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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/9647.txt b/9647.txt new file mode 100644 index 0000000..94f23d9 --- /dev/null +++ b/9647.txt @@ -0,0 +1,3134 @@ +The Project Gutenberg EBook of The Architecture and Landscape Gardening of +the Exposition, by Louis Christian Mullgardt + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Architecture and Landscape Gardening of the Exposition + A Pictorial Survey of the Most Beautiful Achitectural + Compositions of the Panama-Pacific International Exposition + +Author: Louis Christian Mullgardt + +Posting Date: November 5, 2011 [EBook #9647] +Release Date: January, 2006 +First Posted: October 13, 2003 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK GARDENING OF THE EXPOSITION *** + + + + +Produced by David A. Schwan + + + + + + + + + +The Architecture and Landscape Gardening of the Exposition + +A Pictorial Survey of the Most Beautiful of the Architectural +Compositions of the Panama-Pacific International Exposition + + + +With an Introduction by + +Louis Christian Mullgardt +F.A.I.A. +Architect of the Court of Ages +Member of the Architectural Commission of the Exposition + + + +1915 + +San Francisco + + + +The courtesy of the Cardinell-Vincent Company, official photographers of +the Panama-Pacific International Exposition, of granting permission to +reproduce the selection of official photographs appearing in this +volume, is gratefully acknowledged + + + +To the spirit of Community Loyalty by which greatest results are +accomplished. To generous Collective Energy which unites the world's +people in universal kindliness. To the wholesome people of our San +Francisco, whose united efforts unconsciously disproved the impossible, +this book is affectionately dedicated. + +L. C. M. + + + +Reflection + + + +International Expositions are independent kingdoms in their corporate +relation with other countries of the world. They are phantom kingdoms +wherein the people do everything but sleep. They germinate and grow with +phenomenal energy. Their existence is established without conquest and +their magic growth is similar to the mushroom and the moonflower; they +vanish like setting suns in their own radiance. Thousands of neophytes +of every race, creed and color come with willing hearts and hands to do +homage and bear manna to nourish the sinews of a phantom kingdom. + +The National Constitution of phantom kingdoms commands that the Spirit +of beauty, refinement, education, culture and frolic shall govern. The +result is that they contain many palaces and shrines decorated with +sculpture and painting and that the earth is studded with fountains and +pools within tropical gardens. Such a Kingdom exists within a wonderful +valley bordering on a great sea. It is surrounded by high velvet hills +of fine contour and by many real cities. As the people look down on this +phantom kingdom from the hill-tops, or from ships sailing on the water, +they see Architecture nestling like flamingoes with fine feathers +unfurled within a green setting. + +If building Phantom Kingdoms symbolizes man's highest aims on earth, +then the same is true when building Real Kingdoms. Architecture and the +sister arts are the most reliable barometers in recording human thought. +They are direct exponents of a universal language wherein national +progress is most clearly read. + +People who build Phantom Kingdoms look hopefully for universal approval +by all mankind. + +L.C.M. + + + +Contents + +Reflection. Louis Christian Mullgardt +The Architecture and Landscape Gardening of the Exposition. + Louis Christian Mullgardt + +Illustrations + +The Rotunda of the Palace of Fine Arts--A View by Night. Hilda Van + Sicklen, photo. (Frontispiece) +Panorama--Exposition from Presidio Heights. W. Zenis Newton, photo +Tower of Jewels--The Illumination by Night. J. L. Padilla, photo +Fountain of Energy--A View in the South Gardens. W. Zenis Newton, photo +Festival Hall--South Gardens and Mermaid Pool. W. Zenis Newton, photo +Festival Hall--The Terrace and Colonnade. W. Zenis Newton, photo +Festival Hall--Mermaid Pool in the Mist. Jesse T. Banfield, photo +Palace of Horticulture--The Dome and East Entrance. W. Zenis Newton, + photo +Palace of Horticulture--Dome and Spires by Night. James M. Doolittle, + photo +Palace of Horticulture--The Colonnade on the East. W. Zenis Newton, + photo +Horticultural Gardens--Floral Exhibit in the Open +Avenue of Palms--View from Administration Avenue. W. Zenis Newton, + photo +Palace of Education--Main South Portal. W. Zenis Newton, photo +Palace of Education--One of the Minor Entrances. Pillsbury Pictures +Court of Palms--The Sunken Pool by Night. W. Zenis Newton, photo +Court of Palms--Portal, Palace of Education. Jesse T. Banfield, photo +Court of Palms--Portal, Palace of Liberal Arts. W. Zenis Newton, photo +Court of Palms--Italian Tower from Main Portal. W. Zenis Newton, photo +Court of Palms--In the Colonnade by Night. William Hood, photo +Court of Palms--A Curve in the Colonnade. W. Zenis Newton, photo +Palace of Liberal Arts--Portal, From the South Gardens. + Cardinell-Vincent, photo +Palace of Liberal Arts--The Tower of Jewels by Night. J. L. Padilla, + photo +Palace of Liberal Arts--Elephant Fountain Niche by Night. + W. Zenis Newton, photo +The Tower of Jewels--The Great Roman Archway. W. Zenis Newton, photo +The Tower of Jewels--Colonnade, The Fountain of Youth. + W. Zenis Newton, photo +The Palace of Manufactures--Portal, From the South Gardens. + W. Zenis Newton, photo +Court of Flowers--Fountain, Beauty and the Beast. J. L. Padilla, photo +Court of Flowers--Portal of Varied Industries. W. Zenis Newton, photo +Court of Flowers--A Vista in the Colonnade. William Hood, photo +Court of Flowers--Italian Tower from Colonnade. W. Zenis Newton, photo +Court of Flowers--The Friendly Lion at the Portal. Jesse T. Banfield, + photo +Palace of Varied Industries--Main Portal. Cardinell-Vincent, photo +Avenue of Palms--The South Facade by Night. Cardinell-Vincent, photo +Avenue of Progress--The Fine Vista to the Marina. W. Zenis Newton, + photo +Machinery Hall--The Central Arch in the Portal. W. Zenis Newton, + photo +Machinery Hall--The Colonnade in the Portal. W. Zenis Newton, photo +Machinery Hall--One of the Minor Entrances. W. Zenis Newton, photo +Palace of Mines--A Lamp Niche in the Court. W. Zenis Newton, photo +Court of Ages--The Tower by Night Illumination. William Hood, photo +Court of Ages--The Fountain of Earth. Pillsbury Pictures +Court of Ages--The Garden of Hyacinths. W. Zenis Newton, photo +Court of Ages--A Glimpse from the Colonnade. W. Zenis Newton, photo +Court of Ages--A Vista in the Colonnade. W. Zenis Newton, photo +Court of Ages--The Tower through North Aisle. W. Zenis Newton, photo +Florentine Court--Palace of Transportation. W. Zenis Newton, photo +Court of the Universe--Through Three Great Arches. W. Zenis Newton, + photo +Court of the Universe--Triumphal Arch, The Setting Sun. W. Zenis Newton, + photo +Court of the Universe--Triumphal Arch, The Rising Sun. +Court of the Universe--Fountain of the Rising Sun. Pillsbury Pictures +Court of the Universe--Fountain of the Setting Sun. W. Zenis Newton, + photo +Court of the Universe--The Fountain Pool and Tower. James M. Doolittle, + photo +Court of the Universe--Corinthian Colonnade and Gardens +Court of the Universe--In the Promenade by Night. Jesse T. Banfield, + photo +Court of the Universe--A Niche and Urn by Night. Jesse. T. Banfield, + photo +Palace of Transportation--In the Corinthian Colonnade. W. Zenis Newton, + photo +Venetian Court--Palace of Agriculture. James M. Doolittle, photo +Court of the Four Seasons--The Night Illumination. William Hood, photo +Court of the Four Seasons--The Great Half Dome. Jesse T. Banfield, + photo +Court of the Four Seasons--The Western Archway. W. Zenis Newton, photo +Court of the Four Seasons--One of the Colonnade Murals. + W. Zenis Newton, photo +Court of the Four Seasons--The Ionic Columns. Jesse T. Banfield, photo +Court of the Four Seasons--The Colonnade and Lawn. W. Zenis Newton, + photo +Court of the Four Seasons--The North Colonnade by Night. + W. Zenis Newton, photo +Palace of Food Products--The Portal from the Gardens. + W. Zenis Newton, photo +Palace of Food Products--A Detail of the Main Portal. W. Zenis Newton, + photo +The Esplanade--North Facade, Column of Progress. W. Zenis Newton, photo +North Facade--A View from the Bay. Pillsbury Pictures +Palace of Food Products--A View from the Fine Arts Laguna. + Jesse T. Banfield, photo +Palace of Education--A View from the Fine Arts Laguna. + Cardinell-Vincent, photo +Palace of Education--The Half Dome of Philosophy. W. Zenis Newton, photo +Palace of Education--The Fountain in the Portal. W. Zenis Newton, photo +Administration Avenue--The Fine Arts Laguna +Palace of Fine Arts--The Rotunda and Laguna. Jesse T. Banfield, photo +Palace of Fine Arts--The Rotunda and Peristyle. W. Zenis Newton, photo +Palace of Fine Arts--The Peristyle and Laguna +Palace of Fine Arts--In the Peristyle Walk. W. Zenis Newton, photo +Palace of Fine Arts--The Rotunda from the Peristyle. W. Zenis Newton, + photo +Palace of Fine Arts--The Peristyle Walk by Night. Jesse T. Banfield, + photo +Palace of Fine Arts--A Fountain in the Laguna. W. Zenis Newton, photo +Palace of Fine Arts--A Picturesque Garden Fountain. Jesse T. Banfield, + photo +Palace of Fine Arts--The Garden and Fountain of Time. Jesse T. Banfield, + photo +California Building--Bell Tower and Forbidden Garden. +California Building--The Arches of the Colonnade. W. Zenis Newton, photo +California Building--A Vista in the Colonnade. W. Zenis Newton, photo +California Building--The Forbidden Garden. Hilda Van Sicklen, photo +California Building--The Semi-Tropical Garden. W. Zenis Newton, photo +Netherlands Pavilion--As Seen from the Laguna. Pillsbury Pictures +Italian Pavilion--The Piazzetta Venetia. Cardinell-Vincent, photo +Italian Pavilion--In the Court Verrochio. James M. Doolittle, photo +Avenue of the Nations--Tower of Sweden's Pavilion. W. Zenis Newton, + photo +The Esplanade--A View of the Foreign Pavilions. W. Zenis Newton, photo +The Esplanade--A View of the State Buildings. W. Zenis Newton, photo +The Zone--A Holiday Gathering The Zone +The Bizarre Decorations. J. L. Padilla, photo +The Fireworks--Star Shells and Steam Battery. Jesse T. Banfield, photo +Zone Salvo--The Final "Big Noise." Jesse T. Banfield, photo + + + +The Architecture and Landscape Gardening of the Exposition + + + +The Architecture & Landscape Gardening + + + +When San Francisco was destroyed by fire in 1906, many people predicted +that the city would never be rebuilt. A great number of men and women +packed their goods and chattels and hastily bade farewell to the still +smoking ruins of a City That Was, firmly believing that destiny had +determined that it should remain forever buried in its own ashes. + +There was another class of men and women who were optimists. They +predicted that the city would be rebuilt, but that it would require from +twenty to thirty years. + +There was still another class of men and women who knew by observation +that it required no more time to build ten buildings than one, provided +the Spirit of Energy and Determination existed, to fortify the desire. + +We all know now that the Spirit of Energy and Determination did abound +in San Francisco--that the City did not remain buried in its own ashes, +and that it did not require from twenty to thirty years to rebuild it. +The City was not only rebuilt in less than ten years, but, in addition +thereto, an International Exposition, surpassing all previous +Expositions, was built by its people. + +San Francisco wisely selected for the location of this International +Exposition what seemed to many to be an impossible site, for it was +disorderly and uninteresting to look at. But the site was appropriately +situated on the shores of San Francisco Bay--beautiful in its +surroundings and most convenient alike to its citizens and visitors. It +consisted of a pond and a strip of waste land and marsh land, apparently +destined to remain unfilled and unorderly for years to come. The People +of Energy, Determination and Desire have also made this strip of waste +land permanently available. + +The arrangement of this Exposition is distinctive because of its Court +Plan. Eight Palaces seemingly constitute a single structure, containing +five distinct courts or places for large public gatherings, which are +open to the sky. + +This colossal group of buildings, consisting of the Palaces of +Education, Food Products, Agriculture, Liberal Arts, Manufactures, +Transportation, Mines, and Varied Industries, is terminated east and +west by Machinery Hall and the Palace of Fine Arts. To the south of this +group, and on the lateral axis of the two end courts, are the Palace of +Horticulture and Festival Hall. This group of eight buildings, with its +Tower of Jewels, and the separate buildings, Festival Hall, the Palace +of Horticulture, the Palace of Fine Arts and Machinery Hall, constitute +the main structures. + +The buildings and gardens of Foreign Countries and of the States of the +Union adjoin, at their western termination, the thirteen main structures +erected by the Exposition Company. Still further west, are the Livestock +Barns and Poultry Houses. The Aviation, Military and Polo Fields, +including the Race Course, occupy the extreme end of the site. The +amusement section, "The Zone," extends for a distance of seven city +blocks eastward from the main group. + +President C. C. Moore of the Exposition first appointed an Advisory +Architectural Board, in the fall of 1911, consisting of Messrs. Willis +Polk, Clarence R. Ward, John Galen Howard, Albert Pisses and William +Curlett. This Advisory Board was succeeded by an Architectural +Commission, consisting of Messrs. Willis Polk, Chairman, Clarence R. +Ward, W. B. Faville, George W. Kelham, Louis Christian Mullgardt (all of +San Francisco), Robert D. Farquhar of Los Angeles, McKim, Mead and +White, Carrere and Hastings, and Henry Bacon (all of New York); Messrs. +Bakewell and Brown and Bernard R. Maybeck were subsequently commissioned +as Exposition Architects. The first named nine architects constituted +the permanent Architectural Commission which recommended to the Board of +Directors the General Plan of the Exposition, which was substantially +followed as a guide to the results accomplished. + +Three important elements in the design of an Exposition are represented +by Planting, Sculpture, Color and Decoration. The Chiefs of these +Departments were selected by the Architectural Commission at its second +conference, August, 1912; John McLaren, of San Francisco, was appointed +to the important position of Landscape Engineer; Karl Bitter and A. +Stirling Calder of New York were appointed chief and assistant chief of +the Department of Sculpture; Jules Guerin, of New York, became chief of +the Department of Color and Decoration. The Chiefs of these departments +attended the architects' conferences and collaborated in their +deliberations. + +Another very important element in the design of this Exposition was +represented by the Department of Travertine Texture, for the proper +manipulation of colored plastic materials to give correct surface +expression to all buildings and sculpture. This department was placed +under the direction of Paul E. Denivelle of New York. The element of +Texture as embodied in the construction of this Exposition, has again +emphasized its general importance in plastic architecture. + + + +The Marina + +The north side of the main group is flanked by a greensward, called the +Marina, which skirts the bay. This enormous green carpet is bordered by +walks and roadways. The Marina affords excellent opportunity for +thousands of people to view special attractions offered daily along the +waterfront. War vessels and pleasure crafts are always just beyond the +low Marina wall. An uninterrupted view of the bay and its northern coast +line of hills and mountains, extending from the Golden Gate, west to +east, as far as eye can reach, is here obtained under most favorable +conditions. No one will ever forget the wonderful panorama which this +Exposition faces. + + + +The South Gardens + +Flanking the south side of the main group is the marvelous Avenue of +Palms, which appears to have existed always. It was established A. D. +1914, by John McLaren, Landscape Engineer, as part of the most colossal +system of successful transplanting ever undertaken in the history of the +world. The South Gardens adjoin the Avenue of Palms and extend to the +Exposition enclosure along the south boundary line, where a wall fifty +feet high and ten feet wide has been erected of a solid green moss-like +growth, studded with myriads of tiny pink star-like blossoms. This great +wall is perforated by simple arched masonry entrances, leading rough the +richly planted foreground formed by the South Gardens. + +Basins of reflecting blue waters extend to the right and left of a +central fountain of colossal proportions. The basins themselves are +punctuated at their east and west ends by fountains of subordinate size, +back of which are Festival Hall to the right and the Palace of +Horticulture to the left, as we enter the green wall portals from the +city of San Francisco beyond. To the south and west of the Foreign +Countries, States Buildings and Gardens, a graceful contour of hills +extends, sloping onward to Golden Gate, and having a coxcomb of pine and +eucalyptus. Broad vistas of city, forests, water, hills and mountains +present themselves at every point. Gray, green, blue and lavender vistas +come into view through portal, colonnade, and arch. + + + +The Palace of Fine Arts + +This impressive unit faces the rising sun with its colorful facade. The +plan of this composite structure suggests the Star and Crescent of +Mohammed. The architecture shows a free interpretation of early Roman +forms. It is, in fact, a purely romantic conception by Architect +Maybeck, entirely free from traditional worship or obedience to +scholastic precedent. Its greatest charm has been established through +successful composition; the architectural elements have been arranged +into a colossal theme of exceptional harmony, into which the interwoven +planting and the mirror lake have been incorporated in a masterly way. +The entire composition bespeaks the mind of a romanticist, whose +productions are swayed more by nature's glories than by scholastic +tradition. + + + +The Palace of Horticulture + +The appearance of this building so clearly expresses its purpose that a +definition of style promptly suggests the title of Horticultural +Architecture. Its decorative spire-like finials resemble the cypress and +poplar. The clusters of floral ornaments and festoons reflect one of the +fundamental purposes of decorative glory to which all plant life has +been decreed. The bulblike glass dome is like an enormous dewdrop of +beautiful proportions and iridescent color. All this beauty was +conceived by Architects Bakewell and Brown, who have given full evidence +of their appreciation of the purposes to which this Palace was assigned. + + + +Festival Hall + +This structure counterbalances the Palace of Horticulture at the east +end of the South Gardens. Mr. Farquhar's interpretation of Italian +Renaissance in this interesting building is replete with charming +detail; it is truly expressive of its festival purposes. It is seen to +best advantage when reflected in the South Garden Pool, from the circle +surrounding the Fountain of Energy, and from the Court of Flowers. + + + +The Palace of Machinery + +This colossal structure of Roman type was designed by Architects Ward +and Blohme. It dignifies the east end of the main composition in a most +impressive manner. Its general character is similar to the Roman baths +of Caracalla. The vestibules are particularly impressive, when viewed +longitudinally. The interior Roman vaulting, formed by myriad trusses, +is similarly impressive in form and scale to the interiors of renowned +existing Basilicas. The surrounding tree, shrub and flower planting +along the simple outer walls is rhythmically consistent with the Roman +niches and entrances and lends added charm to the dignity of this +tremendous structure. The cornices are especially noteworthy in their +detail, scale and proportion. + + + +Outer Walls of the Group of Eight Palaces + +The impressive simplicity of the outer walls is enhanced by a succession +and variety of portals, niches and arcades of Spanish and Italian origin +of great beauty. The simple dignity of the plain travertine wall +surfaces is heightened by tile-covered cornices terminated by pavilions. +A rich foreground of rhythmic planting of trees, shrubbery and flowers, +emphasizes the unity of the eight palaces, the corporate purposes of +which have been so successfully interpreted by Architects Bliss and +Faville. + +The typical domes surmounting the eight palaces also express the +similarity of purpose for which these palaces are intended. In depicting +the industrial arts, these domes lend an Oriental expression to the +entire composition, consistent with the citadel character of the general +scheme. The banner poles, with their Oriental streamers, and the +illuminating standards, set in the foreground planting of the outer +walls, lend a consistent festive character to these long facades. + + + +The Tower of Jewels + +The appellation "of jewels" became an addition to the original title, +after the Tower was thus gorgeously arrayed. The Tower was contemplated +in conjunction with the main group of palaces, as a clue to the +composition, and as of vital importance to the general plan. Its +composite architecture can best be defined as of White and Yellow Race +derivation. It clearly indicates a mingling of the architectural +characteristics of the people of the entire world, as the architects, +Carrere and Hastings, probably intended. It gives definite expression to +the international purposes for which this Exposition is designed. The +jewel enrichments add effectively to its Oriental regal display. The +Tower constitutes an indispensable integral in the unit composition. It +appears to best advantage under the mysterious effects produced by Mr. +Ryan's night illumination. + + + +The Court of the Four Seasons + +This dignified, restful court of Roman classic character, designed by +Architect Henry Bacon, expresses the Season theme perfectly. The +alcoves, which symbolize the Four Seasons, are admirably conceived in +their relation to the entire composition. The arched side approaches of +the colonnades and the colossal Roman niche at the south end together +form a glorious composition which has been greatly enhanced by the +arrangement of planting by Mr. Bacon. + + + +The Court of the Universe + +This colossal court of oval form, including the Avenue stretching to the +Marina, is fundamentally Roman in architectural character, the style +being largely attributable to its splendid Colonnade and Triumphal +Arches. Its architectural style is also sympathetic to the Orient of the +Far East along the Mediterranean, owing to its domed pavilions. The oval +Sunken Garden is thickly planted with Hydrangeas, which constitute one +of the most gorgeous displays at the Exposition. The Tower of Jewels and +the Column of Progress at the North and South ends of this wonderful +Court serve as integrals. McKim, Mead and White are the architects of +this most important of all the Courts. + + + +The Courts of Flowers and Palms + +These two delightful courts, designed by Architect George W. Kelham, are +like great alcoves in the south wall of the main group. The Court of +Flowers faces Festival Hall, whereas the Court of Palms faces the Palace +of Horticulture. Each court is flanked at its outer angles by towers, +which form an indispensable element in the south facade and in the +courts themselves. The general style is Italian Renaissance, suggestive, +in the detail of its decoration and planting, of the symbolic intent of +these courts. They are an important factor in the south facade of the +main group. + + + +The Court of Ages + +This court is designed as an historical expression of the world's growth +from infancy. It consists of a continuous arcade and vaulted ambulatory +along four sides, and an altar-tower on its northern axis. + +The decorative motives employed on the surrounding arcade are of +conventionalized forms of prehistoric plant and animal life, expressive +of evolution. The altar-tower and fountain symbolize the human and +animal passions of the theme. + +The Gothic type of architecture of this court has not been accredited to +any preceding period. Its general character supposedly resembles Spanish +or Portuguese Gothic more closely than any other known style. + +The Court, including its avenue extending to the Marina, was designed +and modeled by the writer of this article, Louis Christian Mullgardt. + + + +Over six hundred acres are comprised in the elongated site on which the +Exposition stands. Millions of people from all parts of the world have +made pilgrimage to this realm of phantasy, and many thousands more are +on their way, determined to bask in the radiance of Good Will toward All +Mankind, which this Mecca of Peace, Enlightenment, Beauty, and +Inspiration for a better and greater future gives forth. Its purposeful +influence is destined to serve perpetually beneficent cause in the +furtherance of unified international humanitarianism after the ephemeral +vision of this Phantom Kingdom has vanished. + +L. C. Mullgardt. + + + +Illustrations and Descriptive Notes of the Architecture and Landscape +Gardening of the Exposition + + + +Panorama +Exposition from Presidio Heights + +From the vantage point of Presidio Heights, one may see this panorama of +the Exposition and catch the symmetry of arrangement in the walls of the +palaces, in the graceful lines of the towers and in the impressive +contour of the domes. The effect is largely due to the ground plan, +distinguished for its balance and poise, which was designed by Mr. +Willis Polk and Mr. Edward Bennett. + +The main palaces, eight in number, are built around three courts, +producing an admirable compactness and unity. To the west of this +central block of buildings, is the Palace of Fine Arts, and to the east, +Machinery Hall. The Palace of Horticulture and Festival Hall are located +in the great South Gardens. The Zone lies in the extreme eastern wing of +the grounds, and the corresponding section to the west is devoted to the +Pavilions of the Foreign Nations and of the States of the Union. + + + +Tower of Jewels +The Illumination by Night + +The Tower of Jewels, designed by Carrere and Hastings of New York City, +is the centralizing and dominating feature of the Exposition. In its +colossal dimensions and in the imposing dignity of its position and +conception, it seeks to embody, in one triumphal memorial, the +importance to the entire world of the opening of the Panama Canal; while +in architecture, sculpture, mural painting, decorative ornament and +inscribed tablet, it celebrates, in varying form, the glory of +achievement. + +Classic influences inspired the great, central Roman arch, with its +massive colonnades on either side and the Corinthian and Doric columns, +repeated on successive tiers to the globe, upborne by four giant +Atlases, which crowns the apex; but the spirit of conquest and +discovery, which vitalizes the sculptured figures and mural paintings, +is modern in its expression and in its historical fidelity. + +The Tower takes its name from the thousands of many-colored jewels so +cut, polished and suspended that they reflect the sunshine with dazzling +brilliancy by day and at night, under the white radiance of the +searchlights, clothe the whole structure with shimmering splendor. + + + +Fountain of Energy +A View in the South Gardens + +It was a great undertaking to transform the waste acres of marsh and +mudflats into a garden which would be an appropriate setting for the +Exposition palaces. Its success was due to Mr. John McLaren, whose +reputation as a landscape gardener had long ago been established by his +work at Golden Gate Park. + +Passing through the Scott Street Entrance, one sees first the South +Gardens, the really spectacular feature of which is the Fountain of +Energy, designed by A. Stirling Calder. Flanking this main fountain are +the two smaller fountains crowned by the graceful mermaids designed by +Arthur Putnam. With their lovely pools and the splendor of gushing +waters, these three serve as the motif for the formal plotting of the +South Gardens. + +Monterey pines and cypress, with acacia and a variety of flowering +shrubs, are grouped with fine effect. Balustrades, ornamented with +plant-filled urns, set off the great beds in which flora from widely +separated parts of the world have been used. The successive plantings of +flowers keep the gardens in continuous bloom--daffodils, tulips, +pansies, begonias, dahlias, each in their turn. + + + +Festival Hall +South Gardens and Mermaid Pool + +At the eastern end of the South Gardens, south of the Avenue of Palms +and directly opposite the Court of Flowers which breaks the facade of +the main group of buildings between the Palaces of Varied Industries and +of Manufactures, stands Festival Hall, designed to furnish a center for +the Exposition conventions and musical festivals. From its character, +the building takes not only its name, but its architectural and +decorative treatment. It was designed by Robert Farquhar of Los Angeles. + +The building, in its charm of line and the dignity and grace of its +proportions, reflects the best mood of the French Renaissance. The great +dome, with the smaller corner domes, suggests the Theatre des Beaux Arts +in Paris. The graceful curve of the main portal, the Ionic columns, the +decorative corridors and the fine entrances are harmoniously and +effectively developed. All the sculpture, which is the work of Sherry E. +Fry of Iowa, is classic in conception and happily sympathetic in its +suggestion of festivity or in its lyric quality. The floral scheme, in +its, lavish massing of bloom and rich color, enhances the attractiveness +of the building. + + + +Festival Hall +The Terrace and Colonnade + +The rounding sweep of portico and pillar reveals the architectural style +of Festival Hall. In the sculpture and decorative friezes, an effect of +airiness has been achieved. Through the graceful arches, formed by Ionic +columns, one notes the impressive windows, showing the French influence. +The cupola, topped by the slender figure of the "Torch-Bearer," gives an +inviting charm to the side entrance, considered ornate but in accord +with the architectural design of the Palace. The site of Festival Hall +is somewhat raised and the slopes that lead down to the Avenue of Palms +are in terraces of velvety lawn, broken by wide flights of steps. On +either side of the main stairway are two sculptural groups, the "Flower +Girl," before which, on one side, is placed an enticing "Pan" and on the +other, a shy, girlish figure partially concealed in the shrubbery. + + + +Festival Hall +Mermaid Pool in the Mist + +The skillful use of pools in which is secured the charming reflection of +palaces and architectural structures, with the softening accompaniment +of trees and shrubbery, is one of the pleasant features of the +Exposition. + +There is enchantment in a foggy day, for one sees as in a dream, lovely +vistas of courts, glimpses through consecutive arches, and always the +charm of mirroring pools and lagoons, where, should there be no wind, +the reflected image makes as perfect a picture as the mist-enshrouded +original. + + + +Palace of Horticulture +The Dome and East Entrance + +The huge dome, constructed almost entirely of glass, upon a framework of +steel, is the prominent feature of the Palace of Horticulture. It is +French Renaissance, influenced by Byzantine, and its proportions (it is +one hundred and fifty-two feet in diameter and one hundred and +eighty-two feet high) are almost perfect. The spires and porticos, the +colonnades and entrances are replete with rococo decorations. There are +garlands of girls used in the friezes at the base of the minarets, +caryatides repeated in the vestibules, and everywhere a wealth of +ornamentation suggestive of a bountiful harvest. The brilliancy of +design is heightened by the color scheme of green and ivory used upon +the lattice work and travertine material. Messrs. Bakewell and Brown of +San Francisco are the architects. + + + +Palace of Horticulture +Dome and Spires by Night + +At night, when the powerful searchlights within the dome are played upon +the translucent glass, the effect is magical, the reflections weirdly +changing in color and shape. The rich details of the decorations are +softened in the night light. The slender shafts of the obelisks +accentuate the vast proportions of the dome. Even the rare color +combinations, which add so much to the appearance of the Palace of +Horticulture by day, are scarcely dimmed beneath the artificial +lighting. Minarets and sculptured friezes and the floral designs so +abundantly used in the decoration are seen in fairy-like grace. + +Of this beautiful building Mr. Edwin Markham has written: "I looked at +the dome of the Palace of Horticulture and saw strange colors at play +within its dark green depths. Circles and clefts of blue and red and +green shifted, faded and returned like hues within a fiery and living +opal. It was the workshop of a maker of moons, who cast his globes aloft +in trial flights." + + + +Palace of Horticulture +The Colonnade on the East + +The caryatides, which are placed in pairs along the corridors of the +Palace of Horticulture, were designed by John Bateman of New York. The +balustrades, together with the ornamentations of garlands of fruits and +flowers, convey the joyous note of a carnival. The ceiling of the +porches is studded with domes, grilled with green latticework. From the +center of these airy skylights are suspended lamps which, by night, +convert the corridors into brilliantly lighted promenades. + + + +Horticultural Gardens +Floral Exhibit in the Open + +The Horticultural Gardens, lying south and west of the Palace of +Horticulture, are, in reality, exhibit gardens, where much of the +display belonging to the Palace itself is placed. While the decorative +quality is here less emphasized than the more educational and technical +phases of horticulture, the gardens are at all times lovely with a +luxuriance of bloom and with the effective massing of trees and shrubs. + +The display covers an area of eight acres, and experienced gardeners +have united to develop the flora exhibited to a high degree of +perfection. The Netherlands Gardens, the Rose Garden, with its +International Rose Contest, the California Garden and others have +contributed a perpetual rotation of flowering plants and shrubs in great +variety and with a profusion of brilliant color. In the Forestry Court +adjoining, Bernard Maybeck, the architect of the Palace of Fine Arts, +has built a lumbermen's lodge of massive, rough-barked, redwood logs, +but of the same charm of design and harmonious beauty of proportion +which characterize his greater work. + + + +Avenue of Palms +View From Administration Avenue + +Looking down the Avenue of Palms from Administration Avenue, a +delightful picture is presented. Double rows of palms border either side +of the Avenue, with ferns, and blossoming nasturtiums and geraniums +planted directly in the interstices of the roughened trunks. The walls +of the palaces are embowered in eucalyptus, acacia and cypress trees. +Add to this the effect of gaily decorated flagpoles, with pennants and +banners afloat in the breeze, and the half-mile boulevard is +exhilarating to behold. + +Many of the shrubs and trees are common to all the palaces, but each +building has been allotted a different collection of flowers and +foliage-plants to add a distinctive color tone to the facade. When one +examines the general sweep of the palace walls facing the Avenue, +certain architectural units are noticed. Centering each building is a +low dome of Byzantine design, with green roof and warm pink sides. On +the corners smaller domes break the monotony of straight lines. The +Tower of Jewels and the four Italian Towers complete the inspiring +"walled-city" effect. + + + +Palace of Education +Main South Portal + +The Palace of Education forms the southwest unit of the main group of +buildings and fronts on the Avenue of Palms and Administration Avenue. +To W. B. Faville of San Francisco was entrusted the entire exterior wall +which unites in one immense rectangle the eight palaces of the main +group. A plain cornice, edged with tiles, binds the upper rim +throughout. With great simplicity and restraint, the wall spaces are +kept bare of ornament, depending for relief on carefully spaced portals, +niches and wall fountains. + +The south facade of the Palace of Education is broken by three beautiful +doorways, of which the central is the largest and most richly decorated. +The distinctive feature of the main portal is the tympanum in relief by +Gustav Gerlach of New York, which pictures the various stages of +education from the mother in the home, through the adolescent period, to +maturity, when the student is self-taught. Below is the book of +knowledge, the curtains of darkness drawn back that the light may +radiate from its open pages. Above the portal's curve is a globe, +typifying the world-wide scope of the exhibit within. + + + +Palace of Education +One of the Minor Entrances + +The main portal of the Palace of Education is flanked on either side by +a smaller entrance partaking of the same beauty of design, along +slightly simpler lines, so that, while preserving a distinct +individuality, these minor entrances enhance and enrich the main doorway +and the three form a unit in their decorative treatment. The style is +Spanish Renaissance, inspired by ancient models, and modified by +Byzantine influences. All three show the twisted Byzantine column, those +of the main entrance being more ornate. The flat, sculptured panels in +relief above the smaller portals, by Charles Peters and Cesare Stea, +respectively, both deal with educational subjects. The classic vases on +either side of the entrances add grace and dignity, while the latticed +doorways, used throughout the Exposition architecture, here effectively +emphasize the Moorish note. The planting of trees and shrubs is nowhere +happier than about these doorways, with the rose and mauve and smoke +tones of the fresh eucalyptus growth against the ivory-tinted wall and +the profusion of flowers and shrubs massed below. + + + +Court of Palms +The Sunken Pool by Night + +Of the five chief courts of the main architectural ensemble, the two +minor courts, the Court of Palms and the Court of Flowers, while lacking +the more imposing size, dignity and symbolism of the three interior +courts, largely compensate by their sense of intimacy, warmth and quiet +charm. With their sheltered location and sunny atmosphere, due to +southern exposure, and with the enchantment of architecture, sculpture, +painting, color and landscape effects with which they are richly +endowed, they are not only joyous and satisfying, but restful in an +unusual combination and degree. Both courts were designed by George W. +Kelham of San Francisco. + +The Court of Palms lies between the Palace of Education and the Palace +of Liberal Arts; enclosed on the third or north side by the Court of the +Four Seasons, it is open on its southern exposure to the Avenue of Palms +and the Palace of Horticulture which lies directly opposite. It is a +long oval in shape, its proportions well balanced, and its effect of +dignity and quiet accented by the two sunken pools and the effective +planting of palms from which the court takes its name. + + + +Court of Palms +Portal, Palace of Education + +In architecture, the Court of Palms is Italian Renaissance. The entire +length of its oval is encircled by a colonnade, pierced by three deep +portals which are identical in treatment and which are especially fine +examples of the Roman arch. Their dignity is enhanced by the Italian +cypresses which flank them on either side. The portals open respectively +into the Palace of Education on the west, the Palace of Liberal Arts on +the east and the Court of the Four Seasons on the north. The colonnade +is bordered by massive Ionic columns of smoked ivory, which in the +entrances deepen into Sienna marble. The plain cornice which +characterizes the outer walls of the exhibit palaces here takes on a +richer ornamentation to conform to the ornate treatment of the Court, +while it retains the parapet of red Spanish tiles above. Between the +cornice and the columns is a wide and richly decorated attic or frieze +where much of the detail and color which help to make the charm of the +Court are massed. + + + +Court of Palms +Portal, Palace of Liberal Arts + +The sympathy between architect, sculptor and colorist is nowhere shown +to better advantage than in the richly decorated frieze surrounding the +Court of Palms. Panels of veined marble in browns and pinks, deepening +through rose tints to red, are bordered by festoons and garlands of +fruit and flowers in varied shadings of blue and pink. Separating the +panels are caryatides, flushed pink, with long, pointed, folded wings. +They were designed by A. Stirling Calder and John Bateman, while the +spandrels over the curve of the portals are the work of Albert Weinert, +as are also the graceful, classic vases on either side of the entrances, +the latter banded in low relief by dancing bacchanalian figures, while +grinning satyr heads finish the curved handles. In the arch of the +doorways, are three fine mural paintings, harmonizing in subject and +coloring with the spirit of the Court--"Fruit and Flowers," by Childe +Hassam, on the West, "The Pursuit of Pleasure," by Charles Holloway, on +the east and "The Victorious Spirit," by Arthur F. Mathews, on the +north. + + + +Court of Palms +Italian Tower from Main Portal + +Terminating the colonnade at either side of the entrance to the Court +from the Avenue of Palms stand the Italian Towers, distinguished by +their grace of line and proportion and their skill in the use of the +purest architectural forms of the Renaissance, no less than by the +charming manipulation of color and ornament. By their slenderness and by +simplicity of treatment they produce an effect of great height. They +were inspired by the Geralda Tower of Seville. The deep-toned columns of +Sienna marble used in the three Italian Portals also enrich the entrance +to the towers. The prevailing pink and blue color tones which dominate +the court are delightfully accentuated in the diaper pattern decorating +the rectangular wall spaces of the main portion of the towers. The upper +design, repeated in each of the four corners, is modeled after the +Choragic Monument of Lysicrates in Athens. The winged figure, "The +Fairy," lightly and gracefully poised upon the topmost pinnacle, is by +Carl Gruppe. + + + +Court of Palms +In the Colonnade by Night + +The illustration shows the colonnade which encircles the entire oval of +the Court. The bordering columns are Roman Ionic in dull smoked ivory. +The general wall tone is the same, with panels of soft pink between the +pilasters. The vaulted ceiling is blue. The plants between the columns +are acacias, clipped to ball form. The swinging lamps are from old Roman +models in pink and verde green. Classic figures are modeled in low +relief above the arched openings. + +Looking north through the Court of the Four Seasons, with its long north +colonnade, is a superb vista across the wide blue waters of the bay to +the sweeping hills beyond. At the entrance to the court stands the only +piece of sculpture not identified with the architectural treatment, "The +End of the Trail," by James Earl Fraser, one of the strongest statues on +the grounds and perhaps the most popular. + + + +Court of Palms +A Curve in the Colonnade + +The careful details of the palaces and courts--the minute finishing of +cornice, column, frieze and vault, the loving modeling of sculpture, the +artistic planning of vistas, the inspired brushing of murals--are +marvelous beyond my telling. It is an outpouring of the arts before the +altar of humanity. It is a presage of what men can do when they unite in +common service. + +The Exposition has taken a Titan stride toward this unified action for a +common purpose. The artists have bent to one perfect expression, like +the strings and brasses of an orchestra. Self was submersed in a +composite achievement, not obliterating individuality but leaving it +latitude to harmonize with others. The result is not the stenciling of a +leader's mannerisms, but a blend of diverse and varied characteristics, +an interweaving of sympathies, of spontaneous and ordered impressions. +Here is an object lesson in the cooperative idea that will not be lost +upon the world--the idea of a transcendent result obtained by a unity +of noble efforts, a result that no massing of individual attempts could +have achieved. + +--Edwin Markham + + + +Palace of Liberal Arts +Portal, From the South Gardens + +West of the Tower of Jewels is the Palace of Liberal Arts, balancing in +architectural design and embellishment the Palace of Manufactures, which +lies directly east of the tower. The niches, entrances and main portals +of the two build are identical. Both were designed by W. B. Faville of +San Francisco. + +Like all the buildings of the main group, the decorative treatment is +largely massed in the great doorway, which is distinctly Renaissance in +architecture, Spanish in general treatment, but Roman in the massive +dignity of the square, deeply-arched portal. Its style is adapted from +ancient models. The coloring within the arch and in the overlaid +ornament around and above it is a warm pink, effectively combined with +turquoise blue and orange. The lace fan, of Moorish workmanship, above +the doors, is especially beautiful in its delicate coloring and fragile +texture and in the touch of lightness that it gives. The pilasters on +either side of the entrance are Corinthian. The long frieze above the +doorway and the figures in the niches on either side are by Mahonri +Young of Salt Lake City. + + + +Palace of Liberal Arts +The Tower of Jewels by Night + +Either by day or by night, the Tower of Jewels is the dominating center +of the Exposition, epitomizing not only its entire meaning and message, +but summarizing in detail its architectural development. In the main it +follows the Italian Renaissance, with emphasis upon the Greek and Roman +elements, while in the ornament it employs many Byzantine features. + +The Tower is built in seven stages, rising tier on tier, the base a +magnificent Roman arch, with colonnaded courts flanking it on either +side. The Corinthian columns of the colonnades are ochre and on each +side of the archway, they are of Sienna marble. The sculptured figures +by John Flanagan, crowning the columns above the arch, represent in four +successive types the men who made Western America--the adventurer, the +priest, the philosopher, the soldier. They are repeated on each face of +the Tower, the "Armored Horseman" by Tonetti, on the terrace above, +being repeated four times on each side. The forms used in the decorative +sculpture--the eagle, the wreath, the ship's prow, the various emblems +of war--all symbolize victory and achievement. + + + +Palace of Liberal Arts +Elephant Fountain Niche by Night + +The ornamental fountain alcoves placed at intervals are important +decorative features of the south walls. The shrubbery has been so +grouped about the niches that the details of the fountains are partially +screened. Upon closer investigation, one finds an elephant's head as the +central object in one niche, alternating with a lion throughout the +series. They set snugly against the pink panel just over the flaring +basin of travertine wherein the water trickles. + +At night, these niches are flecked with shadows cast by the surrounding +trees. Electric lights, concealed beneath the water, shed a warm glow +upon the head of the elephant in its frame of sculptured half columns. +These fountain niches, designed by W. B. Faville, are in the same +Spanish style of architecture which characterizes the entire south +facade of the palaces. + + + +The Tower of Jewels +The Great Roman Archway + +Midway on the south face of the Tower of Jewels are inserted four +commemorative tablets. The inscription on the panel at the left end of +the colonnade reads as follows: + +1501--Rodrigo de Bastides pursuing his course beyond the West Indies +discovers Panama. + +The Panel at the left of the central arch reads: + +1513--Vasco Nunez de Balboa crosses the Isthmus of Panama and discovers +the Pacific Ocean. + +At the right of the central arch the panel reads: + +1904--The United States succeeding France begins operations on the +Panama Canal. + +The Panel at the right end of the colonnade is inscribed: + +1915--The Panama Canal is opened to the commerce of the world. + + + +The Tower of Jewels +Colonnade, The Fountain of Youth + +Beyond the colonnades and the great Roman arch, on the north face of the +Tower of Jewels as it faces the Court of the Universe, are four +commemorative tablets similar to those found on the south side. The +panel at the left end of the colonnade is inscribed: + +1542--Juan Rodriguez Cabrillo discovers California and lands on its +shores. + +The Panel at the left of the central arch reads: + +1776--Jose Joaquin Moraga founds the Mission of San Francisco de Isis. + +At the right of the central arch the panel reads: + +1846-The United States upon the outbreak of war with Mexico takes +possession of California. + +The Panel at the right end of the colonnade is inscribed: + +1850--California is admitted to the Union as a sovereign State. + + + +Palace of Manufactures +Portal, from the South Gardens + +The Palace of Manufactures lies directly east of the Tower of Jewels and +fronts on the Avenue of Palms. In architectural design, it duplicates +the Palace of Liberal Arts, the repetition giving strength and +simplicity to the entire south facade. The dignified main portal is +flanked on either side by two minor entrances, similarly conceived and +ornamented, the lattice work within the archways relieving the solidity +of the design. + +The composition of the Byzantine dome, with its tier of latticed +windows, the "Victory"--tipped gable, the tiled slope above the arch, +the bare wall spaces and the richly ornamented doorway, as seen from the +South Gardens, illustrates the general construction of the main group of +buildings. The dome gives height and decorative effect, the "Winged +Victory" lightness and grace. The latter figure, which is repeated on +the acroteria, as the gable platforms are called, of all the palaces of +the main group, is by Louis Ulrich of New York. It bears, outstretched, +a wreath which suggests the crown bestowed for work well done. + + + +Court of Flowers +Fountain, Beauty and the Beast + +Between the Palace of Mines and the Palace of Varied Industries lies the +Court of Flowers, enclosed on the third or north side by the Court of +Ages and open on its southern exposure to the Avenue of Palms and to +Festival Hall, which lies directly opposite. In its shape, a long oval, +and in its location it is the eastern prototype of the Court of Palms, +which breaks the wall of the main group of buildings toward its western +end. Like that, it was designed by George W. Kelham of San Francisco. + +Both Courts are rich examples of the Italian Renaissance, with traces of +Byzantine influence, and while a superficial view might pronounce them +almost identical, a further study reveals marked individuality in +conception and development. In each, the note of emphasis and the +temperamental appeal are entirely distinct. The Court of Palms is +simpler, more dignified, more conventional. The Court of Flowers is +richer in ornament and suggestion, more softly brilliant in atmosphere. +The prevailing color is yellow relieved by pink. + + + +Court of Flowers +Portal of Varied Industries + +In the Court of Flowers, the colonnade encircling the entire length of +its oval is bordered by Corinthian columns arranged in pairs. The +smoked-ivory tone is used throughout, except in the portals, where +Sienna marble gives a deep note of color. The highly ornamental floral +light-standards between the columns occur elsewhere throughout the +court. The cornice is edged with red Spanish tiles and above the +colonnade runs a richly decorated loggia that, with its suggestion of +southern influences, enhances the warm, sunny atmosphere of the court. +The repeated figure of the flower-decked and garlanded "Flower Girl" is +by A. Stirling Calder. A conventionalized frieze in delicately colored +arabesque runs between the balcony and the columns, the prevailing motif +of which is the griffin. The colonnade is broken by three portals, +opening respectively into the Palace of Manufactures on the west, the +Palace of Varied Industries on the east and the Court of Ages on the +north. These entrances, while they do not interrupt the colonnade below, +as is the case in the Court of Flowers, are made the keystones of the +ornament of the upper balcony, where the triple arches, with their +decorative treatment, furnish an effective break in the loggia. + + + +Court of Flowers +A Vista in the Colonnade + +The coupled Corinthian columns are of smoked ivory. The background of +the wallspaces is the same, but between the pilasters, occur panels of +warm pink. The pilasters are in pairs to harmonize with the pillars +bordering the colonnade. In the portals swing Roman lamps in dull +blue-green. The heavy bronze lanterns, suspended from the deep-toned +cream ceiling of the corridors, are Italian in design. At night, they +are illumined by a soft, red glow, while the light from the standards +between the columns and through the latticed doors of the entrances of +the palaces is pale gold. There is no direct lighting in the court, the +only other illumination being the deep red diffusive flow which +brightens the Italian towers from within, so that the warm, bright charm +pervading the Court by day, gives way at night to a sense of seclusion +and intimacy that makes a poetic appeal equally strong. + + + +Court of Flowers +Italian Tower from Colonnade + +The four Italian Towers, equally distant from the Tower of Jewels, two +on either side, furnish the chief elements in the fine sense of balance +and proportion of the south facade of the main group of palaces. +Occurring in in pairs at the entrances of the Court of Palms and the +Court of Flowers and employing the same architectural elements and +decoration, they show a pleasing variety in detail. The towers of the +Court of Flowers have more of simplicity in design and give an even +greater impression of height by the arrangement of columns. The same +fairy by Carl Gruppe crowns all four towers, and helps to give the name +of "the fairy courts" by which they are sometimes called. By the +original design these two courts were to embody the fairy lore of the +Occident and of the Orient, and the Court of Flowers, with the magic of +its golden blossoms and its friendly beasts, enters far into the +conception. + + + +Court of Flowers +The Friendly Lion at the Portal + +With all its loveliness of detail and witchery of color, the prevailing +charm of the Court of Flowers, true to its name, lies in the effective +planting of flowers and shrubs. The main path through the Court is +bordered on either side by spreading lophantha trees, trimmed four feet +from the ground and branching to a diameter of five feet in delicate, +lacy foliage. Masses of flowers in the pervading luxuriant color-tone +carpet the whole court with gold, while banks of green fill the corners +and outline the borders. The six "Friendly Lions" with their +conventionalized garlands, by Albert Laessle of Philadelphia, guard the +three entrances, one on either side. "Beauty and the Beast," the central +fountain which dominates the Court, is by Edgar Walters of San Francisco. +The basin is upheld by four alternating fauns and satyrs and about the +base of the fountain is a procession of beasts in low relief. The statue +of "The Pioneer" by Solon Borglum, which stands at the entrance of the +Court, while it bears no relation to the symbolism of the Court itself, +is a companion to "The End of the Trail" which occupies the same position +before the Court of Palms. + + + +Palace of Varied Industries +Main Portal + +The central portal on the south facade of the Palace of Varied +Industries is by many considered the finest doorway at the Exposition. +It is a copy of the Hospital of Santa Cruz at Toledo, done in the +Spanish Renaissance, of a style known as the plateresque. The rich +appearance has the effect of being exquisitely chiseled with scroll-like +finish, reminding one of the workmanship of a silversmith. + +The sculptured ornamentations of the portal are the work of Ralph +Stackpole. He is most fortunate in his treatment of the industrial +types. The relief panel in the tympanum represents the industries of +Spinning, Building, Agriculture, Manual Labor and Commerce. + +"The Man with the Pick," seen on the side brackets, is a freely modeled +statue, also appearing upon the portal of the Palace of Manufactures. +The keystone figure typifies the Laborer, who is capable of relying on +his brain. The upper group represents Age transferring his burden to +Youth. + + + +Avenue of Palms +The South Facade by Night + +Facing the Avenue of Palms is the stupendous wall formed by the Palaces +of Varied Industries, Manufactures, Liberal Arts and Education. This +long and imposing bulwark is over-topped by the great Tower of Jewels +and the two pair of Italian Towers. The walls of the palaces, ivory +tinted and shadowed by palms, eucalypti and myriad shrubs, assume a new +and more wonderful aspect under the batteries of the searchlights. The +towers stand out against the night sky, glowing with the hidden lights +like living coals, changing to pastel tints of blue and green, most +beautiful of all when the reflectors convert them into shafts of white. +The lamps along the Avenue punctuate the dark masses of foliage, and the +contrasting high lights on towers and domes make an artificial +illumination that for sheer beauty has never been equalled. + + + +Avenue of Progress +The Fine Vista to the Marina + +Spaciousness characterizes the Avenue of Progress, not only in its +breadth but in its sweeping length. From the Fillmore Street entrance, +which opens directly upon the Avenue, it appears to extend across the +bay and on to the hills beyond. The Service Building is upon the left +and from the opposite side comes the fanfare of the "Joy Zone." The +Palace of Machinery is on the eastern side of the Avenue, and on the +west are the Palaces of Varied Industries and Mines. + +The landscape gardening is here most successfully carried out. Dracena +indivisa, a species of palm, are planted at short intervals throughout +the length of the boulevard. Against the dull buff of the palace walls +are banked Monterey cypress and Lawson cypress, with a heavy undergrowth +of fir and spruce. The attractive lawns add a touch of formality to the +impressive Avenue. Whatever effect of newness might have appeared in the +walls of the great palaces is mellowed by Guerin's colors and there is a +splendid atmosphere of enduring solidity, softened by the picturesque +gardens. + + + +Machinery Hall +The Central Arch in the Portal + +The Palace of Machinery extends for nearly one thousand feet along the +Avenue of Progress. Its main entrance, facing the west, is composed of +three splendid arches, set off by free-standing columns, which resemble +weather-stained shafts of Sienna marble and are the pedestals for the +sculptured figures representing the powers of "Invention," +"Electricity," "Imagination" and "Steam." On the inner facade of the +arches are grills of amber glass, forming a strong background for the +decorative friezes and sculptured eagles, the latter being symbols which +predominate throughout the Exposition. Dwarf cedars serve to magnify, by +comparison, the gigantic dimensions of this entrance. Daniel Chester +French's commanding statue, "The Genius of Creation," occupies a +prominent place before the central arch. + + + +Machinery Hall +The Colonnade in the Portal + +The dimensions of the main entrance to Machinery Hall are in keeping +with the size of the building, which is the largest wooden framed +structure in the world. Architecturally the style is after the ancient +Roman, the motif being supplied by studies of the baths of Caracalla. +The decorative designs in the vestibule are sculptured figures and +accompanying insignia typifying the manufacture and use of machinery by +man. The relief figures of the spandrels are forcefully executed. About +the base of the pillars are friezes, symbolic of mechanical invention. +These relief designs are the work of Haig Patigian of San Francisco. + +This great archway is one of the most interesting achievements, from an +architectural standpoint, to be found at the Exposition. The space +covered is large, yet so cleverly handled that no bareness is suggested. +The coloring within the vestibule is in shades of blue, and the massive +pillars supporting the three arches are toned in rich terra cotta. + + + +Machinery Hall +One of the Minor Entrances + +Flanked by Corinthian columns which reflect, in smaller size, the great +pillars of the main entrance, four minor doorways break the long western +wall of the Palace of Machinery on either side of the central entrance, +the architectural and sculptural design in them being similar to that of +the main portal. The frieze in low relief, encircling the bases of the +columns and representing the genii of mechanics, is repeated from the +larger entrance, as are also the figures in the spandrels, typifying the +application of power to machinery. + +The color treatment of these doorways is especially brilliant. The +Corinthian columns simulate Sienna marble. The background in the +spandrels is stained a rich orange. The shell canopy, as in other panels +where it is used throughout the Exposition, is in cerulean blue, the +wall space beneath it is a deep pink, while the door is the customary +green. + +The landscape planting along the entire wall is superb. Against the +ivory-tinted background, various species of evergreens are grouped with +consummate skill. + + + +Palace of Mines +A Lamp Niche in the Court + +The Court of Mines, opening directly across from the main portal of +Machinery Hall, is the entrance to the inner courts from the Avenue of +Progress. The effective massing of the shrubbery is enlivened by the gay +banners and streamers, designed by Jules Guerin, which are one of the +most stimulating decorative features of the Exposition. The walls on +either side are broken by the entrance portals to the buildings, done in +Italian Renaissance style. Their distinctive features are the niches on +either side of the entrances, in which are placed vigorous figures, +designed by Albert Weinert, and the ornamental lamps below. The court is +illuminated at night by concealed light thrown on the walls from +reflectors in the forms of interesting green shells resting on shapely +standards. + + + +Court of Ages +The Tower by Night Illumination + +The Court of Ages was designed by Louis Christian Mullgardt of San +Francisco. Of all the Exposition courts it is the most original and +imaginative in conception, the most complete in its organic, structural +unity, the richest in ornament, in poetic suggestion, in the depth and +dramatic appeal of its symbolism. + +The Court suggests many architectural periods and types, yet eludes +classification under any one of them. The Gothic clearly predominates, +with traces of English, Spanish, and Portuguese elements. With further +hint of Romanesque, of Moorish and of French influence, these varying +elements have been so fused in the imagination of the architect that the +resultant creation is independent of all of them in its daring, yet +restrained, originality. In the magnificent square tower at the center +of its northern end, all the beauty and spiritual import of the Court +culminate. Its aspiring length of line, unbroken from base to summit, +faces poise and uplift, the broad, plain surfaces give nobility and +strength and the exquisite richness and delicacy of the ornament give +lightness and grace, while the sculpture blends and crowns the deep +pervading symbolism of the Court. + +-Maud Wotring Raymond + + + +Court of Ages +The Fountain of Earth + +While it is possible to find keen enjoyment in the Court of Ages for its +delicate beauty and exquisite refinement alone, even the slightest study +of its architectural and sculptural detail reveals a depth of underlying +purpose and meaning that invites further analysis. The architect calls +it "an historical expression of the successive ages of the world's +growth." He suggests four stages: the nebulous world, symbolized by the +central fountain, in which Robert Aitken of San Francisco has worked out +a stupendous study of primeval passions. Out of chaos, come the +elemental forces, Water, Land and Light. The braziers and cauldrons +symbolize Fire. The two sentinel columns, flanking the tower on either +side, are Earth and Air. The eight paintings, by Frank Brangwyn of +London, in the corridors in great richness of color depict Earth, Air, +Fire and Water. Thus the first state is indicated. + +The second stage is symbolized by the decorative motifs employed on the +arcade surrounding the court, where on piers, arches, reeds and columns, +in marvelously wrought sculptural ornament, is shown the transition from +plant to animal life through kelp, crab, lobster and other sea animals +and shell motifs. + +--M. W. R. + + + +Court of Ages +The Garden of Hyacinths + +Following the symbolism of the Court of Ages through the first nebulous +period of the world's growth, through the second, which shows the +transition in successive forms of sea-plant life, the third period is +reached where are illustrated the earliest forms of human, animal, +reptile and bird life prevailing in the stone age. This age is +indicated, in the court, by the prehistoric figure surmounting the piers +of the arcade and by the first sculptured group over the entrance to the +tower. The repeated arcade figures, which were designed by Albert +Weinert, represent alternately Primitive Man and Primitive Woman. + +The perfection of the landscape planting and the skill with which it +subtly accentuates the meaning of architecture and sculpture are worthy +of study. In the background, close against the piers of the arcade, +tall, slender Italian cypresses emphasize their rhythmic length of line. +Amid a growth of tropical luxuriance stand glossy-leafed orange trees +laden with fragrant blossoms and golden fruit. Balled acacias in formal +rows outline the paths, while a succession of plantings has given a +varying color scheme and a new perfume to each season. + +--M. W. R. + + + +Court of Ages +A Glimpse From the Colonnade + +The Court of Ages is the only one of the Exposition courts which is +entirely independent of outside influences. The other courts derive +breadth of appeal from the fine vistas through arched gateways or along +dignified colonnades. The Court of Ages is shut in upon itself by the +arcaded and vaulted ambulatory which extends continuously around its +four sides, and by this cloistered effect, its individual impression is +deepened and intensified. + +Through the lovely rounded arches of this encircling colonnade, which is +elevated a few feet, one looks down into the beauty of the court, or out +across it to the richly fretted walls. In the curve of each arch, hang +two delicately modeled lanterns. + +--M. W. R. + + + +Court of Ages +A Vista in the Colonnade + +The cloistered effect of the long colonnade surrounding the four sides +of the Court of the Ages is deepened by the vaulted ceiling, which, in +its Roman simplicity of line, contrasts effectively with the filigreed +exterior of the arcade. + +The only color in the court, aside from a slight use in the tower and +the massed luxuriance of flowers, is found in the corridors where, +between the square pilasters, the prevailing old ivory is stained pink +of a deeper tone than in the other courts. The ivory pilasters are +carried up into the ceiling in curving, transverse arches, while the +band of blue, following their edges, leads to the rich blue depths +between them. At the far end of every vista glows the riot of color in +the mural paintings by Frank Brangwyn. The play of sunlight through the +succession of rounded arches increases the sense of bright charm. + +--M. W. R. + + + +Court of Ages +The Tower Through North Aisle + +In the North Court of Ages, leading to the Esplanade, the tower is +identical with the main court, and the entire architectural treatment, +while simpler, is in the same spirit. Robbed of the complex symbolism by +which, in the larger court, the evolution of the lower forms of life is +depicted, the higher spiritual lesson is here intensified. The +sculptured groups in the tower, by Chester A. Beach of San Francisco, +represent the rise of humanity through successive ages of civilization. +The conventionalized lily petals decorating the summit of the tower +suggest the highest forms of plant life. The delicate lace-like finials, +rising from the highest points of court and tower alike, express +aspiration. The chanticleers on the finials surrounding the court +symbolize the dawn of Christianity. + +The star-like clusters of lights, raised aloft, two in the main court +and four in the north court, deepen the ecclesiastical atmosphere by +suggesting the golden monstrance emblematic of the rays of the sun and +of the radiating presence of God, and used in the Catholic Church as a +receptacle for the sacred host. + +--M. W. R. + + + +Florentine Court +Palace of Transportation + +The Florentine Court and the Venetian Court lie east and west +respectively of the Court of the Universe. They are sometimes called the +Aisles of the Rising and the Setting Sun. While in reality only +connecting avenues, the wealth or careful detail lavished upon them +makes of them charming interludes between the larger and more imposing +courts, and yet so skillfully do they conform to the general plan that +they blend one larger court with another, without expressing a distinct +individuality of their own. They were planned by W. B. Faville of San +Francisco. While identical in design upon three sides, their adaptation +upon the fourth side to the courts which they adjoin, east and west, and +the variety in landscape effects, insure against exact duplication. + +The Florentine Court lies between the Court of Ages and the Court of the +Universe, with the Palace of Transportation bounding it on the north and +the Palace of Manufactures on the south. Its eastern wall repeats the +rich decorative treatment of the Court of Ages, which it joins. + + + +Court of the Universe +Through Three Great Arches + +When one stands in the Court of the Four Seasons, facing east, two +splendid arches are seen framed by the Eastern Gateway of the Court. The +first, across the Venetian Court, is the Arch of the Setting Sun, +surmounted by its symbolic group of the Nations of the West. Across the +vast Court of the Universe, beyond the Fountains of the Rising and the +Setting Sun, is the triumphal Arch of the Rising Sun surmounted by its +symbolic group of the Nations of the East. + +These magnificent modern expressions of the arches erected by the old +Romans to commemorate their triumphs were designed by McKim, Mead and +White, the architects of the Court of the Universe, and are richly +adorned with sculpture designed by various artists. In the attics are +carved appropriate inscriptions selected by Porter Garnett, which will +be found on succeeding pages. + +There is an atmosphere of bigness about the Court of the Universe, +created not only by the architectural features, but by the symbolism of +the final meeting of the Nations of the World, made possible by the +completion of the Panama Canal. + + + +Court of the Universe +Triumphal Arch, The Setting Sun + +The magnificent mass of the Western Arch is heightened at night by the +effective illumination. Shafts of white light from concealed projectors +pick out, the sculptured group that surmounts it. The bulk of the arch +catches only the rays from minor lamps within the court and upon this +shadowy pedestal, the group of the Nations of the West stands out in +strong relief. Below, the ceilings of the arch and corridors are +brilliant from concealed lights placed within them. + + + +Court of the Universe +Triumphal Arch, The Rising Sun + +The triumphal arches which by night gain in majesty and mysterious +power, by day have the added beauty of the color manipulation and +decorative treatment, which is exceedingly rich and varied. + +The twisted columns of Sienna marble which flank the arch, two on either +side, are composite, mingling Corinthian and Ionic elements. Each column +is crowned with a sculptured figure, representing the "Angel of Peace" +by Leo Lentelli. Between the columns, set in a square of deep pink, is a +burnt orange medallion, the figures in relief, suggesting Nature and +Art, being designed by A. Stirling Calder and B. Bufano. + +On either side of the curve of the arch, latticed windows in green give +a Moorish touch. The figures in the spandrels, representing Pegasus are +by Frederick G. R. Roth. A frieze in relief, bands the arch beneath the +inscription, while Cleopatra's needle, four times repeated, gives height +and classic emphasis to the crenellated parapet out-lining the summit. +The sculptured groups "The Nations of the East" and "The Nations of the +West" are the joint work of A. Stirling Calder, Frederick G. R. Roth and +Leo Lentelli. + + + +Court of the Universe +Fountain of the Rising Sun + +In the eastern portion of the sunken garden is the Fountain of the +Rising Sun. The tall, slender shaft, a column of travertine by day and a +column of light by night, supports a sphere upon which is poised a +statue typifying the dawn of day. Adolph A. Weinman is the sculptor of +this "Rising Sun" which is so deservedly popular on account of the +irresistible appeal of the youthful figure. + +Everything about the fountain is indicative of the vigor of youth, the +energy associated with the rising of the sun. The friezes about the base +represent the triumph of light over darkness, and the merry play of +waters suggests perpetual activity. The concrete bowl is of goodly +proportions and within the pool are sculptured figures representing +mythical creatures of the ocean. + +Bordering the fountain are gardens, at first ablaze with rhododendrons, +then massed with the pink blooms of hydrangeas, and later bright with +the flowers of each successive season. + + + +Court of the Universe +Fountain of the Setting Sun + +Quite as lovely in every detail as the preceding is the Fountain of the +Setting Sun. It is in the opposite portion of the sunken garden where, +when the sun is in its descent, it is shadowed by the Triumphal Arch of +the Nations of the West. + +Crowning the pillar is the figure of a maid, her drooping wings and +languorous pose denoting relaxation, a suspension of the day's toil. +This statue was also modeled by Adolph A. Weinman. The supporting shaft +conveys an impression of buoyancy and there are friezes above and below +the bowl of the fountain similar to those of the Rising Sun. At night +the columns which support these figures are aglow with concealed lights, +and the beauty of the fountain is wonderfully enhanced. + + + +Court of the Universe +The Fountain Pool and Tower + +The inscriptions on the two Triumphal Arches in the Court of the +Universe are drawn respectively from Occidental and Oriental literature. +It was designed that the large central panels possess a cosmical, an +epical, or an elemental quality, and that the smaller panels on either +side deal with abstractions, such as truth, nature or beauty. In +accordance with this plan, the inscriptions on the Arch of the Setting +Sun facing away from the court are as follows: + +The panel at the left of the attic, representing Italy, reads + +The world is in its most excellent state when justice is supreme.-- +Dante. + +The panel in the center of the attic, representing Germany, is inscribed + +It is absolutely indispensable for the United States to effect a passage +from the Mexican Gulf to the Pacific Ocean; and I am certain that they +will do it. Would that I might live to see it--but I shall not.--Goethe. + +The panel at the right of the attic, representing France, reads + +The Universe, an infinite sphere, the center everywhere, the +circumference, nowhere. Pascal. + + + +Court of the Universe +Corinthian Colonnade & Gardens + +The inscriptions on the Arch of the Setting Sun, facing the Court, are +as follows: + +The panel at the left of the attic, representing England, reads + +In nature's infinite book of secrecy a little I can read.--Shakespeare. + +The panel in the center of the attic, representing America, reads + +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. + +--Whitman. + +The panel at the right of the attic, representing Spain, is inscribed + +Truth, witness of the past, councillor of the present, guide of the +future.--Cervantes. + + + +Court of the Universe +In the Promenade by Night + +The inscriptions on the Arch of the Rising Sun, facing the Court, are as +follows: + +The panel at the left of the attic, representing China, is inscribed + +They who know the truth are not equal to those who love it.--Confucius. + +The panel in the center of the attic, representing India, reads + +The moon sinks yonder in the west, +While, in the east, the glorious sun +Behind the herald dawn appears +Thus rise and set in constant change those shining orbs +And regulate the very life of this our world. + +--Kalidasa. + +The panel at the right of the attic, representing Japan, reads + +Our eyes and hearts uplifted, seem to gaze on heaven's radiance.-- +Hitomaro. + + + +Court of the Universe +A Niche and Urn by Night + +The inscriptions on the Arch of the Rising Sun, facing away from the +Court, are as follows: + +The panel at the left of the attic, representing Arabia, reads + +He that honors not himself lacks honor wheresoe'er he goes.--Zuhayr. + +The panel in the center of the attic, representing Persia, is inscribed + +The balmy air diffuses health and fragrance, +So tempered is the genial glow that we know neither heat nor cold. +Tulips and hyacinths abound. +Fostered by a delicious clime, the earth blooms like a garden. + +--Firdausi. + +The panel at the right of the attic, representing Spain, reads + +A wise man teaches, be not angry; from untrodden ways turn aside.--Phra +Ruang. + + + +Palace of Transportation +In the Corinthian Colonnade + +This promenade, formed by the vast portico of the Palace of Agriculture, +is in harmony with the architectural scheme of the Court of the +Universe. It is the eastern wall of the aisle leading from the the main +court to the Column of Progress. + +The shafts of the pillars are fluted and capped after the Corinthian +order. Terra cotta, mellow in tone, is the color which has been used +upon the travertine material of the columns, and the walls flanking the +majestic array of pillars are painted a warm pink. The height of the +ceiling is intensified by its deep blue, which seems to blend with the +azure of the sky, as one glimpses it through the far opening of the +corridor. Masked lanterns adorn the arched ceiling; on the columns are +shell-screened lamps and at night the sweep of the promenade is +magnified by the indirect lighting effects. + + + +Venetian Court +Palace of Agriculture + +The great triumphal arches of the Central Court dominate the connecting +aisles on either side, the Arch of the Rising Sun forming the west side +of the Florentine Court and the Arch of the Setting Sun the east side of +the Venetian Court. All the splendor and dignity of architectural +treatment and decorative ornament that enrich the arches as they face +toward the Court of the Universe are repeated on the reverse sides. + +The treatment of the side walls in the Florentine and Venetian Courts is +identical, displaying some of the most delightful features of the +Italian Renaissance, with marked richness in the use of both color and +ornament. The walls are covered with a diaper pattern in pink and warm +ivory. Bright blue and deep orange stain the overhanging cornice. The +great windows are latticed and bound with green, the keystone of their +arches being a quaint figure with folded wings. Between the arches are +inset blue Italian medallions. Between the windows are coupled +Corinthian columns, their shafts richly overlaid with ornament after +patterns suggested by the churches and palaces of southern Italy. The +planting is profuse, with masses of green against the walls and a wealth +of bloom, pink predominating in the Florentine Court and yellow in the +Venetian. + + + +Court of the Four Seasons +The Night Illumination + +The Court of the Four Seasons is the most restful, the most intimate and +the most harmonious of the three main courts, an effect produced by its +classic simplicity and the charm of its architecture, sculpture and +planting. + +The long approach of the north court, which is entered from the +Esplanade, is bordered by the stately colonnades of the Palace of +Agriculture on the east and the Palace of Food Products on the west. The +columns are Ionic, the decorative treatment of their capitals, and of +the frieze above, being in fruits and grains, happily conventionalized. +The green sward of the avenue is set, here and there, with fine yew +trees, while tall, slim eucalypti flank the entrance to the Court. + +The Fountain of Ceres designed by Evelyn Beatrice Longman, by the poise +of its crowning figure and by the grace and dignity of its entire +outline, no less than by its classic conception and fine architectural +feeling, enhances the chaste beauty of the long vista whether seen by +day outlined against the misty bay and the sweep of hills beyond, or by +night, silhouetted against the white rays of the scintillators which are +placed on the harbor's edge. + + + +Court of the Four Seasons +The Great Half Dome + +The theme of the Court, the fruitfulness of the changing seasons, is +sympathetically rendered by architecture, sculpture and painting in +happy combination. The decorative forms all employ agricultural motives, +and the sculptured groups or figures and the mural paintings are +variations of the same thought. + +In architecture, the Court, which was designed by Henry Bacon of New +York, is almost severely classic, enriched in its minor details by +touches of the Italian Renaissance. The Half Dome, which lies directly +opposite the long northern approach, is modeled after Hadrian's villa +near Rome. The decoration of the vault of the dome is influenced by the +richer coloring of the Court of Palms into which it opens on its inner +side, while the archway softens into lighter tones in harmony with the +more delicate coloring of the Court of the Four Seasons. + +The fine balance of line and proportion which characterizes the Court is +shown in the three sculptured figures by Albert Jaegers,--"Harvest," +the seated figure which fitly crowns the half dome, blending finely with +its nobility and strength of outline, and "Rain" and "Sunshine," which +surmount the splendid columns of Sienna marble on either side of the +dome. + + + +Court of the Four Seasons +The Western Archway + +The east and west entrances to the Court are massive archways, most +satisfying in their purity and dignity of architectural form and +treatment, as well as in the superb outlook which they give on either +hand. The arches are divided by Corinthian pilasters of Sienna marble. +Within, their vaulted ceilings are delicately colored and modeled in +faint relief after ancient classic designs, suggesting harvest scenes. +The spandrels in the triangles over the curve of the arch and the four +times repeated figures which serve as pilasters in the paneled attic +space above, are by August Jaegers. All are gracefully molded women's +figures, and all alike are emblematic of the richness of the harvest. +The signs of the zodiac letter the cornice between the arches and the +attic. The inscription above the eastern gateway is from Spenser's +"Faerie Queene," and that over the western from "The Triumph of Bohemia" +by George Sterling. + +The serenity and intimate seclusion of the Court are due perhaps more +than to any other single feature, to the quiet, circular pool in its +center, shut in by banks of shrubbery and bare of sculptured ornament. + + + +Court of the Four Seasons +One of the Colonnade Murals + +The Court is octagonal in shape, by reason of the fountains, screened by +stately rows of columns, which fill its cornet recesses. These corner +fountains are distinctly Roman in inspiration, the detail being +suggested by the baths of Caracalla. Between the double rows of massive +Ionic columns runs the colonnade. The capitals of the columns are +enriched by pendant ears of corn, surmounted by a single open flower. +Above the severely treated doorways, in each recess, are two mural +paintings by Milton Bancroft, picturing alternately the seasonal +pleasures and pastimes and their activities or industries. The murals, +with the two in the half-dome, also by Milton Bancroft, are all +conventionally classic, in keeping with the spirit and atmosphere of the +Court. + +Within the sheltered niches are the fountains of the four seasons, where +the water, rose-tinted by day and a luminous green by night, slips +softly and musically over three broadening semicircular terraces to the +cool, green pool beneath. The sculptured groups, surmounting the +terraced fountains, are by Furio Piccirilli of New York. The enclosing +walls are soft pink, the line where they join the blue vault of the sky +charmingly broken by the living green of luxuriant, trailing vines. + + + +Court of the Four Seasons +The Ionic Columns + +Through the columns is a glimpse of the Eastern Gateway where, carved in +three panels over the entrance, is the following inscription: + +So forth issew'd the seasons of the yeare, +First lusty spring all dight in leaves and flowres. + +Then came the jolly sommer being dight +In a thin cassock coloured greene, +Then came the autumne all in yellow clad, +Lastly came winter, cloathed all in frize, +Chattering his teeth, for cold that did him chill. + +--Spenser. + +The triple panel in the attic of the Western Gateway reads: + +For lasting happiness we turn our eyes to one alone, +And she surrounds you now. + +Great nature, refuge of the weary heart, and only balm to breasts that +have been bruised. + +She hath cool hands for every fevered brow +And gentlest silence for the troubled soul. + +--Sterling. + + + +Court of the Four Seasons +The Colonnade and Lawn + +The harmonious impression of the Court of the Four Seasons is due +largely to the faithfulness with which classic influences have +controlled every detail, both in architecture and in ornament. The +bulls' heads between festoons of flowers which decorate the base of the +entrances into the north court, the eagles at the corners of the pylons +above, and the vases repeated on the balustrade about the Court are all +Roman in design. Thoroughly classic also are the wreaths of fruits and +grains on the panel of the cornice and the lions' heads above. While +"The Feast of Sacrifice," the superb groups by Albert Jaegers, crowning +the pylons at either side of the entrance to the north court, recall the +ancient custom of celebrating the close of harvest by the sacrifice of +flower-garlanded bulls. + +The planting of the court is quiet and stately, and notably carries out +its spirit, with the gray-green of foliage plants and eucalyptus trees +and the gnarled stems of gray old olive trees. In its vistas from any +angle or point of view, the Court is peculiarly satisfying and +beautiful. + + + +Court of the Four Seasons +The North Colonnade by Night + +To stand in the midst of this curving octagonal court and hear, above +the whisper of the trees, the murmur of the four hidden fountains that +gush unseen from the base of allegorical groups of statuary, glimpsed +through colonnades, is to stand in Hadrian's villa of old, where we hear + +"Fitly the fountains of silver leap, +Whose sound is as soft as the listless flow +Of streams that forever linger and go +Down delicate, dream-far valleys of sleep." + +As in a dream, one looks down the last vista to the open rotunda and +crescent hemicycle of the Palace of Fine Arts beyond a lagoon that +mirrors them on its surface. Rising from the rich, green massing of +shrubbery and mossy banks, the rotunda lifts its proud head, encircled +with garlands of symbolical figures, as above a grove of Academe. Behind +it the soft red walls of the place glow like the fading embers of +sunset. These courts, strung like a rope of pearls between the two poles +of man's achievement--mechanics and art--are the heart of the +Exposition, and in them are treasures of color and form untold. + +--Edwin Markham + + + +Palace of Food Products +The Portal from the Gardens + +The north facade of the Palaces which line the Marina is bare almost to +severity, except for the rich adornment of the portals, the same detail +being repeated for each palace. Spanish models served as the patterns +for these handsome doorways, the three fine arches, with their +supporting columns, suggesting the earlier Spanish Gothic, while the +decorative features reflect the Moorish influence of a later period. + +The motif is appropriate for the waterfront, reminiscent as it is of the +epoch of the Spanish Main. This hint is carried out in the sculptured +figures in the alcoves above each arch. Allen Newman modeled them, +giving to his work the dash and daring of the domineering conquistadors +and piratical deckhands of those stirring days. The portal here pictured +leads directly to the Esplanade near the Gardens adjoining the +California Building. + + + +Palace of Food Products +A Detail of the Main Portal + +It requires several visits to the Exposition to become accustomed to the +stupendous scale which has been followed, not only in the expansive +landscape gardening, but in the architectural plans. + +In this illustration, a faint conception is afforded of the proportions +of the main entrance to the Palace of Food Products. The doors +themselves are of ample size, yet are dwarfed to insignificance by the +lofty columns and vaulted ceiling of this delightful portal, which is a +reproduction from the Spanish Cathedral of Salamanca. The great arches +are decorated after the plateresque style, and the spandrels abound in +garlands, horns of plenty and other goodly tokens. A Moorish note is +detected in the lacy network of the latticed windows. The domed ceilings +are painted blue and tints of pink and dull orange are used on the walls +and columns of the portal. + + + +The Esplanade +North Facade, Column of Progress + +The Esplanade is bounded on the north by the Marina and the sparkling +waters of the Bay: The boundary line on the south is the imposing +frontage formed by the north facade of the four palaces, broken by the +inviting entrances to the Court of Ages, the Court of the Universe and +the Court of the Four Seasons. + +The domes which mark these entrances loom up in fine proportions, and +the entrances to the various palaces are particularly well done. Against +the old ivory of the massive walls are clustering thickets of cedar, +spruce, eucalyptus and clumps of low-growing shrubs. + +It is a rare combination--the view one has from the Esplanade. Across +the Bay are the inviting hills of Marin County and equally enticing are +the vistas stretching through colonnades and arches formed by the courts +and palaces of the Exposition. The Column of Progress, surmounted by the +"Adventurous Bowman", holds the most noticeable position on the +Esplanade. + + + +North Facade +A View from the Bay + +The Esplanade extends westward from the ferry slip, along the north +facade of the main group of buildings, past the massive walls of the +California building and through the States' section to the Massachusetts +building. + +From the Bay, the dominating center of the Esplanade is the splendid +Column of Progress, on either side of which lies the Spanish wall of the +north facade broken only by the four magnificent and identical +sixteenth-century Renaissance portals which open into the Palaces of +Mines, of Transportation, of Agriculture and of Food Products. From the +base of the Column of Progress, the vista stretches away, through the +Forecourt of the Stars and the Court of the Universe, to the Tower of +Jewels, which dominates the southern approach to the grounds. Against +the sky-line are outlined the lesser spires of the Italian towers, the +heavy bulk of the sculptured groups crowning the arches of the Rising +and the Setting Sun, the square summit of the Tower of the Ages and the +round domes of the palaces. + + + +Palace of Food Products +A View from the Fine Arts Laguna + +The impression of unity of design in the main group of buildings is +heightened by certain distinctive features which characterize all of +them in common. On all, there is the central dome, which, with the +repeated smaller domes on the corners, is the chief source of charm in +the pronounced Oriental or Moorish effect when seen from a distance. The +long, unbroken lines and wall spaces give a sense of repose and +restraint and emphasize the richness and beauty of the entrances where +the decoration is massed. The Palace of Food Products occupies the +north-west corner of the main group of buildings. Its western exposure +is Roman in design to harmonize with the Palace of Fine Arts on the +opposite side of the laguna. Its dominant feature is the great +half-dome, officially called "The Half Dome of Physical Vigor," which +forms its west entrance. The tall Corinthian columns on either side +support Ralph Stackpole's figure of "Youth" and crowning the smaller +columns which line the dome are the repeated statues by Earl Cummings, +portraying "Physical Vigor," from which the dome takes its name. + + + +Palace of Education +A View from the Fine Arts Laguna + +The western exposure of the Palace of Education duplicates the same wall +of the Palace of Food Products and the entire facade along the laguna is +called the Roman wall, by reason of the thoroughly classic spirit in +which it is conceived. + +The half-dome here, as there, forms the architectural keystone, and in +both buildings, the three niches on either side hold the same +alternating figures. While the half dome, with its entire decorative +treatment, belongs more fittingly to the Palace of Education, the +sculptured figures in the alcoves, by Charles R. Harley, representing +alternately "Abundance" and "The Triumph of the Fields," are more in +keeping with the Palace of Food Products. + +The north face of the Palace of Education, which opens on the Court of +the Sunset, connecting Administration Avenue with the Court of the Four +Seasons, duplicates the three Spanish doorways of its south facade; and +in harmony with these doorways, those on the south wall of the Palace of +Food Products, which look out upon the same avenue, are similar in +treatment. + + + +Palace of Education +The Half Dome of Philosophy + +The two magnificent Roman half-domes which give character to the +otherwise long and bare wall space of the western facade are called in +the Palace of Food Products "The Half Dome of Physical Vigor" and in the +Palace of Education "The Half Dome of Philosophy." In dignity and +nobility, due to massive size and strength of treatment, in beauty of +modeling and restraint of decoration, this effective use of the +half-dome is one of the finest architectural achievements on the +grounds. + +The fine, strong figure by Ralph Stackpole, which surmounts the giant +Corinthian columns on either side of the opening is used also at the +entrance of the Palace of Food Products and here, as there, it is called +"Youth," the repeated figure evidently signifying in the mind of the +artist the union of intellectual and physical vigor which exemplifies +the finest type of manhood. The dome takes its name from the eight times +repeated female figure, representing Education, which crowns the +Corinthian columns lining its inner curve. + + + +Palace of Education +The Fountain in the Portal + +The central decorative feature within the half-domes which form the +western portals of the Palaces of Education and of Food Products is, in +each case, a fountain, architectural in character and of great dignity +of line and beauty of modeling; Both were designed by W. B. Faville from +old Italian models found in Sienna and Ravenna. Both are circular in +form and built up in successive tiers, the one at the entrance to the +Palace of Education being the simplest in construction and gaining more +in charm and grace from the flow of the water. + +The interior treatment of the domes furnishes an effective background +for the fountains. The vault of the ceiling is a richly colored +conventionalized pattern in orange, pompeiian red and blue. The repeated +Corinthian columns lining the curve are of Sienna marble. The doorways +between them, with the Moorish grill above the doors, are in green, +while back of the lattice work is set stained glass in deep amber. + + + +Administration Avenue +The Fine Arts Laguna + +The Baker Street Entrance to the Exposition leads directly into +Administration Avenue. The Horticultural Gardens first attract attention +by their kaleidoscopic patches of blooming flowers. Then the eye travels +on past the Palace of Horticulture to the massive bulwark of the Palaces +of Education and Food Products in the walls of which two great +half-domed portals form the principal points of interest. Across the way +lies the Laguna with its reflected image of the Palace of Fine Arts, +perhaps the loveliest spot in the Exposition grounds. Plants grow in the +pool and the shores are lined with iris, primroses, periwinkles, pampas +grass and, overtopping these, weeping willows mingled with other lovely +trees and shrubs. + +Towards the end of the Avenue is the small but attractive Hawaiian +pavilion. The tower of the California building is silhouetted against +the background of the Marin hills. Administration Avenue receives its +name from the fact that it leads directly to the administrative +headquarters of the Exposition, located in the California building. + + + +Palace of Fine Arts +The Rotunda and Laguna + +The Palace of Fine Arts has the finest natural setting on the Exposition +grounds. Consummate skill in planning the entire architectural ensemble +gave it a commanding position, at the extreme west of the group of +exhibit palaces. The architect, Bernard. R. Maybeck of San Francisco, +found as an asset on beginning his work, a small natural lake and a +fine group of Monterey cypress. With this foundation he has created a +temple of supreme loveliness, thoroughly original in conception, yet +classic in its elemental simplicity and in its appeal to the highest and +noblest traditions of beauty and art, revealing the imagination of a +poet, the fine sense of color and harmony of an artist, and the sure +hand of a master-architect in his confident control of architectural +forms, of decorative detail and of the contributing landscape elements. +The conception of the rotunda is said to have been suggested to the +architect by Becklin's painting "The Island of the Dead" and that of the +peristyle by Gerome's "Chariot Race." + +Across the Laguna from the Palace of Fine Arts runs Administration +Avenue and the magnificent Roman wall which forms the western facade of +the main group of palaces. + + + +Palace of Fine Arts +The Rotunda and Peristyle + +The Palace of Fine Arts is, in reality, not one complete building, but +four separate and distinct elements. The rotunda, an octagonal +structure, forms the center of the composition. On either side is a +detached peristyle which follows the curve of the gallery itself, as it +describes an arc about the western shore of the Laguna, yet so +successfully are they all bound together by the encircling green wall +and by the other landscape elements, that an impression of satisfying +unity results. + +The architecture, as a whole, is early Roman, with traces of the finer +Greek influences. In general treatment, there is a suggestion of the +Temple of the Sun at Athens, while much of the detail was inspired by +the Choragic monument of Lysicrates, also at Athens. + +The rotunda is Roman in conception, Greek in decorative treatment. By +its sheer nobility of form and of proportion, and by its enchantment of +color and sculptured ornament, it dominates the entire landscape. The +high spiritual quality of the architect's conception culminates in the +Shrine of Inspiration, directly in front of the rotunda, as seen from +across the laguna, where kneels Ralph Stackpole's lovely figure of "Art +Tending the Fires of Inspiration," exquisite in its simplicity and +delicate charm. + + + +Palace of Fine Arts +The Peristyle and Laguna + +On either side of the central rotunda the peristyle of the Palace of +Fine Arts encircles the shore of the laguna in a long semi-circle, +formed of a row of Corinthian columns their pale green simulating +age-stained marble. At each extremity of the colonnade and at intervals +throughout its length are groups of four larger columns, in ochre, each +group surmounted by a great box, designed to hold flowers and vines. +Panels simulating pale green, veined marble are inset in these +receptacles and at their corners are drooping women's figures by Ulric +H. Ellerhusen representing Contemplation. Between the columns, at their +bases, are also set receptacles for growing plants. + +In its pervading dignity, in the strength of the columns, in the rich +beauty of the capitals and in the chaste refinement of the cornice, the +colonnade is essentially Greek. + + + +Palace of Fine Arts +In the Peristyle Walk + +Between the Palace of Fine Arts itself and its bordering colonnade of +massive Corinthian columns runs a broad promenade which, while binding +the two together, receives a sense of freedom and serenity from the open +sky above. + +The wall of the gallery is interrupted only by the simple entrances at +intervals. It is low and intimate in comparison with the great +proportions of the other exhibit palaces and its height is further +broken by a terrace midway, set with growing plants and shrubs. The +whole effect desired by the architect is of an ancient ruin, overgrown +through the centuries with vegetation. Along the edge of the roof runs a +latticed Pompeiian pergola, hung with trailing vines, and the wall of +the building is colored a deep pompeiian red. + +The immense flower urns, banded with classic figures in deep relief, +bearing heavy swinging garlands, are by Ulric H. Ellerhusen. Alternating +with the massed green of shrubs and plants against the wall are niches +holding sculptured groups. The Roman urns which crown the square pillars +marking the doors and which, in varying size, are repeated here and +there about the building, are by William G. Merchant. + + + +Palace of Fine Arts +The Rotunda from the Peristyle + +From any point in the peristyle of the Palace of Fine Arts and under any +atmospheric conditions, either by day or by night; the vistas are +peculiarly satisfying and charming. About the columns of the stately +colonnade are blooming plants in simple, natural groups. And at +intervals between the columns under the rotunda or along either end of +the laguna, the outdoor gallery of sculpture finds a sympathetic +background and setting. + +The great dome of the rotunda which crowns so many of the vistas, is +stained a velvety burnt orange, with a turquoise blue-green border. +Beneath, are eight panels in low relief by Bruno L. Zimm, symbolizing +Greek culture and its desire for poetic and artistic expression, +conceived in a deeply classic vein and executed with spirit and grace. +Below the panels is an attic of pale-green marble. + +Flanking each pier of the rotunda are two Corinthian columns in Sienna +marble, within the arches are corresponding Corinthian pilasters, and +within the dome against each pier is another massive Corinthian column +in marble, each one crowned with the serene and noble "Priestess of +Culture" by Herbert Adams of New York. + + + +Palace of Fine Arts +The Peristyle Walk by Night + +Of all the wonderful night effects of the Exposition grounds none are so +full of haunting beauty as the vistas afforded by the Palace of Fine +Arts and its surroundings. By the indirect system of illumination, an +effect as of strong moonlight is produced and from concealed sources, +under cornices or behind columns, a soft reflected radiance pervades +peristyle and rotunda. The trees, shrubs and columns cast long, intense +shadows. Through the columns may be seen the long line of the Roman wall +across the laguna, its great, half-domes suffused with a mellow, golden +light and in the everchanging waters between, it gleams again. + +From the other side of the laguna, the rotunda and the long crescent of +the colonnade are seen reflected as in a mirror, and when flooded with +the white radiance of the searchlights, their majestic beauty is +indescribable. + + + +Palace of Fine Arts +A Fountain in the Laguna + +Beautiful as the Palace of Fine Arts is from any viewpoint, its +simplicity and noble strength are at their best when seen with a +foreground of trees and water. The landscape, in its simple naturalness, +is in feeling an intimate part of the building itself and so perfectly +do they blend that they seem to have grown together through quiet, +serene centuries. + +Between the columns and along the wall of the building are blooming +plants and shrubs, groups of Monterey cypress and eucalyptus trees. The +shores of the laguna are banked with shrubs, loosely massed, and groups +of evergreens and weeping willows bend over the lake. Outlining its +irregular border, broken by small promontories and inlets, thousands of +blooming plants creep down to the water's edge and venture out into its +placid depths--periwinkles, primroses, daffodils, heliotrope, pampas +grass, white and yellow callas, Spanish and Japanese iris and myriads of +others whose names and gay, nodding blossoms are more or less familiar. +Fountains play in the edge of the lake, the charming spirited group here +illustrated being "Wind and Spray" by Anna Coleman Ladd. + + + +Palace of Fine Arts +A Picturesque Garden Fountain + +The graceful garden fountain shown is the work of Anna Coleman Ladd. It +is located toward the north end of the building near the entrance to the +peristyle. Of the general effect of the Palace of Fine Arts and of its +deeper meaning, the architect, Bernard R. Maybeck, says: + +"There is a succession of impressions produced as one walks through the +different parts of the grounds that play on the feeling and the mind, +each part having its own peculiar influence on the sentiment. Along the +main axis, for example, the Machinery Hall and neighborhood suggest a +mixture of the classic and romantic, as you understand the terms in +literature." + +"The Court of Ages suggests the medieval with all its rising power of +idealism in conflict with the physical. The Court of the Universe +suggests Rome, inhabited by some unknown placid people. The Court of the +Four Seasons suggests the grace, the beauty and the peace in the land +where the souls of philosophers and poets dwell." + +"The Fine Arts Palace suggests the romantic of the period after the +classic Renaissance, and the keynote is one of sadness modified by the +feeling that beauty has a soothing influence." + + + +Palace of Fine Arts +The Garden and Fountain of Time + +In the foreground of this poetic garden scene is the foremost figure of +Lorado Taft's "Fountain of Time." In sympathy with the atmospheric +influence of such a vista, Bernard R. Maybeck, the architect, continues +the thought of the preceding page: + +"To make a Fine Arts composition that will fit this modified melancholy, +we must use those forms in architecture and gardening that will affect +the emotions in such a way as to produce on the individual the same +modified sadness as the galleries do. Suppose you were to put a Greek +temple in the middle of a small mountain lake surrounded by dark, deep +rocky cliffs, with the white foam dashing over the marble temple floor, +you would have a sense of mysterious fear and even terror, as of +something uncanny. If the same temple, pure and beautiful in lines and +color, were placed on the face of a placid lake, surrounded by high +trees and lit up by a glorious full moon, you would recall the days when +your mother pressed you to her bosom and your final sob was hushed by a +protecting spirit hovering over you, warm and large. You have there the +point of transition from sadness to content, which comes pretty near to +the total impression that galleries have and that the Fine Arts Palace +and Lake are supposed to have." + + + +California Building +Bell Tower and Forbidden Garden + +The California Building is the result of perhaps the most interesting +combination of requirements that could be imagined--to provide a host +building for the home State of a great Exposition where welcome could +warmly and generously be extended to the millions of visitors, where the +officials could have suitable quarters and where the fifty-two counties +of the State could have their exhibits. The location set aside for the +concrete development of these requirements was most stimulating. An +edifice to terminate the vista looking north over a laguna of silent +water flanked by the wonderful Palace of Fine Arts, and just beyond, the +beautiful Bay of San Francisco with a background formed by distant +Tamalpais. + +No style of architecture could be more appropriate to these needs than +that which exists in California--an architecture romantic, peaceful, +subtle and charming in its proportions. The task of adapting the Mission +architecture to the requirements was given Thomas H. F. Burditt. He +entered into the spirit of the old Padre builders with rare intuition, +and he designed a building of impressive dignity and hospitality. + + + +California Building +The Arches of the Colonnade + +The Mission Padres had built neither in magnificence nor in magnitude, +and as both of these were requisite qualities in the construction of the +California Building, they presented peculiar problems, and were treated +with the thought of what one of the old Padres with a limited knowledge +of architecture would have done if presented with the larger problem. So +it seemed that the entrance foyer should be quiet, and massive and +should form a nucleus to all parts of the building. The magnitude of the +edifice was so great that all the existing Missions of California could +be housed therein, and in order to show the largeness of its proportions +and varied functions, each part was designed as a motif in itself and +closely related to that part by which it stood. + +From the forecourt in replica of the Forbidden Garden of Santa Barbara, +surrounded by old cypress hedges, by driveways, and walled in by +cloistered arches, one can find the principal entrances to all the main +divisions of the building, and also to the administrative portion which +contains the executive offices of the Exposition and the official +reception and banquet rooms. + + + +California Building +A Vista in the Colonnade + +The cloistered colonnades so intimately associated with Mission +architecture have been successfully handled in the Court of the +California Building. The molds for the columns of the arches were made +by the architect himself, to give the semblance of age and that each +should differ from the other. It was most necessary to avoid mechanical +regularity in any feature of the building, and in consequence all the +details vary, so that no two that are exactly similar are placed near +each other. The arches are made of slightly different radii, and the +bells vary both in size and design. There are ten main groups of +entrances, but no two of them are in any way similar, and it was through +these means that the attempt was made to obtain a varied change of +interest in plan, mass, silhouette and detail and the lack of precision +which must have existed at the time when the old California Missions +grew into being. + + + +California Building +The Forbidden Garden + +There had grown on this location for forty odd years, a hedge of +cypress, weary with its age, and groups of trees forming wonderful +masses of foliage to charm the eye. This happy circumstance was cleverly +utilized by the architect in designing the court of the California +Building. A replica of the enclosed Garden of Mission Santa Barbara was +laid out within the boundary of this old hedge and planted with +old-fashioned flowers such as would have delighted the Mission Fathers. + +In the center is a fountain similar to that at Santa Barbara, and the +quiet splash of its water adds a touch of charm and romance. The bell +tower of the building throws an afternoon shadow over the garden, and +within a niche in the tower stands the statue of Padre Serra overlooking +this peaceful nook. + + + +California Building +The Semi-Tropical Garden + +To the south of the California Building, off the Esplanade, lies an +interesting garden filled with various species of cacti and unusual +semi-tropical plants. Interspersed among these are masses of brightly +blossoming dainty flowers--baby blue eyes in the spring and others, +equally lovely, as the seasons change. In a sheltered nook rise the tall +slender stalks of rare bamboo, sent from a private garden in +Bakersfield. + +The massive walls of the building form a rich background. Their +appearance of stability, enhanced by a slight batter--that is a slight +receding from the perpendicular--is shown by a least visible thickness +of three feet. These features are evident in every wall throughout the +exterior of the building. Within the corridors, the floors appropriately +are paved with red brick, and the ceilings are beamed and roughly +finished. + + + +Netherlands Pavilion +As Seen from the Laguna + +The Pavilion of the Netherlands is located sufficiently near the Laguna +to be reflected within the pool. The high dome is adorned with four +clock towers and a forest of flagstaffs and spires. K. Kromhout, who +designed the building, followed the modern ideas of the present-day +school of architects in Holland. The ultra style of the Pavilion fails +to recall the staunch and dignified brick structures for which the Dutch +are famous, but it is a striking edifice. The tiled panels are lovely +and the warm colors used in the exterior decorations most attractive. + +When viewed from Administration Avenue, the numerous towers, fluttering +pennants and harmonious colors are set oft to best advantage by the +trees along the Laguna. About the building, the Hollander's love of +flowers is strongly in evidence. Ten carloads of bulbs and shrubs were +imported for the horticultural display. + + + +Italian Pavilion +The Piazzetta Venetia + +The Italian Pavilion consists of a group of eight buildings, combining +architectural styles of the fourteenth, fifteenth and sixteenth +centuries. The main entrance to the pavilion is on the west, and a +broad, low flight of steps leads into the Piazza Grande, graced by a +fountain by Tacca and pieces of Italian sculpture. On the left is the +medieval palace, containing authentic works of art of many ages. Facing +this is the Lombard palace, of the period of fourteen-hundred, used by +the Italian Commissioners as a reception hall. The Royal Salon and Casa +Italiana form the east wall of the main court. The inner courts are +beautified with fountains and statuary groups. Covered passageways, +supported by slender pillars, extend around three sides of the +piazzetta, and add a delicate charm to the enclosure. The Venetian Well +in the center is a characteristic note, and the stairways leading to the +upper verandas, and the niches about this court, are delightful in +design. The outer elevation of the main building is of the sixteenth +century. Within the Casa Italiana there is an exact reproduction of the +library of the S. Maria delle Grazie, Milan. + + + +Italian Pavilion +In the Court Verrochio + +The arcade which connects the Etruscan Tower with the Bargello Hall +separates the smaller court of the Italian Pavilion from the Piazza +Grande. The most attractive feature in this ideal court is the staircase +and balcony, done in the period of the fourteenth century, with a most +interesting composition of the flat walls, pierced by a graceful double +arch, attractively spotted with plaques and brightened by the color of +the Della Robias and the geraniums blossoming through the balustrade. A +delicate touch is given by the Fountain of the Winged Boy with the Fish, +by Verrocchio, which occupies the center of the stone-flagged court. To +the left of the staircase is a mural fresco depicting the "Return from +the Crusade." + +Old iron-framed lanterns hang from the gray-toned ceilings of the +arcades. The coloring of the walls and pillars is stone gray blended +with shades of brown and grayish-blue. The vivid green of the sun-lit +grass within the Piazzetta Venetia relieves the sober color scheme of +this court. The balconies are lined with blooming flowers, and shrubs +and plants in artistic receptacles add to its attractiveness. + + + +Avenue of the Nations +Tower of Sweden's Pavilion + +The Avenue of the Nations extends from the Exposition group of Palaces +in a diagonal direction westward to the Marina, and is lined on either +side with the pavilions of the Foreign Nations. In the picture there is +a glimpse of the Canadian Building to the left, and prominent in the +view is the characteristic Swedish tower, typically northern, and +interesting in detail. + +Immediately beyond is Bolivia's Palace, to an equal degree typical of +the south, followed by the pinkish-toned building erected by Cuba. +Denmark's Pavilion, on the left of the Avenue adjoining the Palace of +Fine Arts, is distinctly individual, marked by its towers which +reproduce several historic towers in Denmark, and the moat in which +frogs croak at night. The interior is arranged to represent the rooms of +a gentleman's country home. On the hillside to the south are several +avenues about which are grouped others of the Foreign Pavilions--the +picturesque gardens of Japan, the open court of France, with its Rodin +bronze, and the dignified pavilions of Australia, Norway, Greece and +many other nations. + + + +The Esplanade +A View of the Foreign Pavilions + +The pavilions of the Foreign Nations are on the south side of the +Esplanade, westward from the group of Exposition Palaces. In the +foreground of this view is seen Canada's stately building, guarded by +the massive British lions. The admirable and comprehensive exhibit +within has aroused great admiration and established a standard for such +displays. Beyond is the pagoda of the Chinese gardens, and the tea +houses, with their roofs colored in the wonderful yellow which occurs so +often in the old Chinese rugs. + +The slate-colored dome of Argentina's ornate Palace precedes the +pinkish-toned Netherlands building seen in the distance--the rather +whimsical style of the latter adding a distinct note to that section of +the grounds. The park to the south is distinguished by two Oriental +buildings erected respectively by Siam and Turkey. The first is an exact +copy of a royal pavilion in the Garden of Maha Chakkri Palace, at +Bangkok. The latter is equally typical of the East, marked with dome, +minarets and spires, and includes the main pavilion and a near-by mosque +and prayer tower, connected with it by a corridor. + + + +The Esplanade +A View of the State Buildings + +The buildings erected by California's sister Commonwealths occupy the +district west of the California Building, and the north line of the +Esplanade to the Marina. Designed in various individual and dignified +styles, surrounded with handsome lawns and beautiful gardens, they have +formed a most important and interesting feature of the Exposition +grounds. Many of the buildings reproduce historic landmarks. The golden +dome of the Massachusetts State House is as dominant a feature at the +head of the Esplanade as is the original on Beacon Street in Boston. The +loggia of Independence Hall is familiar enough to bring a patriotic +thrill to the heart of the loyal American, even were not the cherished +Liberty Bell on view. Another Colonial feature is the Trenton Barracks, +Washington's headquarters in New Jersey; and "Homewood" takes one back +to Charles Carroll, of Carrollton, and Baltimore in 1802. The massive +log building from Oregon is fairly representative of that state of +virgin forests, notwithstanding the mistaken attempt to reproduce the +classic Parthenon in such a crude medium. In this view the magnificent +building for New York is in the foreground. Beyond, in the order named, +are the buildings for Pennsylvania, New York City, Illinois, Ohio, Utah +and Massachusetts. + + + +The Zone +A Holiday Gathering + +The Zone, while providing excellent entertainment and relaxation, is +above the standard established by the amusement sections of former +expositions, many of its concessions being of an educational nature. +This is notably true of the Panama Canal, which appears on the left of +this picture. Because of its value as a faithful reproduction of the +great work which the Exposition commemorates, many consider it as +deserving a place in the main grounds. Almost equal to this in +educational interest and quite ranking it in beauty are the +reproductions of the Grand Canyon with its Hopi and Navajo Indians, and +Yellowstone Park. Old Faithful Inn in the latter is a favorite place for +social gatherings. + +For pure fun and gaiety, Toyland Grown Up, that whimsical conceit +especially built for youngsters, old and young, has provided merriment +for thousands. Of thrillers that raise the hair and make the heart beat +high and without which no amusement section would be complete, the Zone +announces its full quota with much rattling of machinery and many +shrieks of joy. + +And the presence of strange peoples, one of the recognized features of +these places, is also noticeable along the Zone. A Maori tribe from New +Zealand, Samoans, Hawaiians, Aztecs from Old Tehauntepec, and others +bring their customs and costumes from unfamiliar lands. + + + +The Zone +The Bizarre Decorations + +There is something naive about the Zone. It presents its colossal +grotesques--its gargantuan Uncle Sam, its monstrous elephants--rather +with an air of acknowledging that it cannot compete with the beauty one +leaves behind when one turns in under its gay flags ad lanterns. Here is +frankly the spirit of abandon. To the right and left the bawling barkers +shout their enticements, begging one's patronage. Up and down the street +the endless patter of the feet of men and women, the wheeze of the +little electrics and the blare of brassy music ebb and flow. Here and +there is the dominant note of the Exposition, its pastel shades of burnt +orange and red, and its indefinable blue. They flutter forth, hooped +about the flagpoles with Oriental effect. Those wonderful lanterns, that +delightful medieval touch which one finds through the grounds, are here +employed with great effect. + +When one is tired of gigantic horses with ever-impending hoofs, tired of +large plaster ladies whose complete poise does not entirely atone for a +rather excess of buxomness, one can always turn to these reminders of +the beauty that is the essential characteristic of the Exposition +itself. + + + +The Fireworks +Star Shells and Steam Battery + +Notwithstanding the excellence attained by the Exposition in the beauty +of its coloring, the poetry in its courts and architecture, the mystery +and glamour of its illuminations, the spectacular element could not be +overlooked. This finds expression in the fireworks that are let loose on +the Marina several evenings each week. Here, however, a distinct advance +has been made upon the familiar pyrotechnic display of former events. +The use of powerful scintillators with their colored rays playing upon +smoke clouds and flying devices from exploded bombs high in the air, or +upon weird shapes of steam sent out by the engine on the border of the +yacht harbor, lends infinite variety and beauty. In several of the +numbers the scintillators secure the effects unaided, their lights +making strange figures in the heavens. "Spooks' Parade," "Aurora +Borealis," "Devil's Fan," are some of the ideas suggested. + + + +Zone Salvo +The Final "Big Noise" + +The Exposition Fireworks are under the direction of William D'A. Ryan, +Chief of Illumination. On each occasion a set program is followed +consisting of twenty-four numbers. At the opening, a salute of ten +detonating bombs and a large rocket announce the event. This is followed +by features of the scintillator lights, combinations of these with +steam, with smoke bombs and with orange showers and Japanese daylight +shells, and by fancy star shells, festoon rockets and candle fountains. +The climax is reached in the Zone Salvo when a tremendous explosion of +hundreds of detonating devices occurs, with rockets and star shells +exploding in the air, the rays of the scintillator coloring the smoke +clouds in brilliant hues; and amidst it all, high above, suddenly +appears a beautiful American flag caught and followed by the ray of a +powerful white searchlight as it floats away from sight. + + + +Here ends The Architecture and Landscape Gardening of the Exposition, +with an introduction by Louis Christian Mullgardt. The descriptive +titles have been written by Maud Wotring Raymond and John Hamlin. +Edited by Paul Elder. Published by Paul Elder and Company and seen +through their Tomoye Press under the typographical direction of H. +A. Funke in the city of San Francisco during the month of September, +Nineteen Hundred and Fifteen. + + + + + + + + + + +End of the Project Gutenberg EBook of The Architecture and Landscape +Gardening of the Exposition, by Louis Christian Mullgardt + +*** END OF THIS PROJECT GUTENBERG EBOOK GARDENING OF THE EXPOSITION *** + +***** This file should be named 9647.txt or 9647.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/9/6/4/9647/ + +Produced by David A. Schwan + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..d8338c0 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #9647 (https://www.gutenberg.org/ebooks/9647) diff --git a/old/algex10.txt b/old/algex10.txt new file mode 100644 index 0000000..32f6798 --- /dev/null +++ b/old/algex10.txt @@ -0,0 +1,3103 @@ +The Project Gutenberg EBook of The Architecture and Landscape Gardening of +the Exposition, by Louis Christian Mullgardt + +Copyright laws are changing all over the world. Be sure to check the +copyright laws for your country before downloading or redistributing +this or any other Project Gutenberg eBook. + +This header should be the first thing seen when viewing this Project +Gutenberg file. Please do not remove it. Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: The Architecture and Landscape Gardening of the Exposition + A Pictorial Survey of the Most Beautiful Achitectural + Compositions of the Panama-Pacific International Exposition + +Author: Louis Christian Mullgardt + +Release Date: January, 2006 [EBook #9647] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on October 13, 2003] + +Edition: 10 + +Language: English + +Character set encoding: ASCII + +*** START OF THE PROJECT GUTENBERG EBOOK GARDENING OF THE EXPOSITION *** + + + + +Produced by David A. Schwan + + + + +The Architecture and Landscape Gardening of the Exposition + +A Pictorial Survey of the Most Beautiful of the Architectural +Compositions of the Panama-Pacific International Exposition + + + +With an Introduction by + +Louis Christian Mullgardt +F.A.I.A. +Architect of the Court of Ages +Member of the Architectural Commission of the Exposition + + + +1915 + +San Francisco + + + +The courtesy of the Cardinell-Vincent Company, official photographers of +the Panama-Pacific International Exposition, of granting permission to +reproduce the selection of official photographs appearing in this +volume, is gratefully acknowledged + + + +To the spirit of Community Loyalty by which greatest results are +accomplished. To generous Collective Energy which unites the world's +people in universal kindliness. To the wholesome people of our San +Francisco, whose united efforts unconsciously disproved the impossible, +this book is affectionately dedicated. + +L. C. M. + + + +Reflection + + + +International Expositions are independent kingdoms in their corporate +relation with other countries of the world. They are phantom kingdoms +wherein the people do everything but sleep. They germinate and grow with +phenomenal energy. Their existence is established without conquest and +their magic growth is similar to the mushroom and the moonflower; they +vanish like setting suns in their own radiance. Thousands of neophytes +of every race, creed and color come with willing hearts and hands to do +homage and bear manna to nourish the sinews of a phantom kingdom. + +The National Constitution of phantom kingdoms commands that the Spirit +of beauty, refinement, education, culture and frolic shall govern. The +result is that they contain many palaces and shrines decorated with +sculpture and painting and that the earth is studded with fountains and +pools within tropical gardens. Such a Kingdom exists within a wonderful +valley bordering on a great sea. It is surrounded by high velvet hills +of fine contour and by many real cities. As the people look down on this +phantom kingdom from the hill-tops, or from ships sailing on the water, +they see Architecture nestling like flamingoes with fine feathers +unfurled within a green setting. + +If building Phantom Kingdoms symbolizes man's highest aims on earth, +then the same is true when building Real Kingdoms. Architecture and the +sister arts are the most reliable barometers in recording human thought. +They are direct exponents of a universal language wherein national +progress is most clearly read. + +People who build Phantom Kingdoms look hopefully for universal approval +by all mankind. + +L.C.M. + + + +Contents + +Reflection. Louis Christian Mullgardt +The Architecture and Landscape Gardening of the Exposition. + Louis Christian Mullgardt + +Illustrations + +The Rotunda of the Palace of Fine Arts--A View by Night. Hilda Van + Sicklen, photo. (Frontispiece) +Panorama--Exposition from Presidio Heights. W. Zenis Newton, photo +Tower of Jewels--The Illumination by Night. J. L. Padilla, photo +Fountain of Energy--A View in the South Gardens. W. Zenis Newton, photo +Festival Hall--South Gardens and Mermaid Pool. W. Zenis Newton, photo +Festival Hall--The Terrace and Colonnade. W. Zenis Newton, photo +Festival Hall--Mermaid Pool in the Mist. Jesse T. Banfield, photo +Palace of Horticulture--The Dome and East Entrance. W. Zenis Newton, + photo +Palace of Horticulture--Dome and Spires by Night. James M. Doolittle, + photo +Palace of Horticulture--The Colonnade on the East. W. Zenis Newton, + photo +Horticultural Gardens--Floral Exhibit in the Open +Avenue of Palms--View from Administration Avenue. W. Zenis Newton, + photo +Palace of Education--Main South Portal. W. Zenis Newton, photo +Palace of Education--One of the Minor Entrances. Pillsbury Pictures +Court of Palms--The Sunken Pool by Night. W. Zenis Newton, photo +Court of Palms--Portal, Palace of Education. Jesse T. Banfield, photo +Court of Palms--Portal, Palace of Liberal Arts. W. Zenis Newton, photo +Court of Palms--Italian Tower from Main Portal. W. Zenis Newton, photo +Court of Palms--In the Colonnade by Night. William Hood, photo +Court of Palms--A Curve in the Colonnade. W. Zenis Newton, photo +Palace of Liberal Arts--Portal, From the South Gardens. + Cardinell-Vincent, photo +Palace of Liberal Arts--The Tower of Jewels by Night. J. L. Padilla, + photo +Palace of Liberal Arts--Elephant Fountain Niche by Night. + W. Zenis Newton, photo +The Tower of Jewels--The Great Roman Archway. W. Zenis Newton, photo +The Tower of Jewels--Colonnade, The Fountain of Youth. + W. Zenis Newton, photo +The Palace of Manufactures--Portal, From the South Gardens. + W. Zenis Newton, photo +Court of Flowers--Fountain, Beauty and the Beast. J. L. Padilla, photo +Court of Flowers--Portal of Varied Industries. W. Zenis Newton, photo +Court of Flowers--A Vista in the Colonnade. William Hood, photo +Court of Flowers--Italian Tower from Colonnade. W. Zenis Newton, photo +Court of Flowers--The Friendly Lion at the Portal. Jesse T. Banfield, + photo +Palace of Varied Industries--Main Portal. Cardinell-Vincent, photo +Avenue of Palms--The South Facade by Night. Cardinell-Vincent, photo +Avenue of Progress--The Fine Vista to the Marina. W. Zenis Newton, + photo +Machinery Hall--The Central Arch in the Portal. W. Zenis Newton, + photo +Machinery Hall--The Colonnade in the Portal. W. Zenis Newton, photo +Machinery Hall--One of the Minor Entrances. W. Zenis Newton, photo +Palace of Mines--A Lamp Niche in the Court. W. Zenis Newton, photo +Court of Ages--The Tower by Night Illumination. William Hood, photo +Court of Ages--The Fountain of Earth. Pillsbury Pictures +Court of Ages--The Garden of Hyacinths. W. Zenis Newton, photo +Court of Ages--A Glimpse from the Colonnade. W. Zenis Newton, photo +Court of Ages--A Vista in the Colonnade. W. Zenis Newton, photo +Court of Ages--The Tower through North Aisle. W. Zenis Newton, photo +Florentine Court--Palace of Transportation. W. Zenis Newton, photo +Court of the Universe--Through Three Great Arches. W. Zenis Newton, + photo +Court of the Universe--Triumphal Arch, The Setting Sun. W. Zenis Newton, + photo +Court of the Universe--Triumphal Arch, The Rising Sun. +Court of the Universe--Fountain of the Rising Sun. Pillsbury Pictures +Court of the Universe--Fountain of the Setting Sun. W. Zenis Newton, + photo +Court of the Universe--The Fountain Pool and Tower. James M. Doolittle, + photo +Court of the Universe--Corinthian Colonnade and Gardens +Court of the Universe--In the Promenade by Night. Jesse T. Banfield, + photo +Court of the Universe--A Niche and Urn by Night. Jesse. T. Banfield, + photo +Palace of Transportation--In the Corinthian Colonnade. W. Zenis Newton, + photo +Venetian Court--Palace of Agriculture. James M. Doolittle, photo +Court of the Four Seasons--The Night Illumination. William Hood, photo +Court of the Four Seasons--The Great Half Dome. Jesse T. Banfield, + photo +Court of the Four Seasons--The Western Archway. W. Zenis Newton, photo +Court of the Four Seasons--One of the Colonnade Murals. + W. Zenis Newton, photo +Court of the Four Seasons--The Ionic Columns. Jesse T. Banfield, photo +Court of the Four Seasons--The Colonnade and Lawn. W. Zenis Newton, + photo +Court of the Four Seasons--The North Colonnade by Night. + W. Zenis Newton, photo +Palace of Food Products--The Portal from the Gardens. + W. Zenis Newton, photo +Palace of Food Products--A Detail of the Main Portal. W. Zenis Newton, + photo +The Esplanade--North Facade, Column of Progress. W. Zenis Newton, photo +North Facade--A View from the Bay. Pillsbury Pictures +Palace of Food Products--A View from the Fine Arts Laguna. + Jesse T. Banfield, photo +Palace of Education--A View from the Fine Arts Laguna. + Cardinell-Vincent, photo +Palace of Education--The Half Dome of Philosophy. W. Zenis Newton, photo +Palace of Education--The Fountain in the Portal. W. Zenis Newton, photo +Administration Avenue--The Fine Arts Laguna +Palace of Fine Arts--The Rotunda and Laguna. Jesse T. Banfield, photo +Palace of Fine Arts--The Rotunda and Peristyle. W. Zenis Newton, photo +Palace of Fine Arts--The Peristyle and Laguna +Palace of Fine Arts--In the Peristyle Walk. W. Zenis Newton, photo +Palace of Fine Arts--The Rotunda from the Peristyle. W. Zenis Newton, + photo +Palace of Fine Arts--The Peristyle Walk by Night. Jesse T. Banfield, + photo +Palace of Fine Arts--A Fountain in the Laguna. W. Zenis Newton, photo +Palace of Fine Arts--A Picturesque Garden Fountain. Jesse T. Banfield, + photo +Palace of Fine Arts--The Garden and Fountain of Time. Jesse T. Banfield, + photo +California Building--Bell Tower and Forbidden Garden. +California Building--The Arches of the Colonnade. W. Zenis Newton, photo +California Building--A Vista in the Colonnade. W. Zenis Newton, photo +California Building--The Forbidden Garden. Hilda Van Sicklen, photo +California Building--The Semi-Tropical Garden. W. Zenis Newton, photo +Netherlands Pavilion--As Seen from the Laguna. Pillsbury Pictures +Italian Pavilion--The Piazzetta Venetia. Cardinell-Vincent, photo +Italian Pavilion--In the Court Verrochio. James M. Doolittle, photo +Avenue of the Nations--Tower of Sweden's Pavilion. W. Zenis Newton, + photo +The Esplanade--A View of the Foreign Pavilions. W. Zenis Newton, photo +The Esplanade--A View of the State Buildings. W. Zenis Newton, photo +The Zone--A Holiday Gathering The Zone +The Bizarre Decorations. J. L. Padilla, photo +The Fireworks--Star Shells and Steam Battery. Jesse T. Banfield, photo +Zone Salvo--The Final "Big Noise." Jesse T. Banfield, photo + + + +The Architecture and Landscape Gardening of the Exposition + + + +The Architecture & Landscape Gardening + + + +When San Francisco was destroyed by fire in 1906, many people predicted +that the city would never be rebuilt. A great number of men and women +packed their goods and chattels and hastily bade farewell to the still +smoking ruins of a City That Was, firmly believing that destiny had +determined that it should remain forever buried in its own ashes. + +There was another class of men and women who were optimists. They +predicted that the city would be rebuilt, but that it would require from +twenty to thirty years. + +There was still another class of men and women who knew by observation +that it required no more time to build ten buildings than one, provided +the Spirit of Energy and Determination existed, to fortify the desire. + +We all know now that the Spirit of Energy and Determination did abound +in San Francisco--that the City did not remain buried in its own ashes, +and that it did not require from twenty to thirty years to rebuild it. +The City was not only rebuilt in less than ten years, but, in addition +thereto, an International Exposition, surpassing all previous +Expositions, was built by its people. + +San Francisco wisely selected for the location of this International +Exposition what seemed to many to be an impossible site, for it was +disorderly and uninteresting to look at. But the site was appropriately +situated on the shores of San Francisco Bay--beautiful in its +surroundings and most convenient alike to its citizens and visitors. It +consisted of a pond and a strip of waste land and marsh land, apparently +destined to remain unfilled and unorderly for years to come. The People +of Energy, Determination and Desire have also made this strip of waste +land permanently available. + +The arrangement of this Exposition is distinctive because of its Court +Plan. Eight Palaces seemingly constitute a single structure, containing +five distinct courts or places for large public gatherings, which are +open to the sky. + +This colossal group of buildings, consisting of the Palaces of +Education, Food Products, Agriculture, Liberal Arts, Manufactures, +Transportation, Mines, and Varied Industries, is terminated east and +west by Machinery Hall and the Palace of Fine Arts. To the south of this +group, and on the lateral axis of the two end courts, are the Palace of +Horticulture and Festival Hall. This group of eight buildings, with its +Tower of Jewels, and the separate buildings, Festival Hall, the Palace +of Horticulture, the Palace of Fine Arts and Machinery Hall, constitute +the main structures. + +The buildings and gardens of Foreign Countries and of the States of the +Union adjoin, at their western termination, the thirteen main structures +erected by the Exposition Company. Still further west, are the Livestock +Barns and Poultry Houses. The Aviation, Military and Polo Fields, +including the Race Course, occupy the extreme end of the site. The +amusement section, "The Zone," extends for a distance of seven city +blocks eastward from the main group. + +President C. C. Moore of the Exposition first appointed an Advisory +Architectural Board, in the fall of 1911, consisting of Messrs. Willis +Polk, Clarence R. Ward, John Galen Howard, Albert Pisses and William +Curlett. This Advisory Board was succeeded by an Architectural +Commission, consisting of Messrs. Willis Polk, Chairman, Clarence R. +Ward, W. B. Faville, George W. Kelham, Louis Christian Mullgardt (all of +San Francisco), Robert D. Farquhar of Los Angeles, McKim, Mead and +White, Carrere and Hastings, and Henry Bacon (all of New York); Messrs. +Bakewell and Brown and Bernard R. Maybeck were subsequently commissioned +as Exposition Architects. The first named nine architects constituted +the permanent Architectural Commission which recommended to the Board of +Directors the General Plan of the Exposition, which was substantially +followed as a guide to the results accomplished. + +Three important elements in the design of an Exposition are represented +by Planting, Sculpture, Color and Decoration. The Chiefs of these +Departments were selected by the Architectural Commission at its second +conference, August, 1912; John McLaren, of San Francisco, was appointed +to the important position of Landscape Engineer; Karl Bitter and A. +Stirling Calder of New York were appointed chief and assistant chief of +the Department of Sculpture; Jules Guerin, of New York, became chief of +the Department of Color and Decoration. The Chiefs of these departments +attended the architects' conferences and collaborated in their +deliberations. + +Another very important element in the design of this Exposition was +represented by the Department of Travertine Texture, for the proper +manipulation of colored plastic materials to give correct surface +expression to all buildings and sculpture. This department was placed +under the direction of Paul E. Denivelle of New York. The element of +Texture as embodied in the construction of this Exposition, has again +emphasized its general importance in plastic architecture. + + + +The Marina + +The north side of the main group is flanked by a greensward, called the +Marina, which skirts the bay. This enormous green carpet is bordered by +walks and roadways. The Marina affords excellent opportunity for +thousands of people to view special attractions offered daily along the +waterfront. War vessels and pleasure crafts are always just beyond the +low Marina wall. An uninterrupted view of the bay and its northern coast +line of hills and mountains, extending from the Golden Gate, west to +east, as far as eye can reach, is here obtained under most favorable +conditions. No one will ever forget the wonderful panorama which this +Exposition faces. + + + +The South Gardens + +Flanking the south side of the main group is the marvelous Avenue of +Palms, which appears to have existed always. It was established A. D. +1914, by John McLaren, Landscape Engineer, as part of the most colossal +system of successful transplanting ever undertaken in the history of the +world. The South Gardens adjoin the Avenue of Palms and extend to the +Exposition enclosure along the south boundary line, where a wall fifty +feet high and ten feet wide has been erected of a solid green moss-like +growth, studded with myriads of tiny pink star-like blossoms. This great +wall is perforated by simple arched masonry entrances, leading rough the +richly planted foreground formed by the South Gardens. + +Basins of reflecting blue waters extend to the right and left of a +central fountain of colossal proportions. The basins themselves are +punctuated at their east and west ends by fountains of subordinate size, +back of which are Festival Hall to the right and the Palace of +Horticulture to the left, as we enter the green wall portals from the +city of San Francisco beyond. To the south and west of the Foreign +Countries, States Buildings and Gardens, a graceful contour of hills +extends, sloping onward to Golden Gate, and having a coxcomb of pine and +eucalyptus. Broad vistas of city, forests, water, hills and mountains +present themselves at every point. Gray, green, blue and lavender vistas +come into view through portal, colonnade, and arch. + + + +The Palace of Fine Arts + +This impressive unit faces the rising sun with its colorful facade. The +plan of this composite structure suggests the Star and Crescent of +Mohammed. The architecture shows a free interpretation of early Roman +forms. It is, in fact, a purely romantic conception by Architect +Maybeck, entirely free from traditional worship or obedience to +scholastic precedent. Its greatest charm has been established through +successful composition; the architectural elements have been arranged +into a colossal theme of exceptional harmony, into which the interwoven +planting and the mirror lake have been incorporated in a masterly way. +The entire composition bespeaks the mind of a romanticist, whose +productions are swayed more by nature's glories than by scholastic +tradition. + + + +The Palace of Horticulture + +The appearance of this building so clearly expresses its purpose that a +definition of style promptly suggests the title of Horticultural +Architecture. Its decorative spire-like finials resemble the cypress and +poplar. The clusters of floral ornaments and festoons reflect one of the +fundamental purposes of decorative glory to which all plant life has +been decreed. The bulblike glass dome is like an enormous dewdrop of +beautiful proportions and iridescent color. All this beauty was +conceived by Architects Bakewell and Brown, who have given full evidence +of their appreciation of the purposes to which this Palace was assigned. + + + +Festival Hall + +This structure counterbalances the Palace of Horticulture at the east +end of the South Gardens. Mr. Farquhar's interpretation of Italian +Renaissance in this interesting building is replete with charming +detail; it is truly expressive of its festival purposes. It is seen to +best advantage when reflected in the South Garden Pool, from the circle +surrounding the Fountain of Energy, and from the Court of Flowers. + + + +The Palace of Machinery + +This colossal structure of Roman type was designed by Architects Ward +and Blohme. It dignifies the east end of the main composition in a most +impressive manner. Its general character is similar to the Roman baths +of Caracalla. The vestibules are particularly impressive, when viewed +longitudinally. The interior Roman vaulting, formed by myriad trusses, +is similarly impressive in form and scale to the interiors of renowned +existing Basilicas. The surrounding tree, shrub and flower planting +along the simple outer walls is rhythmically consistent with the Roman +niches and entrances and lends added charm to the dignity of this +tremendous structure. The cornices are especially noteworthy in their +detail, scale and proportion. + + + +Outer Walls of the Group of Eight Palaces + +The impressive simplicity of the outer walls is enhanced by a succession +and variety of portals, niches and arcades of Spanish and Italian origin +of great beauty. The simple dignity of the plain travertine wall +surfaces is heightened by tile-covered cornices terminated by pavilions. +A rich foreground of rhythmic planting of trees, shrubbery and flowers, +emphasizes the unity of the eight palaces, the corporate purposes of +which have been so successfully interpreted by Architects Bliss and +Faville. + +The typical domes surmounting the eight palaces also express the +similarity of purpose for which these palaces are intended. In depicting +the industrial arts, these domes lend an Oriental expression to the +entire composition, consistent with the citadel character of the general +scheme. The banner poles, with their Oriental streamers, and the +illuminating standards, set in the foreground planting of the outer +walls, lend a consistent festive character to these long facades. + + + +The Tower of Jewels + +The appellation "of jewels" became an addition to the original title, +after the Tower was thus gorgeously arrayed. The Tower was contemplated +in conjunction with the main group of palaces, as a clue to the +composition, and as of vital importance to the general plan. Its +composite architecture can best be defined as of White and Yellow Race +derivation. It clearly indicates a mingling of the architectural +characteristics of the people of the entire world, as the architects, +Carrere and Hastings, probably intended. It gives definite expression to +the international purposes for which this Exposition is designed. The +jewel enrichments add effectively to its Oriental regal display. The +Tower constitutes an indispensable integral in the unit composition. It +appears to best advantage under the mysterious effects produced by Mr. +Ryan's night illumination. + + + +The Court of the Four Seasons + +This dignified, restful court of Roman classic character, designed by +Architect Henry Bacon, expresses the Season theme perfectly. The +alcoves, which symbolize the Four Seasons, are admirably conceived in +their relation to the entire composition. The arched side approaches of +the colonnades and the colossal Roman niche at the south end together +form a glorious composition which has been greatly enhanced by the +arrangement of planting by Mr. Bacon. + + + +The Court of the Universe + +This colossal court of oval form, including the Avenue stretching to the +Marina, is fundamentally Roman in architectural character, the style +being largely attributable to its splendid Colonnade and Triumphal +Arches. Its architectural style is also sympathetic to the Orient of the +Far East along the Mediterranean, owing to its domed pavilions. The oval +Sunken Garden is thickly planted with Hydrangeas, which constitute one +of the most gorgeous displays at the Exposition. The Tower of Jewels and +the Column of Progress at the North and South ends of this wonderful +Court serve as integrals. McKim, Mead and White are the architects of +this most important of all the Courts. + + + +The Courts of Flowers and Palms + +These two delightful courts, designed by Architect George W. Kelham, are +like great alcoves in the south wall of the main group. The Court of +Flowers faces Festival Hall, whereas the Court of Palms faces the Palace +of Horticulture. Each court is flanked at its outer angles by towers, +which form an indispensable element in the south facade and in the +courts themselves. The general style is Italian Renaissance, suggestive, +in the detail of its decoration and planting, of the symbolic intent of +these courts. They are an important factor in the south facade of the +main group. + + + +The Court of Ages + +This court is designed as an historical expression of the world's growth +from infancy. It consists of a continuous arcade and vaulted ambulatory +along four sides, and an altar-tower on its northern axis. + +The decorative motives employed on the surrounding arcade are of +conventionalized forms of prehistoric plant and animal life, expressive +of evolution. The altar-tower and fountain symbolize the human and +animal passions of the theme. + +The Gothic type of architecture of this court has not been accredited to +any preceding period. Its general character supposedly resembles Spanish +or Portuguese Gothic more closely than any other known style. + +The Court, including its avenue extending to the Marina, was designed +and modeled by the writer of this article, Louis Christian Mullgardt. + + + +Over six hundred acres are comprised in the elongated site on which the +Exposition stands. Millions of people from all parts of the world have +made pilgrimage to this realm of phantasy, and many thousands more are +on their way, determined to bask in the radiance of Good Will toward All +Mankind, which this Mecca of Peace, Enlightenment, Beauty, and +Inspiration for a better and greater future gives forth. Its purposeful +influence is destined to serve perpetually beneficent cause in the +furtherance of unified international humanitarianism after the ephemeral +vision of this Phantom Kingdom has vanished. + +L. C. Mullgardt. + + + +Illustrations and Descriptive Notes of the Architecture and Landscape +Gardening of the Exposition + + + +Panorama +Exposition from Presidio Heights + +From the vantage point of Presidio Heights, one may see this panorama of +the Exposition and catch the symmetry of arrangement in the walls of the +palaces, in the graceful lines of the towers and in the impressive +contour of the domes. The effect is largely due to the ground plan, +distinguished for its balance and poise, which was designed by Mr. +Willis Polk and Mr. Edward Bennett. + +The main palaces, eight in number, are built around three courts, +producing an admirable compactness and unity. To the west of this +central block of buildings, is the Palace of Fine Arts, and to the east, +Machinery Hall. The Palace of Horticulture and Festival Hall are located +in the great South Gardens. The Zone lies in the extreme eastern wing of +the grounds, and the corresponding section to the west is devoted to the +Pavilions of the Foreign Nations and of the States of the Union. + + + +Tower of Jewels +The Illumination by Night + +The Tower of Jewels, designed by Carrere and Hastings of New York City, +is the centralizing and dominating feature of the Exposition. In its +colossal dimensions and in the imposing dignity of its position and +conception, it seeks to embody, in one triumphal memorial, the +importance to the entire world of the opening of the Panama Canal; while +in architecture, sculpture, mural painting, decorative ornament and +inscribed tablet, it celebrates, in varying form, the glory of +achievement. + +Classic influences inspired the great, central Roman arch, with its +massive colonnades on either side and the Corinthian and Doric columns, +repeated on successive tiers to the globe, upborne by four giant +Atlases, which crowns the apex; but the spirit of conquest and +discovery, which vitalizes the sculptured figures and mural paintings, +is modern in its expression and in its historical fidelity. + +The Tower takes its name from the thousands of many-colored jewels so +cut, polished and suspended that they reflect the sunshine with dazzling +brilliancy by day and at night, under the white radiance of the +searchlights, clothe the whole structure with shimmering splendor. + + + +Fountain of Energy +A View in the South Gardens + +It was a great undertaking to transform the waste acres of marsh and +mudflats into a garden which would be an appropriate setting for the +Exposition palaces. Its success was due to Mr. John McLaren, whose +reputation as a landscape gardener had long ago been established by his +work at Golden Gate Park. + +Passing through the Scott Street Entrance, one sees first the South +Gardens, the really spectacular feature of which is the Fountain of +Energy, designed by A. Stirling Calder. Flanking this main fountain are +the two smaller fountains crowned by the graceful mermaids designed by +Arthur Putnam. With their lovely pools and the splendor of gushing +waters, these three serve as the motif for the formal plotting of the +South Gardens. + +Monterey pines and cypress, with acacia and a variety of flowering +shrubs, are grouped with fine effect. Balustrades, ornamented with +plant-filled urns, set off the great beds in which flora from widely +separated parts of the world have been used. The successive plantings of +flowers keep the gardens in continuous bloom--daffodils, tulips, +pansies, begonias, dahlias, each in their turn. + + + +Festival Hall +South Gardens and Mermaid Pool + +At the eastern end of the South Gardens, south of the Avenue of Palms +and directly opposite the Court of Flowers which breaks the facade of +the main group of buildings between the Palaces of Varied Industries and +of Manufactures, stands Festival Hall, designed to furnish a center for +the Exposition conventions and musical festivals. From its character, +the building takes not only its name, but its architectural and +decorative treatment. It was designed by Robert Farquhar of Los Angeles. + +The building, in its charm of line and the dignity and grace of its +proportions, reflects the best mood of the French Renaissance. The great +dome, with the smaller corner domes, suggests the Theatre des Beaux Arts +in Paris. The graceful curve of the main portal, the Ionic columns, the +decorative corridors and the fine entrances are harmoniously and +effectively developed. All the sculpture, which is the work of Sherry E. +Fry of Iowa, is classic in conception and happily sympathetic in its +suggestion of festivity or in its lyric quality. The floral scheme, in +its, lavish massing of bloom and rich color, enhances the attractiveness +of the building. + + + +Festival Hall +The Terrace and Colonnade + +The rounding sweep of portico and pillar reveals the architectural style +of Festival Hall. In the sculpture and decorative friezes, an effect of +airiness has been achieved. Through the graceful arches, formed by Ionic +columns, one notes the impressive windows, showing the French influence. +The cupola, topped by the slender figure of the "Torch-Bearer," gives an +inviting charm to the side entrance, considered ornate but in accord +with the architectural design of the Palace. The site of Festival Hall +is somewhat raised and the slopes that lead down to the Avenue of Palms +are in terraces of velvety lawn, broken by wide flights of steps. On +either side of the main stairway are two sculptural groups, the "Flower +Girl," before which, on one side, is placed an enticing "Pan" and on the +other, a shy, girlish figure partially concealed in the shrubbery. + + + +Festival Hall +Mermaid Pool in the Mist + +The skillful use of pools in which is secured the charming reflection of +palaces and architectural structures, with the softening accompaniment +of trees and shrubbery, is one of the pleasant features of the +Exposition. + +There is enchantment in a foggy day, for one sees as in a dream, lovely +vistas of courts, glimpses through consecutive arches, and always the +charm of mirroring pools and lagoons, where, should there be no wind, +the reflected image makes as perfect a picture as the mist-enshrouded +original. + + + +Palace of Horticulture +The Dome and East Entrance + +The huge dome, constructed almost entirely of glass, upon a framework of +steel, is the prominent feature of the Palace of Horticulture. It is +French Renaissance, influenced by Byzantine, and its proportions (it is +one hundred and fifty-two feet in diameter and one hundred and +eighty-two feet high) are almost perfect. The spires and porticos, the +colonnades and entrances are replete with rococo decorations. There are +garlands of girls used in the friezes at the base of the minarets, +caryatides repeated in the vestibules, and everywhere a wealth of +ornamentation suggestive of a bountiful harvest. The brilliancy of +design is heightened by the color scheme of green and ivory used upon +the lattice work and travertine material. Messrs. Bakewell and Brown of +San Francisco are the architects. + + + +Palace of Horticulture +Dome and Spires by Night + +At night, when the powerful searchlights within the dome are played upon +the translucent glass, the effect is magical, the reflections weirdly +changing in color and shape. The rich details of the decorations are +softened in the night light. The slender shafts of the obelisks +accentuate the vast proportions of the dome. Even the rare color +combinations, which add so much to the appearance of the Palace of +Horticulture by day, are scarcely dimmed beneath the artificial +lighting. Minarets and sculptured friezes and the floral designs so +abundantly used in the decoration are seen in fairy-like grace. + +Of this beautiful building Mr. Edwin Markham has written: "I looked at +the dome of the Palace of Horticulture and saw strange colors at play +within its dark green depths. Circles and clefts of blue and red and +green shifted, faded and returned like hues within a fiery and living +opal. It was the workshop of a maker of moons, who cast his globes aloft +in trial flights." + + + +Palace of Horticulture +The Colonnade on the East + +The caryatides, which are placed in pairs along the corridors of the +Palace of Horticulture, were designed by John Bateman of New York. The +balustrades, together with the ornamentations of garlands of fruits and +flowers, convey the joyous note of a carnival. The ceiling of the +porches is studded with domes, grilled with green latticework. From the +center of these airy skylights are suspended lamps which, by night, +convert the corridors into brilliantly lighted promenades. + + + +Horticultural Gardens +Floral Exhibit in the Open + +The Horticultural Gardens, lying south and west of the Palace of +Horticulture, are, in reality, exhibit gardens, where much of the +display belonging to the Palace itself is placed. While the decorative +quality is here less emphasized than the more educational and technical +phases of horticulture, the gardens are at all times lovely with a +luxuriance of bloom and with the effective massing of trees and shrubs. + +The display covers an area of eight acres, and experienced gardeners +have united to develop the flora exhibited to a high degree of +perfection. The Netherlands Gardens, the Rose Garden, with its +International Rose Contest, the California Garden and others have +contributed a perpetual rotation of flowering plants and shrubs in great +variety and with a profusion of brilliant color. In the Forestry Court +adjoining, Bernard Maybeck, the architect of the Palace of Fine Arts, +has built a lumbermen's lodge of massive, rough-barked, redwood logs, +but of the same charm of design and harmonious beauty of proportion +which characterize his greater work. + + + +Avenue of Palms +View From Administration Avenue + +Looking down the Avenue of Palms from Administration Avenue, a +delightful picture is presented. Double rows of palms border either side +of the Avenue, with ferns, and blossoming nasturtiums and geraniums +planted directly in the interstices of the roughened trunks. The walls +of the palaces are embowered in eucalyptus, acacia and cypress trees. +Add to this the effect of gaily decorated flagpoles, with pennants and +banners afloat in the breeze, and the half-mile boulevard is +exhilarating to behold. + +Many of the shrubs and trees are common to all the palaces, but each +building has been allotted a different collection of flowers and +foliage-plants to add a distinctive color tone to the facade. When one +examines the general sweep of the palace walls facing the Avenue, +certain architectural units are noticed. Centering each building is a +low dome of Byzantine design, with green roof and warm pink sides. On +the corners smaller domes break the monotony of straight lines. The +Tower of Jewels and the four Italian Towers complete the inspiring +"walled-city" effect. + + + +Palace of Education +Main South Portal + +The Palace of Education forms the southwest unit of the main group of +buildings and fronts on the Avenue of Palms and Administration Avenue. +To W. B. Faville of San Francisco was entrusted the entire exterior wall +which unites in one immense rectangle the eight palaces of the main +group. A plain cornice, edged with tiles, binds the upper rim +throughout. With great simplicity and restraint, the wall spaces are +kept bare of ornament, depending for relief on carefully spaced portals, +niches and wall fountains. + +The south facade of the Palace of Education is broken by three beautiful +doorways, of which the central is the largest and most richly decorated. +The distinctive feature of the main portal is the tympanum in relief by +Gustav Gerlach of New York, which pictures the various stages of +education from the mother in the home, through the adolescent period, to +maturity, when the student is self-taught. Below is the book of +knowledge, the curtains of darkness drawn back that the light may +radiate from its open pages. Above the portal's curve is a globe, +typifying the world-wide scope of the exhibit within. + + + +Palace of Education +One of the Minor Entrances + +The main portal of the Palace of Education is flanked on either side by +a smaller entrance partaking of the same beauty of design, along +slightly simpler lines, so that, while preserving a distinct +individuality, these minor entrances enhance and enrich the main doorway +and the three form a unit in their decorative treatment. The style is +Spanish Renaissance, inspired by ancient models, and modified by +Byzantine influences. All three show the twisted Byzantine column, those +of the main entrance being more ornate. The flat, sculptured panels in +relief above the smaller portals, by Charles Peters and Cesare Stea, +respectively, both deal with educational subjects. The classic vases on +either side of the entrances add grace and dignity, while the latticed +doorways, used throughout the Exposition architecture, here effectively +emphasize the Moorish note. The planting of trees and shrubs is nowhere +happier than about these doorways, with the rose and mauve and smoke +tones of the fresh eucalyptus growth against the ivory-tinted wall and +the profusion of flowers and shrubs massed below. + + + +Court of Palms +The Sunken Pool by Night + +Of the five chief courts of the main architectural ensemble, the two +minor courts, the Court of Palms and the Court of Flowers, while lacking +the more imposing size, dignity and symbolism of the three interior +courts, largely compensate by their sense of intimacy, warmth and quiet +charm. With their sheltered location and sunny atmosphere, due to +southern exposure, and with the enchantment of architecture, sculpture, +painting, color and landscape effects with which they are richly +endowed, they are not only joyous and satisfying, but restful in an +unusual combination and degree. Both courts were designed by George W. +Kelham of San Francisco. + +The Court of Palms lies between the Palace of Education and the Palace +of Liberal Arts; enclosed on the third or north side by the Court of the +Four Seasons, it is open on its southern exposure to the Avenue of Palms +and the Palace of Horticulture which lies directly opposite. It is a +long oval in shape, its proportions well balanced, and its effect of +dignity and quiet accented by the two sunken pools and the effective +planting of palms from which the court takes its name. + + + +Court of Palms +Portal, Palace of Education + +In architecture, the Court of Palms is Italian Renaissance. The entire +length of its oval is encircled by a colonnade, pierced by three deep +portals which are identical in treatment and which are especially fine +examples of the Roman arch. Their dignity is enhanced by the Italian +cypresses which flank them on either side. The portals open respectively +into the Palace of Education on the west, the Palace of Liberal Arts on +the east and the Court of the Four Seasons on the north. The colonnade +is bordered by massive Ionic columns of smoked ivory, which in the +entrances deepen into Sienna marble. The plain cornice which +characterizes the outer walls of the exhibit palaces here takes on a +richer ornamentation to conform to the ornate treatment of the Court, +while it retains the parapet of red Spanish tiles above. Between the +cornice and the columns is a wide and richly decorated attic or frieze +where much of the detail and color which help to make the charm of the +Court are massed. + + + +Court of Palms +Portal, Palace of Liberal Arts + +The sympathy between architect, sculptor and colorist is nowhere shown +to better advantage than in the richly decorated frieze surrounding the +Court of Palms. Panels of veined marble in browns and pinks, deepening +through rose tints to red, are bordered by festoons and garlands of +fruit and flowers in varied shadings of blue and pink. Separating the +panels are caryatides, flushed pink, with long, pointed, folded wings. +They were designed by A. Stirling Calder and John Bateman, while the +spandrels over the curve of the portals are the work of Albert Weinert, +as are also the graceful, classic vases on either side of the entrances, +the latter banded in low relief by dancing bacchanalian figures, while +grinning satyr heads finish the curved handles. In the arch of the +doorways, are three fine mural paintings, harmonizing in subject and +coloring with the spirit of the Court--"Fruit and Flowers," by Childe +Hassam, on the West, "The Pursuit of Pleasure," by Charles Holloway, on +the east and "The Victorious Spirit," by Arthur F. Mathews, on the +north. + + + +Court of Palms +Italian Tower from Main Portal + +Terminating the colonnade at either side of the entrance to the Court +from the Avenue of Palms stand the Italian Towers, distinguished by +their grace of line and proportion and their skill in the use of the +purest architectural forms of the Renaissance, no less than by the +charming manipulation of color and ornament. By their slenderness and by +simplicity of treatment they produce an effect of great height. They +were inspired by the Geralda Tower of Seville. The deep-toned columns of +Sienna marble used in the three Italian Portals also enrich the entrance +to the towers. The prevailing pink and blue color tones which dominate +the court are delightfully accentuated in the diaper pattern decorating +the rectangular wall spaces of the main portion of the towers. The upper +design, repeated in each of the four corners, is modeled after the +Choragic Monument of Lysicrates in Athens. The winged figure, "The +Fairy," lightly and gracefully poised upon the topmost pinnacle, is by +Carl Gruppe. + + + +Court of Palms +In the Colonnade by Night + +The illustration shows the colonnade which encircles the entire oval of +the Court. The bordering columns are Roman Ionic in dull smoked ivory. +The general wall tone is the same, with panels of soft pink between the +pilasters. The vaulted ceiling is blue. The plants between the columns +are acacias, clipped to ball form. The swinging lamps are from old Roman +models in pink and verde green. Classic figures are modeled in low +relief above the arched openings. + +Looking north through the Court of the Four Seasons, with its long north +colonnade, is a superb vista across the wide blue waters of the bay to +the sweeping hills beyond. At the entrance to the court stands the only +piece of sculpture not identified with the architectural treatment, "The +End of the Trail," by James Earl Fraser, one of the strongest statues on +the grounds and perhaps the most popular. + + + +Court of Palms +A Curve in the Colonnade + +The careful details of the palaces and courts--the minute finishing of +cornice, column, frieze and vault, the loving modeling of sculpture, the +artistic planning of vistas, the inspired brushing of murals--are +marvelous beyond my telling. It is an outpouring of the arts before the +altar of humanity. It is a presage of what men can do when they unite in +common service. + +The Exposition has taken a Titan stride toward this unified action for a +common purpose. The artists have bent to one perfect expression, like +the strings and brasses of an orchestra. Self was submersed in a +composite achievement, not obliterating individuality but leaving it +latitude to harmonize with others. The result is not the stenciling of a +leader's mannerisms, but a blend of diverse and varied characteristics, +an interweaving of sympathies, of spontaneous and ordered impressions. +Here is an object lesson in the cooperative idea that will not be lost +upon the world--the idea of a transcendent result obtained by a unity +of noble efforts, a result that no massing of individual attempts could +have achieved. + +--Edwin Markham + + + +Palace of Liberal Arts +Portal, From the South Gardens + +West of the Tower of Jewels is the Palace of Liberal Arts, balancing in +architectural design and embellishment the Palace of Manufactures, which +lies directly east of the tower. The niches, entrances and main portals +of the two build are identical. Both were designed by W. B. Faville of +San Francisco. + +Like all the buildings of the main group, the decorative treatment is +largely massed in the great doorway, which is distinctly Renaissance in +architecture, Spanish in general treatment, but Roman in the massive +dignity of the square, deeply-arched portal. Its style is adapted from +ancient models. The coloring within the arch and in the overlaid +ornament around and above it is a warm pink, effectively combined with +turquoise blue and orange. The lace fan, of Moorish workmanship, above +the doors, is especially beautiful in its delicate coloring and fragile +texture and in the touch of lightness that it gives. The pilasters on +either side of the entrance are Corinthian. The long frieze above the +doorway and the figures in the niches on either side are by Mahonri +Young of Salt Lake City. + + + +Palace of Liberal Arts +The Tower of Jewels by Night + +Either by day or by night, the Tower of Jewels is the dominating center +of the Exposition, epitomizing not only its entire meaning and message, +but summarizing in detail its architectural development. In the main it +follows the Italian Renaissance, with emphasis upon the Greek and Roman +elements, while in the ornament it employs many Byzantine features. + +The Tower is built in seven stages, rising tier on tier, the base a +magnificent Roman arch, with colonnaded courts flanking it on either +side. The Corinthian columns of the colonnades are ochre and on each +side of the archway, they are of Sienna marble. The sculptured figures +by John Flanagan, crowning the columns above the arch, represent in four +successive types the men who made Western America--the adventurer, the +priest, the philosopher, the soldier. They are repeated on each face of +the Tower, the "Armored Horseman" by Tonetti, on the terrace above, +being repeated four times on each side. The forms used in the decorative +sculpture--the eagle, the wreath, the ship's prow, the various emblems +of war--all symbolize victory and achievement. + + + +Palace of Liberal Arts +Elephant Fountain Niche by Night + +The ornamental fountain alcoves placed at intervals are important +decorative features of the south walls. The shrubbery has been so +grouped about the niches that the details of the fountains are partially +screened. Upon closer investigation, one finds an elephant's head as the +central object in one niche, alternating with a lion throughout the +series. They set snugly against the pink panel just over the flaring +basin of travertine wherein the water trickles. + +At night, these niches are flecked with shadows cast by the surrounding +trees. Electric lights, concealed beneath the water, shed a warm glow +upon the head of the elephant in its frame of sculptured half columns. +These fountain niches, designed by W. B. Faville, are in the same +Spanish style of architecture which characterizes the entire south +facade of the palaces. + + + +The Tower of Jewels +The Great Roman Archway + +Midway on the south face of the Tower of Jewels are inserted four +commemorative tablets. The inscription on the panel at the left end of +the colonnade reads as follows: + +1501--Rodrigo de Bastides pursuing his course beyond the West Indies +discovers Panama. + +The Panel at the left of the central arch reads: + +1513--Vasco Nunez de Balboa crosses the Isthmus of Panama and discovers +the Pacific Ocean. + +At the right of the central arch the panel reads: + +1904--The United States succeeding France begins operations on the +Panama Canal. + +The Panel at the right end of the colonnade is inscribed: + +1915--The Panama Canal is opened to the commerce of the world. + + + +The Tower of Jewels +Colonnade, The Fountain of Youth + +Beyond the colonnades and the great Roman arch, on the north face of the +Tower of Jewels as it faces the Court of the Universe, are four +commemorative tablets similar to those found on the south side. The +panel at the left end of the colonnade is inscribed: + +1542--Juan Rodriguez Cabrillo discovers California and lands on its +shores. + +The Panel at the left of the central arch reads: + +1776--Jose Joaquin Moraga founds the Mission of San Francisco de Isis. + +At the right of the central arch the panel reads: + +1846-The United States upon the outbreak of war with Mexico takes +possession of California. + +The Panel at the right end of the colonnade is inscribed: + +1850--California is admitted to the Union as a sovereign State. + + + +Palace of Manufactures +Portal, from the South Gardens + +The Palace of Manufactures lies directly east of the Tower of Jewels and +fronts on the Avenue of Palms. In architectural design, it duplicates +the Palace of Liberal Arts, the repetition giving strength and +simplicity to the entire south facade. The dignified main portal is +flanked on either side by two minor entrances, similarly conceived and +ornamented, the lattice work within the archways relieving the solidity +of the design. + +The composition of the Byzantine dome, with its tier of latticed +windows, the "Victory"--tipped gable, the tiled slope above the arch, +the bare wall spaces and the richly ornamented doorway, as seen from the +South Gardens, illustrates the general construction of the main group of +buildings. The dome gives height and decorative effect, the "Winged +Victory" lightness and grace. The latter figure, which is repeated on +the acroteria, as the gable platforms are called, of all the palaces of +the main group, is by Louis Ulrich of New York. It bears, outstretched, +a wreath which suggests the crown bestowed for work well done. + + + +Court of Flowers +Fountain, Beauty and the Beast + +Between the Palace of Mines and the Palace of Varied Industries lies the +Court of Flowers, enclosed on the third or north side by the Court of +Ages and open on its southern exposure to the Avenue of Palms and to +Festival Hall, which lies directly opposite. In its shape, a long oval, +and in its location it is the eastern prototype of the Court of Palms, +which breaks the wall of the main group of buildings toward its western +end. Like that, it was designed by George W. Kelham of San Francisco. + +Both Courts are rich examples of the Italian Renaissance, with traces of +Byzantine influence, and while a superficial view might pronounce them +almost identical, a further study reveals marked individuality in +conception and development. In each, the note of emphasis and the +temperamental appeal are entirely distinct. The Court of Palms is +simpler, more dignified, more conventional. The Court of Flowers is +richer in ornament and suggestion, more softly brilliant in atmosphere. +The prevailing color is yellow relieved by pink. + + + +Court of Flowers +Portal of Varied Industries + +In the Court of Flowers, the colonnade encircling the entire length of +its oval is bordered by Corinthian columns arranged in pairs. The +smoked-ivory tone is used throughout, except in the portals, where +Sienna marble gives a deep note of color. The highly ornamental floral +light-standards between the columns occur elsewhere throughout the +court. The cornice is edged with red Spanish tiles and above the +colonnade runs a richly decorated loggia that, with its suggestion of +southern influences, enhances the warm, sunny atmosphere of the court. +The repeated figure of the flower-decked and garlanded "Flower Girl" is +by A. Stirling Calder. A conventionalized frieze in delicately colored +arabesque runs between the balcony and the columns, the prevailing motif +of which is the griffin. The colonnade is broken by three portals, +opening respectively into the Palace of Manufactures on the west, the +Palace of Varied Industries on the east and the Court of Ages on the +north. These entrances, while they do not interrupt the colonnade below, +as is the case in the Court of Flowers, are made the keystones of the +ornament of the upper balcony, where the triple arches, with their +decorative treatment, furnish an effective break in the loggia. + + + +Court of Flowers +A Vista in the Colonnade + +The coupled Corinthian columns are of smoked ivory. The background of +the wallspaces is the same, but between the pilasters, occur panels of +warm pink. The pilasters are in pairs to harmonize with the pillars +bordering the colonnade. In the portals swing Roman lamps in dull +blue-green. The heavy bronze lanterns, suspended from the deep-toned +cream ceiling of the corridors, are Italian in design. At night, they +are illumined by a soft, red glow, while the light from the standards +between the columns and through the latticed doors of the entrances of +the palaces is pale gold. There is no direct lighting in the court, the +only other illumination being the deep red diffusive flow which +brightens the Italian towers from within, so that the warm, bright charm +pervading the Court by day, gives way at night to a sense of seclusion +and intimacy that makes a poetic appeal equally strong. + + + +Court of Flowers +Italian Tower from Colonnade + +The four Italian Towers, equally distant from the Tower of Jewels, two +on either side, furnish the chief elements in the fine sense of balance +and proportion of the south facade of the main group of palaces. +Occurring in in pairs at the entrances of the Court of Palms and the +Court of Flowers and employing the same architectural elements and +decoration, they show a pleasing variety in detail. The towers of the +Court of Flowers have more of simplicity in design and give an even +greater impression of height by the arrangement of columns. The same +fairy by Carl Gruppe crowns all four towers, and helps to give the name +of "the fairy courts" by which they are sometimes called. By the +original design these two courts were to embody the fairy lore of the +Occident and of the Orient, and the Court of Flowers, with the magic of +its golden blossoms and its friendly beasts, enters far into the +conception. + + + +Court of Flowers +The Friendly Lion at the Portal + +With all its loveliness of detail and witchery of color, the prevailing +charm of the Court of Flowers, true to its name, lies in the effective +planting of flowers and shrubs. The main path through the Court is +bordered on either side by spreading lophantha trees, trimmed four feet +from the ground and branching to a diameter of five feet in delicate, +lacy foliage. Masses of flowers in the pervading luxuriant color-tone +carpet the whole court with gold, while banks of green fill the corners +and outline the borders. The six "Friendly Lions" with their +conventionalized garlands, by Albert Laessle of Philadelphia, guard the +three entrances, one on either side. "Beauty and the Beast," the central +fountain which dominates the Court, is by Edgar Walters of San Francisco. +The basin is upheld by four alternating fauns and satyrs and about the +base of the fountain is a procession of beasts in low relief. The statue +of "The Pioneer" by Solon Borglum, which stands at the entrance of the +Court, while it bears no relation to the symbolism of the Court itself, +is a companion to "The End of the Trail" which occupies the same position +before the Court of Palms. + + + +Palace of Varied Industries +Main Portal + +The central portal on the south facade of the Palace of Varied +Industries is by many considered the finest doorway at the Exposition. +It is a copy of the Hospital of Santa Cruz at Toledo, done in the +Spanish Renaissance, of a style known as the plateresque. The rich +appearance has the effect of being exquisitely chiseled with scroll-like +finish, reminding one of the workmanship of a silversmith. + +The sculptured ornamentations of the portal are the work of Ralph +Stackpole. He is most fortunate in his treatment of the industrial +types. The relief panel in the tympanum represents the industries of +Spinning, Building, Agriculture, Manual Labor and Commerce. + +"The Man with the Pick," seen on the side brackets, is a freely modeled +statue, also appearing upon the portal of the Palace of Manufactures. +The keystone figure typifies the Laborer, who is capable of relying on +his brain. The upper group represents Age transferring his burden to +Youth. + + + +Avenue of Palms +The South Facade by Night + +Facing the Avenue of Palms is the stupendous wall formed by the Palaces +of Varied Industries, Manufactures, Liberal Arts and Education. This +long and imposing bulwark is over-topped by the great Tower of Jewels +and the two pair of Italian Towers. The walls of the palaces, ivory +tinted and shadowed by palms, eucalypti and myriad shrubs, assume a new +and more wonderful aspect under the batteries of the searchlights. The +towers stand out against the night sky, glowing with the hidden lights +like living coals, changing to pastel tints of blue and green, most +beautiful of all when the reflectors convert them into shafts of white. +The lamps along the Avenue punctuate the dark masses of foliage, and the +contrasting high lights on towers and domes make an artificial +illumination that for sheer beauty has never been equalled. + + + +Avenue of Progress +The Fine Vista to the Marina + +Spaciousness characterizes the Avenue of Progress, not only in its +breadth but in its sweeping length. From the Fillmore Street entrance, +which opens directly upon the Avenue, it appears to extend across the +bay and on to the hills beyond. The Service Building is upon the left +and from the opposite side comes the fanfare of the "Joy Zone." The +Palace of Machinery is on the eastern side of the Avenue, and on the +west are the Palaces of Varied Industries and Mines. + +The landscape gardening is here most successfully carried out. Dracena +indivisa, a species of palm, are planted at short intervals throughout +the length of the boulevard. Against the dull buff of the palace walls +are banked Monterey cypress and Lawson cypress, with a heavy undergrowth +of fir and spruce. The attractive lawns add a touch of formality to the +impressive Avenue. Whatever effect of newness might have appeared in the +walls of the great palaces is mellowed by Guerin's colors and there is a +splendid atmosphere of enduring solidity, softened by the picturesque +gardens. + + + +Machinery Hall +The Central Arch in the Portal + +The Palace of Machinery extends for nearly one thousand feet along the +Avenue of Progress. Its main entrance, facing the west, is composed of +three splendid arches, set off by free-standing columns, which resemble +weather-stained shafts of Sienna marble and are the pedestals for the +sculptured figures representing the powers of "Invention," +"Electricity," "Imagination" and "Steam." On the inner facade of the +arches are grills of amber glass, forming a strong background for the +decorative friezes and sculptured eagles, the latter being symbols which +predominate throughout the Exposition. Dwarf cedars serve to magnify, by +comparison, the gigantic dimensions of this entrance. Daniel Chester +French's commanding statue, "The Genius of Creation," occupies a +prominent place before the central arch. + + + +Machinery Hall +The Colonnade in the Portal + +The dimensions of the main entrance to Machinery Hall are in keeping +with the size of the building, which is the largest wooden framed +structure in the world. Architecturally the style is after the ancient +Roman, the motif being supplied by studies of the baths of Caracalla. +The decorative designs in the vestibule are sculptured figures and +accompanying insignia typifying the manufacture and use of machinery by +man. The relief figures of the spandrels are forcefully executed. About +the base of the pillars are friezes, symbolic of mechanical invention. +These relief designs are the work of Haig Patigian of San Francisco. + +This great archway is one of the most interesting achievements, from an +architectural standpoint, to be found at the Exposition. The space +covered is large, yet so cleverly handled that no bareness is suggested. +The coloring within the vestibule is in shades of blue, and the massive +pillars supporting the three arches are toned in rich terra cotta. + + + +Machinery Hall +One of the Minor Entrances + +Flanked by Corinthian columns which reflect, in smaller size, the great +pillars of the main entrance, four minor doorways break the long western +wall of the Palace of Machinery on either side of the central entrance, +the architectural and sculptural design in them being similar to that of +the main portal. The frieze in low relief, encircling the bases of the +columns and representing the genii of mechanics, is repeated from the +larger entrance, as are also the figures in the spandrels, typifying the +application of power to machinery. + +The color treatment of these doorways is especially brilliant. The +Corinthian columns simulate Sienna marble. The background in the +spandrels is stained a rich orange. The shell canopy, as in other panels +where it is used throughout the Exposition, is in cerulean blue, the +wall space beneath it is a deep pink, while the door is the customary +green. + +The landscape planting along the entire wall is superb. Against the +ivory-tinted background, various species of evergreens are grouped with +consummate skill. + + + +Palace of Mines +A Lamp Niche in the Court + +The Court of Mines, opening directly across from the main portal of +Machinery Hall, is the entrance to the inner courts from the Avenue of +Progress. The effective massing of the shrubbery is enlivened by the gay +banners and streamers, designed by Jules Guerin, which are one of the +most stimulating decorative features of the Exposition. The walls on +either side are broken by the entrance portals to the buildings, done in +Italian Renaissance style. Their distinctive features are the niches on +either side of the entrances, in which are placed vigorous figures, +designed by Albert Weinert, and the ornamental lamps below. The court is +illuminated at night by concealed light thrown on the walls from +reflectors in the forms of interesting green shells resting on shapely +standards. + + + +Court of Ages +The Tower by Night Illumination + +The Court of Ages was designed by Louis Christian Mullgardt of San +Francisco. Of all the Exposition courts it is the most original and +imaginative in conception, the most complete in its organic, structural +unity, the richest in ornament, in poetic suggestion, in the depth and +dramatic appeal of its symbolism. + +The Court suggests many architectural periods and types, yet eludes +classification under any one of them. The Gothic clearly predominates, +with traces of English, Spanish, and Portuguese elements. With further +hint of Romanesque, of Moorish and of French influence, these varying +elements have been so fused in the imagination of the architect that the +resultant creation is independent of all of them in its daring, yet +restrained, originality. In the magnificent square tower at the center +of its northern end, all the beauty and spiritual import of the Court +culminate. Its aspiring length of line, unbroken from base to summit, +faces poise and uplift, the broad, plain surfaces give nobility and +strength and the exquisite richness and delicacy of the ornament give +lightness and grace, while the sculpture blends and crowns the deep +pervading symbolism of the Court. + +-Maud Wotring Raymond + + + +Court of Ages +The Fountain of Earth + +While it is possible to find keen enjoyment in the Court of Ages for its +delicate beauty and exquisite refinement alone, even the slightest study +of its architectural and sculptural detail reveals a depth of underlying +purpose and meaning that invites further analysis. The architect calls +it "an historical expression of the successive ages of the world's +growth." He suggests four stages: the nebulous world, symbolized by the +central fountain, in which Robert Aitken of San Francisco has worked out +a stupendous study of primeval passions. Out of chaos, come the +elemental forces, Water, Land and Light. The braziers and cauldrons +symbolize Fire. The two sentinel columns, flanking the tower on either +side, are Earth and Air. The eight paintings, by Frank Brangwyn of +London, in the corridors in great richness of color depict Earth, Air, +Fire and Water. Thus the first state is indicated. + +The second stage is symbolized by the decorative motifs employed on the +arcade surrounding the court, where on piers, arches, reeds and columns, +in marvelously wrought sculptural ornament, is shown the transition from +plant to animal life through kelp, crab, lobster and other sea animals +and shell motifs. + +--M. W. R. + + + +Court of Ages +The Garden of Hyacinths + +Following the symbolism of the Court of Ages through the first nebulous +period of the world's growth, through the second, which shows the +transition in successive forms of sea-plant life, the third period is +reached where are illustrated the earliest forms of human, animal, +reptile and bird life prevailing in the stone age. This age is +indicated, in the court, by the prehistoric figure surmounting the piers +of the arcade and by the first sculptured group over the entrance to the +tower. The repeated arcade figures, which were designed by Albert +Weinert, represent alternately Primitive Man and Primitive Woman. + +The perfection of the landscape planting and the skill with which it +subtly accentuates the meaning of architecture and sculpture are worthy +of study. In the background, close against the piers of the arcade, +tall, slender Italian cypresses emphasize their rhythmic length of line. +Amid a growth of tropical luxuriance stand glossy-leafed orange trees +laden with fragrant blossoms and golden fruit. Balled acacias in formal +rows outline the paths, while a succession of plantings has given a +varying color scheme and a new perfume to each season. + +--M. W. R. + + + +Court of Ages +A Glimpse From the Colonnade + +The Court of Ages is the only one of the Exposition courts which is +entirely independent of outside influences. The other courts derive +breadth of appeal from the fine vistas through arched gateways or along +dignified colonnades. The Court of Ages is shut in upon itself by the +arcaded and vaulted ambulatory which extends continuously around its +four sides, and by this cloistered effect, its individual impression is +deepened and intensified. + +Through the lovely rounded arches of this encircling colonnade, which is +elevated a few feet, one looks down into the beauty of the court, or out +across it to the richly fretted walls. In the curve of each arch, hang +two delicately modeled lanterns. + +--M. W. R. + + + +Court of Ages +A Vista in the Colonnade + +The cloistered effect of the long colonnade surrounding the four sides +of the Court of the Ages is deepened by the vaulted ceiling, which, in +its Roman simplicity of line, contrasts effectively with the filigreed +exterior of the arcade. + +The only color in the court, aside from a slight use in the tower and +the massed luxuriance of flowers, is found in the corridors where, +between the square pilasters, the prevailing old ivory is stained pink +of a deeper tone than in the other courts. The ivory pilasters are +carried up into the ceiling in curving, transverse arches, while the +band of blue, following their edges, leads to the rich blue depths +between them. At the far end of every vista glows the riot of color in +the mural paintings by Frank Brangwyn. The play of sunlight through the +succession of rounded arches increases the sense of bright charm. + +--M. W. R. + + + +Court of Ages +The Tower Through North Aisle + +In the North Court of Ages, leading to the Esplanade, the tower is +identical with the main court, and the entire architectural treatment, +while simpler, is in the same spirit. Robbed of the complex symbolism by +which, in the larger court, the evolution of the lower forms of life is +depicted, the higher spiritual lesson is here intensified. The +sculptured groups in the tower, by Chester A. Beach of San Francisco, +represent the rise of humanity through successive ages of civilization. +The conventionalized lily petals decorating the summit of the tower +suggest the highest forms of plant life. The delicate lace-like finials, +rising from the highest points of court and tower alike, express +aspiration. The chanticleers on the finials surrounding the court +symbolize the dawn of Christianity. + +The star-like clusters of lights, raised aloft, two in the main court +and four in the north court, deepen the ecclesiastical atmosphere by +suggesting the golden monstrance emblematic of the rays of the sun and +of the radiating presence of God, and used in the Catholic Church as a +receptacle for the sacred host. + +--M. W. R. + + + +Florentine Court +Palace of Transportation + +The Florentine Court and the Venetian Court lie east and west +respectively of the Court of the Universe. They are sometimes called the +Aisles of the Rising and the Setting Sun. While in reality only +connecting avenues, the wealth or careful detail lavished upon them +makes of them charming interludes between the larger and more imposing +courts, and yet so skillfully do they conform to the general plan that +they blend one larger court with another, without expressing a distinct +individuality of their own. They were planned by W. B. Faville of San +Francisco. While identical in design upon three sides, their adaptation +upon the fourth side to the courts which they adjoin, east and west, and +the variety in landscape effects, insure against exact duplication. + +The Florentine Court lies between the Court of Ages and the Court of the +Universe, with the Palace of Transportation bounding it on the north and +the Palace of Manufactures on the south. Its eastern wall repeats the +rich decorative treatment of the Court of Ages, which it joins. + + + +Court of the Universe +Through Three Great Arches + +When one stands in the Court of the Four Seasons, facing east, two +splendid arches are seen framed by the Eastern Gateway of the Court. The +first, across the Venetian Court, is the Arch of the Setting Sun, +surmounted by its symbolic group of the Nations of the West. Across the +vast Court of the Universe, beyond the Fountains of the Rising and the +Setting Sun, is the triumphal Arch of the Rising Sun surmounted by its +symbolic group of the Nations of the East. + +These magnificent modern expressions of the arches erected by the old +Romans to commemorate their triumphs were designed by McKim, Mead and +White, the architects of the Court of the Universe, and are richly +adorned with sculpture designed by various artists. In the attics are +carved appropriate inscriptions selected by Porter Garnett, which will +be found on succeeding pages. + +There is an atmosphere of bigness about the Court of the Universe, +created not only by the architectural features, but by the symbolism of +the final meeting of the Nations of the World, made possible by the +completion of the Panama Canal. + + + +Court of the Universe +Triumphal Arch, The Setting Sun + +The magnificent mass of the Western Arch is heightened at night by the +effective illumination. Shafts of white light from concealed projectors +pick out, the sculptured group that surmounts it. The bulk of the arch +catches only the rays from minor lamps within the court and upon this +shadowy pedestal, the group of the Nations of the West stands out in +strong relief. Below, the ceilings of the arch and corridors are +brilliant from concealed lights placed within them. + + + +Court of the Universe +Triumphal Arch, The Rising Sun + +The triumphal arches which by night gain in majesty and mysterious +power, by day have the added beauty of the color manipulation and +decorative treatment, which is exceedingly rich and varied. + +The twisted columns of Sienna marble which flank the arch, two on either +side, are composite, mingling Corinthian and Ionic elements. Each column +is crowned with a sculptured figure, representing the "Angel of Peace" +by Leo Lentelli. Between the columns, set in a square of deep pink, is a +burnt orange medallion, the figures in relief, suggesting Nature and +Art, being designed by A. Stirling Calder and B. Bufano. + +On either side of the curve of the arch, latticed windows in green give +a Moorish touch. The figures in the spandrels, representing Pegasus are +by Frederick G. R. Roth. A frieze in relief, bands the arch beneath the +inscription, while Cleopatra's needle, four times repeated, gives height +and classic emphasis to the crenellated parapet out-lining the summit. +The sculptured groups "The Nations of the East" and "The Nations of the +West" are the joint work of A. Stirling Calder, Frederick G. R. Roth and +Leo Lentelli. + + + +Court of the Universe +Fountain of the Rising Sun + +In the eastern portion of the sunken garden is the Fountain of the +Rising Sun. The tall, slender shaft, a column of travertine by day and a +column of light by night, supports a sphere upon which is poised a +statue typifying the dawn of day. Adolph A. Weinman is the sculptor of +this "Rising Sun" which is so deservedly popular on account of the +irresistible appeal of the youthful figure. + +Everything about the fountain is indicative of the vigor of youth, the +energy associated with the rising of the sun. The friezes about the base +represent the triumph of light over darkness, and the merry play of +waters suggests perpetual activity. The concrete bowl is of goodly +proportions and within the pool are sculptured figures representing +mythical creatures of the ocean. + +Bordering the fountain are gardens, at first ablaze with rhododendrons, +then massed with the pink blooms of hydrangeas, and later bright with +the flowers of each successive season. + + + +Court of the Universe +Fountain of the Setting Sun + +Quite as lovely in every detail as the preceding is the Fountain of the +Setting Sun. It is in the opposite portion of the sunken garden where, +when the sun is in its descent, it is shadowed by the Triumphal Arch of +the Nations of the West. + +Crowning the pillar is the figure of a maid, her drooping wings and +languorous pose denoting relaxation, a suspension of the day's toil. +This statue was also modeled by Adolph A. Weinman. The supporting shaft +conveys an impression of buoyancy and there are friezes above and below +the bowl of the fountain similar to those of the Rising Sun. At night +the columns which support these figures are aglow with concealed lights, +and the beauty of the fountain is wonderfully enhanced. + + + +Court of the Universe +The Fountain Pool and Tower + +The inscriptions on the two Triumphal Arches in the Court of the +Universe are drawn respectively from Occidental and Oriental literature. +It was designed that the large central panels possess a cosmical, an +epical, or an elemental quality, and that the smaller panels on either +side deal with abstractions, such as truth, nature or beauty. In +accordance with this plan, the inscriptions on the Arch of the Setting +Sun facing away from the court are as follows: + +The panel at the left of the attic, representing Italy, reads + +The world is in its most excellent state when justice is supreme.-- +Dante. + +The panel in the center of the attic, representing Germany, is inscribed + +It is absolutely indispensable for the United States to effect a passage +from the Mexican Gulf to the Pacific Ocean; and I am certain that they +will do it. Would that I might live to see it--but I shall not.--Goethe. + +The panel at the right of the attic, representing France, reads + +The Universe, an infinite sphere, the center everywhere, the +circumference, nowhere. Pascal. + + + +Court of the Universe +Corinthian Colonnade & Gardens + +The inscriptions on the Arch of the Setting Sun, facing the Court, are +as follows: + +The panel at the left of the attic, representing England, reads + +In nature's infinite book of secrecy a little I can read.--Shakespeare. + +The panel in the center of the attic, representing America, reads + +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. + +--Whitman. + +The panel at the right of the attic, representing Spain, is inscribed + +Truth, witness of the past, councillor of the present, guide of the +future.--Cervantes. + + + +Court of the Universe +In the Promenade by Night + +The inscriptions on the Arch of the Rising Sun, facing the Court, are as +follows: + +The panel at the left of the attic, representing China, is inscribed + +They who know the truth are not equal to those who love it.--Confucius. + +The panel in the center of the attic, representing India, reads + +The moon sinks yonder in the west, +While, in the east, the glorious sun +Behind the herald dawn appears +Thus rise and set in constant change those shining orbs +And regulate the very life of this our world. + +--Kalidasa. + +The panel at the right of the attic, representing Japan, reads + +Our eyes and hearts uplifted, seem to gaze on heaven's radiance.-- +Hitomaro. + + + +Court of the Universe +A Niche and Urn by Night + +The inscriptions on the Arch of the Rising Sun, facing away from the +Court, are as follows: + +The panel at the left of the attic, representing Arabia, reads + +He that honors not himself lacks honor wheresoe'er he goes.--Zuhayr. + +The panel in the center of the attic, representing Persia, is inscribed + +The balmy air diffuses health and fragrance, +So tempered is the genial glow that we know neither heat nor cold. +Tulips and hyacinths abound. +Fostered by a delicious clime, the earth blooms like a garden. + +--Firdausi. + +The panel at the right of the attic, representing Spain, reads + +A wise man teaches, be not angry; from untrodden ways turn aside.--Phra +Ruang. + + + +Palace of Transportation +In the Corinthian Colonnade + +This promenade, formed by the vast portico of the Palace of Agriculture, +is in harmony with the architectural scheme of the Court of the +Universe. It is the eastern wall of the aisle leading from the the main +court to the Column of Progress. + +The shafts of the pillars are fluted and capped after the Corinthian +order. Terra cotta, mellow in tone, is the color which has been used +upon the travertine material of the columns, and the walls flanking the +majestic array of pillars are painted a warm pink. The height of the +ceiling is intensified by its deep blue, which seems to blend with the +azure of the sky, as one glimpses it through the far opening of the +corridor. Masked lanterns adorn the arched ceiling; on the columns are +shell-screened lamps and at night the sweep of the promenade is +magnified by the indirect lighting effects. + + + +Venetian Court +Palace of Agriculture + +The great triumphal arches of the Central Court dominate the connecting +aisles on either side, the Arch of the Rising Sun forming the west side +of the Florentine Court and the Arch of the Setting Sun the east side of +the Venetian Court. All the splendor and dignity of architectural +treatment and decorative ornament that enrich the arches as they face +toward the Court of the Universe are repeated on the reverse sides. + +The treatment of the side walls in the Florentine and Venetian Courts is +identical, displaying some of the most delightful features of the +Italian Renaissance, with marked richness in the use of both color and +ornament. The walls are covered with a diaper pattern in pink and warm +ivory. Bright blue and deep orange stain the overhanging cornice. The +great windows are latticed and bound with green, the keystone of their +arches being a quaint figure with folded wings. Between the arches are +inset blue Italian medallions. Between the windows are coupled +Corinthian columns, their shafts richly overlaid with ornament after +patterns suggested by the churches and palaces of southern Italy. The +planting is profuse, with masses of green against the walls and a wealth +of bloom, pink predominating in the Florentine Court and yellow in the +Venetian. + + + +Court of the Four Seasons +The Night Illumination + +The Court of the Four Seasons is the most restful, the most intimate and +the most harmonious of the three main courts, an effect produced by its +classic simplicity and the charm of its architecture, sculpture and +planting. + +The long approach of the north court, which is entered from the +Esplanade, is bordered by the stately colonnades of the Palace of +Agriculture on the east and the Palace of Food Products on the west. The +columns are Ionic, the decorative treatment of their capitals, and of +the frieze above, being in fruits and grains, happily conventionalized. +The green sward of the avenue is set, here and there, with fine yew +trees, while tall, slim eucalypti flank the entrance to the Court. + +The Fountain of Ceres designed by Evelyn Beatrice Longman, by the poise +of its crowning figure and by the grace and dignity of its entire +outline, no less than by its classic conception and fine architectural +feeling, enhances the chaste beauty of the long vista whether seen by +day outlined against the misty bay and the sweep of hills beyond, or by +night, silhouetted against the white rays of the scintillators which are +placed on the harbor's edge. + + + +Court of the Four Seasons +The Great Half Dome + +The theme of the Court, the fruitfulness of the changing seasons, is +sympathetically rendered by architecture, sculpture and painting in +happy combination. The decorative forms all employ agricultural motives, +and the sculptured groups or figures and the mural paintings are +variations of the same thought. + +In architecture, the Court, which was designed by Henry Bacon of New +York, is almost severely classic, enriched in its minor details by +touches of the Italian Renaissance. The Half Dome, which lies directly +opposite the long northern approach, is modeled after Hadrian's villa +near Rome. The decoration of the vault of the dome is influenced by the +richer coloring of the Court of Palms into which it opens on its inner +side, while the archway softens into lighter tones in harmony with the +more delicate coloring of the Court of the Four Seasons. + +The fine balance of line and proportion which characterizes the Court is +shown in the three sculptured figures by Albert Jaegers,--"Harvest," +the seated figure which fitly crowns the half dome, blending finely with +its nobility and strength of outline, and "Rain" and "Sunshine," which +surmount the splendid columns of Sienna marble on either side of the +dome. + + + +Court of the Four Seasons +The Western Archway + +The east and west entrances to the Court are massive archways, most +satisfying in their purity and dignity of architectural form and +treatment, as well as in the superb outlook which they give on either +hand. The arches are divided by Corinthian pilasters of Sienna marble. +Within, their vaulted ceilings are delicately colored and modeled in +faint relief after ancient classic designs, suggesting harvest scenes. +The spandrels in the triangles over the curve of the arch and the four +times repeated figures which serve as pilasters in the paneled attic +space above, are by August Jaegers. All are gracefully molded women's +figures, and all alike are emblematic of the richness of the harvest. +The signs of the zodiac letter the cornice between the arches and the +attic. The inscription above the eastern gateway is from Spenser's +"Faerie Queene," and that over the western from "The Triumph of Bohemia" +by George Sterling. + +The serenity and intimate seclusion of the Court are due perhaps more +than to any other single feature, to the quiet, circular pool in its +center, shut in by banks of shrubbery and bare of sculptured ornament. + + + +Court of the Four Seasons +One of the Colonnade Murals + +The Court is octagonal in shape, by reason of the fountains, screened by +stately rows of columns, which fill its cornet recesses. These corner +fountains are distinctly Roman in inspiration, the detail being +suggested by the baths of Caracalla. Between the double rows of massive +Ionic columns runs the colonnade. The capitals of the columns are +enriched by pendant ears of corn, surmounted by a single open flower. +Above the severely treated doorways, in each recess, are two mural +paintings by Milton Bancroft, picturing alternately the seasonal +pleasures and pastimes and their activities or industries. The murals, +with the two in the half-dome, also by Milton Bancroft, are all +conventionally classic, in keeping with the spirit and atmosphere of the +Court. + +Within the sheltered niches are the fountains of the four seasons, where +the water, rose-tinted by day and a luminous green by night, slips +softly and musically over three broadening semicircular terraces to the +cool, green pool beneath. The sculptured groups, surmounting the +terraced fountains, are by Furio Piccirilli of New York. The enclosing +walls are soft pink, the line where they join the blue vault of the sky +charmingly broken by the living green of luxuriant, trailing vines. + + + +Court of the Four Seasons +The Ionic Columns + +Through the columns is a glimpse of the Eastern Gateway where, carved in +three panels over the entrance, is the following inscription: + +So forth issew'd the seasons of the yeare, +First lusty spring all dight in leaves and flowres. + +Then came the jolly sommer being dight +In a thin cassock coloured greene, +Then came the autumne all in yellow clad, +Lastly came winter, cloathed all in frize, +Chattering his teeth, for cold that did him chill. + +--Spenser. + +The triple panel in the attic of the Western Gateway reads: + +For lasting happiness we turn our eyes to one alone, +And she surrounds you now. + +Great nature, refuge of the weary heart, and only balm to breasts that +have been bruised. + +She hath cool hands for every fevered brow +And gentlest silence for the troubled soul. + +--Sterling. + + + +Court of the Four Seasons +The Colonnade and Lawn + +The harmonious impression of the Court of the Four Seasons is due +largely to the faithfulness with which classic influences have +controlled every detail, both in architecture and in ornament. The +bulls' heads between festoons of flowers which decorate the base of the +entrances into the north court, the eagles at the corners of the pylons +above, and the vases repeated on the balustrade about the Court are all +Roman in design. Thoroughly classic also are the wreaths of fruits and +grains on the panel of the cornice and the lions' heads above. While +"The Feast of Sacrifice," the superb groups by Albert Jaegers, crowning +the pylons at either side of the entrance to the north court, recall the +ancient custom of celebrating the close of harvest by the sacrifice of +flower-garlanded bulls. + +The planting of the court is quiet and stately, and notably carries out +its spirit, with the gray-green of foliage plants and eucalyptus trees +and the gnarled stems of gray old olive trees. In its vistas from any +angle or point of view, the Court is peculiarly satisfying and +beautiful. + + + +Court of the Four Seasons +The North Colonnade by Night + +To stand in the midst of this curving octagonal court and hear, above +the whisper of the trees, the murmur of the four hidden fountains that +gush unseen from the base of allegorical groups of statuary, glimpsed +through colonnades, is to stand in Hadrian's villa of old, where we hear + +"Fitly the fountains of silver leap, +Whose sound is as soft as the listless flow +Of streams that forever linger and go +Down delicate, dream-far valleys of sleep." + +As in a dream, one looks down the last vista to the open rotunda and +crescent hemicycle of the Palace of Fine Arts beyond a lagoon that +mirrors them on its surface. Rising from the rich, green massing of +shrubbery and mossy banks, the rotunda lifts its proud head, encircled +with garlands of symbolical figures, as above a grove of Academe. Behind +it the soft red walls of the place glow like the fading embers of +sunset. These courts, strung like a rope of pearls between the two poles +of man's achievement--mechanics and art--are the heart of the +Exposition, and in them are treasures of color and form untold. + +--Edwin Markham + + + +Palace of Food Products +The Portal from the Gardens + +The north facade of the Palaces which line the Marina is bare almost to +severity, except for the rich adornment of the portals, the same detail +being repeated for each palace. Spanish models served as the patterns +for these handsome doorways, the three fine arches, with their +supporting columns, suggesting the earlier Spanish Gothic, while the +decorative features reflect the Moorish influence of a later period. + +The motif is appropriate for the waterfront, reminiscent as it is of the +epoch of the Spanish Main. This hint is carried out in the sculptured +figures in the alcoves above each arch. Allen Newman modeled them, +giving to his work the dash and daring of the domineering conquistadors +and piratical deckhands of those stirring days. The portal here pictured +leads directly to the Esplanade near the Gardens adjoining the +California Building. + + + +Palace of Food Products +A Detail of the Main Portal + +It requires several visits to the Exposition to become accustomed to the +stupendous scale which has been followed, not only in the expansive +landscape gardening, but in the architectural plans. + +In this illustration, a faint conception is afforded of the proportions +of the main entrance to the Palace of Food Products. The doors +themselves are of ample size, yet are dwarfed to insignificance by the +lofty columns and vaulted ceiling of this delightful portal, which is a +reproduction from the Spanish Cathedral of Salamanca. The great arches +are decorated after the plateresque style, and the spandrels abound in +garlands, horns of plenty and other goodly tokens. A Moorish note is +detected in the lacy network of the latticed windows. The domed ceilings +are painted blue and tints of pink and dull orange are used on the walls +and columns of the portal. + + + +The Esplanade +North Facade, Column of Progress + +The Esplanade is bounded on the north by the Marina and the sparkling +waters of the Bay: The boundary line on the south is the imposing +frontage formed by the north facade of the four palaces, broken by the +inviting entrances to the Court of Ages, the Court of the Universe and +the Court of the Four Seasons. + +The domes which mark these entrances loom up in fine proportions, and +the entrances to the various palaces are particularly well done. Against +the old ivory of the massive walls are clustering thickets of cedar, +spruce, eucalyptus and clumps of low-growing shrubs. + +It is a rare combination--the view one has from the Esplanade. Across +the Bay are the inviting hills of Marin County and equally enticing are +the vistas stretching through colonnades and arches formed by the courts +and palaces of the Exposition. The Column of Progress, surmounted by the +"Adventurous Bowman", holds the most noticeable position on the +Esplanade. + + + +North Facade +A View from the Bay + +The Esplanade extends westward from the ferry slip, along the north +facade of the main group of buildings, past the massive walls of the +California building and through the States' section to the Massachusetts +building. + +From the Bay, the dominating center of the Esplanade is the splendid +Column of Progress, on either side of which lies the Spanish wall of the +north facade broken only by the four magnificent and identical +sixteenth-century Renaissance portals which open into the Palaces of +Mines, of Transportation, of Agriculture and of Food Products. From the +base of the Column of Progress, the vista stretches away, through the +Forecourt of the Stars and the Court of the Universe, to the Tower of +Jewels, which dominates the southern approach to the grounds. Against +the sky-line are outlined the lesser spires of the Italian towers, the +heavy bulk of the sculptured groups crowning the arches of the Rising +and the Setting Sun, the square summit of the Tower of the Ages and the +round domes of the palaces. + + + +Palace of Food Products +A View from the Fine Arts Laguna + +The impression of unity of design in the main group of buildings is +heightened by certain distinctive features which characterize all of +them in common. On all, there is the central dome, which, with the +repeated smaller domes on the corners, is the chief source of charm in +the pronounced Oriental or Moorish effect when seen from a distance. The +long, unbroken lines and wall spaces give a sense of repose and +restraint and emphasize the richness and beauty of the entrances where +the decoration is massed. The Palace of Food Products occupies the +north-west corner of the main group of buildings. Its western exposure +is Roman in design to harmonize with the Palace of Fine Arts on the +opposite side of the laguna. Its dominant feature is the great +half-dome, officially called "The Half Dome of Physical Vigor," which +forms its west entrance. The tall Corinthian columns on either side +support Ralph Stackpole's figure of "Youth" and crowning the smaller +columns which line the dome are the repeated statues by Earl Cummings, +portraying "Physical Vigor," from which the dome takes its name. + + + +Palace of Education +A View from the Fine Arts Laguna + +The western exposure of the Palace of Education duplicates the same wall +of the Palace of Food Products and the entire facade along the laguna is +called the Roman wall, by reason of the thoroughly classic spirit in +which it is conceived. + +The half-dome here, as there, forms the architectural keystone, and in +both buildings, the three niches on either side hold the same +alternating figures. While the half dome, with its entire decorative +treatment, belongs more fittingly to the Palace of Education, the +sculptured figures in the alcoves, by Charles R. Harley, representing +alternately "Abundance" and "The Triumph of the Fields," are more in +keeping with the Palace of Food Products. + +The north face of the Palace of Education, which opens on the Court of +the Sunset, connecting Administration Avenue with the Court of the Four +Seasons, duplicates the three Spanish doorways of its south facade; and +in harmony with these doorways, those on the south wall of the Palace of +Food Products, which look out upon the same avenue, are similar in +treatment. + + + +Palace of Education +The Half Dome of Philosophy + +The two magnificent Roman half-domes which give character to the +otherwise long and bare wall space of the western facade are called in +the Palace of Food Products "The Half Dome of Physical Vigor" and in the +Palace of Education "The Half Dome of Philosophy." In dignity and +nobility, due to massive size and strength of treatment, in beauty of +modeling and restraint of decoration, this effective use of the +half-dome is one of the finest architectural achievements on the +grounds. + +The fine, strong figure by Ralph Stackpole, which surmounts the giant +Corinthian columns on either side of the opening is used also at the +entrance of the Palace of Food Products and here, as there, it is called +"Youth," the repeated figure evidently signifying in the mind of the +artist the union of intellectual and physical vigor which exemplifies +the finest type of manhood. The dome takes its name from the eight times +repeated female figure, representing Education, which crowns the +Corinthian columns lining its inner curve. + + + +Palace of Education +The Fountain in the Portal + +The central decorative feature within the half-domes which form the +western portals of the Palaces of Education and of Food Products is, in +each case, a fountain, architectural in character and of great dignity +of line and beauty of modeling; Both were designed by W. B. Faville from +old Italian models found in Sienna and Ravenna. Both are circular in +form and built up in successive tiers, the one at the entrance to the +Palace of Education being the simplest in construction and gaining more +in charm and grace from the flow of the water. + +The interior treatment of the domes furnishes an effective background +for the fountains. The vault of the ceiling is a richly colored +conventionalized pattern in orange, pompeiian red and blue. The repeated +Corinthian columns lining the curve are of Sienna marble. The doorways +between them, with the Moorish grill above the doors, are in green, +while back of the lattice work is set stained glass in deep amber. + + + +Administration Avenue +The Fine Arts Laguna + +The Baker Street Entrance to the Exposition leads directly into +Administration Avenue. The Horticultural Gardens first attract attention +by their kaleidoscopic patches of blooming flowers. Then the eye travels +on past the Palace of Horticulture to the massive bulwark of the Palaces +of Education and Food Products in the walls of which two great +half-domed portals form the principal points of interest. Across the way +lies the Laguna with its reflected image of the Palace of Fine Arts, +perhaps the loveliest spot in the Exposition grounds. Plants grow in the +pool and the shores are lined with iris, primroses, periwinkles, pampas +grass and, overtopping these, weeping willows mingled with other lovely +trees and shrubs. + +Towards the end of the Avenue is the small but attractive Hawaiian +pavilion. The tower of the California building is silhouetted against +the background of the Marin hills. Administration Avenue receives its +name from the fact that it leads directly to the administrative +headquarters of the Exposition, located in the California building. + + + +Palace of Fine Arts +The Rotunda and Laguna + +The Palace of Fine Arts has the finest natural setting on the Exposition +grounds. Consummate skill in planning the entire architectural ensemble +gave it a commanding position, at the extreme west of the group of +exhibit palaces. The architect, Bernard. R. Maybeck of San Francisco, +found as an asset on beginning his work, a small natural lake and a +fine group of Monterey cypress. With this foundation he has created a +temple of supreme loveliness, thoroughly original in conception, yet +classic in its elemental simplicity and in its appeal to the highest and +noblest traditions of beauty and art, revealing the imagination of a +poet, the fine sense of color and harmony of an artist, and the sure +hand of a master-architect in his confident control of architectural +forms, of decorative detail and of the contributing landscape elements. +The conception of the rotunda is said to have been suggested to the +architect by Becklin's painting "The Island of the Dead" and that of the +peristyle by Gerome's "Chariot Race." + +Across the Laguna from the Palace of Fine Arts runs Administration +Avenue and the magnificent Roman wall which forms the western facade of +the main group of palaces. + + + +Palace of Fine Arts +The Rotunda and Peristyle + +The Palace of Fine Arts is, in reality, not one complete building, but +four separate and distinct elements. The rotunda, an octagonal +structure, forms the center of the composition. On either side is a +detached peristyle which follows the curve of the gallery itself, as it +describes an arc about the western shore of the Laguna, yet so +successfully are they all bound together by the encircling green wall +and by the other landscape elements, that an impression of satisfying +unity results. + +The architecture, as a whole, is early Roman, with traces of the finer +Greek influences. In general treatment, there is a suggestion of the +Temple of the Sun at Athens, while much of the detail was inspired by +the Choragic monument of Lysicrates, also at Athens. + +The rotunda is Roman in conception, Greek in decorative treatment. By +its sheer nobility of form and of proportion, and by its enchantment of +color and sculptured ornament, it dominates the entire landscape. The +high spiritual quality of the architect's conception culminates in the +Shrine of Inspiration, directly in front of the rotunda, as seen from +across the laguna, where kneels Ralph Stackpole's lovely figure of "Art +Tending the Fires of Inspiration," exquisite in its simplicity and +delicate charm. + + + +Palace of Fine Arts +The Peristyle and Laguna + +On either side of the central rotunda the peristyle of the Palace of +Fine Arts encircles the shore of the laguna in a long semi-circle, +formed of a row of Corinthian columns their pale green simulating +age-stained marble. At each extremity of the colonnade and at intervals +throughout its length are groups of four larger columns, in ochre, each +group surmounted by a great box, designed to hold flowers and vines. +Panels simulating pale green, veined marble are inset in these +receptacles and at their corners are drooping women's figures by Ulric +H. Ellerhusen representing Contemplation. Between the columns, at their +bases, are also set receptacles for growing plants. + +In its pervading dignity, in the strength of the columns, in the rich +beauty of the capitals and in the chaste refinement of the cornice, the +colonnade is essentially Greek. + + + +Palace of Fine Arts +In the Peristyle Walk + +Between the Palace of Fine Arts itself and its bordering colonnade of +massive Corinthian columns runs a broad promenade which, while binding +the two together, receives a sense of freedom and serenity from the open +sky above. + +The wall of the gallery is interrupted only by the simple entrances at +intervals. It is low and intimate in comparison with the great +proportions of the other exhibit palaces and its height is further +broken by a terrace midway, set with growing plants and shrubs. The +whole effect desired by the architect is of an ancient ruin, overgrown +through the centuries with vegetation. Along the edge of the roof runs a +latticed Pompeiian pergola, hung with trailing vines, and the wall of +the building is colored a deep pompeiian red. + +The immense flower urns, banded with classic figures in deep relief, +bearing heavy swinging garlands, are by Ulric H. Ellerhusen. Alternating +with the massed green of shrubs and plants against the wall are niches +holding sculptured groups. The Roman urns which crown the square pillars +marking the doors and which, in varying size, are repeated here and +there about the building, are by William G. Merchant. + + + +Palace of Fine Arts +The Rotunda from the Peristyle + +From any point in the peristyle of the Palace of Fine Arts and under any +atmospheric conditions, either by day or by night; the vistas are +peculiarly satisfying and charming. About the columns of the stately +colonnade are blooming plants in simple, natural groups. And at +intervals between the columns under the rotunda or along either end of +the laguna, the outdoor gallery of sculpture finds a sympathetic +background and setting. + +The great dome of the rotunda which crowns so many of the vistas, is +stained a velvety burnt orange, with a turquoise blue-green border. +Beneath, are eight panels in low relief by Bruno L. Zimm, symbolizing +Greek culture and its desire for poetic and artistic expression, +conceived in a deeply classic vein and executed with spirit and grace. +Below the panels is an attic of pale-green marble. + +Flanking each pier of the rotunda are two Corinthian columns in Sienna +marble, within the arches are corresponding Corinthian pilasters, and +within the dome against each pier is another massive Corinthian column +in marble, each one crowned with the serene and noble "Priestess of +Culture" by Herbert Adams of New York. + + + +Palace of Fine Arts +The Peristyle Walk by Night + +Of all the wonderful night effects of the Exposition grounds none are so +full of haunting beauty as the vistas afforded by the Palace of Fine +Arts and its surroundings. By the indirect system of illumination, an +effect as of strong moonlight is produced and from concealed sources, +under cornices or behind columns, a soft reflected radiance pervades +peristyle and rotunda. The trees, shrubs and columns cast long, intense +shadows. Through the columns may be seen the long line of the Roman wall +across the laguna, its great, half-domes suffused with a mellow, golden +light and in the everchanging waters between, it gleams again. + +From the other side of the laguna, the rotunda and the long crescent of +the colonnade are seen reflected as in a mirror, and when flooded with +the white radiance of the searchlights, their majestic beauty is +indescribable. + + + +Palace of Fine Arts +A Fountain in the Laguna + +Beautiful as the Palace of Fine Arts is from any viewpoint, its +simplicity and noble strength are at their best when seen with a +foreground of trees and water. The landscape, in its simple naturalness, +is in feeling an intimate part of the building itself and so perfectly +do they blend that they seem to have grown together through quiet, +serene centuries. + +Between the columns and along the wall of the building are blooming +plants and shrubs, groups of Monterey cypress and eucalyptus trees. The +shores of the laguna are banked with shrubs, loosely massed, and groups +of evergreens and weeping willows bend over the lake. Outlining its +irregular border, broken by small promontories and inlets, thousands of +blooming plants creep down to the water's edge and venture out into its +placid depths--periwinkles, primroses, daffodils, heliotrope, pampas +grass, white and yellow callas, Spanish and Japanese iris and myriads of +others whose names and gay, nodding blossoms are more or less familiar. +Fountains play in the edge of the lake, the charming spirited group here +illustrated being "Wind and Spray" by Anna Coleman Ladd. + + + +Palace of Fine Arts +A Picturesque Garden Fountain + +The graceful garden fountain shown is the work of Anna Coleman Ladd. It +is located toward the north end of the building near the entrance to the +peristyle. Of the general effect of the Palace of Fine Arts and of its +deeper meaning, the architect, Bernard R. Maybeck, says: + +"There is a succession of impressions produced as one walks through the +different parts of the grounds that play on the feeling and the mind, +each part having its own peculiar influence on the sentiment. Along the +main axis, for example, the Machinery Hall and neighborhood suggest a +mixture of the classic and romantic, as you understand the terms in +literature." + +"The Court of Ages suggests the medieval with all its rising power of +idealism in conflict with the physical. The Court of the Universe +suggests Rome, inhabited by some unknown placid people. The Court of the +Four Seasons suggests the grace, the beauty and the peace in the land +where the souls of philosophers and poets dwell." + +"The Fine Arts Palace suggests the romantic of the period after the +classic Renaissance, and the keynote is one of sadness modified by the +feeling that beauty has a soothing influence." + + + +Palace of Fine Arts +The Garden and Fountain of Time + +In the foreground of this poetic garden scene is the foremost figure of +Lorado Taft's "Fountain of Time." In sympathy with the atmospheric +influence of such a vista, Bernard R. Maybeck, the architect, continues +the thought of the preceding page: + +"To make a Fine Arts composition that will fit this modified melancholy, +we must use those forms in architecture and gardening that will affect +the emotions in such a way as to produce on the individual the same +modified sadness as the galleries do. Suppose you were to put a Greek +temple in the middle of a small mountain lake surrounded by dark, deep +rocky cliffs, with the white foam dashing over the marble temple floor, +you would have a sense of mysterious fear and even terror, as of +something uncanny. If the same temple, pure and beautiful in lines and +color, were placed on the face of a placid lake, surrounded by high +trees and lit up by a glorious full moon, you would recall the days when +your mother pressed you to her bosom and your final sob was hushed by a +protecting spirit hovering over you, warm and large. You have there the +point of transition from sadness to content, which comes pretty near to +the total impression that galleries have and that the Fine Arts Palace +and Lake are supposed to have." + + + +California Building +Bell Tower and Forbidden Garden + +The California Building is the result of perhaps the most interesting +combination of requirements that could be imagined--to provide a host +building for the home State of a great Exposition where welcome could +warmly and generously be extended to the millions of visitors, where the +officials could have suitable quarters and where the fifty-two counties +of the State could have their exhibits. The location set aside for the +concrete development of these requirements was most stimulating. An +edifice to terminate the vista looking north over a laguna of silent +water flanked by the wonderful Palace of Fine Arts, and just beyond, the +beautiful Bay of San Francisco with a background formed by distant +Tamalpais. + +No style of architecture could be more appropriate to these needs than +that which exists in California--an architecture romantic, peaceful, +subtle and charming in its proportions. The task of adapting the Mission +architecture to the requirements was given Thomas H. F. Burditt. He +entered into the spirit of the old Padre builders with rare intuition, +and he designed a building of impressive dignity and hospitality. + + + +California Building +The Arches of the Colonnade + +The Mission Padres had built neither in magnificence nor in magnitude, +and as both of these were requisite qualities in the construction of the +California Building, they presented peculiar problems, and were treated +with the thought of what one of the old Padres with a limited knowledge +of architecture would have done if presented with the larger problem. So +it seemed that the entrance foyer should be quiet, and massive and +should form a nucleus to all parts of the building. The magnitude of the +edifice was so great that all the existing Missions of California could +be housed therein, and in order to show the largeness of its proportions +and varied functions, each part was designed as a motif in itself and +closely related to that part by which it stood. + +From the forecourt in replica of the Forbidden Garden of Santa Barbara, +surrounded by old cypress hedges, by driveways, and walled in by +cloistered arches, one can find the principal entrances to all the main +divisions of the building, and also to the administrative portion which +contains the executive offices of the Exposition and the official +reception and banquet rooms. + + + +California Building +A Vista in the Colonnade + +The cloistered colonnades so intimately associated with Mission +architecture have been successfully handled in the Court of the +California Building. The molds for the columns of the arches were made +by the architect himself, to give the semblance of age and that each +should differ from the other. It was most necessary to avoid mechanical +regularity in any feature of the building, and in consequence all the +details vary, so that no two that are exactly similar are placed near +each other. The arches are made of slightly different radii, and the +bells vary both in size and design. There are ten main groups of +entrances, but no two of them are in any way similar, and it was through +these means that the attempt was made to obtain a varied change of +interest in plan, mass, silhouette and detail and the lack of precision +which must have existed at the time when the old California Missions +grew into being. + + + +California Building +The Forbidden Garden + +There had grown on this location for forty odd years, a hedge of +cypress, weary with its age, and groups of trees forming wonderful +masses of foliage to charm the eye. This happy circumstance was cleverly +utilized by the architect in designing the court of the California +Building. A replica of the enclosed Garden of Mission Santa Barbara was +laid out within the boundary of this old hedge and planted with +old-fashioned flowers such as would have delighted the Mission Fathers. + +In the center is a fountain similar to that at Santa Barbara, and the +quiet splash of its water adds a touch of charm and romance. The bell +tower of the building throws an afternoon shadow over the garden, and +within a niche in the tower stands the statue of Padre Serra overlooking +this peaceful nook. + + + +California Building +The Semi-Tropical Garden + +To the south of the California Building, off the Esplanade, lies an +interesting garden filled with various species of cacti and unusual +semi-tropical plants. Interspersed among these are masses of brightly +blossoming dainty flowers--baby blue eyes in the spring and others, +equally lovely, as the seasons change. In a sheltered nook rise the tall +slender stalks of rare bamboo, sent from a private garden in +Bakersfield. + +The massive walls of the building form a rich background. Their +appearance of stability, enhanced by a slight batter--that is a slight +receding from the perpendicular--is shown by a least visible thickness +of three feet. These features are evident in every wall throughout the +exterior of the building. Within the corridors, the floors appropriately +are paved with red brick, and the ceilings are beamed and roughly +finished. + + + +Netherlands Pavilion +As Seen from the Laguna + +The Pavilion of the Netherlands is located sufficiently near the Laguna +to be reflected within the pool. The high dome is adorned with four +clock towers and a forest of flagstaffs and spires. K. Kromhout, who +designed the building, followed the modern ideas of the present-day +school of architects in Holland. The ultra style of the Pavilion fails +to recall the staunch and dignified brick structures for which the Dutch +are famous, but it is a striking edifice. The tiled panels are lovely +and the warm colors used in the exterior decorations most attractive. + +When viewed from Administration Avenue, the numerous towers, fluttering +pennants and harmonious colors are set oft to best advantage by the +trees along the Laguna. About the building, the Hollander's love of +flowers is strongly in evidence. Ten carloads of bulbs and shrubs were +imported for the horticultural display. + + + +Italian Pavilion +The Piazzetta Venetia + +The Italian Pavilion consists of a group of eight buildings, combining +architectural styles of the fourteenth, fifteenth and sixteenth +centuries. The main entrance to the pavilion is on the west, and a +broad, low flight of steps leads into the Piazza Grande, graced by a +fountain by Tacca and pieces of Italian sculpture. On the left is the +medieval palace, containing authentic works of art of many ages. Facing +this is the Lombard palace, of the period of fourteen-hundred, used by +the Italian Commissioners as a reception hall. The Royal Salon and Casa +Italiana form the east wall of the main court. The inner courts are +beautified with fountains and statuary groups. Covered passageways, +supported by slender pillars, extend around three sides of the +piazzetta, and add a delicate charm to the enclosure. The Venetian Well +in the center is a characteristic note, and the stairways leading to the +upper verandas, and the niches about this court, are delightful in +design. The outer elevation of the main building is of the sixteenth +century. Within the Casa Italiana there is an exact reproduction of the +library of the S. Maria delle Grazie, Milan. + + + +Italian Pavilion +In the Court Verrochio + +The arcade which connects the Etruscan Tower with the Bargello Hall +separates the smaller court of the Italian Pavilion from the Piazza +Grande. The most attractive feature in this ideal court is the staircase +and balcony, done in the period of the fourteenth century, with a most +interesting composition of the flat walls, pierced by a graceful double +arch, attractively spotted with plaques and brightened by the color of +the Della Robias and the geraniums blossoming through the balustrade. A +delicate touch is given by the Fountain of the Winged Boy with the Fish, +by Verrocchio, which occupies the center of the stone-flagged court. To +the left of the staircase is a mural fresco depicting the "Return from +the Crusade." + +Old iron-framed lanterns hang from the gray-toned ceilings of the +arcades. The coloring of the walls and pillars is stone gray blended +with shades of brown and grayish-blue. The vivid green of the sun-lit +grass within the Piazzetta Venetia relieves the sober color scheme of +this court. The balconies are lined with blooming flowers, and shrubs +and plants in artistic receptacles add to its attractiveness. + + + +Avenue of the Nations +Tower of Sweden's Pavilion + +The Avenue of the Nations extends from the Exposition group of Palaces +in a diagonal direction westward to the Marina, and is lined on either +side with the pavilions of the Foreign Nations. In the picture there is +a glimpse of the Canadian Building to the left, and prominent in the +view is the characteristic Swedish tower, typically northern, and +interesting in detail. + +Immediately beyond is Bolivia's Palace, to an equal degree typical of +the south, followed by the pinkish-toned building erected by Cuba. +Denmark's Pavilion, on the left of the Avenue adjoining the Palace of +Fine Arts, is distinctly individual, marked by its towers which +reproduce several historic towers in Denmark, and the moat in which +frogs croak at night. The interior is arranged to represent the rooms of +a gentleman's country home. On the hillside to the south are several +avenues about which are grouped others of the Foreign Pavilions--the +picturesque gardens of Japan, the open court of France, with its Rodin +bronze, and the dignified pavilions of Australia, Norway, Greece and +many other nations. + + + +The Esplanade +A View of the Foreign Pavilions + +The pavilions of the Foreign Nations are on the south side of the +Esplanade, westward from the group of Exposition Palaces. In the +foreground of this view is seen Canada's stately building, guarded by +the massive British lions. The admirable and comprehensive exhibit +within has aroused great admiration and established a standard for such +displays. Beyond is the pagoda of the Chinese gardens, and the tea +houses, with their roofs colored in the wonderful yellow which occurs so +often in the old Chinese rugs. + +The slate-colored dome of Argentina's ornate Palace precedes the +pinkish-toned Netherlands building seen in the distance--the rather +whimsical style of the latter adding a distinct note to that section of +the grounds. The park to the south is distinguished by two Oriental +buildings erected respectively by Siam and Turkey. The first is an exact +copy of a royal pavilion in the Garden of Maha Chakkri Palace, at +Bangkok. The latter is equally typical of the East, marked with dome, +minarets and spires, and includes the main pavilion and a near-by mosque +and prayer tower, connected with it by a corridor. + + + +The Esplanade +A View of the State Buildings + +The buildings erected by California's sister Commonwealths occupy the +district west of the California Building, and the north line of the +Esplanade to the Marina. Designed in various individual and dignified +styles, surrounded with handsome lawns and beautiful gardens, they have +formed a most important and interesting feature of the Exposition +grounds. Many of the buildings reproduce historic landmarks. The golden +dome of the Massachusetts State House is as dominant a feature at the +head of the Esplanade as is the original on Beacon Street in Boston. The +loggia of Independence Hall is familiar enough to bring a patriotic +thrill to the heart of the loyal American, even were not the cherished +Liberty Bell on view. Another Colonial feature is the Trenton Barracks, +Washington's headquarters in New Jersey; and "Homewood" takes one back +to Charles Carroll, of Carrollton, and Baltimore in 1802. The massive +log building from Oregon is fairly representative of that state of +virgin forests, notwithstanding the mistaken attempt to reproduce the +classic Parthenon in such a crude medium. In this view the magnificent +building for New York is in the foreground. Beyond, in the order named, +are the buildings for Pennsylvania, New York City, Illinois, Ohio, Utah +and Massachusetts. + + + +The Zone +A Holiday Gathering + +The Zone, while providing excellent entertainment and relaxation, is +above the standard established by the amusement sections of former +expositions, many of its concessions being of an educational nature. +This is notably true of the Panama Canal, which appears on the left of +this picture. Because of its value as a faithful reproduction of the +great work which the Exposition commemorates, many consider it as +deserving a place in the main grounds. Almost equal to this in +educational interest and quite ranking it in beauty are the +reproductions of the Grand Canyon with its Hopi and Navajo Indians, and +Yellowstone Park. Old Faithful Inn in the latter is a favorite place for +social gatherings. + +For pure fun and gaiety, Toyland Grown Up, that whimsical conceit +especially built for youngsters, old and young, has provided merriment +for thousands. Of thrillers that raise the hair and make the heart beat +high and without which no amusement section would be complete, the Zone +announces its full quota with much rattling of machinery and many +shrieks of joy. + +And the presence of strange peoples, one of the recognized features of +these places, is also noticeable along the Zone. A Maori tribe from New +Zealand, Samoans, Hawaiians, Aztecs from Old Tehauntepec, and others +bring their customs and costumes from unfamiliar lands. + + + +The Zone +The Bizarre Decorations + +There is something naive about the Zone. It presents its colossal +grotesques--its gargantuan Uncle Sam, its monstrous elephants--rather +with an air of acknowledging that it cannot compete with the beauty one +leaves behind when one turns in under its gay flags ad lanterns. Here is +frankly the spirit of abandon. To the right and left the bawling barkers +shout their enticements, begging one's patronage. Up and down the street +the endless patter of the feet of men and women, the wheeze of the +little electrics and the blare of brassy music ebb and flow. Here and +there is the dominant note of the Exposition, its pastel shades of burnt +orange and red, and its indefinable blue. They flutter forth, hooped +about the flagpoles with Oriental effect. Those wonderful lanterns, that +delightful medieval touch which one finds through the grounds, are here +employed with great effect. + +When one is tired of gigantic horses with ever-impending hoofs, tired of +large plaster ladies whose complete poise does not entirely atone for a +rather excess of buxomness, one can always turn to these reminders of +the beauty that is the essential characteristic of the Exposition +itself. + + + +The Fireworks +Star Shells and Steam Battery + +Notwithstanding the excellence attained by the Exposition in the beauty +of its coloring, the poetry in its courts and architecture, the mystery +and glamour of its illuminations, the spectacular element could not be +overlooked. This finds expression in the fireworks that are let loose on +the Marina several evenings each week. Here, however, a distinct advance +has been made upon the familiar pyrotechnic display of former events. +The use of powerful scintillators with their colored rays playing upon +smoke clouds and flying devices from exploded bombs high in the air, or +upon weird shapes of steam sent out by the engine on the border of the +yacht harbor, lends infinite variety and beauty. In several of the +numbers the scintillators secure the effects unaided, their lights +making strange figures in the heavens. "Spooks' Parade," "Aurora +Borealis," "Devil's Fan," are some of the ideas suggested. + + + +Zone Salvo +The Final "Big Noise" + +The Exposition Fireworks are under the direction of William D'A. Ryan, +Chief of Illumination. On each occasion a set program is followed +consisting of twenty-four numbers. At the opening, a salute of ten +detonating bombs and a large rocket announce the event. This is followed +by features of the scintillator lights, combinations of these with +steam, with smoke bombs and with orange showers and Japanese daylight +shells, and by fancy star shells, festoon rockets and candle fountains. +The climax is reached in the Zone Salvo when a tremendous explosion of +hundreds of detonating devices occurs, with rockets and star shells +exploding in the air, the rays of the scintillator coloring the smoke +clouds in brilliant hues; and amidst it all, high above, suddenly +appears a beautiful American flag caught and followed by the ray of a +powerful white searchlight as it floats away from sight. + + + +Here ends The Architecture and Landscape Gardening of the Exposition, +with an introduction by Louis Christian Mullgardt. The descriptive +titles have been written by Maud Wotring Raymond and John Hamlin. +Edited by Paul Elder. Published by Paul Elder and Company and seen +through their Tomoye Press under the typographical direction of H. +A. Funke in the city of San Francisco during the month of September, +Nineteen Hundred and Fifteen. + + + + + + +End of the Project Gutenberg EBook of The Architecture and Landscape +Gardening of the Exposition, by Louis Christian Mullgardt + +*** END OF THE PROJECT GUTENBERG EBOOK GARDENING OF THE EXPOSITION *** + +This file should be named algex10.txt or algex10.zip +Corrected EDITIONS of our eBooks get a new NUMBER, algex11.txt +VERSIONS based on separate sources get new LETTER, algex10a.txt + +Produced by David A. Schwan + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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