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+Project Gutenberg's An Art-Lovers guide to the Exposition, by Shelden Cheney
+
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+*****These eBooks Were Prepared By Thousands of Volunteers!*****
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+
+Title: An Art-Lovers guide to the Exposition
+
+Author: Shelden Cheney
+
+Release Date: February, 2005 [EBook #7411]
+[Yes, we are more than one year ahead of schedule]
+[This file was first posted on April 25, 2003]
+
+Edition: 10
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THE PROJECT GUTENBERG EBOOK ART GUIDE TO THE EXPOSITION ***
+
+
+
+
+Produced by David A Schwan
+
+
+
+
+An Art-Lover's Guide to the Exposition
+
+Explanations of the Architecture, Sculpture and Mural Paintings, With a
+Guide for Study in the Art Gallery
+
+
+
+By Sheldon Cheney
+
+
+
+Berkeley
+At the Sign of the Berkeley Oak
+1915
+
+
+
+Copyright 1915 by Sheldon Cheney
+
+
+
+Printed and Engraved by Sunset Publishing House San Francisco
+
+
+
+Contents
+
+
+
+Foreword
+The Architecture and Art as a Whole
+Court of Abundance
+Court of the Universe
+Court of the Four Seasons
+Court of Palms and Court of Flowers
+Tower of Jewels, and Fountain of Energy
+Palaces Facing the Avenue of Palms
+Palaces Facing the Marina, and the Column of Progress
+Palace of Machinery
+South Gardens, Festival Hall, and Palace of Horticulture
+Palace of Fine Arts
+Outdoor Gallery of Sculpture
+Fine Arts Galleries
+State and Foreign Buildings, and Scattered Art Exhibits
+Index
+
+
+
+Foreword
+
+
+
+This handbook is designed to furnish the information necessary for
+intelligent appreciation of the purely artistic features of the
+Exposition. It is planned first to explain the symbolism of the
+architecture, sculpture and painting; and second, to point out the
+special qualities that give each artistic unit its individual appeal. It
+is made for the intelligent observer who, having enjoyed the purely
+aesthetic impression of the various works of art, feels a legitimate
+curiosity about their meaning.
+
+Everything possible has been done to make the volume a guide rather than
+merely a general treatise. The chapter groupings are the most obviously
+serviceable ones. Running heads will be found at the tops of the pages,
+and the sub-headings and catch-titles in each chapter are designed to
+make reference. to individual features as easy as possible. A complete
+index is added at the end.
+
+Purely destructive criticism and ridicule have been carefully avoided.
+But if the writer did not pretend to a power of artistic discrimination
+which is lacking in the average layman who has not specialized in art
+and architecture, there would be little excuse for preparing the guide.
+The praise and criticism alike are such, it is hoped, as will aid the
+less practiced eye to see new beauties or to establish sounder standards
+of judgment.
+
+Acknowledgment is made to the official Exposition press bureau for
+courtesies received, and to those artists who have supplied information
+about their own work. For obvious reasons no material has been accepted
+direct from articles and books already published. If certain
+explanations of the symbolism seem familiar, it is only because all
+wordings of the ideas echo the artists' interpretations as given out by
+the press bureau.
+
+Acknowledgment is due also to the Cardinell-Vincent Company, official
+photographers, since most of the illustrations are from their prints.
+
+S. C.
+
+
+
+The Architecture and Art as a Whole
+
+
+
+In the art of the Exposition the great underlying theme is that of
+achievement. The Exposition is being held to celebrate the building of
+the Panama Canal, and to exhibit to the world evidences of the progress
+of civilization in the decade since the last great exposition-a period
+among the richest in the history of civilization. So the ideas of
+victory, achievement, progress and aspiration are expressed again and
+again: in the architecture with its triumphal arches and aspiring
+towers; in the sculpture that brings East and West face to face, and
+that shows youth rising with the morning sun, eager and unafraid; and in
+the mural paintings that portray the march of civilization, and that
+tell the story of the latest and greatest of mankind's triumphs over
+nature. But perhaps the most significant thing of all is the wonderfully
+harmonious and unified effect of the whole, that testifies so splendidly
+to the perfect co-operation of American architects, sculptors and
+painters.
+
+The dominant note artistically is harmony. At no other exposition have
+the buildings seemed to "hold together" so well; and at no other has
+there been the same perfect unity of artistic impression. The Chicago
+Exposition of 1893 focused the artistic expression of the nation at that
+time. It brought about the first great awakening of the country in
+artistic matters, and it practically revolutionized American
+architecture. The St. Louis Exposition of 1904, while less unified in
+plan, gave another great stimulus to architecture, and especially to
+sculpture. But the Panama-Pacific Exposition should have a more
+far-reaching effect than either of these, because its great lesson is
+not in the field of any one art, but in showing forth the immense value
+of coordination of all the arts in the achievement of a single glorious
+ideal. The great thing here is the complete harmony of purpose, of
+design, and of color, in the combined work of architects, sculptors,
+painters, and landscape gardeners. The sensible plan that results in
+perfect convenience in getting about, the clothing of this plan in noble
+and fitting architectural forms, the use of sculpture and painting as an
+integral part of the architectural scheme, the tying in of buildings to
+site with appropriate planting, and the pulling together of the whole
+composition with harmonious color-these are the things that will leave
+their impress on American art for all time to come. If each student of
+the art of the Exposition takes home with him an understanding of the
+value of this synthesis, of this co-ordination of effort, he will have
+the key to the Exposition's most valuable heritage to the American
+people.
+
+Physically there are three distinct parts to the Exposition: the main
+group of exhibit palaces, the Zone, and the state and foreign buildings.
+The art-lover will be concerned almost entirely with the first of these;
+for artistically the Zone expresses anarchy, and the state and foreign
+pavilions are given over almost entirely to social and commercial
+interests.
+
+Architecture
+
+The architecture of the central group of palaces and courts is a notable
+departure from that of most of the expositions of the past. There are
+none of the over decorated facades, none of the bizarre experiments in
+radical styles, and little of the riot of extraneous ornament, that have
+been characteristic of typical "exposition architecture." The whole
+spirit here is one of seriousness, of dignity, of permanency. The
+effects are obtained by the use of long unbroken lines, blank wall
+spaces, perfect proportioning, and a restrained hand in decoration.
+Color alone is relied upon to add the spirit of gayety without which the
+architecture might be too somber for its joyous purpose.
+
+The ground plan is remarkable for its perfect symmetry. On the main east
+and west axis are grouped eight palaces, about three interior courts. At
+the east end the axis is terminated by the Palace of Machinery, which
+cuts off the main group from the Zone. On the west the axis is
+terminated by the Fine Arts Palace, which separates the central group
+from the state and foreign buildings. The main cross axis is terminated
+at the south by the Tower of Jewels and the Fountain of Energy, and at
+the north by the Column of Progress on the Marina. The two minor cross
+axes end at the south in the Horticulture Palace and Festival Hall-the
+two great domed structures that naturally would separate themselves from
+the main plan and at the north these axes open on the Marina and the
+beautiful bay view.
+
+This plan is admirably compact. It has the effect of a walled city,
+giving a sense of oneness from without, and a sense of shelter from
+within. The plan eliminated the usual great distances between exhibit
+halls, at the same time providing protection against the winds that
+occasionally sweep over the Exposition area. More important still, the
+throwing of the finer architectural effects into the inner courts
+allowed freedom in individual expression. In the court system the
+architects obtained unity with great variety of style, and harmony
+without monotony.
+
+The plan was worked out by a commission of architects. But the greatest
+credit must be given to Edward H. Bennett, who first conceived the
+walled-city idea, and who brought his long experience in city-planning
+to serve in determining the best method of utilizing the magnificent
+site.
+
+The style of architecture cannot be summed up in any one name.
+Practically every historic style has been drawn upon, but there are very
+few direct copies from older buildings. The old forms have been used
+with new freedom, and occasionally with very marked originality. As one
+looks down on the whole group of buildings, the Oriental feeling
+dominates, due to the many Byzantine domes. In the courts and facades
+the Renaissance influence is strongest, usually Italian, occasionally
+Spanish. Even where the classic Greek and Roman elements are used, there
+is generally a feeling of Renaissance freedom in the decoration. One
+court is in a wonderful new sort of Spanish Gothic, perfectly befitting
+California. In the styles of architecture, as in the symbolism of
+painting and sculpture and in the exhibits, one feels that the East and
+West have met, with a new fusion of national ideals and forms.
+
+The material used in the buildings is a composition, partaking of the
+nature of both plaster and concrete, made in imitation of Travertine, a
+much-prized building marble of Italy. This composition has the warm
+ochre tone and porous texture of the original stone, thus avoiding the
+unpleasant smoothness and glare which characterize stucco, the usual
+Exposition material.
+
+Sculpture
+
+In one way more than any other, the sculpture here surpasses that of
+other expositions: it is an integral part of the larger artistic
+conception. It not only tells its individual stories freely and
+beautifully, but it fits perfectly into the architectural scheme, adding
+the decorative touch and the human element without which the
+architecture would seem bare.
+
+The late Karl Bitter was chief of the department of sculpture, and
+although there is no single example of his work on the grounds, it was
+he who, more than any other, insisted upon a close relationship between
+the architecture and the sculpture. A. Stirling Calder was acting chief,
+and he had charge of the actual work of enlarging the models of the
+various groups and placing each one properly.
+
+The material of the sculptures is the same as that of the buildings,
+Travertine, thus adding to the close relationship of the two.
+
+Mural Paintings
+
+The mural paintings as a whole are not so fine as either the
+architecture or the sculpture. The reason can be traced perhaps to the
+fact that painting does not readily bow to architectural limitations. In
+this case the artists, with the exception of Frank Brangwyn, who painted
+the canvases for the Court of Abundance, were limited to a palette of
+five colors, in order that the panels should harmonize with the larger
+color scheme.
+
+Color
+
+Never before was there an exposition in which color played such a part.
+Here for the first time a director of color was placed above architect
+and sculptor and painter. Jules Guerin, chief of color decoration, has
+said that he went to work just as a painter starts to lay out a great
+picture, establishing the warm buff of the building walls as a ground
+tone, and considering each dome or tower or portal as a detail which
+should add its brilliant or subdued note to the color harmony. Not only
+do the paintings and sculpture take proper place in the tone scheme, but
+every bit of planting, every strip of lawn and every bed of flowers or
+shrubs, has its duty to perform as color accent or foil. Even the gravel
+of the walks was especially chosen to shade in with the general plan.
+
+As seen from the heights above the Exposition-and no visitor should go
+away without seeing this view-the grounds have the appearance of a
+great Oriental rug. The background color is warm buff, with various
+shades of dull red against it, accented by domes and columns of pale
+green, with occasional touches of blue and pink to heighten the effect.
+
+In the courts the columns and outer walls are in the buff, or old ivory,
+tone, while the walls inside the colonnades have a "lining color" of
+Pompeian red; the ceilings are generally cerulean blue; the cornices are
+touched with orange, blue and gold; and occasional columns of imitation
+Siena marble, and bronzed statues, set off the whole.
+
+In connection with the color scheme, great credit must be given to John
+McLaren, chief of the department of landscape gardening, who has worked
+so successfully in co-operation with architects and color director. The
+Exposition is built almost entirely on filled ground, just reclaimed
+from the bay; and it was a colossal task to set out the hundreds of
+thousands of flowers, shrubs and trees which now make the gardens seem
+permanent, and which set off the architecture so perfectly.
+
+Lighting
+
+When one's soul has been drenched all day in the beauty of courts and
+palaces and statues and paintings, dusk is likely to bring welcome rest;
+but when the lights begin to appear there comes a new experience-a
+world made over, and yet quite as beautiful as the old. Walls are lost
+where least interesting, bits of architecture are brought out in relief
+against the velvet sky, and sculptures take on a new softness and
+loveliness of form. Under the wonderfully developed system of indirect
+illumination, no naked light is seen by the eye; only the soft reflected
+glow, intense when desired, but never glaring. If this lighting is not
+in itself an art, it is at least the informing spirit that turns prose
+to poetry, or the instrumental accompaniment without which the voice of
+the artist would be but half heard. Too much credit cannot be given to
+the lighting wizard of the Exposition, W. D'Arcy Ryan.
+
+
+
+The Court of Abundance
+
+
+
+The Court of Abundance is the most original, and perhaps the most
+consistently beautiful, of all the Exposition courts. No other is so
+clearly complete in itself, without the intrusion of features from
+surrounding buildings and courts. No other has the same effect of
+cloistered seclusion partly because each of the others is open on one
+side. And certainly no other indicates so clearly the touch of the
+artist, of the poet-architect, from the organic structural plan to the
+finest bit of detail. Even the massive central fountain, though
+conceived in such different spirit, has no power to dispel the almost
+ethereal charm that hovers over the place.
+
+The distinctive note of the court is one of exquisite richness. As one
+enters from any side the impression grows that this is the most
+decorative of all the courts; and yet one is not conscious of any
+individual bit of decoration as such. Everything fits perfectly: arches,
+tower, cornices, finials, statues, planting-it all goes to enrich the
+one impression. Someone has said that the court is not architecture, but
+carving; and that suggests perfectly the decorative wealth of the
+composition.
+
+Architecture
+
+The style of architecture has been guessed at as everything from
+Romanesque and Gothic to Flamboyant Renaissance and Moorish. The truth
+is that the court is a thoroughly original conception; and the architect
+has clothed his pre-conceived design in forms that he has borrowed from
+all these styles as they happened to suit his artistic purpose. The
+spirit of the court is clearly Gothic, due to the accentuation of the
+vertical lines-and one will note how the slender cypresses help the
+architecture to convey this impression. The rounded arches, modified in
+feeling by the decorative pendent lanterns, hint of the awakening of the
+Renaissance period in Spain, during the Fourteenth and Fifteenth
+Centuries, when the vertical lines, and decorative leaf and other
+symbolic ornaments of the severer Gothic, were so charmingly combined
+with classic motives.
+
+The architecture here is inspiring as a symbol of the American
+"melting-pot." It is a distinct and original evolution, recalling the
+great arts of Europe, and yet eluding classification. The court shows
+that the designer was master of the styles of the past, but refused to
+be a slave to them; at the same time he had an original conception but
+did not let it run into the blatant and bizarre. It is from such fusions
+of individual genius with the traditions of the past that a distinctive
+American architecture is most likely to flower.
+
+The tower is a magnificent bit of architectural design. It is massive
+and yet delicate. It dominates the court, and yet it fits perfectly into
+the cloister. The rich sculpture is so much a part of the decorative
+scheme that there is no impression of the structure having been
+"ornamented." One must search long in the histories of architecture to
+find a tower more satisfying.
+
+The architect who designed the Court of Abundance is Louis Christian
+Mullgardt, one of the two most original geniuses among California's
+architects.
+
+It is well to enjoy this court at first for its beauty alone, without
+regard to its rich symbolism. One who has thus considered it, merely as
+a delight to the eye, usually is surprised to find that it has a deeper
+underlying meaning than any of the other courts. The present name,
+"Court of Abundance," is not the original one. The architect conceived
+it as "The Court of The Ages." It is said that the Exposition directors,
+for the rather foolish reason that a Court of the Ages would not fit
+into the scheme of a strictly contemporaneous exposition, re-christened
+it "The Court of Abundance." But it is the former name that sums up the
+thought behind the decorative features.
+
+The underlying idea is that of evolution. The tower sculptures, which
+will be more fully explained in following paragraphs, represent
+successive ages in the development of man-the Stone Age, the Mediaeval
+Age, and the Present Age. The decoration of the cloisters may be taken
+as symbolizing the evolution of primitive man from the lower forms of
+life. Thus the ornamental garlands that run up the sides of the arches
+are of seaweed, while other parts of the decoration show crabs, lobsters
+and other of the lower forms of sea life. Higher up the ornament
+includes conventionalized lilies suggestive of higher plant life. And
+surmounting the colonnade, one over each pier, are the repeated figures
+of primitive man and primitive woman. It is at this height that the
+tower sculptures begin, carrying on the story of man up to the present
+age. At a level between the Stone Age group and the Mediaeval Age is a
+row of cocks, symbols of the rise of Christianity. Perhaps the whole
+aspiring feeling of the court is meant to further suggest the upward
+rise of man-but after all, the purely sensuous beauty of the
+architecture is sufficient to warrant its being, without any straining
+after symbolism.
+
+Sculpture
+
+Groups on the Tower. The three main groups typify the rise of man, and
+especially the rise of man's civilization through religion. The lowest
+group, over the main arch, is called The Stone Age. Along the base are
+prehistoric monsters, and above are figures representing various phases
+of primitive life, as a man strangling an animal with his hands, and a
+figure that may suggest the rude beginnings of art or industry. The
+heads indicate a period of evolution when man was not very different
+from the ape; but the central figures suggest the development of family
+life, and a new outlook and a seeking for something higher.
+
+The middle group, The Mediaeval Age, shows an armored figure with sword
+and shield, a crusader perhaps, with the force of religion symbolized in
+the priest or monk at one side, and the force of arms suggested by the
+archer at the other, these being the two forces by which man was rising
+in that age.
+
+The third and highest group represents The Spirit of the Present Age
+enthroned. At one side a child holds the book of learning, while at the
+other a child holds the wheel of industry. The group also carries
+inevitably a suggestion of motherhood.
+
+Flanking the middle group are two figures, in which the whole idea of
+human evolution is suggested by a modern man and woman outgrowing their
+old selves. On the east and west faces of the tower are figures
+representing "Thought."
+
+All the sculpture on the tower is by Chester Beach.
+
+Figures Surmounting Colonnade. Two figures of "The Primitive Man" and
+one of "The Primitive Woman" are repeated above the cloister all around
+the court. The woman carries a child on her back, one man is feeding a
+pelican, and the other is a hunter returning with a club in one hand and
+his quarry in the other. These figures are remarkably well suited to
+their purpose, balancing one another exactly; they are so much a part of
+the decorative scheme, indeed, that the average person is likely to
+overlook their merits as individual statues. Albert Weinert was the
+sculptor.
+
+The Water Sprites. At the tower side of the court, flanking the stairway
+that leads to the archway under the tower, are two free-standing
+monuments that were designed as fountains. The original plan called for
+cascades from below the Stone Age group on the tower to these monuments.
+Although the elimination of this feature made the court more simple and
+satisfying as a whole, the figures of the Water Sprites were left high
+and dry, so that now there is a certain incongruity in their position.
+Still one may admire the very spirited girl archers surmounting the two
+columns, even if they are apparently launching arrows at their sister
+sprites below, instead of into jets of water as was intended. The
+figures at the bases of the columns, while lacking the grace and the
+joyous verve of those above, still are very decorative. All are the work
+of Leo Lentelli.
+
+The Fountain of Earth. In the large basin in the center of the Court of
+Abundance is Robert Aitken's "Fountain of Earth." While plainly out of
+keeping with the spirit of the court, this is in itself one of the most
+powerful and most interesting sculptural compositions at the Exposition.
+It is deeply intellectual, and more than any other group it requires an
+explanation of the symbolism before one can appreciate it.
+
+The fountain is really in two compositions. The larger, and central, one
+is composed of a globe representing the earth, with four panels of
+figures on the four sides, representing certain of the incidents of life
+on earth, or certain riddles of existence. The secondary composition
+lies to the south of the central one, on the same pedestal; and this is
+divided into two groups by a formalized wing through the center. The two
+scenes here represent life before and after earthly existence. The two
+huge arms and the wing are all that can be seen of Destiny, the force
+with which the allegorical story begins and ends.
+
+To "read" the fountain in proper sequence, one must start with the west
+face of the secondary group. This represents The Beginning of Things.
+The arm of Destiny is calling forth life and points the way to the
+earth. The three women figures next to the hand show the gradual
+awakening from Oblivion. The adjoining two figures represent the kiss of
+life or of love, and the woman is holding forth to the earth the
+children created of that love. The entire group on this west face,
+considered in relation to the main composition, may be taken as
+representing the peopling of the earth.
+
+There is now a gap which one must pass over, to reach the South panel of
+the central composition. This gap represents the lost period of time
+between the peopling of the earth and the beginning of history.
+
+The South panel of the main structure has as its central figure Vanity
+with her hand-glass. Whether the artist intended it as a pessimistic
+commentary on all human life, or not, his series of episodes on earth
+begins and ends with the figure of Vanity. Reading to the left on this
+same panel one sees a man and a woman starting the journey of life on
+earth, apparently with suffering but certainly with courage perhaps for
+the sake of the children they carry.
+
+The West panel now shows the first of three incidents or problems of
+life on earth. This is entitled Natural Selection. Two women turn to one
+man who is clearly superior to the two men they are leaving. The two who
+have been spurned as mates cling to the hands of the women even while
+they are turning away.
+
+The North panel represents The Survival of the Fittest. Two men are in
+combat, the woman at the left evidently to be the prize of the victor.
+At the other side a woman tries to draw away one of the combatants. The
+sculptor has given this group a second title, "The Awakening of the War
+Spirit," which is equally applicable.
+
+The East panel is entitled The Lesson of Life. A young man and a young
+woman turn to each other through natural impulse, while an older woman
+with the experience of life attempts to counsel them. On the other side
+an old man restrains an impetuous youth who evidently would fight for
+the girl.
+
+Turning the corner now to the South panel again, there are two figures
+representing Lust trying to embrace a reluctant woman. Then one comes to
+Vanity once more, and the story of life on earth is done. Again there is
+a gap, and the scene leaves the earth for the unknown world after
+physical death.
+
+The East face of the minor group first shows the figure of Greed, with
+his worldly goods now turned literally to a ball of clay in his hands,
+gazing back at earth in puzzlement. The next two figures show Faith
+offering the hope of immortality (as symbolized in the scarab) as
+consolation to a sorrowing woman. Finally there are two figures sinking
+back into Oblivion, drawn by the hand of Destiny. Thus the cycle from
+Oblivion through life and back to Oblivion is completed.
+
+In the same basin, at the far south end, is a figure of The Setting Sun.
+This was part of the artist's conception of the Fountain of Earth, the
+relation to the main group being found in the supposition that the earth
+is a mass thrown off by the sun. Thus is emphasized the idea that the
+earth and life on earth are but a very small part of the wider unknown
+universe and life.
+
+At the four corners of the main composition of the fountain, separating
+the four panels, are Hermae, terminal pillars such as the Greeks and
+Romans were fond of, decorated with the head of Hermes, god of
+boundaries.
+
+Having worked out the story, it is well to go back to appreciate the
+purely aesthetic qualities of the fountain. Note especially the feeling
+of strength in the figures, the firm modeling, and the fine way in which
+the figures are grouped. The composition of the west face of the minor
+monument is especially fine, and the very graceful lines here make an
+intimate appeal that is not evident in some of the other groups. The
+whole monument is austere and strongly compelling rather than intimately
+charming. If it is the first duty of art to make people think, this is
+the most successful bit of sculpture on the grounds.
+
+Mural Paintings
+
+The mural paintings in, the Court of Abundance consist of eight panels
+by Frank Brangwyn, perhaps the greatest living mural decorator, placed
+in the four corners of the cloister. Though not entirely in key with the
+color scheme and not an integral part of the court as a whole, these are
+distinctly the works of a master. Ultra-learned critics will tell you
+that they fail as decorations, since they are interesting as individual
+pictures rather than as panels heightening the architectural charm. But
+their placing shows clearly that there was no intention that they should
+appear as part of the architectural scheme. It is better to accept them
+as pictures, forgetting the set standards by which one ordinarily judges
+mural painting.
+
+The eight paintings represent the elements: two panels each for Fire,
+Earth, Air and Water. There are no conventional figures here
+personifying the elements, but scenes from the life of intensely human
+people, typifying the uses to which man has put the elements.
+
+Fire. Beginning on the tower side of the court, at the northeast corner,
+are the two panels representing Fire. The one on the north wall is
+called "Primitive Fire." A group of figures surround a fire, some
+nursing it and some holding out their hands to the heat, while a man at
+the back brings fagots. Note the color accents in the robes of the three
+standing figures.
+
+"Industrial Fire," on the east wall, represents the bringing of fire
+into the service of man. In some particulars this is among the finest of
+the paintings, but the transverse cloud of smoke seems to break it
+awkwardly.
+
+Earth is represented in the two panels in the northwest corner. The one
+on the north wall is entitled "The Fruit Pickers," typifying the wealth
+of products that man obtains from the earth. This is perhaps the richest
+of the panels, in the profusion of color and of alluring form.
+
+The panel on the west wall is "The Dancing of the Grapes," a variation
+of the theme of "The Fruit Pickers." It tells the story of the grape:
+above are the pickers and the harvesters with baskets; at the right two
+figures dancing to crush the juices from the grapes; and in the
+foreground a group with the finished wine. The confusion of figures at
+first is puzzling; but viewed simply as a spotting of bright colors
+there is no finer panel among them all. It is better to stand well back
+along the colonnade, and forgetting the subject, to delight in the
+purely sensuous impression.
+
+Air is represented in the two panels in the southwest corner. The one on
+the south wall is called "The Hunters." The theme is suggested in the
+idea of the arrows fleeing on the wings of the air, and also by the
+flight of birds above.
+
+The panel on the west wall is called "The Windmill." Note how the
+feeling of moving air is suggested everywhere: in the skies at the back,
+in the clouds and the kites, in the trees and the grain-field, in the
+draperies, and even in the figures themselves that are braced against
+the wind. The coloring is glorious, and the composition fine. The
+disposition of masses of light and dark is notable the dark figures
+grouped against the golden grain, and the gold-brown windmill against
+the dark sky. No panel in the grounds will better repay intensive study.
+
+Water is represented in the panels of the southwest corner of the court.
+The one on the south wall is called "The Net," and typifies the wealth
+that man draws from the water. A group of fishermen are hauling in a
+net, and carriers bring baskets at the back.
+
+"The Fountain," the panel on the east wall, shows a group of people who
+have come to fill their jars at a spring. The colors here are softer,
+though quite as rich as elsewhere. The lower half of the painting is,
+indeed, like a richly colored mosaic.
+
+After examining "The Fountain" at close range it is well to step back to
+the middle of this south corridor. Look first at "The Windmill" and then
+turn to look again at "The Fountain." Note, how, when the subjects are
+once understood, the great distance increases rather than decreases the
+charm of the paintings. Note especially how beautiful each one is when
+considered merely as a pattern of color. These two panels, if not the
+finest of all, at least must take rank among the best three or four.
+
+The North Court of Abundance
+
+Passing under the tower from the Court of Abundance one comes out in the
+little north court that is conceived in the same spirit, and which
+likewise is dominated by the Mullgardt tower. The architecture here is
+like an echo of that of the main court, the decorated spaces alternating
+with bare spaces. The tower sculptures are all repeated on this side.
+The only sculpture within the north court is Sherry Fry's
+personification of Aquatic Life. The statue is of a heavy sort that
+should be anywhere but in this place of ethereal mood and exquisite
+detailed workmanship. Blot out the background and you can see that the
+figure has a certain solid grace. But if designed for this court it
+fails of its decorative purpose.
+
+
+
+Court of the Universe
+
+
+
+The Court of the Universe is the most magnificent of the courts.
+Considering the many units-the noble arches, the long colonnades with
+their corner pavilions, the sunken garden with its fountains and
+decorative sculpture, and the vista to the Column of Progress and the
+Marina-it is by far the richest in artistic interest. But is it so
+imposing, so vast, that it necessarily lacks the sense of quiet
+restfulness and intimacy of appeal of the smaller courts. It is in a
+sense the Civic Center of the great Exposition model city, and as such
+it offers many suggestions of wise planning-and one or two of poor
+planning, as in the case of the obtrusive band-stand.
+
+The meaning of the court is to be found in the symbolism of the groups
+surmounting the two triumphal arches-the Nations of the East meeting
+the Nations of the West. With the opening of the Panama Canal the
+peoples of the universe have met at last; West faces East on this shore
+of the Pacific. The idea is finely expressed in the lines by Walt
+Whitman, inscribed on the west arch, in which the spirit of the Aryan
+race, having traveled this far, is supposed to speak as she gazes
+westward to Asia, "the house of maternity," her original home:
+
+   Facing west from California's shores,
+   Inquiring, tireless, seeking what is yet unfound,
+   I, a child, very old, over waves, towards the house
+      of maternity, the land of migrations, look afar,
+   Look off the shores of my Western Sea,
+      the circle almost circled.
+
+Variations of this theme may be found in the murals under the arches,
+and in those under the Tower of Jewels near by. Other universal themes
+are treated in the Fountains of the Rising Sun and of the Setting Sun,
+and in The Elements at the edge of the sunken garden. The idea of
+achievement, of victory in conquering the universe, is also suggested in
+the triumphal arches.
+
+Architecture
+
+The style of architecture is in general Roman; though, as is true almost
+throughout the Exposition buildings, there is an admixture of
+Renaissance motives. Even on the massive Roman arches there is a trace
+of Moorish lightness and color in the green lattices; and the domes of
+the corner pavilions are clearly Eastern in feeling.
+
+The East and West arches are, of course, reminiscent of the triumphal
+arches of the Roman Conquerors. A comparison with pictures of the famous
+Arch of Constantine and the Arch of Titus at Rome, will show how
+thoroughly the architects have mastered the feeling of the classic
+examples, while largely modifying the decorative features. To properly
+see either of the arches in this court as a single unit, it is best to
+stand at the side of the sunken garden, near one of the figures of "The
+Elements," where the fountain columns do not obstruct the view.
+
+The long colonnade, with its fine Corinthian columns and its surmounting
+row of "Star-girls," can best be appreciated when one stands facing
+north, with back to the Tower of Jewels-since the architecture of that
+was clearly conceived by another mind and built in a different spirit.
+It is from the two corner pavilions on the tower side, perhaps, that the
+best general views of the court can be obtained. Unfortunately the
+attractive view down the straight colonnades of the north extension of
+the court is marred by a gaudy band pavilion, which is quite out of
+keeping with the pervading mood of simple dignity. The little corner
+pavilions are worthy of study alone, as a graceful and unusual bit of
+architectural design.
+
+The Court of the Universe was designed by McKim, Mead and White.
+
+Sculpture
+
+The Court of the Universe has more than its share of the best sculpture
+of the Exposition. In this court more than anywhere else one can obtain
+an idea of the remarkable scope of the sculptured groups. It is a good
+place to linger in if one has heretofore had pessimistic doubts about
+the ultimate flowering of the art of sculpture in America.
+
+The Fountain of the Rising Sun is at the east end of the sunken garden.
+Its tall shaft is surmounted by the figure of a youth typifying the
+Rising Sun-a figure of irresistible appeal. The morning of day and the
+morning of life, the freshness of the dawn and the aspiration of youth--
+these things are remarkably suggested in the figure. With head up and
+winged arms outstretched, the youth is poised on tiptoe, the weight
+thrown forward, as if just on the point of soaring.
+
+The Fountain of the Setting Sun is just opposite, at the west end of the
+sunken garden. The surmounting figure here, though officially called
+"The Setting Sun," is more appropriately named "Descending Night"-the
+title the artist has given to the bronze replica in the Fine Arts
+gallery. The closing in of night-that is what is so perfectly
+suggested in the relaxed body, the folding-in wings, and the remarkable
+sense of drooping that characterizes the whole statue. There is, too, an
+enveloping sense of purity and sweetness about the figure.
+
+These two statues which surmount the Fountains of the Rising Sun and the
+Setting Sun are among the most charming sculptures at the Exposition.
+They have not the strength of the figures of the Elements, or the
+massive nobility and repose of the Genius of Creation, or the purely
+modern native appeal of the works of Stackpole and Young and Fraser. But
+for those of us who are sculpture lovers without asking why, they come
+closer to our hearts and dwell more intimately in our minds than any of
+these. "Descending Night" especially has a sensuous charm of graceful
+line, a maidenly loveliness, that appeals irresistibly. Both figures are
+by Adolph A. Weinman.
+
+Above the higher basin of each fountain the column drum is decorated
+with figures in relief. While the two friezes are meant to be decorative
+primarily, the artist has employed in each case a symbolism in keeping
+with the crowning figure. The frieze in the Fountain of the Rising Sun
+represents "Day Triumphant." The symbolic figures typify the awakening
+of man's finer instincts and energies at the call of the morning, and
+the shrinking of the vices when the darkness of night gives place to the
+light of day. The relief-frieze of the "Fountain of the Setting Sun" is
+entitled "The Gentle Powers of Night." It represents Descending Night
+bringing with her the Stars, the Moon-goddess, Dreams, and similar
+beautiful things. The lower basins of both fountains contain figures of
+centaurs (a new sea-variety, with fins) holding sea-monsters.
+
+Groups surmounting arches. The monumental groups surmounting the two
+triumphal arches are "The Nations of the East," on the Arch of the
+Rising Sun, and "The Nations of the West," on the Arch of the Setting
+Sun. The symbolic idea behind the two compositions thus placed facing
+each other, is that of the nations of the Eastern and Western
+Hemispheres at last meeting on this Pacific shore.
+
+The Nations of the East is made up of five mounted and four unmounted
+figures, all typical of the Orient. Reading from the spectator's left to
+right, the mounted figures are: 1. an Arab tribal chief on a horse; 2. a
+Mohammedan standard bearer on a camel; 3. the East Indian on his
+richly-caparisoned elephant; 4. another Mohammedan standard-bearer on a
+camel; 5. a Mongolian horseman. Between the mounted figures are the
+following on foot: 1. a servant with a basket of fruits; 2. an Arab
+falconer; 3. a Thibetan lama or priest; 4. another servant with fruit.
+
+The Nations of the West represents typical figures from the European
+nations which have helped to develop America, together with two American
+Indians and an Alaskan. A central composition shows the Mother of
+Tomorrow and a surmounting group typifying the Spirit of Enterprise
+which has led the Aryan race to conquer the West. The figures, from left
+to right, are: 1. the French-Canadian (sometimes called "The Trapper"),
+on horseback; 2. the Alaskan, carrying totem poles, on foot; 3. the
+Spanish-American conqueror, mounted; 4. the German-American, on foot; 5.
+the Mother of Tomorrow, on the tongue of the ox-drawn prairie schooner;
+6. the Italian-American, on foot; 7. the English-American, mounted; 8.
+an Indian squaw; 9. the American Indian, mounted. On top of the prairie
+schooner the Spirit of Enterprise is represented by a spirited winged
+figure, with a boy at either hand.
+
+The way in which the two groups balance each other at the two ends of
+the court is worthy of study-the elephant of the one offset by the
+prairie schooner of the other. Indeed each feature of one is balanced in
+the other so that the two will mass against the sky with the same
+general decorative effect. "The Nations of the East," considered as a
+whole, seems the more satisfying group-richer in feeling, more unified
+in design, and more massive; in short, more monumental and therefore
+better fitted to crown the noble arch. But if this fits its setting
+better, and masses against the sky more satisfyingly, "The Nations of
+the West" will be found on close examination to contain the better
+individual figures. The Alaskan (unfortunately almost lost to view in
+the present placing of the group), the Canadian Trapper, and the mounted
+Indian are all worthy of prolonged study; and the figure of the Mother
+of Tomorrow is one of the finest bits of sculpture at the Exposition. In
+these figures, and only slightly less so in the other figures of this
+and the opposite group, there is ample evidence that the American
+sculptors have outgrown the traditions of by-gone "schools" and have
+developed a genuine native medium of expression. The two groups are the
+work of A. Stirling Calder, Leo Lentelli, and Frederick G. R. Roth in
+collaboration.
+
+Figures at north and south of sunken garden. Flanking the stairways to
+the sunken garden at north and south are four large figures by Robert
+Aitken, typifying "The Elements."
+
+Air is at the west end of the south stairway, and is represented as a
+huge winged female figure putting a star in her hair. Two birds,
+old-time symbols of the air, complete the suggestion. At the back a man
+has tied himself to the wings of the figure typifying man's effort to
+put to his own use the wings of the air.
+
+Earth is placed at the east end of the south stairway. A huge female
+figure rests on conventionalized rocks, and a formalized tree partially
+supports her. At the back two small struggling figures are seen,
+typifying man's struggle with the forces of earth.
+
+Water is placed at the east end of the north stairway. The sea-god, with
+his trident in one hand and sea-weed in the other, rides on a wave, with
+a dolphin beside him.
+
+Fire at the west end of the north stairway-is typified by the figure
+of a man in agony, with one hand grasping the flame, and with jagged
+lightning in the other, symbolizing man's terror of fire as well as his
+conquering of it. A salamander completes the main design, while at the
+back the phoenix, bird fabled to rise from fire, helps support the
+figure.
+
+These four figures are of the sort of art that is likely to turn the
+unthinking person away, though a study of them will bring out new
+beauties with riper acquaintance. Because people fail to get far enough
+away from them to obtain the proper perspective, the statues seem too
+huge, too strong, too terrible, ever to be attractive. They are, it is
+true, out of scale, and thus mar the effect of the court to a certain
+extent. But there is in them something of the noble and compelling
+strength of the statues of Michael Angelo-to whom the sculptor clearly
+owes his inspiration. Stand between the columns at the corner of the
+Transportation Palace, and you will see that the figure of Fire not only
+is imaginatively conceived but is a fine line composition as well. Study
+of the other three from corresponding viewpoints will well repay in
+increased understanding and pleasure.
+
+Figures at east and west of sunken gardens. Flanking the east and west
+stairways are two groups by Paul Manship. The one representing two girls
+dancing or running is called sometimes "Festivity," sometimes "Motion."
+Here the artist has welded the figures into an ornamental design in a
+way unparalleled in the work of other American sculptors. Note the
+finely varied outline, the sense of rhythmic motion, and the rich
+feeling that every part is decorative. The opposite group is called
+"Music" or "Music and Poetry." It lacks the flowing grace and something
+of the richness of feeling of the other, though it is more dignified.
+There is the same conventionalization in treatment, again charming.
+These groups are not for people who look for realism in art above all
+else; but for those who care for the classic, who see in formalization a
+short-cut to the expression of the spirit of a thing, there are few more
+appealing groups in the grounds. The figures are repeated at the east
+and west entrances to the garden.
+
+Minor Sculptures. The slender "Stars" along the top of the colonnade are
+the work of A. Stirling Calder. When one remembers that this is the
+Court of the Universe, they seem to fit in with the meaning of the
+whole, and architecturally their symmetry of form fits them well for
+repetition. The low relief friezes on the corner pavilions represent
+"The Signs of the Zodiac," and are by Hermon A. MacNeil. A formalized
+Atlas is represented in the center, and at each side are seven of his
+daughters, the Pleiades and the Hyades, whom the gods changed into
+stars. Twelve of the maidens have plaques bearing the symbols of the
+Zodiac. The frieze is well composed and beautifully modeled, but the
+rough Travertine does not do it justice. The minor sculptures on the
+triumphal arches consist of a repeated winged angel with sword
+down-turned, by Leo Lentelli; spirited spandrels over the arches,
+representing "Pegasus," by Frederick G. R. Roth; and two well-adapted
+medallions by A. Stirling Calder and B. Bufano. All of these decorative
+features are repeated on both sides of both arches.
+
+Mural Paintings
+
+The four mural paintings of the Court of the Universe, two under each of
+the triumphal arches, represent the progress of civilization from the
+old world to the American far West. The two under the Arch of the Rising
+Sun, at the east of the court, represent the nations that crossed the
+Atlantic and their ideals, while those under the western arch show the
+march of the pioneers from New England to California. To obtain the
+proper sequence of thought the ones under the eastern arch should be
+examined first.
+
+Murals in Arch of the Rising Sun. On the south wall of the arch is a
+panel representing the nations that have dared to cross the Atlantic to
+bring their civilization to America. The figure farthest to the
+spectator's right represents the spirit of adventure or "The Call to
+Fortune." Then follow representatives of the nations, in this order: 1.
+the half-savage of the lost Continent of Atlantis; 2. the Roman
+conqueror; 3. the Spanish explorer, typified by a figure resembling
+Columbus; 4. the English explorer, resembling Raleigh; 5. a priest,
+typifying the bringing of European religion to America; 6. the artist,
+bringing the arts; and 7. the workman-immigrant of today. Then follows
+an allegorical veiled figure, with hand to ear, listening to the hopes
+and ideals of the men who are following the call to fortune.
+
+The opposite panel shows what the veiled figure has heard-depicts the
+hopes and ideals that have led men to cross the Atlantic. At the far
+left are figures symbolizing True Hope and False Hope. Soap bubbles are
+being scattered by False Hope, and the third figure, typifying
+Adventure, tries to pick them up. Then follow the true ideals and hopes
+in this order: 1. Commerce 2. Imaginative Inspiration; 3. Truth and
+Beauty (one figure); 4. Religion; 5. Wealth; and 6. Family joys (a woman
+with babes). In this panel the background contains suggestions of
+Asiatic and American cities. In the other panel the background shows a
+group of ships, ranging from those of the earliest times to the modern
+liner.
+
+These two paintings are worthy of study for the historical and symbolic
+interest. Artistically they are notable chiefly for the remarkable
+freshness of coloring and rich mosaic effect. Both are by Edward
+Simmons.
+
+Murals in Arch of the Setting Sun, at the west side of the court. The
+painting on the north wall should be viewed first. This represents
+pioneers from a New England village starting for California. There are
+four groups of figures, as follows: 1. two workmen, and a woman holding
+a child; 2. a symbolic figure of the Call to Fortune; 3. a group showing
+the types of those who crossed the continent-the driver first, and
+then the Preacher, the Pioneer, the Judge, and the Schoolmistress (there
+are four children also in this group, and at the back is a wagon filled
+with household goods); and 4. a youth bidding farewell to his parents as
+he starts to join the band of emigrants. At the back of the last group
+is seen a typical New England home, and in the distance a New England
+meeting-house.
+
+"The Arrival on the Pacific Coast" is the title of the painting on the
+opposite wall, which represents the immigrants being welcomed as they
+reach California. Here again there are four groups of figures. The first
+shows two Spanish-American soldiers and their captain, following a
+priest, typical of the days of Spanish rule in California and of the
+Mission period. Second, there is a symbolic figure, "The Spirit of
+Enlightenment." The third and main group shows types of immigrants. The
+men here are: 1. the scientist; 2. the architect; 3. the writer; 4. the
+sculptor; 5. the painter; 6. the agriculturist; and 7. the miner (or
+other manual worker). A woman and several children complete the group,
+and at the back is a prairie schooner, from which a girl waves a flag.
+The fourth group represents California welcoming the immigrants, the
+state being symbolized by tokens of the wealth it has to offer settlers:
+the orange tree, sheaves of grain, and fruits-the figures including
+the miner, the farmer, fruit pickers, and the California bear. This last
+group is the most colorful, and in many ways the most appealing, of all
+those in the two panels under the west arch. It is interesting to
+compare the golden warmth here and indeed throughout the California
+panel-with the cold atmosphere of the New England one.
+
+Those who are familiar with the historical characters of the West will
+be able to recognize in the California panel idealized portraits of
+William Keith as the painter, Bret Harte as the writer, and Junipero
+Serra as the priest. In the New England panel may be found William
+Taylor, famous street preacher of the early days in California, as the
+preacher, and "Grizzly" Adams as the pioneer.
+
+Both murals under the Arch of the Setting Sun are by Frank Vincent
+Dumond.
+
+The Side Courts
+
+The two small connecting courts, or aisles, at the east and west of the
+Court of the Universe are known as the Florentine Court and the Venetian
+Court respectively. Both are in Italian Renaissance architecture, and
+both are remarkably rich in color. The patterns on the shafts of the
+columns, while doubtless adding to the feeling of richness, are a little
+too pronounced, tending to destroy that restfulness which is felt in the
+other Italian courts, the Court of Flowers and the Court of Palms. In
+both the Florentine Court and the Venetian Court the planting schemes
+harmonize unusually well with the architecture.
+
+-
+
+Size of the Court of the Universe
+
+For the sake of those who find added interest in knowing on what scale a
+work of art is built, the following facts are added:
+
+The area of the Court of the Universe is about seven acres. On its east
+and west axis, from arch to arch, it is six hundred and fifty feet; on
+its north and south axis, from the Tower of Jewels to the Column of
+Progress, it is nearly twelve hundred feet.
+
+The Arches of the Rising Sun and the Setting Sun have a total height, to
+the top of the surmounting sculpture, of two hundred and three feet.
+
+The Tower of Jewels is 433 feet in height, while the main archway
+beneath is 110 feet high.
+
+
+
+Court of the Four Seasons
+
+
+
+The Court of the Four Seasons, unlike the other main courts, does not
+immediately call forth one's exclamations of surprise and delight. It is
+not so compellingly beautiful as either of the others. Nevertheless it
+has a distinctive charm of its own-a reposeful atmosphere and a
+simplicity of form that become more and more appealing with riper
+acquaintance. It is a good place to come to when one is satiated with
+the beauties of the other courts, for restfulness is the keynote. The
+simple massive style of the architecture and the simple planting scheme
+combine to produce a spirit of calm. The ideas of energy, achievement,
+progress, effort-so insistently emphasized elsewhere-are left
+behind, and everything breathes a sense of peace and orderliness, of
+things happening all in good season.
+
+The primary idea underlying the decorative features of the court is
+sufficiently indicated in the name, "The Four Seasons;" and this idea is
+symbolically expressed in the sculpture and mural paintings in the four
+corners of the colonnade. But a study of the other decorations shows
+that the idea of abundance, or fruitfulness, was equally in the minds of
+architect and sculptors. The purely architectural ornaments, such as the
+capitals and the running borders, employ the symbols of agriculture and
+fruitfulness, while no less than five of the main sculptural groups or
+figures deal directly with harvest themes.
+
+Architecture
+
+The style of architecture is in general Roman. The half-dome and the
+colonnades are almost severely classic. The column capitals are Ionic.
+But in the freedom of some of the architectural forms, particularly in
+the archways at east and west, there is a suggestion of Renaissance
+influence. The plan with its four cut-corners with fountains, and its
+half-dome facing down the long colonnade to the bay, is ingenious. The
+half-dome itself, dominating feature of the court, is exceptionally
+dignified and impressive. To obtain the best view of it as a single
+unit, one should stand between two columns of the colonnade near either
+the Fountain of Summer or the Fountain of Autumn-as from these points
+the eye is not carried through the doorway at the back of the dome, to
+the detriment of a unified impression.
+
+Henry Bacon is the architect who designed the Court of the Four Seasons.
+
+Sculpture
+
+Bulls on pylons. The finest sculpture here is to be found in the groups
+capping the pylons at the entrance to the minor north court. Though
+called by the artist "The Feast of Sacrifice," these are commonly known
+as "The Bulls." The group, which is duplicated, shows a bull being led
+to sacrifice by a youth and a maid, and is reminiscent of the
+harvest-time celebrations of ancient peoples. But it is just as well to
+forget the subject, and to admire purely for the sensuous charm-for
+the beauty of outline, the fine modeling, and the remarkable sense of
+spirited action. Note the three figures individually: the nobly animated
+bull, the magnificently set-up youth, and the strong yet graceful
+maiden; then note how the sacrificial garland holds the whole group
+together and makes it richer. Note, too, how the forward-moving lines of
+the bull are accentuated on one side by the similar lines of the youth's
+body, and on the other by the contrasting lines of the girl's. Putting
+aside any question of meaning, there is not in any of the courts a
+nobler bit of decorative work than this. Albert Jaegers was the
+sculptor.
+
+Figures surmounting columns. On the two columns before the half-dome are
+Albert Jaegers' figures of "Rain" and "Sunshine." At the right, as one
+faces the dome, Rain is typified by a woman shielding her head with her
+mantle and holding out a shell to catch the water. At the left Sunshine
+is represented by a woman shielding her head from the sun's rays with a
+palm-branch. Both figures are characterized by a sense of richness, of
+fullness, that is perfectly in keeping with the spirit of the court. In
+commenting on these statues, in one of his lectures on the art of the
+Exposition, Eugen Neuhaus, the well-known California painter, suggested
+very appropriately that the court should have been named for them "The
+Court of the Two Seasons" since in California the only noticeable
+seasonal change is from a sunny period to a rainy period.
+
+Group surmounting half-dome. This shows a conventional seated figure of
+Harvest, with an overflowing cornucopia. At one side a child-figure bows
+under a load of fruit. This group also is by Albert Jaegers. Here, as in
+"Rain" and "Sunshine," there is a sense of fruitfulness, of profuseness,
+a maternal suggestion that helps to carry out the symbolism of the
+court. In all three of these statues, too, there is something of the
+nobility and massiveness that distinguish the same artist's "bull"
+groups across the court. All are eminently suited to the massive Roman
+architecture; nowhere else have sculptor and architect worked together
+more successfully.
+
+Fountains of the Seasons. In the niches formed at the corners of the
+court by the diagonal colonnades are novel fountains, surmounted by
+groups representing the four seasons. It is well to go first to the
+southwest corner, to the "Fountain of Spring"; then to the northwest
+corner, for "Summer"; and so on around the court. If one is ever puzzled
+to understand from the figures which season is represented, a glance at
+the labeled murals up above in the corridor will give the proper title
+for statue and murals of each season are grouped together.
+
+Spring. A young woman draws a floral garland over her head, while at her
+right a love-lorn youth turns a pleading face to her, and at her left a
+girl brings armfuls of flowers.
+
+Summer. To a man a woman holds up a babe, symbol of the summer of human
+life, while at one side a crouching figure holds a sheaf of full-headed
+grain.
+
+Autumn. The central figure is a woman of generous build with a jar on
+her shoulder-quite the usual personification of Autumn or
+fruitfulness. At one side a young woman holds a garland of grapes, and
+at the other is a girl with a babe. This last figure is perhaps the most
+graceful in all the four groups, though the same sort of loveliness
+distinguishes to a certain extent the two flower-girls of "Spring."
+Altogether, this "Autumn" fountain is probably the finest of the four.
+
+Winter. The central figure is Nature, in the nakedness of winter,
+resting after the harvests of autumn and waiting for the birth of
+spring. At one side a man with a spade rests, while on the other a man
+with a seed-bag is already beginning to sow. Although all the figures of
+"The Fountains of the Seasons" are nude, there is about this group a
+sense of cold nakedness that well accords with the season it portrays.
+
+These four groups are very properly alike in composition and
+feeling-suggesting perhaps that the differences between the seasons in
+California are but slight. There is throughout a conventional touch, and
+all are in pastoral mood. The groups are by Furio Piccirilli.
+
+The Fountain of Ceres is in the north extension of the court, between
+the Palace of Food Products and the Palace of Agriculture. The
+surmounting figure is of Ceres, Greek goddess of the fields and
+especially of corn. The bas-relief frieze represents a group of dancers,
+suggestive of the seasonal festivals of the Greeks. The main figure has
+been much criticized, but an unbiased critic may find much in the
+fountain to praise. The pedestal and the crowning figure are well
+thought out, and the proportions of the whole are good; and there is a
+feeling of classic simplicity throughout. The frieze of dancing girls,
+too, is exceptionally graceful. If, then, one discovers that Ceres is
+more mature than a goddess ever ought to be, or that her face suggests
+that of an exasperated school-teacher, or if one finds the cornstalk in
+her hand a realistic thing incompatible with any poetic conception, it
+is well to step back until one gets only the general effect. For there
+is much to admire in the poise of the figure, in the decorative outline,
+and in the sculptor's lightness of touch. The fountain was designed by
+Evelyn Beatrice Longman.
+
+Minor Sculptures. On the archways at east and west of the court a
+high-relief figure by August Jaegers is repeated eight times, and the
+spandrels over the arches are by the same artist. In both cases the idea
+of abundance or fruitfulness again supplies the motive. The boxes at the
+bases of the columns on which "Rain" and "Sunshine" stand are decorated
+with agricultural scenes in low relief. The capitals at the tops of
+these columns are enriched with groups of agricultural figures. Within
+the archways at east and west the ceilings are decorated with delicate
+bas-relief designs, patterned after the famous ones at Villa Maderna,
+Rome.
+
+Mural Paintings
+
+All the murals in the Court of the Four Seasons are by H. Milton
+Bancroft. In general they are less interesting than those of any other
+court.
+
+The Seasons. In the four corners of the colonnade there are eight
+panels, grouped by twos as follows: Spring and Seed Time; Summer and
+Fruition; Autumn and Harvest; and Winter and Festivity. There is little
+to hold the attention either in richness of color or in unusual grace of
+composition. Moreover, the artist has left nothing to the imagination in
+the symbolism by which he expresses the several ideas. The devices are
+so hackneyed, and the meaning so obvious, that any sort of
+interpretation would be entirely superfluous.
+
+Panels under half-dome. On the east wall under the dome is the panel Art
+Crowned by Time. Father Time crowns Art, while on one side stand figures
+representing Weaving, Jewelry, and Glasswork, and on the other Printing,
+Pottery, and Smithery. On the opposite wall is the panel Man Receiving
+Instruction in Nature's Laws. A woman holds before a babe a tablet
+inscribed "Laws of Nature," while on one side are figures of Fire, Earth
+and Water, and on the other figures of Death, Love, and Life. These two
+larger panels are more pleasing than the eight representing the Seasons,
+both in coloring and in figure composition; and they make pleasing spots
+of bright color in the dome. But again the artist is tediously careful
+to make his meanings plain. Not only does each figure hold its obvious
+symbol prominently in view, but there are labels naming the figures. To
+the art student the painter's stipple-and-line method, producing
+vibration of light and a certain freshness of atmosphere, will be of
+interest, as being out of the usual run of mural technique.
+
+Before leaving the Court of the Four Seasons one should stand under the
+central arch of the triple portal at the east, and look first to the
+east through the Arch of the Setting Sun to the group "Nations of the
+East;" and then to the west along the vista that ends with the kneeling
+figure before the Fine Arts temple. The arrangement of architectural and
+sculptural units in both vistas is worthy of study.
+
+
+
+The Court of Palms and the Court of Flowers
+
+
+
+In these two courts, which pierce the walled city on the south, opposite
+the Palace of Horticulture and opposite Festival Hall, is to be found
+the purest expression of that spirit of the Italian Renaissance which
+hovers over so much of the Exposition architecture. Here, too, one finds
+Jules Guerin's color scheme at its richest. Both courts necessarily lack
+the cloistral charm of the Court of Abundance, since they have the
+fourth sides open. But what they lack in the sense of enclosure they
+make up in sunniness and joyous color. They are restful and warm and
+quiet-and artistically they are among the most perfect and most
+harmonious units on the grounds.
+
+The Court of Palms
+
+The Court of Palms is directly opposite the Palace of Horticulture,
+between the Education and Liberal Arts Palaces, and adjoins the Court of
+the Four Seasons. The charming sunken garden and simple pool reflect the
+colored colonnade, arches and towers with a sense of rest that is a
+relief and stimulant after walking miles of exhibit halls. Although
+really nearly two acres in area, the court seems small and intimate. The
+proportions are good, and the planting particularly fortunate.
+
+The architecture is Renaissance, and is suggestive of the interior
+courts of the palaces of the Italian nobles. The colonnade columns are
+Ionic. The high attic story or frieze above the colonnade is remarkably
+rich, with its orange brown panels garlanded with green and red fruits,
+and decorated with Caryatid pilasters. It is worthy of study for the way
+in which architect, sculptor and color director have co-operated. The
+Italian Towers, terminating the colonnades, are among the finest bits of
+architectural design in the whole building group. Though only a fraction
+of the height of the Tower of Jewels, they convey much better the
+impression of reaching high into the heavens, of aspiration and uplift.
+They are more satisfying, too, in their combination of architectural
+forms, and they carry out notably well the delicate but luxuriant color
+scheme of the court. The unusual repeated pattern which fills the large
+wall panels of the towers is worthy of attention.
+
+The architect of the court was George W. Kelham.
+
+Sculpture. The only really important statue in the court is that which
+stands at the opening on the Avenue of Palms-called The End of the
+Trail. An Indian, bowed at last under the storm, sits astride a dejected
+horse utter weariness, discouragement, lost hope, expressed in every
+line of man and animal. Some see in the statue only the abject despair
+of a horse and rider when the consciousness finally comes that the trail
+is definitely lost in the wilderness; and it is notable enough as an
+expression of this tragic theme. But others, remembering the history of
+the Indian, see here an eloquent and pathetic reminder of a race that
+has seemingly come to the end of its trail. As a portrayal of this
+racial tragedy the group is even more remarkable than as an expression
+of the hopelessness of a lost man and horse.
+
+The statue is hardly in key with its architectural surroundings; but its
+comparatively isolated position prevents it from seeming an intrusive
+element in the court. Considered alone it is more individual, more
+expressive of independent and deep moving thought, than any other
+sculpture in the grounds. There is far more of real earnestness here
+than is usual in exposition sculpture. The thing is significant, too,
+for the native note. It is worthy of serious study as indicating one of
+the most important tendencies of American sculpture when not tied to the
+purely decorative. The sculptor was James Earl Fraser.
+
+The minor sculptures in this court consist of the Caryatides by John
+Bateman and A. Stirling Calder; the spandrels, by Albert Weinert; "The
+Fairy," by Carl Gruppe, which crowns the Italian Towers; and the classic
+vases at the portals.
+
+The mural paintings in this court are disappointing. Two are
+surprisingly poor, considering the high reputation of the artists, and
+the third is badly placed. The tympanum in the portal at the east side
+of the court is filled by Charles W. Holloway's panel, The Pursuit of
+Pleasure. This is a conventional treatment of the subject, in which a
+number of youths and maidens turn lackadaisically to a winged figure of
+Pleasure. There is a pleasing lightness of touch, and the bright reds
+and blues are in keeping with the spirit of the court-but the thing
+is, somehow, insipid. This panel is more pleasing under illumination. In
+the opposite portal is Childe Hassam's painting, Fruits and Flowers.
+This again is a conventional treatment, showing very obviously vegetable
+and human fruits and flowers. The arrangement is tediously symmetric,
+the coloring is rather weak, and there is a wooden stiffness about the
+figures. The panel makes a pleasant spot of color, but is by no means up
+to the standard of the canvases in Hassam's room in the Palace of Fine
+Arts.
+
+The panel over the main doorway, at the north end of the court, is by
+Arthur F. Mathews, and is far superior to the other two, though
+unfortunately placed in a dark spot. It is called by the artist A
+Victorious Spirit. The central figure, gorgeously suggesting the Spirit
+of Enlightment, protects Youth from the discordant elements of life from
+materialism and brute force, as represented by the rearing horse and
+militant rider. Youth is attended by the peace-bringing elements of
+life, by Religion, Philosophy or Education, and the Arts. The symbolism
+here is sound, the composition and drawing unusually good, and the
+coloring quite wonderful-especially in the orange-yellow robe of the
+Spirit. The full deep colors are in sharp contrast with those of most of
+the Exposition murals.
+
+No one should leave this court without first pausing to enjoy the vista
+through the north doorway, showing Albert Jaeger's spirited Sacrificial
+Bulls on the Agriculture and Food Products Palaces, the long colonnade
+of the Court of the Four Seasons, and the bit of bay and hills beyond.
+
+The Court of Flowers
+
+The Court of Flowers is opposite to Festival Hall, between the Mines and
+Varied Industries Palaces. The first impression, as one comes to it, is
+that here is a replica of the colorful Court of Palms. But many
+differences become evident after a few moments' study.
+
+The architecture is Italian Renaissance, but of a more richly decorative
+sort than in the Court of Palms. There is more overlaid ornament, and on
+the whole, less simplicity and quietness and more varied interest. The
+columns here are Corinthian, arranged in pairs. The gallery above the
+colonnade adds to the suggestion of the sunny South. The Italian Towers,
+while similar in feeling to those of the other court, are different in
+the arrangement of elements, though equally successful. The color
+decoration is again notable.
+
+It is hardly necessary to add that George W. Kelham designed this court
+too.
+
+Sculpture. The center of the court is dominated by Edgar Walter's Beauty
+and the Beast Fountain. The surmounting statue is a curious combination
+of graceful lines and grotesque effects. The strange Beast is no less
+fantastic than the young lady herself-she who has adorned her fair
+body with nothing more than a Spring hat and a pair of sandals. It is
+probably this near-nudeness, without pure nakedness, that creates the
+jarring note of the group Certainly there is a bizarre touch that
+somewhat offsets the sinuous charm of the figure. Under the upper basin
+are four piping Pans, not notable individually, but adding to the
+decorative effect. The wall around the lower pool carries a playful
+frieze of animals in low relief.
+
+The Pioneer is the title of the equestrian statue at the south end of
+the court, on the Avenue of Palms. The man is typically the Western
+pioneer, as every resident of the Pacific Coast has known him-a
+patriarchal figure who foreran civilization here in the West of America
+as he has in all other new lands. Head up, axe and gun in hand, looking
+straight forward, he is a fine visualization of the "Forty-niner." He
+is, too, an interesting racial contrast to the Indian of "The End of the
+Trail." One wonders, however, about the horse, with the elaborate
+trappings that clearly belong to another era-to the days of Spanish
+conquest, perhaps. Certainly horse and rider do not seem to be conceived
+in the same spirit. The group lacks, too, that vital intensity of
+feeling and that emotional strength which distinguish "The End of the
+Trail," the companion-statue in the Court of Palms. The "Pioneer" is by
+Solon Borglum.
+
+The minor sculpture here consists of A. Stirling Calder's attractive
+"Flower Girl," repeated in the niches along the loggia; dignified Lions,
+by Albert Laessle, flanking the three portals; and again Carl Gruppe's
+"The Fairy," atop the Italian Towers.
+
+
+
+The Tower of Jewels, and the Fountain of Energy
+
+
+
+It was planned that the Tower of Jewels should be the great dominating
+feature of the architectural scheme of the Exposition; that this unit
+more than any other should stand as a triumphal monument to celebrate
+the opening of the Panama Canal. The mural paintings, the sculpture and
+the inscriptions all carry out this idea, but the tower, in its
+architectural aspect alone, fails to live up fully to its purpose. It
+serves well to "center" the whole scheme, and to afford an imposing pile
+at the main entrance. Nevertheless it falls short of the high
+architectural standard of the courts and palaces.
+
+Architecture
+
+The architectural forms used in the design of the tower are in general
+classic; but the architect has shown considerable originality in their
+arrangement and massing.
+
+The lower portion, embracing the imposing arch and flanking colonnades,
+is very dignified and quite satisfying. Standing close to the structure,
+on the south side, so that one is conscious chiefly of this lower
+portion, there comes the proper sense of nobility-the feeling that one
+obtains from a successful triumphal arch. The chief fault of the tower
+above is that it lacks the long lifting lines that would give a sense of
+aspiration. It seems just a little squat and fat-as if it were too
+heavy on top and splayed out at the sides and bottom. It is also
+somewhat "showy," with too much hung-on ornament; and the green columns
+against red walls are not satisfying-this being one of the very few
+failures of the color scheme in the entire group of buildings.
+
+At night the tower takes on a new and unexpected beauty. The outline
+softens under the illumination, and the feeling of over-decoration and
+broken lines is lost. The whole structure becomes a huge finger of
+light, reaching up into the dark heavens-with softer indirect lighting
+below, and glowing brilliantly above. Even the hundred thousand pendent
+jewels, which at best are but flashy in the day time, add to the
+exquisite fairy like effect at night. The illumination here is such,
+indeed, that it must be one of the most impressive and lasting memories
+to be carried away by the visitor.
+
+The Tower of Jewels was designed by Thomas Hastings, of the firm Carrere
+and Hastings of New York.
+
+Sculpture
+
+The sculpture, like the mural paintings, deals in general with the
+winning of the Americas and the achievement of the canal project.
+
+Sculpture on the tower. As one stands in the South Gardens facing the
+tower, one sees above the first cornice, reading from left to right,
+four statues of The Adventurer, The Priest, The Philosopher, and The
+Soldier. These finely realized figures, which are by John Flanagan,
+represent four types of the early conquerors of America. On the next
+story is a repeated equestrian statue of the Spanish Conqueror, called
+The Armored Horseman, by F. M. L. Tonetti. These five statues are
+repeated on the other three faces of the tower. There is much other
+sculpture of a purely decorative sort, the motives used being those
+usually found in triumphal monuments, such as eagles, wreaths, and the
+beaks of ships with which the Romans ornamented the columns celebrating
+their naval successes.
+
+Equestrian statues at entrance. In front of the two side colonnades are
+spirited equestrian statues. As one faces the tower, the figure at the
+left is of Pizarro, who conquered the richest portion of South America
+for Spain. This figure is heroically decorative, and is by Charles Carey
+Rumsey. At the other side of the main arch is Charles Niehaus' vigorous
+statue of Cortez, who won Mexico for Spain. This figure, carrying a flag
+and pennon on a lance, and perfectly seated on the strong horse, has a
+live sense of movement, and the whole group is informed with the spirit
+of the lordly conqueror.
+
+Fountains under the tower. Within the colonnades to east and west of the
+main archway are respectively the Fountain of Youth and the Fountain of
+El Dorado.
+
+The Fountain of Youth consists of a central figure on a pedestal, and
+two rounded side panels with figures in relief. Youth is symbolized as a
+girl, an immature figure, beautifully modeled. She stands, perfectly
+poised, among rising blossoms. On the pedestal are more flowers in
+relief, and two dimly indicated half-figures of a man and woman may be
+discovered. The side panels show old people being drawn away in ships
+manned by cherubs-old people who gaze back wistfully at the Youth they
+are leaving. Really the fountain is far more charming if one forgets all
+but the central figure. There is in that a sweet tenderness, a maidenly
+loveliness, that makes it the perfect embodiment of Youth-an
+embodiment to be remembered with delight again and again.
+
+The fountain was designed by Edith Woodman Burroughs.
+
+The Fountain of El Dorado is on the other side of the archway, and is by
+Gertrude Vanderbilt Whitney. It represents, as a whole, mankind's
+pursuit of the unattainable. The legend of El Dorado is that there once
+lived in South America a prince, "The Gilded One," who had so much gold
+that daily he had his body covered with gold dust. Many Spanish
+explorers spent fruitless years in search of the fabulously rich country
+of this prince. The idea of the fountain is that the Gilded One,
+representing the unattainable, the advantages of wealth and power which
+deluded men and women seek without value given to the world in return,
+has just disappeared through the gateway, the gates closing after him.
+On either side processions of seekers who have glimpsed the Gilded One,
+strain toward the gateway. Some loiter in love or play, some drop from
+fatigue, some fight their way along; and the first two, finding that the
+pursuit is fruitless after all, have dropped to their knees in anguish.
+The two standing figures beside the gates are said by the sculptor to
+have no significance beyond the fact that they are "just guardians."
+
+The fountain is notable for its symbolism and for the modeling of the
+many nude figures. The panel on the right is especially decorative, and
+has some notably fine individual figures and groups. The spirit of the
+fountain, with its realism and its note of hopelessness, is not in
+keeping with that pervading most of the Exposition sculpture. After
+looking at the work for a time, turn and look back through the two
+archways at the central figure of Youth at the other side. Certainly no
+figure in the Fountain of El Dorado has the appeal and charm of that.
+
+Mural Paintings
+
+On the walls of the archway under the Tower of Jewels are eight
+paintings celebrating the building of the Canal. All are by William de
+Leftwich Dodge.
+
+On the west wall the first panel is called Discovery. It portrays the
+discovery of the Pacific Ocean by Balboa.
+
+The second panel is called Atlantic and Pacific. A huge figure of Labor,
+having brought together the oceans, is opening a waterway from West to
+East. On the left an ox-drawn prairie schooner has arrived at the shore,
+with types of Western civilization. On the opposite shore types of the
+nations of the East, in a colorful group, are straining forward to meet
+the West.
+
+The third panel is entitled The Purchase. A figure representing the
+United States is taking over the canal project from France. The French
+laborers are throwing down their tools, and Americans press forward to
+take them up.
+
+In the group on the opposite wall the first panel is called Labor
+Crowned. Victorious Labor is being crowned by the angel of Success,
+while soldier and workers come to pay homage.
+
+The second panel is entitled The Gateway of All Nations. Figures
+symbolizing Progress call the world to pass through the Canal. Neptune
+holds garlands by which he draws ships of the various nations toward the
+waterway. Two laborers rest on their machines and watch the procession
+which they have made possible.
+
+The last panel is called Achievement. A woman with the symbols of
+knowledge, or wisdom, sits enthroned, while about her are grouped
+figures representing the forces instrumental in building the Canal. At
+the left are laborers; at the right figures typifying Engineering,
+Medical Science (with the Caduceus, the wand of Mercury, god of
+medicine), and Commerce or Munificence.
+
+These mural paintings are among the most interesting and most
+imaginative of all those at the Exposition. Some of the groups are
+particularly fine in coloring. Note the method of obtaining the right
+effect of "flatness" by employing a conventional diaper pattern for the
+background throughout. The panels here are much more effective under
+full illumination at night than by daylight.
+
+The Fountain of Energy
+
+The Fountain of Energy in the South Gardens was designed to be the
+crowning feature of the sculpture of the Exposition, just as the Tower
+of Jewels was designed to dominate the architectural scheme; and it
+fails of its high purpose in much the same way. It is closely allied
+with the tower in symbolic meaning, celebrating man's victory over the
+forces of nature in the successful building of the canal.
+
+In the pool at the base of the fountain are a number of graceful groups
+of water sprites on dolphins, and four larger groups representing the
+four great seas. The one to the east of the main fountain represents The
+Atlantic Ocean as a woman with sea-horses in one hand and coral like
+hair, on the back of a conventionalized dolphin. At the north The North
+Sea is represented by a sort of sea-man, with occasional fins and with a
+three-pronged spear in hand, riding on a walrus. At the west The Pacific
+Ocean is typified by a woman on a remarkable sea monster. And on the
+south a sea-man with negro-like features, and with an octopus in one
+hand, rides on a sea-elephant, representing The South Seas.
+
+The main pedestal of the statue is a globe, representing the earth. This
+is supported by a series of figures of mermaids and mermen. The Eastern
+and Western Hemispheres are represented by figures reclining on the
+globe, the one to the east a cat-headed woman, the one to the west a
+bullheaded man. The band, decorated with aquatic figures, which
+encircles the globe, suggests the final completion of a waterway about
+the earth.
+
+Energy, the Victor, the surmounting group, typifies the indomitable
+spirit that has achieved the building of the Canal. The nude figure of
+Energy with arms outstretched rides a horse through the waves, while on
+his shoulders stand smaller figures of Valor (with a wreath) and Fame
+(with a sword) heralding the triumph. These small figures are
+unfortunate they hardly belong, and instinctively one is worried for
+their equilibrium.
+
+The whole fountain is instinct with energy, and expresses joyous
+achievement, as was meant. Moreover it is remarkable in its breadth of
+conception, in imaginative interpretation of the theme. But it lacks
+that sense of repose which would make it intimately satisfying.
+
+The fountain was designed by A. Stirling Calder.
+
+
+
+Palaces Facing the Avenue of Palms
+
+
+
+The adoption of the "walled-city" plan for the Exposition meant the
+grouping of the more imposing architectural effects in the interior
+courts, the outer facades simply forming parts of a practically
+continuous wall about the whole. Inspired by Spanish architecture of the
+Renaissance, the intention was to keep the wall spaces in general quite
+bare, concentrating the decorative effects in rich "spots" at carefully
+chosen intervals. Thus the outer facades of the central group of palaces
+combine a simple general form with a series of richly ornamental
+portals. The architect who as entrusted with the designing of the wall
+and all the portals was W. B. Faville of Bliss and Faville.
+
+Certain architectural and sculptural units are repeated throughout the
+central group. Each building has a low central dome, seldom seen when
+one is close to any of the main buildings, but adding greatly to the
+decorative effect from a slight distance. These domes are of Byzantine
+style, and are colored in harmonizing shades of green and pink. The
+small repeated corner domes add another Eastern touch, and are
+especially effective at night. The outer wall is edged all the way
+around with a simple cornice and a few rows of dull red tiles,
+distinctly Southern in feeling, and therefore harmonizing with both the
+Spanish and the Italian Renaissance doorways.
+
+The Winged Victory is the fine decorative figure that crowns the gables
+of all the palaces of the walled-city. It is broadly modelled, massive
+and yet refined, and from any viewpoint stands out in beautiful
+silhouette against the sky. It is by Louis Ulrich.
+
+Palace of Varied Industries
+
+Before turning to the more important south facade, it is well to look at
+the east wall, with its dignified and colorful portal. This is Roman in
+style of architecture, to harmonize with the Palace of Machinery
+opposite. It is similar in general form to the memorial arches and
+gateways of the Romans, but in the use of architectural motives and in
+decoration it is of Italian Renaissance style. The niches at each end of
+the gallery contain figures of The Miner, by Albert Weinert. The facade
+is ornamented with buttresses at regular intervals, carrying figures of
+the California Bear holding a scutcheon with the state seal.
+
+Returning to the Avenue of Palms and the south facade, one sees the most
+important artistic feature of the building, the central portal. This is
+a copy, except for the figures filling the niches, of the famous doorway
+of the Hospital of Santa Cruz at Toledo, Spain. It is in Spanish
+Renaissance style, of that especially rich type known as "Plateresque,"
+due to its likeness to the work of the silversmiths of the time. For its
+grace of composition, its exquisite detail, its total effect of richness
+and depth, this portal is worthy of long study.
+
+The sculpture of the portal is all by Ralph Stackpole. In the lower
+niches are replicas of "The Man with a Pick," a figure that has been
+justly admired as a sincere portrayal of a simple laboring type. The
+relief panel in the tympanum represents various types of industry. From
+left to right the figures typify Spinning, Building, and Agriculture (or
+the clothing, sheltering and feeding of mankind), and Manual Labor, and
+Commerce. The group in the niche above the arch shows a young laborer
+taking the load from the shoulders of an old man. The single figure at
+the top of the arch shows the laborer thinking, and is called "Power."
+Note how all these sculptures, while having individual interest, fit
+unobtrusively into the lace-like portal.
+
+Palace of Manufactures
+
+The wall of this building is broken by pilasters and inset decorative
+panels, and by a series of niches with animal head fountains. The
+central portal is pure Renaissance architecture, again suggestive of the
+Roman gateway in form.
+
+The sculptures of the doorway, including the two figures of male and
+female labor in the niches, and the long high-relief panel, are by
+Mahonri Young, who is noted for his simple, powerful treatment of modern
+themes. The panel represents various branches of manufacture, including
+metal work, blacksmithing, pottery-making, spinning, and architectural
+sculpture.
+
+Palace of Liberal Arts
+
+The facade here exactly duplicates that just described, even to the
+niche figures and panel in the portal.
+
+Palace of Education
+
+The Palace of Education has three Renaissance portals on the south
+facade. These are more Spanish in feeling than those of the two palaces
+just passed. The tympanum panel of the central doorway may be taken to
+represent kindergarten teaching, instruction of boys and girls, and
+self-education in young manhood. It is by Gustave Gerlach. The two
+panels in the walls over the minor doorways treat very obviously of
+educational subjects. They are flat in more senses than one, lacking the
+life of the central tympanum group. They are by students of two American
+art schools.
+
+The west facade of the Palace of Education is dominated by an immense
+half-dome, impressive in size and attractively decorated. The style of
+architecture here is mainly Roman, to harmonize with the Fine Arts
+Palace which it faces across the lagoon. There are two splendid
+architectural fountains, under the half-dome here and under, that of the
+Palace of Food Products.
+
+Sculpture. Flanking the great arch are columns carrying the nude figure
+of a man, with hands crossed, gazing fixedly in thought. In the official
+list this is called "Philosophy" or "Thought," and from it the immense
+portal is called "The Half-dome of Philosophy." But the same figure
+occupies the corresponding position before the Food Products Palace, and
+is there called "Physical Vigor." The truth is that the artist designed
+the statue to suggest that finest of all unions of strength, the
+physically powerful man thinking. Thus the figure is appropriate to both
+a food products building and an education building. The figure is
+strong, but is not so convincing or appealing as the same artist's "Man
+with a Pick," in the Varied Industries portal. Within the half-dome is a
+repeated figure with a scroll inscribed "Libris," by Albert Weinert.
+
+The six niches in the west wall have two repeated statues by Charles R.
+Harley, known as "The Triumph of the Field" and "Abundance." They are
+simply repeated from the Food Products Palace to the north, where they
+properly belong, and will be treated in the next chapter in connection
+with that building.
+
+On the north facade of the Palace of Education are duplicates of the
+three south portals, with the same sculptured panels.
+
+
+
+Palaces Facing the Marina, and the Column of Progress
+
+
+
+The walled-city idea, which throws most of the fine architecture into
+interior courts, is even more severely carried out in the north facades
+than in the south. The palaces on the Marina, indeed, present a wall
+unbroken except by the central doorways and the slight corner
+projections. The small domes at the corners give a Moorish touch,
+reminiscent of Southern Spain, and the portals are direct adaptations
+from Spanish masterpieces.
+
+Palace of Mines
+
+The north facade of the Palace of Mines is free from all ornament except
+the richly decorative central portal. This is worthy of prolonged study,
+being one of the finest bits of architectural ornament at the
+Exposition. It is designed very closely after Spanish models, and is of
+that transitional period of Spanish architecture that came between the
+Gothic and the Renaissance, when Gothic had been enriched through the
+influence of Moorish art, and was just beginning to feel the impulse of
+the Italian Renaissance. Note how rich is every part of the detail; then
+note how all detail is subordinated to the mass effect of the whole.
+
+The statues in the niches of the portal are by Allen Newman. The central
+mantled figure is called the "Conquistador," or conqueror. The artist
+has here portrayed in spirited fashion a fine type of Spanish nobility.
+The figure in the side niches, with an old-style pistol in his belt and
+a rope in his hand, is "The Pirate."
+
+The east facade of the Palace of Mines duplicates that of the Varied
+Industries Palace, and the west facade forms one side of the north Court
+of Abundance.
+
+Palace of Transportation
+
+Here the one notably artistic feature is the central portal on the north
+side, which is an exact replica of the Spanish doorway of the Palace of
+Mines.
+
+The Column of Progress
+
+This monument symbolizes the energy, the unconquerable spirit that is
+forever pressing forward to overcome new obstacles, which has led to the
+building of the Canal. The idea of such a monument was conceived by A.
+Stirling Calder, the architectural design is from the hand of W. Symmes
+Richardson, the reliefs at the base are by Isidore Konti, and the
+crowning statue is by Hermon A. MacNeil. The Column of Progress as a
+whole is among the finest artistic achievements of the Exposition, and
+more than any other, perhaps, is worthy of perpetuation in permanent
+materials to commemorate for all time the opening of the Panama Canal
+and the holding of the Exposition.
+
+Reliefs at base. The high relief frieze on the square base of the column
+represents mankind heeding the call to achievement. On the south face
+are allegoric figures calling mankind to the struggle, the two women
+holding palm branches, the insignia of victory. On the other three faces
+are shown groups of figures striving forward at the call, pressing on to
+achievement, some joyously, some laboriously, some stopped altogether in
+thought. The whole frieze suggests the beginning of progress.
+
+In the spiral that winds about the column certain interpreters have
+found a symbol of the upward march of human achievement; but as this
+spiral decoration is found on the Column of Trajan and the Column of
+Marcus Aurelius, the Roman prototypes of the Column of Progress, there
+probably is no special significance in its use here.
+
+Supporting the crowning group is a drum with crouching figures of
+toilers in relief, entitled "The Burden Bearers."
+
+The Adventurous Bowman is the title of the surmounting statue. The
+heroic Bowman, facing the skies and the seas, and launching his arrow
+into the unknown, is the symbol of the impulse that leads men to dare
+all to achieve victory. At the left of the central figure is a man of
+smaller stature, leaning against the Bowman to give him support. On the
+other side a woman crouches, looking up as the arrow speeds on its way.
+The ring-like object in the woman's hand, which is so hard to identify
+when one views the group from the ground, is a wreath.
+
+There is about the Bowman a remarkable sense of movement, of energy, of
+pressing forward, no matter what the view point of the spectator. The
+monument should be seen from as far north as possible, near the corner
+of the California building, perhaps. From here, from the Esplanade as
+one approaches from either east or west, and from the Court of the
+Universe at the rear, the group has the same inspirational quality, the
+same sense of joyous effort, of courageous striving toward achievement.
+The placing of the monument where it closes three important vistas is
+commended for study to those who have in charge the artistic destinies
+of our cities.
+
+Palace of Agriculture
+
+The north facade of the Palace of Agriculture is bare except for the
+central portal, which again duplicates that of the Palace of Mines.
+
+Palace of Food Products
+
+The north facade of this palace duplicates that of the Palace of
+Agriculture. But when one turns the west corner into Administration
+Avenue, one finds an entirely different atmosphere, where the Spanish
+architecture has given way to Italian. The dominating feature of the
+building's west facade is an immense half-dome, officially called "The
+Half-dome of Physical Vigor." This is an exact replica of the "Half-dome
+of Philosophy" on the Education Palace.
+
+Sculpture. Before the half-dome here, on columns, are replicas of Ralph
+Stackpole's statue of the physically vigorous man in thought. Inside the
+half-dome is a repeated figure of a man with a wreath, by Earl Cummings.
+
+In the niches along the walls are two alternating compositions,
+"Abundance" and "The Triumph of the Field," by Charles R. Harley.
+Abundance is typified by a seated woman, with the conventional
+overflowing cornucopias beside her, as well as a conglomeration of
+details suggestive of the riches of land and sea. This group certainly
+belongs to the Food Products building, but it really ought to be inside,
+with the flowers made of butter and the tower of raisins. The Triumph of
+the Field shows a man seated, and around him a museum of ancient symbols
+of agriculture, and of agricultural triumph, such as were once carried
+in the annual harvest festivals. These two groups are among the most
+amusing things at the Exposition; but artistically they can hardly be
+said to count at all.
+
+
+
+The Palace of Machinery
+
+
+
+The Palace of Machinery, largest of all the structures at the
+Exposition, terminates the main building axis at the East. It is
+monumental in proportions, and is well suited to its purpose of housing
+an immense display of machines.
+
+Architecture
+
+The architecture was evidently inspired by the great baths of ancient
+Rome, which were similar in style, size, and detail. The scale is so
+great-this is said to be the largest wooden building in the world-
+that it is something of an achievement to have made the structure
+anything but barn like. By the richness of the cornices and the careful
+spacing of the openings the architect has made it ornamental, and has
+given it a sort of noble dignity-though one hesitates to compare it
+with the palaces of the central group.
+
+The most interesting architectural bit in connection with the Palace of
+Machinery is the entrance vestibule under the three central archways.
+Standing at either end of the portico one obtains a remarkable
+impression of spaciousness combined with decorative completeness. The
+coloring within the high vestibule is particularly pleasing.
+
+Within the building the unconcealed trussing, instead of giving a sense
+of barrenness and lack of finish, resolves itself into a sort of
+lace-like decorative scheme, the whole effect being peculiarly
+ornamental.
+
+The Palace of Machinery was designed by Clarence R. Ward.
+
+Sculpture
+
+The sculpture here consists of the series of four nude male figures on
+the column drums, and spandrels for the main and minor doorways, and a
+widely different group, "The Genius of Creation," before the main
+western portal. All but the latter group represent "Types of Power."
+
+The figures surmounting columns, flanking the three arches of the
+central doorway, represent "Steam Power," "Invention," "Electricity,"
+and "Imagination."
+
+Steam is symbolized as a man holding a long lever.
+
+Invention is represented as a man holding forth a miniature winged
+figure at which he gazes steadily.
+
+The figure of Electricity holds jagged lightning, conventional symbol of
+electricity.
+
+Imagination, primal power back of all machinery design, is represented
+by a figure with arm thrown back of head, and seemingly with eyes
+closed.
+
+Considered simply as portrayals of power, these four virile figures are
+very successful, and they serve well to carry out the sense of immensity
+and strength that characterizes the entire building. But they are not at
+all polished or subtle, lacking the refinement that would make them
+interesting as something besides vigorous types. All four figures are by
+Haig Patigian. They are repeated in different order on columns before
+the north and south portals of the building.
+
+The bas-relief friezes about the bases of the vestibule columns are also
+by Haig Patigian. The winged figure, typifying "Machinery," lends itself
+to decorative uses better than the purely human type, and the artist has
+worked in various mechanical symbols quite cleverly. The cardinal
+principle in sculptural decoration of this sort is that the frieze, like
+the whole column, must carry an impression of support. It will be
+noticed that no room has been left above the head or below the feet; and
+the disposition of the wings and arms further adds to the feeling that
+the figures are a true structural unit rather than mere ornament stuck
+on.
+
+The spandrels over the minor arches in the vestibule, again typifying
+"Machinery," are equally successful in serving an architectural purpose.
+Mural sculpture, like mural painting, must never be allowed to "make a
+hole" in the wall. Notice how fully the figures cover the given space,
+without any background to draw the eye beyond the surface. These
+spandrels are also by Haig Patigian. The column reliefs and the
+spandrels are repeated at the minor doorways of the building.
+
+The Genius of Creation, a magnificently conceived group of sculpture,
+has been placed, rather unfortunately, in front of the main west portal
+of the Palace of Machinery. It is by Daniel Chester French, who is
+generally considered the dean of American sculptors. The Genius of
+Creation is portrayed as a huge winged figure, enthroned over the
+formless mass of earth, with head bowed and arms outstretched, calling
+human life into being. At the two sides a man and a woman, fine strong
+figures both, stand looking forth, the man courageously, the woman a
+little more timidly. And at the back, as if to signify the mutual
+dependence of man and woman, the hands seek to touch. A serpent
+encircles the base of the group, symbolizing wisdom-or as some prefer
+to interpret it, everlasting life. This serpent is probably not the one
+that had so much to do with the life of the first couple on earth.
+
+The statue expresses, of course, the orthodox idea of creation, and it
+is interesting to contrast it with the sculpture of the Court of
+Abundance, which in general gives expression to the doctrine of
+evolution. The strong, almost severe, motherly figure is finely
+religious in feeling. The sculptor himself has commented on the
+religious tone that runs through much of the Exposition sculpture,
+remarking especially the prevalence of winged angel-figures. The reader
+is left to decide how far this has resulted from the fact that the
+winged form is essentially decorative, and how far from reverence.
+
+Viewed entirely from the aesthetic side, without regard to the
+symbolism, the Genius of Creation is one of the most satisfying works on
+the grounds. It is too bad that it was placed before a background of
+broken spaces, and before a colorful facade that makes it seem pale. But
+in it is that reposeful strength which characterizes so much of French's
+work-a sense of completeness, of fullness, that is perhaps the most
+soul-satisfying quality of great sculpture.
+
+
+
+The South Gardens, Festival Hall, and the Palace of Horticulture
+
+
+
+If there is one portion of the Exposition building scheme that does not
+seem to "belong" to the main group of palaces, it is that which lies
+south of the Avenue of Palms, including the South Gardens, Festival
+Hall, and the Palace of Horticulture. The relation of the two buildings
+to the main courts and palaces is clear: Festival Hall terminating the
+cross axis through the Court of Abundance and the Court of Flowers; the
+Palace of Horticulture terminating the cross axis through the Court of
+the Four Seasons and the Court of Palms. But though the organic
+relationship is apparent, the least discriminating of critics can see
+that these buildings are of an architectural style not in harmony with
+the central group of palaces. Both structures lack that fine sense of
+proportion and that simple and impressive dignity which characterize the
+architecture of the courts; and both are more or less pretentious and
+ornate.
+
+The South Gardens
+
+The South Gardens, like the buildings, have a certain magnificence but
+at the same time lack any distinctive appeal. The three basins with
+their fountains are imposing, and the individual beds of flowers are
+gorgeous in their profuse massing of color; but the distances are so
+great, and the sense of enclosure that means so much to gardens is so
+far lacking, that the lover of formal gardening will be less satisfied
+here than at several other places in the grounds.
+
+Sculpture. The sculpture of the South Gardens is all on the three
+fountains. The immense central group, the Fountain of Energy, already
+has been described. In the other two basins the Mermaid Fountain is
+repeated. This is an attractively ornate bit of decorative design,
+surmounted by the figure of a mermaid with a dolphin. The figure was
+modeled from designs by Arthur Putnam. It is typical of the fine
+strength of his work, and at the same time appealing by the grace of its
+sinuous lines.
+
+Festival Hall
+
+Festival Hall, designed for the many conventions and musical festivals
+of the Exposition period, is of typically French architecture of the
+modern school. The building is not unpleasing, but there is little about
+it to hold the interest. Robert Farquhar was the architect.
+
+Sculpture. All the sculpture on Festival Hall is the work of Sherry E.
+Fry. The figures are well suited to their purpose, from the slender
+"Torch-Bearer," surmounting the minor domes, to the heavy reclining
+figures on the pylons at the main entrance. Most of the statues are too
+roughly finished to have more than a decorative interest, but the two
+groups flanking the main stairway are worthy of study. These two "Flower
+Girls," one on either side, have a beautiful flowing grace. But quite
+the most appealing things here are the two minor figures before the
+pedestals on which the Flower Girls stand. Before the one at the north
+is a captivating boy Pan with a lizard. Half hidden in the shrubbery at
+the other side is the sitting figure of a girl, attractively immature
+and charming in line.
+
+Palace of Horticulture
+
+The Palace of Horticulture is characterized by that combination of
+Eastern and Western architectural motives which is so noticeable
+throughout the buildings. The dome is Byzantine, while the rest of the
+building is of Renaissance, or modern, French architecture. The dome
+considered alone is an almost perfect bit of design, beautifully
+proportioned and finely simple. The rest of the building is in general
+over-decorated, the portals especially being heavily loaded down with
+meaningless ornament. Apologists for the building say that the profuse
+ornateness rightly suggests the richness of California's horticulture.
+Perhaps the best view of the dome is from the east end of the Avenue of
+the Nations, near the Denmark building, because from there one can see
+it unobstructed, escaping the disturbing effect of the portals and their
+spires. The Palace of Horticulture was designed by Bakewell and Brown of
+San Francisco.
+
+Sculpture. All of the sculpture here is purely decorative. The frieze at
+the base of each spire, consisting of heavy female figures modeled in
+pairs, is by E. L. Boutier. The ornamental Caryatides of the porches are
+by John Bateman.
+
+
+
+Palace of Fine Arts
+
+
+
+The Fine Arts Palace has been more admired, probably, than any other
+architectural unit at the Exposition. The reasons are not far to seek.
+The architect has used those classic forms which for ages have been
+recognized as best suited to monumental structures, and yet he has used
+them with originality. The building is classically noble, but without
+classic austerity or coldness. It is at once beautiful in form, rich in
+decorative detail, and satisfyingly warm in color. Moreover, it has the
+finest setting of all the Exposition buildings. The bigness of
+conception, the boldness with which the largest architectural elements
+have been handled, the perfect arrangement of architecture, planting,
+and reflecting waters-all these combine to create the most compelling
+picture on the grounds.
+
+The arrangement of the building is deceptive. As one looks at it across
+the lagoon, it seems like a single unit, so well does the planting tie
+it together, though there are really four unconnected structures: the
+rotunda, two detached peristyles at the sides, and the art gallery
+proper at the back.
+
+Architecture
+
+The style of architecture is Classic, freely treated. The rotunda is
+Roman. The peristyle is more Greek in feeling, in the simplicity of
+general form, with splendidly modeled capitals, full strong columns, and
+dignified cornice. The curved facade of the main building, facing the
+rotunda and peristyle, is very original in its arrangement of classic
+architectural motives and masses of foliage, with a Pompeian pergola on
+top.
+
+The color scheme of the whole building is worthy of study. And although
+the structure when seen by day deserves all the praise that has been
+bestowed upon it, by night its beauty is beyond description. One should
+sit long at the edge of the lagoon opposite the rotunda, and watch the
+illuminated building itself and its reflection in the waters below, to
+feel the full spell of it. No one should miss, either, the walk between
+the peristyle and the main building on one of those nights when there
+is soft local illumination, for nowhere else on the grounds has the
+poetry of lighting been so perfectly realized.
+
+The architect of the Fine Arts Palace was Bernard R. Maybeck, a
+Californian.
+
+Sculpture
+
+The sculpture about the lagoon, including that under the peristyle and
+rotunda, is to be treated in the next chapter, except that which is
+definitely a part of the building's integral decorative scheme.
+
+The reliefs outside the rotunda, on the attic above the cornice,
+represent man's effort to gain the ideal of art. To see these reliefs
+best, one should stand directly across the lagoon from the rotunda. In
+the panel facing East one sees the figure of Art personified. On either
+side is a group showing the champions of art combating centaurs, that
+stand for the commonplace, materialistic things of life. In the next
+panel to the left, facing Southeast, is represented the bridling of the
+winged horse Pegasus, which to the Greeks symbolized the attainment of
+poetic inspiration. Here also are figures representing the arts of
+literature, sculpture and music, by the familiar symbols, a lamp, a
+statuette and a lute. The panel to the right of the center one shows
+Apollo, sun-god and patron-god of the arts, drawn in his chariot, with a
+procession of devotees. These panels are repeated on the other five
+faces about the dome. They are among the finest reliefs on the
+Exposition buildings, and are by Bruno Louis Zimm.
+
+The figures within the rotunda, surmounting the eight columns are
+"Priestesses of Culture," by Herbert Adams.
+
+The flower-box sculptures are by Ulric H. Ellerhusen-both those on the
+ground and those at the corners of the boxes surmounting the peristyle.
+The ladies on the latter, looking so steadily into the boxes, do not
+represent "Curiosity." The plan was to have masses of foliage
+overflowing, and half-covering the figures; and when this was given up,
+the decorative women gave the unexpected impression of being deeply
+absorbed in something happening out of sight of the spectator below. An
+explanation which has gained some currency is that the figures represent
+"Introspection," which seems quite apropos.
+
+The kneeling figure (unnamed) on the edge of the lagoon before the
+rotunda is by Ralph Stackpole. It is one of the most appealing bits of
+all the Exposition sculpture, well expressing devotion and reverence. It
+cannot be reached from the rotunda side, this portion of the shore being
+closed to the public.
+
+The figure over the doorway of the gallery is Leo Lentelli's
+"Aspiration." During the early months of the Exposition this statue was
+suspended from behind, the base on which it now stands having been
+placed late in the Spring. As the figure first appeared, hanging in air,
+it caused more comment than any other sculpture on the grounds. The most
+appropriate explanation was that since the figure lacked any visible
+means of support it probably was meant to represent "California Art."
+Even the recent alterations have failed to save it from seeming
+graceless and out of place.
+
+Mural Paintings
+
+The eight panels in the dome of the rotunda are by Robert Reid. There
+are two series of four paintings each, called "The Birth and Influence
+of Art," and "The Four Gold's of California." They form perhaps the
+least interesting of the several groups of murals, being vague in
+meaning, unpleasantly restless in composition, and only occasionally
+attractive in coloring.
+
+The easiest panel to identify is that called "The Birth of Oriental
+Art," which is on the west wall, closest to the doorway of the main
+building. Starting with this and following around the dome to the right,
+the pictures are in this order:
+
+1. The Birth of Oriental Art. A man in armor on a fanciful, dragon is
+attacking an eagle, symbolizing man's effort to attain the inspiration
+of the heavens. Below, China can be recognized in the man with a
+brilliant colored robe, and Japan in the woman with the bright parasol.
+
+2. Gold is symbolized by a woman with a wand, on a cornucopia
+overflowing with gold.
+
+3. The Ideals of All Art. The ideals which animate artists are shown:
+Truth with her glass; Religion typified in the Madonna and child;
+Beauty, with the peacock; and the Militant Ideal with a flag. Above and
+below are figures carrying the wreath and the palm, the artist's tokens
+of success in attaining the ideal.
+
+4. Poppies, the second "gold" of California.
+
+5. The Birth of European Art. Four figures surround an altar on which
+burns the sacred fire, three being merely attendants preserving the
+flame, and the fourth the guardian holding high a torch lit at the
+altar. A man from earth grasps this torch as he leans from his flying
+chariot. A woman in the lower corner holds a crystal gazing-globe,
+wherein the future of art has been revealed, and she turns to gaze after
+the man who is carrying the sacred fire to earth.
+
+6. Citrus Fruits, the third "gold" of California.
+
+7. The Inspiration of All Art. Two Angels of Inspiration are at the top,
+while below to the left are Sculpture, with a winged statuette, and
+Architecture, with the scroll and compass; and to the right, Painting,
+with brush and palette, Music, with a lyre, and Poetry, with a book.
+
+8. Wheat, the fourth "gold" of California.
+
+
+
+The Outdoor Gallery of Sculpture
+
+
+
+Many of the finest bronzes and marbles of the sculpture section are
+given an adequate setting which would be impossible within the gallery
+building, by being placed in the open, along the two ends of the lagoon,
+through the peristyles, and under the Fine Arts rotunda.
+
+As this group of sculpture embraces all types from the playful to the
+very serious, it is foolish to try to appreciate the whole series at one
+time. Perhaps the best way is to start first to familiarize oneself with
+the smaller bronzes of the purely lyric type, the charming garden
+figures, sun-dials, and miniature fountains, that make up such an
+attractive part of the collection. Note how often the names of Edward
+Berge, Janet Scudder and Anna Coleman Ladd recur in connection with this
+graceful, intimately appealing sort of sculpture. On another day, when
+life seems soberer, spend all your time in study of the more serious
+works, such as Saint Gaudens' "Seated Lincoln," and McKenzie's "The
+Young Franklin," noting how the dignity, sureness of touch, and sound
+purpose of these make them more appealing with longer acquaintance. On
+another day take the intermediate group, that is dignified but less
+austere in theme-such works as Sherry Fry's "Peace," and Berge's "Muse
+Finding the Head of Orpheus." Studied systematically, there is in this
+series of statues a broad education in the appreciation of sculpture.
+
+For convenience in reference the whole series is listed here. In regard
+to those works which the labels make self-explanatory, no comment is
+added, unless to call attention to some special quality which the
+unpracticed eye might miss. Where the symbolism or "story" is obscure,
+an explanation is given.
+
+South of the lagoon are: 1. Sea Lions by Frederick G. R. Roth. 2. The
+Scout by Cyrus E. Dallin. Note the remarkable clean-cut quality of this
+equestrian statue. 3. Wind and Spray fountain, by Anna Coleman Ladd. 4.
+Diana by Haig Patigian-a graceful statue of the Greek goddess of the
+hunt, which is in marked contrast to the same artist's strong figures on
+the Palace of Machinery. 5. Peace by Sherry E. Fry. This beautifully
+modeled figure has a classic simplicity that is worthy of study. 6.
+American Bison by A. P. Proctor.
+
+Beyond the second Bison, beside the roadway that runs behind the Fine
+Arts Palace, is a model of the Kirkpatrick Monument, at Syracuse, New
+York, by Gail Sherman Corbett. The central figures represent an Indian
+discovering to a Jesuit priest the waters of an historic salt spring at
+Syracuse.
+
+In the circle at the south end of the peristyle are: 1. Seated Lincoln
+by Augustus St. Gaudens generally considered one of the noblest works of
+the greatest American sculptor. Note especially the dignity of the
+whole, and the sympathetic modeling of the face. 2. Bust of Halsey C.
+Ives by Victor S. Holm. 3. Bust of William Howard Taft by Robert Aitken.
+4. Henry Ward Beecher by John Quincy Adams Ward-a dignified and
+well-known life-size statue.
+
+Along the south peristyle are (at the right) 1. Piping Pan by Louis St.
+Gaudens. 2. Flying Cupid by Janet Scudder. 3. Muse Finding the Head of
+Orpheus by Edward Berge-a marble well expressive of gentle grief.
+Orpheus, sweetest musician of Greek mythology, after failing to recover
+his beloved Eurydice from the underworld, in his sorrow scorned the
+Thracian nymphs, who in their anger dismembered him. His head was washed
+up by the sea and found by the sorrowing Muses. 4. (At the left) Michael
+Angelo by Robert Aitken, showing the master-sculpture at work on one of
+his famous figures. 5. (At the right) Young Pan by Janet Scudder. 6. (At
+the left) Wood Nymph by Isidore Konti. 7. Young Mother with Child by
+Furio Piccirilli. 8. (At the right) Wild Flower by Edward Berge. 9. (At
+the left) Eurydice by Furio Piccirilli. 10. (At the right) Boy and Frog
+by Edward Berge. 11. (At the left) Dancing Nymphs by Olin L. Warner. 12.
+Idyl by Olga Popoff Muller. 13. An Outcast by Attilio Piccirilli. 14.
+(Beside the doorway) Youth by Charles Carey Rumsey. Before the doorway
+is to be placed The Pioneer Mother Monument by Charles Grafly.
+
+About the rotunda are: 1. (Outside the southwest archway) Thomas
+Jefferson by Karl Bitter. 2. (In center of rotunda) Lafayette by Paul
+Wayland Bartlett-the statue given by America to France. 3. Lincoln by
+Daniel Chester French, a dignified portrayal that cannot be justly
+judged from the plaster model here exhibited. 4. Relief by Richard H.
+Recchia, representing "Architecture." 5. Commodore Barry Memorial by
+John J. Boyle. 6. Relief by Richard H. Recchia, representing
+"Architecture." 7. Princeton Student Memorial by Daniel Chester French a
+noble treatment of a difficult theme. 8. The Young Franklin by Robert
+Tait McKenzie. This is a fine conception, in which the sculptor has
+escaped from the conventional path of monumental portraiture. 9. (On
+walls of west archway) Reliefs by Bela L. Pratt, representing
+"Sculpture." 10. (Outside west archway) Portrait of a Boy by Albin
+Polasek. 11. The Awakening by Lindsey Morris Sterling. 12. (Beside
+northwest archway) William Cullen Bryant by Herbert Adams.
+
+Along the north peristyle are: 1. (Beside main doorway of gallery)
+Beyond by Chester Beach. 2. The Sower by Albin Polasek. 3. The Centaur
+by Olga Popoff Muller. 4. Boy with Fish by Bela L. Pratt. 5. (At the
+right) Returning from the Hunt by John J. Boyle. 6. (At the left)
+L'Amour by Evelyn Beatrice Longman-a marble wherein the woman's figure
+is tenderly beautiful. 7. Garden Figure by Edith Woodman Burroughs. 8.
+(At the right) Fighting Boys Fountain by Janet Scudder. 9. Soldier of
+Marathon by Paul Noquet. 10. (At the left) Youth by Victor D. Salvatore.
+11. (At the right) Primitive Man by Olga Popoff Muller. 12. The Scalp by
+Edward Berge-an unpleasant bit of realism. 13. (At the left) Apollo by
+Haig Patigian. 14. (At the right) A Faun's Toilet by Attilio Piccirilli.
+15. Duck Baby Fountain by Edith Barretto Parsons. 16. Maiden of the
+Roman Campagna by Albin Polasek-a figure instinct with the spirit of
+the antique.
+
+On the circle at the north end of the peristyle are: 1. (At the right)
+Young Diana by Janet Scudder-a young goddess of the hunt, conceived in
+modern spirit, with remarkable freedom and grace of movement. 2. Great
+Danes by Anna Vaughan Hyatt. 3. (In walk) Sundial by Harriet W.
+Frishmuth. 4. Bondage by Carl Augustus Heber. 5. Boy Pan with Frog by
+Clement J. Barnhorn. 6. Sundial by Gail Sherman Corbett. 7. Three
+fountain groups in one basin, all by Anna Coleman Ladd. Of these the Sun
+God and Python has been especially admired as a spirited and graceful
+bit of work. 8. (On the lagoon side of the circle) Mother of the Dead by
+C. S. Pietro-a sincere and powerfully realistic work, and quite unlike
+anything else in the outdoor gallery. 9. (In walk) Chief Justice
+Marshall by Herbert Adams. 10. Destiny by C. Percival Dietsch. 11.
+Sundial by Edward Berge. 12: Daughter of Pan by R. Hinton Perry. 13.
+Head of Lincoln by Adolph A. Weinman.
+
+Along the roadway to the left, as one leaves the circle, are two
+sculptures: Bird Fountain by Caroline Risque, and Prima Mater by Victor
+S. Holm.
+
+North of the lagoon are: 1. Fragment of the Fountain of Time by Lorado
+Taft. 2. Nymph by Edmond T. Quinn. 3. Dying Lion by Paul Wayland
+Bartlett. 4. Rock and Flower Group by Anna Coleman Ladd. 5. Whale-man by
+Bela L. Pratt.
+
+On the island at the north end of the lagoon is a fountain by Robert
+Paine.
+
+
+
+The Fine Arts Galleries
+
+
+
+Do not visit the Fine Arts exhibits blindly, without knowing what they
+are aimed to show; and do not try to see the whole exhibition in one
+day. First understand the scope and arrangement of the displays, and
+then follow some definite system by which you are sure to get the best
+out of each individual section. It is better to see one part thoroughly
+than to carry away a confused impression of the whole.
+
+The scope of the exhibit is limited to painting, sculpture and
+print-making, except in the Oriental sections. In painting the primary
+aim has been to make a representative display of contemporary work. Most
+of the galleries contain only canvases painted within the last ten
+years. But in order to correct the common misconception that American
+art is entirely a thing of today, without historical background, a few
+rooms are given up to historic works of the various early American
+schools, and to works of the foreign schools that have influenced the
+development of American art.
+
+The arrangement of the galleries should be mastered before one starts to
+study. In general there are three divisions of exhibits. At each end is
+a group of foreign sections, and the great middle space is given up to
+American art. The accompanying diagram is designed primarily to make
+clear the location of the several divisions. The visitor will find it
+worth while to remember that a main central corridor runs the whole
+length of the United States Section. By continually referring to this
+corridor, one can keep one's bearings fairly well.
+
+The method of seeing the galleries that is suggested in this guide is
+based on the official classification as far as possible: the foreign
+sections are taken in order, and the historical section is treated in
+that chronological sequence which the directors intended to show forth.
+But there is no system in the arrangement of the twenty-eight general
+rooms of contemporary American work, In treating these the guide aims to
+suggest tendencies and influences, rather than to point out this or that
+canvas as a good or bad one. Nevertheless it is believed that every
+really important picture or artist is individually mentioned-so that
+one who has used the manual consistently may be sure of having enjoyed
+the cream of the collection, at the same time gaining the wider
+knowledge of the main currents of development.
+
+It is necessary to use to a certain extent the arbitrary
+subject-divisions, such as portrait, landscape, and figure painting; and
+to refer also to realistic painting, which tends to depict things as
+they are, as opposed to the academic, which recognizes the wisdom of
+conventionalization or idealization. But the most important distinction,
+for the student of contemporary tendencies, is that which concerns the
+term "Impressionism." This name in its original and technical sense
+applied to the works of the men who, instead of mixing shades, placed
+different colors side by side on their canvases to give the effect of
+the right shade at a distance. As the experiments of these artists were
+directed chiefly to the solution of problems of light, the term
+naturally was widened to include that whole division of painting which
+is concerned with atmospheric aspects and color harmonies rather than
+with subject-interest and line composition. Terms which express the same
+idea in general or in part, are "luminism" and "plein-air painting."
+Impressionism has had more effect on the current of art than has any
+other movement in history. Not only in the handling of light and in
+freshness of coloring has the whole of painting been profoundly changed,
+but there is a general tendency to paint the impression rather than the
+actuality, the harmonious effect rather than the literal fact-and
+these things are notably illustrated in the Exposition galleries.
+
+For the sake of the visitor who comes to the gallery with practically no
+knowledge of art, a word may profitably be said about critical
+standards. First remember that there are many qualities which may make a
+painting worth while: pleasing design, beautiful color, a compelling
+expression of emotion or thought, or a poetic suggestion of a fleeting
+aspect or mood. It is necessary to judge each particular work by the
+artist's intention, and not by untrained personal tastes. Before passing
+judgment learn to know the picture well. You may find that you have been
+attracted by something superficial. On the other hand, you may find that
+the seemingly less attractive picture, which has been recommended by
+people of trained judgment, grows more and more pleasing with riper
+acquaintance. Go slowly, study thoroughly what you study, and keep an
+open mind-for that way leads to the widest enjoyment.
+
+United States Section: Painting
+
+The United States Section consists chiefly of contemporary work, but
+includes a small historical section, which is to be found to the left as
+one enters at the main doorway. It is in this part of the exhibit that
+one should start.
+
+The Historical Section consists of two well-defined parts. The first
+contains examples of foreign schools of painting that have influenced
+American art. The second contains the works of American painters from
+the beginnings to the early Twentieth Century. The Foreign Historical
+Section occupies rooms 91-92 and 61-63.
+
+Gallery 91-Early Schools. A gallery of old paintings, chiefly of the
+Italian, Flemish and Dutch Schools, designed to suggest the earliest
+roots of American art. Practically all the canvases are mere echoes of
+the "old masters," and they may well be passed over hastily by all but
+the most thorough historical student.
+
+Gallery 92-French Influence. This gallery and the next two are
+designed to show works of those schools, chiefly French, that have had
+direct influence upon American art. On wall A is a painting by Courbet,
+interesting in the light of that artist's influence on Whistler's early
+work. But most important here are the examples of the Barbizon School,
+romantic landscape painters of the mid-Nineteenth Century, who had much
+to do with the development of the Inness-Wyant group in America. On wall
+B are two canvases by Corot, both badly placed, one of which (1486) is
+typically poetic and beautiful. The examples by Daubigny and Rousseau on
+wall C are not satisfying. On wall D the two Monticellis suggest the
+source of some of the rich qualities of the work of Keith and similar
+American painters.
+
+Gallery 62, adjoining 92, shows the best example of Barbizon work, in
+Troyon's beautiful "Landscape and Cattle" on wall C. On wall A is a
+small painting, interesting but not characteristic, by Millet, who
+influenced the whole world of art toward sincerity. On wall B is Sir
+Laurens Alma-Tadema's "Among the Ruins," sole representative here of the
+English School of "polished" painters that strongly influenced a number
+of American artists. On wall D are two very interesting portrait studies
+by Franz von Lenbach, intended to suggest the influence of the Munich
+School on American art, before Americans began to flock to Paris to
+study.
+
+Gallery 61-Recent French Influence. On wall A is an uneven collection
+by Monet, the greatest apostle of Impressionism. This group, with the
+exception perhaps of the sea-shore scene, should be studied thoroughly,
+in regard to the technique that juxtaposes colors to give the right
+resultant tone at a distance; in regard to the general tendency to
+subordinate subject interest to the expression of fleeting aspects; and
+in regard to the masterly handling of light. No other group will be
+referred to so often in connection with the American galleries. On wall
+B is a typically joyous canvas by Gaston La Touche, who carries
+Impressionism into figure work. On walls C and D are other examples of
+the Impressionist School, by Pissarro and Renoir and the English Sisley.
+On wall C is a portrait by Eugene Carriere. On wall D is a panel by
+Puvis de Chavannes, who has influenced modern mural painting more than
+any other artist. This picture has the typical union of the classic
+feeling with very modern technique, but it is representative of de
+Chavannes' manner rather than of his whole art at its best.
+
+Gallery 63-English Influence. This is the richest of the historical
+rooms. Although there is a scattered collection including the names of
+Van Dyke, Guido Reni, Tiepolo, Ribera, Velasquez, Goya, and Turner, on
+walls A and B, the important thing is the fine collection of the English
+portraitists. Here are examples, many of them among the finest, by
+Hogarth, Reynolds, Gainsborough, Romney, Lawrence, and Hoppner. It is
+hardly necessary to point out the close connection between the work of
+this English group and early American painting, since a visit to the
+adjoining gallery 60 will show how the first important development in
+the States grew out of the art of the mother country.
+
+The American Historical Section covers the entire development of
+American painting from the beginning to the early years of the present
+century. To obtain the proper sequence, one should start in room 60,
+working gradually down to 57, then visiting 64 and 54.
+
+Gallery 60 contains a profusion of fine examples of the early portrait
+school, which was so closely connected with English art of the time.
+Gilbert Stuart, the most important figure, is represented by an
+extensive collection on wall A. In this room, too, are canvases by West,
+Peale, Copley, and their followers well into the Nineteenth Century.
+
+Gallery 59 contains chiefly the work of that barren mid-century period
+when portraiture and landscape painting alike became hard and labored.
+Insofar as any foreign influences can be detected here, they are of the
+"tight" schools of England and Germany.
+
+Gallery 58 contains some interesting work of the latter half of the
+Nineteenth Century-notably the paintings by Eastman Johnson, an
+important figure of the time when American art was finding itself.
+Albert Bierstadt's two landscapes are typical of the so-called Hudson
+River School, the mechanical forerunner of the Inness-Wyant group. An
+interesting contrast is offered here by H. J. Breuer's "Santa Inez
+Mountains," a contemporary landscape that is full of the freshness and
+light of present-day American painting.
+
+Gallery 57 shows another great step in advance. A generous portion of
+the space is given to Edwin A. Abbey, an American-born artist who really
+was more a part of English art. The exhibit shows clearly that Abbey was
+greater as illustrator than as painter, the finest things here being the
+exquisite pen drawings. Wall D has five paintings by John LaFarge, who
+by his work and by his theories greatly influenced American art at the
+end of the century. Worthy of study, too, are the more modern landscapes
+of Theodore Robinson.
+
+From this room one should turn back into the central line of galleries.
+
+Gallery 64 contains historical American paintings that range through the
+latter half of the last century and into this, with such well-known
+names as Parrish, Gifford, Hunt, Wylie, Martin, the Morans, Eakins, and
+even the more recent Frederic Remington. Such pictures as F. E. Church's
+"Niagara Falls" (wall A), J. G. Brown's "The Detective Story" (wall B),
+and Thomas Hovenden's "Breaking Home Ties" (wall D), are typical of what
+was accepted as the best work a generation or two ago.
+
+Passing through room 65, one should next go to 54.
+
+Gallery 54 is the most important in the American Historical Section, for
+it shows the work of the men who really emancipated American painting
+from the old hardness and tightness of technique, and from the old
+sentimentalism. Wall A is given up to the work of the late Winslow
+Homer, who has been called "the most American of painters." The seashore
+scenes alone of the things here are representative of this big man at
+his best. Wall B has a varied assortment by lesser painters, but ones of
+importance: Blakelock, Currier, William Morris Hunt, and Fuller. On
+walls C and D the very important canvases are those by Inness and Wyant,
+men who were deeply influenced by the French Barbizon School, but whose
+individual achievement marked the first great stride toward the bigness,
+freedom and lightness of present-day American landscape painting.
+
+Contemporary American Painting. Leaving aside the one-man rooms for the
+present, it is just as well to turn from the last historical room, 54,
+into 55, and progress in natural order through 56, 65, 85, 66 (the
+central hall), and 80. The contemporary rooms north of the central hall
+can be best visited in three groups, each following the official room
+numbering: first, 67 to 74; then 43 to 51; and finally the detached
+section at the far north end of the building, 117 to 120.
+
+Gallery 55 has a well assorted collection of contemporary canvases, but
+includes no outstanding features.
+
+Gallery 56 is a typical modern American room, with good landscapes in
+the work of Breuer, Borg, Davol, and Stokes.
+
+Gallery 65 contains some of the best American figure paintings in the
+building. The finest group is that by Cecilia Beaux on wall D, which
+well displays that remarkable artist's brilliant technique and "flair."
+It is notable how many of the really virile paintings here are by women
+-many of them of the younger groups. From Marion Pooke's polished but
+free "Silhouettes," and Alice Kent Stoddard's appealing "Sisters," to M.
+Jean McLane's joyously brilliant canvases on wall C, there is a wide
+range of achievement and promise.
+
+Gallery 85. On walls A and B are five canvases by Horatio Walker that
+are worthy of attention. But finer are Charles W. Hawthorne's four
+paintings on walls B and D. Their bigness of conception, sincerity and
+soundness of technique mark a coming master. Wall C is given up to a
+display by Charles Walter Stetson, which shows, more strongly than any
+other in the American section, that tendency to the decorative and the
+idyllic which is to be noted as so strong in recent painting. On wall D
+are three works of George deForest Brush, a man who has been but little
+influenced by the more radical tendencies. "The Potter" is interesting
+for the painstaking and minute finish of varying surface textures.
+
+Gallery 66-Central Hall. Although the important places here are given
+to sculpture, there are a few very interesting paintings: some
+representative landscapes, and at the ends decorative panels by
+Alexander Harrison and by Howard Cushing.
+
+Gallery 80 is notable for the work of painters who have followed rather
+closely the old academic traditions: for the smooth and polished
+canvases of W. M. Paxton and Philip Leslie Hale. There are also seven
+landscapes by Willard L. Metcalf, fresh attractive work of the
+"plein-air" school.
+
+Gallery 67 is rich in fine landscapes, and contains the best of the
+exhibition's marines. Here are the only works of Charles H. Davis, a
+notable follower of the poetic Inness School, and of Leonard Ochtman and
+Ben Foster, who stand well to the fore among the more vigorous
+landscapists. Also worthy of attention are the landscapes of Braun,
+Borg, White, Wendt, J. F. Carlson, Rosen and Browne. The marines
+represent well a department of painting in which Americans have long
+excelled; on wall A are four by Paul Dougherty, on B and C three by
+Frederick J. Waugh, and on D one by Emil Carlsen. Of the other paintings
+the most interesting is the idyllic bit by Hugo Ballin on wall C,
+representative of the decorative tendency.
+
+Gallery 68 contains as its most important exhibit three portraits by J.
+C. Johansen, on wall B, all typical of the brilliant fluency of this
+remarkable painter. Among the landscapes here the most important are the
+two Schofields on wall D, typical of the best and sanest phase of
+Impressionism in America. Very important too are the canvases by Daniel
+Garber on wall C.
+
+Gallery 69 contains a mixed collection, with such different good things
+as Lawton Parker's polished figure studies (wall B) and J. Francis
+Murphy's poetic landscape (wall C). On wall C is a painting by John W.
+Alexander, one of the leaders in American art, which is typical of his
+method of subordinating subject interest to line arrangement and color
+composition.
+
+Gallery 70-Portrait Room. On wall C are three portraits by Irving R.
+Wiles, and on D two by Julian Story-both names long well-known in
+American art. But the surprising thing is that several of the canvases
+by less known men stand up with, or even surpass, these.
+
+Gallery 71 is notable chiefly for some good landscapes.
+
+Gallery 72 contains little to hold the attention, unless it is the group
+of canvases by Walter McEwen, who shows adherence to the older
+traditions, not only in smoothness of technique, but in sentimentalism
+and general prettiness.
+
+Gallery 73 is given up chiefly to Alson Clark's over-sketchy and
+intemperately colored Panama pictures. The most interesting thing here
+is Ernest Lawson's "Beginning of Winter," on wall B, a representative
+work by one of the most successful American followers of Impressionism.
+
+Gallery 74 is a room of good landscapes, with a few outstanding canvases
+like Will S. Robinson's "Group of White Birches" on wall C.
+
+
+A new start should be made here by passing through rooms 70 and 71 to
+43, from which the numerical order can be followed back to room 51,
+adjoining the central hall.
+
+Galleries 43 and 44 have a range from many mediocre to a few really good
+things, lacking anything that demands special attention.
+
+Gallery 45 is a room rich in comparative values. Note the delicacy of
+treatment and of color in William Sartain's three landscapes, on wall A,
+and in Birge Harrison's atmospheric paintings on wall D. Compare these
+with the heavily painted and richly colored canvases by Walter Griffin
+on wall C, and then with the more straightforward, vigorous work of
+Charles Morris Young on wall B. Harrison, Griffin and Young, at least,
+are of the distinctly modern school; but note how individually each has
+utilized his inheritance of vibrating color and light. On wall A are two
+fine figure studies by Robert Reid, an innovator and a really great
+painter, though he did not show it when he painted the panels for the
+Fine Arts rotunda.
+
+Gallery 46. There is much poor material here; but on walls B and C are
+some paintings by Frank Vincent Dumond that are interesting for their
+fresh coloring and their solving of light problems.
+
+Gallery 47 contains evidences of progress in varied lines, from E. L.
+Blumenschein's big Indian pictures, and Cohn Campbell Cooper's studies
+of American cities, to the experiment in painting flesh against a richly
+varied background, by Richard Miller, a gifted American who has long
+lived in Paris.
+
+Gallery 48 contains much promising work of various tendencies, but no
+outstanding features.
+
+Gallery 49 contains, on wall A, a splendid collection of the work of
+Dwight W. Tryon, one of the older school of landscapists, who helped to
+break the way for the moderns and has kept up with them to a great
+extent. With the exception of one canvas, the pictures on walls B and D
+are by J. Alden Weir, another roadbreaker, and an experimenter with new
+effects of light and atmosphere. In such canvases as "June" and "White
+Oak" one finds some of the best that American art has built on the
+theories of Monet.
+
+Gallery 50 contains some good landscapes, but nothing that demands
+special attention aside from Sergeant Kendall's refined figure studies.
+
+Gallery 51 is given over in general to the independents and extremists
+of American art. Here are canvases by Glackens, Sloan, and Breckenridge,
+rather disappointing to one who has watched hopefully the movement they
+represent. Certainly their exhibits are suggestive of a rather
+undisciplined vigor and freedom. On wall C the five canvases in the
+lower row are by Robert Henri. They are the experiments of a master,
+rather than his best works. The truly representative Henri picture is
+the "Lady in Black Velvet," on wall D. This has a wonderful synthetic
+quality, a suppression of detail and a spotting of interest at the
+important point. There is, too, a spiritual quality that is lacking in
+the other canvases. On the other side of the doorway is Gertrude
+Lambert's "Black and Green," a notably fine canvas.
+
+The only other general rooms of the contemporary American section are
+those at the far north end of the building, beyond the foreign sections,
+numbered from 117 to 120.
+
+Gallery 117 is a sort of catch-all room, in which are many things that
+never should have been admitted to the galleries. The really interesting
+feature is the series of canvases by Frieseke, full of light and
+freedom. Gallery 118 is less mediocre on the whole, but lacks any
+features of special appeal. Gallery 119 includes a surprising
+conglomeration of paintings and drawings in all mediums, wherein the
+extremists have their say. There is a wealth of interest here, but one
+must have time to separate the bad from the good. Gallery 120 is also
+marked generously by the newer tendencies. The important feature is the
+group of virile paintings by George Bellows, on wall C. These mark the
+most successful American attempt to grasp sanely the bigness and freedom
+of the post-Impressionist movements.
+
+
+One-man Rooms. As a part of the plan to show the various influences on
+the course of American art, it was decided to give up a number of rooms
+to individual displays by leaders of the several well-marked tendencies.
+Galleries 75-79, 87-90, and 93, at the east side of the building on
+either side of the center, contain these "one-man shows."
+
+Gallery 75-Sargent. Here are shown a number of canvases by the man
+generally considered the greatest living American painter-certainly
+the greatest of the portraitists. Though containing none of the really
+famous paintings, there are portraits which show the typical Sargent
+brilliancy-the swift sureness and the perfect balance of restraint and
+freedom. The James portrait is especially worthy of study.
+
+Gallery 76-Mathews. In this room are shown a number of canvases by
+Arthur F. Mathews, most important of the California painters, as well as
+a few by Francis MacComas, another Californian. Mathews stands primarily
+for the decorative tendency. His canvases have a noble sense of repose
+that is too often lacking in contemporary work, and there is remarkable
+color harmony here.
+
+Gallery 77-Melchers. Here are representative works by Gari Melchers, a
+famous American who has long lived abroad. Unmistakably these canvases
+are from a masterly brush; but the coloring is not always good, and the
+room is somewhat disappointing.
+
+Gallery 78-Hassam. By common consent Childe Hassam is considered the
+greatest American follower of Impressionism. He is an innovator who has
+carved a sure place for himself by adding a new vigor to the methods of
+the original Impressionists. Such decorative canvases as 2033 on wall B,
+and such delicate ones as 2029 on wall D, should be compared with the
+Monets in room 61.
+
+Gallery 79-Chase. This room is designed to show the work of an
+American who was greatly influenced by the Munich School of painters.
+William M. Chase, both in his portraits and in his remarkable still-life
+studies, shows the fine German thoroughness rather than French
+brilliancy. The four canvases that hold the places of honor on all four
+walls show clearly the influence of Whistler.
+
+Gallery 87-Duveneck. Here are works by Frank Duveneck, who like Chase
+studied at Munich. Sound in draughtsmanship, steady, and well-thought
+out, they maintain a remarkable standard of excellence. It is
+instructive to step from here into the adjoining large gallery, where
+the French influence is predominant.
+
+Gallery 88-Redfield. In the winter scenes of E. W. Redfield one finds
+the sure touch of a master of the new and vigorous school of American
+landscapists. Redfield has modified Impressionism, clinging to a certain
+reality, and yet achieving the sparkling atmospheric effects of the
+luminists.
+
+Gallery 89-Tarbell. In contrast to Hassam and Redfield and Twachtman
+is Edmund C. Tarbell, who has taken but little from the Impressionist
+group. His most characteristic and most appealing work can be seen in
+the canvases on wall A, beautifully lighted interiors which show the
+academic tendency, but in a new and delightful way.
+
+Gallery 90-Keith. This collection of canvases, with its sameness of
+subject and arrangement, is hardly typical of the late William Keith at
+his best. He was the western representative of the Inness-Wyant school
+of the late Nineteenth Century, though he leaned more to the romantic
+than did the others.
+
+Gallery 93-Twachtman. Here are the works of a painter who is closer to
+Monet than to the more vigorous American school of modified
+Impressionism. It is well to study one wall, A perhaps, and then to go
+to the Redfield and Hassam rooms, and then to the group of Monets, to
+see the various ways in which Impressionism has spread.
+
+Gallery 26-Whistler. The Whistler room is quite appropriately placed
+with the foreign historical rooms, rather than with the other one-man
+galleries-as if Whistler should be grouped with the influences rather
+than the influenced. The room contains none of the artist's finest
+paintings, but is well representative of the several sides of his work.
+Wall D shows Whistler the portraitist, with "his faces and figures that
+emerge from a soft black background, very much as one sees a person in
+the gathering twilight." On walls A and B it is Whistler the colorist,
+and on wall B especially, Whistler the rediscoverer of Japanese color
+and figure composition. On wall D is the "Study of Jo," an
+uncharacteristic early work, which shows the influence of Courbet.
+
+
+American Section: Prints
+
+The American prints occupy rooms 29 to 34, along the west wall of the
+building just south of the central vestibule. The exhibit is very
+representative, and contains both historical and contemporary sections.
+
+Gallery 29-Prints by Whistler. Here is a collection of Whistler's
+etchings and lithographs, with a few drawings. The distinguishing
+quality is an exquisite delicacy.
+
+Gallery 30-Historical Prints. In this room one can trace the
+development of American engraving and etching from the beginnings to the
+present day. Starting on wall D one finds steel engraving illustrated
+from the days of Paul Revere to its decadence; then the history of
+wood-engraving to its flowering in Cole and Wolf; early and recent
+American etching; and a few modern copper engravings and lithographs.
+
+Gallery 31-Prints by Pennell. This room contains a splendid collection
+of prints from all of Joseph Pennell's important series, in etching,
+lithography and mezzotint-a remarkable display by one of the world's
+greatest etchers.
+
+Galleries 32 and 33-Contemporary Etchers. These two rooms contain a
+rich collection of contemporary American work that should be studied
+print by print. Even a superficial look will indicate that even without
+Pennell and Whistler the American etchers are doing work universally
+worth while.
+
+Gallery 34-Color Prints. Here is an interesting collection of color
+prints in both etching and wood engraving. It shows the achievement of
+the younger artists in mediums that were practically unknown in this
+country ten years ago.
+
+
+American Section: Illustration
+
+Galleries 41 and 42 are given up to drawings and paintings by Howard
+Pyle, who has been called "the father of modern American illustration."
+
+Gallery 26, adjoining the Italian section, contains a small but fairly
+interesting group of original drawings for illustration. In the work of
+Wyeth, Schoonover, Elizabeth Shippen Green, Jessie Wilcox Smith, and
+others, there is very strong evidence of Howard Pyle's influence. On
+wall B of this room, and in the adjoining gallery 27, there is a
+collection of photographs of American sculpture and mural paintings.
+
+Gallery 36, adjoining the main west vestibule, has a miscellaneous
+collection of drawings and paintings in all mediums, ranging from the
+most delicate and polished to caricature and sketchiness run riot. There
+is a great deal of interest, but little that is important in a big way.
+
+
+American Section: Miniatures
+
+Galleries 37 and 40 contain an excellent collection of miniatures,
+ranging from a work by Malbone, the first important American in this
+field, to that of such notable contemporaries as W. J. Baer, Laura C.
+Hills, and Lucia Fairchild Fuller.
+
+In both miniature rooms there are a number of paintings and drawings, in
+various mediums, including, in room 40, a few oils by Jules Guerin, the
+color wizard of the Exposition.
+
+
+American Section: Sculpture
+
+Of the monumental sculpture of the American Section most of the finest
+examples are out-of-doors. The central hall of the gallery building
+contains a collection that is worth studying piece by piece, including
+such notable things as Daniel Chester French's "Alice Freeman Palmer
+Memorial," Karl Bitter's "Signing the Louisiana Purchase Treaty" and
+"Tappan Memorial," and Robert Aitken's "Mausoleum Door."
+
+But by far the most notable thing about the sculpture display is the
+extensive collection of charming small bronzes, which is scattered
+through the many rooms. The visitor should especially make sure of
+seeing certain individual group exhibits, such as the very freely
+rendered figures by Paul Troubetzkoy in the International Room (108),
+Paul Manship's groups, with their touch of classic appeal, in gallery
+93, and the cases of statuettes by Abastenia St. Leger Eberle and Bessie
+Potter Vonnoh, in gallery 65. Very rich in interest, too, is the
+collection of medals and plaques, shown in galleries 38 and 39.
+
+
+Foreign Sections
+
+The foreign sections are in two groups, at the two ends of the building.
+There is no system in their arrangement, and they are treated here in
+the order in which they happen to be placed, beginning at the far south
+end.
+
+The Japanese Section occupies galleries 1 to 10. To appreciate Japanese
+art it is necessary to become accustomed to the conventionalization of
+treatment-to understand what the artist was after, and to judge from
+that standpoint. It is well to begin by studying works that are more
+like Western art-such things as "Moving Clouds" (15) and "Evening:
+Nawa Harbor" (12) in room 1-and then to progress to the works in which
+the conventions are more pronounced. Note, throughout the paintings in
+rooms 1, 2 and 3, the delicacy of tone, the color harmony, and the fine
+sense of composition and pattern.
+
+In galleries 8 and 10 are collections of Japanese sculpture and
+painting, done in the Western manner. It is interesting to see what the
+Oriental artist can accomplish in an alien medium; but neither for the
+Japanese nor for the American can these works have the same genuine
+appeal as those in galleries 1 to 3. The other rooms contain a varied
+collection of porcelain, embroidery, wood and ivory carving, and prints.
+
+The French Section is one of the most interesting, but is hardly
+representative of the best that country has achieved in art. The general
+average is such that it upholds France's traditional standing as the
+home of "good painting," but this is by no means a collection of
+masterpieces. The most noticeable tendency is that toward the
+decorative. The galleries of the French section have been re-numbered,
+beginning with 1.
+
+Gallery 1 is a rather poor room on the whole, though it, contains two
+canvases on the north wall by Lucien Simon, typical of that artist's
+masterly breadth of treatment. On the west wall, beside the doorway, are
+two of Aman-Jean's portraits. The little landscape (429) under one of
+these, by Marcel-Clement, is notable, as are also Jean Domerque's
+decorative canvas on the south wall and Maury's three nude girls on the
+north.
+
+Gallery 2 is most interesting for the group on the north wall, where the
+place of honor is given to Henri Martin's work. Here is an artist who
+has carried Impressionism to its limit of vibrating light and color. The
+large central canvas should be seen from the Japanese room. The
+self-portrait (433) is even more interesting. On this wall are pictures
+that offer a striking comparison of methods of painting.
+
+Gallery 3 is made especially interesting by the domination of one man,
+Maurice Denis, who is the leader among the "advanced" decorators of
+France. There is much that is worthy of study in the simplicity and in
+the color of his panels here. The room contains also a number of
+examples of the new and ultra-new schools, from Monet and Degas to Redon
+and Puy.
+
+Gallery 4 contains few outstanding features, the more conservative
+element predominating. There is charming color in Caro-Delvaille's
+canvas on the East wall (279), and there is a Lucien Simon on the south
+wall. Gallery 5 likewise is not very important.
+
+Gallery 6 especially illustrates the decorative tendency. On the north
+wall are panels by Auburtin, a follower of de Chavannes, and by Devoux,
+which are pure decorations. On the south wall is a large canvas by the
+celebrated Menard; but his little seascape on the west wall (445) is
+more appealing, being one of the most attractive things in the section.
+Note how the decorative tendency characterizes not only these outdoor
+pictures, but the neighboring portraits as well. On the east wall is a
+canvas by le Sidaner, a leader of the plein-air school, which reminds
+one that good French landscapes are few in this exhibit.
+
+The Italian Section is the best arranged in the galleries. There is a
+general feeling of orderliness and rest that is quite welcome as one
+comes from the overcrowded American rooms. The Italian paintings do not
+give the impression of an exhibition of masterpieces-indeed there are
+very few canvases that demand special notice-but they are well up to
+the average set in the other sections.
+
+Gallery 21 is the most interesting. On the wall facing the main doorway
+are five pictures by Ettore Tito, perhaps the greatest and certainly the
+most popular, of Italian painters. All are strong, and they are painted
+with a bigness and a sureness of touch that are compelling. Very
+interesting too are the canvases on the adjoining wall by Camillo
+Innocenti, who has achieved the vibrating light and fresh coloring of
+the Impressionist School in an individual way.
+
+Gallery 22 contains a varied collection, ranging from the academic to
+the radical. Here are two canvases by Arturo Noci, one of the leaders of
+the Italian Secession. Gallery 23 is given up mainly to sculpture. The
+most compelling thing is d'Orsi's realistic "Tired Peasant." With the
+exception of some of the small bronzes, the rest of the sculpture of the
+section is hardly notable.
+
+Gallery 24 contains a very interesting canvas in Plinio Nomellini's
+picture of a woman and child in a boat drawn up under a tree. The thing
+is full of sunlight and sparkling color; and it strikes a good medium
+between the old tight painting and that which carries Impressionism too
+far-both of which extremes can be seen in plenty in this room. Gallery
+25 is an average room, without special features.
+
+The Cuban Section occupies gallery 20, next to the Italian section.
+There is hardly a picture here that does not seem labored in comparison
+with the freedom elsewhere.
+
+The Uruguay Section, in the adjoining gallery 19, is just the opposite
+full of freshness and vigor, and brilliant in color. But the gift of
+brilliancy is rather undisciplined, and while there is unmistakable
+promise, one feels that the art of Uruguay has not yet found itself.
+
+The Chinese Section occupies galleries 94 to 97, and is notable for the
+paintings on silk and paper, the cloisonne, and the lacquer. There is a
+wealth of interesting material in the display, but it really requires a
+great amount of study for full appreciation. The Chinese Commission has
+prepared a special catalogue, which can be had in the rooms if one is
+specially interested.
+
+The Philippine Section, in the adjoining gallery 98, is almost
+negligible in a building where there is so much really worth seeing
+though some of the paintings by Felix Hidalgo have a dramatic interest.
+
+The Swedish Section, in galleries 99 to 107, is one of the most
+important in the building. One who likes a gentle, polished sort of art
+will not be at home here; but for virile, fresh and colorful painting
+there is no other section that achieves the same high standard. Many of
+the pictures are so strong and big that they never should have been put
+in these box-like little rooms, where a proper perspective is
+impossible. In the paintings there are traces of French and German
+training, and especially of Impressionism; but the exhibit shows more
+true national feeling and more individual independence than any other in
+the building.
+
+The two featured groups are the remarkable paintings and tapestries of
+Gustav Adolf Fjaestad in gallery 107-well worthy of long study-and
+the paintings and prints of Carl Larsson in gallery 101. But there are
+many other things quite as important: the brilliant and fresh canvases
+of Carlburg, the snow scenes touched with late sunlight, by Schultzberg,
+and the compelling autumn decorations by Osslund, all in gallery 102;
+the illustrations by Bauer in gallery 104; the big landscapes by
+Hesselborn in gallery 105; and the deep-toned studies by Anna Boberg,
+and the virile portraits, in gallery 106. If you doubt that these
+Swedish painters can do the polished, poetic thing, as well as the big
+vigorous sort, go back to gallery 103, and look at Bergstrom's
+atmospheric "Spring Day."
+
+The Swedish sculpture is not so remarkable as the painting; but the
+print section in gallery 99 contains a number of very interesting
+etchings and wood engravings.
+
+The Argentine Section, in gallery 112, shows much that is fresh, strong,
+and brilliant in color. It is interesting to see how much closer these
+South American painters are to Spain than to France and Germany. Here
+are many echoes, not only of Velasquez and Goya, but of the vital modern
+Spaniards like Zuloaga. The collection is very uneven; but in the work
+of men like Jorge Bermudez and Hector Nava there is a mighty promise if
+not any great achievement. The few sculptures are unusually strong and
+interesting.
+
+The Portuguese Section, in galleries 109 to 111, has the appearance of
+belonging to an older period in the history of art than the present. One
+feels that the artists who show pictures here have not that mastery of
+light which marks the Nineteenth Century's greatest advance in painting.
+Certainly there is evidence of a general reliance on the older
+standards. Perhaps the best works are those of Columbano, in the central
+gallery. Here too, and in the next room, are some realistic works of
+Malhoa that compel attention.
+
+The International Room, gallery 108, contains all that the Exposition
+has of German work. On wall C are such splendid things as Leo Putz' "The
+Shore" and Heinrich von Zugel's "In the Rhine Meadows;" and on wall A is
+Franz Stuck's "Summer Night"-by no means one of this decorator's best
+works, though characteristically rich and deep-toned. But one feels the
+lack of those others who have lately lifted Germany back among the
+greatest nations artistically: von Uhde, Liebermann, von Gebhardt,
+Klinger, Erler, and von Hofmann. In the same way the young and virile
+English group is not represented, though in this room is a passable
+portrait by the great John Lavery. On wall D are two Spanish works of
+Lopez-Mezquita, that are worthy of attention but nothing of Zuloaga or
+Sorolla.
+
+The Holland Section, occupying galleries 113-116, contains a display
+that is well balanced but without outstanding features. There are echoes
+of many departed glories, of Rembrandt, of Hals, and even of the French
+Barbizon men, and a few typical beautifully lighted Dutch interiors. But
+there is none of the work of the men whom the art magazines have taught
+us to consider the representative Dutch painters of today: Israels, the
+Maris brothers, and Mauve. The print room is likewise good rather than
+splendid, unless one excepts M. A. J. Bauer's fine Rembrandtian
+etchings. Charles van Wyck's small bronzes are notable among the
+sculptures.
+
+
+
+Scattered Art Exhibits State and Foreign Buildings
+
+
+
+The Palace of Fine Arts has been reserved exclusively for painting,
+sculpture and prints, with the result that the material of the usual
+"arts and crafts" exhibitions has been badly scattered. Certain exhibits
+have been taken to the state and foreign buildings, some of which are
+also of interest architecturally; but most of the craftswork is to be
+found in the four exhibition palaces on the Avenue of Palms.
+
+The Palace of Varied Industries contains, between 5th and 6th Streets,
+three important displays: at Avenue A is Denmark's exhibition of
+porcelain and pottery, with a small section devoted to the book arts; at
+Avenue B is an excellent display of German porcelain; and at Avenue D is
+the Netherlands exhibit of porcelain and pottery. At 4th Street and
+Avenue C is the exhibition of Chinese arts and crafts. The American
+section of so-called "Domestic Arts and Crafts" is at 1st Street and
+Avenue C, and contains a very small but select showing of all the usual
+handicrafts. Elsewhere in the building there are minor displays of
+textiles, ceramics, tapestries, silver work, and interior decoration,
+installed by commercial firms. One can see looms working, jewelry being
+made, and China being painted.
+
+The Palace of Manufactures is notable for the extensive arts and crafts
+exhibit of Japan, which covers almost one-quarter of the building's
+floor space; for that of Italy, which includes a large number of
+statuettes besides the usual departments; and for those of France, and
+Great Britain and Ireland. One will find all of these displays by
+walking along Avenue C.
+
+The Palace of Liberal Arts contains a few exhibits of the book arts and
+architecture. The most important architectural display is that in the
+United States Government Section, shown by the National Fine Arts
+Commission. On Avenue D between 1st and 5th Streets there are displays
+of fine photography.
+
+The Palace of Education contains the exhibition of the American art
+schools, at Avenue B and 6th Street. At Avenue E and 3rd Street pottery
+is made.
+
+In the group of palaces on the Marina there is little to interest in art
+matters. In the Mines Palace the Government's exhibit of coins and
+medals is of some interest. In the Transportation Palace the student of
+applied art can find much to think about in the relation of art to
+automobile design. In the Agriculture and Food Products Palaces there is
+little to attract the art-lover except at meal-time.
+
+The Italian Buildings contain an extensive museum of national historic
+art and archaeology, which is well worth seeing. The mural painting in
+the Royal Salon represents "The Glorification of Italy." The buildings
+reproduce historic Italian styles of architecture. The charming central
+court, the gardens, and the buildings contain many replicas of
+masterpieces of sculpture.
+
+The French Building was unfinished at the time this was written (June
+first), but it is to contain an extensive art display. There are to be a
+number of statues by Rodin, the greatest of modern sculptors, which
+alone would make a visit imperative for every art lover.
+
+The Swedish Building is one of the most interesting architecturally,
+suggesting the fine originality of recent Scandinavian architecture. It
+is worthy of note too, that the Norwegian and Danish buildings strike a
+note of freshness that is in fine contrast with most of the foreign
+pavilions. In all three of these buildings there are small exhibits of
+painting and handiwork.
+
+The Turkish Building contains an attractive exhibit of rugs; and in the
+Philippine Building there is a display of metal work and basketry.
+
+The State Buildings are in general designed for social purposes. That of
+Pennsylvania is an interesting bit of Colonial architecture, and
+contains two virile and colorful decorations by John Trumbull,
+representing "Penn's Treaty with the Indians" and "The Industries of
+Pennsylvania." The Maryland Building is also a simple, dignified bit of
+Colonial design. The Massachusetts Building reproduces the famous
+"Bulfinch front" of the Boston State House. The Mission style of
+architecture is pleasingly exemplified in the California Building.
+
+
+
+Index
+
+
+
+"Abundance"-61
+Adams, Herbert-70
+"Adventurous Bowman"-60
+Aitken, Robert-17, 30, 74
+"Aquatic Life"-22
+Architecture as a Whole-9
+Argentine Fine Arts Section-94
+"Armored Horseman"-49
+Arts and Crafts Exhibits-97
+Bacon, Henry-37
+Bakewell & Brown-67
+Bancroft, H. Milton-40
+Bateman, John-44, 67
+Beach, Chester-16
+"Beauty and the Beast-47
+Bennett, Edward H.-10
+Berge, Edward-72, 73
+Bitter, Karl-11, 91
+Borglum, Solon-47
+Boutier, E. L.-67
+Brangwyn, Frank-19
+Bufano, B.-32
+"Bulls, The"-37
+Burroughs, Edith Woodman-51
+Calder, A. Stirling-11, 30, 31, 32, 44, 47, 53, 60
+Chase, William M.-88
+Chinese Fine Arts Section-94
+Color Scheme-11
+Column of Progress-60
+Corbett, Gail Sherman-73
+"Cortez"-49
+Court of Abundance-13
+Court of Flowers-45
+Court of Four Seasons-35
+Court of Palms-43
+Court of Universe-23
+Crafts Exhibits-97
+Cuban Fine Arts Section-93
+Cummings, Earl-61
+Dallin, Cyrus E.-73
+Diagram of Art Galleries-76
+Diagram of Grounds-8
+Dodge, W. deL.-52
+Dumond, F. V.-34
+Duveneck, Frank-88
+"Elements, The"-21, 30
+Ellerhusen, Ulric H.-70
+"End of the Trail"-44
+Farquhar, Robert-67
+Faville, W. B.-55
+"Feast of Sacrifice"-37
+Festival Hall-67
+"Festivity"-31
+Fine Arts Galleries-77
+Flanagan, John-49
+Florentine Court-34
+Foreign Buildings-98
+Fountain of Ceres-40
+Fountain of Earth-17
+Fountain of El Dorado-51
+Fountain of Energy-53
+Fountain of Rising Sun-25
+Fountain of Setting Sun-27
+Fountain of Youth-49
+Fountains of the Seasons-39
+Fraser, James Earl-44
+French, Daniel Chester-74
+French Building-98
+French Fine Arts Section-92
+Fry, Sherry E.-22, 67, 73
+"Genius of Creation"-65
+Gerlach, Gustave-57
+Gruppe, Carl-44, 47
+Half-dome of Philosophy-57
+Half-dome of Physical Vigor-61
+Harley, Charles R.-61
+"Harvest"-39
+Hassam, Childe-45, 88
+Hastings, Thomas-49
+Historical Fine Arts-79
+Holland Fine Arts Section-95
+Holloway, Charles W.-44
+Illustration Section-90
+International Room-95
+Italian Building-98
+Italian Fine Arts Section-93
+Italian Towers-43
+Jaegers, Albert-37, 39
+Jaegers, August-40
+Japanese Fine Arts Section-91
+Keith, William-88
+Kelham, George W.-44, 47
+Konti, Isidore-60
+Ladd, Anna Coleman-72, 75
+Laessle, Albert-47
+Lentelli, Leo-17, 30, 31, 71
+Lighting-12
+Longnan, Evelyn B.-40, 74
+Manship, Paul-31, 91
+Mathews, Arthur F.-45, 87
+Maybeck, Bernard R.-70
+McKenzie, Robert T.-72, 74
+McKim, Mead & White-25
+McLaren, John-12
+MacNeil, Hermon A.-31, 60
+Medals-91
+Melchers, Gari-88
+Mermaid Fountain-66
+Miniature Section-90
+"Mother of Tomorrow"-30
+"Motion"-31
+Mullgardt, Louis C.-15
+Mullgardt Tower-15
+Murals-In Arches-32
+Murals-Court of Abundance-19
+Murals-Court of Four Seasons-40
+Murals-Court of Palms-44
+Murals-Fine Arts Rotunda-71
+Murals-Tower of Jewels-52
+"Music"-31
+"Nations of the East"-29
+"Nations of the West"-29
+Newman, Allen-59
+Niehaus, Charles-49
+Outdoor Gallery of Sculpture-72
+Palace of Agriculture-61
+Palace of Education-57, 97
+Palace of Fine Arts-69
+Palace of Food Products-69
+Palace of Horticulture-67
+Palace of Liberal Arts-56, 97
+Palace of Machinery-62
+Palace of Manufactures-56, 97
+Palace of Mines-59
+Palace of Transportation-59
+Palace of Varied Industries-55, 97
+Patigian, Haig-63, 73
+Pennell, Joseph-89
+Philippine Fine Arts Section-94
+Piccirilli, Furio-40
+Pietro, C. S.-75
+"Pioneer, The-47
+"Pizarro"-49
+Portal of Varied Industries-56
+Portals of North Facades-59
+Portuguese Fine Arts Section-95
+Print Section-89
+Putnam, Arthur-66
+Pyle, Howard-90
+Redfield, E. W.-88
+Reid, Robert-71
+Richardson, W. Symmes-60
+Rodin-98
+Roth, F. G. R.-30, 32
+Rumsey, Charles C.-49
+Ryan, W. D'Arcy-12
+St. Gaudens-72, 73
+Sargent, John Singer-87
+Scudder, Janet-75
+Sculpture Section-72, 90
+"Signs of the Zodiac"- 31
+Simmons, Edward-33
+South Gardens-66
+Stackpole, Ralph-56, 57, 61, 71
+"Stars"-31
+State Buildings-98
+Swedish Building-98
+Swedish Fine Arts Section-94
+Tarbell, Edmund C.-88
+Tonetti, F. M. L.-49
+"Torch Bearer"-67
+Tower of Jewels-48
+Tower of Jewels-Height-34
+"Triumph of the Field"-61
+Troubetzkoy, Paul-91
+Twachtman-89
+"Types of Power"-62
+Ulrich, Louis-55
+U. S. Fine Arts Section-79
+Uruguay Fine Arts Section-93
+Venetian Court-34
+"Victorious Spirit"-45
+Walter, Edgar-47
+Ward, Clarence R.-62
+Ward, J. Q. A.-73
+"Water Sprites"-17
+Weinert, Albert-17, 44, 56, 57
+Whistler-89
+Whitney, Gertrude V.-51
+"Winged Victory"-55
+Young, Mahonri-56
+Zimm, Bruno Louis-70
+
+
+
+Copies of this guide can be obtained from any bookseller or newsdealer,
+or will be sent postpaid on receipt of 50 cent, by The Sign of the
+Berkeley Oak, 2241 College Avenue, Berkeley, California
+
+
+
+
+
+End of the Project Gutenberg EBook of An Art-Lovers guide to the Exposition
+by Shelden Cheney
+
+*** END OF THE PROJECT GUTENBERG EBOOK ART GUIDE TO THE EXPOSITION ***
+
+This file should be named 7411.txt or 7411.zip
+
+Produced by David A Schwan
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