refreshed, a broader and a wiser man. He has gained an -experience he would not exchange for many dollars.</p> - -<div class="figleft" style="width: 114px;"><a name="ill_18" id="ill_18"></a> -<a href="images/ill_pg_052_lg.jpg"> -<img src="images/ill_pg_052_sml.jpg" width="114" height="199" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A BRIDE AND GROOM.</p></div> -</div> - -<p>An unlooked-for feature of the exhibition is the profusion of newly -married couples. Whether all this individual ecstasy adds gayety or -mournfulness to the Fair depends, of course, entirely upon the point of -view from which the victims are regarded. It is evident that many happy -grooms have considered this a chance to kill two birds with one stone, -and, as far as one can judge results from outward appearances, there is -no question as to the practical working of the scheme. The happy couple -find themselves in a sort of fairy land, wandering about among countless -strangers, whose very<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span> numbers seem to lend security and to harden the -over-sensitive soul. The crowd also seems to create a feeling of -isolation which the innermost recesses of a virgin forest could never -supply. Moreover, there is here so much else to occupy the attention of -the usually obnoxious public that the bride and groom can hold hands -with absolute security and be as bold or blushing as their temperaments -may demand.</p> - -<p>The rolling-chairs that run about the grounds and through the buildings -are the salvation of many a fainting spirit. To thousands of human -beings with nothing but a human back and human legs the fair would be a -failure without them. They are support for the weary, strength for the -weak, and hope and a new life for the despairing. The guides who -navigate them are, as a rule, college students, profiting by this -opportunity to see the fair and to secure additional dollars toward -completing their studies. The result is, for the occupant of the chair, -an intelligent and agreeable companion, who is ready and willing to give -any information he may possess. And besides, they are neither sharks nor -liars, but fair and honorable respecters of truth. There is sometimes a -contrast in manners and education between the occupant of the chair and -the man behind that is not in favor of the former. When one sees what is -evidently a citizen with far more money than<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> brains, and without the -faintest appreciation of the beauties that encompass him, wheeled about -at seventy-five cents an hour by a youth so far his superior that any -comparison is impossible, it causes one to realize that Fortune is -indeed an irresponsible flirt, who is never so happy as when doing the -wrong thing.</p> - -<p>A not uncommon sight, and one of the countless illustrations of what an -excellent husband the American becomes when properly trained, is that of -the weary, uninterested man, lingering patiently among laces, china, and -views of Switzerland. His heart all the while is off with the machinery, -possibly with that more than human little machine that winds the cotton -on the spools. Such cases are, of course, offset by the devoted women -who wear themselves out in tramping through soulless acres of -agricultural products, locomotives, wagons, models of ships, and all the -other follies that appeal to man.</p> - -<div class="figleft" style="width: 233px;"><a name="ill_19" id="ill_19"></a> -<a href="images/ill_pg_054_lg.jpg"> -<img src="images/ill_pg_054_sml.jpg" width="233" height="313" alt="[Image unavailable.]" /></a> -</div> - -<p><span class="pagenum"><a name="page_55" id="page_55">{55}</a></span></p> - -<p>The burning question of the hour for the visitor from another city is -the question of finance. He who is worth his million and intends -spending a fortnight in Chicago, will do well to take his million with -him. He may bring some of it away, but that will depend entirely upon -his own capacity for economy. Before registering at the hotel let him be -sure to secure his return ticket, for it is a long walk from Chicago to -New York. These remarks are not intended to discourage all who are not -millionaires from visiting the exhibition. It can be done with less -money. The writer has himself accomplished it. In fact, it is only fair -to say that many of the stories of extortion which have come from the -White City are much exaggerated. The most successful brigands are in the -city of Chicago, and not at the Fair.</p> - -<p>The writer can testify, from his own personal experience, that a very -good lunch can be procured in the State of Illinois for less than one -hundred dollars. Thirty dollars is more than enough for a sandwich, and -a glass of water can be purchased anywhere for less than ninety cents. -While to walk by the <i>cafés</i> and restaurants and look upon others who -are eating, costs the promenader nothing whatever. But these moderate -prices do not obtain at your hotel. The object of keeping a hotel is, -like some other occupations, partly to make money. The Chicago -hotel-keeper does not ignore this fact.<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span></p> - -<div class="figcenter" style="width: 364px;"><a name="ill_20" id="ill_20"></a> -<a href="images/ill_pg_056_lg.jpg"> -<img src="images/ill_pg_056_sml.jpg" width="364" height="265" alt="[Image unavailable.]" /></a> -<div class="caption"><p>THE QUESTION OF -FINANCE.</p></div> -</div> - -<p>His ideas of the relation of profit to expenditure are well calculated -to startle the guest of reasonable expectations. If the guest is not -overweeningly ambitious and is satisfied to sleep in a closet or hang -from the stairs, his expenses need be no greater than if he occupied a -handsome suite of rooms at any first-class New York hotel. But if he -insists on having a real chamber, larger even than his own bathroom at -home, and with a real window in it, then he must pay. And it is then -that he begins to discover why his landlord keeps a hotel. Any previous -extravagances in the way of horses, real estate,<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> or precious stones are -as nothing to the present outlay. He finds that the rate per diem is, as -far as he can judge, based upon the supposition that the hotel is to be -closed to-morrow and must be paid for to-day. And real estate is high, -even in Chicago. In matters of nourishment, the wealth of Ormus is of no -avail, unless the waiter receives a tip exceeding in value the -handsomest Christmas present ever given to a dearest friend.</p> - -<p>Within the grounds there is little extortion, thanks to the firmness of -the ruling powers.</p> - -<div class="figcenter" style="width: 368px;"><a name="ill_21" id="ill_21"></a> -<a href="images/ill_pg_057_lg.jpg"> -<img src="images/ill_pg_057_sml.jpg" width="368" height="263" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CAFÉ IN THE MIDWAY PLAISANCE.</p></div> -</div> - -<p>But let not the Chicagoan whose eye may fall upon these lines suppose -for an instant that they are intended as reflections on his character. -The city that secured the prize is simply fulfilling its inevita<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span>ble -destiny. Had New York drawn the plum we should have witnessed a worse -extortion, with the added mortification of a much inferior exhibition. -Moreover, there is no public spirit in New York, and there is a great -deal of it in Chicago. This sentiment alone is more than enough to make -the difference between success and failure. The woods are full of -citizens willing to begin at sunrise and discourse to you until midnight -of the wonders of Chicago. In ordinary times this burning desire to -impart just that kind of information is not always appreciated by the -outside world; but in times of fairs the spirit that prompts it becomes -a mighty engine. It was soon demonstrated that these citizens could work -as well as talk, and as a result the White City has risen as from a -fairy’s wand.</p> - -<p>The important question for the individual citizen is whether it is worth -his while to go to this fair. And this, of course, depends altogether -upon his purse, his stomach, his back, his legs, nerves, wife, children, -and business. He may never have another such opportunity for mental -expansion and physical discomfort. It is a marvel of architectural -beauty. It is days of instruction, of art and science, of surprise and -exasperation, of mental development, fatigue, and financial ruin. In the -end his personal preferences, however, will probably have little to do -with it. All the world are going, and he must go too.<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p> - -<h2><a name="THE_ART_OF_THE_WHITE_CITY" id="THE_ART_OF_THE_WHITE_CITY"></a>THE ART OF THE WHITE CITY<br /><br /> -<small><i>By Will H. Low</i></small></h2> - -<p class="nind"><span class="letra">O</span>N the way west to the White City, to “the stately pleasure-dome -decreed,” where the arts of civilization by the unwritten law of -International Expositions hold their court, the observant traveller -finds abundant food for thought. Beyond Niagara, assuming his point of -departure to be New York, he sees in the landscape through which he is -whirled a continuous sweep of flat farming land, but little water; -fences everywhere, trees sparsely scattered, and plain box-like houses -telling only of shelter; abundant barns differing little from the -dwellings, and from time to time towns of varied nomenclature ranging -from Delhi to Kalamazoo. Through the horizontal blur caused by the speed -of the train through which all this is seen, there appear, principally -about the stations, figures which lend a languid interest to the dead -level of monotony.</p> - -<p>The human interest of the picture, however, tells the same story as the -landscape—a story of hard work, of material reward, an acquiescence in -the law<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> by which labor gains bread and shelter, and little else. -Occasionally, in the immediate vicinity of the stations, there is some -attempt at adornment, generally confined to “tidying up” the -surroundings; but around the farm-houses few or no flowers, little or no -attempt to beautify the home, nothing of the almost frantic suburban -effort of the East which has made the country kaleidoscopically varied -with color, for the most part bad, yet giving hope that the next -generation will do better, and pointing at least to a desire for beauty. -Individual effort, unseen along the route, may be slandered by the -preceding, but such for many monotonous miles seemed the foreground of -the picture we were journeying to see.</p> - -<p>At last a plain, varied by marshes, through which boarded walks running -at right angles, with an occasional house here and there, testified to -the various suburban excrescences of a great city; then a dome or two, -towers, flags fluttering in the sun, innumerable trains, clangor of -bells and shrieking of whistles; and with Chicago seven miles away, -hidden in a pall of smoke, the White City was at hand.</p> - -<p>There are certain mastering impressions in one’s life, certain scenes -which stamp the memory, and, like the priceless <i>kakemono</i> which the -reverent Japanese withdraws from hiding when in the mood to<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span></p> - -<div class="figcenter" style="width: 364px;"><a name="ill_22" id="ill_22"></a> -<a href="images/ill_pg_061_lg.jpg"> -<img src="images/ill_pg_061_sml.jpg" width="364" height="580" alt="[Image unavailable.]" /></a> -<div class="caption"><p>LIGHTING THE NATURAL GAS TORCHES ON THE ROOF OF THE -ADMINISTRATION BUILDING.</p></div> -</div> - -<p><span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> </p> - -<p><span class="pagenum"><a name="page_63" id="page_63">{63}</a></span> </p> - -<p class="nind">enjoy it, rise obedient to one’s thought in aftertime. Such a memory is -that of a first sunny morning in Paris: a ride from the Madeleine across -the Place de la Concorde, along the Tuileries Gardens and the Louvre, -across the Seine with the island and Notre Dame in the distance, and -then through older Paris to the gardens of the Luxembourg. Or again, a -certain early moonlit evening in Florence, with the Duomo looming at the -end of the street, Giotto’s Campanile standing sentinel at its side, the -narrow street to the Piazza della Signoria with its Palazzo Vecchio and -the Loggia dei Lanzi, thence by the side of the Uffizi to the Arno and -across the Ponte Vecchio up to the Pitti Palace. These memories, common -to so many, are often gained on ground made familiar through study of -guide-books and photographs which, instead of dulling realization, add -to it the zest of more thorough appreciation. In like manner, study, -discussion, photographs, and engravings prepare one for the Columbian -Exposition; but the first few hours of living in its architectural -dreamland gives reality to the shadowy preconception, and adds the -priceless gift of another masterpiece to memory’s picture-gallery.</p> - -<p>It is probably impracticable in any case, and when we think of the -transformation that this prairie has witnessed in two short years, quite -impossible, in the case of the Exposition, to keep the approaches<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> of a -great popular resort in any degree beautiful. Here we have on the land -side of the Fair the usual assemblage of cheap shows, lemonade venders, -and the like, which line the unsightly fence and make up what a friend -has dubbed the Sideway Unpleasant. The fence is hard to pardon in a land -where energy is predominant, desire to do the best not wanting, and -<i>staff</i> abundant. A high white wall enclosing the substantial fabric of -their dream would have done much to give the western approach something -of the festal magnificence which the architects have given to the -entrance by the Peristyle at the lake side.</p> - -<div class="figleft" style="width: 203px;"><a name="ill_23" id="ill_23"></a> -<a href="images/ill_pg_064_lg.jpg"> -<img src="images/ill_pg_064_sml.jpg" width="203" height="267" alt="[Image unavailable.]" /></a> -<div class="caption"><p>AT NIGHT ON THE MIDWAY PLAISANCE.</p></div> -</div> - -<p>But once within, to pick flaws criticism must take a higher flight than -one, frankly astonished at the goodness of it all, is disposed to permit -it to. Nothing is perfect in this mundane sphere, but this effort on -lines as yet untrodden by these States has such<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> measure of success that -one is proud to feel that this has been done in our own time, in one’s -own country, by men of one’s own race—the race that peoples our -seaboard, fills our manufacturing towns, tills our great farms, and -stretching westward extracts precious metals here and cultivates -orange-groves and vineyards there; the race which is daily urged, on the -“whaleback” steamer from the city to the Fair, to purchase its -chewing-gum before the boat starts, as none is sold after leaving the -pier; the race that is so cosmopolitan, so made up from strange and -opposing elements, and is withal so homogeneous, so American—and proud, -above all, to feel that this curious people have had, at the crucial -moment, the good sense to be inconsistent, to make haste slowly, to -defer to the few, to make their Exposition the most beautiful before -setting to work to make it, as things needs must be here, the biggest in -all creation.</p> - -<div class="figright" style="width: 229px;"> -<a href="images/ill_pg_065_lg.jpg"> -<img src="images/ill_pg_065_sml.jpg" width="229" height="188" alt="[Image unavailable.]" /></a> -<div class="caption"><p>INDIAN GIRL AND BULL, MODELLED BY FRENCH & POTTER.</p></div> -</div> - -<p>To be of this race and a follower of the arts; to have noted for years -the growth of public desire for<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span></p> - -<div class="figleft" style="width: 181px;"><a name="ill_24" id="ill_24"></a> -<a href="images/ill_pg_066_lg.jpg"> -<img src="images/ill_pg_066_sml.jpg" width="181" height="534" alt="[Image unavailable.]" /></a> -</div> - -<p class="nind">art and the frequent lapses to indifference on its part; to have seen -that our artists as they grow in strength and numbers claimed the right -to do something larger and finer and better than the private house, the -portrait statue, or the <i>genre</i> picture; and then to come here, where -for the first time they have found opportunity, and where the alliance -of architecture, sculpture, and painting has produced its first work, to -find that first work surprisingly good, is to feel proud not alone for -the valiant craftsmen who have produced this result, but for the country -at large which has stood behind them, and above all<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> for the solid men -of the city of Chicago who have planned the work so bravely and so -wisely. So many elements enter into an enterprise of this kind that to a -community like ours (unaided by a parental government which, as in -France, takes upon itself, as one of its functions, the provision of -public pageant and amusement, and keeps as it were all the material in -stock) the problem was more than difficult, and the solution, solved as -it has been, most surprising. Eighteen months ago in Paris, as I stood -with a French friend in the shadow of the Eiffel Tower, he said, -indicating the colossal construction, “I suppose that at Chicago you -will have a tower bigger than that, and that your exposition will be a -triumph of that sort of thing.” “I suppose that it may,” was the answer; -but the tower which is such a blot on Paris, diminishing in scale her -most beautiful monuments, is nowhere to be seen in Chicago, and though -the bones and sinews of the Liberal Arts building may be a “triumph of -that sort of thing,” its flesh of staff effectively covers and adorns it -without concealment of construction or strength, but with due -consideration paid to beauty.</p> - -<p>To house the exhibits, to provide for instruction, and to make a -pleasure-ground for the people (it could be urged from a utilitarian -point of view) might indeed have been done more simply, or, as the -phrase runs, in a more “business-like” way.<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span> One rugged old farmer I -overheard, as I stood leaning on the balustrade at the back of the -MacMonnies fountain, as he pulled his wife away from the contemplation -of the charming group of mermaids and sea-babies who disport themselves -in the wake of Columbia’s triumphal galley, “Come along, Maria, I never -see no use in them things; women with fishes’ tails.” Maria went along, -but I fancied that Maria’s daughter lingered a moment, and she may have -found the “use” of the artist in the social system. At any rate, the -Chicago business man who individually and collectively represents the -controlling power of this vast enterprise knew the use of beauty, and -with the sagacity born of commercial success called to his aid the men -most eminent in their professions, and then—left them alone.</p> - -<p>Arguing without absolute knowledge, is it not easy to imagine that many -times during the two years spent in constructing these superb -structures, the heart of the business man must have failed him in seeing -this child of his creation grow in beauty and strength to be sure, but -at a cost of so many millions? No record exists, it is safe to say, of -any questioning. The artists had been called in, they were doing their -work loyally; and no less loyally, through financial crisis, business -depression, and public indifference, the business man performed his part -of the contract. He had pledged himself to the<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span> whole country to do his -best, the pledge had been given and accepted in the hour when he bore -the coveted privilege to hold the Exposition away from competing cities, -and the Court of Honor shows how well the pledge has been kept. A detail -of organization, one of the many which would make the history of the -Exposition most interesting if written, was told the other day, and is -so characteristic of the spirit in which the Fair has been put through, -that it is worth incorporating here. At a time when the Exposition had -reached the limits of all possible insurance, when every sound insurance -company in the world was carrying all the risks it was able to take, the -Exposition concluded to do its own insurance, the details of which -procedure need not be gone into here. At this time there were a number -of pictures, about nine in all, which had been promised for the Loan -Collection of Foreign Masterpieces, and were not forthcoming because of -the inability of the Exposition to procure special insurance policies -which had been promised when, long before, the owners of the pictures -had consented to lend them. There seemed no way out of the difficulty, -when the simple question was asked of the head of the Art Department, if -it was essential to the completeness of the Loan Collection that these -pictures should be in it? To which was answered, that if not essential, -it was at least desir<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span>able; whereat this business man gave instructions -that the owners of the pictures be at once communicated with and -informed that he would personally guarantee them against loss if they -would allow the pictures to come. As this little show of public spirit -involved a personal liability of over two hundred thousand dollars, the -figures may be considered eloquent enough to find place in such a paper -as this.</p> - -<p>The wisdom of a large policy is to be found on every hand. The -Exposition has been called a dream, and as it is so soon to vanish may -well be one; but if the intent had been to deceive, it could hardly have -been made more deceptive. To one in the gondolas or the launches -speeding between these walls, they stand as though for all time; and for -one walking in the long arcades, detail and veracity of construction -force themselves on the attention most plausibly. It has been too often -described how the architects, adopting certain dimensions, have obtained -a conformity of effect; but that once obtained, they have shown the -greatest freedom, and though all of them are men of many works, they -have never perhaps been more happily inspired. The Administration -building is the appropriate crown to the buildings leading up to it, and -Mr. McKim’s Agricultural building is characterized by great charm of -proportion, and though heavily charged with sculptured decoration is in -nowise<span class="pagenum"><a name="page_71" id="page_71">{71}</a></span> overloaded. In addition to the very decorative sculptures due to -Mr. Martiny, there is on this building some of the most satisfactory -ornament in purely classical vein that I can remember on any modern -structure. In fact, though the treatment of this group of buildings is -thoroughly classic, it is pleasant to record the belief that in no other -country would the traditions have been so well observed and at the same -time so revivified as in ours. Our men owe their education to the Old -World, chiefly to France; but it seems as though a certain separation -from the influences of their schools had given them an independence -which their foreign schoolmates lack. It is probable that had Paris in -1889 adopted the programme followed here the result would have been as -correct, as thorough, as noble as this; but the result as a whole would -have been colder, and lacking in the individual character observable -here, where every man seems to continue the tradition rather than follow -it. Mr. Post had long accustomed us to his capacity to build big and -well; but never to build so big and so well as in the Liberal Arts -building. When sailing along the lake-front one appreciates the -immensity of the structure, which seems to equal that of all the other -buildings combined; but near at hand one feels its beauty more than its -bigness, and the simplicity by which this result is arrived at. The -portals, taking almost all<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> the decorative features, are admirable. Mr. -Atwood’s Fine Arts building is perhaps the best where all is so good, -owing almost nothing to its decorative features—which, as the building -is to be permanent, one may hope to see changed. The frieze of the -Parthenon should hardly be borrowed to grace so fine a modern building. -At night Mr. Atwood’s building is seen in all its beauty of proportion, -and the nights when it is illuminated best of all. The torches running -along the top of the building burn great flames of natural gas, and the -illumination is at once simple and effective. On the roof of the -Administration building something of the same effect is obtained in -conjunction with the electric light outlining the dome; but as the -torches on the Fine Arts building are seen against the sky, the effect -is finer.</p> - -<p>Night and electric light play a great part in the spectacular side of -the Fair. Solomon in all his glory never saw such a sight as the plain -people of this continent have had on illumination nights this summer. -Innumerable incandescent lights sparkle along the cornices and -pediments; the top of the wall inclosing the grand basin is outlined in -fire; search-lights from the top of the Liberal Arts building cut their -wide swaths of light in gigantic circles, resting for a moment here and -there to bring out now this detail or to throw into dazzling relief a<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span></p> - -<div class="figcenter" style="width: 381px;"><a name="ill_25" id="ill_25"></a> -<a href="images/ill_pg_073_lg.jpg"> -<img src="images/ill_pg_073_sml.jpg" width="381" height="539" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CENTRAL PORTION OF MACMONNIES FOUNTAIN—EFFECT OF -ELECTRIC-LIGHT.</p></div> -</div> - -<p><span class="pagenum"><a name="page_74" id="page_74">{74}</a></span> </p> - -<p><span class="pagenum"><a name="page_75" id="page_75">{75}</a></span> </p> - -<p class="nind">sculptured figure or beast. It lingers longest on MacMonnies’s fountain, -the fitting jewel resting lightly on the bosom of this Venetian beauty -whom but yesterday we called Chicago; and well it may, as in a degree -the fountain is the <i>clou</i> of the Exposition. It seems but fair to call -this fountain the most important of all the decorative sculptures. Every -exposition has its great fountain, and the choice of Mr. MacMonnies to -execute this one was most happy. Our sculptors as a rule have had too -little opportunity to exercise the decorative side of their art, and we -do not possess as does France a small army of sculptors who can be, as -they were in ’89, turned loose to decorate a great exposition with -groups and figures. It demands not only a decorative instinct but -practice as well, a certain habit of and delight in handling huge masses -of form which men who are capable perhaps of graver and more ponderated -work may lack or have lost. Thus fifteen years ago Saint-Gaudens, fresh -from school and filled with its traditions, would have in the course of -natural selection been the man for the work; but with years and widening -experience it is a question whether he would have undertaken to design -and carry out in the short space of time that which his brilliant pupil -has undertaken and carried through with all the audacity and fire of -youth, tempered by a delicacy of taste which gives it after all its -greatest value. Anything<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span> more typical of the youth and hope which we -fondly believe to be the characteristic of our nation is hard to -conceive; and if, as is to be so greatly desired, the monument is to be -made permanent (which the completeness of the modelling of individual -parts, an unusual quality in works like this, would render easy), it -might well stand to represent an era. Mr. French’s massive and dignified -figure of America may be taken as the matron of this generation, tried -and made strong through war; but MacMonnies’s epitome of youth -represents the future of our as yet experimental civilization, and -though the boat is propelled by the arts and sciences, it is the young -girl who fills such a large part in our experiment who is really to the -fore. It is Smith and Wellesley who row with the young girl enthroned; -and <i>vogue la galère</i>, with pleasant waters ahead and a safe port at -last!</p> - -<p>Of Mr. Saint-Gaudens we have only a figure of Columbus, which he has -signed in collaboration with another of his pupils, Miss Mary G. -Lawrence. It is a good exemplification of what has already been said -that at the first glance this figure seems almost out of place here. It -is of a character—the highest character—of work which depends on the -most serious study. Conception and pose are reduced to the simplest, -almost archaic form, and while it does not seem quite as successful, it -is of the same family as the Lincoln here in Chicago or the Deacon -Chapin<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span> in Springfield. The best of the sculpture here, while subject to -the limitations twice mentioned, has perhaps gained a quality more -essentially American by the absence of what may be called the ready-made -decorative quality. The quadriga on the Peristyle, by French & Potter, -the Indian girl and the bull, and indeed all the figures and animals at -which these artists have worked together, are thoroughly satisfactory as -decoration, and more native and appropriate to our soil than the lighter -touch and greater facility of the sculpture at the exhibition on the -Champ de Mars would have been.</p> - -<p>The painters of the band of allied artists had the more difficult task. -In the first place our country has arbitrarily forced our painters to -work on a miniature scale, and with little exception our men affronted -their task with theory and enthusiasm as their preparation. The -sculptors had at least the practice of modelling large works; but with -the exception of Mr. Maynard, who has taken Pompeian motives and given -us under the porches of the Agricultural building a thoroughly -architectural and adequate decoration in which his past experience has -rendered him service, the painters were virtually winning their first -spurs. Taking this into consideration their success is marked. Tried by -the standard that the space allotted to a decoration should be filled, -and filled by a composition which could not<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span> serve within any other -shaped space than that for which it is devised, Mr. Blashfield’s seems -the most successful. In addition to this quality it has great charm of -color and dignity of conception, which latter quality, combined with -clean, workmanlike drawing, is shared by Mr. Cox. Mr. Reid’s and Mr. -Weir’s domes also have charming qualities, while Mr. Shirlaw’s gives one -the impression of a complete mastery of his scheme and intention. At the -southern end of the Liberal Arts building, Mr. Melchers and Mr. McEwen -have large compositions, those of the latter being marked perhaps by the -greater individuality; but while they are all (each painter having two -compositions) executed in a very able manner, they seem somewhat lacking -in spontaneity. In another part of the grounds in the Women’s building -the feminine contingent makes a brave show. Mrs. MacMonnies here leads -the van with a composition sober in line and excellent in color. Miss -Cassatt, having apparently defied the laws of decoration, has divided -her space in three parts, in each of which she has painted pictures -which, from her previous work, must be judged to be of excellent -quality, but which, from the height at which they are seen and by reason -of the small scale of the figures, are virtually lost. But this partial -and cursory enumeration of what may be seen at the Fair could be -continued beyond the limits of an article like this, and still leave -unnamed<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span> and apparently unappreciated much that is admirable and more -that is hopeful. Of the delights of living in the midst of this, of -seeing our people in holiday trim and, albeit, taking their pleasure -somewhat sadly and getting as much instruction combined with it as -possible, still enjoying it, much could be said. No mention has been -made of the State buildings, which give, however, so much character to -the grounds. New York’s imperial palace, bright and luxurious, is -flanked on one side by Massachusetts’s staid and trim reproduction of -John Hancock’s mansion, with additions of a character which must temper -the smile of gentle reproof with which it regards its frivolous -neighbor; while on the other stands Pennsylvania’s broad piazzaed home -which shelters the Liberty bell. New Jersey reproduces a colonial -“Head-quarters” mansion, and Washington is big and new and booming; -California shows her fruits and extols her wines in a lowlying structure -which recalls the <i>adobe</i> missions of her first settlers; and each and -every State has here its home, first for its own people and then for the -neighbors. Strange neighbors we have too, for the Midway Plaisance is -not far away with its turbaned, sandalled, greased, and befeathered -inhabitants, with its German and Austrian bands, its great difference of -tongues and great similarity of <i>cuisine</i>. The outdoor life which is -made so much of in Europe here<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> seems unappreciated; the numberless -cafés and out-of-door restaurants which make up so much of the comfort -with which one sees an exposition there still “leave to be desired” -here. But these are details and of things earthy. The moral of the tale -is short and easily read.</p> - -<p>Our work-a-day nation awakened, it has been frequently said, to -knowledge of the existence of art as a factor in life at Philadelphia -seventeen years ago, and here and now attains as it were its majority. -We may leave out our exhibit in the Fine Arts building proper, with the -mere registration of the fact that by general consent it holds its own -as well or better than close students of our art have known that it has -done for several years past. The exhibition, or that part controlled by -the Columbian Commission, is our best sign of progress, nay, of -achievement. It has proved that throughout the land when occasion arises -to build, to carve, or to paint, we have the men to do it. Art hath her -victories no less than commerce; the qualities which have given us our -place among nations, now that the struggle is past, are turned in -gentler paths; and that which was prophecy so short a time ago is now -truth realized:</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“Following the sun, westward the march of power,<br /></span> -<span class="i1">The rose of might blooms in our new-world mart;<br /></span> -<span class="i1">But see just bursting forth from bud to flower<br /></span> -<span class="i1">A late, slow growth, the fairer rose of art.”<br /></span> -<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span></div></div> -</div> - -<h2><a name="FOREGROUND_AND_VISTA_AT_THE_FAIR" id="FOREGROUND_AND_VISTA_AT_THE_FAIR"></a> -FOREGROUND AND VISTA AT THE FAIR<br /><br /> -<small><i>By W. Hamilton Gibson</i></small></h2> - -<div class="figleft" style="width: 311px;"><a name="ill_26" id="ill_26"></a> -<a href="images/ill_pg_081_lg.jpg"> -<img src="images/ill_pg_081_sml.jpg" width="311" height="358" alt="[Image unavailable.]" /></a> -</div> - -<p class="nind"><span class="letra">B</span>Y the time this brief sketch shall have appeared in print the world’s -greatest international fair will have thrown open its gates to the -impatient multitudes, and millions will have looked with rapture upon -its impressive perspectives of palaces and enjoyed their treasures. Even -to the great general public, who are as yet awaiting with eager -anticipation the indispensable outing at the Fair, its surpassing -architectural features are already enticingly familiar. The “White City” -is already a heritage of delight and inspiration to a vast multitude who -have spent their available days beneath the spell of its enchantment.</p> - -<p>It is no small thing thus to have penetrated the veil, as it were, as is -here actually done for many<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span>—to have materialized a vision—to have -embodied a paradise. The “Heavenly City,” the “New Jerusalem,” with -gates of gold and pearl, which in one questionable shape or another -hovers in the hopeful, faithful fancy of so many of the sons of Adam -will here find a realization, supplanting or exalting the ideal which -has hitherto not always been to the glory of Heaven.</p> - -<p>But in thus paying tribute to the architect we are perhaps unconsciously -crediting him with more than his due; certainly more than he would -himself claim. Of what avail were beautiful palaces if they could not be -seen? and how easily might such an assemblage of heroic structures such -as these at Jackson Park, as in previous similar expositions, have been -so disposed, with relation to each other and their environment, as to -have completely lost not only their individual impressiveness but the -infinite advantage of their imposing <i>ensemble</i>.</p> - -<p>We traverse the winding lagoon for an hour in continual delight, every -passing moment, every quiet turn of our launch or gondola beneath -arching bridge or jutting revetement opening up in either direction new -and ravishing vistas of architectural beauty. Yet how little have we -considered that the very means of our enjoyment, the pure blue waterway -upon which our gondola so listlessly floats, is the crowning artifice by -which the work of the archi<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span>tect is glorified—a very triumph and -inspiration in the great scheme of landscape—say rather -waterscape—gardening, which has made this Columbian Fair a unique model -for all others of its kind. I think it is conceded by the architects of -the Fair that in no way are its buildings to be seen to such -satisfaction or full effect as from the lagoon. And it is well to -remember, if only as an instructive object-lesson, as we glide upon this -liquid street, how much of our present enjoyment is due to the -forethought of a supreme design, which, even before a single -foundation-wall was laid, had taken into account the most effective -grouping of the architectural features.</p> - -<p>More than this, too, how many of these fortunate architects must have -realized the rare satisfaction of having builded better than they knew, -when for the first time they viewed their works from the vantage point -afforded by their collaborator, the landscape artist, and saw these -superb creations given back to them in twofold beauty from the clear -mirror of the lagoon. The unique character and important innovation of -this lagoon feature may be inferred when we consider that we have here -an Exposition covering over five hundred and fifty acres, comfortably -filled to its limits with the ample buildings, and yet no vehicles are -to be allowed within its enclosure, and none will be required. The -circuitous elevated<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span></p> - -<div class="figleft" style="width: 367px;"><a name="ill_27" id="ill_27"></a> -<a href="images/ill_pg_084_lg.jpg"> -<img src="images/ill_pg_084_sml.jpg" width="367" height="460" alt="[Image unavailable.]" /></a> -<div class="caption"><p>THE BORDER OF THE LAGOON.</p></div> -</div> - -<p class="nind">railroad will of course transport the multitudes; while by the interior -skilful distribution of the water-ways, rippling with gayly caparisoned -gondolas by the score, and a hundred trim electric launches and other -equally picturesque craft, every portion of the grounds will be easily -accessible. The entire circuit on this water-course, from any given -point, will occupy nearly an hour. The luxurious tourist arriving at his -destination is invited at the water’s edge by ascending terraces of -marble steps, their balustrades on either side overtopped by picturesque -masses of tropic<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span> and other luxuriant vegetation. Huge bronze-like -agaves surmount the lofty marble urns; cannas, musas, caladiums, in most -effective and artistic groups, are dispersed among broad expanses of -velvety sward, begemmed with parterres of brilliant bloom.</p> - -<p>But it is not alone in these picturesque settings of lawn and garden -which everywhere abound throughout the grounds that we find our fullest -appreciation of the landscape art. In the spell of these imposing -structures, towering above the revetement walls on each side as we -traverse the lagoon, we had utterly ignored another feature of its -banks, or perhaps had our attention only momentarily inveigled thither -by the invitation of the bevy of snowy ducks or geese or graceful swans -hastening from our prow, and gliding beneath the overhanging boughs of -feathery gray willows. Here indeed is a haven for a tired soul, a fairy -realm whose modest charms are apt to be overlooked in the claims of the -overwhelming architectural surroundings. But sooner or later its restful -refuge will be discovered and welcomed. How many a foot-sore mortal, -weary from the very excess of enthusiasm, will seek this quiet -retirement, content for the moment to consign the architect to the -accessory place of vista and horizon, while he roams and pries and muses -among the labyrinthian paths, fragrant bowers, and<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span> shadowy glades, and -along the reedy flowery borders of this sylvan fairy island, which the -artistic genius of Olmsted and Codman has here, in two short years, -conjured up like magic from the muddy, dreary marsh.</p> - -<div class="figleft" style="width: 188px;"><a name="ill_28" id="ill_28"></a> -<a href="images/ill_pg_086_lg.jpg"> -<img src="images/ill_pg_086_sml.jpg" width="188" height="286" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A BIT OF THE CALIFORNIAN BUILDING.</p></div> -</div> - -<p>Connected to the mainland by a half-dozen spans of bridges, it is -readily accessible from any approach. It is a realm of strange -inconsistencies and surprises, harmonies and pleasant discords, unified -with the rarest skill. The familiar park or garden at one moment, its -curving walks encircling more or less—generally less—conventional -parterre, diversified with closely bedded mosaic of bright blossoms; and -now a path leading us between high walls of blossom-laden shrubbery, -skirting a rustic arbor, or winding beneath the shade of tall, dense -branches of trees, which, however at home they may appear, so -wonderfully has the skill of the landscapist concealed his artifice, are -still almost as much strangers to the soil as ourselves; the adjustment -and grouping giving the complete illusion of nature’s random planting.<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span></p> - -<div class="figcenter" style="width: 328px;"><a name="ill_29" id="ill_29"></a> -<a href="images/ill_pg_087_lg.jpg"> -<img src="images/ill_pg_087_sml.jpg" width="328" height="262" alt="[Image unavailable.]" /></a> -<div class="caption"><p>THE CALIFORNIAN BUILDING.</p></div> -</div> - -<p>Only a very few of the thousands of trees upon this “wooded -island”—medium-sized white-oaks—are native tenants of the place. Only -two years ago isolated in the more elevated dunes of a great morass, -they now find themselves in strange company; the soil from the bed of -the lagoon, having levelled the former slopes about their feet, is now -peopled with individuals as large as themselves. Many a rare nook upon -the island’s borders would defy the critical scrutiny of the botanist or -artist to detect a single tell-tale evidence of artifice. Would you step -from the conventional park to the wild garden in<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span></p> - -<div class="figcenter" style="width: 374px;"><a name="ill_30" id="ill_30"></a> -<a href="images/ill_pg_088_lg.jpg"> -<img src="images/ill_pg_088_sml.jpg" width="374" height="328" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A COVE IN WOODED ISLAND.</p></div> -</div> - -<p class="nind">ten paces? Follow me through this winding path, embowered with its snowy -banks of spiræa. Pry your way here beneath the branches. A few more -steps, and the ripples gleam through the branches before us, and we -emerge at the water’s edge beneath a tangle of willows, while a brood of -white ducks, disturbed at our approach, glide out upon the -mill-pond—for such indeed is the irresistible association from the -surroundings. This haphazard chaos of willows and alders disarms all -suspicion of artificial planting. We already anticipate the scene at the -brink, and as we press our way among the yielding oziers, find ourselves -listening<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> for the familiar “c-r-o-n-k” among the spatter-docks. In a -moment more we confront a tiny cove bordered with sedges and tall -bulrushes, and intermingled gray-green willows and alders, while the -water beneath is hidden by dense clumps of lush pickerel-weed, luxuriant -in their feathery spikes of azure bloom. A tiny sportive frog leaps from -the border mud, and a dragon-fly darts past on shimmering wing.</p> - -<p>It is only as we contemplate the vista across the water that we realize -the beautiful deception as yonder beetling dome, in its gilded splendor, -or sunlit palaces everywhere gleaming through the waters are brought to -our feet in ripples from gliding gondola, swan, or duck.</p> - -<p>Was ever border-tangle brushed by mill-pond raft or fishing-punt more -wild or spontaneous than this! Foreground and vista in endless -combination and surprise greet us as we follow our course about the -shore, with Flora’s own wild calendar from week to week. Here a secluded -harbor, bristling with arrowheads and white with its spires of bloom, -its sedgy banks aflame with cardinal flowers, whose scarlet reflections -mingle with the snowy glints from the sunlit façade or spangling flashes -from the crystal dome across the water. Here we invade the sheltered -retreat of a bittern or small heron, which<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> stalks away with ruffled -temper at our intrusion. Creeping between the neighboring bank of -alders, we emerge upon a sequestered nook shut off from the main lagoon -by a small, straggling islet, plumy with willows and sedges, the main -banks fringed with rushes and burr-marigolds and tall galingales that -wave their graceful heads above a wild garden of blossoming blue flag. -In and out among its willows beyond, the ever-present fleet of ducks -glides among the dancing ripples, or snow-white swans “float -double—swan and shadow,” as in the enchanted vision of “St. Mary’s -Isle.”</p> - -<p>As we leave this beguiling haunt the air is suddenly bewitched with -entrancing perfume, and our fancy lit with luminous visions of the -Orient from the great golden doorway which glows through the branches -from the opposite brink and floods the water with its liquid replica. -Attar of roses! One such inviting whiff is sufficient. Leaving the -water’s edge we return toward the interior of the island, and are soon -confronted by the wonderful rose-garden wherein are assembled all the -roses of the world, with their thousands of varieties. Roses single and -double, pink roses, white roses, roses yellow, crimson, orange, and -saffron, and, indeed, of every hue but blue, mingling their beauty and -their fragrance in an acre of bloom, and sprinkling the ground in -showers of petals with every breeze.<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p> - -<div class="figleft" style="width: 364px;"><a name="ill_31" id="ill_31"></a> -<a href="images/ill_pg_091_lg.jpg"> -<img src="images/ill_pg_091_sml.jpg" width="364" height="434" alt="[Image unavailable.]" /></a> -<div class="caption"><p>THE EDGE OF THE ROSE GARDEN, WOODED ISLAND.</p></div> -</div> - -<p>The now famous rose-garden lies in the southern end of the island, -approached through winding walks, garlanded with flowery shrubs of every -habit and hue, of graceful blossom-burdened spiræas, drooping as with a -weight of snow, or varied with rare foliaged plants which vie with the -flowers in the endless play of their brilliant colors. Through the -skilful foresight and planning of Mr. John Thorpe, the custodian of this -realm dedicated to Flora, the fair goddess has crowned him with a new -decoration of wreath or laurel for every week,<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> from the earliest yellow -glow of May to the brilliant maples and the final autumnal glory of the -chrysanthemum.</p> - -<div class="figleft" style="width: 238px;"><a name="ill_32" id="ill_32"></a> -<a href="images/ill_pg_092_lg.jpg"> -<img src="images/ill_pg_092_sml.jpg" width="238" height="282" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JAPANESE BUILDING ON WOODED ISLAND.</p></div> -</div> - -<p>Japonica! Japonica! How continually does the spirit of the flowery land -hover here! It is, indeed, scarcely a surprise that the actual, familiar -outlines of its quaint massive gables suddenly confronts us, looking -down above a mass of the Mikado’s own chrysanthemum, and we suddenly -find ourselves transported to Tokio or Yokohama, surrounded by a -veritable epitome of Japan, embracing all the actual features, floral, -ornamental, and utilitarian, with which, through the educational -influence of painted fan and screen and household gods of vase and -kakemono, we have become so pleasantly familiar.</p> - -<p>The long, low-roofed, wooden temple is surrounded from its foundation by -a characteristic terraced garden, embracing many examples of those<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span> -“precious goods done up in small parcels,” which have always been the -particular fad of the Japanese horticulturist—tiny giants of trees, so -to speak, arranged in miniature parks, which, for the moment, make the -beholder seem to be upon a mighty cliff or in flight with the soaring -falcon, else how could he thus gaze down upon the summit of such a huge, -lofty pine as this which he now sees beneath him! A fine example of one -of these arboreal paradoxes is to be seen in the Japanese exhibit in the -Horticultural Building—an aged dwarf of an <i>arbor vitæ</i> (<i>Thuja</i>) like -a gigantic cedar of Lebanon, which, while having all the inherent -characteristics of an actual age and dignity of over one hundred years, -is still, with the big vase which it occupies, barely the height of -one’s shoulders.</p> - -<div class="figcenter" style="width: 358px;"><a name="ill_33" id="ill_33"></a> -<a href="images/ill_pg_093_lg.jpg"> -<img src="images/ill_pg_093_sml.jpg" width="358" height="222" alt="[Image unavailable.]" /></a> -<div class="caption"><p>AN AGED JAPANESE DWARF, ONE HUNDRED YEARS OLD—A CORNER OF THE -HORTICULTURAL BUILDING.</p></div> -</div> - -<p><span class="pagenum"><a name="page_94" id="page_94">{94}</a></span></p> - -<p>In no structure within the grounds is the outward expression so -sympathetically reflective of its architectural purpose as in the -Fisheries Building. Itself reflected in the blue lagoon, in its -architectural functions and sculptural ornament, it in turn reflects the -lacustrine life of the waters, which not only almost lave its foundation -walls but actually pour into its interior in fountain and cascade and -gigantic aquaria. As we follow around these green translucent walls -within, our passage lit only from the diffused light transmitted from -above the water, we can almost fancy ourselves walking on the actual -river-bed, ogled by familiar forms of sun-fish, perch, or pickerel; or -perhaps wandering as in a dream among fair ocean caves abloom with -brilliant sea-anemones, and embowered with mimic groves of branching -corals and all manner of softly swaying sea-weed—graceful crimson -laminaria reaching to the surface of the water, responding in serpentine -grace to the soft invasion of waving fin. Rare living gems of fishes, -very butterflies of the deep, float past flashing in iridescence with -every subtile turn of their painted bodies. Star-fish, at first -apparently stationary, as though in mid-water, glide across the illusive -plane of glass, with their thousand fringy discs of feet. Strange crabs -and mollusks and bivalves sport on the pebbly bottoms, and portentous -monsters, with great gaping mouths, threaten<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span> us as they emerge from -their nebulous obscurity and steal to within a few inches of our faces.</p> - -<div class="figright" style="width: 170px;"> -<a href="images/ill_pg_095_lg.jpg"> -<img src="images/ill_pg_095_sml.jpg" width="170" height="184" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PORTAL OF THE FISHERIES BUILDING.</p></div> -</div> - -<p>All of its interior ichthyological features might have been anticipated -even at the threshold of the building, with its rich and effective -portals, where so many of these very forms are seen petrified in surface -ornament. The building is in the form of a rectangular central structure -with two octagonal annexes, each with its own beautiful portal, and -connected to the main edifice by curved colonnades, with arch and -balustrade—portal and pillar, capital, entablature and arch and -panel—everywhere sculptured with ornaments whose themes are drawn from -the subaqueous life to which the building is dedicated. The very balcony -upon which we lean is supported by columns composed of four ingeniously -and gracefully interlocked dolphins, while the pillars on right and left -and throughout the entire exterior suggest curious geometric fossils -from the deeps. Here a spiral procession of huge toads, whose uncouth -shapes thus embodied in conventional ornament are singularly agreeable -and effective. Each successive pillar is a study alike for the -naturalist or<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span> designer—here a sinuous procession of river-horses -(hippocampus), the incurved tail forming a volute repeated with pleasant -effect in the spiral bands of ornament. Accommodating star-fishes -embrace their respective pillars, touching points in geometric design. -Here are eels and fishes meandering among bulrushes and arrowheads. -Lizards, crabs, and turtles, each combine in effective ornament about -their particular columns, which are surmounted by capitals of even -greater ingenuity and effectiveness of design, perhaps because less -geometric. Gaping frogs leaping among water-weeds; lobsters captive and -sprawling in their wicker “pots;” fishes entangled in the meshes of -nets, or engaged in mortal combat, their gaping mouths finely utilized -in effective points of shadow—the modelling of each and all suggests -the perfection of a cast from nature. To those who look for a happy -blending of architectural purpose and harmonious ornament, this building -will be a welcome innovation. To the naturalist or the idler in quest of -the mere picturesque, the Fisheries Building with its wandering façade -and colonnade, its roof of ruddy tiles and almost Moresque richness of -surface ornament in high relief, will be found well worth careful study.</p> - -<p>How many are the obvious natural themes yet awaiting their sculptured -memorial in the temple of architecture. Must the classical and testy -acanthus<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span></p> - -<div class="figcenter" style="width: 372px;"><a name="ill_34" id="ill_34"></a> -<a href="images/ill_pg_097_lg.jpg"> -<img src="images/ill_pg_097_sml.jpg" width="372" height="440" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ELKHORN FERN, A SUGGESTION FOR AN ARCHITECT—IN THE AUSTRALIAN -EXHIBIT, HORTICULTURAL HALL.</p></div> -</div> - -<p class="nind">forever guard that exalted basket unchallenged, and the antique, indeed -almost palæontologic lotus forever keep us oblivious to the abounding -wealth of natural suggestion of even surpassing opportunity? What a rare -suggestion for a national architectural theme, for instance, has nature -thus far wasted on the wilderness in that elk-horn fern of Australia, -which forms one of the most con<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span>spicuous features of the arboreal -exhibit of that land of tropic contradictions and zoölogical anomalies. -Where can there be found another such ready-made and graceful model for -a massive capital?</p> - -<p>Had this remarkable plant chanced to have been a native of ancient Egypt -or Rome or Greece, it is difficult to conceive of its having escaped -being immortalized in stone. Will the future national architecture of -Australia ever embody its opportunities? Here is a veritable capital of -clustered fern-forms, springing in graceful relief from a solid -sculptured base. In some of the examples shown it simply surrounds the -trunk upon which it is a parasite, and in others, the architectural -suggestion is heightened by the cluster appearing at the summit of its -pillar, the dead continuation of the trunk above having fallen.</p> - -<p> </p> - -<p>Superlative anticipation of our hopes is often disastrous to their full -realization. But no such danger awaits the visitor to the Columbian -Fair. The most extreme glorification of this superb achievement at -Chicago still leaves us the superlative of actual experience.</p> - -<p>Dull indeed must be the intelligence which fails to respond to the -vision of beauty which the genius of architecture has here created. -Whatever oblivion may await the other features of the Exposition, the -fame of the architect is secure. Even though in their<span class="pagenum"><a name="page_99" id="page_99">{99}</a></span> substance his -creations here are but as the flowers of a day, to be cut down ere the -coming of winter, their very evanescence constitutes their most abiding -charm.</p> - -<p>Though we may spend weeks in the enjoyment of the unexampled treasures -within these walls, confusion will at length claim most of our minor -reminiscences, and the winnowing process of the years will at last leave -few tokens. But the glamour of this celestial city, this throng of -ethereal palaces hovering between sky and sky, buoyant as with uplifting -archangel wings from dome and pinnacle and acroteria—these will abide -to the end of our days.<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span></p> - -<h2><a name="THE_PICTURESQUE_SIDE" id="THE_PICTURESQUE_SIDE"></a> -<a href="images/ill_pg_100_lg.jpg"> -<img src="images/ill_pg_100_sml.jpg" width="352" height="212" alt="[Image unavailable.]" /></a> -<br /> -THE PICTURESQUE SIDE<br /><br /> -<small><i>By F. Hopkinson Smith</i></small></h2> - -<h3>I.</h3> - -<p class="nind"><span class="letra">A</span> BLAZING sun and a clear limpid sky, a long lagoon, gray-green and -silver, a noble flight of steps serving as water-landing for half a -dozen gay-colored gondolas, a grand balustrade protecting a broad -platform leading to the porch and entrance of the most exquisitely -beautiful building of modern times—the Art Palace of the Great -Exposition!</p> - -<p>From the corner of this balustrade a red rag of <span class="pagenum"><a name="page_101" id="page_101">{101}</a></span>an awning, torn from an -old tarpaulin, is stretched to an oar, its black shadow spilling down -the white steps. Under this awning, flat on his back, sound asleep, lies -a gondolier, fresh from Venice. Despite his nondescript costume of -brigand’s leggings and cavalier’s cap I cannot mistake that broad chest -and sunny face, the crisp black hair, and the fine lines of the throat -and thigh.</p> - -<p>“Espero!” I call out in glad surprise.</p> - -<p>“<i>Commandi Signore</i>,” comes the quick reply, as he springs to his feet.</p> - -<p>Other gondoliers join us: Marco, who at home plys a boat at the -<i>Traghetto</i>, just above the <i>Salute</i>; and Luigi, who for five years past -has won at the Annual Regatta on the Grand Canal—a superb fellow is -Luigi, as handsome as a Venetian, and every inch a gondolier; and -Francesco, his brother, first gondolier to the Countess, whose palace -fronts the <i>Accademia</i>. For the instant I am in Venice again, while they -all talk to me at once, telling me of their friends and mine whom we -have known there—subjects far more absorbing than all the surprises of -this new world. Five minutes later we are swinging up the Lagoon, Marco -bending his oar aft, Espero on the cushions beside me.</p> - -<p>There is to me a seeming fitness in entering the Court of Honor -reclining in a gondola and rowed by a gondolier. No other craft that -floats could so perfectly harmonize with these surroundings; none so<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span> -dainty, so graceful, so dignified. There are no other oarsmen who could -move with such ease and finish. These stately water-birds of Venice and -their masters add, too, an element of the picturesque. They are to the -lagoons what the flowers are to the esplanades, or the swans to the -smaller inlets. The launches, noiseless as they are, seem out of place -here and jar upon your senses; they are too new, too suggestive of -progress and revenue and time-saving. But the gondola revives the -traditions and customs of those earlier centuries, when this great White -City of the Lake was still in its glory. Moreover, it is the only sort -of princely craft which these noble families, whom you feel sure have -lived for centuries in these great palaces, could use in their -magnificent goings and comings.</p> - -<div class="figleft" style="width: 218px;"><a name="ill_35" id="ill_35"></a> -<a href="images/ill_pg_102_lg.jpg"> -<img src="images/ill_pg_102_sml.jpg" width="218" height="142" alt="[Image unavailable.]" /></a> -<div class="caption"><p>THE PERISTYLE.</p></div> -</div> - -<p>For whenever I stand on the bridge of the Peristyle and look across the -Court of Honor, surrendering myself to the magic spell of its beauty, I -cannot help yielding to the conviction that this noble quadrangle is -surrounded by palaces of marble<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span></p> - -<div class="figcenter" style="width: 376px;"><a name="ill_36" id="ill_36"></a> -<a href="images/ill_pg_103_lg.jpg"> -<img src="images/ill_pg_103_sml.jpg" width="376" height="581" alt="[Image unavailable.]" /></a> -<div class="caption"><p>DISTANT VIEW OF DOME OF THE HORTICULTURAL BUILDING.</p></div> -</div> - -<p><span class="pagenum"><a name="page_104" id="page_104">{104}</a></span> </p> - -<p><span class="pagenum"><a name="page_105" id="page_105">{105}</a></span> </p> - -<p class="nind">which have taken centuries to perfect; that the grounds and walks, -stretches of grass, masses of flowering plants, and bold colossal -statues have all been added from time to time, as in other palace -gardens of old, when opportunity or royal whim dictated; that this great -city was built ages ago, long before the time of the Greeks, who -modelled their own temples along their classic lines; and that not only -were its builders the ablest and most learned men of all ages, but that -their descendants, those who live beneath these roofs, are the wisest, -the most cultured, and the most artistic men and women of their time.</p> - -<p>To me, moreover, the City is never evanescent nor unreal; never like a -house built upon the sands. It is, when I look at it in amazed delight, -not only entirely genuine, but firm and solid as the marble which it -resembles. It is too vast, and the elements of atmosphere, perspective -and proportion, enter too largely into its <i>ensemble</i> to make it appear -other than genuine. When, for instance, you stand in Athens, near the -Parthenon, and your eye falls on a broken column at your feet, you <i>see</i> -that it is marble, and you <i>know</i> that it is heavy. But without this -sample stone in the foreground, and your knowledge of the character and -quality of the material, the whole temple is to you, from where you -look, only a film of light, now ivory, now alabaster, now lost in<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span> -purple shadows. Here, about the White City, there is no broken column as -an eye test, there are only superb façades, reaching skyward, and great -stretches of columns and arches, relieved by gilded domes and sculptured -frieze. They are never close to you—no comprehensive view is possible -nearer than two hundred feet, and who can tell “staff” from marble at -that distance—but far away, across the shimmer of the Lagoon, or over -the massing of foliage or clustered roofs.</p> - -<div class="figleft" style="width: 233px;"><a name="ill_37" id="ill_37"></a> -<a href="images/ill_pg_106_lg.jpg"> -<img src="images/ill_pg_106_sml.jpg" width="233" height="161" alt="[Image unavailable.]" /></a> -<div class="caption"><p>DOME OF HORTICULTURAL BUILDING AT NIGHT.</p></div> -</div> - -<p>There is, in addition to all this element of reality, a reality which -every one must feel for himself, still another charm—an undefinable -quality that constantly surprises and delights you. To this is united a -majestic picturesqueness investing these superb palaces and royal -gardens with a distinction never attained by any of their predecessors. -This does not seem to be due so much to colossal proportions nor to the -never-ending series of buildings piled one behind the other, as to the -skill shown by architects<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span></p> - -<div class="figcenter" style="width: 372px;"><a name="ill_38" id="ill_38"></a> -<a href="images/ill_pg_107_lg.jpg"> -<img src="images/ill_pg_107_sml.jpg" width="372" height="604" alt="[Image unavailable.]" /></a> -<div class="caption"><p>IN OLD VIENNA.</p></div> -</div> - -<p><span class="pagenum"><a name="page_108" id="page_108">{108}</a></span> </p> - -<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span> </p> - -<p class="nind">and landscape gardeners in the general plan. Especially is this charm -felt in the absence of rectangular lines of construction; in the winding -in and out of the lagoons; in the neglected fringing of untrimmed -foliage skirting the water’s edge; in the half submerged bits of islands -where the ducks plume their feathers; in the informal formality of great -massing of plants; in the dotting of broad stretches of gray-green water -with gay-colored gondolas; and in the colossal proportions of superb -decorative statues, so that a glimpse of Venice can be caught between -the forelegs of a huge sculptured bull, and the columns of a classic -temple be outlined over the back of some water-sprayed mermaid.</p> - -<p>It is easy while under the spell of this Ancient City to persuade myself -that in this their festival year, these nobles who dwell here are -holding high carnival, with much feasting and merry-making, and -illuminations at night. That they have bidden all the nations of the -earth to join them in these gracious festivities lasting many months; -and that as an especial honor, and for the delight and entertainment of -these distinguished guests, they have decreed that a great fair shall be -held where may be seen many strange people from the uttermost parts of -the earth, who, with barbaric dancing and weird music may depict the -manners and customs of their climes. That this Fair of the Festival Year -shall be<span class="pagenum"><a name="page_110" id="page_110">{110}</a></span> placed, not within the lines of the Palaces but outside the -walls of the Great City, at the end of a broad highway, rolled out like -a huge carpet of many colors.</p> - -<p> </p> - -<p>Rousing myself from these reveries, I bid Espero good-by, join the -throng, follow through the gates and so out upon this broad highway, the -Plaisance. My dreams are all true. Along the crowded thoroughfare move -half the wild tribes of the earth—Javanese, Esquimaux, natives of the -Soudan, Bedouins from beyond the Great Desert, Algerians, Arabs, Greeks, -Armenians, Syrians, and Turks. Fringing each edge of this gay promenade -I find the huts of the Javanese and Soudanese, the tents of the Bedouins -and Arabs, and the more pretentious booths and structures of the -Algerians and kindred people. Here, too, are the quaint gateways and -open squares of old German and Austrian towns; the low-roofed, deftly -constructed houses of the Japanese; the intricate carvings of India -covering the booths, and, draping the doors of the Eastern bazaars the -rich stuffs, rugs, and tapestries of the Orient.</p> - -<p>Near the entrance to the Turkish village, tucked away on one side of the -highway, just out of the rush of the never-ceasing throng, and yet close -enough to be within call, rises the dome of a small<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span> Mosque. Above this -a single, snow-white minaret shoots up into the blue.</p> - -<div class="figcenter" style="width: 250px;"><a name="ill_39" id="ill_39"></a> -<a href="images/ill_pg_111_lg.jpg"> -<img src="images/ill_pg_111_sml.jpg" width="250" height="374" alt="[Image unavailable.]" /></a> -<div class="caption"><p>MOSQUE OF THE SULTAN SELIM.</p></div> -</div> - -<p>When the sun is gone there leans from a tiny balcony high up on this -needle of a minaret, a white-robed priest. Suddenly above the whirl and -hurry<span class="pagenum"><a name="page_112" id="page_112">{112}</a></span> there filters down through the soft twilight air the Muezzin’s -call for prayer:</p> - -<p>“La Ilah Ell-Allah Muhammed Rassoul Ell-Allah.”</p> - -<p>To me there is nothing so simple, nothing so impressive, nothing so -devout, as a Muhammedan standing in the presence of his God. There is a -childlike faith, a manly trust, a sincere belief evinced and experienced -by these believers, that never seems to predominate in any other form of -religion.</p> - -<p>How often, in a great cathedral, do you come upon a figure silently -leaving the confessional, and catching a full view of the face, detect a -lingering trace of sorrow, or anxiety, or doubt. But watch the faces of -these Muhammedans, these poor sedan-chair carriers, and of that -broad-shouldered Arab, who has been moving great boxes of unpacked goods -on his back all day. How tired they all look as they enter the Mosque, -bowing low with reverent awe, and prostrating themselves wearily to the -pavement. It is as if each penitent had brought his very burden within -these sacred precincts, supplicating for relief.</p> - -<p>Now look, when the silent service is over, and study these same faces -as, with a light-hearted spring, each man rises from his knees and with -serene expression, and calm, restful eyes takes up once more the burden -of his life.<span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p> - -<p>This exquisite and picturesque little Mosque—it is the prototype of the -purest bit of Eastern architecture in Stamboul—these thoroughly genuine -people, this sacred service—not as a necessary part of the Oriental -exhibit, but as an essential, indispensable part of the life of the -natives themselves—this combination of the genuine and the picturesque -is to me the true keynote of the Great Exposition.</p> - -<h3>II.</h3> - -<p>My old and valued friend, Far-away Moses:—What a superb old Shylock he -is; not in the sense of “three thousand ducats and for three months,” -but in the unique quality of the character itself! Neither Irving nor -Booth ever conceived so fine and fitting a costume as this old man wears -every day in and out of his bazaar, and along the streets of his -transplanted village; a costume of soft material, with an under-vest -delicately embroidered, the over-jacket a coat of brown camel’s-hair -with dark red voluminous waist-sash and the wide Eastern skirts covering -his still sturdy legs.</p> - -<p>My old and valued friend, Far-away Moses, I say, invited me to dinner. I -have enjoyed this especial privilege very often in his own bazaar in -Stamboul, and the aroma of the Mocha and the soothing qualities of his -Narghilehs have haunted<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span> me ever since. Now, thanks to his courtesy, I -can enjoy them every day. There is nothing missing in the surroundings -of his own bazaar here on the</p> - -<div class="figcenter" style="width: 235px;"><a name="ill_40" id="ill_40"></a> -<a href="images/ill_pg_114_lg.jpg"> -<img src="images/ill_pg_114_sml.jpg" width="235" height="310" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“FAR-AWAY MOSES.”</p></div> -</div> - -<p>Plaisance. The walls are hung with the wealth of the East. Divans are -scattered about. On a low table, octagon-shaped and inlaid with -mother-of-pearl and ivory, lie yataghans and Turkish arms, embossed with -silver and enriched with quaint design. The light struggles in through -the small<span class="pagenum"><a name="page_115" id="page_115">{115}</a></span> windows and half defines the odd interior, quite as it does -in his shop along the Bosphorus. I throw myself upon a pile of Eastern -rugs and begin adjusting the pillows in true Oriental fashion.</p> - -<p>The old man claps his hands, and instantly, as if rising through the rug -itself, an attendant appears, receives an order in Turkish, and -vanishes. Not a gentleman, if you please, in a soiled necktie, frayed -shirt-front, and hired-by-the-month swallow-tail coat, but a swarthy -Turk in gold-embroidered vest and the rest of it, who reappears in a -flash with one of those exquisite squatty little tables that might serve -in a baby house. Then more clapping of hands, and more Turks, one a -gorgeous fellow in a solid gold jacket (the light is dim), under-vest of -purple and silver, sash brilliant scarlet, and so on, down to his -magnificent slippers of red morocco, very much turned up at the toes. -And then an inlaid tray with two dainty little cups, mere thimbles, into -which is poured from a long-handled brass pot, sizzling hot over a -charcoal fire, two mouthfuls of fragrant Mocha. Then the Narghilehs, -with their long flexible tubes, amber mouth-pieces, and the bits of -burning coal, keeping alight the little heap of Turkish tobacco on the -top of the slender caraffe-shaped glass.</p> - -<p>We talk of the old days in Stamboul and of the morning we spent at the -Bath, where I was par<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span>boiled and rubbed full of holes by two -insufficiently clad Greeks; and then of the festival night at Saint -Sophia when, as a member of his household, I entered the Sacred Mosque -barefooted and befezzed. Later on a lighted lantern is brought in, and -we follow another gorgeous slave into the mysteries of my host’s private -apartments where a repast of kebabs and boiled rice is served.</p> - -<div class="figleft" style="width: 232px;"><a name="ill_41" id="ill_41"></a> -<a href="images/ill_pg_116_lg.jpg"> -<img src="images/ill_pg_116_sml.jpg" width="232" height="192" alt="[Image unavailable.]" /></a> -<div class="caption"><p>DOORWAY OF THE TRANSPORTATION BUILDING.</p></div> -</div> - -<p>After dinner other lights are fixed against the walls of an outer court, -and a dozen or more of his retinue—Far-away and his <i>confrère</i>, Roberto -Levy, count five hundred and fifty followers—with weird song and -gesture, throw themselves with perfect abandon into one of their wild -native dances.</p> - -<p>This small army of the Faithful eat, sleep, and dress precisely as they -do at home. The Bedouin women huddle in the dust outside their tents, -baking their wafer-like bread over rounded pans covering heaps of live -coals; the men smoke and lounge on the mats; the dancing-girls from -Damascus and<span class="pagenum"><a name="page_117" id="page_117">{117}</a></span> Syria, in the intervals of their stage work, shut -themselves up in their curtain-closed rooms, attended only by their -women.</p> - -<p>They allow no difference in their surroundings or atmosphere; there is -no hurry nor rush nor noise; only the indolent, lazy life of the East. -Had the genie of the lamp been summoned from space to work these -marvellous effects it could not have been better done.</p> - -<p>But the picturesque does not end with the Turkish village, its mosques, -bazaars, café, theatre, and attendants. Enter the gates leading to the -little toy houses of the Javanese, and stop for a moment at one of the -doors. Half a dozen of the dancing-girls are cuddled together in the -middle of the floor. There is no light except through the open door. -Some are smoking cigarettes. One is painting the eyebrows of a comrade, -who in turn is combing the other’s hair. Two are stretched out on either -side of the entrance lolling lazily. They smile courteously, and when -one rises and trips away to the next miniature house, she drops you a -slight deferential courtesy as she passes—not to attract your -attention, but as challenging permission—to cross in front of you.</p> - -<p>If you, an admirer of Western civilization, offer some one of its -subjects a piece of silver, you receive either the customary gruff -thanks or the incredulous<span class="pagenum"><a name="page_118" id="page_118">{118}</a></span> stare. If you have doubts about the courtesy, -the refinement, and the charm of the semi-barbarous East, try the same -experiment on one of these little Javanese maidens, fully of age and yet -hardly as tall as the curly haired daughter that you hold in your arms. -When you tender her the coin she walks to where you stand without the -slightest trace of either forwardness or timidity, drops on one -knee—clasping the money in her right hand—crosses both arms over her -bosom, places the piece on her head, and then bowing low, her face -toward you, retraces her steps into the bungalow. With each gesture she -intends some graceful service—she is your slave—her heart is always -true, her head in subjection. It is only her way of saying thank -you—this poor little half-clad, half-civilized, Javanese maid; but it -is so gracefully, so charmingly done, it is so naïve and sincere, that -if you leave the door of her hut with a cent in your pocket you should -be sentenced to spend a month in her village to learn better manners.</p> - -<p>As you are still in search of the picturesque, follow that barefooted -Arab with fez and long yellow gown, who has just saluted with such -respect and humility Roberto Levy (chief commissioner of all these -Muhammedan people), touching his heart and lips and forehead after the -manner of his race. He has some complaint to make or grievance to right. -You note that the man enters a gate farther down<span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p> - -<div class="figcenter" style="width: 369px;"><a name="ill_42" id="ill_42"></a> -<a href="images/ill_pg_119_lg.jpg"> -<img src="images/ill_pg_119_sml.jpg" width="369" height="591" alt="[Image unavailable.]" /></a> -<div class="caption"><p>IN CAIRO STREET.</p></div> -</div> - -<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span> </p> - -<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span> </p> - -<p class="nind">on the Plaisance, above which you catch the minaret of another mosque, -overlooking “A Street in Cairo.” Later on you discover that this -barefooted Arab drives a camel along this tortuous thoroughfare.</p> - -<p>Here again the quality of the picturesque is inseparably joined to the -quality of the genuine. The street itself is a fair reproduction of the -original, with its overhanging latticed windows, iron gratings and -decorations; but the motley crowd that throngs through its crookedness -is the native element itself. Camels with the dust of the desert ground -into their scarred hides, every knot in the harness a guarantee of long -service; donkeys and donkey boys; women closely veiled or wearing the -<i>burgi</i>—a wooden spool bound over the nose, with a heavy fringe of -black thread falling below the chin; rows of idlers in dirty garments -sprawled along the edges of the houses hugging the shade; Nubians, black -as ink, in white burnoose and long gowns; pedlers, street venders in odd -Eastern costumes, and scattered throughout the curious throng the man -from Maine and the gentleman from Texas.</p> - -<p>Everywhere you find the same element of the picturesque, everywhere is -evident the same quality of the genuine. To accomplish these results -space and time seem to have been annihilated.</p> - -<p>“It is I who went up into the Soudan country<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span> and brought out this -family, come in and see,” says a dark, black-bearded man, who might have -the blood of all the races of the East in his veins.</p> - -<p>I thrust my head and shoulder through a narrow slit in the hut, shaped -like an inverted teacup, and am confronted by a girl wearing a single -garment of coarse cotton cloth, such as would cover a sack of salt. -Behind her, squatting on the earth-floor, sit her husband and father, -beating rude drums covered with skins. The girl instantly advances, -lifts up her face and gazing into mine with half-closed eyes, gives -herself up with slow movement of her feet to that peculiar spell which -seems to possess all Eastern women when under the influence of the -dance. The inmates are all uncleanly, unkempt, and, but for the earnest -face and fawn-like eyes of the Soudanese girl-wife, forbidding and -repulsive. Of one thing, however, you are sure: had you wandered into -the heart of their country and entered any one of their huts, you would -have found the exact counterpart of what is before you now.</p> - -<p>So with the Algerians and Nubians, the Chinese and natives of Ceylon, -Dahomey and the South Sea Islands, the Esquimaux even down to the -glass-blowers from Murano: they are not a part of a show—they are the -people themselves. How long this unconscious individuality will continue -and what degrading effects our civilization will produce on<span class="pagenum"><a name="page_123" id="page_123">{123}</a></span> these -strangers is a question which cannot be settled until the Fair is over.</p> - -<p>It is safe to say that never in the lives of the present generation will -these things be repeated. Before the summer comes again the beautiful -city will fade away like the frost-work of an early morning. This broad -highway, teeming with life and color, will be but a neglected waste, -while the lovely lagoons will once more yield themselves up to the -ever-encroaching lake. Every square foot of the wide inclosure should be -sacred to every American, as marking for them and for the intelligent -world a point in civilization never before reached by any people; as -marking the dawn of a new era in the progress of the Republic; a new -light in architecture, in mural decoration and sculpture; in the weaving -of exquisite stuffs, in the glazing of porcelains, the making of glass -and perfecting of all the lesser arts that serve to beautify our homes -and gladden our lives; and in the proving, by comparison with the best -work of the other nations of earth, the high standard reached by our own -artists, and the fixing forever of that position in the art of the -world.<span class="pagenum"><a name="page_124" id="page_124">{124}</a></span></p> - -<div class="figcenter" style="width: 210px;"><a name="ill_43" id="ill_43"></a> -<a href="images/ill_pg_124_lg.jpg"> -<img src="images/ill_pg_124_sml.jpg" width="210" height="139" alt="[Image unavailable.]" /></a> -</div> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Some Artists at the Fair, by -Frank D. Millet, J. A. Mitchell, Will H. Low, W. Hamilton Gibson and F. Hopkinson Smith - -*** END OF THIS PROJECT GUTENBERG EBOOK SOME ARTISTS AT THE FAIR *** - -***** This file should be named 61989-h.htm or 61989-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/1/9/8/61989/ - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - -</pre> - -</body> -</html> diff --git a/old/61989-h/images/cover.jpg b/old/61989-h/images/cover.jpg Binary files differdeleted file mode 100644 index b2b539c..0000000 --- a/old/61989-h/images/cover.jpg +++ /dev/null diff --git a/old/61989-h/images/frontispiece_lg.jpg b/old/61989-h/images/frontispiece_lg.jpg Binary files differdeleted file mode 100644 index c2caa41..0000000 --- a/old/61989-h/images/frontispiece_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/frontispiece_sml.jpg b/old/61989-h/images/frontispiece_sml.jpg Binary files differdeleted file mode 100644 index fa0d199..0000000 --- a/old/61989-h/images/frontispiece_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_001_lg.jpg b/old/61989-h/images/ill_pg_001_lg.jpg Binary files differdeleted file mode 100644 index 57e58a2..0000000 --- a/old/61989-h/images/ill_pg_001_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_001_sml.jpg b/old/61989-h/images/ill_pg_001_sml.jpg Binary files differdeleted file mode 100644 index ce8f83f..0000000 --- a/old/61989-h/images/ill_pg_001_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_004_lg.jpg b/old/61989-h/images/ill_pg_004_lg.jpg Binary files differdeleted file mode 100644 index 5696b5d..0000000 --- a/old/61989-h/images/ill_pg_004_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_004_sml.jpg b/old/61989-h/images/ill_pg_004_sml.jpg Binary files differdeleted file mode 100644 index 53a3533..0000000 --- a/old/61989-h/images/ill_pg_004_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_007_lg.jpg b/old/61989-h/images/ill_pg_007_lg.jpg Binary files differdeleted file mode 100644 index c562441..0000000 --- a/old/61989-h/images/ill_pg_007_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_007_lg200000.jpg b/old/61989-h/images/ill_pg_007_lg200000.jpg Binary files differdeleted file mode 100644 index c562441..0000000 --- a/old/61989-h/images/ill_pg_007_lg200000.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_007_sml.jpg b/old/61989-h/images/ill_pg_007_sml.jpg Binary files differdeleted file mode 100644 index 0bbaf85..0000000 --- a/old/61989-h/images/ill_pg_007_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_011_lg.jpg b/old/61989-h/images/ill_pg_011_lg.jpg Binary files differdeleted file mode 100644 index 681dda5..0000000 --- a/old/61989-h/images/ill_pg_011_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_011_sml.jpg b/old/61989-h/images/ill_pg_011_sml.jpg Binary files differdeleted file mode 100644 index 8f66df7..0000000 --- a/old/61989-h/images/ill_pg_011_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_014_lg.jpg b/old/61989-h/images/ill_pg_014_lg.jpg Binary files differdeleted file mode 100644 index f0fcf01..0000000 --- a/old/61989-h/images/ill_pg_014_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_014_sml.jpg b/old/61989-h/images/ill_pg_014_sml.jpg Binary files differdeleted file mode 100644 index 4066de9..0000000 --- a/old/61989-h/images/ill_pg_014_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_015_lg.jpg b/old/61989-h/images/ill_pg_015_lg.jpg Binary files differdeleted file mode 100644 index 40e09bc..0000000 --- a/old/61989-h/images/ill_pg_015_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_015_sml.jpg b/old/61989-h/images/ill_pg_015_sml.jpg Binary files differdeleted file mode 100644 index 9b25843..0000000 --- a/old/61989-h/images/ill_pg_015_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_018_lg.jpg b/old/61989-h/images/ill_pg_018_lg.jpg Binary files differdeleted file mode 100644 index d3f5538..0000000 --- a/old/61989-h/images/ill_pg_018_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_018_sml.jpg b/old/61989-h/images/ill_pg_018_sml.jpg Binary files differdeleted file mode 100644 index 259ada6..0000000 --- a/old/61989-h/images/ill_pg_018_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_019_lg.jpg b/old/61989-h/images/ill_pg_019_lg.jpg Binary files differdeleted file mode 100644 index 257fc60..0000000 --- a/old/61989-h/images/ill_pg_019_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_019_sml.jpg b/old/61989-h/images/ill_pg_019_sml.jpg Binary files differdeleted file mode 100644 index f12a40d..0000000 --- a/old/61989-h/images/ill_pg_019_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_023_lg.jpg b/old/61989-h/images/ill_pg_023_lg.jpg Binary files differdeleted file mode 100644 index 6898e20..0000000 --- a/old/61989-h/images/ill_pg_023_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_023_sml.jpg b/old/61989-h/images/ill_pg_023_sml.jpg Binary files differdeleted file mode 100644 index 9d5b470..0000000 --- a/old/61989-h/images/ill_pg_023_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_029_lg.jpg b/old/61989-h/images/ill_pg_029_lg.jpg Binary files differdeleted file mode 100644 index 81c00d3..0000000 --- a/old/61989-h/images/ill_pg_029_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_029_sml.jpg b/old/61989-h/images/ill_pg_029_sml.jpg Binary files differdeleted file mode 100644 index 39590ca..0000000 --- a/old/61989-h/images/ill_pg_029_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_033_lg.jpg b/old/61989-h/images/ill_pg_033_lg.jpg Binary files differdeleted file mode 100644 index 8f03e72..0000000 --- a/old/61989-h/images/ill_pg_033_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_033_sml.jpg b/old/61989-h/images/ill_pg_033_sml.jpg Binary files differdeleted file mode 100644 index 5ee13c4..0000000 --- a/old/61989-h/images/ill_pg_033_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_037_lg.jpg b/old/61989-h/images/ill_pg_037_lg.jpg Binary files differdeleted file mode 100644 index c242df1..0000000 --- a/old/61989-h/images/ill_pg_037_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_037_sml.jpg b/old/61989-h/images/ill_pg_037_sml.jpg Binary files differdeleted file mode 100644 index a23a6f1..0000000 --- a/old/61989-h/images/ill_pg_037_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_039_lg.jpg b/old/61989-h/images/ill_pg_039_lg.jpg Binary files differdeleted file mode 100644 index c3d8420..0000000 --- a/old/61989-h/images/ill_pg_039_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_039_sml.jpg b/old/61989-h/images/ill_pg_039_sml.jpg Binary files differdeleted file mode 100644 index 4380e7e..0000000 --- a/old/61989-h/images/ill_pg_039_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_043_lg.jpg b/old/61989-h/images/ill_pg_043_lg.jpg Binary files differdeleted file mode 100644 index b91eae1..0000000 --- a/old/61989-h/images/ill_pg_043_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_043_sml.jpg b/old/61989-h/images/ill_pg_043_sml.jpg Binary files differdeleted file mode 100644 index 220a0a4..0000000 --- a/old/61989-h/images/ill_pg_043_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_045_lg.jpg b/old/61989-h/images/ill_pg_045_lg.jpg Binary files differdeleted file mode 100644 index 4ab92a8..0000000 --- a/old/61989-h/images/ill_pg_045_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_045_sml.jpg b/old/61989-h/images/ill_pg_045_sml.jpg Binary files differdeleted file mode 100644 index 06a001e..0000000 --- a/old/61989-h/images/ill_pg_045_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_047_lg.jpg b/old/61989-h/images/ill_pg_047_lg.jpg Binary files differdeleted file mode 100644 index ff0ff03..0000000 --- a/old/61989-h/images/ill_pg_047_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_047_sml.jpg b/old/61989-h/images/ill_pg_047_sml.jpg Binary files differdeleted file mode 100644 index 83a4fde..0000000 --- a/old/61989-h/images/ill_pg_047_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_052_lg.jpg b/old/61989-h/images/ill_pg_052_lg.jpg Binary files differdeleted file mode 100644 index 012fbec..0000000 --- a/old/61989-h/images/ill_pg_052_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_052_sml.jpg b/old/61989-h/images/ill_pg_052_sml.jpg Binary files differdeleted file mode 100644 index 81401df..0000000 --- a/old/61989-h/images/ill_pg_052_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_054_lg.jpg b/old/61989-h/images/ill_pg_054_lg.jpg Binary files differdeleted file mode 100644 index 2aaffed..0000000 --- a/old/61989-h/images/ill_pg_054_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_054_sml.jpg b/old/61989-h/images/ill_pg_054_sml.jpg Binary files differdeleted file mode 100644 index f491ab8..0000000 --- a/old/61989-h/images/ill_pg_054_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_056_lg.jpg b/old/61989-h/images/ill_pg_056_lg.jpg Binary files differdeleted file mode 100644 index 4cd2dfa..0000000 --- a/old/61989-h/images/ill_pg_056_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_056_sml.jpg b/old/61989-h/images/ill_pg_056_sml.jpg Binary files differdeleted file mode 100644 index e1fbc04..0000000 --- a/old/61989-h/images/ill_pg_056_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_057_lg.jpg b/old/61989-h/images/ill_pg_057_lg.jpg Binary files differdeleted file mode 100644 index 7504831..0000000 --- a/old/61989-h/images/ill_pg_057_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_057_sml.jpg b/old/61989-h/images/ill_pg_057_sml.jpg Binary files differdeleted file mode 100644 index 27f966d..0000000 --- a/old/61989-h/images/ill_pg_057_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_061_lg.jpg b/old/61989-h/images/ill_pg_061_lg.jpg Binary files differdeleted file mode 100644 index e745d9c..0000000 --- a/old/61989-h/images/ill_pg_061_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_061_sml.jpg b/old/61989-h/images/ill_pg_061_sml.jpg Binary files differdeleted file mode 100644 index 6752e03..0000000 --- a/old/61989-h/images/ill_pg_061_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_064_lg.jpg b/old/61989-h/images/ill_pg_064_lg.jpg Binary files differdeleted file mode 100644 index b2e8d49..0000000 --- a/old/61989-h/images/ill_pg_064_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_064_sml.jpg b/old/61989-h/images/ill_pg_064_sml.jpg Binary files differdeleted file mode 100644 index a1f4601..0000000 --- a/old/61989-h/images/ill_pg_064_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_065_lg.jpg b/old/61989-h/images/ill_pg_065_lg.jpg Binary files differdeleted file mode 100644 index a59121b..0000000 --- a/old/61989-h/images/ill_pg_065_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_065_sml.jpg b/old/61989-h/images/ill_pg_065_sml.jpg Binary files differdeleted file mode 100644 index 51b5324..0000000 --- a/old/61989-h/images/ill_pg_065_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_066_lg.jpg b/old/61989-h/images/ill_pg_066_lg.jpg Binary files differdeleted file mode 100644 index 921aaf8..0000000 --- a/old/61989-h/images/ill_pg_066_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_066_sml.jpg b/old/61989-h/images/ill_pg_066_sml.jpg Binary files differdeleted file mode 100644 index 8725d26..0000000 --- a/old/61989-h/images/ill_pg_066_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_073_lg.jpg b/old/61989-h/images/ill_pg_073_lg.jpg Binary files differdeleted file mode 100644 index f0c7ef1..0000000 --- a/old/61989-h/images/ill_pg_073_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_073_sml.jpg b/old/61989-h/images/ill_pg_073_sml.jpg Binary files differdeleted file mode 100644 index de350aa..0000000 --- a/old/61989-h/images/ill_pg_073_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_081_lg.jpg b/old/61989-h/images/ill_pg_081_lg.jpg Binary files differdeleted file mode 100644 index 7ee0393..0000000 --- a/old/61989-h/images/ill_pg_081_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_081_sml.jpg b/old/61989-h/images/ill_pg_081_sml.jpg Binary files differdeleted file mode 100644 index 10ca36f..0000000 --- a/old/61989-h/images/ill_pg_081_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_084_lg.jpg b/old/61989-h/images/ill_pg_084_lg.jpg Binary files differdeleted file mode 100644 index 04d31a2..0000000 --- a/old/61989-h/images/ill_pg_084_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_084_sml.jpg b/old/61989-h/images/ill_pg_084_sml.jpg Binary files differdeleted file mode 100644 index b65450d..0000000 --- a/old/61989-h/images/ill_pg_084_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_086_lg.jpg b/old/61989-h/images/ill_pg_086_lg.jpg Binary files differdeleted file mode 100644 index d7d4c26..0000000 --- a/old/61989-h/images/ill_pg_086_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_086_sml.jpg b/old/61989-h/images/ill_pg_086_sml.jpg Binary files differdeleted file mode 100644 index 3a75d66..0000000 --- a/old/61989-h/images/ill_pg_086_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_087_lg.jpg b/old/61989-h/images/ill_pg_087_lg.jpg Binary files differdeleted file mode 100644 index 660958f..0000000 --- a/old/61989-h/images/ill_pg_087_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_087_sml.jpg b/old/61989-h/images/ill_pg_087_sml.jpg Binary files differdeleted file mode 100644 index e9fd9d2..0000000 --- a/old/61989-h/images/ill_pg_087_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_088_lg.jpg b/old/61989-h/images/ill_pg_088_lg.jpg Binary files differdeleted file mode 100644 index 1834ddd..0000000 --- a/old/61989-h/images/ill_pg_088_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_088_sml.jpg b/old/61989-h/images/ill_pg_088_sml.jpg Binary files differdeleted file mode 100644 index cd2dd58..0000000 --- a/old/61989-h/images/ill_pg_088_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_091_lg.jpg b/old/61989-h/images/ill_pg_091_lg.jpg Binary files differdeleted file mode 100644 index a6349f6..0000000 --- a/old/61989-h/images/ill_pg_091_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_091_sml.jpg b/old/61989-h/images/ill_pg_091_sml.jpg Binary files differdeleted file mode 100644 index 8f3d2e8..0000000 --- a/old/61989-h/images/ill_pg_091_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_092_lg.jpg b/old/61989-h/images/ill_pg_092_lg.jpg Binary files differdeleted file mode 100644 index d52dfe2..0000000 --- a/old/61989-h/images/ill_pg_092_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_092_sml.jpg b/old/61989-h/images/ill_pg_092_sml.jpg Binary files differdeleted file mode 100644 index 7319211..0000000 --- a/old/61989-h/images/ill_pg_092_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_093_lg.jpg b/old/61989-h/images/ill_pg_093_lg.jpg Binary files differdeleted file mode 100644 index 63993b0..0000000 --- a/old/61989-h/images/ill_pg_093_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_093_sml.jpg b/old/61989-h/images/ill_pg_093_sml.jpg Binary files differdeleted file mode 100644 index 94063a6..0000000 --- a/old/61989-h/images/ill_pg_093_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_095_lg.jpg b/old/61989-h/images/ill_pg_095_lg.jpg Binary files differdeleted file mode 100644 index 46b579a..0000000 --- a/old/61989-h/images/ill_pg_095_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_095_sml.jpg b/old/61989-h/images/ill_pg_095_sml.jpg Binary files differdeleted file mode 100644 index d834716..0000000 --- a/old/61989-h/images/ill_pg_095_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_097_lg.jpg b/old/61989-h/images/ill_pg_097_lg.jpg Binary files differdeleted file mode 100644 index 37f6a4c..0000000 --- a/old/61989-h/images/ill_pg_097_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_097_sml.jpg b/old/61989-h/images/ill_pg_097_sml.jpg Binary files differdeleted file mode 100644 index 63580b1..0000000 --- a/old/61989-h/images/ill_pg_097_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_100_lg.jpg b/old/61989-h/images/ill_pg_100_lg.jpg Binary files differdeleted file mode 100644 index 60ac7e3..0000000 --- a/old/61989-h/images/ill_pg_100_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_100_sml.jpg b/old/61989-h/images/ill_pg_100_sml.jpg Binary files differdeleted file mode 100644 index 8e76082..0000000 --- a/old/61989-h/images/ill_pg_100_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_102_lg.jpg b/old/61989-h/images/ill_pg_102_lg.jpg Binary files differdeleted file mode 100644 index 69f96c5..0000000 --- a/old/61989-h/images/ill_pg_102_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_102_sml.jpg b/old/61989-h/images/ill_pg_102_sml.jpg Binary files differdeleted file mode 100644 index 645c862..0000000 --- a/old/61989-h/images/ill_pg_102_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_103_lg.jpg b/old/61989-h/images/ill_pg_103_lg.jpg Binary files differdeleted file mode 100644 index 18de6dc..0000000 --- a/old/61989-h/images/ill_pg_103_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_103_sml.jpg b/old/61989-h/images/ill_pg_103_sml.jpg Binary files differdeleted file mode 100644 index 8dc0166..0000000 --- a/old/61989-h/images/ill_pg_103_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_106_lg.jpg b/old/61989-h/images/ill_pg_106_lg.jpg Binary files differdeleted file mode 100644 index 66200d1..0000000 --- a/old/61989-h/images/ill_pg_106_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_106_sml.jpg b/old/61989-h/images/ill_pg_106_sml.jpg Binary files differdeleted file mode 100644 index 58d8b2d..0000000 --- a/old/61989-h/images/ill_pg_106_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_107_lg.jpg b/old/61989-h/images/ill_pg_107_lg.jpg Binary files differdeleted file mode 100644 index 0a5370a..0000000 --- a/old/61989-h/images/ill_pg_107_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_107_sml.jpg b/old/61989-h/images/ill_pg_107_sml.jpg Binary files differdeleted file mode 100644 index a3ed746..0000000 --- a/old/61989-h/images/ill_pg_107_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_111_lg.jpg b/old/61989-h/images/ill_pg_111_lg.jpg Binary files differdeleted file mode 100644 index 3943930..0000000 --- a/old/61989-h/images/ill_pg_111_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_111_sml.jpg b/old/61989-h/images/ill_pg_111_sml.jpg Binary files differdeleted file mode 100644 index 8cbd9f1..0000000 --- a/old/61989-h/images/ill_pg_111_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_114_lg.jpg b/old/61989-h/images/ill_pg_114_lg.jpg Binary files differdeleted file mode 100644 index 4ef95ec..0000000 --- a/old/61989-h/images/ill_pg_114_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_114_sml.jpg b/old/61989-h/images/ill_pg_114_sml.jpg Binary files differdeleted file mode 100644 index a3e1c6d..0000000 --- a/old/61989-h/images/ill_pg_114_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_116_lg.jpg b/old/61989-h/images/ill_pg_116_lg.jpg Binary files differdeleted file mode 100644 index 2fa82cd..0000000 --- a/old/61989-h/images/ill_pg_116_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_116_sml.jpg b/old/61989-h/images/ill_pg_116_sml.jpg Binary files differdeleted file mode 100644 index caf0a79..0000000 --- a/old/61989-h/images/ill_pg_116_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_119_lg.jpg b/old/61989-h/images/ill_pg_119_lg.jpg Binary files differdeleted file mode 100644 index 4b18593..0000000 --- a/old/61989-h/images/ill_pg_119_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_119_sml.jpg b/old/61989-h/images/ill_pg_119_sml.jpg Binary files differdeleted file mode 100644 index ae695f6..0000000 --- a/old/61989-h/images/ill_pg_119_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_124_lg.jpg b/old/61989-h/images/ill_pg_124_lg.jpg Binary files differdeleted file mode 100644 index d32c6f2..0000000 --- a/old/61989-h/images/ill_pg_124_lg.jpg +++ /dev/null diff --git a/old/61989-h/images/ill_pg_124_sml.jpg b/old/61989-h/images/ill_pg_124_sml.jpg Binary files differdeleted file mode 100644 index 511d793..0000000 --- a/old/61989-h/images/ill_pg_124_sml.jpg +++ /dev/null diff --git a/old/61989-h/images/title-1.jpg b/old/61989-h/images/title-1.jpg Binary files differdeleted file mode 100644 index 40bb671..0000000 --- a/old/61989-h/images/title-1.jpg +++ /dev/null diff --git a/old/61989-h/images/title-2.jpg b/old/61989-h/images/title-2.jpg Binary files differdeleted file mode 100644 index f60e7b0..0000000 --- a/old/61989-h/images/title-2.jpg +++ /dev/null |
