none palaces and courts of the exposition a handbook of the architecture sculpture and mural paintings with special reference to the symbolism by juliet james "the trail is lost, the path is hid and winds that blow from out the ages sweep me on to that chill borderland where time's spent sands engulf lost peoples and lost trails." marian manville pope a foreword the pastel city by the sea there is a hill-crowned city by a silver sea, near a golden gate. for ages the water has washed from an almost land-locked bay against this hill-crowned city, and on its northern side has created of the shore an amphitheatre stretching for some three miles to the western headlands. behind this amphitheatre rises, in terraces, the steep hills of this water-lashed city, and in part, a forest of pines stretches to the west. man has flanked this reach of shore by two lowering forts, and in front, across the sapphire sea, one looks onto the long undulations of hills, climaxed by grand old tamalpais. just three years ago and one saw in this same low-lying shore only a marshy stretch, with lagoons working their way far into the land - the home of the seagull. there came a time when, had you looked closely, you would have seen coming thru the golden gate a phantom flotilla of caravels, freighted with clever ideas. on the vessels came; at the prows were several noble figures: energy, enterprise, youth, the spirit of the east, the spirit of the west, success, and in the last caravel, the stalwart mother of tomorrow. they had dug and delved with mighty hercules and had created that great gap that has severed two continents. then, leaving their work to be finished, they had sailed on to celebrate their triumph in the land of el dorado, the region of their desires. in a shallop in front of these floating winged vessels, riding on the waves, came venus, rowed by the fairies - in her hand the golden ball of opportunity. the mermaids, the dolphins, the little sea-horses sported in the wake of these vessels, leaving a long line of foam and silver as they sped on. over the waves they came to the golden land of the pacific. they moored their vessels by the fort-flanked shores, and stepping out upon the haunt of the seagull, they moved boldly across this unsightly stretch of wave-washed land. enterprise and energy pushed ahead: the fairy ever flitting near. at a signal from enterprise the fairy turned her wheel, venus threw her golden ball of opportunity, and lo! out of the foam of the sea rose a venus city with the round sea bubbles resting on the roofs. one day a man appeared on the hilltop o'erlooking this wondrous city and by his magic power, being filled with music, with color-music, he cast a spell and behold a pastel city by the sea - such an one as only those who dream could think of; a city glowing with warmth of color, with a softness and mystical charm such as only the brain of jules guerin could produce. he is the conductor of this wondrous symphony, this beautiful mozart fantasia, and if you listen, you can hear the strains of the great beautiful melodies wafted now east, now west, now north, now south, rising to great climaxes, falling back to great chords of harmony, or, in an allegro movement, causing you almost to trip with delight in the joy of it all. your eye is enthralled with the beauty of the coloring. one sees turquoise green domes floating in a silver-moated ether, long colonnades of glacial ice columns leading to regions beyond, where quiet silver pools throw back the mirrored glories. battalions of daffodils holding their long sabers stand in the south garden, making ready for the great festival. soon those daffodils will raise their golden trumpets and will sound the fanfare at the opening of the great jubilee, and up will spring two hundred thousand wide-eyed yellow pansies to look and wonder at the marvelous beauty and help in the hallelujah chorus that will be one great poeon of joy - one splendid hymn of praise. and the blue eucalypti against the walls will lend their voices, the yellow acacias will add their cadences; while down by the great lagoon, ten thousand periwinkles will dance for joy. far out on the waters will be intoned to the rhythm of the waves a chorus from white-robed water-lilies, who, like a throng of choristers, will send their anthems rippling over the sun-kissed waves. the spirit of the east that has added its domes, its minarets, its soft-glowing colors, will remain and join hands with the spirit of the west, that strong, pulsating energetic spirit, and the harmony produced will vibrate from the shores of the occident to the shores of the orient and bring about a better understanding, a great world peace. and the world will come to listen. the great music will sound across the waters, and the world will be the better in its way of thinking, of working, of living - and all because of the great beauty. wonderful is it to be living today, to have the opportunity of watching the beginning of this mighty growth; to be present at one of the world's greatest events. and the pastel city by the sea will not leave us, for, as the years go on, whatever be our mission, the vision of this dream-city will float before us, leading us to finer, higher works, strengthening our ideals, and causing us to give only of our finest fiber. table of contents foreword - the pastel city by the sea ground plan of palaces and courts prayers at opening of exposition chiefs of departments architecture and architects sculptors and mural painters materials of the palaces material of the statues machinery palace palace of varied industries flora of the avenue of progress and the avenue of palms palace of manufactures and palace of liberal arts palace of education aisles between the palaces court of the universe cosmical side of the court of the universe human side of the court of the universe historical side of the court of the universe ethical side of the court of the universe floral side of the court of the universe festival side of the court of the universe tower of jewels jewels on the tower column of progress court of the ages north court of the ages court of the four seasons court of palms court of flowers italian towers palace of fine arts palace of horticulture south gardens festival hall color scheme index list of illustrations "the end of the trail" (by james e. fraser) machinery palace palace of varied industries portal of the palace of varied industries portal of the palace of liberal arts west side of the palace of education "thought" (by ralph stackpole) portal of all the palaces facing north court of the universe "the rising sun" (by a. a. weinmann) "descending night" (by a. a. weinmann) "earth" (by robert aitken) "the genius of creation" (by daniel c. french) "the nations of the occident" (by calder, roth and lentelli) "youth" (by edith w. burroughs) part of "fountain of el dorado" (by g. v. whitney) tower of jewels "cortez" (by chas. niehaus) north court of court of the universe "the adventurous bowman" (by h. a. mcneil) court of the ages "water" (by frank brangwyn) panel of "the fountain of the earth" (by r. aitken) court of the four seasons "the fountain of ceres" (by evelyn b. longman) "the feast of the sacrifice" (by albert jaegers) the emerald pool "winter" (by furio piccirilli) eastern gateway of court of four seasons court of palms "the american pioneer" (by solon borglum) palace of fine arts corner of the palace of fine arts panel of "pegasus " (by bruno zimm) palace of horticulture "the fountain of energy" (by a. stirling calder) festival hall palaces and courts of the exposition the prayer of bishop nichols of the episcopal diocese of california, given at the opening of the exposition the blessing of god almighty, the god of the ages, the god of the oceans, the god of the continents, the god of the genius of man and the god of every exposition of human achievement and progress - the blessing of god almighty, the father, the son and the holy ghost, be upon you and remain with you always. amen. the th psalm read by rabbi meyer of san francisco at the opening of the exposition praise ye the lord. praise ye the lord from the heavens; praise him in the heights. praise ye him, all his angels; praise ye, all his hosts. praise ye him, sun and moon; praise him all ye stars of light. praise him, ye heaven of heavens, and ye waters that be above the heavens. let them praise the name of the lord; for he commanded and they were created. he hath also established them for ever and ever; he hath made a decree which shall not pass. praise the lord from the earth, ye dragons, and all deeps. fire and hail, snow and vapors; stormy wind fulfilling his word; mountains and all hills; fruitful trees, and all cedars; beasts and all cattle; creeping things and flying fowl; kings of the earth and all people; princes, and all judges of the earth. both young men, and maidens; old men, and children. let them praise the name of the lord; for his name alone is excellent; his glory is above the earth and heaven. he also exalteth the horn of his people, the praise of all his saints; even of the children of israel, a people near unto him. praise ye 	 the lord. the prayer of bishop e. j. hanna of the catholic diocese given at the opening of the exposition o god of our fathers, in whose power are the destinies of men, in whose hands are the ends of the world, look down with loving-kindness on thy children here gathered in thy name. from the uttermost bounds of the earth have we come to commemorate one of man's greatest achievements adown the ages. make us, thy children, realize that thou art the source of light and of inspiration; make us realize that great things are wrought through thee alone. to the city of st. francis, enthroned in beauty by the western sea, give the grace of kindly hospitality, the blessing of an ever-widening vision of true greatness, a faith and a hope that know not failure. to our glorious california give abundance of harvest, a bounteous plenty of thy treasures and a valiant race of men blessed in the knowledge and sanctified in the observance of thy law. to our favored land, which is from sea to sea, vouchsafe strength and unity and that peace which the world cannot give. make us feel that the mighty city of god rises sublime through the centuries only when built on the foundations of justice and of truth; and, finally, to all the nations here represented, grant a vision of the highest things of life - of the things that make for true progress, for real brotherhood, for lasting union, for unfailing love, for mighty achievement in time, and for that glory which is everlasting. amen. the chief's of departments architects - mr. george kelham of san francisco. sculptors - mr. karl bitter of new york and his able manager, mr. a. stirling calder of new york. painters - mr. jules guerin of new york. illuminators - mr. w. d'arcy ryan of san francisco and mr. guy bailey of berkeley, cal. landscape gardening - mr. john mclaren of san francisco and his son, donald mclaren. inscriptions - selected by mr. porter garnett of berkeley, cal. material for buildings was originated by mr. paul e. deneville of new york. architecture and architects manager-in-chief - geo. kelham of san francisco. court of the universe - mckim, meade and white of new york. tower of jewels - thomas hastings of new york. court of the ages - louis christian mullgardt of san francisco. court of the four seasons - henry bacon of new york. court of flowers - geo. kelham of san francisco. court of palms - " " the italian towers - " " column of progress - symmes richardson of new york. machinery palace - ward and blohme of san francisco. palace of varied industries - w. b. faville of san francisco. palace of mines - " " palace of manufactures - " " palace of transportation - " " palace of liberal arts - " " palace of education - " " palace of agriculture - " " palace of food products - " " also all portals and aisles - " " palace of fine arts - bernard r. maybeck of san francisco. palace of horticulture - bakewell and brown of san francisco. festival hall - robert farquhar of los angeles. sculptors (the numbers indicate the other works by the same sculptors to be seen in the fine arts palace.) adams, herbert ( ) aitken, robert ( ) bateman, john beach, chester ( ) borglum, solon h. ( ) boutier, e. l. bufano, b. burroughs, edith woodman ( ) calder, a. stirling ( ) cummings, earle ellerhusen, ulric h. ( ) elwell, frank edwin flanagan, john ( ) fraser, james earle ( ) french, daniel chester ( ) fry, sherry ( ) gerlach, gustave gruppe, carl harley, c. r. humphries, c. h. ( ) jaegers, albert ( ) jaegers, august konti, isadore ( ) laessle, albert ( ) lentelli, leo longman, evelyn beatrice ( ) macneil, herman a. ( ) manship, paul ( ) newman, allen niehaus, charles patigian, haig ( ) peters, c. piccirilli, furio ( ) putnam, arthur roth, frederick g. r. ( ) rumsey, charles carey ( ) stackpole, ralph w. ( ) stea, cesare tonetti, f. m. l. walters, edgar ( ) weinert, albert weinman, adolph a. ( ) whitney, gertrude vanderbilt ( ) young, mahonri ( ) zimm, bruno l. mural painters (the numbers indicate the other works by the same artists to be seen in the fine arts palace.) bancroft, milton brangwyn, frank dodge, william de leftwich du mond, frank vincent ( ) hassam, childe ( ) holloway, charles matthews, arthur f. ( ) reid, robert ( ) simmons, edward materials of the palaces the buildings, as well as all of the statuary, are made of artificial travertine, of a smoked-ivory tone. real travertine is found in and around rome, especially at tivoli. it is a pure carbonate of lime, a creamy white deposit formed from dripping water, in stratified form, with cavities and fissures lined with crystals. the colosseum and st. peter's at rome are both made of this material. the imitation travertine made with concrete, and used in the second story of the pennsylvania station in new york in combination with real travertine of the first story, was invented by mr. symmes richardson of the firm of mckim, meade and white of new york. he also brought the real travertine to america to have it used for the first time in a large building, the pennsylvania station. mr. paul deneville of new york has most successfully made a plastic travertine, composed of gypsum from nevada combined with hemp fiber and a coloring pigment, which has been applied to all of the exposition buildings, producing a most pleasing glareless background under the sunny skies of san francisco. the roofs are covered with imitation tiles, since real tiles would be too expensive for exposition purposes. material of the statues the architectural statues - that is, those directly connected with the architecture - are of smoked-ivory tone, so that you see them as part of the architectural scheme. those far away from the eye, used as free statues, are, in the main, golden. those nearer the eye simulate bronze, the special color that seems worked out from the color of the blue eucalyptus. all the statues of the exposition palaces and courts are of travertine, the material of which the buildings are made. machinery palace architects - ward and blohme of san francisco. the palace is one of grandeur, dignity and great beauty. the architecture has been inspired by such old roman thermae as the baths of caracalla, the baths of titus and the like. the ornamentation is of the italian renaissance style, worked out on a building that in form suits the needs of a great palace of machinery. the gable points at the top of the western façade are such as one sees in the restoration of the baths of caracalla. the first and only other expression of this style in america is seen in the pennsylvania station of new york city. in the transportation palace can be seen a model of the proposed plan for a new union depot for chicago, with a similar gabled effect. the three arches reflect on the exterior the three aisles of the same portion of the palace within. the great columns in front, and also in the vestibule, simulate siena marble. the entablature carried across the faces of the arches supports american eagles by c. a. humphries. eagles are also seen at the corners of the corinthian capitals. this bird of freedom can be found all over the exposition. notice that mr. jules guerin, the great color wizard, leads you by means of the blue ground of the capitals, the blue between the dentils, the blue between the consoles to the blue sky above. the principal lighting is by great clerestory windows - great windows at the north and the south ends - also by skylights. the building covers nine acres, and is the largest wooden structure in the world. it is about three blocks long. the statues as well as the reliefs are by haig patigian of san francisco. vigorous types like machinery itself are used. the generation, transmission and application of power as applied to machinery are most interestingly represented. the decorated drums of the columns show the genii of machinery. the eyes of these figures are closed, reminding you that power comes from within. notice how from any point of view your figures suggest support at the sides of the drum. the very position of the arms gives you a strong feeling of support. the figures on the spandrels represent the application of power to machinery. the figures on the pedestals represent: . "steam power" with the lever that starts the engine. . "invention" showing a more intellectual type of face, carrying the figure with wings spread, suggesting the flight of thought. this thought, as it were, is above the world. . "electricity" with foot on the earth, suggesting that electricity is not only in the earth, but around it. he carries his symbol, electricity. . "imagination," showing man with his eyes closed - seeing within. the bird of inspiration, the eagle, is about to take flight. the wings on the head suggest the rapidity of thought or action. inside this great palace one sees the latest inventions in machinery. ponderous machines capable of shaping tons of metal, great labor-saving machines, and all sorts of electrical appliances. "safety first" is a pronounced feature of this exhibit. palace of varied industries architect - w. b. faville of san francisco. the high walls, averaging seventy feet to the cornice, with their respective buttresses, are strongly suggestive of the california missions of the eighteenth century. the "california bear" and the seal of california are in decorative and suggestive evidence at the tops of the buttresses. the green domes on the palace belong to the byzantine school of architecture, such domes as one sees in the mosques of constantinople and other mohammedan centers. the windows seen in the corner towers are the same kind that one sees used in the majority of mosques. the beautiful central portal, facing south, is modeled after the portal of the hospice of santa cruz at toledo, spain. it is th century spanish renaissance, known as the plateresque style (from platero, silversmith). the columns suggest a wood origin and look as if they had been turned in a lathe. the portal is the color of cork, illuminated here and there with niche walls of pink, and touches of ultramarine blue. the fine figure work representing the modern industrial types is by ralph stackpole of oregon, whose home is now in san francisco. he expresses himself most simply and unaffectedly, in clear, broad treatment, and makes the ordinary workman a man to be honored and respected. the upper figures represent an old man handing his burden to a younger man. the old world handing its burden to the younger world, that is america, is finely suggested. the keystone figure represents the power of industry, the man who both thinks and uses his hands. in the tympanum are the types representing the varied industries. in the center is agriculture representing the food side of life. on the left a workman, possibly an architect, suggests the refinements of the varied industries, while on the right one sees the ordinary workman with his sledge-hammer, bringing to mind the rougher side of industry. in the left corner a woman with her spindle - a lamb standing near - recalls the making of textiles. commerce occupies the right corner, holding the prow of a vessel with its figurehead. the workman with his pick is repeated in the four niches. the two flanking portals are also in the plateresque style with devices of this spanish renaissance period represented on them. the shields, or cartouches as they are called, have no special meaning, being only ornaments of this particular period. the portals on the east of the palace of varied industries and also of the palace of mines are suggestive of gateways of old roman walled cities, like those of perugia, for instance. this italian type of portal is chosen since machinery palace opposite is in the italian style of architecture. notice how the pastel pink accents the portal. the figure of "the miner" in the niches is by albert weinert, whose work in the congressional library at washington is well known. the palace of varied industries has an exhibition of the more refined manufactures, those articles that are regarded more as luxuries, such as bronzes, jewelry, silverware, fine pottery, porcelains, rugs, leather work, silks, etc. the palace of mines deals with the smelting of metals, a fine exhibition of different ores, and above all "safety first" in its relation to mines. the mines rescue work is most interesting. flora of the avenue of progress and the avenue of palms eucalyptus globulus (blue gum). eucalyptus robusta. eucalyptus viminalis. cupressus macrocarpa (monterey cypress). laurestinus. australian pea vine on the palms. muhlenbeckia (australian mattress vine) against the base of machinery palace. honeysuckle against the base of the varied industries palace. lawson cypress. libocedrus decurrens (incense cedar). acacia floribunda. acacia latifolia. albizzia lophantha. abies menziesü (fir). picea engelmanni (spruce). picea excelsa (from norway) (spruce). pittosporum. rhododendrons (notice how they work upon the pink walls) (for color). cinerarias (for color). cyclamen (for color). dracaena indivisa (cabbage palm). woodwardias. japanese strawberry. notice mr. mclaren's devices for covering the ground. the lophantha lawn, it might be called, is an artificial device for producing a most lovely effect. the tree is stripped of all branches until it has attained the height of four feet, the top being trained and flattened into a head five feet across. the trees are placed close enough together so that the tops interlace, producing thereby a continuous green surface. the veronica, buxifolia is the light green border at the side and in front of the palace of varied industries. achanea from new zealand and australia is used on the banks and accords most harmoniously with the albizzia lophantha. the abelia rupestris is the red leafed plant with pink blossoms. peonia moutan daikaqura is the peony. since the small plants in front of the permanent shrubs are changed periodically, a list of everything planted is of course out of the question. the technical names are suggested with a few of the trees and shrubs so that you can continue this line of work for yourself. since the botanical names are placed on the plants in many places you can easily find what you seek. the palace of manufactures and also the palace of liberal arts (since they are alike.) the portal is spanish renaissance with grill work. notice the pastel pink, turquoise blue and burnt orange on this portal. this coloring is a means of strongly accenting this fine architectural feature. the panel (representing the making of glass, metal work, textiles, statuary, etc.), as well as the female figure holding the spindle and the male with the sledge-hammer, are by mahonri young of salt lake city, utah. the wall niches show elephants and lions used alternately - a fine oriental touch. the heads are used as fountains. "acroterium" is the victory on the gables, many times repeated. it is the work of frank edwin elwell, curator of ancient art, at the metropolitan museum of new york. viewing the figure from the side, you are reminded of the victory of samothrace. she is noticeably beautiful against the late afternoon sky and also against the blue morning sky. you will notice that the flora is just the same in the main in front of these buildings as it was in front of the others you have seen, the grass lawn here taking the place of the albizzia lophantha. sweet peas, daffodils, rhododendrons, evening primroses, japanese magnolias, coronilla are added for color. the palace of manufactures shows the coarser, heavier articles, such as furniture, carpets, woolen goods, hardware. many articles are being made in this palace. the palace of liberal arts includes all kinds of printing, book binding, engraving, photographic apparatus, especially in the line of moving pictures and color photography, theatrical appliances, musical instruments, instruments of precision, wireless telegraphy and the wireless telephone, etc. palace of education architect - w. b. faville of san francisco. there are three portals on the south in the spanish renaissance style, with twisted columns of the byzantine school. notice that the screws twist in opposite directions. above the central portal is gustav gerlach's tympanum relief "education." the tree of knowledge is seen in the background. the kindergarten stage, the half-grown, and the mature periods are shown, the last showing the man no longer under a teacher, but working his problem out by himself. the modern costumes, combined with the classical styles, suggest that the knowledge of today rests upon that of the old schools. mr. gerlach is a pupil of karl bitter of new york, the chief of the sculpture. below the tympanum is the open book of knowledge from which light radiates in all directions. the curtains of darkness have been drawn aside. the hour-glass says, "improve the shining moments as they pass." the crown awaits those who will seek knowledge. atop this portal is the globe suggesting that education extends around the world. the panel on the left shows the female teacher in the center. she is instructing her hearers who discuss their interests. this panel is by peters. the companion panel with the male teacher is by cesare stea. both panels are quite evident in meaning. messrs. peters and stea are pupils of the beaux arts of paris and the national school of sculpture of america, respectively. the palace of education and social economy shows developments since . comparative exhibits of educational interests of all nations are shown. child welfare, playgrounds, care of the feebleminded, treatment of the insane, missionary work, the red cross system, criminology, park systems, street improvements, methods of disposing of sewage, and many other allied subjects are interestingly worked out for public benefit. the flora is just about the same in front of these palaces as that which you have noticed. the veronica buxifolia is grouped around the lawn at the corner of palm and administration avenues. the west side of the palace of education as well as that of the palace of food products, has great roman half domes above the entrances. again your architecture at the portals is changed to suit the style of the palace opposite. the fine arts palace is mainly old roman. these are called respectively "the dome of philosophy" and "the dome of plenty." the female figures carrying the books "ex libris," as well as the male figures carrying cereal wreaths, are by albert weinert and earl cummings, respectively. "out of books comes much knowledge," says the woman. "if you wish to be as physically strong as i am, eat my food," says the man. this figure then represents physical vigor. the fountains of the vestibules are by w. b. faville of san francisco. that in the vestibule of the palace of food products is strongly reminiscent of the fountain of perugia. the great siena pedestals beside these palaces carry ralph stackpole's "thought." the niches have alternate groups of "abundance" and "triumph of the fields," both by chas. harley of philadelphia (studio in new york). abundance expresses to you the overflowing amount of all that we have today. her symbol, the cornucopia, is seen on either side. her large hands are spread out as if to say: "i give you all that i have. take. choose what you will." one certainly has a bountiful choice. the eagle's head is on the prow of the vessel in which she sits. it surely suggests that considering all we have put before us today, we have reason for inspiration (the eagle being the symbol of inspiration). the triumph of the fields shows man surrounded by the symbols of the harvest festivals when the celtic cross, to take one case, or the standard with the bull atop, to take another, was carried through the fields at the time of the bringing in of the harvests. man has been the guiding hand to the bull, but the bull has really triumphed since it has actually done the work, while man receives the credit. man has surmounted the bull, as it were. above is the wheel of the wain of old. the seed in the black earth appears almost to possess intelligence. you get that idea by the head below. has not the seed produced the bearded barley head you see represented? does not that power of production appear to be intelligence in the seed? below the niches are facsimiles of old roman baths such as one sees in the lateran museum, in rome. (see picture in bannister fletcher's history of architecture, page .) fronting the esplanade are four great palaces: the palace of food products, which allows you to see how a number of our dry groceries are made; the palace of agriculture, dealing with the many interests of the farmer and the orchardist, the fisheries, forestry, reclaimed land, etc.; the palace of transportation, which enables one to see the remarkable progress made in automobiles, aerial navigation, ocean liners, overland trains, etc.; the palace of mines, which has been spoken of before. these four palaces have the same kind of doorway. the style is the spanish plateresque, the same kind of work that was used on the fine portals of the palace of varied industries. the spanish cavalier (by allen newman) is the type of man who came to america in the th century, during the period following its discovery. he is the type of spanish conqueror (conquistador). the pirate (by allen newman) is the type of man who infested the shores of spanish-america and preyed upon the commerce. the palaces are intimately placed for several reasons. from experiences at previous expositions "tired feet" are strongly to be considered, hence the nearness of the buildings. san francisco has a few (?) windy and foggy days in the trade wind season, so if the walls are high and near together, the courts on the inside of those walls will be well protected from both winds and fogs. the high walls lift the cool air so that it passes over the buildings of the great block, thus sheltering the courts within. - now that you have walked around the façades of the palaces of this great block system, you can start with your courts. i would strongly suggest that you study all of your buildings of this group first, before entering the courts for close work. - the aisles between the palaces the aisle between the educational palace and the palace of food products is called the aisle of spring, tho the name will probably not be applied very often, as the aisle is not important. the flora seen here is eucalyptus, acacia, laurestinus with its white bloom, and veronica decussata with its purple flowers. the border is cistus. - the aisle of the setting sun is between the court of the universe and the court of the four seasons. the aisle of the rising sun is between the court of the universe and the court of the ages. these two aisles are very much alike, the great difference being in the flora used. the style is italian renaissance and should not be called venetian, as many have named it. the walls are covered with a diaper design of ochre, pink and travertine. blue rondels are used with telling effect. they give a delightful touch of color and have a fine italian feeling. these rondels have no special meaning, being purely decorative. the coupled columns with different decorations have their prototypes in the columns of the churches of southern italy. the arched windows have interesting grotesque keystones. notice that the spirals of the great siena marble columns turn in opposite directions. think how they would appear if they all turned the same way! notice also the beautiful manipulation of color on the triumphal arches. the latticed windows are strongly suggestive of mohammedan work and are a beautiful turquoise green. they are among the many oriental touches at this splendid exposition. the area of deep pink and the burnt orange medallions must be seen to realize their beauty. no wonder pegasus is seen in the spandrels! who would not mount pegasus at such a glorious exposition? in these aisles are many remarkable conifers. yews from many different countries, junipers of various kinds, pines, firs, spruces, cypresses of countless varieties, many thuyas, beside euonymus, holly, datura, india rubber, aralias, the beautiful nandina domestica, a most lovely foliage massed in the corners of the west side of the aisle of the rising sun. in march and april these courts receive glorious rich coloring from beds of california poppies and anemones, bordered with creeping juniper. the gay spring flowers will be followed by summer annuals, and later by our autumn blossoms, the court of the universe this court, which strongly resembles the great area in front of st. peter's, rome, with its sweep of colonnade to right and left, was designed by the new york firm of mckim, meade and white. the architecture is italian renaissance and gives you the beautiful spirit of the old-time work. it is a wonderful court in architecture, ornamentation, color, arrangement, and above all in meaning. in order to get the full joy of it you must pursue a regular plan and you cannot hurry. don't try to do it all in one day. first walk thru the court to the triumphal arch on the right. pass thru it and read the quotation on the right at the top of the arch. - the cosmical side of the court of the universe "the universe - an infinite sphere. its center everywhere, its circumference, nowhere." this comes from pascal, from his pensées. this splendid quotation gives you the infinite side of your subject. now pass back to the court of the universe and you will see ninety times repeated against the sky, a. stirling calder's very decorative "jeweled star." this will suggest the myriad of suns in our great universe (since stars are suns). the nearest star to us, our sun ("the rising sun," by a. a. weinmann of new york) then attracts the attention. he is seen just before daybreak. this fresh, strong young sun is just bout to start on his journey. dawn is soon to break upon the world and with muscles stretched, the heavenly joy of the first move expressed upon his face, the wind blowing thru his hair, the vigor of young life pulsating thru his body, he will start the chest forward and move those outstretched wings. walk toward him and you will see him begin his journey thru space. now read the quotation an the triumphal arch of the rising sun: "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." - by kalidasa (the shakespeare of india). the sun at setting is represented by a beautiful woman. the day is just about to close and with muscles relaxed (knees bent, head drooping, arms falling, wings folding) she is soon to sink to slumber, to pass from view. this is what is suggested by calling the figure the setting sun. in the fine arts palace, mr. a. a. weinmann has called the same figure "descending night," and that title is much more consistent and satisfactory, for how are you going to account for the youthful sun's appearing at the end of the day as a woman? then again the reliefs refer to "descending night," for they are called "the mysteries of dusk." now raise your eyes to those beautiful cameo figures on the burnt orange ground at the entrance to the colonnades, and you will be carried in thought to the zodiac, that great imaginary belt thru which the sun and planets travel. there you see the zodiacal figures, two and two, with their symbols, gliding thru space. the clouds or nebulous matter is suggested by the female figures with swirling drapery, toward the end of the frieze. in the center stands atlas, mythologically the first astronomer. your fancy has carried you on the wings of the wind at this very suggestion. these fourteen maids are atlas' fourteen daughters. go close to the die of the fountain of the rising sun and look at the reliefs. the subject is day triumphant. the genius of time with hour-glass is followed by the genius of light with flaming torch, and energy sounds on his trumpet the announcement of the break of day. truth follows with mirror and sword emerging triumphant from the sinister powers of darkness. falsehood shrinks from its own image reflected in the mirror of truth. vice cowers and struggles in the coils of a serpent. - walk over to the corresponding die on the fountain of descending night. on it are shown the gentle powers of the night. dusk envelops in her cloak labor, love and peace. following are illusions carried upon the wings of sleep. then come the evening mists, followed by the star dance and luna, goddess of the silver crescent. (let me acknowledge the kind help of mr. a. a. weinmann in the interpretation of these reliefs.) you have swept your mind over the cosmical side of the court of the universe on objects at a great distance. come closer now to view the elements. these colossal figures of earth, air, water, fire assume a certain majesty in this court of the universe. they are in horizontal composition and add greatly to the decorative, side of this inspiring court. earth - the sleeping earth which yields to man wood (from the great trees whose roots ramify below the surface of the ground), stone and minerals - (man wrests thru great muscular strength these substances from the earth). air - that holds to her ear the star. she is listening to the music of the spheres. on her back are wings which man has fastened so that he can overcome her - a fine suggestion to aerial navigation. the bird, the symbol of the air, is twice repeated. fire - his very expression of face shows you the terrorizing effect of fire. he holds his hand in the flame. the lightning plays on his right arm. across his figure passes the salamander, the fabled reptile of the fire. (see the real salamander in the japanese concession on the zone.) water - the bellowing ocean with mouth agape lies on the tossing waves, thru which sport the dolphins. ocean, the king of the waters, carries the trident. on his head and in his hands the kelp is seen. the elements are by robert aitken of new york, formerly of san francisco. - the human side of the court of the universe all is now ready for man. in the center of the court of the universe was to have been daniel french's genius of creation, but if it is not there, we must not lose the great dominant note of this court, so pass thru the triumphal arch of the orient, thru the beautiful aisle of the rising sun, across the court of the ages, out thru the next aisle, to the plaza in front of machinery palace in order to follow the story. here on the boulder sits the great spirit (not a man you will notice). the hood is drawn far over the face so that a certain idealism is produced - a great spirit with wings and arms raised. wisdom (the serpent) encircles the throne. the arms of the creating spirit have just been raised, the word has just been spoken and splendid manhood ready to meet the world, with modest, helpful woman, just come forth. the hands touch at the back of the group, causing you to feel that man and woman are mutually dependent. return to the court of the universe. now, look up at the triumphal arches and notice leo lentelli's angel of peace with its downturned sword. "let there be peace throughout the world. turn down the sword," it says. - a night of illumination should follow your work and you can then read under the searchlights the words on the right upper corner of the oriental gateway - "our eyes and hearts uplifted seem to rest on heaven's radiance." (from hitomaro, the japanese poet of the th century, a. d.) - your scene is shifted for a short time. you have passed into the court of the ages for a retrospect (upon the human side). the primitive people are to be seen here on the fountain of the psychology of life. don't try to see everything in detail now, for you can come back later. just realize this, that the small group facing west in the fountain is the dawn of life, then comes natural selection which develops into the survival of the fittest, or the development of the militant spirit. this early period shows man working strongly under the power of impulse. vanity, lust and greed seem to dominate his actions. on these primitive people pass thru life. you can see them if you look up on the tower. on they march, in that upward climb of civilization. marching along with primitive man, thru long periods of time, you next meet him developed as the crusader of the mediaeval period. he has mounted thru war and his religion and stands at the feet of the priestess of religion, the last group at the upper part of the tower. on either side you will notice a man and a woman standing on the bodies of primitive beings. these figures represent the man and the woman of today - the man and the woman who have sprung from this primitive stock. don't stop in this beautiful court of the ages, for we shall return later to finish our story. you have gotten connection enough now to allow you to return to the court of the universe. take a seat in the sunken garden and look up at the figures on the triumphal arch of the rising sun. the orientals are represented by many types. from left to right are seen: . the arab sheik on his arabian steed. . the negro servitor with fruits on head. . the egyptian on his camel, carrying a mohammedan standard. . the arab falconer with bird on wrist. . the splendid indian prince on the back of the elephant. . inside the howdah the spirit of the east. . the lama from thibet with his rod of authority. . the mohammedan with his crescent standard. . again a negro servitor. . the mongolian on his horse. on they come, these orientals, to take part in the great celebration. (they are the collaborated work of a. stirling calder, leo lentelli, frederick roth.) next look up at your occidentals on the arch of the setting sun. from left to right you see: . the french canadian - the trapper. . the alaskan with her totem poles on her back. . the latin-american on horseback. . the german. . the italian. . the anglo-american. . the squaw with her papoose basket. . the american indian on his horse. in the center is the old prairie schooner drawn by the great oxen. atop, pushing out, is enterprise leading these men westward, on either side a white boy and a colored boy, the heroes of tomorrow. in front marches that stalwart mother of tomorrow. it has taken all these occidentals to produce the work that is coming in the future - the achievements due to the completion of the panama canal - therefore, they conjointly express "the mother of tomorrow." - these nations are now marching into the court of the universe and are to meet in front of the tower of jewels, the symbol of the panama canal. read now on the occidental gateway the magnificent lines by walt whitman: "facing west from california's shores, inquiring, tireless, seeking what is yet unfound, i, a child, very old, over waves toward the house of maternity, the land of migrations look afar, look off the shores of my western sea, the circle almost circled." mr. porter garnett's excellent explanation you may be glad to read: "in these transcendent lines we have the poet speaking as the personification and representative of the aryan race, the race, which, having its origin in the plains of kashmir, has by virtue of the spirit of conquest, the desire to be seeking what is yet unfound, finally reached the western edge of the american continent, whence it 'faces west from california's shores' and looks toward the house of maternity, the land of migrations from which it originally sprang." "it seems hardly possible to conceive of an inscription that embodies such a tremendous thought, and is, at the same time, so appropriate to the purpose for which it is suggested. it comes, moreover, from the poet who above all others represents the spirit of the american people and the ideals of democracy." you now feel the import of the occidentals who, with that aryan spirit, have with mighty power, such as hercules alone possessed (as perham nahl's poster tells you) severed two continents and introduced the panama canal. - next read the far-seeing words of goethe in his letters to eckermann (on the west side of the arch of the setting sun): "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 could live to see it, but i shall not." - the historical side of the court of the universe begin with mr. edward simmon's murals on either side of the gateway of the rising sun. facing east, the mural on the right represents the nations that have crossed the atlantic (greece, italy, spain, england, france, etc.) and the special types are these: . the savage of the lost atlantis. . the graeco-roman sharpening his blade. . columbus, the type of adventurer. . sir walter raleigh, the type of colonist. . the priest, representing the jesuit missionaries. . the artist. . the workman. . the (veiled) future listening to the past. the people of the old world, with all their traditions, cross the atlantic, led by the "spirit of adventure" (with his bugle calling them to come). the mural on the opposite side shows the aspirations, etc., of the group just examined. reading from left to right we find the men had hopes (and some false hopes - but bubbles), commerce, inspiration, truth, religion, wealth and family in their minds. cross to the gateway of the setting sun looking at the mural on the right as you face west. time has moved on since those early colonists came to the atlantic shores and now the spirit of abundance (with her overflowing golden cornucopia) is sounding the call for all to follow. many leave their homes to join the great throng that is moving westward. the wagon is laden with the necessaries of life for the new home in the western country. you see the feather bed, the old grandfather's clock that stood on the stairs, the scythe, the pitchfork and the rake for their agricultural interests, etc. on the right the young man who has said goodbye to his wife now turns to his aged parents. the mother, overcome with grief at parting, stands speechless, and the grey-haired father shakes his boy's hands and wishes him "godspeed." all types of men are taking the journey and you are reminded that not alone workmen and adventurers are leading the procession, but ministers, women with their refining influence, children with their school books, and college men with gown and mortar-board, with books under arms - all moving on the long journey westward. occupying the same position on the southern side of the arch the companion-piece, by frank vincent du mond, shows these men from the atlantic arriving at the shores of the pacific. the people of the west with outstretched arms welcome the travelers. the children of the pacific shores run with flowers and fruits to greet them. you will notice the different types arriving from the atlantic shore - literary men (with pen and book), architects (with temple in hand), scientists (with book under arm), franciscan friars (with crucifix and mission bells in hand), etc. these are followed by the red coats, indicating those who preserved order. these men are all led by the spirit of adventure. she is no longer in the foreground, but is ready to fall behind as soon as she has fulfilled her mission. the agricultural interests of the western countries are suggested by the wheat and implements of the field. the heavily laden orange trees speak of the fruit industries. does the tapir stand for south america? surely, south america is coming into the foreground just now. the people have now been brought to the shores of the pacific. - the panama region is the one next to be visited and you rehearse its story, standing under the tower of jewels, "the panama canal." these are the murals of frank deleftwich dodge: . the panama isthmus is discovered. . it is purchased by the united states. . you are reminded that the great waters - the atlantic and the pacific - play with titanic force on either side of the isthmus. . the panama canal is completed. . labor is crowned. . the achievements which follow are shown: (the caduceus, the wand of mercury, the symbol of commerce, is prominent.) - pass thru this tower of jewels noticing in the eastern and also the western arcades two fine fountains. on the left is the fountain of youth by mrs. edith woodman burroughs of flushing, long island. the simple, beautiful, naive figure standing on the pedestal is youth, the united states, the child that has come from old parents (europe). the old father and mother have had many children - many little primroses you will notice - but none more dear than this one. the charming panels will remind you that the old people of today are being rowed by the young. these children row the vessels, bring them to shore and fasten them to their moorings. many of the old people are deaf or blind and are straining to follow the young who, with willing hands are guiding them on. a most charming, lovely work is this, and adds a fine touch to the open book that we are reading. don't lose the eagle and laurel wreath back of youth. they are significant. oh the other side is the fine formal fountain of "el dorado," by gertrude vanderbilt whitney of new york. the fountain of el dorado brings to mind the old indian legend of el dorado, the gilded one: there was once among the south american tribes a belief that in a certain far-off country lived a king called el dorado, the gilded one. he ruled over a region where gold and precious stones were found in abundance. the story influenced a vast number of adventurers who led expeditions to seek the land of golden treasure, but, notwithstanding the fact that they searched most carefully and for long periods, they all failed to find it. the idea of the unattainable gave the suggestion to mrs. whitney for her fountain. the gold of el dorado was used as the symbol of all material advantages which we so strongly desire - wealth, power, fame, etc. in the panels are seen the men and women of life in their mad race for the unattainable. many have had a glimpse of el dorado, the gilded one, and are rushing on to pass the mysterious gate behind which the desires of life await them. some faint by the roadside or stop in their race for the goal to contend or to loiter by the way, but those nearest the el dorado increase their speed - rush madly on. beside the gateway that has only just allowed the fabled el dorado, the gilded one, to pass through are two mortals who have come close to the land of their desires, but only to find the door shut and slaves beside it barring the way. their strength is expended, their courage gone in the long race for material things. the panels of this fountain tell us in satirical language something we can profitably think over and realize if we will. - the ethical side of the court of the universe after man has created the great "isthmian way," it is well to think on his fine ethical standards. read on the triumphal arches these quotations on truth, honor, justice, wisdom: (spain) "truth, witness of the past, counsellor of the present, guide of the future." (cervantes in don quixote.) east side of arch of the setting sun. (china) "they who know the truth are not equal to those who love it." (confucius from the confucian analects translated by james legge.) west side of the arch of the rising sun. (arabia) "he that honors not himself lacks honor where soe'er he goes." (from the "mu'allaqua" of zuhayr ibn abi sulma translated by reynold a. nicholson.) east side of the arch of the rising sun. (italy) "the world is in its most excellent state when justice is supreme." (dante purgatoria.) west side of the arch of the setting sun. (siam) "a wise man teaches, be not angry; from untrodden ways turn aside." (from the sayings of phra ruang, prince ram khamheng of sukhothai.) east side of the arch of the rising sun. - coming into this great court of the universe one hopes that truth, honor, justice and wisdom will be maintained. - the floral side of the court of the universe this court will show a succession of beautiful bloom throughout the year. the daffodils will have their golden season, the rhododendrons their brilliant sheet of color, and in may the columns will support our various climbing roses, exhaling their perfume for all who come to this land of flowers. summer flowering annuals will follow and later the autumnal flowers. read the quotation on the aisle side of the arch of the rising sun: "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. (annals of kai-kaus, in james atkinson's translation of shah nameh.) so, while thinking of a persian garden in the quotation, we feel the applicability of these words to the california gardens. - the festival side of the court of the universe there is still another side to realize in this meaningful court. the exposition is a great festival, a triumphal festival, and you meet the suggestions of it all around you. this great court is entered on three sides by triumphal arches. the triumphal arch of the occident, the triumphal arch of the orient, the triumphal arch of the tower of jewels. the prototype of the triumphal arch is seen in many places, most satisfactorily today in rome. the arch of constantine is the best model for us to examine, for it has three openings - even if the shape of the side opening is not the same as that of the arches before us. the great court is hung with festoons (on the frieze) and decorated with the vine and its grapes (on the architrave). the bulls' heads with festoons are represented on the frieze as they once were on the altars of old when the festival, "the feast of the sacrifice," was celebrated. (refer to the same subject in the court of the four seasons.) in stately procession around the sunken garden are seen the canephori bringing their jars of nectar. the canephori in old greek days were the maidens who formed part of the great processions, such an one as the panethenaea, carrying on their heads baskets which held the consecrated temple furniture, to be deposited at the end of the long march in the temple. here the sculptor has taken the license of representing men with the maidens, and instead of baskets has used vases. this idea of the festival is strongly accented at night when you are transported to old greek and roman days. follow after this procession and you will notice that paul manship's "joy of living," or "motion," as it is also called, has entered. the joyous girls in perfect abandon are coming to join the happy throng. they bring their offerings in the shape of great wild-rose festoons, well suited to the "wild roses" who carry them. near by is paul manship's "music," adding the song, and the music of the lyre. as a last touch you will find the nations of the occident and the nations of the orient marching into this court of the universe to take part in the festival in celebration of one of the greatest events of history - the opening of the panama canal. at night comes the illumination, as a climax to the festival, and gradually the lights die down and all is still - just for a few hours only, for day will dawn, for is not the rising sun ever with us - and another day of festivity will come, and yet more at this greatest festival that the world has ever known. the tower of jewels architect - thomas hastings of new york. architecture - italian renaissance with byzantine features. this great tower of jewels symbolizes the panama canal, the jewel today that is most resplendent. it is feet high. in cold weather, owing to the contraction of the steel, it is said to be four inches shorter than in warm weather. the arch is feet high and feet broad. the tower is in seven lifts, surmounted by the earth with its shimmering jewels. you are reminded that the whole earth is affected by this stupendous piece of engineering (the panama canal). the figures on the pedestals of the arch are by john flanagan of new york, and they represent: . the adventurer, the type of man of the th century who pushed out into the wilderness of the southwest. . the priest, the type of man who came to convert the country in the th century. . the philosopher, who by his fine knowledge of the greek and latin manuscripts was able to disseminate knowledge in the th century thruout the new regions. . the warrior, the type of th century soldier who came to conquer the country. on the first tier you meet the armoured horseman by tonetti, the type of colonizer of the th century. now look at the equestrian statues that stand on either side of the tower. that on the right is cortez (by chas. niehaus), the conqueror of mexico - the man who wrested mexico from montezuma for the kingdom of spain. on the left pizarro (by chas. rumsey), the conqueror of peru, who gained for spain the land of the incas. the country north of the panama region was conquered by the spanish. that on the south of panama was also the spanish land. it is time now to read the inscriptions on the south side of the tower: rodrigo de bastides, pursuing his course beyond the west indies, discovers panama. vasco nuñez de balboa, crossing the isthmus of panama, discovers the pacific ocean. the united states, succeeding france, begins operations on the panama canal. the panama canal is opened to the commerce of the world. - the united states has put thru the canal, so the american eagle with outstretched wings is seen as a decorative motive on either side of the tower - with telling suggestions. the hand of the law is governing the commerce of the panama canal, hence you receive that gentle reminder in the roman insignia, the fasces. in the old roman days of the kingdom, as well as in the days of the roman republic, the lictor marched in front of the head of the state carrying the fasces, those twelve birch rods with the ax, indicating punishment and then death if the laws were not obeyed. the fasces are seen at the extreme ends of the wings of the tower. it is interesting to see this same device used in the liberal arts palace and in the educational palace - especially in reform exhibits or such exhibitions as the new york educational exhibit, where the hand of state is suggested. the laurel wreath on the tower is another speaking motive. the vessels push out in all directions from the panama canal. you get that suggestion at the corners of the third lift. don't lose sight of the beautiful turquoise green columns in the temple forms of the tower. at night the aquamarines follow out the same beautiful color. watch, when the tower is first illuminated with the blood glow, and you will see that it almost pulsates with life. it should, for is it not the vital part of this great exposition? - jewels on the tower there are some ten tons of jewels used at the exposition. fifty thousand jewels are used on the tower alone, accenting in the main its architectural feature. these jewels are of live colors - mostly canary and white glass, ruby, emerald, aquamarine. mathematical calculations have been made by expert physicists to show at just what angle the jewel must be cut. these jewels were made in austria. nearly every village in austria has its glass workers - the finest workers in their line in the world. sand of a peculiar quality is most carefully prepared, mixed with other ingredients, the whole being brought to a molten state. this glass is then poured into molds. it is taken out of the molds, the casts being carefully trimmed by hand. the principal tool used is a rotating sanded wheel. the prism is polished by hand with tin, so as to make the facets perfectly smooth. this glass must be very hard in order to reflect sufficiently well. the glass is called sumatra stone. it is tinted to counterfeit jewels. these jewels are held in place by metallic bands from which extend small arms at the back of each jewel to hold tiny mirrors which assist in the reflection. each jewel is suspended from a hook so that it is in constant vibration, in order to catch the rays of light most advantageously. - as you have now rehearsed your history and have in mind what has been done by the united states in regard to the panama canal (the tower of jewels), walk thru the court of the universe to the esplanade where stands the column of progress. the column of progress the prototype of this column is seen in trajan's column in the forum of trajan or in the column of marcus aurelius, in rome. architect - symmes richardson, one of the junior partners of the firm of mckim, meade and white of new york. the bas-reliefs at the base are by isadore konti of new york. the sum of all human effort is represented. man's spiritual progress is seen on the four sides of the base. atlas rolling the heavens suggests the passage of time. men with their different ideals in the long procession of progress are seen. some go manfully on, some fearfully, some feel the need of the sword to win their way, others find companions necessary, but all of these men and women must have faith (represented by the two meaningful women at the door), the hope of the palm of victory, and hear the bugle call as they go on their upward climb. they pass before us, these men and women of different aspirations, and disappear from view. up, up they climb. at the top of the column is hermon a. mcneil's burden bearers, supporting his adventurous bowman. "all must toil to win" and some must bend their backs that others may rise. has it not been so at the panama canal? have not many done the labor that the united states, the adventurous bowman, may win? this purposeful type of manhood, with magnificent decision, has just drawn the bow, and on has sped the arrow of success. the bowman looks to see it hit the mark. the man on the right possibly is one of his aids. the little woman at his side will know by his eyes if the arrow has gone home, and she will then bestow upon him the laurel wreath and the palm of victory which she holds in her hand. she stands ready to help him. - see the group from the sea-wall directly in front of the column of progress for the splendid purpose expressed in the figure and on the face of the "adventurous bowman." many san franciscans would like to have this wonderful group duplicated in bronze to remain permanently with the city of the exposition of . the court of the ages and not the court of abundance architect - louis christian mullgardt of san francisco. architecture - if one could call this beautiful architecture by name one might say spanish gothic, on account of the round-arched gothic and also the spanish finials used, but it is so thoroughly original that this is hardly the term to use. it is romanesque in its vaulting of the corridor, and at first glance in its great square tower, and arches, and yet not romanesque architecture. it is suggestive of the last period of english gothic in its rich parallelism of vertical line - and yet is not that. it is suggestive of the flamboyant decoration of the french architecture such as one sees and feels at rouen cathedral - and yet, not that, for on looking closer one sees not wavy line suggesting flame, but the wave of the kelp of the sea - and then one realizes that the vertical lines represent falling water. the kelp is turned, looped and suspended with all sorts of lobsters, crabs, sea-turtles, octopi, flounders, etc., wriggling thru it, not seen at first, then in strong evidence, making you wonder why you had not seen them before. the whole cloister represents the magical power of water and fire worked out in travertine, fountains and illuminations. this court certainly shows the most marked originality in the architectural line at the exposition. it is the conception of a man of rare invention, imagination, and marked poetic feeling. it is surely the last word in stucco. everybody loves this court of the ages, and everybody wishes that we could have something permanent like it somewhere - perhaps in san francisco. we shall all be loath to part with in when the two hundred and eighty-eight days are gone. the arches of perfect proportions are allowed two swinging fairy lanterns apiece - a soft glow coming from them. in the corridors are globes which at night look like lambent moonstones, casting soft light. walk down the corridors (not noticing the glorious murals at the ends) to observe the fine manipulation of color. notice that the usual pink of the walls has here a deeper tone - a terra-cotta warmth added, making a most wonderful combination with the blue vault above. the arches are of smoked ivory. your eye catches a line of cerulean blue at your side, and up you follow the blue, until it gains its fullest expression in the square area of the groined vaulting. notice how bands of smoked ivory play the part of transverse arches. it is so very beautiful here. the murals in this corridor are more wonderful than words can tell. they are by frank brangwyn of london, and represent earth, air, water, fire. earth - two canvases represent the earth, the teeming, opulent earth giving of its fullness. men with great baskets gather the harvests of vegetables and fruits (especially the luscious grapes in the second canvas). fire - one canvas shows primitive fire, where by means of leaves and twigs the narrow curl of smoke ascends between the trees. men on bended knees blow the slowly burning leaves and fan the flame. the aged draw near to feel the warmth; nearer comes the man with the little child in his arms - and, as a result, we have a homely woodland scene of primitive times. the second representation of the same subject glows on the next canvas. the subject is industrial fire. men have made a rude furnace in which the pots are being baked. pots of all sizes and shapes are being brought by the men and women of the neighboring region. the great cloud of blue smoke rises in increasing breadth and height thru the trees. don't fail to notice the wonderful skies in these two canvases. water - on a portion of land between two waters men and women have sauntered down to the water's edge to fill their jars. the flamingoes, birds of the water, stand in the foreground telling you that water is near. plants grow luxuriantly on the banks. pregnant clouds are blown nearer and nearer. the canvas is fairly moist with watery suggestions. it would not be hard to realize when you look at this canvas that it was done by a man who understands the art of making stained-glass windows. he cannot keep his secret from you. the second treatment of water - great brawny-armed fishermen are pulling in their heavy net. in the distance come men with baskets on their heads to carry away the wriggling fish. beyond the trees the heavy moisture-laden clouds come nearer and nearer. air - a great windmill such as one sees in frank brangwyn's etchings (for he lived during his youth in the windmill country, making what he saw around him his own). the wind has brought the storm-laden clouds and the rain is descending. the currents of moisture-laden air are reflecting the rainbow. the wheat of the field bends far forward as the wind blows over it. the belated harvesters (the foremost with his winnowing sieves) are blown forcibly along their path. the many flowers bend their heads under the forward movement of the breeze. it is most interesting to notice how many devices have been used in order to make the work as suggestive as possible. the second treatment of air. the great trees are most noble in their strength. men, strong like the trees, are shooting thru the air their arrows. a flock of frightened white birds are cutting the air, showing you why the men are there. this is a simple but clever treatment of the subject. - if you would know why you feel that there is something ancestral in these glorious compositions, why the strong colors are so well combined, why the canvases breathe freedom of thought and action, why the distances are so marvelously expressed, why the sky and water are just that deep wonderful blue, read sparrow's "frank brangwyn" and you will soon discover, and the appreciation for the pictures will be increased tenfold. - now step down into the cloister, so that you can see well helios, the setting sun. this was the primitive man's idea of the setting sun. he saw the sun as a man holding a huge golden ball, splashing down into the waters of the west. the serpent represents the burning sting of the sun. you are bound to reflect here that the sun has thrown off great nebulous masses and that one of those masses has cooled and that we now call it the earth. yonder it is, seen at the end of the fountain, with four streams of water, from prehistoric sea life, playing over it. pass along to the first group beyond helios, realizing that robt. aitken, the sculptor, calls this "the dawn of life." from right to left are these figures: . the hand of destiny giving life. . the prenatal sleep of woman. . the awakening. . the joy of living. . the kiss of life. . the bringing forth of life. the elemental feelings are here suggested. you will then notice a gap which stands for the unknown period of history after the first "dawn of life." - now pass to panel (facing helios). the central figure is vanity, one of the compelling motives of that early life. following are two fine figures carrying their children, expressing the idea of the fecundity of the early races. - a hermes divides this panel from the next. since in classic times a herm, or hermes, was used to mark distances on the roads, so here the hermes is used to mark distances, or periods in time. - panel - we now see the successors of the children of the previous panel grown to manhood. the fact of natural selection inflicts itself upon man. two women are attracted to the same male, a fine intellectual and physical type. the rejected suitors are seen at the end of the panel, one in anger, the other in despair. - panel is called the survival of the fittest. this is the suggestion that physical strength decides who shall survive. we notice that chieftains struggle to possess the same woman, a woman on the right endeavoring to separate them. - panel is called the lesson of life. elders of experience attempt to give counsel to the love-lorn and impetuous, knowing that impulse may sometimes be a poignant foe. returning to panel , the two figures at the right represent lust, another of the strong forces of the early peoples. you have now reached your first group beyond the gap. the first figure is greed, the third motive in this history of life. he has been holding onto the material things of life - there they are, rolled into a great ball. he realizes how futile his life has been and looks back upon the past, longing to retrace his steps and live to nobler purpose. then comes the old man who has the spiritual understanding, and he knows that the only hope for his companion is the realization of the spiritual, the consciousness of immortality, and so he gives to her the winged beetle, the symbol of renewed life. the time has now arrived for her to leave her mortal life, and she passes into that sleep by which her material body is cast aside. thereby the man has his first sorrow. she whom he loved is gone, and he is cast down in despair - because his outlook is not a spiritual one. the hand of destiny has drawn these lives unto itself. the law has been fulfilled. i have taken the liberty of culling the chief ideas from the article on the subject, written for the november "international studio," adding a few ideas which seem consistent with the work before us. - this fountain, done in pierced relief, is most decorative in the court of the ages. it is, from a technical standpoint, a most remarkable composition. - the next subject for study is the tower. notice the small spire atop. it is like a flêche on a french cathedral and helps in the french feeling which you had when you thought that you had discovered the flamboyant style, and yet, on the whole, it is more the style of spanish towers than of the french. most of the figure work on the tower is by chester beach, formerly of san francisco. the groups on the tower are now to be considered. the combined work is called the rise of civilization. the lowest group is primitive man during that period when great reptiles, like the saurian in the foreground, crept over the earth; when man fought with huge serpents and gigantic lions. the rude man in the center has his child on one arm, the other arm protecting his mate (not an ordinary position for the arm of primitive man). you easily surmise that trouble is near. his look of dogged defiance tells you that he is marching forth to meet some enemy, man or beast. this is the first march of civilization - one in which brute strength plays the principal part. - just above, you notice that civilization has now reached the mediaeval stage and you see the crusader with cross on breast and sword in hand. he has reached this lofty position thru faith (represented by the priest) and war (suggested by the rude warrior). the spiritual has now been added to the physical. at the side of the tower, holding the same position on the tower as does the crusader, are suggestions of the crusader's tomb such as one sees in many of the english churches. the crusader passes on and his place is taken by more advanced types. - on either side of the crusader appears the paschal candlestick (which at night is illuminated). you are approaching the altar. above is the priestess of religion, with the nimbus surrounding her head. at her feet are children holding, one a book, indicating faith, and the other the wheel, meaning progress. - around the court, on the highest pinnacles, are cocks, signifying the dawn of christianity (in reference to peter's denying christ). - come back to the tower and you will notice a man and a woman on either side of the altar. they are rising from the primitive man and the primitive woman at their feet. they represent the man and the woman of today. in the case of the man, you will notice how primitive man holds on to him and how the man of today endeavors to shake him off. (the man of today, by the power of thought, is trying to shake the rude brutish nature off.) (these figures are by albert weinert.) - primitive man and primitive woman, by albert weinert, are seen as finials around the court. he is a simple hunter, or a man whose pastime consists in such amusement as feeding fish to the pelican. she is a woman whose chief work is to rear children. leo lentelli's aquatic maids are grouped at the bases of the columns in front of the tower. it was at first planned to have the fountains play to the tops of the columns on which sit the aquatic maids shooting their arrows into the waters, but a change in the plans left the aquatic maids high and dry, hence your wonderment at why they sit aloft. (leo lentelli was born in bologna, italy, but now lives in new york). the italian cypresses, tall and slender, stand like sentinels in front of the arches. orange trees, ten feet in height, heavy with fruit, stand in opulence before the cypresses. balled acacias, with repeated regularity of shape, produce in this charming cloister a delightful formalism. solid beds of pink hyacinths add a glowing touch of color in this beauteous garden. the creeping juniper is the border used. the cistus is the border used around the other beds. under the trees are planted calceolarias, gebara, shasta daisies, potentilla, columbine, and many other showy flowers. the conventional standards at the south end of the cloister are aids in the illumination. this court is most beautiful at night. the tower, in white light, has the glowing candlesticks in striking evidence. great clouds of seeming incense rise constantly from the altars ranged around the court. fiery serpents belch fire into the basins below. beneath the world and around it rises the steam, which is marvelously illuminated. - the north court of the ages eucalypti, acacias, english laurel and veronicas are banked close together in this court. great beds of orange eschscholtzia, the california poppy, make this court a veritable field of the cloth of gold. the creeping juniper is the border used. sherry fry's "listening to the sound of the ages" stands in this court with her shell to her ear. she listens to the stories that the sea has told the shell, and wonderful, very wonderful, is what she hears. - since the first issue of this book i have received in written form mr. mullgardt's own wonderful interpretation, which i hereby append with his kind permission. i shall not correct my work, for it will be interesting to compare the work of a layman with that of the initiated: san francisco, april , . the court of the ages a sermon in stone "the court of the ages" is feet square. the surrounding walls are feet high. the tower is feet high. the floor of the court declines to the central basin, affording the observer a full view of the surroundings. the arcaded and vaulted ambulatory extends continuously around the four sides. the floor of this ambulatory is elevated above the upper floor level of the court for the convenience of observers. its architecture has not been accredited to any established style. the court is an historical expression of the successive ages of the world's growth. the central fountain symbolizes the nebulous world with its innate human passions. out of a chaotic condition came water (the basin) and land (the fountain) and light (the sun supported by helios, and the electroliers). the braziers and cauldrons symbolize fire. the floor of the court is covered with verdure, trees, flowers and fruits. the two sentinel columns to the right and left of the tower symbolize earth and air. the eight paintings in the four corners of the ambulatory symbolize the elements of earth, air, fire and water. the central figure in the north avenue symbolizes "modern time listening to the story of the ages." the decorative motifs employed on the surrounding arcade are sea plant life and its animal evolution. the conventionalized backbone, the symbol for the vertebrates, is seen between the arches. the piers, arches, reeds and columns bear legendary decorative motifs of the transitional plant to animal life in the forms of tortoise and other shell motifs - kelp and its analogy to prehistoric lobster, skate, crab and sea urchin. the water-bubble motif is carried through all vertical members which symbolize the crustacean period, which is the second stratum of the court. the third stratum, the prehistoric figures, surmounting the piers of the arcade, also the first group over the tower entrance, show earliest forms of human, animal, reptile and bird life, symbolizing the stone age. the fourth stratum, the second group in the altar tower, symbolizes human struggle for emancipation from ignorance and superstition in which religion and war are dominating factors. the kneeling figures on the side altar are similarly expressive. the torches above these mediaeval groups symbolize the dawn of understanding. the chanticleers on the finials surrounding the court symbolize the christian era. the topmost figure of the altar symbolizes intelligence, "peace on earth, good will towards all" - the symbols of learning and industry at her feet. the topmost figure surmounting the side altar symbolizes thought. the arched opening forming the inclosure of the altar contains alternating masks expressing intelligence and ignorance in equal measure, symbolizing the peoples of the world. a gradual development to the higher forms of plant life is expressed upward in the altar tower, the conventionalized lily petal being the highest form. l. c. mullgardt. court of the four seasons it will be noticed that this court is planted mainly with grey-green foliage, the banner poles being of the same color. flora olive trees. choisya ternata. high-grade acacias. coprosma (from chili - a shiny-leafed shrub on north front). eucalypti. cotoneaster bufolia (border). english yews in couples of three groups. cypresses. english laurel. - architect - henry bacon of new york. architecture - italian renaissance. there is a strong feeling of the architectural influence of hadrian's villa, near rome, when the eye rests on the half dome and also on the treatment of the columns in front of the fountains of the seasons. this is one of the chief beauty spots of the exposition. a quiet, reposeful, happy place where birds have built their nests and where they sing their carols of spring. as you pass into this court from the bay, or north side, your attention is drawn almost immediately to the bucrania, or bulls' heads, between festoons of flowers. this is only a renaissance motive, but the mind wanders back to the harvest festivals of olden days, when, after the great harvest procession was over, the bulls were sacrificed to the gods as a reward for the abundant harvest. the same idea is worked out in "the feast of the sacrifice," the magnificent bull groups atop the pylons (by albert jaegers), where youths and maidens lead the bulls in the harvest procession. great garlands suggest the festivity. the whole court is an expression of the abundance of the harvests - especially those of california. - ceres, the goddess of agriculture, with her wreath of cereals and her corn sceptre, has just poised on the top of the lovely fountain (by mrs. evelyn longman), the die of which tells you by its cameo figures that this is the fountain of young, fresh, joyous nature. the graceful, happy creatures with garlands and fruits glide past you in song, shaking the tambourine or softly piping their roundelays. jolly satyrs, the happy creatures of the woodland, spout water into the basin below. - the food products palace is on one side, the agricultural palace on the other, and the suggestions worked out in the corn of the ionic capital, the cereal wreaths on the frieze, the sheaves of wheat, are most happy decorations for just this court. - pass to the pool beyond and stop to read the quotation. (from spenser's "faerie queene") on the western gateway. "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 silken cassock coloured greene then came the autumne all in yellow clad lastly came winter, clothed all in frize chattering his teeth, for cold that did him chill." - facing the half dome, walk first to the second niche to the right of the colonnade to examine furio piccirilli's seasons. spring - a pyramidal group with spring with her flowers in the center of the group. to the right is modest, timid, fresh young flora, bringing her wealth of flowers. to the left, one sees man adoring, bringing to mind tennyson's lines from locksley hall. "in the spring a young man's fancies lightly turn to thoughts of love." here is that fine feeling that one has in beautiful springtime - the adoration for all fresh young life. look above now at milton bancroft's murals to left and right. he has painted all of the murals in this court. "spring" is here in floral dress and the shepherd pipes sweet notes. "seed-time" - this is the time when the seed bag stands open so that the crops for the coming year may be sown. - marble group of summer - go to the left, along the corridor beyond the gateway, to the second niche - this group expresses fruition. the mother brings to her husband the babe, the fruit of their love. the laborer at the right brings in the first harvest. - murals summer - this is the period of the year when man amuses himself, when the games are in progress. one sees the disc thrower at the left resting after the game. summer is crowning the victor of the canoe race. fruition - fruits, vegetables, flowers fulfill the meaning of the subject. - now pass out into the open to the niche at the left of the gateway of the east. in the niche is autumn, a mature figure indicative of the maturity of the year. (mr. piccirilli calls her providence.) it is the time of the harvests. the apples, the grapes, and even the human family are being harvested. the wine is being made and the great vine-decked jars are filled with the ruby fluid. - murals autumn - the colors speak of autumn. here is seen the amphora of wine, the tambourine, the rhyton, the greek drinking horn, and the raised greek cup - all suggesting the time of festivity after the harvests. harvest, and one sees the garnered wheat and vegetables. - standing between the two central columns and looking toward the half dome, the eye wanders to the summit, and there, seated on her great cornucopia, the symbol of abundance, is harvest with her plenteous supply of luscious fruits. the dates from the south are being borne in on one side, while the great sheaves of wheat are seen on the left. - standing on the pedestal at the right of the half dome is rain (by albert jaegers) catching the drops in her shell. sunshine (by albert jaegers) shielding her eyes with the long palm branch - the rain and the sunshine so necessary for the harvests. walk over to see the detail of the capitals and bases of the columns. on the capitals of these pedestals, on which rain and sunshine stand, are the small figures of harvesters - a most charming, original treatment. at the bases one sees harvest scenes. the agriculturists pass along to their labors. the women and children accompany the laborers, expecting to help in the many duties of the harvest field. the dog, wagging his tail, follows after the children, and all is activity. - you will now find it convenient to examine the murals on either side the great half dome. facing the dome. on the right is man receiving instruction in nature's laws. the work is perfectly plain. you could not go astray if you simply read the inscriptions. an interesting thing to notice is that "mother earth" is a man bearing fruits and that "father neptune" is a woman with a trident. nature's laws are applied to: earth, water, fire. love, life (protecting the flame of life) and death. on the left is: art crowned by time. the queen of art with her sceptre and palette (with the suggestion of architecture in the temple in the background) is crowned by father time, holding his hour-glass. his scythe is seen in the background. time is bestowing the laurel wreath. at the sides stand the arts of - jewelry making, weaving, glass making, painting, smithery, pottery. the emerald pool is before you wreathed with the cotoneaster bufolia with its wealth of red berries. - pass now to the last season of the year in the niche to the left of the half dome, winter. - before you is naked winter. back of her is the leafless tree, with splitting bark. at the left one feels that man rests after the activities of the harvest season, but there is an added idea in mr. piccirilli's words, "in winter, the central figure is nature resting, or rather in a state of conception. to the right an old man is resting after having prepared the soil for the seed; at the right a strong man is sowing." murals winter with the snow on the ground. the fire is necessary; faggots have been gathered; the animals are brought in for the winter food. the time for spinning has arrived during the long winter evenings (considering the life of today this idea is almost obsolete). festivity - winter strikes the strings of the harp and gaiety is about to glide forth. - the seasons are again suggested by names of the signs of the zodiac on the gateways, aries, taurus, gemini, cancer, leo, virgo, libra, scorpio, sagittarius, capricornus, aquarius, pisces. - look thru the entrance into the court of palms at the horticultural palace across the way - a fine green and white picture. turn back into the court of the four seasons and below the half dome will be seen albert jaeger's nature (there is a great probability that this will not be placed). mother earth, the great mother, sits in the center. on the left, carrying the shell, is the sea. on the right, upholding the globe, is the heavens. - read the quotation from george sterling's "the triumph of bohemia" to make the connection with your nature group: "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." near by are august jaeger's figures of abundance, four times repeated on each gateway; also his spandrel figures, still adding harvest thoughts. walk along the colonnade to the right - as you pass the fountains, you will notice how the water slips its silvery pink reflection from the wall down the terraces into the pool below, producing almost a sunrise or a sunset effect. the long hanging vine on the wall above is muhlenbeckia, the so-called maidenhair vine. the shorter vine is lotus bertolletti, showing later its red claw-like flowers. court of palms as a balance to the court of flowers at the east end of the block of palaces is the court of palms at the west end. the general effect in color of decoration is pink and blue. the columns are coupled ionic of smoked ivory, producing a most lovely effect against the pastel pink walls back of them. the caryatids lining off the pink and blue marble panels show a soft flush of pink. (these are by a. stirling calder and john bateman.) the festoons of fruits at the side of the panels are accented in deeper blues and soft reds. notice the delicate figures on either side the cartouche over the portals. the pinks and blues are so delightfully combined. between the columns, against the wall, are balled acacias. the pool in the center of the court might be called the pool of reflections. in front of this court is "the end of the trail," by james earle fraser. before you is the end of the indian race. the poor indian, following his long trail, has at last come to the end. the worn horse and its rider tell a long, pathetic story. by the entrances are great vases on which in low relief are bacchanalian scenes. satyrs form part of the handles. - over the doorways are beautifully colored murals. on the west - fruits and flowers, by childe hassam, a fine area of superb color. on the east - the pursuit of pleasure, by chas. holloway, gracefully carrying out the idea of this court. on the north - "victorious spirit," by arthur f. matthews. this wonderful golden note represents the victorious spirit, the angel of light, with widespread wings of protection. she is the means by her gentle influence of keeping materialism (represented by the horse driven by brute force) from riding over the higher expressions of life. muhlenbeckia borders the pool, producing a most fernlike effect. at the side, in front of the flanking italian towers, are erica and epacris, in lavenders and pinks, accented by deep lavender pansies. the tiny border to the beds is myrtus ugni. the wallflowers, interspersed with spanish and english iris, are massed thruout this court, with rhododendrons in the corners. against the foundations is pink-and-cream lantana. the palm is the strong feature of the court. on either side the portal italian cypresses have been used. the lanterns in the corridors have been modeled from roman lamps, and are particularly beautiful in perspective. the court of flowers dedicated to the oriental fairy tales. this exquisite court is by geo. kelham of san francisco, who came from new york just after the san francisco fire to help in the reconstruction of the city. he is a man of pronounced ability and has just won in the competition for plans for the new san francisco public library. the court is made one of great beauty by the collaborated work of mr. geo. kelham, the architect; mr. jules guerin, the colorist, and mr. john mclaren of san francisco, the chief of landscape gardening. a loggia runs around the second story of the court, interrupted along the face by niches which hold "the oriental flower girl," designed by mr. a. stirling calder of new york, but worked out in the studio of the exposition. coupled columns, suggesting glacial ice, form a colonnade around three sides of the court, the fourth side opening into the avenue of palms. as you walk down the main path of this court you are held spell-bound by the fairy-like appearance of the albizzia lophantha, trimmed four feet in height, the top of which branches out into a head five feet across. one has the feeling of meeting fairies with their skirts out ready for the dance - a veritable fairy ballet. nothing could be more lovely than this remarkably treated tree. the rich yellow fluff that will soon appear, lasting for some four to six weeks, will be one note of the yellow chord to be struck in this court-pansy, daffodil, albizzia, the orange and the yellow background of niches. (this floral music for march and april.) a symphony in yellows. the groups of trees at the north are the eugenia myrtifolia. every one appreciates the blessing of the trees and flowers, without which the exposition would have lost much of its beauty. the flowers used at the opening of the exposition can alone be given, but these will serve to show the plan of arrangement. the six lions are by albert laessle, who has many fine examples of his animal life in the fine arts palace. the fountain of beauty and the beast, which should have been placed in the court of palms, the court of occidental fairy tales, is by a young san franciscan, edgar walters, whose fine bears can be seen in the fine arts palace. the base of the fountain shows a procession of beasts - the bear, the cynocephalus ape, the lion. upholding beauty and the beast are fauns and satyrs, playing on their pipes. - walk down the colonnades and take note of the coupled smoked ivory pilasters on the pink ground. a fawn-colored ceiling has suspended from it italian bronze lanterns - the bronze suggestive of the color of the blue eucalyptus. at night these lanterns glow with color. in front of the court of flowers is "the american pioneer," a fine meaningful equestrian figure, by solon borglum of ogden, utah. i am taking the liberty of quoting secretary lane's inspiring words given at the opening of the exposition - a fine retrospect that we must not lose sight of when we look upon the determined woodsman of the early american life: as i went through these grounds yesterday, i looked for some symbol that would tell me the true significance of this moment, i saw that the sculptor had carved prophets, priests and kings; he had carved the conquerors of the earth, the birds in the air and the fish in the sea. he had gone into legend and history for his symbols, but in none of these did i find the suggestion that i sought. i found, however, in the court that lies before us, the simple, modest figure hidden behind some soldiers - a gaunt, slim, plodding figure, and i said to myself, there is the figure that represents this day, for without the american pioneer we would not be here this day, no banners would be flying, no bands playing. he has-lived for centuries and centuries. he took sail with ulysses and he was turned back. he took sail with columbus, and when he heard that sailor shout, "sail on and on," his heart was glad; but columbus found his way barred, and then this pioneer landed at plymouth rock, and with that band of oxen he has trudged his way across the continent, he has gone through the sodden forests, where nature for a thousand years has conspired to make his pathway impossible. he has gone through the icy streams, climbed the mountains, tracked his way over the plains, over the land where there is no horizon, gone through the gorges where the titans have been, and at last he has got it, beside the golden gate, beside the sunset sea, and founded himself this city, this beautiful city of dreams that have come true. and he has done more than that, he has gathered around himself his sons, and now they set themselves down here to tell each other tales of their progress through the centuries. the sons of the pioneers - theirs be the glory today, for they have slashed the continent in two, they have cut the land that god made as with a knife, they have made the seas themselves to lift the ships across the barriers and mountains, and this accomplishment we celebrate. they have brought the waters of the far sierras and turned these waters into living light that put new stars in the heavens at night. they have hung their sky-line with a garden of flowers; they have worked a magic. they have gathered here in all these temples to tell their victory - the pioneers - what they have done and in what manner. this city has been finished in blue and gold, in scarlet and purples and the greens of the sea, and burnt brown, and the scene shown the pioneer has made the architecture of the centuries to march before their eyes in columns and colonnades. the long journey of this light figure of the pioneer is at an end, the waste places of the earth have been found and filled, but adventure is not at an end; the greatest adventure is before us, the gigantic adventures of an advancing democracy - strong, virile and kindly - and in that advance we shall be true to the indestructible spirit of the american pioneer. the italian towers architect - geo. kelham of san francisco. architecture - italian renaissance with byzantine touches. (see picture facing page .) these very beautiful towers are seen in pairs on either side the court of flowers and the court of palms, and assist in the fine balance preserved thruout the block of palaces. they are not alike, as you will see when you examine them. the pair flanking the court of flowers is far simpler, and produces quite a different effect, when illuminated, from its sister towers. the vibrant red that seems to give throbbing life to these beautiful towers is one of the chief glories of the night-glow. the entrances at the base of the tower are accented by magnificent siena marble columns, and the coloring from these entrances to the top of the towers is most unique. the long rectangular height is admirably treated with a most original diaper design. jules guerin, the colorist, has used small areas of color on the towers to play upon the color of the courts below. for instance, note the pastel-pink walls, the greatest color area of the courts reflected, as it were, upon the largest colored area of the towers; the travertine of the courts acting as a background for the towers, the burnt orange capitals shown in the use of the same color on the tower, the indian red appearing through the design as it appears on the capitals. the result is a sort of dissonance that makes the harmony of the courts more charming than ever. the most adroit management of the blue-checkered border is seen. it is the means of drawing your colored diaper work toward that blue background, the sky, and is superb in its connecting force. the little towers above, with the turquoise-blue columns, show a most daring use of color when you consider the colors below, but how admirably that turquoise blue works onto the domes and the blue columns of the tower of jewels. the longer you look at the italian towers the more you come to feel their subtle connection with the beauties around. only a genius could manipulate his colors as jules guerin has done in this splendid work before you. the repeated cartouche in turquoise blue has a most lovely effect upon the whole. poised on the top of the italian towers is the fairy (by carl gruppe). she looks afar and sees the vision of this wondrous exposition. the palace of fine arts architect - bernard r. maybeck of san francisco. architecture - old roman in the main, with italian renaissance features. in the background is the fire-proof art gallery of rooms. in front is a pergola, extending along an arc feet from end to end. ochre columns are closely grouped with pale green ones. the roman corinthian capitals are burnt orange with an indian-red ground. the columns sweep forward on either side the rotunda, in the dome of which are robt. reid's eight murals. st panel - birth of european art. the central point of the picture is the altar on which is seen the sacred fire. the guardian of this altar holds the torch. she has three attendants, one holding a flask of oil, one pouring oil upon the altar and ready to apply the torch should the flame grow dim, a third one carefully watching the flame. an earthly messenger, holding back his rearing steeds, leans from his chariot to receive the torch of inspiration. a winged attendant checks for an instant the flight of these steeds. in the left corner a woman holds a crystal ball in which the future of art is revealed. nd panel - the birth of oriental art. the forces of earth try to wrest inspiration from the powers of the air. this is shown in an ancient ming legend. we see a chinese warrior, mounted on a writhing dragon, combating an eagle. japan is seen under the great umbrella. two more oriental figures are seen. rd panel - ideals in art. greek ideal in the classic nude is seen. religion - madonna and child. heroism - joan of arc. youth and material beauty - young woman on the left. absolute nature without ideal or inspiration - peacock. mystic figure in background holds cruse of oil to pour onto the sacred flame. a winged figure floats above with laurels for the victorious living. a shadowy figure in foreground holds the palm for the dead. panel - inspiration in all art - music, painting, architecture, poetry, sculpture. the torch that kindles the arts is again seen. the veil of darkness is drawn back, revealing the arts. there are also four panels showing the four golds of california - gold, wheat, poppies, oranges. "the whole scheme is to show the conception and birth of art, its translation to earth, its progress and acceptance by man." below these murals, on the octagonal drum, is the priestess of culture, by herbert adams, eight times repeated. this outline has been taken from the official report. the dome of the rotunda is burnt orange, with the guilloche below it worked out in turquoise green. notice the great flower receptacles filled with the reddish cryptomeria of japan. in front of the rotunda is ralph stackpole's kneeling figure. she is a devotee to art, beauty, truth, and kneels at the altar. among the trees along the pergola are many statues in bronze and marble. don't fail to see janet scudder's bewitching fountain figures as you walk past the pergola. at the south, near the pool, among the trees, sits st. gauden's fine "lincoln." opposite is j. q. a. ward's statute of "henry ward beecher." around the corner, "the bisons," by proctor. follow along by the pool and you meet "the scout," by cyrus dallin. no words can describe the great poetic beauty of this fine arts palace. it seems to be the pivotal part of the exposition, the goal of all pilgrimages, the altar on which you place your ideals. it has so many moods that one must see it in all seasons, during all times of the day, and especially under the illuminations. the figure of "aspiration," by leo lentelli, is suspended - as is all aspiration - over the main entrance of the fine arts palace. walk over to administration avenue so that you can look across the pool at the panels. they are by bruno zimm of new york. they represent the arts and a long procession of devotees. in the center of one panel, called "the unattainable in art," one sees art represented. on either side is the battle between the idealists, the materialists and the artists. many idealists have fallen, but the centaurs, the materialists, seem to be held back by the artists who are striving to reach art herself. we are all striving to reach the so-called unattainable, but it means the battle with materialism before we can do it. yonder stand beauty, health, truth - the flowers of the spirit - but we must pass the centaur to make that figure of truth attainable. then comes the apollo panel, and apollo, the leader of the arts, in his chariot, seems to be in a long procession preceded and followed by devotees of the fine arts. next comes the pegasus panel, indicating inspiration in the arts. ahead, marches music with his lyre, who, like a sort of orpheus, is stilling even the beasts. the figures between the panels represent those who stand ready to do battle for the arts. ulric h. ellerhusen has done the flower boxes, with women at the corners. vines were to have fallen over the figures from the boxes, allowing only a shoulder, a head, or a long line of the drapery to appear, but the plans had to be changed, hence the figure now in full evidence. the women are looking into the flower-laden boxes. as you stand by the pool, notice the shrubs and flowers near by. near the columns are monterey cypresses. grey-green artemisia is between the columns. ten thousand periwinkles are on the banks. five thousand spanish iris. many japanese iris. california incense shrub. yellow primroses. one thousand white callas. one thousand yellow callas. one thousand california violets. the shiny-leaved coprosma from chili. blue-flowered buddleia. groups of pittosporum. pampas grass from brazil. hundreds of daffodils (in march). the weeping willows. a great group on the north of erica, epacris, and cryptomeria. across from the erica is the red-berried cotoneaster horizontalis. near the columns on the north side by the pool grows the purple agapanthus. the catalina cherry is massed against the building on the north. the pink-flowered escallonia is found under the columns near the pool. the orange-berried pyracantha cretaegus is seen in all its glory on the north. heliotrope makes the air one of sweet perfume. polygala, with pea-like blossom, is seen near the base of the columns. in the pool have been put five hundred papyrus plants and five hundred japanese water lilies. these are a few of the many wonderful blooms seen here. the vistas and reflections are ever new and beautiful from every turn of the pool. palace of horticulture architects - bakewell and brown of san francisco. architecture - byzantine in the arrangement of the domes (the mosque of ahmed i of constantinople being the inspiration) and in the use of tall finials suggesting minarets, but quite french in its ornamentation. the building is one of great beauty and is considered one of the finest exhibit palaces ever erected at any exposition. the ornamentation below the dome is by boutier. the caryatids of the caryatid porch are by john bateman of new york. the great opulence of the harvests of california is brought to mind by the lavish abundance of the ornamentation on this building. the combination of the smoked-ivory color of the travertine and the lattice green of the decorations produces a more lovely effect. the basket atop is over thirty-three feet in diameter. the dome is feet in diameter. st. peter's dome is feet; the pantheon dome is feet. under the dome will be a constant display of hothouse plants. at the opening of the exposition were seen cinerarias and cyclamen of glorious hue. a wonderful display of orchids is seen in another portion of this great building. those interested in orange packing will have a chance to see the different stages of the packing as shown from the arrival of the fruit at the packinghouse to the nailing of the cover on the box. a model olive-oil press is in working order and will afford great interest. great steel framework will enable the vast amount of glass of the dome to withstand the wind pressure. the dome will be illuminated three times a week. it will at times look like a great pearl or a fiery opal. luther burbank, the wizard of horticulture, and carl purdy, of bulb and wild flower fame, will have headquarters at this palace during the entire exposition, ready to answer and help those who apply to them. sixty-five acres of land are to be devoted to horticultural interests. the netherlands have fifty-three thousand square feet in a wonderful display of bulbs and other plants. horticultural interests all the areas on the exposition site were composed of drifting sands or sands that had been pumped in from the bay, upon which no ornamental plant could grow. it was necessary to bring down from the sacramento valley rich soil (fifty thousand cubic yards), and spread sixteen thousand cubic yards of fertilizer over that, in order to maintain lawns, trees and shrubs. an immense number of trees, ranging from thirty to sixty feet in height, were moved from golden gate park and the presidio of san francisco. it is the largest number of evergreen trees ever moved in connection with any landscape work. many plantings will be made thruout the exposition. it will require the moving of four hundred thousand plants each time a change is made. work on the eucalyptus trees was started two years ago, when the plants were six inches high, in flats. these little trees were transferred into other flats and placed on hot beds. after six weeks of this treatment they were transferred to -inch boxes. they remained there for a period of eight months and then were put into -inch boxes and made a vigorous growth. they are now feet in height. in boxing large specimen trees the following method was adopted: the trees were side-boxed, and, after the roots were cut, three inches of space was allowed between the ball and the sides of the box, and this three-inch space was secured with good surface soil so as to start side-root action. the plants were mulched and watered for a period of from four to six months, when the bottom of the box was put on. this method has been most successful in transplanting palms and trees in general. (these facts were kindly given by mr. donald mclaren of the department of landscape gardening, san francisco.) the south gardens throughout the exposition these garden beds are to show a succession of blooms. at the opening of the exposition five thousand daffodils were in bloom over two hundred thousand yellow pansies. - the south gardens, besides having two great pools, at the end of which are the mermaid fountains by arthur putnam of san francisco, have a most decorative fountain called the fountain of energy. in the pool below are seen great sea animals, representing: . the atlantic ocean, with coral in hair and seahorses in her hand, riding on the back of an helmeted fish, suggestive of armored cruisers, etc. . the north atlantic, an esquimaux riding the walrus, ready to spear the enemy. . the south atlantic, a negro riding on the back of a sea-elephant playing with an octopus. . the pacific ocean on the back of a great creature unknown on land or sea. in the pool, on the dolphins' backs, ride most charming sea maidens. around the base of the earth are grouped sea spirits. the earth shows on one side a great bull representing the western hemisphere, a great lioness denoting the eastern. one sees the swirling of the waters around the figure of panama. surmounting the globe, standing in his stirrups, rides energy, the force that has overcome the play of the waters and has put thru the panama canal. energy is strongly suggested by this stalwart male, who rides on, having surmounted all difficulties. this is the great power that is responsible for the completion of the panama canal, and fame and victory blow bugles long and loud from his shoulders. the idea of energy is further carried out by the splendid play of the waters from the fountain itself, tremendous force being evident. - at the west end of south gardens, opposite the band concourse, are most interesting groups of trees, shrubs and flowers. the members of different floral families have taken the opportunity of meeting and establishing themselves in the same neighborhood, and the result is delightful for the lover of flowers. now is the time to study differences and similarities in the plant world - and our opportunities are appreciated. notice the splendid groups of trees and shrubs on either side of horticultural palace. monterey pines, monterey cypresses, lawson cypresses, acacias, laurustinus, veronicas and dahlias are grouped so as to make a most remarkable effect in form and color. the dracaena canariensis or canary palm, as we are in the habit of calling it, and the washingtonia robusta, or california fan palm, are seen in alternate arrangement, double rows on either side the avenue of palms. on the south side of the exposition grounds is a wall, twenty feet high, of living green. it is made of mesembryanthemum spectabilis put in boxes, six feet by two by two and a half inches, filled with earth, over which is put a wire-mesh screen. this is the first time this work has been tried and it has proved to be a thorough success. festival hall architect - robt. farquhar of los angeles, california, widely known for his fine domestic architecture. on the south side of the avenue of palms, opposite the court of flowers, stands the building in which the majority of the musical festivals of the exposition are to be held. the main hall will hold three thousand people. there are about five hundred conventions to meet here during the time the exposition is open. the organ, of marvelous tone and sweetness, is one of the finest in the world. edwin h. lamare of london will give one hundred performances, each recital beginning at m. he starts his musicals the first of june. the building is french in style, having been inspired by the beaux arts theatre, paris. it has a large dome, the cupola of which is lighted by projectors beneath the floor of the building. sherry fry of iowa has done the sculpture, all of it being suggestive of festivity. bacchus, with his grapes and wine skin, reclines on one side, while "the reclining woman" listens from her position. on the west are two floras with their festoons of flowers. little pan sits with his panpipes on an ionic capital over which is thrown a fawn skin. he has just stopped playing to watch the lizard that creeps at his side. the torch bearer, a most graceful figure, is poised on each corner dome. a border of pinkish-lavender hydrangeas, four feet in diameter, with a fringe of lavender and pink baby primroses, adds much to the beauty of this spot. pinkish-lavender erica, or heath, borders the steps leading from festival hall to the avenue of palms. above the western entrance one see the old greek drinking horn, the rhyton, suggestive of festivity. the color scheme jules guerin, probably the greatest man in his particular line in the world, has had complete charge of the exposition coloring. he has used only five colors, but of course these colors are not all the same tone. all walls are pastel pink or a sunset shade, as seen in the court of the ages. all niches are the same shade. all ceilings and shells are ultramarine blue, with two exceptions. the court of the ages is a pastel blue, and that of the court of palms is fawn-color. the domes of the fine arts palace, and the court of the universe, are burnt orange, or, as one writer has expressed it, "sea-weed washed with brine." the other domes are an oriental green, approaching copper-green. the capitals when colored are burnt orange, with either an ultramarine-blue or an indian-red ground. columnettes and a few decorative bands are of turquoise-green. there is a unity, a balance, a color beauty all unto itself. you see it in the architecture, sculpture, and painting, in the arrangement of the decorations, in the courts. then over it all hangs the spirit of romance such as surrounds the days of old castile. a mediaeval beauty and splendor bring longings for the pageants that would add a world of interest. there is a graeco-roman appeal in the long colonnades, the porticoes, the fountains, the courts. the orient is strongly marked by the domes, the minaret suggestions, the elephants, and minor details. it is an arabian-nights-tale - not a thousand and one nights, but two hundred and eighty-eight. siena marble is used mainly at entrances and for pedestals. the travertine is pinkish, grey and cream. doorways in shadow are of lattice green. flag-poles are colored spanish red. lighting standards are green, ochre, or eucalyptus blue. banners are ochre and cadmium. the world has never seen such an occidental-oriental harmony as in this exposition. the traditions of the olden days are so strongly worked into these palaces and courts that one feels more than he can tell when wandering in this world of beauty; and we the laymen owe a debt of gratitude to the architects, sculptors, painters, horticulturists, financiers, engineers and the workmen who have given us this dream city of . index abundance acroterium adams, herbert adventurer adventurous bowman agriculture air aitken, robert american pioneer angel of peace apollo panel aquatic maids arch of rising sun arch of setting sun armoured horseman art crowned by time arts aspiration atlas autumn bacchus bacon, henry bakewell and brown bancroft, milton bateman, john beach, chester beauty and the beast beecher, henry ward bisons borglum, solon brangwyn, frank bucrania burden bearers burroughs, edith woodman calder, a. stirling canephori caryatids ceres cortez crusader cummings dallin, cyrus edwin dawn of life day triumphant deneville, paul descending night dodge, frank de leftwich domes dome of philosophy dome of plenty du mond, frank vincent eagles earth education electricity ellerhusen, ulric h. elwell, frank edwin emerald pool end of the trail fairy farquhar, robert faville feast of the sacrifice festivity, fire flanagan, john fountain of el dorado fountain of energy fountain of psychology of life fountain of youth four golds of california fraser, james earle french, daniel cheater fruits and flowers fruition fry, sherry genii of machinery genius of creation gentle powers of the night gerlach, gustave gruppe, karl guerin, jules harley, charles harvest hassam, childe hastings, thomas helios hermes holloway, chas. hospice of santa cruz, toledo humphries, charles a. imagination invention jaegers, albert jaegers, august joy of living kelham, george kneeling figure konti, isadore laessle, albert lentelli, leo lesson of life lincoln, abraham lions listening to the sound of the ages longman, evelyn mckim, meade and white mclaren, john macneil, hermon a. man receiving instruction in nature's law (mural) manship, paul matthews, arthur maybeck, bernard r. men from atlantic mermaid fountain miner mullgardt, louis christian music nahl, perham nations that have crossed the atlantic (mural) nature natural selection newman, allen niehaus, charles old world handing burden to new world oriental flower girl pan panama canal (murals) patigian, haig pegasus pegasus panel peters philosopher piccirilli, furio pirate pizarro pool of reflections power of industry priest priestess of culture priestess of religion primitive man proctor, p. providence pursuit of pleasure putnam, arthur rain reclining woman reid, robert richardson, symmes rise of civilization rising sun roth, frederick rumsey, charles saint gaudens, augustus scout, the scudder, janet seed time setting sun simmons, edward spanish cavalier spring stackpole, ralph star, jeweled stea, cesare steam power summer sunshine survival of the fittest thought tonetti torch bearer triumph of the fields unattainable in art varied industries victorious spirit walters, edgar ward, j. q. a. ward and blohme warrior water weinert, albert weinmann, a. a. whitney, gertrude v. winter, workman young, mahonri zimm, bruno zodiac, signs of this ebook was produced by david schwan. the art of the exposition personal impressions of the architecture, sculpture, mural decorations, color scheme & other aesthetic aspects of the panama-pacific international exposition by eugen neuhaus university of california chairman of the western advisory committee and member of the san francisco jury in the department of fine arts of the exposition to the panama-pacific international exposition. a great work of peace. these lines are appreciatively dedicated may the first publisher's announcement the following pages have grown out of many talks given during the year by mr. neuhaus to his students at the university of california. presented to the public in the form of a series of evening lectures at the university, and repeated before many other organizations throughout california, his interpretation of the art of the exposition roused a demand for its repetition so widespread as only to be met by the aid of the printing press. san francisco, california may , contents the architecture the architectural scheme, the setting and the style of the architecture. the sculpture its relation to the architecture, its artistic meaning and its symbolism. the color scheme and the landscape gardening the color elements as furnished by the artist and by nature; the horticultural effects. the mural decorations the intellectual emphasis of the color scheme, and the significance of the mural decorations. the illumination - conclusion the exposition at night. appendix guide to sculpture, the mural decorations, biographical notes. list of illustrations the tower in the court of abundance. louis christian mullgardt, architect. (frontispiece) under the arch of the tower of jewels. mckim, mead and white, architects view through the great arches of the court of the universe. mckim, mead and white, architects niche detail from the court of the four seasons. henry bacon, architect the court of the four seasons. henry bacon, architect northern doorway in the court of palms. george kelham, architect entrance into the palace of education. bliss and faville, architects detail from the court of abundance. louis christian mullgardt, architect the palace of fine arts. bernard r. maybeck, architect colonnade, palace of fine arts. bernard r. maybeck, architect. portal of vigor in the palace of food products (in the distance). bliss and faville, architects colonnade, palace of fine arts. bernard r. maybeck, architect the setting sun. adolph a. weinman, sculptor the nations of the west. a. stirling calder, frederick c. r. roth, leo lentelli, sculptors the mermaid. arthur putnam, sculptor the adventurous bowman supported by frieze of toilers details from the column of progress. hermon a. macneil, sculptor the end of the trail. james earl fraser, sculptor autumn, in the court of the four seasons. furio piccirilli, sculptor the pacific-detail from the fountain of energy. a. stirling calder, sculptor the alaskan-detail from nations of the west. frederick c. r. roth, sculptor the feast of sacrifice. albert jaegers, sculptor youth - from the fountain of youth. edith woodman burroughs, sculptor truth - detail from the fountain of the rising sun. adolph a. weinman, sculptor the star. a. stirling calder, sculptor the triton - detail of the fountains of the rising and the setting sun. adolph a. weinman, sculptor finial figure in the court of abundance. leo lentelli, sculptor atlantic and pacific and the gateway of all nations. william de leftwich dodge, painter commerce, inspiration, truth and religion. edward simmons, painter the victorious spirit. arthur f. mathews, painter the westward march of civilization. frank v. du mond, painter the pursuit of pleasure. charles holloway, painter primitive fire. frank brangwyn, painter night effect - colonnade of the palace of fine arts. bernard r. maybeck, architect official poster. perham w. nahl ground plan of the exposition the art of the exposition the architecture it is generally conceded that the essential lesson of the exposition is the lesson of art. however strongly the industrial element may have asserted itself in the many interesting exhibits, no matter how extensive the appeal of the applied sciences may be, the final and lasting effect will be found in the great and enduring lesson of beauty which the exposition so unforgetably teaches. the visitor is at once stirred by the many manifestations of art, presented so harmoniously by the architect, the sculptor, the landscape architect, and the painter-decorator, and his attention is kept throughout by artistic appeals at every turn. it must be said in the very start that few will realize what is the simple truth - that artistically this is probably the most successful exposition ever created. it may indeed prove the last. large international expositions are becoming a thing of the past on account of the tremendous cost for relatively temporary purposes. there is still much of the popular conception abroad that the west has only very recently emerged from a state of semi-civilization inimical to the finer things of life, and to art in particular. but we may rest assured that the fortunate outsider who allows himself the luxury of travel will proclaim that the gospel of beauty has been preached most eloquently through the panama-pacific international exposition. the critic who prefers to condemn things will find small opportunity here, no matter how seriously he may take himself. the first sight of that great mosaic, from the fillmore-street hill, at once creates a nerve-soothing impression most uncommon in international expositions, and for that matter, in any architectural aggregate. one is at once struck with the fitness of the location and of the scheme of architecture. personally, i am greatly impressed with the architectural scheme and the consistency of its application to the whole. i fear that the two men, mr. willis polk and mr. edward bennett, who laid the foundation for the plan, will never receive as much credit as is really due them. i hope this appreciation may serve that purpose in some small way. it was a typically big western idea, an idea that as a rule never gets any farther than being thought of, or possibly seeing daylight as an "esquisse" - but seldom any farther than that. the burnham plan for san francisco was such an unrealized dream, but here the dream has achieved concrete form. the buildings as a group have all the big essential qualities that art possesses only in its noblest expression. symmetry, balance, and harmony work together for a wonderful expression of unity, of oneness, that buildings devoted to profane purposes seldom show. i do not know how many people who visit the exposition are so constituted as to derive an aesthetic thrill from artistic balance, but i imagine that any person, no matter how inexperienced in matters of art, will rejoice at the fine feeling of orderly arrangement of major forms which runs through the entire grouping. it is simplicity itself, and it serves an excellent practical purpose, enabling one to visit the exposition without being left a nervous wreck at the end. the main entrance leads one into the physical center of the exposition. from there, on the first visit, one realizes the existence of an equally large area on either side, covered with objects of interest. the main exposition, composed of a compactly arranged group of large buildings of approximately equal size, is symmetrically placed on either side of the main central court, the court of the universe. this sends out its avenues into two equally proportioned side courts - the court of the four seasons on the west and the court of abundance on the east. while the main court rests right in the center of the eight buildings, the side courts fit snugly into the center of the four buildings on either side. this arrangement of large masses, comprising the bulk of the exposition, creates a grateful feeling of repose and of order, without being in the least uninteresting, for while there is perfect symmetry, on the one hand, in the larger masses, there is plenty and ever changing variety in the minor architectural forms and embellishments. the same balance, the same interesting distribution of architectural masses, continues on either side of the main building. in machinery hall, on the one hand, and the fine arts palace on the western side, perfect balance is again maintained. that is, however, not the end of it all. loosening up in a very subtle way, we find cleverly arranged the buildings of the various states of the union and of foreign nations on the western side of the fine arts palace, while at the other extremity of the main group, screened by machinery hall, is the amusement section, officially labeled "the zone." i do not suspect that the zone is intended to give any artistic thrills. if so, i would propose to call it "the limit," and so i drop it as a subject for further artistic, reference. it is invaluable, however, as an object lesson in showing the fatal results of the utter disregard of all those fundamental laws of balance, harmony, and unity so uniformly and persistently applied through the seriously designed main body of the exposition. there is no harmony whatever in the zone anywhere, either in the form, style, or color, unless it be the harmony of ugliness which is carried through this riotous mêlée of flimsiness and sham. i cannot help but feel that this hodgepodge will convince the most doubting thomas who might believe in the mob rule of hundreds of conflicting tastes. the zone is not an improvement on similar things in former expositions. save for certain minor exceptions at the entrance, it will serve as a wonderfully effective illustration of the taste of the great masses of the people, and as a fine business investment. so far, we have moved only along the east and west axis of the exposition. the north and south development is not without its charm. the terraced city of san francisco, on the south, without a doubt looks best on a densely foggy day. with its fussy, incongruous buildings - i hesitate to call them architecture - it serves hardly as a background for anything, let alone a group of monumental buildings. the opposite side, where nature reigns, atones for multitudes of sins that man committed on the city's hills. but how great an opportunity there was lost! there are, however, some indications at the western end of broadway that give fine promise for the future. the bay and its background of rising hills and blue mountain sides provide, the wonderful setting that so charmingly holds the exposition. the general arrangement of the exposition pays its respects to the bay at every possible angle. the vistas from the three courts towards the bay are the pièces de résistance of the whole thing. it was a fine idea, not alone from an economic point of view, to eliminate the two arches which appeared in the original plan at the end of the avenues running north from the court of the four seasons and the court of abundance. there is hardly anything more inspiring than to stand in any of the three courts and to look north through those well proportioned colonnades over the blue bay towards the purple foothills of marin county, crowned by the graceful slopes of mount tamalpais on one side and the many islands of the bay on the other. it is surprising into how many enchanting vistas the whole arrangement resolves itself. for the city-planner the exposition contains a wonderful lesson. what fine cities we might have if some artistic control could be exercised over the buildings which are to stand opposite the junction of one street with another, not only at right angles, but also at lesser degrees - for instance, in all cases of streets running into market street from the northwest. to point out some particularly fine vistas, among many, we should mention that from the orchestral niche in the court of the four seasons, looking toward the bay, or from the same court toward the fine arts palace - and many more. the natural background seems to have been considered always, even in the arrangements of the smallest apertures. one should not overlook the two open courts which run off the main avenue, like charming coves in an island, into the main group of buildings, connecting at their ends with the court of the four seasons at the west and the court of abundance toward the east. these two, the court of palms and the court of flowers, have not so much the charm of seclusion of the more centrally located courts, but their architecture makes them of great interest. as to the style of the architecture of the main group of eight buildings, it has been called classic. if one means by that something excellent, something in good taste, we must admit that it is classic indeed. however, on closer examination it becomes very evident that the individuality of many men has found expression in the architectural structural forms, as well as in the minor and decorative forms. the main tower of jewels, by carrère and hastings, marking the center of the whole scheme, has a distinct character of its own. there is no doubt that it is effective, but while its chief merit lies in its colossal proportions and its relative position, i feel that it lacks that oneness of conception that characterizes almost every other architectural unit in the exposition. one feels too much the stacking up of story after story, that effort to fill the requirements of a given great height, very much as a boy sets up blocks of diminishing size, one on top of the other, until he can go no further because there are no smaller blocks. the whole effect of the tower is too static. of its architectural motives, almost too many seem devoid of much interest, and like the column motive, repeated too often. the very effective and decorative employment of "jewels" tends to loosen up and enliven the structure very much. on a sunny day the effect is dazzling and joyous. the tower has a feeling of dignity and grandeur, commensurate with its scale and setting. however, its great height is not apparent, owing largely to its breadth of base. the sather campanile in berkeley looks higher, though it is actually one hundred and thirty-three feet lower. the side towers at the entrances of the court of palms and the court of flowers, while not so imaginative as the main tower, are far more sky-reaching. as towers go, john galen howard's tower at the buffalo exposition in stands unsurpassed in every way as an exposition tower. the main court of honor, or court of the universe, as it is also called, designed by mckim, mead and white, impresses by its tremendous dimensions, which operate somewhat against its proper enjoyment. i believe that the court is too large - so many things are lost in it, and it does not convey the quality of shelter that the two lesser courts possess in such marked degree. the court of the universe will never be the resting place of the masses of the people, in spite of the recently added attraction of the band stand, a mixture of roman and arabic architecture out of keeping with the surroundings. the conventional architectural motives of this great court do not help very much in tempting one to stay, and if it were not for the great arches on the east and west and the very fine view toward the column of progress, i would feel tempted to classify it as a piece of architectural design of the stereotyped variety. it has all the great qualities and faults of the court in front of st. peter's in rome. there is too little play of landscape gardening in and near the court of the universe, a condition which will remedy itself with the breaking into bloom of the great masses of rhododendron which have been installed in the sunken garden in the center. like all careful interpretations in the classic architectural traditions, the court of the universe has a great feeling of dignity and grandeur, which gives the visitor a feeling of the big scale of the rest of the architecture. the court lacks, however, the individual note of the two side courts. toward the west, passing through a very characteristic avenue, in the style of the happiest phases of the italian renaissance to be found in florence, one enters the court of the four seasons, by henry bacon of new york. the chief quality of this court is that of intimacy. while by no means so original as the court of abundance, it has a charm all of its own, in spite of its conventional architectural characteristics, which are really not different from those of the main court of honor. however, a very happy combination of gardening effects and architecture, together with the interesting wall-fountains, screened by stately rows of columns, make for a picture of great loveliness. of all the courts, it has the most inviting feeling of seclusion. the plain body of water in the center, without statuary of any kind, is most effective as a mirror reflecting the play of lights and shadows, which are so important an asset in this enchanting retreat. during the exposition it will serve as a recreation center for many people who will linger in the seclusion of the groups of shrubbery and watch the shadows of the afternoon sun creep slowly up the surrounding walls. as an exposition feature, the court of the four seasons is a decided innovation. at st. louis, for instance, in , everything seemed to have been done to excite, to overstimulate, to develop a craving for something new, to make one look for the next thing. here, in the court of the four seasons, one wants to stay. most emphatically one wants to rest for awhile and give one's self over entirely to that feeling of liberation that one experiences in a church, in the forest, or out on the ocean. i could stay in this court forever. to wander into this court of the four seasons from any one of the many approaches is equally satisfactory, and it will prove a very popular and successful exposition innovation. speaking of the courts, one is bound to yield to the individual note of louis mullgardt's court of abundance, on the east of the court of the universe. of all the courts it has, without a doubt, the strongest individual note. it seems on first acquaintance to be reminiscent of the gothic, of which it has, no doubt, the quality of lightness, the laciness, and the play of many fine apertures and openings. it has, however, neither the gothic arch nor the buttresses of that period, and so far as its ground plan goes, it is thoroughly original. it looks as if carved out of a solid block of stone. this monolithic quality is particularly well brought out in the tower on the north. while not quite so intimate as the court of the four seasons, it conveys, a feeling of shelter and seclusion very well by showing an uninterrupted wall motive on all sides. the sculpture symbolism of this court is particularly fine. we shall return to it in a consideration of sculpture. the two minor courts by george kelham are particularly fortunate in their open location toward the south. their sheltered and warm atmosphere is quite in keeping with the suggestion of spanish renaissance which has been employed in the constructive and in the many decorative motives. the western court, or court of palms, is made particularly attractive by a sunken garden effect and pool. the effect of the court of flowers is similar in every way to its mate on the east. a consideration of these two courts, with their towers, leads easily into a study of the outer façade, which, so to speak, ties all of the eight palaces together into a compact, snug arrangement, so typical of the exposition. bliss and faville of san francisco are responsible for the very skillful use of simple, plain surfaces, accentuated and relieved here and there by ornate doorways, wall-fountains, niches, and half-domes. on the south, along the avenue of palms, are found some very fine adaptations of old spanish doorways, which deserve to be preserved. it is regrettable that we have no large museum on the coast where these fine doorways in the outer walls of the palace of varied industries could be preserved permanently. the travertine marble has nowhere been used more effectively than in just such details. the entrance of the palace of education at the western end of the south façade is also of great beauty of design. on the western end two huge niches or half domes command attention by their noble beauty and fine setting amidst great clumps of eucalyptus. on the north, no special effort has been made. there is, however, a decorative emphasis of the doorways along the entire front. on the east, facing the palace of machinery, some very fine doorways, very much like some of the minor ones on the south, furnish the decoration. it was no small task to bridge the many diversified architectural motives which penetrate into the outer wall from within, in the shape of many avenues and courts, and one can appreciate the difficulties of the designer who met so well these conflicting requirements. of the detached palaces outside of the eight forming the rectangular block nucleus, the palace of machinery attracts by its enormous size. i am not interested in how many kegs of nails and iron bolts and washers went into its anatomy. they add nothing to the artistic enjoyment of this very massive building. one point, however, in connection with the liberal use of the raw material is of artistic significance, and that is that the internal structural aspects of this great palace, as well as of the others, are not without charm and interest. it is only in recent years, and particularly in america, that the engineer has dared to invade the realm of the artist by attempting to make the constructive, anatomical material, like uprights, bracings, trusses, and beams, assume artistic responsibilities. it has been for many years the custom to expect the engineer to do his share in obscurity with the idea that it ultimately will be covered up by the work of the architect. the extraordinary development of engineering in this country, to meet new and original problems, sometimes of colossal proportions, particularly in the field of concrete design, has resulted in some conditions heretofore entirely unknown. i feel with much satisfaction that the unobscured appearance of the wood construction in the palace of machinery is very pleasing, owing to its sound constructive elements, as well as to a very fine regard for pattern-making in the placing of the bolts and braces. here we discover the engineer in the role of the artist, which he seems to enjoy, and which offers endless new opportunities, particularly in the field of concrete construction, as well as in wood. the great size of the machinery palace is much more enjoyable from within, on account of the constructive patterns left in the raw, than from without, where there is not enough animation in the many plain surfaces of the outer walls. i do not know that it is customary to put the engineer's name, together with that of the architect, on a building; the time s approaching very rapidly when we shall be in duty bound to do so. aside from the structural charm of the inside, the outer façade of machinery hall is not entirely devoid of architectural interest. its general forms are apparently those of an early christian church, although its decorative motives are all indicative of the profane purposes for which it is used. festival hall, by farquhar, of los angeles, at the east end of the south gardens, does not look particularly festive, and it is not original enough to shine by itself, like its very happy mate at the south end, the horticultural palace. there is nothing like this horticultural palace anywhere on the grounds in its gorgeous richness of decorative adornment. it has no relation to any other building on the site. it is very happy, with its many joyous garlands, flower-baskets, and suggestions of horticultural forms - all very well done - so very much better done than so many of the cheap period imitations so common to our residence districts. it is so decidedly joyous in character that people looking for festival hall wander over to the horticultural palace, attracted by the very joyousness of its scheme. good rococo ornamentation is rare abroad and even rarer in this country, which is essentially opposed in its tendencies and in its civilization to those luxurious days of the french kings who created the conditions under which this very delightful style could flourish. the horticultural palace is a great success as an interpretation of a style which rarely finds a sympathetic expression in this country. i do not feel at all that it ought, but in a case of this kind where a temporary purpose existed, it was happily chosen. of all isolated units, none causes greater admiration than the fine arts palace. it presents the astounding spectacle of a building which violates the architectural conventions on more than one occasion, and in spite of it, or possibly for that very reason, it has a note of originality that is most conspicuous. everybody admits that it is most beautiful, and very few seem to know just how this was accomplished. many of the "small fry" of the architectural profession enjoy themselves in picking out its faults, which are really, as suggested above, the reason for its supreme beauty. save for mullgardt's court, it is the only building that seems to be based on the realization of a dream of a true artistic conception. with many other of the buildings one feels the process of their creation in the time-honored, pedantic way. they are paper-designed by the mechanical application of the "t" square and the triangle. they do not show the advantage of having been experienced as a vision. with bernard maybeck's palace of fine arts, one has the feeling that this great temple is a realized dream; that it was imagined irrespective of time, cost, or demand. like all of maybeck's buildings, it is thoroughly original. of course the setting contributes much to the picturesque effect, but aside from that, the colonnades and the octagonal dome in the center of the semicircular embracing form of the main building present many interesting features there is a very fine development of vistas, which are so provided as to present different parts of the building in many ever-changing aspects. on entering the outer colonnade one forgets the proximity of everyday things; one is immediately in an atmosphere of religious devotion, which finds its noblest expression in that delicate shrine of worship, by ralph stackpole, beneath the dome. this spiritual quality puts the visitor into the proper frame of mind for the enjoyment of the other offerings of art within the building. mr. maybeck has demonstrated once again that his talent is equal to any task in the field of architectural art. i wish we had more of his rare kind and more people to do justice to his genius. not far from the palace of fine arts, on the shores of the bay, the monumental tower of the california building fits well into the scheme of things. seen from a distance, from numerous points across the lagoon, it offers a great many effective compositions in connection with some very decorative groups of old acacia trees, the legacy of an old amusement park of the bygone days of san francisco - the old harbor view gardens. in the shade of these old trees a fine old formal garden of exquisite charm, screened from the eyes of the intruder by an old clipped monterey cypress hedge, really constitutes the unique note of this typically mission building. the architect, mr. burditt, deserves great credit for an unusually respectful treatment of a very fine architectural asset. this very enchanting old flower garden, with its sundial and cozy nooks, has an intimate feeling throughout, and it furnishes the delightful suggestive note of old age, of historical interest, without which it would never have been convincing. aside from the outdoor features, the building, exclusive of the county annex, discloses a very fine talent in a very happy combination of classic tradition and modern tendencies. the building is altogether very successful, in a style which is so much made use of but which is really devoid of any distinct artistic merit. most of the examples of the so-called "mission style" in california are very uninteresting in their decorative motives, however big their ground plans may be in their liberal use of space. the oregon building is just across the way from the california building, and as an object of artistic analysis it is a most interesting single unit. personally, i am not enthusiastic over it. it was most decidedly a very illogical idea to select a building to represent oregon from a country which has nothing whatever in common with this northern state. one could hardly discover a more arid country, devoid of vegetation, particularly of trees, than greece; and to compare it with the apparently inexhaustible wealth of virgin forests of oregon makes the contrast almost grotesque. besides, a building like the parthenon, designed to grace and terminate the top of a hill, is surely not adapted for a flat piece of ground like the exposition field. and in the choice of material used in its construction it shows a lack of appreciation for the fitness of things generally. the parthenon was designed to be made in stone, as much for the construction as for the light color effect of the marble. only the light color play of its exterior would do against a placid blue sky to relieve the otherwise exceedingly simple rigidity of its massive forms of construction. to make an imitation of this great building in uncouth, somber, almost black pine logs of dubious proportions is hardly an artistically inspired accomplishment. there must always be a certain regard for the use of the right material in the right place. a wooden bridge will disclose its material even to the uninitiated at a very great distance, because everybody knows that certain things can be done only in wood. a stone, concrete, iron, or cable bridge, for example, will each always look its part, out of sheer material and structural necessity. a log house would have been far better and more successful than this pseudo parthenon. it is in the same class with the statues of liberty made from walnuts that are the great attractions in our autumnal agricultural shows. the state of oregon, however, is well represented by a fine immense flagpole, which could hardly have been cut anywhere else than on the pacific coast. of other state buildings in this neighborhood, a number are impressive by their cost, like the new york building; others, again, by historical suggestions of great charm. there are several which reflect in a very interesting way the colonial days of early american history; and buildings like those of new jersey and virginia, in spite of their unpretentiousness, are very successful. nobody would take them for anything else but what they represent. the pennsylvania building shows a very fine combination of the classic and of the modern. it was originally designed to hold the liberty bell. in order to avoid the necessity of building a fireproof building, the open hail was adopted, with its inviting spaciousness, and two lower enclosing wings at the side. the arrangement of the pennsylvania building is formal, owing to its symmetry, but not at all heavy. its decorative detail is full of interest, and to discover hornbostel of new york, the designer of the oakland city hall, as the author of this building, is a pleasant surprise. of most of the other state buildings, really nothing original could be claimed. they are, on the whole, dignified in their classic motives, and in most cases, in better taste than the many foreign buildings. among these, the buildings representing sweden, denmark, norway, italy, and bolivia, must claim particular attention. it must seem strange that the three northern countries named first should excel in originality of architecture, as well as in the allied arts. the swedish building, designed by ferdinand boberg, presents admirably his great talent. the name "boberg" means nothing to most people out here, but anybody at all familiar with the development of modern architecture abroad will always think of boberg as the greatest living master of swedish architecture. his very talented wife, anna boberg, is equally well represented in another department, that of the fine arts. the plan of the swedish building is unsymmetrical, but well balanced, nevertheless. the typical northern wood tower, at one side, has a very fine outline, and like the roof, has a very fine decorative shingle covering, interesting in pattern as well as in color. i am very much tempted to speak of the treasures found inside of this building, but we must go on to denmark's building. this building, situated near the southern end of the fine arts colonnade, has a far more advantageous location than the swedish building. situated on a narrow tongue of triangular shape, the architect has taken the fullest advantage of this original piece of ground. the building gives a very good idea of some of the very best tendencies in the modern art of europe, without being bizarre, like some recent american attempts, in the most wrongly labeled of all art expressions - the "art nouveau." the norwegian building, somewhat remotely situated, back of the french building and near the presidio entrance, has very much in common with the swedish building, and offers the same attractive features of wood and stone construction as the building representing its sister state. historical traditions and everything else are so much alike in these two countries that it must not surprise one to find the two buildings have so many points of interest in common. the north of europe has given to the world many very excellent and genuine expressions of architecture, which, owing to their fine constructive qualities, have been absorbed wherever wood is the principal building material. the art contributions of sweden, norway, and denmark will long remain in the memory of all exposition visitors. holland makes considerable pretensions as to originality of style in a curiously incongruous creation at the north of the fine arts palace. during the last twenty years a peculiarly inadaptable type of building has been developed in holland by a group of younger architects. many of these buildings are suggestive of stone rather than of brick construction, and they do not fit in very well into the architectural traditions of the dutch - builders traditionally of the finest brick structures in the world. the holland building at the exposition is not typical of that great and independent people. it looks cheap and has all the faults of the art nouveau, which has, unfortunately, been much discredited, by just such things in our own country, where classical traditions are so firmly and so persistently entrenched. while structurally this building is of a peculiar, affected, ultra-modern note, the general scheme of decoration inside as well as outside compels much praise. the general feeling of refinement, of serenity, that so strongly characterizes the interior is due to the able work of hermann rosse, a capable decorator-painter, who designed and supervised the entire color scheme. the color scheme inside the holland building, while daring, is most original in using an unusual combination of steel-blue and warm grey silver tones. these two relatively cold notes are enhanced in a complementary color sense by touches of orange and yellow. a constructive stencil pattern based on the two national plants of holland, the orange tree and the tulip, add richness to the general effect. mr. rosse's very decorative wall painting opposite the main entrance represents the industries of peace. while somewhat severe, it adds dignity in motive as well as in treatment. on the outside some fine decorative tile panels reflect one of the chief industries of the dutch and also tell of the influence that dutch art has long received from holland's east indian possessions. these tile panels are very decorative. to us, out here, they suggest artistic ceramic possibilities for architectural purposes of which we have taken little advantage. considering the fact that we have quantities of good clay and that so much original good decorative design is lying idle, this inactivity in architectural ceramics in california is distressing. so far as i know, batchelder, in pasadena, still has the monopoly on architectural tiles for the entire pacific coast. other european countries besides holland are interestingly represented. the italian building is a dignified building of pure florentine renaissance lines, with here and there a modern note. this should rather be called a group of buildings, since it is a combination of some of the finest bits of italian renaissance architecture. the architects of this building succeeded admirably in giving a feeling of antiquity to the general treatment of the whole arrangement, which, under the blue sky of california, brings one straight back into the land of sunshine and artistic tradition. the whole arrangement of this italian group seems somewhat bewildering at first, but on closer inspection resolves itself into a very interesting scheme which takes full advantage of the irregularly shaped site. there is a most impressive noble dignity in the hall of the main building, where mural decorations of figural character add much to the sumptuousness of the general effect. it is remarkable how in this age of low ceilings a return to great height for rooms, as in these, italian chambers, produces a marked note of originality. the light effect created in this way, in all of these replicas of the mansions of the wealthy of the renaissance period, is most helpful in the display of a multitude of lovely objects - furniture, jewelry, ceramics, tapestries, and yet more. the sculptural imitations of so many old pieces of statuary are not in very good taste. they bear too much the traces of the pneumatic drill, and most of them are cold and devoid of the spirit of the original. some of the very modern marbles in the various rooms are almost pathetic in their disregard for the standards established by the forefathers of their creators. france, unfortunately, does not rise above the commonplace, in an extensive building hastily constructed. and portugal is shining in all the glory of wedding-cake ornamentation that the plaster of paris artist could produce. south america appears in a very typical building representing bolivia. it is evident that it was not a costly building, but its dignified spanish façade and the court effect inside are far more agreeable than the pretentious palace erected by the argentine republic. the orient, with the oldest art traditions in the world, can justly be expected to outdo the rest of the world. we find japan again, as on previous occasions, excelling in its typical arrangement of a number of small pavilions in an irregular garden. the entire japanese display, architectural and all, is so perfect a unit that one cannot speak of the buildings alone without thinking of the gardens. the japanese sense of detail and love of the picturesque are disclosed at every turn. we still have with us in san francisco, as a memento of the midwinter fair of , the japanese garden in golden gate park, and while this new creation at the exposition is not so extensive, it is none the less charming. in contrast to the japanese wonderland near the inside inn, the new republic of china seems to be very unhappily represented, not very far away. the whole chinese ensemble seems a riot of terrible colors, devoid of all the mellow qualities of oriental art. if china's art was retired with the manchu dynasty, then i hope the new republic will soon die a natural death. the sculpture the sculptural decorations of the exposition are so much a part of the architectural scheme that their consideration must no longer be delayed. the employment of sculpture has been most judicious and has never lost sight of certain architectural requirements, so frequently overlooked. while there are a great many examples of sculptural decorations at the exposition, there does not seem to be that over-abundance of ornamentation so often confused by the public with artistic effect. the best compliment that can be paid to the exposition sculpture is that it is not evident at first and that one becomes aware of it only in the course of studying the architecture. i do not think that, with the exception of the column of progress and the groups of the nations of the east and of the west, the exposition has produced, through its very unusual and novel opportunities, any great work, or presented any new talent heretofore not recognized; but it will most certainly stand a critical examination and comparison with other exposition sculpture and not suffer thereby. as a matter of fact, a number of the sculptors of our exposition were commissioned to do similar work at st. louis. in one respect our exposition must immediately claim originality - that is, in the elimination of the glaring white, with its many ugly and distracting reflected lights, insisted upon for years, in practically all the great expositions of the past. this absence of white is surely a very novel and very helpful feature, from an artistic point of view. the travertine staff material used, the highly successful work of mr. paul denneville, with its innumerable fine accidental effects, so reminiscent of the tone and the weather-beaten qualities of really old surfaces, is an asset that the sculptors among all the collaborating artists gratefully acknowledge. the artistic value of the travertine lies in its beautiful expression of architecture as well as of sculpture. a plain wall becomes a matter of interest and comfort. an ornamental feature or sculpture obtains a wonderful charm and delicacy in this material which is particularly unique in sculpture. the natural travertine is a sedimentary deposit dating back, it is claimed, to the glacial ages. that imitated here forms the bed of the river tiber near rome and was extensively used for ages in the early roman and greek era as a building stone for their temples and works of art. while a poor material in cold climates, because of its striation, it was always sought in italy for its wonderful texture and tone. it was used in the coliseum and in many other buildings erected during the roman period. it is evident that there has been a very happy and close co-operation between the architect and the sculptor - a desirable condition that, unfortunately, does not always exist. architects will sometimes not allow the sculptor to give full expression to his ideas, will put unwarranted restrictions upon him, and the result is very one-sided. i had the pleasure of seeing much of the sculpture grow from the sketch to the finished full-scale work, and the kindliness and the vigorous personality of mr. stirling calder added much charm and interest to this experience. mr. calder has been the director of the department of sculpture and the inspiration of his own work penetrates that of all his fellow-artists. among them are many specialists, such as frederick roth, for instance, as a modeler of animals, who shows in the very fine figure of "the alaskan" in the nations of the west that he is not afraid nor unable to model human figures. practically all of the animals in the grounds show the hand of roth. like roth, leo lentelli did a good share of the task. his work is characterized by much animation and spirit, but well balanced wherever necessary, by a feeling of wise restraint. i remember with much horror some of the sculptural atrocities of former expositions that seemed to jump off pedestals they were intended to inhabit for a much longer period than they were apparently willing. repose and restraint, as a rule, are lacking in much of our older american sculpture, as some of our market-street statuary testifies. it seems that our unsettled conditions find an echo in our art. it is much to be hoped that a certain craving for temporary excitement will be replaced by a wholesome appreciation of those more enduring qualities of repose and balance. calder's work, no matter how animated, no matter how full of action, is always reposeful. his "fountain of energy" gives a good idea of what i mean. it is the first piece of detached sculpture that greets the exposition visitor. its position at the main gate, in the south gardens, in front of the tower of jewels, is the most prominent place the exposition offers. it is worthy of its maker's talent. its main quality is a very fine, stimulating expression of joyousness that puts the visitor at once in a festive mood. the fountain of energy is a symbol of the vigor and daring of our mighty nation, which carried to a successful ending a gigantic task abandoned by another great republic. the whole composition is enjoyable for its many fine pieces of detail. beginning at the base, one observes the huge bulks of fanciful sea-beasts, carrying on their backs figures representing the four principal oceans of the world: the north and south arctic, the atlantic, and the pacific. some are carrying shells and their attitudes express in unique fashion a spirit of life and energy which makes the whole fountain look dynamic, in contrast with the static tower of jewels. everything else in this fountain has the dynamic quality, from its other inhabitants of the lower bowls, those very jolly sea-nymphs, mermaids, or whatever one may want to call them. they are even more fantastically, shaped than the larger figures. in their bizarre motives some of the marine mounts look like a cross between a submarine and a rockcod. rising from the very center of the fountain basin, a huge sphere, supported by a writhing mass of aquatic beasts, continues the scheme upwards, culminating in the youth on horseback as the dominating figure of the whole scheme. the sphere is charmingly decorated with reclining figures of the two hemispheres and with a great number of minor interesting motives of marine origin. the youth on horseback is not exactly in harmony with the fountain; one feels that the aquatic feeling running through the rest of the fountain is not equally continued in this exceedingly well-modeled horse and youth and those two smaller-scaled figures on his shoulders - i feel that the very clever hand of a most talented artist has not been well supported by a logical idea. their decorative effect is very marked, taken mainly as a silhouette from a distance. they are no doubt effective in carrying upwards a vertical movement which is to some extent interfered with by the outstretched arms of the youth. mr. calder has given us so very many excellent things, alone and in collaboration with others throughout the exposition, that we must allow him this little bizarre note as an eccentricity of an otherwise well-balanced genius. as long as we are in the south gardens, we might take the time to investigate the two fountains on either side of the center, towards the horticultural palace on the left and festival hall on the right. there we find a very lithe mermaid, used alike on either side, from a model by arthur putnam. many of us who for years looked forward to the great opportunity of the exposition, which would give arthur putnam a worthy field for his great genius, will be disappointed to know that the mermaid is his only contribution, and scarcely representative of his original way in dealing with animal forms. the untimely breakdown, some two years ago, of his robust nature prevented his giving himself more typically, for his real spirit is merely suggested in this graceful mermaid. sherry fry's figural compositions on the west of festival hall might well be worthy of a little more attention than their somewhat remote location brings them. the two reclining figures on the smaller domes are reposeful and ornate. a stroll through the flower carpets of the south gardens, amidst the many balustrade lighting hermae, discloses a wealth of good architectural sculpture, which in its travertine execution is doubly appealing. there are four equestrian statues in different places on the north side of the avenue of palms. two are in front of the tower of jewels, the "cortez" by charles niehaus, and "pizarro," by charles cary rumsey. the third is in front of the court of flowers, and the last at the entrance to the court of palms. the two latter, solon borglum's "pioneer," and james earl fraser's "the end of the trail," belong as much together as the two relatively conventional spanish conquerors guarding the entrance to the court of the universe. the symbolism of the "pioneer" and "the end of the trail" is, first of all, a very fine expression of the destinies of two great races so important in our historical development. the erect, energetic, powerful man, head high, with a challenge in his face, looking out into early morning, is very typical of the white man and the victorious march of his civilization. his horse steps lightly, prancingly, and there is admirable expression of physical vigor and hopeful expectation. the gun and axe on his arm are suggestive of his preparedness for any task the day and the future may bring. contrast this picture of life with the overwhelming expression of physical fatigue, almost exhaustion, that fraser gives to his indian in "the end of the trail." it is embodied in rider and horse. man and beast seem both to have reached the end of their resources and both are ready to give up the task they are not equal to meet. the psychology of this great group is particularly fine. it is in things like these that our american sculpture will yet find its highest expression, rather than in the flamboyant type of technically skillful work so abundantly represented everywhere. "the end of the trail" could have been placed more effectively in the midst of, or against, groups of shrubbery in a more natural surrounding, where so close a physical inspection as one is invited to in the present location would not be possible. the tower of jewels, however, with its lofty arch and suggestion of hidden things behind it encourages the spirit of investigation. on entering this great arch, one is suddenly attracted by the pleasing sound of two fountains, sheltered in the secluded abutting walls of the great tower. minor arches, piercing the base of the tower west and east, open up a view toward these sheltered niches, harboring on the right the fountain of youth, by mrs. edith woodman burroughs, and the fountain of eldorado at the left, by mrs. harry payne whitney. these two fountains are totally different in character, and they could well afford to be so, since they are not visible as a whole at the same time, although physically not far apart. mrs. burrough's fountain is very naïve in feeling, very charming in the graceful modeling of the little girl. the decorative scheme of this poetic unit is very simple and well-sustained throughout its architectural parts. mrs. harry payne whitney's fountain is of the intellectual, dramatic kind. the treatment of this almost theatrical subject is well balanced. while it does not possess any too much repose, it is very effective. in general there are three parts to this fountain; the central doorway of eldorado, just ajar, disclosing faintly this land of happiness; while on either side are two long panels showing great masses of humanity in all manner of positions and attitudes, all striving toward the common goal. some are shown almost at the end of their journey, overtaken with exhaustion; others more vigorous are lending a willing arm to the support of their less successful brothers and sisters about to fall by the wayside. the whole composition of those two friezes shows mrs. whitney as a very skillful and imaginative artist. it is a gratifying spectacle to see a woman such as mrs. whitney, so much heralded, possibly against her own inclinations, in the society columns of new york, find the time to devote herself to so serious and professional a piece of work as the fountain of eldorado. passing through the tower of jewels into the court of the universe, one's attention will be attracted to a number of pieces of detached statuary. the most important among them is "the four elements," by robert aitken. we all remember aitken as the very promising young man who left us before the fire to make a career in the east, after having exhausted all local possibilities, the bohemian club included. his figures of the four elements are typical of his temperament and he acknowledges in them his indebtedness to michael angelo without being in the least imitative. these four figures are allegorically full of meaning, and taken simply as sculpture, they are excellently modeled. his "fire," showing a greek warrior defending himself from the fiery breath of a vicious reptile, is novel in its motive, while "water" discloses father neptune bellowing out into the briny air, accompanied by dolphins in rhythmic motions. "air," on the south, discloses aitken as the skillful modeler of less muscular forms of a winged female figure, which in itself, without the birds, is suggestive of its meaning. it was very daring to introduce the story of "icarus" in this group, by the small-scaled figure of this first mythological aviator on the outside of the wings of the larger figure. it helps to add a note of interest to an otherwise not so interesting part of the group. the fountains of the rising and the setting sun are most impressive by their architectonic quality, and weinman's clear style of modeling is seen at its best in the tritons in the fountain bowl. the figure of the setting sun is one of the finest figures of the entire exposition. the suggestion of the termination of day, indicated in the folding of the wings and in the suggestion of physical fatigue, is very well conveyed. a fine relaxation runs through the whole figure. the rising sun, on the other side, has all the buoyancy of an energetic youth ready for his daily task. with widespread wings, looking squarely out into the world, he seems ready to soar into the firmament. the contrast is admirable in these two figures, and weinman deserves all the popular applause bestowed upon his work. paul manship has contributed two groups at the head of the east and west steps leading to the sunken gardens, each group consisting of two figures, one representing festivity, the other, art and music. these groups are used alike on either side. manship deserves to be better represented in the exposition than by these two groups alone. his position as one of the very successful of our younger men would have warranted a more extensive employment of his very strong talent. it is rather a flight from those manship figures to the colossal groups of the nations of the east and of the west, but one is irresistibly drawn to these wonderfully effective compositions. their location makes them the most prominent groups in the exposition ensemble. the harmonious co-operation of calder, roth, and lentelli has resulted in the creation of a modern substitute for the old roman quadriga, which so generally crowns triumphal arches. both groups are so skillfully composed as to have a similar silhouette against the blue sky, but individually considered they are full, of a great variety of detail. it was an accomplishment to balance the huge bulk of an elephant by a prairie schooner on the opposite side of the court. considering the almost painful simplicity of the costumes and general detail of the western nations as contrasted with the elaborately decorative accessories, trappings, and tinsel of the orient, it was no small task to produce a feeling of balance between these two foreign motives. but what it lacked in that regard was made up by allegorical figures, like those on top of the prairie schooner, used not so much to express an idea as to fill out the space occupied by the howdah on the other side. there is a great deal of fine modeling in the individual figures on horse and camel back and on foot. in either one of the two groups much has been lost in the great height of the arches. figures like "the alaskan," "the trapper," and "the indian," for instance, are particularly fine and they would be very effective by themselves. "the mother of tomorrow" in the nations of the west is a beautifully simple piece of sculpture. the nations of the east, like the west, in its entirety, is the conception of a. stirling calder, who modeled the pedestrian figures. with mr. calder, messrs. frederick g. r. roth and leo lentelli collaborated. the huge elephant in the center of the group was modeled by mr. roth, also the camels. the mounted horsemen were modeled by leo lentelli. from left to right the figures are - an arab warrior, a negro servitor bearing baskets of fruit, a camel and rider (the egyptian), a falconer, an elephant with a howdah containing a figure embodying the spirit of the east, attended by oriental mystics representing india, a buddhist lama bearing his emblem of authority, a camel and rider (mahometan), a negro servitor, and a mongolian warrior. the size of the group, crowning a triumphal arch one hundred and sixty feet in height, may be inferred from the fact that the figure of the negro servitor is thirteen feet six inches in height. on the arch beneath this group are inscribed these lines by kalidasa: "the moon sinks yonder in the west, while in the east the glorious sun behind the herald dawn appears. thus rise and set in constant change those shining orbs and regulate the very life of this our world." the nations of the west, crowning the arch of the setting sun, is also the conception of a. stirling calder, who modeled the imaginative figures of "the mother of tomorrow," "enterprise," and "hopes of the future."' messrs. leo lentelli and frederick g. r. roth collaborated in their happiest style, the former producing the four horsemen and one pedestrian, the squaw, and the latter the oxen, the wagon, and the three pedestrians. from left to right the figures are, the french trapper, the alaskan, the latin-american, the german, the hopes of the future (a white boy and a negro, riding on a wagon), enterprise, the mother of tomorrow, the italian, the anglo-american, the squaw, the american indian. the group is is conceived in the same large monumental style as the nations of the east. the types of those colonizing nations that at one time or place or another have left their stamp on our country have been selected to form the composition. the following lines by walt whitman are inscribed on the arch beneath the group of the nations of the west: "facing west from california's shores, inquiring, tireless, seeking what is yet unfound, i a child, very old, over waves towards the house of maternity, the land of migrations, look afar: look off the shores of my western sea, the circle almost circled." it is popularly conceded that these two groups are magnificently daring conceptions, richly worked out. they are probably the largest groups of the kind ever made, the dimensions of the base being fifty-two by thirty-eight feet, and the height forty-two feet. looking seaward from the court of the universe the column of progress commands attention, crowned by the "adventurous bowman" and decorated at the base with a frieze symbolizing achievement, or progress. the very fine symbolism in this column deserves to be studied. the position of the column itself is most artistic in its relation to the surroundings. it is too bad, however, to see the view from the main court toward the column spoiled by a music pavilion of dubious architectural merit. the effect of the column as seen from any point is inspiring in its monumental grandeur. the group on top, the bowman, represents man's supreme effort in life. he is supported on the left by his fellow-man, adding strength and steadiness to his aim, while on the right the crouching figure of a woman watches anxiously the sureness of his aim. she holds ready in her hand the laurel wreath which she confidently feels will be his just reward. the great column of progress is the first column in the world, so far as i know, whose design was inspired by a purely imaginative motive, and the first sculpture column at any exposition. it must be considered the most splendid expression of sculpture and architectural art in the exposition. mr. calder may justly feel proud of this great idea and mr. hermon macneil has added new laurels to his many accomplishments in the free modeling of the very daring group on top. the column itself is decorated with the spiral ascending motive of the ship of life, while at the base isadore konti expresses the striving for achievement in four well modeled panels of huge scale, representing human life in its progressive stages, showing men and women in attitudes of hope and despair, of strength and weakness, in the never ending task of trying to realize human destiny. the court of the four seasons harbors four groups by piccirilli, representing the seasons in the conventional way, dividing the year into four distinct parts - spring, summer, autumn, and winter. these four groups of piccirilli are not equally successful. by far the most effective is the one representing winter. the severe rigidity of the lovely central standing figure expresses well that feeling of suspended activity which we associate with the conventional conceptions of the season of dormant life. the kneeling side figures are in full harmony of expression with the central figure. they support very well the general scheme. the next best, to my mind, seems "spring," on account of the very fine psychological quality of the standing figure in giving expression in a very graceful fashion to that invigorating and reviving quality of our loveliest season. the two side figures seem to be gradually awakening to the full development of their powers. next to "spring," "fall," by the fullness of the decorative scheme, suggests peace and plenty in the preparation for the harvest festival and in the touch of family life of the mother and child on the right. mr. piccirilli's naturalistic modeling does not express itself so well in "summer." there is so little strictly architectural feeling in that group. i think that albert jaegers, with his two single figures on top of the two columns flanking the orchestral niche, actually represents our own two seasons much more successfully than does piccirilli. jaegers' "rain and sunshine" should be used to name the court properly - "the court of the two seasons," as we know them in california - the dry season, the season of harvest; and the wet season, the one of recuperation. i regret that here an opportunity was lost to add distinction to the many different features of a great undertaking. jaegers has contributed also the figure of "nature" on top of the music niche and the capital bulls on the pylons toward the north of the court. these terra cotta bulls are surely worthy of the adjective derived from them. their relative size is very good, and to see them in the richness of their color against the upper regions of a dark blue sky is very effective. directly north of the court of the four seasons stands miss beatrice evelyn longman's fountain of ceres, originally planned for the center of the court, but so very effective all by itself between the dignified colonnades of the avenue. the fountain is most impressive by its fine architectural feeling, so uncommon in the work of many women sculptors. the general feeling of it is refinement, combined with great strength. it is fully deserving of monopolizing a fine setting of dignified architecture, so richly emphasized by some of the finest old yew trees in the grounds. in the court of abundance a riot of interesting architectural sculptural details invites the attention of the visitor. beginning with the lower animal forms, such as crabs and crayfish, etc., the entire evolution of nature has been symbolized, reaching its climax in the tower, where the scheme is continued in several groups in chester beach's best style. the lowest of these groups shows the primitive age, followed above by the middle ages and modernity. the great charm of this finest of all the towers in the exposition is its wonderful rhythmic feeling. the graceful flow of line from the base toward the top is never interrupted, in spite of the many sculptural adornments used on all sides. in front of the tower are two very ornate illuminating shafts, showing leo lentelli's diabolical cleverness in making ornament out of human figures. leo lentelli's style is particularly well adapted to mullgardt's court of abundance. its care-free, subtle quality, full of animation, presenting new motives at every turn, is most helpful in the general spirit of festivity which characterizes this most interesting of all the courts. aitken's fountain of life in the center of the court is totally different. full of intellectual suggestion, it is almost bewildering in the storytelling quality of its many details. aitken's fountain, which is situated in the center of a basin a hundred and fifty feet long by sixty-five feet wide, rises directly from the water. the main structure consists of a series of four groups of heroic-sized figures, carved in pierced relief, each flanked by colossal bronze hermes, their arms reaching around the structure and held together by animal forms of reptilian or fishy origin. all these forms and figures surround a globe of enormous size, typifying the earth, over the surface of which streams of water are thrown from the reptilian chain motive. leading up to the main structure is a group of ten crouching figures, symbolizing destiny in the shape of two enormous arms and hands, giving life with one and taking it with the other. here, on the left side, are arranged figures suggesting the dawn of life, while on the right are men and women depicting the fullness and the end of existence. in the first, prenatal sleep, is the crouched form of a woman, while successively come the awakening, the ecstatic joy of being - or it may be the realization of living; the kiss of life, with the human pair offering up their children, representative of the beginnings of fecundity; a female, strong of limb and superb of physique, enfolds in her arms two infants, while her mate, of no less powerful build and rude force, kneeling beside her, gives her an embrace typical of the overpowering parental instinct. here is the suggestion of the elemental feelings, the beginnings of things. between the first group and the central one comes a gap, a space typical of that unknown time in history when conjecture alone permits speculation, and the story is taken up again with the first of the central groups, wherein stands a figure of vanity, glass in hand, symbolizing the compelling motive of so much in human endeavor. to her left, in enormous contrast, are primitive man and woman, treated with great realism, these two carrying their burdens of life, in the form of their progeny, into the unknown future, their expression that of rude but questioning courage, the man splendid in his virility, superb in the attitude of his awkward strength, ready to meet whatever be the call of earth. his mate meanwhile suggests the overwhelming and eternal instincts of motherhood. an archaic hermes, dividing these figures from the next group, allows for a space of time to elapse, and we come to their children, now grown to manhood and womanhood, in their rude strength finding themselves, with the result of natural selection. this is a group of five personages, the center figure a man of splendid youth and vigor, suggesting the high state both of physical and intellectual perfection, unconsciously attracting the female, two of whom regard him with favor, while two males on either side, deserted for this finer type, give vent to deep regret, despair, and anger. one attempts by brute force to hold the woman; the other reluctantly gives up his choice, in the obvious futility of his unequal intellectual endowment to comprehend. from this to the survival of the fittest we have a militant group, in which physical strength begins to play its part, and perhaps discloses the first awakening of the war spirit, the woman in this case being the exciting cause. the powerful chieftains struggle for supremacy of their time and tribe, their women making futile efforts to separate them. here the sense of conquest receives its first impression and is finely indicated, with admirable action, while there is the symbolism of the conflict of the nations that has ever gone on, for one cause or another, and that struggle for the female which has ever been the actuating motive in war, conquest, and, for that matter, peace. the next group - always separated by the solemn and dignified hermae - discloses "the lesson of life," wherein the elders, with the experience of the years, offer to hot-headed youth and to the lovelorn the benefit of their own trials and struggles. a beautiful woman is the central figure. she draws to her side splendid manhood, the warrior, willing to fight for his love and his faith. to his left his mother offers him her affectionate advice, while to the right a father restrains a wayward offspring who, rejected by the female, is in a state of frenzied jealousy. finally two figures represent lust, a man struggling to caress the unwilling woman who shrinks from his embraces, and we are led down from this pair out of the composition to the crouching group at the approach of the structure, referred to at the beginning of this description, who here are departing from the central composition. first is a figure of greed looking back on the earth. he holds in his hands a mass suggestive of his futile and unsavory worldly possessions, the unworthy bauble toward which his efforts have been directed. back of him we have the group of faith, wherein kneels a patriarch, who offers consolation to a woman to whom he presents the hope of immortality, holding in his hands a scarab, ancient symbol of renewed life. next come two recumbent figures, a man and a woman, the first, sorrow, the other typifying final slumber. these are about to be drawn into oblivion by the relentless hand of destiny. in the center of a formal parapet at the end of the basin of water, sixty feet from the fountain, is a colossal figure symbolic of the setting sun, helios, the great orb having thrown off the nebulous mass that subsequently resolved itself into the earth. in the immediate neighborhood of this court of abundance is found sherry fry's figure of neptune's daughter, in the open court north of the tower. the figure is not in keeping with the scheme of mullgardt's court, extending in this direction. the effect of this figure, no matter how graceful it may be, is unquestionably too physical, in a certain measure owing to the opportunity for close inspection. on the south of the court of abundance, in the court of flowers, edgar walter's fountain has been placed. "beauty and the beast" have been combined in contrasting fashion, with much effect, by associating the youthful charms of a graceful maid with the angular ugliness of a dragon, who seems to feel honored by having been selected as the resting-place of a creature from outside his realm. he seems to be almost hypnotized into a state of abject lifelessness. the effect of this juxtaposition of the round forms of the human body and the almost geometrical angularity of the fabulous beast is very interesting and adds a new note to the many other ideas presented. the architectural scheme of the fountain is made doubly interesting by a rich use of animal forms of humorous character. the immediate vicinity of the laguna remains still to be investigated in regard to sculptural adornments. the dozen or so niches in the west front of the main building present a repetition of two individual groups by charles harley, of new york, of decidedly archaeological character "the triumph of the field" and "abundance." they are most serious pieces of work, possibly too serious, and they are in great danger of remaining caviar to the masses on account of the complexity of their symbolism and the intellectual character of their motives. their setting is most attractive, amongst groups of trees and shrubs. maybeck's palace of fine arts is so overwhelming in its architectural effects that one seldom feels like doing justice to the fine sculptural detail everywhere in this building. ralph stackpole's interesting shrine of inspiration is the most charming bit of sculpture, more detached in its effect than most of the other motives. bruno zimm's eight fine friezes, showing the development and influences of the arts in a very severe, almost archaic style of modeling, add a fine note to the dome, and ulric ellerhusen's equally architectonic friezes are in good style and are in thorough harmony with the classic quality of this great palace. it is, of course, not possible to name all of the many pieces of architectural sculpture used at the exposition. the general effect one receives is that it represents the best that is possible in exposition sculpture today. it gives evidence of the increasing development of the qualities of design, as contrasted with the so much looser work of former expositions. seldom before have sculptors anywhere, since sculpture and architecture first worked hand in hand, so played their most important roles together in the ensemble setting that constitutes our exposition visually. on arch or column, in niches, in fountains, and in free-standing groups, they sing of many themes, and always in harmony, but with no loss of character or individuality. there is no doubt of it, that, for an exposition, sculpture is the most important of all the arts, because it is the most human. without it, architecture would be cold and without appeal. i foresee a great future for sculpture in america, where our temperament demands it. the educational value of sculpture at an exposition is incalculable. it is a school for the sculptors, too, as well as for the public. the color scheme & landscape gardening nothing excites the exposition visitor more than the color scheme of the buildings. but "excite" is really not the proper word, because there is nothing exciting about it. nothing was farther from mr. guérin's mind than to create excitement, unrest, or any of those sensations that might lead to fatigue or even to a nervous breakdown. we understand fully by this time that it was jules guérin who is the responsible artist, and who supervised the putting into existence of the first real "guérin" that ever was. mr. guérin has the distinction of being the first director of color and of decoration ever appointed for an international exposition. it must become evident to any person who is at all familiar with the fascinating tonal designs guérin produces for many of our leading magazines that what he did was nothing but to paint nature as he has been used to represent it in his pictures. guérin must have had a glorious time with that first great opportunity, so seldom to happen, of putting all those pet colors of his into the actual outdoors, there to feast his eyes upon them. it was a daring and novel undertaking, most successful in a large way. i hope we are going to benefit by this successful experiment and begin to give life to our dreary cement façades, mournful roofs, and lifeless window-sashes, ornamentations, and what not. we are, i admit, hopelessly at the mercy of the housepainter, who knows much about estimates, something about paint, and little about color. i hope we are going to learn the difference between paint and color, the purely physical, meaningless thing on the one hand, and the intelligence-conveying, pleasure-giving element on the other. guérin certainly knows color, and i take it for granted that a man of his training and experience knows how to use paint. his exposition buildings look for all the world like a live guérin print taken from the century magazine and put down alongside of the bay which seems to have responded, as have the other natural assets, for a blending of the entire creation into one harmonious unit. i fancy such a thing was possible only in california, where natural conditions invite such a technical and artistic innovation. the general effect is one of great warmth. the basic tone of the travertine furnishes a very rich foundation for the other colors added. the whole range of color is very simple and it is simplicity and repetition over large areas that make the colors so effective. there are three different greens, for instance - the patina green on many minor domes, suggesting aged copper surfaces; a very strong primary green, on the small doors of the palaces and most of the lattice work; and another very pale, pinkish green, a sort of an abalone shell green, used on all the flagpole bases, always topped off with a light pinkish red, used above the light green base on all the flagpoles. then there are the reds, a number of different reds, running from a pinkish brick color to a darker russet red, to be found exclusively in all vertical panels serving as background for detailed statuary - for instance, in all the courts. next to the red there is a brilliant orange, used in relatively small quantities here and there in the mouldings, as around the brangwyn paintings in the court of abundance. this leaves yet to be named the few soothing blues that abound in the ceilings, in the deep recesses of the walls, and the coffered arches, serving as backgrounds for the many richly-modeled terra cotta rosettes. this is practically the entire range of colors, but they assume, of course, endless variations of tone and intensity, owing to the difference of the surfaces and the play of light and shadow. the relation of the whole color scheme to the colors furnished by nature is by no means accidental. the effect of the ensemble, on a calm, sunny day, is hard to describe in its gorgeous beauty. the pressing into service of nature as applied to color was particularly inviting, of course, on the bay side, where simple sweeps of skies, foothills, and plain bodies of water furnish almost ideal conditions. this is true in a similar way for the background in the west, but toward the south - well, we had better forget such mournful outward aspects of our great city of san francisco, known around the world for its gay temperament. appreciating the importance of detail, guérin extended his color treatment to practically everything presenting surface. nothing could escape his vigilant eyes. even the sand covering of the asphalted roads is of a peculiarly attractive blend. it seems like a mixture of ordinary sand with a touch of cinnamon. even that corps of stalwart guards had to submit to a tonal harmony of drabs, with touches of yellow metal, warm red puttees, and neat little yellow spanish canes. they all seem very proud and appreciative of their part in the concert of colors. and they speak of it with feeling and reverence. not long ago, during a rather stormy, wet day, i happened to notice several of these cicerones hiding in a doorway of one of the palaces, looking most disconsolate. the reason for it became immediately apparent; the un-californian weather had forced them to put on civilian overcoats of indescribable hues, and the shame of being out of color was plainly written in their faces. it shows that art is largely a matter of education. i fancy that all that a respectful and appreciative public could do, in order to live up to the occasion, would be to have exposition suits built of pongee silk, or some other harmonious material. so far, on all of my visits, i observed a shocking preponderance of black, which i hope will eventually yield to the softer colors of lighter materials, with the arrival of warmer weather. the careful observer will find that the crimson vermilion red of the fire alarm boxes had to yield to a more refined vivid orange, much, i understand, to the consternation of the exposition fire marshal, who must have been shocked at this intrusion. the horticultural effect of the grounds, flower beds, and shrubbery will always adapt itself properly to the color scheme, and a preponderance of warm yellows, reds, and orange will simultaneously fill out the garden areas. at first yellow pansies and daffodils had control, to be replaced in due season by the uniform appearance of tulips, hyacinths, and successions of other flowers. this progressive appearance of new flower carpets will provide ever-changing elements of interest throughout the entire period of the exposition. it seems only right at this time to speak of the great and modestly contributed services of john mclaren. he, with his wide experience and unceasing energy, created the garden setting which ties all the buildings into a natural harmony. hardly ever have trees, shrubs, and flowers been used in such profusion in an exposition. conventional in aspect, all great expositions in the past have been lacking in the invigorating elements, no matter how naturalistic the site may have been. the few scraggly pines of st. louis looked more like undesirable left-overs of a former forest than like a supporting feature of the exposition picture. the stony look of many former expostions is not evident at san francisco. considering the fact that the exposition is largely on made ground, it is amazing what has been accomplished. with the exception of the few scattering remains of an old amusement park - the harbor view gardens - so charmingly utilized in the courtyard of the california building, practically all the trees and shrubs had to be brought in from the outside. how well mr. mclaren succeeded in moving whole gardens "en bloc" to the exposition is shown by the fact that with the exception of a few monterey cypresses on one of the lagoon islands, not a single tree has died. it was no small task to transplant eucalypti forty feet high, and aged yew trees, and the tradition that it is impossible to transplant old trees has again been demonstrated as in the same class with other old sayings based on the experience of the past, but applying no longer to our own conditions. the stately rows of palms on the south avenue contain some specimens of the canary island palms which must be nearly forty years old, and some of the yews in the colonnade between the court of the four seasons and the marina, near miss longman's fountain of ceres, are probably even older. the massing of large groups of black acacia, monterey pines, and cypresses, filled in at the edge with veronica and many other flowering shrubs, gives many interesting notes, and serves frequently as backgrounds for statuary. like everything else, from the architecture down, the garden aspect of the exposition is not frugal nor skimpy, whatever floral effects are used. like shrubbery, trees occur in great profusion, and without regard for difficulties in transplanting. the court of the universe did not receive the generous treatment from mr. mclaren that it almost cries for. the few isolated italian cypresses in the court, near the tower, no doubt help a good deal, but one is tempted to ask why there are not more of them. italian cypresses are hard to transplant, particularly if their feet have become accustomed to the peaceful conditions of santa clara valley cemeteries, where most of them, i understand, enjoyed an undisturbed existence until they were used so very effectively in the exposition. these successfully moved old trees are by far the most useful trees in architectural schemes, as anybody who knows the villa borghese in rome must admit. i would like to see a law passed that every person at a certain age must plant six italian cypresses. i humbly suggest this to our legislators, who seem to be suffering from a lack of measures to be introduced and passed for the benefit of the people. the italian cypress is our most picturesque tree, and for combination with architecture, is unrivaled by any other tree. they grow rather slowly, but do not take much space, on account of their vertical habit. the making of the court of palms is due largely to the liberal use of these elegant trees, with their somber stateliness. the lover of outdoors will find no end to his pleasurable investigations in the many fine, luxurious groupings of flowering shrubs. heather, which does so well with us, and blooms when only few flowers brighten our gardens, has been profusely used in solid beds at the base of the kelham towers, around festival hall, and in many other places. the dainty, glistening foliage, interspersed with red berries of another acclimated alien from the himalaya mountains - the cotoneaster - makes fine borders around the pool in the court of the four seasons, in the court of palms, and in several of the colonnades. evergreen plants and shrubs are the dominant features of the two italian avenues connecting the big court with the side courts. the rich and luxuriant carpets of the many varieties of box, thuya, taxus, and dwarf pine, in dark, somber greens and many lighter color variations, are superb. in the court of abundance great masses of orange trees furnish the dominant note. they are most effective with their branches heavily laden with fruit. they are not only a surprise to the outsider, but even to the californian, who wonders at the skill and experience which made this feat possible. mural decorations in connection with the color, scheme, the mural decorations invite attention at many places. the outdoor character of the exposition has given unusual locations to some of these decorations. there are in all some thirty. mr. guérin, as the director of color, had full charge of their production, and all of them were painted by men he trusted personally as regards their ability to execute and to finish on time. that his choice fell largely on eastern men was only too natural. few people have a proper idea of the magnitude of the work involved in painting a huge decoration, and mr. guérin can hardly be blamed for his choice of the men of experience who finally did the work, although not all of them justified the confidence placed in them. the work of painting such huge decorations is necessarily a big undertaking, involving many preliminary studies and much physical and mechanical labor in the end. many painter-decorators employ large numbers of trained men, apprentices and independent artists, to assist in the execution of their commissions, and very frequently the temptation of yielding the pleasure of execution to other hands is the cause of the lowering of standards. probably, none of the canvases by mr. robert reid, in the dome of the fine arts palace, can be said to do justice to the remarkable decorative talent of mr. reid. he is so well and prominently known as a painter of many successful decorations, in the east, that it is to be regretted that he was not in a happier mood when he came to the task of painting his eight panels of irregular shape for the exposition. the very scattered style of painting so effective in many of his easel paintings, which show all the fine qualities of a modern impressionistic school, is not of great help in pictures intended to be viewed from a great distance. his decorations present very little opportunity for the eye to rest upon them, and they are altogether too involved, in their turbulent compositions. their color is not unattractive, no matter how cold, and of sufficient interest to atone for the lack of dignified design. the subjects of all of these are by no means unattractive, and a description of them reads far better than the pictures look. the birth of european art is symbolized in the first panel. there are five dominant figures, grouped about an altar on which burns the sacred fire. an earthly messenger leans from his chariot to receive in his right hand from the guardian of the flame the torch of inspiration, while with his left hand he holds back his rearing steeds. in front of these a winged attendant checks for an instant their flight. the central figure, the guardian of the altar, still holds the torch, and below her are three satellites, one clasping a cruse of oil, another pouring oil upon the altar, while she holds in her hand a flaming brand, ready to renew the flame should it falter, a third zealously watching the fire as it burns. opposite these a figure holds a crystal gazing-globe, in which the future has been revealed to her, but her head is turned to watch the flight of the earthly messenger. the birth of oriental art is symbolized in the second panel. the forces of the earth, wresting inspiration from the powers of the air, are pictured by a contest between a joyous figure in ancient chinese armor, mounted upon a golden dragon, combating an eagle. a female figure under a huge umbrella represents japan, while on either side are two other oriental figures, in gorgeous attire, symbolic of the long periods of oriental art. the third panel represents the ideals in art. there are seven figures, the greek ideal of beauty dominating all in a classic nude. below this religion is portrayed, in a madonna and child. heroism is shown in jeanne d'arc, mounted on a war-horse and flinging abroad her victorious pennant. a young girl represents youth and material beauty, while at her side a flaunting peacock stands for absolute nature, without ideal or inspiration. a mystic figure in the background holds the cruse of oil. over all of them floats a winged figure holding a laurel wreath for the victorious living, while a shadowy figure in the foreground holds a palm for the dead. the fourth panel represents the inspirations of all art, five figures symbolizing music, painting, architecture, poetry, and sculpture. flying above these are two winged figures, one holding a torch flaming with the sacred oil that has been brought from the altar, the other drawing back the veil of darkness, revealing the tangible, visible expression of art to mortal eyes. the four single panels symbolize the four golds of california; the poppies, the citrus fruits, the metallic gold, and the golden wheat. the idea of the four golds is particularly novel and will some day yield far more interesting results, and i hope the subject will not be allowed to lie idle. it is a very fine idea, too good not to be used permanently in some dignified building in california. the court of the four seasons offers a decorative scheme of eight panels above the doorways in the colonnades and two large panels in the orchestral niche on the south. all of these ten paintings were done by milton bancroft, one of the younger of the eastern decorator-painters, who took his task seriously enough, without rising in any of his decorations above the conventional, with the exception of the "autumn" and the two larger panels in the half dome. all of the seven decorations belonging to the set of eight smaller ones are rather academic in their monotony of symmetrical compositions, not sufficiently relieved by variety of detail. these decorations have to excess what reid's decorations are lacking in, namely, repose. their coloring is quiet and in thorough harmony with the architecture. bancroft's two more importantly placed decorations are, fortunately, his best efforts. "art crowned by time" and "man receiving instruction in the laws of nature" are very effective in their stateliness and thoroughly decorative quality. they show the artist's allegiance to the great decorations of the renaissance in many quaint ways of filling out the background spaces by puttos holding tablets, simple bits of architecture, and conventionalized trees. his figure of "art" is unique among his figures in the decorative pattern used on the mantle which falls gracefully from her shoulders. all the other bancroft decorations are devoid of this use of surface patterns, which are so helpful and interesting in decorative arrangement. it is only a few steps from the court of the four seasons into the court of palms. in entering through the orchestral niche one passes directly underneath the lunette which holds the very decorative canvas by arthur mathews, the acknowledged leader in the art of california. it must be said that it does not seem right, in the light of what has been contributed by men from elsewhere, that mathews' superb talent should have been employed only in one panel. his "victorious spirit," a rich and noble composition, has certain enduring qualities which are not to be found in a single one of any of the others. simply taken as a decoration, his picture is most effective by its richness of color, and without going into the question of its meaning, it is thoroughly satisfactory as a decoration. childe hassam's lunette, said to represent "fruit and flowers," is almost anaemic alongside mathews' fullness of expression. nobody ever suspected childe hassam of being a decorator, no matter how admittedly important a place he holds in the field of easel painting. the composition of his decorations is frugal in every sense, largely owing to the small scale of his figures. in the physical center of the composition nothing of interest happens, and the composition breaks almost in two. the coloring is insipid, and altogether not in keeping, in its extreme coldness, with the happy warmth of the travertine surrounding it. directly opposite, charles holloway presents himself in a very happy painting called "the pursuit of pleasure." a study of this picture can result in nothing but complete satisfaction. it is well and interestingly composed, lively in arrangement, in good scale, and not lacking in a certain feeling of repose, so essential in a good decoration, and, for that matter, in any work of art. in the great arch of the tower of jewels the most elaborate decorations of mr. william de leftwich dodge, of new york, command attention first of all by their fine and lively colors. these decorations show a most experienced artist, treating a wide variety of interrelated subjects with great skill. these enormous canvases, sixteen by ninety-six feet in size, are divided into a triptych, each picture continuing its central scheme into two smaller side panels. the great composition to the left is labeled "the atlantic and the pacific," with a picture of "the purchase" on the right and "the discovery" on the left. opposite we have the "gateway of all nations," with "labor crowned" and "the achievement" on either side. mr. dodge has a very fine sense of decoration, which he used with much skill. his command of human forms, together with the complete mastery of all other detail, enables him to paint very easily decorations which leave no doubt as to his long and varied experience in this field. "the atlantic and the pacific" is very interesting in its formal symmetry, splendidly relieved by the individual treatment of the eastern and western nations which receive with expressions of joy the completion of the great waterway which means so much for the furthering of their mutual interests. "the gateway of all nations" on the opposite side is less symmetrical, but very well balanced in its arrangement of many elements, naturalistic as well as allegorical. on the left, in the middle picture, one sees the retiring forces of labor, proudly watching the great procession of varied ships, moving in a joyous parade, led by father neptune and attendants, towards the recently opened gate. preceding father neptune are allegorical figures, rhythmically swinging away into the sky. all of dodge's decorations are good for their sound decorative treatment, always sustaining well the architectural surrounding frame, so particularly important in this great and massive tower. dodge's backgrounds are devoid of any naturalistic suggestion, which so often destroys otherwise effective decorations. the function of a decoration must always be to preserve the feeling of the wall, as opposed to the work of the easel painter, who wants to assist in forgetting that there is a canvas and to suggest that we are looking into the far distance. a good decoration should, as it were, allow the driving of a nail into any part of its surface - it should not make a hole in the wall. in the two triumphal arches of the nations of the east and the west, frank vincent du mond and edward simmons, respectively, contributed to the scheme of decorations. in the western arch, dumond painted a continuous frieze of the march of civilization towards the great west. his work is most conscientiously done, very intellectual, and most effective in color, as well as in arrangement. you see in his continued scheme the entire story of western development. it begins with the youth departing from his old father, who only reluctantly - feeling the infirmities of old age - stays behind. preceding the young man, the historical prairie-schooner, accompanied by pioneers, continues the procession. this is developed further in historical groups of soldiers, priests, and men representing the intellectual rise of the great west. there is william keith, with the palette, bishop taylor, bret harte, captain anza, and other well known western figures, taking their place in the procession of tent wagons and allegorical figures, all striving towards that very fine group representing california in all the gorgeousness and splendor of the golden state. this composition of "california," taken by itself, is one of the very best passages in the whole decoration, and could very effectively be used all by itself. on the east, edward simmons presents two very charming compositions, full of great refinement and delicacy. the refined coloring of his decorations, so very delightful by themselves, is not in accord with the architecture, and in the overawing surroundings of the great arch they do not look as well as they might in a more intimate scheme of smaller scale. the one to the left, as seen from the court of the universe, tells of the dreams which led to the exploring and exploiting of the great west. carefully designed figures of great refinement. represent "hope" and "illusory hope," scattering tempting bubbles, heading the procession of stately women. they are followed by "adventure," "art," "imagination," "truth," and "religion" and a group suggesting family life. on the opposite side the westward trend of war, commerce, conquest, imagination, and religion from all corners of the earth is typified. mr. simmons in all his work employs a very unusual technique of broken columns, without losing a certain desirable simplicity of surface. his allegorical theme on the north side will linger in the minds of the people as one of the best of the exposition decorations, particularly for its graceful drawing. it seems hardly possible to do adequate justice to the very unusual genius of frank brangwyn, who charms thousands of exposition visitors with his eight panels, representing the four elements, in the court of abundance. brangwyn's pictures have one great advantage over all of the others, which lies in their accessible location, well controlled by daylight. all the other decorations seem to me to be situated too high above the ground. brangwyn's have no such disadvantage to contend with. how much more important, for instance, mathews' lunette would look, placed somewhere nearer the level of the eye. brangwyn's canvases are a veritable riot of color, full of animation and life. they are almost dynamic. there seems to be something going on in all of them, all the time, and one hardly knows whether it is the composition, the color, or the subject, or all three, which gives them this very pronounced feeling of animation. he knows how to approach the extreme possibilities in pictorial decoration without losing sight of certain elements of repose. seen from a distance, their effect at first is somewhat startling, owing to their new note, not reminiscent in the very least of the work of any other living - or past - painter. on closer examination they disclose a great wealth of form, very skillfully treated. there is every indication that it gave the artist the utmost pleasure to paint them. this spirit of personal enjoyment, which all of them convey in a remarkably sustained fashion, is contagious, and disarms all criticism. they are primarily great paintings in a technical sense. added to that quality is a passionate love of pure color, juxtaposed with fine feeling for complementary colors of great intensity. brangwyn's glass window technique, of separation into many primary and secondary colors by many broad contrasts of neutral browns and grays, is very effective in bringing a feeling of harmony in all of his paintings, no matter how intense their individual color notes may be. his pictures are not intellectual in the least, and all of the people in his pictures are animals, more or less, and merely interested in having a square meal and being permitted to enjoy life in general, to the fullest extent. the quality of enjoyment that runs through all of brangwyn's work is extremely useful in the general atmosphere of mullgardt's court. in the northwest corner, nature is represented, in all the fecundity of the earth. only in our wildest dreams, and only in the advertisements of california farm lands and orchards, do such grapes, pumpkins, pears, and apples exist. the picture to the left shows the grape-treaders, in the old-fashioned and unhygienic practice of crushing grapes by dancing on them in enormous vats. others are seen gathering and delivering more grapes. as in the other picture, showing the harvest of fruit, more people are shown. brangwyn never hesitates to use great numbers of people, which seem to give him no trouble whatever in their modeling and characterization. following on to the right, "fire," represented as the primitive fire and as industrial fire, in two pictures, continues the scheme. that group of squatting woodmen carefully nursing a little fire is almost comical, with their extended cheeks, and one can almost feel the effort of their lungs in the strained anatomy of their backs. there does not seem to be anything too difficult for brangwyn. "industrial fire" is interesting from the decorative note of many pieces of pottery in the foreground. they seem to have come from the kiln which muscular men are attending. "water" is unusually graceful and delicate in its vertical arrangement of trees and the curve of the fountain stream, coming from the side of a hill. women, children, and men have congregated, taking their turn in filling all sorts of vessels, some carried on their heads, some in their arms. brangwyn's clever treatment of zoölogical and botanical detail is well shown in flowers in the foreground, such as foxglove and freesia, and the graceful forms of a pair of pinkish flamingoes. in the other panel of the same subject, a group of men on the shore are hauling in their nets. the last of the four, "air," represents this element in two totally different ways; the one on the left gives the more tender, gentle movement of this element, in the suggestion of the scent of the bowmen screened by trees, moving toward their prospective prey, while the other very bold composition is of a windmill turned away from the destructive power of an impending windstorm. in the foreground people are rushed along by gusts of wind, while children, unaware of the impending storm, are flying kites. the masterful and varied treatment of these eight canvases show brangwyn as the great painter he is known to be. we should rejoice to have such excellent examples of his brush permanently with us. while not exactly belonging to the number of official decorations, edward trumbull's wall paintings in the unique pennsylvania building are of great interest. thoroughly dignified in their composition, they are most descriptive in their subject-matter. the "pennsylvania industries" are on the west side and "penn's treaty with the indians" on the other. it is evident that trumbull is a disciple of brangwyn, though a personal note is not lacking in his work. the tea-room of the california building harbors some mural decorations by miss florence lundborg which the male part of the population can enjoy only by special invitation. i regret that they are not placed somewhere where the casual exposition stroller can see them, because they are deserving of more attention than they are apt to receive. miss lundborg's artistic contributions have for many years been along the lines of decorations and in this big, well-composed figural scheme she discloses again a very fine, sympathetic understanding of the problems of a wall decoration. the color scheme is very refreshing and gives life to a large hall which has been endowed with unusual distinction by miss lundborg's art. a number of decorative floral medallions complete a scheme which is characterized throughout by dignity and sympathy. the illumination conclusion while a daytime investigation of the exposition no doubt has its rewards, the full meaning of the exposition reveals itself at night. never before has an exposition been illuminated in the unique fashion of the panama-pacific international exposition. former exposition lighting consisted of a lavish display of lighting fixtures, and of unavoidable millions of glaring bulbs, the number of which nobody was permitted to forget. the offensive glare of the direct light had to be eliminated to preserve that feeling of tonality, of restfulness, so impressive in daytime. in other words, the sources of all lights at night have been concealed, or so concentrated that they could be far removed, so as not directly to offend the eye. the effect is very much like the flood of light of a full-moon summer night. in speaking of the rich mellowness of the lighting effect, one feels again compelled to speak of the travertine stucco as the artistic foundation of not only the architecture, sculpture, painting, and landscape garden effects, but also of the illuminating effects designed by mr. w. d'a. ryan, and executed by mr. guy l. bayley. without the mellow walls and rich orange sculptural details, no such picture of tonal beauty could have been produced. it is difficult to single out, among the many suggestive pictures, the most alluring one, but i may safely say that the first half hour after the close of day, as enjoyed around the lagoon, with the fine arts building in the background, reflected in the waters, will linger forever in the minds of all who are privileged to see it. such blues i have seen only in pictures by maxfield parrish. combined with the rich gold of the colonnade, they are almost supernatural. the whole effect, as reflected in the placid surface of the lagoon, occasionally broken here and there by a slowly moving waterfowl, or the protruding mouth of a carp, is inspiring, and must awaken an aesthetic response in the soul of the most ordinary mortal. very quickly, however, does this colorful picture change, and the very intense blue of the early evening sky rapidly changes into a colorless black. the palace of fine arts, above all others, offers many wonderful bits of enchantment at night. it seems to have been thought out not only for its daytime effect but for the night as well. of the inner courts, those with larger and smaller bodies of water are most effective at night. the court of the four seasons, with its placid, shrub-encircled pool, is doubly interesting at night. the four wall-fountains add much to the outdoor feeling that this court possesses, by reason of the suggestive murmur of the waters, descending in gentle splashes from bowl to bowl. the most striking court, in its mysteriousness, is mullgardt's court of abundance, particularly so on a foggy night. large volumes of vapor are lazily rising from huge bowls and torches, below, and in the tower, suggesting the early days of the cosmic all, cooling off from the turbulent period of its creation. the fogs sweeping from the bay add more mystery, and with the gorgeous perfume of the hyacinth carpet in the garden spaces, the effect is almost narcotic. the whole court, under these conditions, seems heavy with the atmosphere of abundance, of physical well-being, of slumbering natural powers. at the same time, it is truly religious in its effect of turning the mind away from the ordinary world into the realm of the mystic and the supernatural. i never realized what our san francisco fogs could produce in artistic effects until i visited mullgardt's court on a foggy night. the effect of the fog is absolutely ennobling. so many things like these, possibly not originally thought of, have added, together with the illumination, rare charm to the exposition. great masses of pigeons, attracted by the light thrown upon the two great groups of the nations of the west and of the east, give an unusually inspiring touch to the exposition at night. the spectacle of these graceful birds encircling rhythmically the great sculptural piles, apparently enjoying the bath of light, will never be forgotten. these pigeons seem to have decided to live in the exposition; they are there always, and apparently glad to play their part in the exposition ensemble. the lesson of the exposition will be far reaching in its many demonstrations of the commercial value of artistic assets. the whole exposition is really a city-planning exposition of the first order. any city-builder, by the respectful use of the great fundamental principles of balance, harmony, and unity, cannot help but do on a large scale what the exposition presents in a more condensed fashion. i admit that we have made tremendous strides in the remodeling of many of our large cities, particularly in the east, but we are still constantly starting new cities in the old planless way. our only practical and lasting effort in san francisco along the lines of civic progress has been made in the civic center, where a far-reaching plan has been adopted and partly put into existence, and in some of our very charming newer restricted residence districts in the western end of the city, like st. francis wood, or in northbrae and claremont, in berkeley, and elsewhere around the bay. there is no doubt that we must better capitalize our own artistic assets, which we often allow to lie idle before we ever utilize them properly. the water front, telegraph hill, the ocean shore, sutro heights, and lincoln park are all waiting to be developed in such a way as the exposition suggests. the talk of cost is idle twaddle. if the exposition, as an artistic investment, pays - and i see no reason whatever why it should not pay for itself - then we cannot do anything better than to invest our money wisely in other artistic improvements of a permanent character. san francisco is known all the world over for its unique location, rivaled only by that of marseilles, and we have now the responsibility to use this natural asset, for which many envy us. the exposition will start an avalanche of improvements along artistic lines which will be given increasing momentum by the development of long periods of prosperity. the most urgent need, no, doubt, is the establishment of a municipal art gallery in the civic center, the only ideal place for it, where the workingman from the mission and the merchant from west of van ness avenue will find it equally convenient of access. if a smaller number of citizens could raise the money for a municipal opera house, there should be no trouble in getting funds for a building devoted to a far more extensive public benefit, like an art gallery. people generally will want to know why it is that certain things can be given to them for one year, so successfully, and why it should not be possible to have them with us permanently. the inspiring lesson of beauty, expressed so simply and intelligently, will sink deep into the minds of the great masses, to be reborn in an endless stream of aesthetic expression in the spiritual and physical improvement of the people. we, out here in the west, have been measuring the tide of human progress in biological terms. we have almost forgotten the days of our great calamity, and still speak of them in that typical expression of apprehension of the "earthquake babies." let us think now of the future and its bright prospects, inaugurated so auspiciously for the benefit of our exposition generation. appendix guide to sculpture south gardens: fountain of energy (center) - a. stirling caller directly opposite the main entrance, the most conspicuously placed fountain in the grounds. the four major figures in the bowl represent the pacific, the atlantic, and the two arctic oceans. the minor eight figures suggest the marine character of the fountain. the reclining figures on the sphere typify the two hemispheres. the youth on horseback represents energy and strength. the mermaid (fountains in long pools) - arthur putnam the same figure is used twice, near the horticultural palace on the west and festival hall on the east. equestrian statue, "cortez" - charles niehaus guarding the tower of jewels. this statue represents the great spanish conqueror. as one faces the tower, this figure is on the left. equestrian statue of "pizarro" - charles cary rumsey similar in type and feeling to the preceding statue on the right, in front of the tower of jewels. horticultural building: frieze at base of the spires - eugene louis boutier loose arrangement of standing female figures surrounding the bases of the spires on all sides of the horticultural palace, with no other meaning than that of decoration. pairs of caryatides - john bateman architectural vertical members supporting the pergola around the horticultural palace. used also on the young women's christian association and the press buildings, near the main entrance. tower of jewels: statues of "priest," "soldier," "philosopher," and "adventurer" - john flanagan four figures suggestive of the forces which influenced the destinies of our country. very big in scale - about twice life size. they are standing on a row of columns below the cornice on the tower and are repeated on all four sides. the armored horseman (terrace of the tower) - f. m. l. tonetti a decorative equestrian statue on the lower terrace of the tower above the preceding figures - repeated sixteen times. tower colonnades: fountain of youth (east end) - edith woodman burroughs snugly placed inside the abutting walls, east of the tower of jewels. naive in character and simple in treatment, without any further symbolical meaning than that suggested by the name. motif in side panels, "ship of life." fountain of el dorado (west end) - mrs. harry payne whitney in position similar to the preceding, west of the tower of jewels. a triptych of dramatic expression, naturalistically treated. festival hall: figure crowning the minor domes - sherry e. fry a standing finial figure, on the minor domes, of graceful pose. two groups in front of the pylons - sherry e. fry practically conceived as wall fountains, they are composed of the figure of a girl, suggesting the joy of life, emphasized by young pan, with a lizard, at the base on the left, and a seated young girl on the right. cartouche over the entrance (figures only) - sherry e. fry an architectural unit over the big arch of the main central dome, outside the building, for decorative effect. reclining figures on pylons - sherry e. fry a male and a female figure, reclining, crowning the architectural units projecting into the south gardens. suggestive of life and pleasure. court of palms: equestrian statue, "the end of the trail" - james earl fraser at the entrance of the court of palms, off the main avenue opposite the horticultural palace. symbolical figure, representing the destinies of the vanishing red race; to be considered in connection with the "pioneer" at the entrance of the court of flowers. the fairy (italian towers - palms and flowers) - carl grupp a figural termination of the four towers guarding the entrances to the courts of palms and of flowers. caryatides - john bateman and mr. calder winged half-figure in the attic-space, repeated all around the court. spandrels - albert weinert reclining decorative figures composed into the triangular spaces over all the doorways in the corridor. court of flowers: equestrian statue, "the pioneer" - solon borglum at the entrance of this court. representing the white man and his victorious civilization. (to be studied with "the end of the trail.") lions (at the entrances) - albert laessle very conventional architectural decorative animal forms at the entrance inside the court of flowers - used six times. the fairy (above the italian towers) - carl gruppe [see fairy under court of palms by the same artist.] central fountain, "beauty and the beast" - edgar walter decorative fountain inside the court, with crowning figure of a young woman, reposing on a fabulous beast. flower girls (in niches) - a. stirling calder repeated figures, conventionally treated, of young women, decorated profusely with flower garlands, in the attic space. court of abundance: groups on the altar in the main tower - chester beach these groups constitute the historical composition in the tower on the north side of the court. beginning with the lower one, they represent the primitive ages, the middle ages, and modern times. group at column bases and finials - leo lentelli decorative figures. used four times at the base of the shaft near the tower. a single finial figure of a girl with a bow is used on top of the same column. fountain of the earth (central pool) - robert i. aitken an architectural composition telling the story of human life in its many phases. the outstretched arms on the south side represent destiny giving and taking life. figures on top of the arcade - albert weinert primitive men, with the pelican and deer; the mother with a child is repeated all around the court. aquatic life (north extension) - sherry b. fry a figure which might represent neptune's daughter. this figure stands north of the tower in the open space toward the marina below, between the palaces of transportation and mines. court of the universe: the nations of the east; the nations of the west - a. stirling calder, leo lentelli, and frederick c. r. roth, collaborators. colossal groups on top of the two great arches, representing, in many types, western and eastern civilization. statues on columns (eastern and western arches) - leo lentelli winged statues standing on top of columns on the inside as well as the outside of the two great arches. spandrels, pegasus - frederick g. r. roth triangular compositions spanning the arches, repeated on both sides. medallion - b. bufano circular decorations of male figures on the left side of the arch without any meaning other than architectural effect. medallion - a. stirling calder same as above, of female figures, on the right side of the arches. the stars (colonnades) - a. stirling calder very conventional standing figure, with hands united above the head, forming a star with radiated head-dress, placed on the balustrades of buildings adjoining the court and in the avenue leading north from the court. frieze on corner pavilions, "signs of the zodiac" - hermon a. macneil decorative friezes on four sides of the four corner pavilions, of mythological character. two fountains, "the rising sun" and "the setting sun" - adolph a. weinman two columns rising from fountain bowls and crowned by winged figures, of a woman, representing the setting sun, on the left, and of a winged male figure, the rising sun, on the right. four reclining figures, "the elements" - robert i. aitken at the head of the stairs leading into the sunken garden; on the left, near the music pavilion, "fire;" on the right, "water;" on the left, near the tower, "air;" on the right, "earth." two groups - paul manship near the arches at the head of the steps, two figural groups. one is of female figures, suggesting pleasure; the other, music and art. western plaza, in front of machinery palace: monument, "genius of creation" - daniel chester french group of allegorical figures, suggestive of the development of the human race. court of the four seasons: four groups representing "the seasons" - furio piccirilli in niches. southeast corner, "winter;" northeast corner, "fall;" southwest corner, "spring;" northwest corner, "summer." the harvest (above the half dome) - albert jaegers seated figure with a horn of plenty and other agricultural emblems. rain and sunshine (figures on columns) - albert jaegers standing female figures on columns on either side of the half dome. sunshine, holding a palm branch, is on the left, and rain, holding up a shell, on the right. groups, "feast of sacrifice," on the pylons in the forecourt - albert jaegers the two groups on top of the building, in which huge bulls predominate, led by a young woman and a young man; very decorative. fountain, "ceres" - evelyn beatrice longman situated halfway between the court of the four seasons and the marina, in an avenue leading north; architectural in character. spandrels (arcade) - august jaegers reclining female figures above the arches at the west and east entrance of the court of the four seasons. attic figures - august jaegers standing decorative figures of architectonic feeling, in the attic above the preceding figures. varied industries palace: tympanum group in the doorway - ralph stackpole groups of men and women in the lunette of the ornate doorway on the south side. secondary group, doorway - ralph stackpole groups above the preceding one, showing age transferring his burden to youth. figure for niches, doorway (man with the pick) - ralph stackpole a repeated figure of a miner, of relatively small scale, on the consoles in the doorway. figure for keystone in doorway - ralph stackpole a small seated figure of a laborer, on the headstone. figure for niches, on the east façade of this palace and of the palace of mines - albert weinert standing figure in niches above doors, also used in avenue leading into the court of abundance from the east. west wall of the palaces (facing fine arts): motifs for wall niches ("triumph of the field" and "abundance") - charles r. harley seated male and female figures surrounded by a great wealth of emblematic forms. the male represents "triumph of the field;" the female, "abundance." figures on columns (flanking the half domes): philosophy and physical vigor - ralph stackpole a colossal figure of a youth, on top of free-standing columns on the west wall of the main buildings. palace of fine arts: standing figure, inside of the rotunda on top of columns - herbert adams figures in the attic of the rotunda - ulric h. ellerhusen standing females and males between architectural friezes immediately below the cupola of the dome. frieze on the altar - bruno louis zimm figural frieze at the base of the rotunda facing the laguna can only be seen from a great distance across the water. relief panels for the rotunda - bruno louis zimm eight panels on the outside, of strictly architectural character, representing a procession, showing the development and influence of art. friezes around the base on the ground - ulric h. ellerhusen figures with garlands, used everywhere at the base of the building. figures on the flower boxes - ulric h. ellerhusen standing figures, looking inward, representing introspection. kneeling figure on the altar - ralph stackpole the shrine of worship. that delicate small figure seen best from across the laguna in front of the rotunda. north façade, main group of exhibit palaces: figure for central niches, "conquistador" - allen newman a spanish soldier, with helmet and sword and a large mantle. figure for side niches, "the pirate" - allen newman a coarsely shaped man, in small niches on the north side of the main buildings near the preceding one. column of progress: bas-relief (four sides of the pedestal) - isidore konti four allegorical friezes depicting man's striving for achievement. finial group, "the adventurous bowman," frieze and decoration - hermon a. macneil the group on top of the column suggests man's supreme effort in life, the supporting frieze is "the toilers." palace of machinery: figures on columns (four "powers") - haig patigian repeated large scale figures of men, representing the industries exhibited within the building. friezes for columns, vestibule - haig patigian decorative architectural figure compositions of similar subjects. spandrels (two pairs) - haig patigian reclining figures filling out the triangular spaces above the doors in the vestibule reflecting the purpose of the building. palace of education: repeated figure within the half dome, of thought - albert weinert standing figure of a maiden with a scroll inside the portal, repeated eight times. palace of food products: repeated figure within the half dome, "physical vigor" - earl cummings similar to that above, inside the portal of vigor, showing a standing young man, with an oak wreath. friezes and figures in niches, main south entrance (portals of the manufacturers and liberal arts palaces) - mahonri young figures representing domestic life and industries like foundry work, smithing, spinning, and sculpture. figures in the niches: woman with spindles and men with hammers. tympanum panels (north and south entrances of the palace of education) - gustave gerlach decorative panels above the doors outside of the building showing maternal instruction. panels inlaid in the walls over the minor entrances pupils of the school of sculpture of the society of beaux arts architects and national sculpture society. decorative panels of school life and of science. figure, "victory," on the gables of the palaces - louis ulrich a winged figure used on top of all the palaces. mural decorations court of abundance: earth - frank brangwyn northwest corner of the corridor, two panels: grape-crushers on the left and fruit-pickers on the right. fire - frank brangwyn two panels in the northeast corner of the corridor. primitive fire on the left and industrial fire on the right. water - frank brangwyn two panels in the southeast corner of the corridor. fountain motive on the left and fishermen hauling nets on the right. air - frank brangwyn two panels in the southwest corner of the corridor. in the left panel, the scent of hunters carried toward their prospective prey. a windmill on the right. court of the four seasons: spring - h. milton bancroft two murals above the doorway in the colonnade (southwest corner). to the left, spring; to the right, seedtime. summer - h. milton bancroft two murals similar to those in the northwest corner of the court. fruition on the right; summer on the left. autumn - h. milton bancroft in the northeast corner of the court, two panels: autumn on the right; harvest on the left. winter - h. milton bancroft similar in location to the preceding, in southeast corner. two murals, festivity on the right; winter on the left. man receiving instruction in nature's laws - h. milton bancroft one upright panel, in the half dome on the right. art crowned by time - h. milton bancroft on the left opposite the preceding. eastern arch, court of the universe: hope and attendants: (on the north wall) - edward simmons historical types: (on the south wall) - edward simmons representing greece, italy, spain, england and france, on the south wall. tower of jewels: the atlantic and pacific (in the center); the discovery (on the left;) the purchase (on the right) - william de leftwich dodge gateway of all nations (in the center); labor crowned (on the left); achievement (on the right) - william de leftwich dodge six panels inspired by the construction of the panama canal. the first group is on the west wall, the second on the east. western arch, court of the universe: the westward march of civilization, in two panels by - frank v. dumond beginning in the north panel and continued in the opposite one. court of palms: fruits and flowers - childe hassam painting in a lunette over the entrance into the palace of education. the pursuit of pleasure - charles holloway a painting of the same shape as the preceding, over the entrance into the palace of liberal arts. the victorious spirit - arthur mathews in the lunette over the doorway into the court of the four seasons. rotunda, palace of the fine arts: the four golds of california (golden metal, wheat, citrus fruits, and poppies) - robert reid in the ceiling inside the rotunda. art, born of flame, expresses its ideals to the world through music, poetry, architecture, painting, and sculpture - robert reid in the same location. birth of european art. birth of oriental art - robert reid belonging to the preceding group of eight pictures by the same artist. pennsylvania building: decorative paintings - edward trumbull in the east and west walls of the center court of the building, showing penn's treaty with the indians on the right and pennsylvania industries on the left. biographical notes adams, herbert (sculptor) new york. born in west concord, vermont . studied in paris. figures on columns inside of rotunda, palace of fine arts. aitken, robert i. (sculptor) new york. born in san francisco, california, . studied in mark hopkins institute, san francisco, and paris. the four elements, in court of the universe, and fountain of earth in court of abundance. bacon, henry (architect) new york. born in watseka illinois, . studied at the university of illinois and in europe. court of the four seasons. bakewell and brown (architects). john bakewell, jr. san francisco. born in topeka, kansas . studied at the beaux arts paris. arthur brown, jr. san francisco. born in oakland, california, . studied in the university of california and at the beaux arts in paris. horticultural palace. bateman, john (sculptor) new york. born in cedarville new jersey . studied in the school of industrial art. philadelphia and in paris. caryatides outside of horticultural building. bayley, guy l. (electrical engineer) san francisco. born in vacaville, california, . studied at university of california. chief of electric and mechanical department. beach, chester (sculptor) new york. born in san francisco, california, . studied in paris, new york and rome. groups on tower on court of abundance. bennett, edward (architect) chicago. preliminary plans of exposition. bitter, karl (sculptor). born in vienna, austria, . died april , , new york. studied at vienna academy of fine arts. chief of sculpture. bliss and faville (architects) walter d. bliss, san francisco. born in nevada, . studied in the massachusetts institute of technology and abroad. william b. faville, san francisco. born . studied in the massachusetts institute of technology. main buildings forming center unit of eight palaces. boberg, ferdinand (architect) stockholm. born in falun, sweden, . swedish building. borglum, solon h. (sculptor) new york. born in ogden, utah, . studied in art academy of cincinnati, and in paris. the pioneer. bourgeois, jean louis (architect) born in autun, france, . died february , , in france. collaborated with bakewell and brown in horticultural building design. boutier, eugene louis (sculptor) frieze at base of spires on horticultural building. brangwyn, frank (painter) london. born in bruges, belgium, . mural paintings of the four elements in the court of abundance. bufano, b. (sculptor) new york. medallions on the arches in court of the universe. burditt, thomas h. (architect) san francisco. born in nellore, india, . california state building. burroughs, mrs. edith woodman (sculptor) flushing, long island. born in riverdale-on-hudson . studied in art students league of few york and in paris. fountain of youth. calder, a. stirling (sculptor) new york. born in philadelphia . studied in pennsylvania academy of fine arts and in paris. acting chief of sculpture. fountain of energy; the star in court of the universe; flower girl in court of flowers; nations of the east; nations of the west, in collaboration with f. roth and leo lentelli. carrere and hastings (architects) john m. carrere, deceased. thomas hastings, new york. born new york, . studied in beaux arts, paris. tower of jewels. cummings, m. earl (sculptor) san francisco. born in salt lake city, utah, . studied in san francisco and paris. repeated figure in portal of vigor. palace of food products. denneville, paul e. (architectural sculptor) new york. born in ancy france, . studied cooper institute new york, and abroad. travertine finish of buildings. dodge, william de leftwich (mural painter) new york. born in liberty, virginia, . studied in munich and paris. two murals in tower of jewels. dumond, frank v. (painter) new york. born in rochester new york, . studied in paris. two murals in arch of setting sun. ellerhusen, ulric h. (sculptor) new york. figures in attic of rotunda and repeated frieze at base of fine arts building. farquhar, robert david (architect) los angeles. born in brookline. massachusetts, . studied at harvard and at beaux arts, paris. festival hall. flanagan, john (sculptor) new york. born in newark, new jersey, . studied in boston, new york and paris. figures on tower of jewels. fraser, james earl (sculptor) new york. born in winona. minnesota, . studied in paris. the end of the trail. french, daniel chester (sculptor) new york. born in exeter, new hampshire, . studied in boston, new york and florence. genius of creation. fry, sherry e. (sculptor) new york. born in creston, iowa . studied in art institute, chicago, and in paris. figural decorations on festival hall. garnett, porter (writer) berkeley. born in san francisco, california, . selection of inscriptions on monuments and arches. gerlach. gustave (sculptor) weehawken, new jersey. tympanum panels north and south entrances palace of education. gruppe, carl (sculptor) new york. fairy figure on italian towers. guerin, jules (painter) new york. born in st. louis missouri, . studied in america and abroad. director of color and decoration. color scheme. harley, charles r. (sculptor) new york. born in philadelphia, pennsylvania, . studied in pennsylvania academy of fine arts and in paris. "the triumph of the field" and "abundance," on west facade of main buildings. hassam, childe (painter) new york. born in boston, massachusetts, . studied in paris. lunette, fruits and flowers, in court of palms. holloway, charles (painter). lunette, the pursuit of pleasure, in court of palms. hornbostel, henry (architect) new york. born in brooklyn new york, . studied in new york and paris. pennsylvania state building. howard, john galen (architect) berkeley. born in chelmsford massachusetts, . studied in boston and beaux arts, paris. exposition auditorium in the civic center in collaboration with frederick meyer and john reid, jr. jaegers, albert (sculptor) new york. born in elberfeld, germany, . studied abroad. figures of harvest rain and sunshine, and bulls in court of four seasons. jaegers, august (sculptor) new york. born in barmen, germany, . studied in paris. spandrels and attic figures in court of four seasons. kelham, george w. (architect) san francisco. born in manchester, massachusetts, . studied at harvard. director of architecture. courts of palms and flowers. konti, isidore (sculptor) new york. born in vienna, austria, . studied in imperial academy, vienna. frieze at base of column of progress. laessle, albert (sculptor) philadelphia. born in philadelphia pennsylvania, . studied in philadelphia. lions in court of flowers. lentelli, leo (sculptor) new york. born in bologna, italy, . figures on decorative shafts in court of abundance; nations of the east and nations of the west in collaboration with stirling calder and frederick roth. longman, miss evelyn beatrice (sculptor) new york. born in winchester, ohio, . studied in chicago and new york. fountain of ceres. lundborg, florence (painter) san francisco. born in san francisco. studied in san francisco and in paris. mural decorations in tea room of the california building. mckim, mead and white (architects) new york. living members of the firm: william r. mead. born in battleboro, vermont . studied at amherst and in europe. w. symmes richardson. w. mitchell kendall. court of the universe. mclaren, john (landscape engineer) san francisco. born in scotland. horticultural effects. macneil, hermon a. (sculptor) new york. born in everett, massachusetts, . studied in boston and paris. adventurous bowman and frieze of toilers on column of progress. manship, paul (sculptor) new york. groups in court of universe. markwart, arthur (engineer) san francisco. born in illinois, . studied at university of california. assistant chief of construction. structural design of machinery palace. mathews, arthur f. (painter) san francisco. born in wisconsin, . studied in paris. lunette, the victorious spirit, in court of palms. maybeck, bernard r. (architect) san francisco. born in new york, . studied in beaux arts, paris. palace of fine arts. meyer, frederick (architect) san francisco. born in san francisco, california, . studied in america. exposition auditorium in civic center in collaboration with john galen howard and john reid, jr. mullgardt, louis christian (architect) san francisco. born in washington, missouri, . studied at harvard. court of the ages, also named court of abundance. nahl, perham w. (painter) berkeley. born in san francisco, california, . studied in hopkins institute, san francisco, and in europe. exposition poster, "the thirteenth labor of hercules." newman, allen g. (sculptor) new york. born in new york, . pupil of j. q. a. ward. conquistador and pirate on north facade main buildings. niehaus, charles h. (sculptor) new rochelle, new york. born in cincinnati, ohio, . studied in cincinnati and munich. cortez. patigian, haig (sculptor) san francisco. born in armenia . studied in paris. decorations of machinery hall. piccirilli, furio (sculptor) new york. born in massa, italy, . pupil of accademia san luca, rome. groups of four seasons in court of the four seasons. polk, willis (architect) san francisco. preliminary plans of exposition. putnam, arthur (sculptor) san francisco. born in new orleans, . mermaid in south gardens. reid, john, jr. (architect) san francisco. born in san francisco . studied in the university of california and the beaux arts, paris. exposition auditorium in civic center in collaboration with john galen howard and frederick meyer. reid, robert (painter) new york. born in stockbridge, massachusetts, . studied in boston, new york, and paris. decorations in rotunda of fine arts palace. rosse, hermann (designer and decorator) palo alto. born in the hague, holland, . studied at the hague, at delft, holland, and south kensington, london. decorative color scheme and mural painting in netherlands building. roth, frederick g. r. (sculptor) englewood new jersey. born in brooklyn, new york, . studied in vienna, nations of the east and nations of the west in collaboration with stirling calder and leo lentelli. rumsey, charles cary (sculptor) new york. pizarro. ryan, walter. d'arcy (electrical engineer) san francisco. born in kentville, nova scotia, . educated in canada. chief of illumination. lighting scheme. simmons, edward (mural painter) new york. born in concord, massachusetts . studied in paris. murals in arch of the rising sun. stackpole, ralph w. (sculptor) san francisco. born in oregon, . studied in paris. kneeling figure in front of fine arts rotunda. figures on columns flanking portal of thought and portal of vigor. figures in doorway of palace of varied industries. tonetti, f. m. l. (sculptor) new york. born in paris, france, in . studied in paris. armored horseman on tower of jewels. trumbull, edward (painter) pittsburgh. born in stonington, connecticut, in . mural decorations, penn's treaty and pittsburgh industries, in pennsylvania building. ulrich, louis (sculptor) new york. winged victory on gables of all palaces. walter, edgar (sculptor) san francisco. born in san francisco, in . studied in paris. fountain of beauty and the beast in court of flowers. weinert, albert (sculptor) new york. born in leipzig, germany, in . studied in leipzig and brussels. spandrels in court of palms; decorative finial figure, in court of abundance repeated figure in portal of thought, etc. weinman, adolph a. (sculptor) new york. born in karlsruhe, germany in . studied in art students league, new york. rising and setting sun. ward and blohme (architects) clarence r. ward san francisco. born in niles michigan, in . studied in america. j. h. blohme, san francisco. born in san francisco in . studied in america. machinery palace. whitney, mrs. harry payne (sculptor) new york. fountain of el dorado young, mahonri (sculptor) new york. born in salt lake city utah, in . studied in new york and paris. frieze over main portals manufacturers and liberal arts palaces. zimm, bruno louis (sculptor) new york. frieze, rotunda, fine arts building. the art of the exposition, by eugen neuhaus, published by paul elder and company, san francisco, was printed at their tomoye press, under the direction of john swart, in may and reprinted in june and again in august nineteen hundred and fiftee the fourth-dimensional reaches of the exposition san francisco, by cora lenore williams, m. s. author of "as if" and essays on "involution" paul elder and company publisher - san francisco copyright, by paul elder and company san francisco to my father and mother contents lines on "fourth-dimensional insight" by ormeida curtis harrison. (tissue facing frontispiece.) a fourteenth century legend essay on the fourth-dimensional reaches of the exposition. by cora lenore williams: general status of the fourth-dimensional theory fourth-dimensional aspects of the panama-pacific international exposition bibliography: books and poems having fourth-dimensional insight illustrations an unborn space. the court of four seasons. from an etching by gertrude partington (frontispiece) a structure brave. palace of fine arts. from an etching by gertrude partington a building inside out. the court of ages. from an etching by gertrude partington a four-dimensional cover design. by julia manchester mackie. (cover.) time is, and all the detail of the world confounds the plastic mind. with multitude of shapes and sounds do the swift elements of thought contend to form a whole which life may comprehend. only to those of high intent is life revealed, and quick dreams sent - half glimpsed truths omnipotent. out of the silence of an unborn space a spirit moves, and thought comes face to face with the immutable, and time is past, and the spent soul, done, meets truth at last. chance, fate, occasion, circumstance, in interfused radiance are lost. past, present, future, all combined in one sure instantaneous grasp of mind, and all infinity unrolls at our command, and beast and man and god unite, as worlds expand. - ormeida curtis harrison. a fourteenth century legend friar bacon, reading one day of the many conquests of england, bethought himself how he might keep it hereafter from the like conquests and so make himself famous to all posterity. this (after great study) he found could be no way so well done as one; which was to make a head of brass, and if he could make this head to speak (and hear it when it spoke) then might he be able to wall all england about with brass. to this purpose he got one friar bungey to assist him, who was a great scholar and magician (but not to be compared to friar bacon); these two with great study and pains so formed a head of brass that in the inward parts thereof there was all things like as in a natural man's head. this being done they were as far from perfection of the work as they were before, for they knew not how to give those parts that they had made motion, without which it was impossible that it should speak. many books they read, but yet could not find out any hope of what they sought, that at the last they concluded to raise a spirit and to know of him that which they could not attain by their own studies. the spirit straight obeyed, and appeared unto them, asking what they would. he told them that with a continual fume of the six hottest simples it should have motion, and in one month space speak: the time of the month: or the day he knew not. also he told them that if they heard it not before it had done speaking, all their labor should be lost. then went these two learned friars home again and prepared the simples ready and made the fume, and with continual watching attended when this brazen head should speak. thus watched they for three weeks without any rest, so that they were so weary and sleepy that they could not any longer refrain from rest. then called friar bacon his man miles, and told him that it was not unknown to him what pains friar bungey and himself had taken for three weeks space only to make and to hear the brazen head speak, which if they did not, then had they lost all their labor, and all england had a great loss thereby. therefore he entreated miles that he would watch whilst that they slept and call them if the head spake. 'fear not (good master), i will harken and attend, upon the head and if it do chance to speak, i will call you; therefore, i pray take you both your rest and let me alone for watching this head.' * * * * at last, after some noise, the head spake these two words: 'time is.' miles, hearing it to speak no more, thought his master would be angry if he waked him for that, and therefore he let them both sleep and began to mock the head in this manner: 'thou brazen-faced head, hath my master took all this pains about thee and now dost thou requite him with two words, "time is"?' * * * * after half an hour had past, the head did speak again two words which were these: 'time was.' miles respected these words as little as he did the former and would not wake his master, but still scoffed at the brazen head, that it had learned no better words, and have had such a tutor as his master; * * * * '"time was!" i knew that, brazen-face, without your telling. i knew time was and i know what things there was when time was, and if you speak no wiser, no master shall be waked for me.' * * * * * * * * the brazen head spake again these words: 'time is past'; and therewith fell down and presently followed a terrible noise, with strange flashes of fire, so that miles was half dead with fear. at this noise the two friars waked and wondered to see the whole room so full of smoke, but that being vanished, they might perceive the brazen head broken and lying on the ground. at this sight they grieved, and called miles to know how this came. miles, half dead with fear, said that it fell down of itself and that with the noise and fire that followed he was almost frightened out of his wits. friar bacon asked him if it did not speak. 'yes,' quoth miles, 'it spake, but to no purpose.' general status of the fourth-dimensional theory the human mind has so long followed its early cow-paths through the wilderness of sense that great hardihood is required even to suggest that there may be other and better ways of traversing the empirical common. so it is that the fear of being proclaimed a brazenhead has restrained me until this eleventh hour from telling of my discoveries concerning the fourth-dimensional reaches of our exposition. that i have the courage now is due to my desire to help in its preservation; not to the end of enclosing it in a brass wall, but to lift it out of the realm of things temporal and give it permanent meaning for our thought and aspiration. would we save our exposition from the ravages of time we have to exorcise that monster with the enigmatical utterances of the aforesaid brazen head. the philosophers are telling us that time is the fourth dimension in the process of evolving for our consciousness. i take it that there are three stages in this evolution; the first, that of immediate experience, is subsumed by the phrase 'time is'; the second is a passing from the concrete to the abstract through the fact that 'time was'; and the glory of the last is visioned only when we can say 'time is past.' while many books have been written descriptive of the exposition, none has succeeded in accounting completely for the joy we have in yonder miracle of beauty. and this through no fault of the writers. when all has been said concerning plan and execution there is still a subtle something not spatialized for consciousness. length, breadth, and height do not suffice to set forth the ways of our delight in it. what of this perceptual residue? obviously to give it extension we shall have to ascribe to reality other dimensions than those of our present sense realm. some disciple of bergson interrupts: 'ah, this whereof you speak is a spiritual thing and as such is given by the intuition. why, then, do you seek to spatialize it?' and the layman out of his mental repugnance to things mathematical echoes, 'why?' we have to answer that the process of creative evolution makes imperative the transfixion by the intellect of these so-called spiritual perceptions. although the intuition transcends the intelligence in its grasp of beauty and truth, we may attain to the higher insight it has to offer only if the things of the spirit become known to the intellect - a point in bergson's philosophy which the majority of his readers overlook. 'we have,' he says, 'to engender the categories of our thought; it is not enough that we determine what these are.' bergson is preeminently the prophet of the higher space concept. we had done better to have held to kant, for now we are not only confronted with the fourth dimension as a thought-form, but with the duty as well of furthering its creation. and in that light we have to regard what of worth and meaning the exposition has for us. although the scientist has found it useful on occasion to postulate the fourth dimension, he has not thought necessary as yet to put it in the category of reality; much less has the layman. consequently the mathematician holds the sole title to its knowledge unless we recognize the claims of the medium to a fourth-dimensional insight. there is much, however, today which points to our coming to such perception as the natural result of our evolution and quite apart from geometrical abstractions or occultism. it is as though some great tidal wave had swept over space and we have, quite unbeknown to ourselves, been lifted by it to new heights. and when we have once obtained our spiritual balance we shall doubtless find that our space world has taken to itself another direction, inconceivable as that now seems. space is more than room wherein to move about; it is, first of all, the room in which we think, and upon how we do so depends the number of its dimensions. if the attention has become 'riveted to the object of its practical interest' to the extent that this is the only good the creature knows, then is its thought-form one-dimensional even though its bodily movements are three-spaced. the great peacock moth wings a sure course mateward to the mystification of the scientist; the dog finds the direct road home - his master cannot tell how; mary antin climbs to an education over difficulties apparently insurmountable; rockefeller knows his goal and attains it, regardless of other moral worths. for these the way is certain. they can suffer no deflection since there are no relative values, no possible choices. their purpose makes the road one-dimensional. that the majority of persons are still feeling their way over the surface of things is attested by the general mental ineptitude for the study of solid geometry. depth and height play little part in our physical perception. for most of us the third dimension is practically unknown beyond the reach of a few feet. a beachey soaring aloft - why all the bravado of curve and loop? sooner or later he will fall to his death. ay, verily! but his is a joyous martyrdom making for the evolution of consciousness. not always shall we crawl like flies the surface of our globe! while a man's space-world is limited by his thought, it is, on the other hand, as boundless as his thought. that the world evolves with our consciousness, is at once the philosophy of 'creative evolution' and of the higher space theory. our present spatial milieu has settled down to a seemingly three dimensional finality because our thought-form has become so habitual as to give rise to certain geometric axioms. all we need in order to come to a fourth-dimensional consciousness, said henri poincare, 'the greatest of moderns,' is a new table of distribution; that is, a breaking up of old associations of ideas and the forming of new relations - a simple matter were it not for our mental inertia. lester ward speculates that life remained aquatic for the vast periods that paleontology would indicate; cambrian, silurian, devonian, carboniferous - a duration greater than all subsequent time - for the reason that the creature had not progressed beyond the stage when it could move otherwise than in a straight line when actuated by desire for food or mate. life was not able to maintain itself on land until it had overcome this one-dimensional limitation. a venturesome pterodactyl was he who first essayed to make his way among the many obstructions to be found ashore! by what intuition was he impelled? it is a matter of common observation that the growth of the higher perceptive faculty is strangely concomitant with adversity. the intuitive person is a person who has suffered. when conditions press sufficiently hard, a new table of distribution may be the only means for survival. thus we proceed to make a virtue of necessity and so come to the recognition of other values which we denominate spiritual because we have not as yet spatialized them. the caterpillar has to mount the twig to find the tender green that is his food, but, he solaces himself for the journey by thinking himself a creature of the light. mr. carpenter, in an interesting study of what he calls intermediate types, shows that the seers and spiritually-minded come to be such because they found themselves differing in some wise from their fellows, and dwelling on that difference had their minds turned inward. progress in thought and imagination naturally followed, with the result that these were lifted above the majority and came thereby to larger vision. failure may well be the measure of extension in a new dimension. the significance of the much fumbling and groping of earth's creatures is the desire for a larger outlook. man has to feel his way out of a three-fold world even as the worm out of his hole. that we are hearing much of the principle of relativity is perhaps the best indication we have that the collective human consciousness is about to enter a higher dimension. so long as man knew only an absolute good was his world a definitely determined world. now that the question of relative values obtrudes itself on every side the range of consciousness promises to be infinite. man's interest having in these latter days become largely centered on value-judgments and estimates of worth, an exposition affords perhaps the most general application of the principle of relativity, bringing it home to the collective mind in an intimately human way as nothing else could: - with nation vying with nation and individual with individual in all of the arts and crafts of human industry, absolute standards must needs vanish, and with their going we may be able to set up such a distribution of values as will give new direction to our efforts. however that may be, the industrial competition to which, in the last analysis, the exposition owes its inception, is pushing many aside from the beaten highways into hitherto unexplored regions of thought and endeavor, and who is to say that we may not in consequence find a direction quite at right angles to all of our wonted ways of thinking. certainly there could be no more fitting occasion for the launching of a new thought-form than a great international exposition. the fourth-dimensional aspects of the panama-pacific international exposition and i know not if, save in this, such gift be allowed to man, that out of three sounds he frame, not a fourth sound, but a star. consider it well: each tone of our scale in itself is naught: it is everywhere in the world - loud, soft, and all is said: give it to me to use! i mix it with two in my thought: and there! ye have heard and seen: consider and bow the head! - browning. the panama-pacific international exposition is best seen in its fourth-dimensional aspect when approached through the gateway of memory. this is what one might expect, for that entrance alone has the requisite geometrical structure. you will recall having heard, i am sure, how in the fourth dimension a person may go in and out of a locked room at his pleasure with bolts and bars untouched. broad and open as is this gate of memory, when you pass its portals the wall closes behind you; there is no visible opening to mark the spot of your entry. a feeling of detachment comes over you. this is augmented by the burst of light and color that flashes across the field of your vision, and for the first time you understand the purport of those 'banners yellow, glorious, golden' which 'do float and flow.' they seem to bear you on breezes of their own creating to the freedom of outer spaces. what you had taken for the flauntings of festivity are become the heralds of hyperspace. as you wend your way down the avenue of time you feel an inexpressive lightness, a sensation of being lifted out of yourself. the moment seems unique. things are unrelated. there is no concern of proportion. the place is one of immediacy. you wander from the ephemeral to the ephemeral. 'time is,' you say, in childish glee. and you hasten to assemble images as many and as disparate as possible, believing that you are drinking life at its fountain head. the outer world presents itself to your consciousness in the form of facts in juxtaposition. you read guide-books and rejoice in the acquisition of knowledge. gradually through the perception of the same phantasmagoria comes an at-oneness with your fellows. you are caught up in the swirl of a larger self. soon you weary of the heterogeneous. the zone of consciousness stands revealed in all its grotesqueness. 'time is,' you cry, but to give thought its impulse, and you hasten on if perchance you may discover the direction of the life-principle. what you had taken for reality is but its cross-section - so does this empirical realm stand to the higher world of your spirit, even as a plane to a solid. now you turn your attention from things to relations in the hope of getting at truth in the large. a passage in plato comes vividly to your mind. 'for a man must have intelligence of universals, and be able to proceed from the many particulars of sense to one conception of reason; - this is the recollection of those things which our soul once saw while following god, when, regardless of that which we now call being, she raised her head up towards the true being.' henceforth the multiplicity that you seek is one of organization and has nothing to do with number. 'time was,' you proclaim, that consciousness might sift out the irrelevant. as you pass from collection to collection individual fact becomes prolonged into general law and science dominates the field of thought. a thousand years are as a day when subsumed by its laws. you look at the objects of man's creating with new eyes. the displays are no longer contests of laborious industry but of vision, and faith. you see that truth has made itself manifest through the long repetition of the same fundamental theme. that which is unique and personal you are surprised to find of less value than the habit perfected by patient practice. the routine and monotony of daily toil become glorified in the light that now falls athwart your vision. you learn to substitute for your personal feeling the common impersonal element felt by the many. your concern is not as formerly to recollect, but to symbolize. to this end you study frieze and statuary and frequent lectures. your sense of social solidarity grows through mutual comprehension of the same truths. and again that 'vexing, forward reaching sense of some more noble permanence' urges you on. 'time was;' you joyously affirm for man to come to the knowledge of an eternal self. but that, your tradition and education have led you to believe, is still yonder, worlds away. and you image the soul in its quest passing from life to life as you are now passing from building to building, from hall to hall. but glad the thought - there will be courts wherein you may perhaps glimpse the plan of the whole and so gather strength and purpose for another housing. all at once you know that death has no fear for you and you feel toward your present life as you do toward these palaces of the mundane - the sooner compassed the better. you pass from court to edifice and from edifice to court, marveling at the symmetry of plan and structure. unity, balance, and harmony become manifest as spatial properties - you had been taught to regard them as principles of art. you wonder if art itself may not be merely a matter of right placing - the adjustment of a thing to its environment. you are certain that this is so as each coign and niche offers you its particular insight. strange vagaries float through your mind - one's duty to the inanimate things of one's possession; the house too large for the personality of the owner; the right setting for certain idiosyncrasies; character building as a constructive process; the ideal as the limit of an infinite series - each pointing the way, as you think, to a different vista of human outlook. what then your glad surprise to find these converging toward one ideal synthesis. in anticipation of the splendor you hasten on till earth shall have attained to heaven. there it stands - 'a structure brave,' the palace of art, the temple of the soul - and you know you were made to be perfect too. now that you apprehend the plan of the whole, symmetry takes on a vital significance for your thought. you try to recall what you learned of it in geometry. there was a folding over, you remember, and a fitting together 'congruence' you believe it was called. but that could have no meaning for solids. stop! a folding over? why, that implies another dimension! the two halves of a leaf can be brought together only as one or the other is lifted out of the plane of the leaf into a third dimension. so to bring two buildings into superposition when they are alike except for a reverse order of parts, would necessitate a fourth dimension and a turning inside out. quick as the thought, the court you are in is that - a building inside out! ah! you know now wherefor that wonderful uplifting sensation that comes whenever you enter one of these beautiful inclosures. you have passed into the fourth dimension of spatial realization. 'time is past,' you shout aloud, and laugh to find yourself on the inside of externality. cubism in architecture! futurism, in very truth! you visit again the galleries of the new art, not to scoff, but in earnest desire for enlightenment as to this thing which is so near to consciousness and yet so far. you find yourself exclaiming: 'ah, there is something here unfathomed by the cynic's sneer!' as you gaze at the portrayal so strangely weird in form and color you ask yourself where have i felt that, seen this, before? immediately you are transported in memory to the midst of a crowded street. in the mad bustle and noise you are conscious only of mechanical power; of speed - always of speed. your voice far away - 'the child, oh, the child!' a swooning sensation. men's faces as triangles and horses with countless legs. the chaos of primal forces about youthen darkness. as the past fuses with the present you awaken to a larger privilege of life than man now knows. you feel yourself encompassed by truth, vital and strong. this art, erstwhile so baffling, stands revealed as the struggle of a superhuman entity for self-expression. the tendency toward god has to begin anew with each round of the life-spiral - that eternal circle which life pursues. now you find yourself in the court of the universe. bands of many-colored light, the white radiance of eternity, stream athwart the sky. the illumination is of the wonder that now is. how marvelously strange the sight of the world-consciousness passing over into a higher thought-form! each individual element suffering reversal to take its proper place in the new world-order! you see positive becoming negative, negative becoming positive, and evolution giving place to involution - a process as yet uncomprehended by our narrow thought. and the secret of the world-struggle across the sea you know; men passing their nature's bound; new hopes and loyalties supplanting old ties and joys; the established creeds of right and wrong as they vanish in this immeasurable thirst for an unknown good. all these things you know to be the travail of the world as it gives birth to some higher entity than individual man. 'time is past,' and as you speak a dove settles to rest upon a pediment. therewith you are carried away in the spirit to a great and high mountain and you behold a new heaven and a new earth; for the first heaven and the first earth are passed away. you see the holy city coming down out of heaven - her light is like unto a stone most precious, as it were a jasper stone, clear as crystal, and the walls thereof are adorned with all manner of precious stones - and they brought the glory and the honor of the nations into it. creative evolution (after bergson) out of a sense of immediacy comes an intuition of things forming. pressed up by the vital urge, mind meets matter and matter mind in mutual understanding. that which apprehends, since by the object shaped, a fitting instrument is for what itself has wrought. from the same stuff, cut by an identical process, thing and intellect to congruence come, in a space-world forever unfolding. no preestablished harmony this of inner to outer realm corresponding, nor spirit nor form by the other determined. stranger far the genesis whereof i speak: from the universal flux, in a moment, that is ever unique, life to new consciousness springs; creator and created together evolve, in a time-stream continually changing. my bibliography of fourth-dimensional insight while to books i owe much, i owe still more to the beautiful people by whom i have been, like marcus aurelius, all my life surrounded, and particularly to my parents of large vision. creative evolution: bergson. an intuition so great that if spatialized it would lead to a world of infinite dimensions. the ethical implications of bergson's philosophy: una bernard sait. the new infinite and the old theology: c. j. keyser. the fourth dimension: c. h. hinton. first and last things: h. g. wells. the art of creation: edward carpenter. some neglected factors of evolution: bernard. a scientific presentation of involution, a book than which none other has more light to throw on present world problems. primer of higher space: claude bragdon. projective ornament: claude bragdon. paracelsus: browning. abt vogler: browning. commemoration ode: lowell. the book of revelations. here ends "the fourth dimensional reaches of the panama-pacific international exposition," written by cora lenore williams, m.s., with lines on fourth-dimensional insight by ormeida curtis harrison; and the illustrations are from etchings done by gertrude partington, and the fourth dimensional cover design by julia manchester mackie. published by paul elder & company, and printed under the typographical direction of h. a. funke at their tomoye press, in san francisco, during the month of november, nineteen hundred and fifteen. an art-lover's guide to the exposition explanations of the architecture, sculpture and mural paintings, with a guide for study in the art gallery by sheldon cheney berkeley at the sign of the berkeley oak copyright by sheldon cheney printed and engraved by sunset publishing house san francisco contents foreword the architecture and art as a whole court of abundance court of the universe court of the four seasons court of palms and court of flowers tower of jewels, and fountain of energy palaces facing the avenue of palms palaces facing the marina, and the column of progress palace of machinery south gardens, festival hall, and palace of horticulture palace of fine arts outdoor gallery of sculpture fine arts galleries state and foreign buildings, and scattered art exhibits index foreword this handbook is designed to furnish the information necessary for intelligent appreciation of the purely artistic features of the exposition. it is planned first to explain the symbolism of the architecture, sculpture and painting; and second, to point out the special qualities that give each artistic unit its individual appeal. it is made for the intelligent observer who, having enjoyed the purely aesthetic impression of the various works of art, feels a legitimate curiosity about their meaning. everything possible has been done to make the volume a guide rather than merely a general treatise. the chapter groupings are the most obviously serviceable ones. running heads will be found at the tops of the pages, and the sub-headings and catch-titles in each chapter are designed to make reference. to individual features as easy as possible. a complete index is added at the end. purely destructive criticism and ridicule have been carefully avoided. but if the writer did not pretend to a power of artistic discrimination which is lacking in the average layman who has not specialized in art and architecture, there would be little excuse for preparing the guide. the praise and criticism alike are such, it is hoped, as will aid the less practiced eye to see new beauties or to establish sounder standards of judgment. acknowledgment is made to the official exposition press bureau for courtesies received, and to those artists who have supplied information about their own work. for obvious reasons no material has been accepted direct from articles and books already published. if certain explanations of the symbolism seem familiar, it is only because all wordings of the ideas echo the artists' interpretations as given out by the press bureau. acknowledgment is due also to the cardinell-vincent company, official photographers, since most of the illustrations are from their prints. s. c. the architecture and art as a whole in the art of the exposition the great underlying theme is that of achievement. the exposition is being held to celebrate the building of the panama canal, and to exhibit to the world evidences of the progress of civilization in the decade since the last great exposition-a period among the richest in the history of civilization. so the ideas of victory, achievement, progress and aspiration are expressed again and again: in the architecture with its triumphal arches and aspiring towers; in the sculpture that brings east and west face to face, and that shows youth rising with the morning sun, eager and unafraid; and in the mural paintings that portray the march of civilization, and that tell the story of the latest and greatest of mankind's triumphs over nature. but perhaps the most significant thing of all is the wonderfully harmonious and unified effect of the whole, that testifies so splendidly to the perfect co-operation of american architects, sculptors and painters. the dominant note artistically is harmony. at no other exposition have the buildings seemed to "hold together" so well; and at no other has there been the same perfect unity of artistic impression. the chicago exposition of focused the artistic expression of the nation at that time. it brought about the first great awakening of the country in artistic matters, and it practically revolutionized american architecture. the st. louis exposition of , while less unified in plan, gave another great stimulus to architecture, and especially to sculpture. but the panama-pacific exposition should have a more far-reaching effect than either of these, because its great lesson is not in the field of any one art, but in showing forth the immense value of coordination of all the arts in the achievement of a single glorious ideal. the great thing here is the complete harmony of purpose, of design, and of color, in the combined work of architects, sculptors, painters, and landscape gardeners. the sensible plan that results in perfect convenience in getting about, the clothing of this plan in noble and fitting architectural forms, the use of sculpture and painting as an integral part of the architectural scheme, the tying in of buildings to site with appropriate planting, and the pulling together of the whole composition with harmonious color-these are the things that will leave their impress on american art for all time to come. if each student of the art of the exposition takes home with him an understanding of the value of this synthesis, of this co-ordination of effort, he will have the key to the exposition's most valuable heritage to the american people. physically there are three distinct parts to the exposition: the main group of exhibit palaces, the zone, and the state and foreign buildings. the art-lover will be concerned almost entirely with the first of these; for artistically the zone expresses anarchy, and the state and foreign pavilions are given over almost entirely to social and commercial interests. architecture the architecture of the central group of palaces and courts is a notable departure from that of most of the expositions of the past. there are none of the over decorated facades, none of the bizarre experiments in radical styles, and little of the riot of extraneous ornament, that have been characteristic of typical "exposition architecture." the whole spirit here is one of seriousness, of dignity, of permanency. the effects are obtained by the use of long unbroken lines, blank wall spaces, perfect proportioning, and a restrained hand in decoration. color alone is relied upon to add the spirit of gayety without which the architecture might be too somber for its joyous purpose. the ground plan is remarkable for its perfect symmetry. on the main east and west axis are grouped eight palaces, about three interior courts. at the east end the axis is terminated by the palace of machinery, which cuts off the main group from the zone. on the west the axis is terminated by the fine arts palace, which separates the central group from the state and foreign buildings. the main cross axis is terminated at the south by the tower of jewels and the fountain of energy, and at the north by the column of progress on the marina. the two minor cross axes end at the south in the horticulture palace and festival hall-the two great domed structures that naturally would separate themselves from the main plan and at the north these axes open on the marina and the beautiful bay view. this plan is admirably compact. it has the effect of a walled city, giving a sense of oneness from without, and a sense of shelter from within. the plan eliminated the usual great distances between exhibit halls, at the same time providing protection against the winds that occasionally sweep over the exposition area. more important still, the throwing of the finer architectural effects into the inner courts allowed freedom in individual expression. in the court system the architects obtained unity with great variety of style, and harmony without monotony. the plan was worked out by a commission of architects. but the greatest credit must be given to edward h. bennett, who first conceived the walled-city idea, and who brought his long experience in city-planning to serve in determining the best method of utilizing the magnificent site. the style of architecture cannot be summed up in any one name. practically every historic style has been drawn upon, but there are very few direct copies from older buildings. the old forms have been used with new freedom, and occasionally with very marked originality. as one looks down on the whole group of buildings, the oriental feeling dominates, due to the many byzantine domes. in the courts and facades the renaissance influence is strongest, usually italian, occasionally spanish. even where the classic greek and roman elements are used, there is generally a feeling of renaissance freedom in the decoration. one court is in a wonderful new sort of spanish gothic, perfectly befitting california. in the styles of architecture, as in the symbolism of painting and sculpture and in the exhibits, one feels that the east and west have met, with a new fusion of national ideals and forms. the material used in the buildings is a composition, partaking of the nature of both plaster and concrete, made in imitation of travertine, a much-prized building marble of italy. this composition has the warm ochre tone and porous texture of the original stone, thus avoiding the unpleasant smoothness and glare which characterize stucco, the usual exposition material. sculpture in one way more than any other, the sculpture here surpasses that of other expositions: it is an integral part of the larger artistic conception. it not only tells its individual stories freely and beautifully, but it fits perfectly into the architectural scheme, adding the decorative touch and the human element without which the architecture would seem bare. the late karl bitter was chief of the department of sculpture, and although there is no single example of his work on the grounds, it was he who, more than any other, insisted upon a close relationship between the architecture and the sculpture. a. stirling calder was acting chief, and he had charge of the actual work of enlarging the models of the various groups and placing each one properly. the material of the sculptures is the same as that of the buildings, travertine, thus adding to the close relationship of the two. mural paintings the mural paintings as a whole are not so fine as either the architecture or the sculpture. the reason can be traced perhaps to the fact that painting does not readily bow to architectural limitations. in this case the artists, with the exception of frank brangwyn, who painted the canvases for the court of abundance, were limited to a palette of five colors, in order that the panels should harmonize with the larger color scheme. color never before was there an exposition in which color played such a part. here for the first time a director of color was placed above architect and sculptor and painter. jules guerin, chief of color decoration, has said that he went to work just as a painter starts to lay out a great picture, establishing the warm buff of the building walls as a ground tone, and considering each dome or tower or portal as a detail which should add its brilliant or subdued note to the color harmony. not only do the paintings and sculpture take proper place in the tone scheme, but every bit of planting, every strip of lawn and every bed of flowers or shrubs, has its duty to perform as color accent or foil. even the gravel of the walks was especially chosen to shade in with the general plan. as seen from the heights above the exposition-and no visitor should go away without seeing this view-the grounds have the appearance of a great oriental rug. the background color is warm buff, with various shades of dull red against it, accented by domes and columns of pale green, with occasional touches of blue and pink to heighten the effect. in the courts the columns and outer walls are in the buff, or old ivory, tone, while the walls inside the colonnades have a "lining color" of pompeian red; the ceilings are generally cerulean blue; the cornices are touched with orange, blue and gold; and occasional columns of imitation siena marble, and bronzed statues, set off the whole. in connection with the color scheme, great credit must be given to john mclaren, chief of the department of landscape gardening, who has worked so successfully in co-operation with architects and color director. the exposition is built almost entirely on filled ground, just reclaimed from the bay; and it was a colossal task to set out the hundreds of thousands of flowers, shrubs and trees which now make the gardens seem permanent, and which set off the architecture so perfectly. lighting when one's soul has been drenched all day in the beauty of courts and palaces and statues and paintings, dusk is likely to bring welcome rest; but when the lights begin to appear there comes a new experience-a world made over, and yet quite as beautiful as the old. walls are lost where least interesting, bits of architecture are brought out in relief against the velvet sky, and sculptures take on a new softness and loveliness of form. under the wonderfully developed system of indirect illumination, no naked light is seen by the eye; only the soft reflected glow, intense when desired, but never glaring. if this lighting is not in itself an art, it is at least the informing spirit that turns prose to poetry, or the instrumental accompaniment without which the voice of the artist would be but half heard. too much credit cannot be given to the lighting wizard of the exposition, w. d'arcy ryan. the court of abundance the court of abundance is the most original, and perhaps the most consistently beautiful, of all the exposition courts. no other is so clearly complete in itself, without the intrusion of features from surrounding buildings and courts. no other has the same effect of cloistered seclusion partly because each of the others is open on one side. and certainly no other indicates so clearly the touch of the artist, of the poet-architect, from the organic structural plan to the finest bit of detail. even the massive central fountain, though conceived in such different spirit, has no power to dispel the almost ethereal charm that hovers over the place. the distinctive note of the court is one of exquisite richness. as one enters from any side the impression grows that this is the most decorative of all the courts; and yet one is not conscious of any individual bit of decoration as such. everything fits perfectly: arches, tower, cornices, finials, statues, planting-it all goes to enrich the one impression. someone has said that the court is not architecture, but carving; and that suggests perfectly the decorative wealth of the composition. architecture the style of architecture has been guessed at as everything from romanesque and gothic to flamboyant renaissance and moorish. the truth is that the court is a thoroughly original conception; and the architect has clothed his pre-conceived design in forms that he has borrowed from all these styles as they happened to suit his artistic purpose. the spirit of the court is clearly gothic, due to the accentuation of the vertical lines-and one will note how the slender cypresses help the architecture to convey this impression. the rounded arches, modified in feeling by the decorative pendent lanterns, hint of the awakening of the renaissance period in spain, during the fourteenth and fifteenth centuries, when the vertical lines, and decorative leaf and other symbolic ornaments of the severer gothic, were so charmingly combined with classic motives. the architecture here is inspiring as a symbol of the american "melting-pot." it is a distinct and original evolution, recalling the great arts of europe, and yet eluding classification. the court shows that the designer was master of the styles of the past, but refused to be a slave to them; at the same time he had an original conception but did not let it run into the blatant and bizarre. it is from such fusions of individual genius with the traditions of the past that a distinctive american architecture is most likely to flower. the tower is a magnificent bit of architectural design. it is massive and yet delicate. it dominates the court, and yet it fits perfectly into the cloister. the rich sculpture is so much a part of the decorative scheme that there is no impression of the structure having been "ornamented." one must search long in the histories of architecture to find a tower more satisfying. the architect who designed the court of abundance is louis christian mullgardt, one of the two most original geniuses among california's architects. it is well to enjoy this court at first for its beauty alone, without regard to its rich symbolism. one who has thus considered it, merely as a delight to the eye, usually is surprised to find that it has a deeper underlying meaning than any of the other courts. the present name, "court of abundance," is not the original one. the architect conceived it as "the court of the ages." it is said that the exposition directors, for the rather foolish reason that a court of the ages would not fit into the scheme of a strictly contemporaneous exposition, re-christened it "the court of abundance." but it is the former name that sums up the thought behind the decorative features. the underlying idea is that of evolution. the tower sculptures, which will be more fully explained in following paragraphs, represent successive ages in the development of man-the stone age, the mediaeval age, and the present age. the decoration of the cloisters may be taken as symbolizing the evolution of primitive man from the lower forms of life. thus the ornamental garlands that run up the sides of the arches are of seaweed, while other parts of the decoration show crabs, lobsters and other of the lower forms of sea life. higher up the ornament includes conventionalized lilies suggestive of higher plant life. and surmounting the colonnade, one over each pier, are the repeated figures of primitive man and primitive woman. it is at this height that the tower sculptures begin, carrying on the story of man up to the present age. at a level between the stone age group and the mediaeval age is a row of cocks, symbols of the rise of christianity. perhaps the whole aspiring feeling of the court is meant to further suggest the upward rise of man-but after all, the purely sensuous beauty of the architecture is sufficient to warrant its being, without any straining after symbolism. sculpture groups on the tower. the three main groups typify the rise of man, and especially the rise of man's civilization through religion. the lowest group, over the main arch, is called the stone age. along the base are prehistoric monsters, and above are figures representing various phases of primitive life, as a man strangling an animal with his hands, and a figure that may suggest the rude beginnings of art or industry. the heads indicate a period of evolution when man was not very different from the ape; but the central figures suggest the development of family life, and a new outlook and a seeking for something higher. the middle group, the mediaeval age, shows an armored figure with sword and shield, a crusader perhaps, with the force of religion symbolized in the priest or monk at one side, and the force of arms suggested by the archer at the other, these being the two forces by which man was rising in that age. the third and highest group represents the spirit of the present age enthroned. at one side a child holds the book of learning, while at the other a child holds the wheel of industry. the group also carries inevitably a suggestion of motherhood. flanking the middle group are two figures, in which the whole idea of human evolution is suggested by a modern man and woman outgrowing their old selves. on the east and west faces of the tower are figures representing "thought." all the sculpture on the tower is by chester beach. figures surmounting colonnade. two figures of "the primitive man" and one of "the primitive woman" are repeated above the cloister all around the court. the woman carries a child on her back, one man is feeding a pelican, and the other is a hunter returning with a club in one hand and his quarry in the other. these figures are remarkably well suited to their purpose, balancing one another exactly; they are so much a part of the decorative scheme, indeed, that the average person is likely to overlook their merits as individual statues. albert weinert was the sculptor. the water sprites. at the tower side of the court, flanking the stairway that leads to the archway under the tower, are two free-standing monuments that were designed as fountains. the original plan called for cascades from below the stone age group on the tower to these monuments. although the elimination of this feature made the court more simple and satisfying as a whole, the figures of the water sprites were left high and dry, so that now there is a certain incongruity in their position. still one may admire the very spirited girl archers surmounting the two columns, even if they are apparently launching arrows at their sister sprites below, instead of into jets of water as was intended. the figures at the bases of the columns, while lacking the grace and the joyous verve of those above, still are very decorative. all are the work of leo lentelli. the fountain of earth. in the large basin in the center of the court of abundance is robert aitken's "fountain of earth." while plainly out of keeping with the spirit of the court, this is in itself one of the most powerful and most interesting sculptural compositions at the exposition. it is deeply intellectual, and more than any other group it requires an explanation of the symbolism before one can appreciate it. the fountain is really in two compositions. the larger, and central, one is composed of a globe representing the earth, with four panels of figures on the four sides, representing certain of the incidents of life on earth, or certain riddles of existence. the secondary composition lies to the south of the central one, on the same pedestal; and this is divided into two groups by a formalized wing through the center. the two scenes here represent life before and after earthly existence. the two huge arms and the wing are all that can be seen of destiny, the force with which the allegorical story begins and ends. to "read" the fountain in proper sequence, one must start with the west face of the secondary group. this represents the beginning of things. the arm of destiny is calling forth life and points the way to the earth. the three women figures next to the hand show the gradual awakening from oblivion. the adjoining two figures represent the kiss of life or of love, and the woman is holding forth to the earth the children created of that love. the entire group on this west face, considered in relation to the main composition, may be taken as representing the peopling of the earth. there is now a gap which one must pass over, to reach the south panel of the central composition. this gap represents the lost period of time between the peopling of the earth and the beginning of history. the south panel of the main structure has as its central figure vanity with her hand-glass. whether the artist intended it as a pessimistic commentary on all human life, or not, his series of episodes on earth begins and ends with the figure of vanity. reading to the left on this same panel one sees a man and a woman starting the journey of life on earth, apparently with suffering but certainly with courage perhaps for the sake of the children they carry. the west panel now shows the first of three incidents or problems of life on earth. this is entitled natural selection. two women turn to one man who is clearly superior to the two men they are leaving. the two who have been spurned as mates cling to the hands of the women even while they are turning away. the north panel represents the survival of the fittest. two men are in combat, the woman at the left evidently to be the prize of the victor. at the other side a woman tries to draw away one of the combatants. the sculptor has given this group a second title, "the awakening of the war spirit," which is equally applicable. the east panel is entitled the lesson of life. a young man and a young woman turn to each other through natural impulse, while an older woman with the experience of life attempts to counsel them. on the other side an old man restrains an impetuous youth who evidently would fight for the girl. turning the corner now to the south panel again, there are two figures representing lust trying to embrace a reluctant woman. then one comes to vanity once more, and the story of life on earth is done. again there is a gap, and the scene leaves the earth for the unknown world after physical death. the east face of the minor group first shows the figure of greed, with his worldly goods now turned literally to a ball of clay in his hands, gazing back at earth in puzzlement. the next two figures show faith offering the hope of immortality (as symbolized in the scarab) as consolation to a sorrowing woman. finally there are two figures sinking back into oblivion, drawn by the hand of destiny. thus the cycle from oblivion through life and back to oblivion is completed. in the same basin, at the far south end, is a figure of the setting sun. this was part of the artist's conception of the fountain of earth, the relation to the main group being found in the supposition that the earth is a mass thrown off by the sun. thus is emphasized the idea that the earth and life on earth are but a very small part of the wider unknown universe and life. at the four corners of the main composition of the fountain, separating the four panels, are hermae, terminal pillars such as the greeks and romans were fond of, decorated with the head of hermes, god of boundaries. having worked out the story, it is well to go back to appreciate the purely aesthetic qualities of the fountain. note especially the feeling of strength in the figures, the firm modeling, and the fine way in which the figures are grouped. the composition of the west face of the minor monument is especially fine, and the very graceful lines here make an intimate appeal that is not evident in some of the other groups. the whole monument is austere and strongly compelling rather than intimately charming. if it is the first duty of art to make people think, this is the most successful bit of sculpture on the grounds. mural paintings the mural paintings in, the court of abundance consist of eight panels by frank brangwyn, perhaps the greatest living mural decorator, placed in the four corners of the cloister. though not entirely in key with the color scheme and not an integral part of the court as a whole, these are distinctly the works of a master. ultra-learned critics will tell you that they fail as decorations, since they are interesting as individual pictures rather than as panels heightening the architectural charm. but their placing shows clearly that there was no intention that they should appear as part of the architectural scheme. it is better to accept them as pictures, forgetting the set standards by which one ordinarily judges mural painting. the eight paintings represent the elements: two panels each for fire, earth, air and water. there are no conventional figures here personifying the elements, but scenes from the life of intensely human people, typifying the uses to which man has put the elements. fire. beginning on the tower side of the court, at the northeast corner, are the two panels representing fire. the one on the north wall is called "primitive fire." a group of figures surround a fire, some nursing it and some holding out their hands to the heat, while a man at the back brings fagots. note the color accents in the robes of the three standing figures. "industrial fire," on the east wall, represents the bringing of fire into the service of man. in some particulars this is among the finest of the paintings, but the transverse cloud of smoke seems to break it awkwardly. earth is represented in the two panels in the northwest corner. the one on the north wall is entitled "the fruit pickers," typifying the wealth of products that man obtains from the earth. this is perhaps the richest of the panels, in the profusion of color and of alluring form. the panel on the west wall is "the dancing of the grapes," a variation of the theme of "the fruit pickers." it tells the story of the grape: above are the pickers and the harvesters with baskets; at the right two figures dancing to crush the juices from the grapes; and in the foreground a group with the finished wine. the confusion of figures at first is puzzling; but viewed simply as a spotting of bright colors there is no finer panel among them all. it is better to stand well back along the colonnade, and forgetting the subject, to delight in the purely sensuous impression. air is represented in the two panels in the southwest corner. the one on the south wall is called "the hunters." the theme is suggested in the idea of the arrows fleeing on the wings of the air, and also by the flight of birds above. the panel on the west wall is called "the windmill." note how the feeling of moving air is suggested everywhere: in the skies at the back, in the clouds and the kites, in the trees and the grain-field, in the draperies, and even in the figures themselves that are braced against the wind. the coloring is glorious, and the composition fine. the disposition of masses of light and dark is notable the dark figures grouped against the golden grain, and the gold-brown windmill against the dark sky. no panel in the grounds will better repay intensive study. water is represented in the panels of the southwest corner of the court. the one on the south wall is called "the net," and typifies the wealth that man draws from the water. a group of fishermen are hauling in a net, and carriers bring baskets at the back. "the fountain," the panel on the east wall, shows a group of people who have come to fill their jars at a spring. the colors here are softer, though quite as rich as elsewhere. the lower half of the painting is, indeed, like a richly colored mosaic. after examining "the fountain" at close range it is well to step back to the middle of this south corridor. look first at "the windmill" and then turn to look again at "the fountain." note, how, when the subjects are once understood, the great distance increases rather than decreases the charm of the paintings. note especially how beautiful each one is when considered merely as a pattern of color. these two panels, if not the finest of all, at least must take rank among the best three or four. the north court of abundance passing under the tower from the court of abundance one comes out in the little north court that is conceived in the same spirit, and which likewise is dominated by the mullgardt tower. the architecture here is like an echo of that of the main court, the decorated spaces alternating with bare spaces. the tower sculptures are all repeated on this side. the only sculpture within the north court is sherry fry's personification of aquatic life. the statue is of a heavy sort that should be anywhere but in this place of ethereal mood and exquisite detailed workmanship. blot out the background and you can see that the figure has a certain solid grace. but if designed for this court it fails of its decorative purpose. court of the universe the court of the universe is the most magnificent of the courts. considering the many units-the noble arches, the long colonnades with their corner pavilions, the sunken garden with its fountains and decorative sculpture, and the vista to the column of progress and the marina-it is by far the richest in artistic interest. but is it so imposing, so vast, that it necessarily lacks the sense of quiet restfulness and intimacy of appeal of the smaller courts. it is in a sense the civic center of the great exposition model city, and as such it offers many suggestions of wise planning-and one or two of poor planning, as in the case of the obtrusive band-stand. the meaning of the court is to be found in the symbolism of the groups surmounting the two triumphal arches-the nations of the east meeting the nations of the west. with the opening of the panama canal the peoples of the universe have met at last; west faces east on this shore of the pacific. the idea is finely expressed in the lines by walt whitman, inscribed on the west arch, in which the spirit of the aryan race, having traveled this far, is supposed to speak as she gazes westward to asia, "the house of maternity," her original home: facing west from california's shores, inquiring, tireless, seeking what is yet unfound, i, a child, very old, over waves, towards the house of maternity, the land of migrations, look afar, look off the shores of my western sea, the circle almost circled. variations of this theme may be found in the murals under the arches, and in those under the tower of jewels near by. other universal themes are treated in the fountains of the rising sun and of the setting sun, and in the elements at the edge of the sunken garden. the idea of achievement, of victory in conquering the universe, is also suggested in the triumphal arches. architecture the style of architecture is in general roman; though, as is true almost throughout the exposition buildings, there is an admixture of renaissance motives. even on the massive roman arches there is a trace of moorish lightness and color in the green lattices; and the domes of the corner pavilions are clearly eastern in feeling. the east and west arches are, of course, reminiscent of the triumphal arches of the roman conquerors. a comparison with pictures of the famous arch of constantine and the arch of titus at rome, will show how thoroughly the architects have mastered the feeling of the classic examples, while largely modifying the decorative features. to properly see either of the arches in this court as a single unit, it is best to stand at the side of the sunken garden, near one of the figures of "the elements," where the fountain columns do not obstruct the view. the long colonnade, with its fine corinthian columns and its surmounting row of "star-girls," can best be appreciated when one stands facing north, with back to the tower of jewels-since the architecture of that was clearly conceived by another mind and built in a different spirit. it is from the two corner pavilions on the tower side, perhaps, that the best general views of the court can be obtained. unfortunately the attractive view down the straight colonnades of the north extension of the court is marred by a gaudy band pavilion, which is quite out of keeping with the pervading mood of simple dignity. the little corner pavilions are worthy of study alone, as a graceful and unusual bit of architectural design. the court of the universe was designed by mckim, mead and white. sculpture the court of the universe has more than its share of the best sculpture of the exposition. in this court more than anywhere else one can obtain an idea of the remarkable scope of the sculptured groups. it is a good place to linger in if one has heretofore had pessimistic doubts about the ultimate flowering of the art of sculpture in america. the fountain of the rising sun is at the east end of the sunken garden. its tall shaft is surmounted by the figure of a youth typifying the rising sun-a figure of irresistible appeal. the morning of day and the morning of life, the freshness of the dawn and the aspiration of youth-- these things are remarkably suggested in the figure. with head up and winged arms outstretched, the youth is poised on tiptoe, the weight thrown forward, as if just on the point of soaring. the fountain of the setting sun is just opposite, at the west end of the sunken garden. the surmounting figure here, though officially called "the setting sun," is more appropriately named "descending night"-the title the artist has given to the bronze replica in the fine arts gallery. the closing in of night-that is what is so perfectly suggested in the relaxed body, the folding-in wings, and the remarkable sense of drooping that characterizes the whole statue. there is, too, an enveloping sense of purity and sweetness about the figure. these two statues which surmount the fountains of the rising sun and the setting sun are among the most charming sculptures at the exposition. they have not the strength of the figures of the elements, or the massive nobility and repose of the genius of creation, or the purely modern native appeal of the works of stackpole and young and fraser. but for those of us who are sculpture lovers without asking why, they come closer to our hearts and dwell more intimately in our minds than any of these. "descending night" especially has a sensuous charm of graceful line, a maidenly loveliness, that appeals irresistibly. both figures are by adolph a. weinman. above the higher basin of each fountain the column drum is decorated with figures in relief. while the two friezes are meant to be decorative primarily, the artist has employed in each case a symbolism in keeping with the crowning figure. the frieze in the fountain of the rising sun represents "day triumphant." the symbolic figures typify the awakening of man's finer instincts and energies at the call of the morning, and the shrinking of the vices when the darkness of night gives place to the light of day. the relief-frieze of the "fountain of the setting sun" is entitled "the gentle powers of night." it represents descending night bringing with her the stars, the moon-goddess, dreams, and similar beautiful things. the lower basins of both fountains contain figures of centaurs (a new sea-variety, with fins) holding sea-monsters. groups surmounting arches. the monumental groups surmounting the two triumphal arches are "the nations of the east," on the arch of the rising sun, and "the nations of the west," on the arch of the setting sun. the symbolic idea behind the two compositions thus placed facing each other, is that of the nations of the eastern and western hemispheres at last meeting on this pacific shore. the nations of the east is made up of five mounted and four unmounted figures, all typical of the orient. reading from the spectator's left to right, the mounted figures are: . an arab tribal chief on a horse; . a mohammedan standard bearer on a camel; . the east indian on his richly-caparisoned elephant; . another mohammedan standard-bearer on a camel; . a mongolian horseman. between the mounted figures are the following on foot: . a servant with a basket of fruits; . an arab falconer; . a thibetan lama or priest; . another servant with fruit. the nations of the west represents typical figures from the european nations which have helped to develop america, together with two american indians and an alaskan. a central composition shows the mother of tomorrow and a surmounting group typifying the spirit of enterprise which has led the aryan race to conquer the west. the figures, from left to right, are: . the french-canadian (sometimes called "the trapper"), on horseback; . the alaskan, carrying totem poles, on foot; . the spanish-american conqueror, mounted; . the german-american, on foot; . the mother of tomorrow, on the tongue of the ox-drawn prairie schooner; . the italian-american, on foot; . the english-american, mounted; . an indian squaw; . the american indian, mounted. on top of the prairie schooner the spirit of enterprise is represented by a spirited winged figure, with a boy at either hand. the way in which the two groups balance each other at the two ends of the court is worthy of study-the elephant of the one offset by the prairie schooner of the other. indeed each feature of one is balanced in the other so that the two will mass against the sky with the same general decorative effect. "the nations of the east," considered as a whole, seems the more satisfying group-richer in feeling, more unified in design, and more massive; in short, more monumental and therefore better fitted to crown the noble arch. but if this fits its setting better, and masses against the sky more satisfyingly, "the nations of the west" will be found on close examination to contain the better individual figures. the alaskan (unfortunately almost lost to view in the present placing of the group), the canadian trapper, and the mounted indian are all worthy of prolonged study; and the figure of the mother of tomorrow is one of the finest bits of sculpture at the exposition. in these figures, and only slightly less so in the other figures of this and the opposite group, there is ample evidence that the american sculptors have outgrown the traditions of by-gone "schools" and have developed a genuine native medium of expression. the two groups are the work of a. stirling calder, leo lentelli, and frederick g. r. roth in collaboration. figures at north and south of sunken garden. flanking the stairways to the sunken garden at north and south are four large figures by robert aitken, typifying "the elements." air is at the west end of the south stairway, and is represented as a huge winged female figure putting a star in her hair. two birds, old-time symbols of the air, complete the suggestion. at the back a man has tied himself to the wings of the figure typifying man's effort to put to his own use the wings of the air. earth is placed at the east end of the south stairway. a huge female figure rests on conventionalized rocks, and a formalized tree partially supports her. at the back two small struggling figures are seen, typifying man's struggle with the forces of earth. water is placed at the east end of the north stairway. the sea-god, with his trident in one hand and sea-weed in the other, rides on a wave, with a dolphin beside him. fire at the west end of the north stairway-is typified by the figure of a man in agony, with one hand grasping the flame, and with jagged lightning in the other, symbolizing man's terror of fire as well as his conquering of it. a salamander completes the main design, while at the back the phoenix, bird fabled to rise from fire, helps support the figure. these four figures are of the sort of art that is likely to turn the unthinking person away, though a study of them will bring out new beauties with riper acquaintance. because people fail to get far enough away from them to obtain the proper perspective, the statues seem too huge, too strong, too terrible, ever to be attractive. they are, it is true, out of scale, and thus mar the effect of the court to a certain extent. but there is in them something of the noble and compelling strength of the statues of michael angelo-to whom the sculptor clearly owes his inspiration. stand between the columns at the corner of the transportation palace, and you will see that the figure of fire not only is imaginatively conceived but is a fine line composition as well. study of the other three from corresponding viewpoints will well repay in increased understanding and pleasure. figures at east and west of sunken gardens. flanking the east and west stairways are two groups by paul manship. the one representing two girls dancing or running is called sometimes "festivity," sometimes "motion." here the artist has welded the figures into an ornamental design in a way unparalleled in the work of other american sculptors. note the finely varied outline, the sense of rhythmic motion, and the rich feeling that every part is decorative. the opposite group is called "music" or "music and poetry." it lacks the flowing grace and something of the richness of feeling of the other, though it is more dignified. there is the same conventionalization in treatment, again charming. these groups are not for people who look for realism in art above all else; but for those who care for the classic, who see in formalization a short-cut to the expression of the spirit of a thing, there are few more appealing groups in the grounds. the figures are repeated at the east and west entrances to the garden. minor sculptures. the slender "stars" along the top of the colonnade are the work of a. stirling calder. when one remembers that this is the court of the universe, they seem to fit in with the meaning of the whole, and architecturally their symmetry of form fits them well for repetition. the low relief friezes on the corner pavilions represent "the signs of the zodiac," and are by hermon a. macneil. a formalized atlas is represented in the center, and at each side are seven of his daughters, the pleiades and the hyades, whom the gods changed into stars. twelve of the maidens have plaques bearing the symbols of the zodiac. the frieze is well composed and beautifully modeled, but the rough travertine does not do it justice. the minor sculptures on the triumphal arches consist of a repeated winged angel with sword down-turned, by leo lentelli; spirited spandrels over the arches, representing "pegasus," by frederick g. r. roth; and two well-adapted medallions by a. stirling calder and b. bufano. all of these decorative features are repeated on both sides of both arches. mural paintings the four mural paintings of the court of the universe, two under each of the triumphal arches, represent the progress of civilization from the old world to the american far west. the two under the arch of the rising sun, at the east of the court, represent the nations that crossed the atlantic and their ideals, while those under the western arch show the march of the pioneers from new england to california. to obtain the proper sequence of thought the ones under the eastern arch should be examined first. murals in arch of the rising sun. on the south wall of the arch is a panel representing the nations that have dared to cross the atlantic to bring their civilization to america. the figure farthest to the spectator's right represents the spirit of adventure or "the call to fortune." then follow representatives of the nations, in this order: . the half-savage of the lost continent of atlantis; . the roman conqueror; . the spanish explorer, typified by a figure resembling columbus; . the english explorer, resembling raleigh; . a priest, typifying the bringing of european religion to america; . the artist, bringing the arts; and . the workman-immigrant of today. then follows an allegorical veiled figure, with hand to ear, listening to the hopes and ideals of the men who are following the call to fortune. the opposite panel shows what the veiled figure has heard-depicts the hopes and ideals that have led men to cross the atlantic. at the far left are figures symbolizing true hope and false hope. soap bubbles are being scattered by false hope, and the third figure, typifying adventure, tries to pick them up. then follow the true ideals and hopes in this order: . commerce . imaginative inspiration; . truth and beauty (one figure); . religion; . wealth; and . family joys (a woman with babes). in this panel the background contains suggestions of asiatic and american cities. in the other panel the background shows a group of ships, ranging from those of the earliest times to the modern liner. these two paintings are worthy of study for the historical and symbolic interest. artistically they are notable chiefly for the remarkable freshness of coloring and rich mosaic effect. both are by edward simmons. murals in arch of the setting sun, at the west side of the court. the painting on the north wall should be viewed first. this represents pioneers from a new england village starting for california. there are four groups of figures, as follows: . two workmen, and a woman holding a child; . a symbolic figure of the call to fortune; . a group showing the types of those who crossed the continent-the driver first, and then the preacher, the pioneer, the judge, and the schoolmistress (there are four children also in this group, and at the back is a wagon filled with household goods); and . a youth bidding farewell to his parents as he starts to join the band of emigrants. at the back of the last group is seen a typical new england home, and in the distance a new england meeting-house. "the arrival on the pacific coast" is the title of the painting on the opposite wall, which represents the immigrants being welcomed as they reach california. here again there are four groups of figures. the first shows two spanish-american soldiers and their captain, following a priest, typical of the days of spanish rule in california and of the mission period. second, there is a symbolic figure, "the spirit of enlightenment." the third and main group shows types of immigrants. the men here are: . the scientist; . the architect; . the writer; . the sculptor; . the painter; . the agriculturist; and . the miner (or other manual worker). a woman and several children complete the group, and at the back is a prairie schooner, from which a girl waves a flag. the fourth group represents california welcoming the immigrants, the state being symbolized by tokens of the wealth it has to offer settlers: the orange tree, sheaves of grain, and fruits-the figures including the miner, the farmer, fruit pickers, and the california bear. this last group is the most colorful, and in many ways the most appealing, of all those in the two panels under the west arch. it is interesting to compare the golden warmth here and indeed throughout the california panel-with the cold atmosphere of the new england one. those who are familiar with the historical characters of the west will be able to recognize in the california panel idealized portraits of william keith as the painter, bret harte as the writer, and junipero serra as the priest. in the new england panel may be found william taylor, famous street preacher of the early days in california, as the preacher, and "grizzly" adams as the pioneer. both murals under the arch of the setting sun are by frank vincent dumond. the side courts the two small connecting courts, or aisles, at the east and west of the court of the universe are known as the florentine court and the venetian court respectively. both are in italian renaissance architecture, and both are remarkably rich in color. the patterns on the shafts of the columns, while doubtless adding to the feeling of richness, are a little too pronounced, tending to destroy that restfulness which is felt in the other italian courts, the court of flowers and the court of palms. in both the florentine court and the venetian court the planting schemes harmonize unusually well with the architecture. - size of the court of the universe for the sake of those who find added interest in knowing on what scale a work of art is built, the following facts are added: the area of the court of the universe is about seven acres. on its east and west axis, from arch to arch, it is six hundred and fifty feet; on its north and south axis, from the tower of jewels to the column of progress, it is nearly twelve hundred feet. the arches of the rising sun and the setting sun have a total height, to the top of the surmounting sculpture, of two hundred and three feet. the tower of jewels is feet in height, while the main archway beneath is feet high. court of the four seasons the court of the four seasons, unlike the other main courts, does not immediately call forth one's exclamations of surprise and delight. it is not so compellingly beautiful as either of the others. nevertheless it has a distinctive charm of its own-a reposeful atmosphere and a simplicity of form that become more and more appealing with riper acquaintance. it is a good place to come to when one is satiated with the beauties of the other courts, for restfulness is the keynote. the simple massive style of the architecture and the simple planting scheme combine to produce a spirit of calm. the ideas of energy, achievement, progress, effort-so insistently emphasized elsewhere-are left behind, and everything breathes a sense of peace and orderliness, of things happening all in good season. the primary idea underlying the decorative features of the court is sufficiently indicated in the name, "the four seasons;" and this idea is symbolically expressed in the sculpture and mural paintings in the four corners of the colonnade. but a study of the other decorations shows that the idea of abundance, or fruitfulness, was equally in the minds of architect and sculptors. the purely architectural ornaments, such as the capitals and the running borders, employ the symbols of agriculture and fruitfulness, while no less than five of the main sculptural groups or figures deal directly with harvest themes. architecture the style of architecture is in general roman. the half-dome and the colonnades are almost severely classic. the column capitals are ionic. but in the freedom of some of the architectural forms, particularly in the archways at east and west, there is a suggestion of renaissance influence. the plan with its four cut-corners with fountains, and its half-dome facing down the long colonnade to the bay, is ingenious. the half-dome itself, dominating feature of the court, is exceptionally dignified and impressive. to obtain the best view of it as a single unit, one should stand between two columns of the colonnade near either the fountain of summer or the fountain of autumn-as from these points the eye is not carried through the doorway at the back of the dome, to the detriment of a unified impression. henry bacon is the architect who designed the court of the four seasons. sculpture bulls on pylons. the finest sculpture here is to be found in the groups capping the pylons at the entrance to the minor north court. though called by the artist "the feast of sacrifice," these are commonly known as "the bulls." the group, which is duplicated, shows a bull being led to sacrifice by a youth and a maid, and is reminiscent of the harvest-time celebrations of ancient peoples. but it is just as well to forget the subject, and to admire purely for the sensuous charm-for the beauty of outline, the fine modeling, and the remarkable sense of spirited action. note the three figures individually: the nobly animated bull, the magnificently set-up youth, and the strong yet graceful maiden; then note how the sacrificial garland holds the whole group together and makes it richer. note, too, how the forward-moving lines of the bull are accentuated on one side by the similar lines of the youth's body, and on the other by the contrasting lines of the girl's. putting aside any question of meaning, there is not in any of the courts a nobler bit of decorative work than this. albert jaegers was the sculptor. figures surmounting columns. on the two columns before the half-dome are albert jaegers' figures of "rain" and "sunshine." at the right, as one faces the dome, rain is typified by a woman shielding her head with her mantle and holding out a shell to catch the water. at the left sunshine is represented by a woman shielding her head from the sun's rays with a palm-branch. both figures are characterized by a sense of richness, of fullness, that is perfectly in keeping with the spirit of the court. in commenting on these statues, in one of his lectures on the art of the exposition, eugen neuhaus, the well-known california painter, suggested very appropriately that the court should have been named for them "the court of the two seasons" since in california the only noticeable seasonal change is from a sunny period to a rainy period. group surmounting half-dome. this shows a conventional seated figure of harvest, with an overflowing cornucopia. at one side a child-figure bows under a load of fruit. this group also is by albert jaegers. here, as in "rain" and "sunshine," there is a sense of fruitfulness, of profuseness, a maternal suggestion that helps to carry out the symbolism of the court. in all three of these statues, too, there is something of the nobility and massiveness that distinguish the same artist's "bull" groups across the court. all are eminently suited to the massive roman architecture; nowhere else have sculptor and architect worked together more successfully. fountains of the seasons. in the niches formed at the corners of the court by the diagonal colonnades are novel fountains, surmounted by groups representing the four seasons. it is well to go first to the southwest corner, to the "fountain of spring"; then to the northwest corner, for "summer"; and so on around the court. if one is ever puzzled to understand from the figures which season is represented, a glance at the labeled murals up above in the corridor will give the proper title for statue and murals of each season are grouped together. spring. a young woman draws a floral garland over her head, while at her right a love-lorn youth turns a pleading face to her, and at her left a girl brings armfuls of flowers. summer. to a man a woman holds up a babe, symbol of the summer of human life, while at one side a crouching figure holds a sheaf of full-headed grain. autumn. the central figure is a woman of generous build with a jar on her shoulder-quite the usual personification of autumn or fruitfulness. at one side a young woman holds a garland of grapes, and at the other is a girl with a babe. this last figure is perhaps the most graceful in all the four groups, though the same sort of loveliness distinguishes to a certain extent the two flower-girls of "spring." altogether, this "autumn" fountain is probably the finest of the four. winter. the central figure is nature, in the nakedness of winter, resting after the harvests of autumn and waiting for the birth of spring. at one side a man with a spade rests, while on the other a man with a seed-bag is already beginning to sow. although all the figures of "the fountains of the seasons" are nude, there is about this group a sense of cold nakedness that well accords with the season it portrays. these four groups are very properly alike in composition and feeling-suggesting perhaps that the differences between the seasons in california are but slight. there is throughout a conventional touch, and all are in pastoral mood. the groups are by furio piccirilli. the fountain of ceres is in the north extension of the court, between the palace of food products and the palace of agriculture. the surmounting figure is of ceres, greek goddess of the fields and especially of corn. the bas-relief frieze represents a group of dancers, suggestive of the seasonal festivals of the greeks. the main figure has been much criticized, but an unbiased critic may find much in the fountain to praise. the pedestal and the crowning figure are well thought out, and the proportions of the whole are good; and there is a feeling of classic simplicity throughout. the frieze of dancing girls, too, is exceptionally graceful. if, then, one discovers that ceres is more mature than a goddess ever ought to be, or that her face suggests that of an exasperated school-teacher, or if one finds the cornstalk in her hand a realistic thing incompatible with any poetic conception, it is well to step back until one gets only the general effect. for there is much to admire in the poise of the figure, in the decorative outline, and in the sculptor's lightness of touch. the fountain was designed by evelyn beatrice longman. minor sculptures. on the archways at east and west of the court a high-relief figure by august jaegers is repeated eight times, and the spandrels over the arches are by the same artist. in both cases the idea of abundance or fruitfulness again supplies the motive. the boxes at the bases of the columns on which "rain" and "sunshine" stand are decorated with agricultural scenes in low relief. the capitals at the tops of these columns are enriched with groups of agricultural figures. within the archways at east and west the ceilings are decorated with delicate bas-relief designs, patterned after the famous ones at villa maderna, rome. mural paintings all the murals in the court of the four seasons are by h. milton bancroft. in general they are less interesting than those of any other court. the seasons. in the four corners of the colonnade there are eight panels, grouped by twos as follows: spring and seed time; summer and fruition; autumn and harvest; and winter and festivity. there is little to hold the attention either in richness of color or in unusual grace of composition. moreover, the artist has left nothing to the imagination in the symbolism by which he expresses the several ideas. the devices are so hackneyed, and the meaning so obvious, that any sort of interpretation would be entirely superfluous. panels under half-dome. on the east wall under the dome is the panel art crowned by time. father time crowns art, while on one side stand figures representing weaving, jewelry, and glasswork, and on the other printing, pottery, and smithery. on the opposite wall is the panel man receiving instruction in nature's laws. a woman holds before a babe a tablet inscribed "laws of nature," while on one side are figures of fire, earth and water, and on the other figures of death, love, and life. these two larger panels are more pleasing than the eight representing the seasons, both in coloring and in figure composition; and they make pleasing spots of bright color in the dome. but again the artist is tediously careful to make his meanings plain. not only does each figure hold its obvious symbol prominently in view, but there are labels naming the figures. to the art student the painter's stipple-and-line method, producing vibration of light and a certain freshness of atmosphere, will be of interest, as being out of the usual run of mural technique. before leaving the court of the four seasons one should stand under the central arch of the triple portal at the east, and look first to the east through the arch of the setting sun to the group "nations of the east;" and then to the west along the vista that ends with the kneeling figure before the fine arts temple. the arrangement of architectural and sculptural units in both vistas is worthy of study. the court of palms and the court of flowers in these two courts, which pierce the walled city on the south, opposite the palace of horticulture and opposite festival hall, is to be found the purest expression of that spirit of the italian renaissance which hovers over so much of the exposition architecture. here, too, one finds jules guerin's color scheme at its richest. both courts necessarily lack the cloistral charm of the court of abundance, since they have the fourth sides open. but what they lack in the sense of enclosure they make up in sunniness and joyous color. they are restful and warm and quiet-and artistically they are among the most perfect and most harmonious units on the grounds. the court of palms the court of palms is directly opposite the palace of horticulture, between the education and liberal arts palaces, and adjoins the court of the four seasons. the charming sunken garden and simple pool reflect the colored colonnade, arches and towers with a sense of rest that is a relief and stimulant after walking miles of exhibit halls. although really nearly two acres in area, the court seems small and intimate. the proportions are good, and the planting particularly fortunate. the architecture is renaissance, and is suggestive of the interior courts of the palaces of the italian nobles. the colonnade columns are ionic. the high attic story or frieze above the colonnade is remarkably rich, with its orange brown panels garlanded with green and red fruits, and decorated with caryatid pilasters. it is worthy of study for the way in which architect, sculptor and color director have co-operated. the italian towers, terminating the colonnades, are among the finest bits of architectural design in the whole building group. though only a fraction of the height of the tower of jewels, they convey much better the impression of reaching high into the heavens, of aspiration and uplift. they are more satisfying, too, in their combination of architectural forms, and they carry out notably well the delicate but luxuriant color scheme of the court. the unusual repeated pattern which fills the large wall panels of the towers is worthy of attention. the architect of the court was george w. kelham. sculpture. the only really important statue in the court is that which stands at the opening on the avenue of palms-called the end of the trail. an indian, bowed at last under the storm, sits astride a dejected horse utter weariness, discouragement, lost hope, expressed in every line of man and animal. some see in the statue only the abject despair of a horse and rider when the consciousness finally comes that the trail is definitely lost in the wilderness; and it is notable enough as an expression of this tragic theme. but others, remembering the history of the indian, see here an eloquent and pathetic reminder of a race that has seemingly come to the end of its trail. as a portrayal of this racial tragedy the group is even more remarkable than as an expression of the hopelessness of a lost man and horse. the statue is hardly in key with its architectural surroundings; but its comparatively isolated position prevents it from seeming an intrusive element in the court. considered alone it is more individual, more expressive of independent and deep moving thought, than any other sculpture in the grounds. there is far more of real earnestness here than is usual in exposition sculpture. the thing is significant, too, for the native note. it is worthy of serious study as indicating one of the most important tendencies of american sculpture when not tied to the purely decorative. the sculptor was james earl fraser. the minor sculptures in this court consist of the caryatides by john bateman and a. stirling calder; the spandrels, by albert weinert; "the fairy," by carl gruppe, which crowns the italian towers; and the classic vases at the portals. the mural paintings in this court are disappointing. two are surprisingly poor, considering the high reputation of the artists, and the third is badly placed. the tympanum in the portal at the east side of the court is filled by charles w. holloway's panel, the pursuit of pleasure. this is a conventional treatment of the subject, in which a number of youths and maidens turn lackadaisically to a winged figure of pleasure. there is a pleasing lightness of touch, and the bright reds and blues are in keeping with the spirit of the court-but the thing is, somehow, insipid. this panel is more pleasing under illumination. in the opposite portal is childe hassam's painting, fruits and flowers. this again is a conventional treatment, showing very obviously vegetable and human fruits and flowers. the arrangement is tediously symmetric, the coloring is rather weak, and there is a wooden stiffness about the figures. the panel makes a pleasant spot of color, but is by no means up to the standard of the canvases in hassam's room in the palace of fine arts. the panel over the main doorway, at the north end of the court, is by arthur f. mathews, and is far superior to the other two, though unfortunately placed in a dark spot. it is called by the artist a victorious spirit. the central figure, gorgeously suggesting the spirit of enlightment, protects youth from the discordant elements of life from materialism and brute force, as represented by the rearing horse and militant rider. youth is attended by the peace-bringing elements of life, by religion, philosophy or education, and the arts. the symbolism here is sound, the composition and drawing unusually good, and the coloring quite wonderful-especially in the orange-yellow robe of the spirit. the full deep colors are in sharp contrast with those of most of the exposition murals. no one should leave this court without first pausing to enjoy the vista through the north doorway, showing albert jaeger's spirited sacrificial bulls on the agriculture and food products palaces, the long colonnade of the court of the four seasons, and the bit of bay and hills beyond. the court of flowers the court of flowers is opposite to festival hall, between the mines and varied industries palaces. the first impression, as one comes to it, is that here is a replica of the colorful court of palms. but many differences become evident after a few moments' study. the architecture is italian renaissance, but of a more richly decorative sort than in the court of palms. there is more overlaid ornament, and on the whole, less simplicity and quietness and more varied interest. the columns here are corinthian, arranged in pairs. the gallery above the colonnade adds to the suggestion of the sunny south. the italian towers, while similar in feeling to those of the other court, are different in the arrangement of elements, though equally successful. the color decoration is again notable. it is hardly necessary to add that george w. kelham designed this court too. sculpture. the center of the court is dominated by edgar walter's beauty and the beast fountain. the surmounting statue is a curious combination of graceful lines and grotesque effects. the strange beast is no less fantastic than the young lady herself-she who has adorned her fair body with nothing more than a spring hat and a pair of sandals. it is probably this near-nudeness, without pure nakedness, that creates the jarring note of the group certainly there is a bizarre touch that somewhat offsets the sinuous charm of the figure. under the upper basin are four piping pans, not notable individually, but adding to the decorative effect. the wall around the lower pool carries a playful frieze of animals in low relief. the pioneer is the title of the equestrian statue at the south end of the court, on the avenue of palms. the man is typically the western pioneer, as every resident of the pacific coast has known him-a patriarchal figure who foreran civilization here in the west of america as he has in all other new lands. head up, axe and gun in hand, looking straight forward, he is a fine visualization of the "forty-niner." he is, too, an interesting racial contrast to the indian of "the end of the trail." one wonders, however, about the horse, with the elaborate trappings that clearly belong to another era-to the days of spanish conquest, perhaps. certainly horse and rider do not seem to be conceived in the same spirit. the group lacks, too, that vital intensity of feeling and that emotional strength which distinguish "the end of the trail," the companion-statue in the court of palms. the "pioneer" is by solon borglum. the minor sculpture here consists of a. stirling calder's attractive "flower girl," repeated in the niches along the loggia; dignified lions, by albert laessle, flanking the three portals; and again carl gruppe's "the fairy," atop the italian towers. the tower of jewels, and the fountain of energy it was planned that the tower of jewels should be the great dominating feature of the architectural scheme of the exposition; that this unit more than any other should stand as a triumphal monument to celebrate the opening of the panama canal. the mural paintings, the sculpture and the inscriptions all carry out this idea, but the tower, in its architectural aspect alone, fails to live up fully to its purpose. it serves well to "center" the whole scheme, and to afford an imposing pile at the main entrance. nevertheless it falls short of the high architectural standard of the courts and palaces. architecture the architectural forms used in the design of the tower are in general classic; but the architect has shown considerable originality in their arrangement and massing. the lower portion, embracing the imposing arch and flanking colonnades, is very dignified and quite satisfying. standing close to the structure, on the south side, so that one is conscious chiefly of this lower portion, there comes the proper sense of nobility-the feeling that one obtains from a successful triumphal arch. the chief fault of the tower above is that it lacks the long lifting lines that would give a sense of aspiration. it seems just a little squat and fat-as if it were too heavy on top and splayed out at the sides and bottom. it is also somewhat "showy," with too much hung-on ornament; and the green columns against red walls are not satisfying-this being one of the very few failures of the color scheme in the entire group of buildings. at night the tower takes on a new and unexpected beauty. the outline softens under the illumination, and the feeling of over-decoration and broken lines is lost. the whole structure becomes a huge finger of light, reaching up into the dark heavens-with softer indirect lighting below, and glowing brilliantly above. even the hundred thousand pendent jewels, which at best are but flashy in the day time, add to the exquisite fairy like effect at night. the illumination here is such, indeed, that it must be one of the most impressive and lasting memories to be carried away by the visitor. the tower of jewels was designed by thomas hastings, of the firm carrere and hastings of new york. sculpture the sculpture, like the mural paintings, deals in general with the winning of the americas and the achievement of the canal project. sculpture on the tower. as one stands in the south gardens facing the tower, one sees above the first cornice, reading from left to right, four statues of the adventurer, the priest, the philosopher, and the soldier. these finely realized figures, which are by john flanagan, represent four types of the early conquerors of america. on the next story is a repeated equestrian statue of the spanish conqueror, called the armored horseman, by f. m. l. tonetti. these five statues are repeated on the other three faces of the tower. there is much other sculpture of a purely decorative sort, the motives used being those usually found in triumphal monuments, such as eagles, wreaths, and the beaks of ships with which the romans ornamented the columns celebrating their naval successes. equestrian statues at entrance. in front of the two side colonnades are spirited equestrian statues. as one faces the tower, the figure at the left is of pizarro, who conquered the richest portion of south america for spain. this figure is heroically decorative, and is by charles carey rumsey. at the other side of the main arch is charles niehaus' vigorous statue of cortez, who won mexico for spain. this figure, carrying a flag and pennon on a lance, and perfectly seated on the strong horse, has a live sense of movement, and the whole group is informed with the spirit of the lordly conqueror. fountains under the tower. within the colonnades to east and west of the main archway are respectively the fountain of youth and the fountain of el dorado. the fountain of youth consists of a central figure on a pedestal, and two rounded side panels with figures in relief. youth is symbolized as a girl, an immature figure, beautifully modeled. she stands, perfectly poised, among rising blossoms. on the pedestal are more flowers in relief, and two dimly indicated half-figures of a man and woman may be discovered. the side panels show old people being drawn away in ships manned by cherubs-old people who gaze back wistfully at the youth they are leaving. really the fountain is far more charming if one forgets all but the central figure. there is in that a sweet tenderness, a maidenly loveliness, that makes it the perfect embodiment of youth-an embodiment to be remembered with delight again and again. the fountain was designed by edith woodman burroughs. the fountain of el dorado is on the other side of the archway, and is by gertrude vanderbilt whitney. it represents, as a whole, mankind's pursuit of the unattainable. the legend of el dorado is that there once lived in south america a prince, "the gilded one," who had so much gold that daily he had his body covered with gold dust. many spanish explorers spent fruitless years in search of the fabulously rich country of this prince. the idea of the fountain is that the gilded one, representing the unattainable, the advantages of wealth and power which deluded men and women seek without value given to the world in return, has just disappeared through the gateway, the gates closing after him. on either side processions of seekers who have glimpsed the gilded one, strain toward the gateway. some loiter in love or play, some drop from fatigue, some fight their way along; and the first two, finding that the pursuit is fruitless after all, have dropped to their knees in anguish. the two standing figures beside the gates are said by the sculptor to have no significance beyond the fact that they are "just guardians." the fountain is notable for its symbolism and for the modeling of the many nude figures. the panel on the right is especially decorative, and has some notably fine individual figures and groups. the spirit of the fountain, with its realism and its note of hopelessness, is not in keeping with that pervading most of the exposition sculpture. after looking at the work for a time, turn and look back through the two archways at the central figure of youth at the other side. certainly no figure in the fountain of el dorado has the appeal and charm of that. mural paintings on the walls of the archway under the tower of jewels are eight paintings celebrating the building of the canal. all are by william de leftwich dodge. on the west wall the first panel is called discovery. it portrays the discovery of the pacific ocean by balboa. the second panel is called atlantic and pacific. a huge figure of labor, having brought together the oceans, is opening a waterway from west to east. on the left an ox-drawn prairie schooner has arrived at the shore, with types of western civilization. on the opposite shore types of the nations of the east, in a colorful group, are straining forward to meet the west. the third panel is entitled the purchase. a figure representing the united states is taking over the canal project from france. the french laborers are throwing down their tools, and americans press forward to take them up. in the group on the opposite wall the first panel is called labor crowned. victorious labor is being crowned by the angel of success, while soldier and workers come to pay homage. the second panel is entitled the gateway of all nations. figures symbolizing progress call the world to pass through the canal. neptune holds garlands by which he draws ships of the various nations toward the waterway. two laborers rest on their machines and watch the procession which they have made possible. the last panel is called achievement. a woman with the symbols of knowledge, or wisdom, sits enthroned, while about her are grouped figures representing the forces instrumental in building the canal. at the left are laborers; at the right figures typifying engineering, medical science (with the caduceus, the wand of mercury, god of medicine), and commerce or munificence. these mural paintings are among the most interesting and most imaginative of all those at the exposition. some of the groups are particularly fine in coloring. note the method of obtaining the right effect of "flatness" by employing a conventional diaper pattern for the background throughout. the panels here are much more effective under full illumination at night than by daylight. the fountain of energy the fountain of energy in the south gardens was designed to be the crowning feature of the sculpture of the exposition, just as the tower of jewels was designed to dominate the architectural scheme; and it fails of its high purpose in much the same way. it is closely allied with the tower in symbolic meaning, celebrating man's victory over the forces of nature in the successful building of the canal. in the pool at the base of the fountain are a number of graceful groups of water sprites on dolphins, and four larger groups representing the four great seas. the one to the east of the main fountain represents the atlantic ocean as a woman with sea-horses in one hand and coral like hair, on the back of a conventionalized dolphin. at the north the north sea is represented by a sort of sea-man, with occasional fins and with a three-pronged spear in hand, riding on a walrus. at the west the pacific ocean is typified by a woman on a remarkable sea monster. and on the south a sea-man with negro-like features, and with an octopus in one hand, rides on a sea-elephant, representing the south seas. the main pedestal of the statue is a globe, representing the earth. this is supported by a series of figures of mermaids and mermen. the eastern and western hemispheres are represented by figures reclining on the globe, the one to the east a cat-headed woman, the one to the west a bullheaded man. the band, decorated with aquatic figures, which encircles the globe, suggests the final completion of a waterway about the earth. energy, the victor, the surmounting group, typifies the indomitable spirit that has achieved the building of the canal. the nude figure of energy with arms outstretched rides a horse through the waves, while on his shoulders stand smaller figures of valor (with a wreath) and fame (with a sword) heralding the triumph. these small figures are unfortunate they hardly belong, and instinctively one is worried for their equilibrium. the whole fountain is instinct with energy, and expresses joyous achievement, as was meant. moreover it is remarkable in its breadth of conception, in imaginative interpretation of the theme. but it lacks that sense of repose which would make it intimately satisfying. the fountain was designed by a. stirling calder. palaces facing the avenue of palms the adoption of the "walled-city" plan for the exposition meant the grouping of the more imposing architectural effects in the interior courts, the outer facades simply forming parts of a practically continuous wall about the whole. inspired by spanish architecture of the renaissance, the intention was to keep the wall spaces in general quite bare, concentrating the decorative effects in rich "spots" at carefully chosen intervals. thus the outer facades of the central group of palaces combine a simple general form with a series of richly ornamental portals. the architect who as entrusted with the designing of the wall and all the portals was w. b. faville of bliss and faville. certain architectural and sculptural units are repeated throughout the central group. each building has a low central dome, seldom seen when one is close to any of the main buildings, but adding greatly to the decorative effect from a slight distance. these domes are of byzantine style, and are colored in harmonizing shades of green and pink. the small repeated corner domes add another eastern touch, and are especially effective at night. the outer wall is edged all the way around with a simple cornice and a few rows of dull red tiles, distinctly southern in feeling, and therefore harmonizing with both the spanish and the italian renaissance doorways. the winged victory is the fine decorative figure that crowns the gables of all the palaces of the walled-city. it is broadly modelled, massive and yet refined, and from any viewpoint stands out in beautiful silhouette against the sky. it is by louis ulrich. palace of varied industries before turning to the more important south facade, it is well to look at the east wall, with its dignified and colorful portal. this is roman in style of architecture, to harmonize with the palace of machinery opposite. it is similar in general form to the memorial arches and gateways of the romans, but in the use of architectural motives and in decoration it is of italian renaissance style. the niches at each end of the gallery contain figures of the miner, by albert weinert. the facade is ornamented with buttresses at regular intervals, carrying figures of the california bear holding a scutcheon with the state seal. returning to the avenue of palms and the south facade, one sees the most important artistic feature of the building, the central portal. this is a copy, except for the figures filling the niches, of the famous doorway of the hospital of santa cruz at toledo, spain. it is in spanish renaissance style, of that especially rich type known as "plateresque," due to its likeness to the work of the silversmiths of the time. for its grace of composition, its exquisite detail, its total effect of richness and depth, this portal is worthy of long study. the sculpture of the portal is all by ralph stackpole. in the lower niches are replicas of "the man with a pick," a figure that has been justly admired as a sincere portrayal of a simple laboring type. the relief panel in the tympanum represents various types of industry. from left to right the figures typify spinning, building, and agriculture (or the clothing, sheltering and feeding of mankind), and manual labor, and commerce. the group in the niche above the arch shows a young laborer taking the load from the shoulders of an old man. the single figure at the top of the arch shows the laborer thinking, and is called "power." note how all these sculptures, while having individual interest, fit unobtrusively into the lace-like portal. palace of manufactures the wall of this building is broken by pilasters and inset decorative panels, and by a series of niches with animal head fountains. the central portal is pure renaissance architecture, again suggestive of the roman gateway in form. the sculptures of the doorway, including the two figures of male and female labor in the niches, and the long high-relief panel, are by mahonri young, who is noted for his simple, powerful treatment of modern themes. the panel represents various branches of manufacture, including metal work, blacksmithing, pottery-making, spinning, and architectural sculpture. palace of liberal arts the facade here exactly duplicates that just described, even to the niche figures and panel in the portal. palace of education the palace of education has three renaissance portals on the south facade. these are more spanish in feeling than those of the two palaces just passed. the tympanum panel of the central doorway may be taken to represent kindergarten teaching, instruction of boys and girls, and self-education in young manhood. it is by gustave gerlach. the two panels in the walls over the minor doorways treat very obviously of educational subjects. they are flat in more senses than one, lacking the life of the central tympanum group. they are by students of two american art schools. the west facade of the palace of education is dominated by an immense half-dome, impressive in size and attractively decorated. the style of architecture here is mainly roman, to harmonize with the fine arts palace which it faces across the lagoon. there are two splendid architectural fountains, under the half-dome here and under, that of the palace of food products. sculpture. flanking the great arch are columns carrying the nude figure of a man, with hands crossed, gazing fixedly in thought. in the official list this is called "philosophy" or "thought," and from it the immense portal is called "the half-dome of philosophy." but the same figure occupies the corresponding position before the food products palace, and is there called "physical vigor." the truth is that the artist designed the statue to suggest that finest of all unions of strength, the physically powerful man thinking. thus the figure is appropriate to both a food products building and an education building. the figure is strong, but is not so convincing or appealing as the same artist's "man with a pick," in the varied industries portal. within the half-dome is a repeated figure with a scroll inscribed "libris," by albert weinert. the six niches in the west wall have two repeated statues by charles r. harley, known as "the triumph of the field" and "abundance." they are simply repeated from the food products palace to the north, where they properly belong, and will be treated in the next chapter in connection with that building. on the north facade of the palace of education are duplicates of the three south portals, with the same sculptured panels. palaces facing the marina, and the column of progress the walled-city idea, which throws most of the fine architecture into interior courts, is even more severely carried out in the north facades than in the south. the palaces on the marina, indeed, present a wall unbroken except by the central doorways and the slight corner projections. the small domes at the corners give a moorish touch, reminiscent of southern spain, and the portals are direct adaptations from spanish masterpieces. palace of mines the north facade of the palace of mines is free from all ornament except the richly decorative central portal. this is worthy of prolonged study, being one of the finest bits of architectural ornament at the exposition. it is designed very closely after spanish models, and is of that transitional period of spanish architecture that came between the gothic and the renaissance, when gothic had been enriched through the influence of moorish art, and was just beginning to feel the impulse of the italian renaissance. note how rich is every part of the detail; then note how all detail is subordinated to the mass effect of the whole. the statues in the niches of the portal are by allen newman. the central mantled figure is called the "conquistador," or conqueror. the artist has here portrayed in spirited fashion a fine type of spanish nobility. the figure in the side niches, with an old-style pistol in his belt and a rope in his hand, is "the pirate." the east facade of the palace of mines duplicates that of the varied industries palace, and the west facade forms one side of the north court of abundance. palace of transportation here the one notably artistic feature is the central portal on the north side, which is an exact replica of the spanish doorway of the palace of mines. the column of progress this monument symbolizes the energy, the unconquerable spirit that is forever pressing forward to overcome new obstacles, which has led to the building of the canal. the idea of such a monument was conceived by a. stirling calder, the architectural design is from the hand of w. symmes richardson, the reliefs at the base are by isidore konti, and the crowning statue is by hermon a. macneil. the column of progress as a whole is among the finest artistic achievements of the exposition, and more than any other, perhaps, is worthy of perpetuation in permanent materials to commemorate for all time the opening of the panama canal and the holding of the exposition. reliefs at base. the high relief frieze on the square base of the column represents mankind heeding the call to achievement. on the south face are allegoric figures calling mankind to the struggle, the two women holding palm branches, the insignia of victory. on the other three faces are shown groups of figures striving forward at the call, pressing on to achievement, some joyously, some laboriously, some stopped altogether in thought. the whole frieze suggests the beginning of progress. in the spiral that winds about the column certain interpreters have found a symbol of the upward march of human achievement; but as this spiral decoration is found on the column of trajan and the column of marcus aurelius, the roman prototypes of the column of progress, there probably is no special significance in its use here. supporting the crowning group is a drum with crouching figures of toilers in relief, entitled "the burden bearers." the adventurous bowman is the title of the surmounting statue. the heroic bowman, facing the skies and the seas, and launching his arrow into the unknown, is the symbol of the impulse that leads men to dare all to achieve victory. at the left of the central figure is a man of smaller stature, leaning against the bowman to give him support. on the other side a woman crouches, looking up as the arrow speeds on its way. the ring-like object in the woman's hand, which is so hard to identify when one views the group from the ground, is a wreath. there is about the bowman a remarkable sense of movement, of energy, of pressing forward, no matter what the view point of the spectator. the monument should be seen from as far north as possible, near the corner of the california building, perhaps. from here, from the esplanade as one approaches from either east or west, and from the court of the universe at the rear, the group has the same inspirational quality, the same sense of joyous effort, of courageous striving toward achievement. the placing of the monument where it closes three important vistas is commended for study to those who have in charge the artistic destinies of our cities. palace of agriculture the north facade of the palace of agriculture is bare except for the central portal, which again duplicates that of the palace of mines. palace of food products the north facade of this palace duplicates that of the palace of agriculture. but when one turns the west corner into administration avenue, one finds an entirely different atmosphere, where the spanish architecture has given way to italian. the dominating feature of the building's west facade is an immense half-dome, officially called "the half-dome of physical vigor." this is an exact replica of the "half-dome of philosophy" on the education palace. sculpture. before the half-dome here, on columns, are replicas of ralph stackpole's statue of the physically vigorous man in thought. inside the half-dome is a repeated figure of a man with a wreath, by earl cummings. in the niches along the walls are two alternating compositions, "abundance" and "the triumph of the field," by charles r. harley. abundance is typified by a seated woman, with the conventional overflowing cornucopias beside her, as well as a conglomeration of details suggestive of the riches of land and sea. this group certainly belongs to the food products building, but it really ought to be inside, with the flowers made of butter and the tower of raisins. the triumph of the field shows a man seated, and around him a museum of ancient symbols of agriculture, and of agricultural triumph, such as were once carried in the annual harvest festivals. these two groups are among the most amusing things at the exposition; but artistically they can hardly be said to count at all. the palace of machinery the palace of machinery, largest of all the structures at the exposition, terminates the main building axis at the east. it is monumental in proportions, and is well suited to its purpose of housing an immense display of machines. architecture the architecture was evidently inspired by the great baths of ancient rome, which were similar in style, size, and detail. the scale is so great-this is said to be the largest wooden building in the world- that it is something of an achievement to have made the structure anything but barn like. by the richness of the cornices and the careful spacing of the openings the architect has made it ornamental, and has given it a sort of noble dignity-though one hesitates to compare it with the palaces of the central group. the most interesting architectural bit in connection with the palace of machinery is the entrance vestibule under the three central archways. standing at either end of the portico one obtains a remarkable impression of spaciousness combined with decorative completeness. the coloring within the high vestibule is particularly pleasing. within the building the unconcealed trussing, instead of giving a sense of barrenness and lack of finish, resolves itself into a sort of lace-like decorative scheme, the whole effect being peculiarly ornamental. the palace of machinery was designed by clarence r. ward. sculpture the sculpture here consists of the series of four nude male figures on the column drums, and spandrels for the main and minor doorways, and a widely different group, "the genius of creation," before the main western portal. all but the latter group represent "types of power." the figures surmounting columns, flanking the three arches of the central doorway, represent "steam power," "invention," "electricity," and "imagination." steam is symbolized as a man holding a long lever. invention is represented as a man holding forth a miniature winged figure at which he gazes steadily. the figure of electricity holds jagged lightning, conventional symbol of electricity. imagination, primal power back of all machinery design, is represented by a figure with arm thrown back of head, and seemingly with eyes closed. considered simply as portrayals of power, these four virile figures are very successful, and they serve well to carry out the sense of immensity and strength that characterizes the entire building. but they are not at all polished or subtle, lacking the refinement that would make them interesting as something besides vigorous types. all four figures are by haig patigian. they are repeated in different order on columns before the north and south portals of the building. the bas-relief friezes about the bases of the vestibule columns are also by haig patigian. the winged figure, typifying "machinery," lends itself to decorative uses better than the purely human type, and the artist has worked in various mechanical symbols quite cleverly. the cardinal principle in sculptural decoration of this sort is that the frieze, like the whole column, must carry an impression of support. it will be noticed that no room has been left above the head or below the feet; and the disposition of the wings and arms further adds to the feeling that the figures are a true structural unit rather than mere ornament stuck on. the spandrels over the minor arches in the vestibule, again typifying "machinery," are equally successful in serving an architectural purpose. mural sculpture, like mural painting, must never be allowed to "make a hole" in the wall. notice how fully the figures cover the given space, without any background to draw the eye beyond the surface. these spandrels are also by haig patigian. the column reliefs and the spandrels are repeated at the minor doorways of the building. the genius of creation, a magnificently conceived group of sculpture, has been placed, rather unfortunately, in front of the main west portal of the palace of machinery. it is by daniel chester french, who is generally considered the dean of american sculptors. the genius of creation is portrayed as a huge winged figure, enthroned over the formless mass of earth, with head bowed and arms outstretched, calling human life into being. at the two sides a man and a woman, fine strong figures both, stand looking forth, the man courageously, the woman a little more timidly. and at the back, as if to signify the mutual dependence of man and woman, the hands seek to touch. a serpent encircles the base of the group, symbolizing wisdom-or as some prefer to interpret it, everlasting life. this serpent is probably not the one that had so much to do with the life of the first couple on earth. the statue expresses, of course, the orthodox idea of creation, and it is interesting to contrast it with the sculpture of the court of abundance, which in general gives expression to the doctrine of evolution. the strong, almost severe, motherly figure is finely religious in feeling. the sculptor himself has commented on the religious tone that runs through much of the exposition sculpture, remarking especially the prevalence of winged angel-figures. the reader is left to decide how far this has resulted from the fact that the winged form is essentially decorative, and how far from reverence. viewed entirely from the aesthetic side, without regard to the symbolism, the genius of creation is one of the most satisfying works on the grounds. it is too bad that it was placed before a background of broken spaces, and before a colorful facade that makes it seem pale. but in it is that reposeful strength which characterizes so much of french's work-a sense of completeness, of fullness, that is perhaps the most soul-satisfying quality of great sculpture. the south gardens, festival hall, and the palace of horticulture if there is one portion of the exposition building scheme that does not seem to "belong" to the main group of palaces, it is that which lies south of the avenue of palms, including the south gardens, festival hall, and the palace of horticulture. the relation of the two buildings to the main courts and palaces is clear: festival hall terminating the cross axis through the court of abundance and the court of flowers; the palace of horticulture terminating the cross axis through the court of the four seasons and the court of palms. but though the organic relationship is apparent, the least discriminating of critics can see that these buildings are of an architectural style not in harmony with the central group of palaces. both structures lack that fine sense of proportion and that simple and impressive dignity which characterize the architecture of the courts; and both are more or less pretentious and ornate. the south gardens the south gardens, like the buildings, have a certain magnificence but at the same time lack any distinctive appeal. the three basins with their fountains are imposing, and the individual beds of flowers are gorgeous in their profuse massing of color; but the distances are so great, and the sense of enclosure that means so much to gardens is so far lacking, that the lover of formal gardening will be less satisfied here than at several other places in the grounds. sculpture. the sculpture of the south gardens is all on the three fountains. the immense central group, the fountain of energy, already has been described. in the other two basins the mermaid fountain is repeated. this is an attractively ornate bit of decorative design, surmounted by the figure of a mermaid with a dolphin. the figure was modeled from designs by arthur putnam. it is typical of the fine strength of his work, and at the same time appealing by the grace of its sinuous lines. festival hall festival hall, designed for the many conventions and musical festivals of the exposition period, is of typically french architecture of the modern school. the building is not unpleasing, but there is little about it to hold the interest. robert farquhar was the architect. sculpture. all the sculpture on festival hall is the work of sherry e. fry. the figures are well suited to their purpose, from the slender "torch-bearer," surmounting the minor domes, to the heavy reclining figures on the pylons at the main entrance. most of the statues are too roughly finished to have more than a decorative interest, but the two groups flanking the main stairway are worthy of study. these two "flower girls," one on either side, have a beautiful flowing grace. but quite the most appealing things here are the two minor figures before the pedestals on which the flower girls stand. before the one at the north is a captivating boy pan with a lizard. half hidden in the shrubbery at the other side is the sitting figure of a girl, attractively immature and charming in line. palace of horticulture the palace of horticulture is characterized by that combination of eastern and western architectural motives which is so noticeable throughout the buildings. the dome is byzantine, while the rest of the building is of renaissance, or modern, french architecture. the dome considered alone is an almost perfect bit of design, beautifully proportioned and finely simple. the rest of the building is in general over-decorated, the portals especially being heavily loaded down with meaningless ornament. apologists for the building say that the profuse ornateness rightly suggests the richness of california's horticulture. perhaps the best view of the dome is from the east end of the avenue of the nations, near the denmark building, because from there one can see it unobstructed, escaping the disturbing effect of the portals and their spires. the palace of horticulture was designed by bakewell and brown of san francisco. sculpture. all of the sculpture here is purely decorative. the frieze at the base of each spire, consisting of heavy female figures modeled in pairs, is by e. l. boutier. the ornamental caryatides of the porches are by john bateman. palace of fine arts the fine arts palace has been more admired, probably, than any other architectural unit at the exposition. the reasons are not far to seek. the architect has used those classic forms which for ages have been recognized as best suited to monumental structures, and yet he has used them with originality. the building is classically noble, but without classic austerity or coldness. it is at once beautiful in form, rich in decorative detail, and satisfyingly warm in color. moreover, it has the finest setting of all the exposition buildings. the bigness of conception, the boldness with which the largest architectural elements have been handled, the perfect arrangement of architecture, planting, and reflecting waters-all these combine to create the most compelling picture on the grounds. the arrangement of the building is deceptive. as one looks at it across the lagoon, it seems like a single unit, so well does the planting tie it together, though there are really four unconnected structures: the rotunda, two detached peristyles at the sides, and the art gallery proper at the back. architecture the style of architecture is classic, freely treated. the rotunda is roman. the peristyle is more greek in feeling, in the simplicity of general form, with splendidly modeled capitals, full strong columns, and dignified cornice. the curved facade of the main building, facing the rotunda and peristyle, is very original in its arrangement of classic architectural motives and masses of foliage, with a pompeian pergola on top. the color scheme of the whole building is worthy of study. and although the structure when seen by day deserves all the praise that has been bestowed upon it, by night its beauty is beyond description. one should sit long at the edge of the lagoon opposite the rotunda, and watch the illuminated building itself and its reflection in the waters below, to feel the full spell of it. no one should miss, either, the walk between the peristyle and the main building on one of those nights when there is soft local illumination, for nowhere else on the grounds has the poetry of lighting been so perfectly realized. the architect of the fine arts palace was bernard r. maybeck, a californian. sculpture the sculpture about the lagoon, including that under the peristyle and rotunda, is to be treated in the next chapter, except that which is definitely a part of the building's integral decorative scheme. the reliefs outside the rotunda, on the attic above the cornice, represent man's effort to gain the ideal of art. to see these reliefs best, one should stand directly across the lagoon from the rotunda. in the panel facing east one sees the figure of art personified. on either side is a group showing the champions of art combating centaurs, that stand for the commonplace, materialistic things of life. in the next panel to the left, facing southeast, is represented the bridling of the winged horse pegasus, which to the greeks symbolized the attainment of poetic inspiration. here also are figures representing the arts of literature, sculpture and music, by the familiar symbols, a lamp, a statuette and a lute. the panel to the right of the center one shows apollo, sun-god and patron-god of the arts, drawn in his chariot, with a procession of devotees. these panels are repeated on the other five faces about the dome. they are among the finest reliefs on the exposition buildings, and are by bruno louis zimm. the figures within the rotunda, surmounting the eight columns are "priestesses of culture," by herbert adams. the flower-box sculptures are by ulric h. ellerhusen-both those on the ground and those at the corners of the boxes surmounting the peristyle. the ladies on the latter, looking so steadily into the boxes, do not represent "curiosity." the plan was to have masses of foliage overflowing, and half-covering the figures; and when this was given up, the decorative women gave the unexpected impression of being deeply absorbed in something happening out of sight of the spectator below. an explanation which has gained some currency is that the figures represent "introspection," which seems quite apropos. the kneeling figure (unnamed) on the edge of the lagoon before the rotunda is by ralph stackpole. it is one of the most appealing bits of all the exposition sculpture, well expressing devotion and reverence. it cannot be reached from the rotunda side, this portion of the shore being closed to the public. the figure over the doorway of the gallery is leo lentelli's "aspiration." during the early months of the exposition this statue was suspended from behind, the base on which it now stands having been placed late in the spring. as the figure first appeared, hanging in air, it caused more comment than any other sculpture on the grounds. the most appropriate explanation was that since the figure lacked any visible means of support it probably was meant to represent "california art." even the recent alterations have failed to save it from seeming graceless and out of place. mural paintings the eight panels in the dome of the rotunda are by robert reid. there are two series of four paintings each, called "the birth and influence of art," and "the four gold's of california." they form perhaps the least interesting of the several groups of murals, being vague in meaning, unpleasantly restless in composition, and only occasionally attractive in coloring. the easiest panel to identify is that called "the birth of oriental art," which is on the west wall, closest to the doorway of the main building. starting with this and following around the dome to the right, the pictures are in this order: . the birth of oriental art. a man in armor on a fanciful, dragon is attacking an eagle, symbolizing man's effort to attain the inspiration of the heavens. below, china can be recognized in the man with a brilliant colored robe, and japan in the woman with the bright parasol. . gold is symbolized by a woman with a wand, on a cornucopia overflowing with gold. . the ideals of all art. the ideals which animate artists are shown: truth with her glass; religion typified in the madonna and child; beauty, with the peacock; and the militant ideal with a flag. above and below are figures carrying the wreath and the palm, the artist's tokens of success in attaining the ideal. . poppies, the second "gold" of california. . the birth of european art. four figures surround an altar on which burns the sacred fire, three being merely attendants preserving the flame, and the fourth the guardian holding high a torch lit at the altar. a man from earth grasps this torch as he leans from his flying chariot. a woman in the lower corner holds a crystal gazing-globe, wherein the future of art has been revealed, and she turns to gaze after the man who is carrying the sacred fire to earth. . citrus fruits, the third "gold" of california. . the inspiration of all art. two angels of inspiration are at the top, while below to the left are sculpture, with a winged statuette, and architecture, with the scroll and compass; and to the right, painting, with brush and palette, music, with a lyre, and poetry, with a book. . wheat, the fourth "gold" of california. the outdoor gallery of sculpture many of the finest bronzes and marbles of the sculpture section are given an adequate setting which would be impossible within the gallery building, by being placed in the open, along the two ends of the lagoon, through the peristyles, and under the fine arts rotunda. as this group of sculpture embraces all types from the playful to the very serious, it is foolish to try to appreciate the whole series at one time. perhaps the best way is to start first to familiarize oneself with the smaller bronzes of the purely lyric type, the charming garden figures, sun-dials, and miniature fountains, that make up such an attractive part of the collection. note how often the names of edward berge, janet scudder and anna coleman ladd recur in connection with this graceful, intimately appealing sort of sculpture. on another day, when life seems soberer, spend all your time in study of the more serious works, such as saint gaudens' "seated lincoln," and mckenzie's "the young franklin," noting how the dignity, sureness of touch, and sound purpose of these make them more appealing with longer acquaintance. on another day take the intermediate group, that is dignified but less austere in theme-such works as sherry fry's "peace," and berge's "muse finding the head of orpheus." studied systematically, there is in this series of statues a broad education in the appreciation of sculpture. for convenience in reference the whole series is listed here. in regard to those works which the labels make self-explanatory, no comment is added, unless to call attention to some special quality which the unpracticed eye might miss. where the symbolism or "story" is obscure, an explanation is given. south of the lagoon are: . sea lions by frederick g. r. roth. . the scout by cyrus e. dallin. note the remarkable clean-cut quality of this equestrian statue. . wind and spray fountain, by anna coleman ladd. . diana by haig patigian-a graceful statue of the greek goddess of the hunt, which is in marked contrast to the same artist's strong figures on the palace of machinery. . peace by sherry e. fry. this beautifully modeled figure has a classic simplicity that is worthy of study. . american bison by a. p. proctor. beyond the second bison, beside the roadway that runs behind the fine arts palace, is a model of the kirkpatrick monument, at syracuse, new york, by gail sherman corbett. the central figures represent an indian discovering to a jesuit priest the waters of an historic salt spring at syracuse. in the circle at the south end of the peristyle are: . seated lincoln by augustus st. gaudens generally considered one of the noblest works of the greatest american sculptor. note especially the dignity of the whole, and the sympathetic modeling of the face. . bust of halsey c. ives by victor s. holm. . bust of william howard taft by robert aitken. . henry ward beecher by john quincy adams ward-a dignified and well-known life-size statue. along the south peristyle are (at the right) . piping pan by louis st. gaudens. . flying cupid by janet scudder. . muse finding the head of orpheus by edward berge-a marble well expressive of gentle grief. orpheus, sweetest musician of greek mythology, after failing to recover his beloved eurydice from the underworld, in his sorrow scorned the thracian nymphs, who in their anger dismembered him. his head was washed up by the sea and found by the sorrowing muses. . (at the left) michael angelo by robert aitken, showing the master-sculpture at work on one of his famous figures. . (at the right) young pan by janet scudder. . (at the left) wood nymph by isidore konti. . young mother with child by furio piccirilli. . (at the right) wild flower by edward berge. . (at the left) eurydice by furio piccirilli. . (at the right) boy and frog by edward berge. . (at the left) dancing nymphs by olin l. warner. . idyl by olga popoff muller. . an outcast by attilio piccirilli. . (beside the doorway) youth by charles carey rumsey. before the doorway is to be placed the pioneer mother monument by charles grafly. about the rotunda are: . (outside the southwest archway) thomas jefferson by karl bitter. . (in center of rotunda) lafayette by paul wayland bartlett-the statue given by america to france. . lincoln by daniel chester french, a dignified portrayal that cannot be justly judged from the plaster model here exhibited. . relief by richard h. recchia, representing "architecture." . commodore barry memorial by john j. boyle. . relief by richard h. recchia, representing "architecture." . princeton student memorial by daniel chester french a noble treatment of a difficult theme. . the young franklin by robert tait mckenzie. this is a fine conception, in which the sculptor has escaped from the conventional path of monumental portraiture. . (on walls of west archway) reliefs by bela l. pratt, representing "sculpture." . (outside west archway) portrait of a boy by albin polasek. . the awakening by lindsey morris sterling. . (beside northwest archway) william cullen bryant by herbert adams. along the north peristyle are: . (beside main doorway of gallery) beyond by chester beach. . the sower by albin polasek. . the centaur by olga popoff muller. . boy with fish by bela l. pratt. . (at the right) returning from the hunt by john j. boyle. . (at the left) l'amour by evelyn beatrice longman-a marble wherein the woman's figure is tenderly beautiful. . garden figure by edith woodman burroughs. . (at the right) fighting boys fountain by janet scudder. . soldier of marathon by paul noquet. . (at the left) youth by victor d. salvatore. . (at the right) primitive man by olga popoff muller. . the scalp by edward berge-an unpleasant bit of realism. . (at the left) apollo by haig patigian. . (at the right) a faun's toilet by attilio piccirilli. . duck baby fountain by edith barretto parsons. . maiden of the roman campagna by albin polasek-a figure instinct with the spirit of the antique. on the circle at the north end of the peristyle are: . (at the right) young diana by janet scudder-a young goddess of the hunt, conceived in modern spirit, with remarkable freedom and grace of movement. . great danes by anna vaughan hyatt. . (in walk) sundial by harriet w. frishmuth. . bondage by carl augustus heber. . boy pan with frog by clement j. barnhorn. . sundial by gail sherman corbett. . three fountain groups in one basin, all by anna coleman ladd. of these the sun god and python has been especially admired as a spirited and graceful bit of work. . (on the lagoon side of the circle) mother of the dead by c. s. pietro-a sincere and powerfully realistic work, and quite unlike anything else in the outdoor gallery. . (in walk) chief justice marshall by herbert adams. . destiny by c. percival dietsch. . sundial by edward berge. : daughter of pan by r. hinton perry. . head of lincoln by adolph a. weinman. along the roadway to the left, as one leaves the circle, are two sculptures: bird fountain by caroline risque, and prima mater by victor s. holm. north of the lagoon are: . fragment of the fountain of time by lorado taft. . nymph by edmond t. quinn. . dying lion by paul wayland bartlett. . rock and flower group by anna coleman ladd. . whale-man by bela l. pratt. on the island at the north end of the lagoon is a fountain by robert paine. the fine arts galleries do not visit the fine arts exhibits blindly, without knowing what they are aimed to show; and do not try to see the whole exhibition in one day. first understand the scope and arrangement of the displays, and then follow some definite system by which you are sure to get the best out of each individual section. it is better to see one part thoroughly than to carry away a confused impression of the whole. the scope of the exhibit is limited to painting, sculpture and print-making, except in the oriental sections. in painting the primary aim has been to make a representative display of contemporary work. most of the galleries contain only canvases painted within the last ten years. but in order to correct the common misconception that american art is entirely a thing of today, without historical background, a few rooms are given up to historic works of the various early american schools, and to works of the foreign schools that have influenced the development of american art. the arrangement of the galleries should be mastered before one starts to study. in general there are three divisions of exhibits. at each end is a group of foreign sections, and the great middle space is given up to american art. the accompanying diagram is designed primarily to make clear the location of the several divisions. the visitor will find it worth while to remember that a main central corridor runs the whole length of the united states section. by continually referring to this corridor, one can keep one's bearings fairly well. the method of seeing the galleries that is suggested in this guide is based on the official classification as far as possible: the foreign sections are taken in order, and the historical section is treated in that chronological sequence which the directors intended to show forth. but there is no system in the arrangement of the twenty-eight general rooms of contemporary american work, in treating these the guide aims to suggest tendencies and influences, rather than to point out this or that canvas as a good or bad one. nevertheless it is believed that every really important picture or artist is individually mentioned-so that one who has used the manual consistently may be sure of having enjoyed the cream of the collection, at the same time gaining the wider knowledge of the main currents of development. it is necessary to use to a certain extent the arbitrary subject-divisions, such as portrait, landscape, and figure painting; and to refer also to realistic painting, which tends to depict things as they are, as opposed to the academic, which recognizes the wisdom of conventionalization or idealization. but the most important distinction, for the student of contemporary tendencies, is that which concerns the term "impressionism." this name in its original and technical sense applied to the works of the men who, instead of mixing shades, placed different colors side by side on their canvases to give the effect of the right shade at a distance. as the experiments of these artists were directed chiefly to the solution of problems of light, the term naturally was widened to include that whole division of painting which is concerned with atmospheric aspects and color harmonies rather than with subject-interest and line composition. terms which express the same idea in general or in part, are "luminism" and "plein-air painting." impressionism has had more effect on the current of art than has any other movement in history. not only in the handling of light and in freshness of coloring has the whole of painting been profoundly changed, but there is a general tendency to paint the impression rather than the actuality, the harmonious effect rather than the literal fact-and these things are notably illustrated in the exposition galleries. for the sake of the visitor who comes to the gallery with practically no knowledge of art, a word may profitably be said about critical standards. first remember that there are many qualities which may make a painting worth while: pleasing design, beautiful color, a compelling expression of emotion or thought, or a poetic suggestion of a fleeting aspect or mood. it is necessary to judge each particular work by the artist's intention, and not by untrained personal tastes. before passing judgment learn to know the picture well. you may find that you have been attracted by something superficial. on the other hand, you may find that the seemingly less attractive picture, which has been recommended by people of trained judgment, grows more and more pleasing with riper acquaintance. go slowly, study thoroughly what you study, and keep an open mind-for that way leads to the widest enjoyment. united states section: painting the united states section consists chiefly of contemporary work, but includes a small historical section, which is to be found to the left as one enters at the main doorway. it is in this part of the exhibit that one should start. the historical section consists of two well-defined parts. the first contains examples of foreign schools of painting that have influenced american art. the second contains the works of american painters from the beginnings to the early twentieth century. the foreign historical section occupies rooms - and - . gallery -early schools. a gallery of old paintings, chiefly of the italian, flemish and dutch schools, designed to suggest the earliest roots of american art. practically all the canvases are mere echoes of the "old masters," and they may well be passed over hastily by all but the most thorough historical student. gallery -french influence. this gallery and the next two are designed to show works of those schools, chiefly french, that have had direct influence upon american art. on wall a is a painting by courbet, interesting in the light of that artist's influence on whistler's early work. but most important here are the examples of the barbizon school, romantic landscape painters of the mid-nineteenth century, who had much to do with the development of the inness-wyant group in america. on wall b are two canvases by corot, both badly placed, one of which ( ) is typically poetic and beautiful. the examples by daubigny and rousseau on wall c are not satisfying. on wall d the two monticellis suggest the source of some of the rich qualities of the work of keith and similar american painters. gallery , adjoining , shows the best example of barbizon work, in troyon's beautiful "landscape and cattle" on wall c. on wall a is a small painting, interesting but not characteristic, by millet, who influenced the whole world of art toward sincerity. on wall b is sir laurens alma-tadema's "among the ruins," sole representative here of the english school of "polished" painters that strongly influenced a number of american artists. on wall d are two very interesting portrait studies by franz von lenbach, intended to suggest the influence of the munich school on american art, before americans began to flock to paris to study. gallery -recent french influence. on wall a is an uneven collection by monet, the greatest apostle of impressionism. this group, with the exception perhaps of the sea-shore scene, should be studied thoroughly, in regard to the technique that juxtaposes colors to give the right resultant tone at a distance; in regard to the general tendency to subordinate subject interest to the expression of fleeting aspects; and in regard to the masterly handling of light. no other group will be referred to so often in connection with the american galleries. on wall b is a typically joyous canvas by gaston la touche, who carries impressionism into figure work. on walls c and d are other examples of the impressionist school, by pissarro and renoir and the english sisley. on wall c is a portrait by eugene carriere. on wall d is a panel by puvis de chavannes, who has influenced modern mural painting more than any other artist. this picture has the typical union of the classic feeling with very modern technique, but it is representative of de chavannes' manner rather than of his whole art at its best. gallery -english influence. this is the richest of the historical rooms. although there is a scattered collection including the names of van dyke, guido reni, tiepolo, ribera, velasquez, goya, and turner, on walls a and b, the important thing is the fine collection of the english portraitists. here are examples, many of them among the finest, by hogarth, reynolds, gainsborough, romney, lawrence, and hoppner. it is hardly necessary to point out the close connection between the work of this english group and early american painting, since a visit to the adjoining gallery will show how the first important development in the states grew out of the art of the mother country. the american historical section covers the entire development of american painting from the beginning to the early years of the present century. to obtain the proper sequence, one should start in room , working gradually down to , then visiting and . gallery contains a profusion of fine examples of the early portrait school, which was so closely connected with english art of the time. gilbert stuart, the most important figure, is represented by an extensive collection on wall a. in this room, too, are canvases by west, peale, copley, and their followers well into the nineteenth century. gallery contains chiefly the work of that barren mid-century period when portraiture and landscape painting alike became hard and labored. insofar as any foreign influences can be detected here, they are of the "tight" schools of england and germany. gallery contains some interesting work of the latter half of the nineteenth century-notably the paintings by eastman johnson, an important figure of the time when american art was finding itself. albert bierstadt's two landscapes are typical of the so-called hudson river school, the mechanical forerunner of the inness-wyant group. an interesting contrast is offered here by h. j. breuer's "santa inez mountains," a contemporary landscape that is full of the freshness and light of present-day american painting. gallery shows another great step in advance. a generous portion of the space is given to edwin a. abbey, an american-born artist who really was more a part of english art. the exhibit shows clearly that abbey was greater as illustrator than as painter, the finest things here being the exquisite pen drawings. wall d has five paintings by john lafarge, who by his work and by his theories greatly influenced american art at the end of the century. worthy of study, too, are the more modern landscapes of theodore robinson. from this room one should turn back into the central line of galleries. gallery contains historical american paintings that range through the latter half of the last century and into this, with such well-known names as parrish, gifford, hunt, wylie, martin, the morans, eakins, and even the more recent frederic remington. such pictures as f. e. church's "niagara falls" (wall a), j. g. brown's "the detective story" (wall b), and thomas hovenden's "breaking home ties" (wall d), are typical of what was accepted as the best work a generation or two ago. passing through room , one should next go to . gallery is the most important in the american historical section, for it shows the work of the men who really emancipated american painting from the old hardness and tightness of technique, and from the old sentimentalism. wall a is given up to the work of the late winslow homer, who has been called "the most american of painters." the seashore scenes alone of the things here are representative of this big man at his best. wall b has a varied assortment by lesser painters, but ones of importance: blakelock, currier, william morris hunt, and fuller. on walls c and d the very important canvases are those by inness and wyant, men who were deeply influenced by the french barbizon school, but whose individual achievement marked the first great stride toward the bigness, freedom and lightness of present-day american landscape painting. contemporary american painting. leaving aside the one-man rooms for the present, it is just as well to turn from the last historical room, , into , and progress in natural order through , , , (the central hall), and . the contemporary rooms north of the central hall can be best visited in three groups, each following the official room numbering: first, to ; then to ; and finally the detached section at the far north end of the building, to . gallery has a well assorted collection of contemporary canvases, but includes no outstanding features. gallery is a typical modern american room, with good landscapes in the work of breuer, borg, davol, and stokes. gallery contains some of the best american figure paintings in the building. the finest group is that by cecilia beaux on wall d, which well displays that remarkable artist's brilliant technique and "flair." it is notable how many of the really virile paintings here are by women -many of them of the younger groups. from marion pooke's polished but free "silhouettes," and alice kent stoddard's appealing "sisters," to m. jean mclane's joyously brilliant canvases on wall c, there is a wide range of achievement and promise. gallery . on walls a and b are five canvases by horatio walker that are worthy of attention. but finer are charles w. hawthorne's four paintings on walls b and d. their bigness of conception, sincerity and soundness of technique mark a coming master. wall c is given up to a display by charles walter stetson, which shows, more strongly than any other in the american section, that tendency to the decorative and the idyllic which is to be noted as so strong in recent painting. on wall d are three works of george deforest brush, a man who has been but little influenced by the more radical tendencies. "the potter" is interesting for the painstaking and minute finish of varying surface textures. gallery -central hall. although the important places here are given to sculpture, there are a few very interesting paintings: some representative landscapes, and at the ends decorative panels by alexander harrison and by howard cushing. gallery is notable for the work of painters who have followed rather closely the old academic traditions: for the smooth and polished canvases of w. m. paxton and philip leslie hale. there are also seven landscapes by willard l. metcalf, fresh attractive work of the "plein-air" school. gallery is rich in fine landscapes, and contains the best of the exhibition's marines. here are the only works of charles h. davis, a notable follower of the poetic inness school, and of leonard ochtman and ben foster, who stand well to the fore among the more vigorous landscapists. also worthy of attention are the landscapes of braun, borg, white, wendt, j. f. carlson, rosen and browne. the marines represent well a department of painting in which americans have long excelled; on wall a are four by paul dougherty, on b and c three by frederick j. waugh, and on d one by emil carlsen. of the other paintings the most interesting is the idyllic bit by hugo ballin on wall c, representative of the decorative tendency. gallery contains as its most important exhibit three portraits by j. c. johansen, on wall b, all typical of the brilliant fluency of this remarkable painter. among the landscapes here the most important are the two schofields on wall d, typical of the best and sanest phase of impressionism in america. very important too are the canvases by daniel garber on wall c. gallery contains a mixed collection, with such different good things as lawton parker's polished figure studies (wall b) and j. francis murphy's poetic landscape (wall c). on wall c is a painting by john w. alexander, one of the leaders in american art, which is typical of his method of subordinating subject interest to line arrangement and color composition. gallery -portrait room. on wall c are three portraits by irving r. wiles, and on d two by julian story-both names long well-known in american art. but the surprising thing is that several of the canvases by less known men stand up with, or even surpass, these. gallery is notable chiefly for some good landscapes. gallery contains little to hold the attention, unless it is the group of canvases by walter mcewen, who shows adherence to the older traditions, not only in smoothness of technique, but in sentimentalism and general prettiness. gallery is given up chiefly to alson clark's over-sketchy and intemperately colored panama pictures. the most interesting thing here is ernest lawson's "beginning of winter," on wall b, a representative work by one of the most successful american followers of impressionism. gallery is a room of good landscapes, with a few outstanding canvases like will s. robinson's "group of white birches" on wall c. a new start should be made here by passing through rooms and to , from which the numerical order can be followed back to room , adjoining the central hall. galleries and have a range from many mediocre to a few really good things, lacking anything that demands special attention. gallery is a room rich in comparative values. note the delicacy of treatment and of color in william sartain's three landscapes, on wall a, and in birge harrison's atmospheric paintings on wall d. compare these with the heavily painted and richly colored canvases by walter griffin on wall c, and then with the more straightforward, vigorous work of charles morris young on wall b. harrison, griffin and young, at least, are of the distinctly modern school; but note how individually each has utilized his inheritance of vibrating color and light. on wall a are two fine figure studies by robert reid, an innovator and a really great painter, though he did not show it when he painted the panels for the fine arts rotunda. gallery . there is much poor material here; but on walls b and c are some paintings by frank vincent dumond that are interesting for their fresh coloring and their solving of light problems. gallery contains evidences of progress in varied lines, from e. l. blumenschein's big indian pictures, and cohn campbell cooper's studies of american cities, to the experiment in painting flesh against a richly varied background, by richard miller, a gifted american who has long lived in paris. gallery contains much promising work of various tendencies, but no outstanding features. gallery contains, on wall a, a splendid collection of the work of dwight w. tryon, one of the older school of landscapists, who helped to break the way for the moderns and has kept up with them to a great extent. with the exception of one canvas, the pictures on walls b and d are by j. alden weir, another roadbreaker, and an experimenter with new effects of light and atmosphere. in such canvases as "june" and "white oak" one finds some of the best that american art has built on the theories of monet. gallery contains some good landscapes, but nothing that demands special attention aside from sergeant kendall's refined figure studies. gallery is given over in general to the independents and extremists of american art. here are canvases by glackens, sloan, and breckenridge, rather disappointing to one who has watched hopefully the movement they represent. certainly their exhibits are suggestive of a rather undisciplined vigor and freedom. on wall c the five canvases in the lower row are by robert henri. they are the experiments of a master, rather than his best works. the truly representative henri picture is the "lady in black velvet," on wall d. this has a wonderful synthetic quality, a suppression of detail and a spotting of interest at the important point. there is, too, a spiritual quality that is lacking in the other canvases. on the other side of the doorway is gertrude lambert's "black and green," a notably fine canvas. the only other general rooms of the contemporary american section are those at the far north end of the building, beyond the foreign sections, numbered from to . gallery is a sort of catch-all room, in which are many things that never should have been admitted to the galleries. the really interesting feature is the series of canvases by frieseke, full of light and freedom. gallery is less mediocre on the whole, but lacks any features of special appeal. gallery includes a surprising conglomeration of paintings and drawings in all mediums, wherein the extremists have their say. there is a wealth of interest here, but one must have time to separate the bad from the good. gallery is also marked generously by the newer tendencies. the important feature is the group of virile paintings by george bellows, on wall c. these mark the most successful american attempt to grasp sanely the bigness and freedom of the post-impressionist movements. one-man rooms. as a part of the plan to show the various influences on the course of american art, it was decided to give up a number of rooms to individual displays by leaders of the several well-marked tendencies. galleries - , - , and , at the east side of the building on either side of the center, contain these "one-man shows." gallery -sargent. here are shown a number of canvases by the man generally considered the greatest living american painter-certainly the greatest of the portraitists. though containing none of the really famous paintings, there are portraits which show the typical sargent brilliancy-the swift sureness and the perfect balance of restraint and freedom. the james portrait is especially worthy of study. gallery -mathews. in this room are shown a number of canvases by arthur f. mathews, most important of the california painters, as well as a few by francis maccomas, another californian. mathews stands primarily for the decorative tendency. his canvases have a noble sense of repose that is too often lacking in contemporary work, and there is remarkable color harmony here. gallery -melchers. here are representative works by gari melchers, a famous american who has long lived abroad. unmistakably these canvases are from a masterly brush; but the coloring is not always good, and the room is somewhat disappointing. gallery -hassam. by common consent childe hassam is considered the greatest american follower of impressionism. he is an innovator who has carved a sure place for himself by adding a new vigor to the methods of the original impressionists. such decorative canvases as on wall b, and such delicate ones as on wall d, should be compared with the monets in room . gallery -chase. this room is designed to show the work of an american who was greatly influenced by the munich school of painters. william m. chase, both in his portraits and in his remarkable still-life studies, shows the fine german thoroughness rather than french brilliancy. the four canvases that hold the places of honor on all four walls show clearly the influence of whistler. gallery -duveneck. here are works by frank duveneck, who like chase studied at munich. sound in draughtsmanship, steady, and well-thought out, they maintain a remarkable standard of excellence. it is instructive to step from here into the adjoining large gallery, where the french influence is predominant. gallery -redfield. in the winter scenes of e. w. redfield one finds the sure touch of a master of the new and vigorous school of american landscapists. redfield has modified impressionism, clinging to a certain reality, and yet achieving the sparkling atmospheric effects of the luminists. gallery -tarbell. in contrast to hassam and redfield and twachtman is edmund c. tarbell, who has taken but little from the impressionist group. his most characteristic and most appealing work can be seen in the canvases on wall a, beautifully lighted interiors which show the academic tendency, but in a new and delightful way. gallery -keith. this collection of canvases, with its sameness of subject and arrangement, is hardly typical of the late william keith at his best. he was the western representative of the inness-wyant school of the late nineteenth century, though he leaned more to the romantic than did the others. gallery -twachtman. here are the works of a painter who is closer to monet than to the more vigorous american school of modified impressionism. it is well to study one wall, a perhaps, and then to go to the redfield and hassam rooms, and then to the group of monets, to see the various ways in which impressionism has spread. gallery -whistler. the whistler room is quite appropriately placed with the foreign historical rooms, rather than with the other one-man galleries-as if whistler should be grouped with the influences rather than the influenced. the room contains none of the artist's finest paintings, but is well representative of the several sides of his work. wall d shows whistler the portraitist, with "his faces and figures that emerge from a soft black background, very much as one sees a person in the gathering twilight." on walls a and b it is whistler the colorist, and on wall b especially, whistler the rediscoverer of japanese color and figure composition. on wall d is the "study of jo," an uncharacteristic early work, which shows the influence of courbet. american section: prints the american prints occupy rooms to , along the west wall of the building just south of the central vestibule. the exhibit is very representative, and contains both historical and contemporary sections. gallery -prints by whistler. here is a collection of whistler's etchings and lithographs, with a few drawings. the distinguishing quality is an exquisite delicacy. gallery -historical prints. in this room one can trace the development of american engraving and etching from the beginnings to the present day. starting on wall d one finds steel engraving illustrated from the days of paul revere to its decadence; then the history of wood-engraving to its flowering in cole and wolf; early and recent american etching; and a few modern copper engravings and lithographs. gallery -prints by pennell. this room contains a splendid collection of prints from all of joseph pennell's important series, in etching, lithography and mezzotint-a remarkable display by one of the world's greatest etchers. galleries and -contemporary etchers. these two rooms contain a rich collection of contemporary american work that should be studied print by print. even a superficial look will indicate that even without pennell and whistler the american etchers are doing work universally worth while. gallery -color prints. here is an interesting collection of color prints in both etching and wood engraving. it shows the achievement of the younger artists in mediums that were practically unknown in this country ten years ago. american section: illustration galleries and are given up to drawings and paintings by howard pyle, who has been called "the father of modern american illustration." gallery , adjoining the italian section, contains a small but fairly interesting group of original drawings for illustration. in the work of wyeth, schoonover, elizabeth shippen green, jessie wilcox smith, and others, there is very strong evidence of howard pyle's influence. on wall b of this room, and in the adjoining gallery , there is a collection of photographs of american sculpture and mural paintings. gallery , adjoining the main west vestibule, has a miscellaneous collection of drawings and paintings in all mediums, ranging from the most delicate and polished to caricature and sketchiness run riot. there is a great deal of interest, but little that is important in a big way. american section: miniatures galleries and contain an excellent collection of miniatures, ranging from a work by malbone, the first important american in this field, to that of such notable contemporaries as w. j. baer, laura c. hills, and lucia fairchild fuller. in both miniature rooms there are a number of paintings and drawings, in various mediums, including, in room , a few oils by jules guerin, the color wizard of the exposition. american section: sculpture of the monumental sculpture of the american section most of the finest examples are out-of-doors. the central hall of the gallery building contains a collection that is worth studying piece by piece, including such notable things as daniel chester french's "alice freeman palmer memorial," karl bitter's "signing the louisiana purchase treaty" and "tappan memorial," and robert aitken's "mausoleum door." but by far the most notable thing about the sculpture display is the extensive collection of charming small bronzes, which is scattered through the many rooms. the visitor should especially make sure of seeing certain individual group exhibits, such as the very freely rendered figures by paul troubetzkoy in the international room ( ), paul manship's groups, with their touch of classic appeal, in gallery , and the cases of statuettes by abastenia st. leger eberle and bessie potter vonnoh, in gallery . very rich in interest, too, is the collection of medals and plaques, shown in galleries and . foreign sections the foreign sections are in two groups, at the two ends of the building. there is no system in their arrangement, and they are treated here in the order in which they happen to be placed, beginning at the far south end. the japanese section occupies galleries to . to appreciate japanese art it is necessary to become accustomed to the conventionalization of treatment-to understand what the artist was after, and to judge from that standpoint. it is well to begin by studying works that are more like western art-such things as "moving clouds" ( ) and "evening: nawa harbor" ( ) in room -and then to progress to the works in which the conventions are more pronounced. note, throughout the paintings in rooms , and , the delicacy of tone, the color harmony, and the fine sense of composition and pattern. in galleries and are collections of japanese sculpture and painting, done in the western manner. it is interesting to see what the oriental artist can accomplish in an alien medium; but neither for the japanese nor for the american can these works have the same genuine appeal as those in galleries to . the other rooms contain a varied collection of porcelain, embroidery, wood and ivory carving, and prints. the french section is one of the most interesting, but is hardly representative of the best that country has achieved in art. the general average is such that it upholds france's traditional standing as the home of "good painting," but this is by no means a collection of masterpieces. the most noticeable tendency is that toward the decorative. the galleries of the french section have been re-numbered, beginning with . gallery is a rather poor room on the whole, though it, contains two canvases on the north wall by lucien simon, typical of that artist's masterly breadth of treatment. on the west wall, beside the doorway, are two of aman-jean's portraits. the little landscape ( ) under one of these, by marcel-clement, is notable, as are also jean domerque's decorative canvas on the south wall and maury's three nude girls on the north. gallery is most interesting for the group on the north wall, where the place of honor is given to henri martin's work. here is an artist who has carried impressionism to its limit of vibrating light and color. the large central canvas should be seen from the japanese room. the self-portrait ( ) is even more interesting. on this wall are pictures that offer a striking comparison of methods of painting. gallery is made especially interesting by the domination of one man, maurice denis, who is the leader among the "advanced" decorators of france. there is much that is worthy of study in the simplicity and in the color of his panels here. the room contains also a number of examples of the new and ultra-new schools, from monet and degas to redon and puy. gallery contains few outstanding features, the more conservative element predominating. there is charming color in caro-delvaille's canvas on the east wall ( ), and there is a lucien simon on the south wall. gallery likewise is not very important. gallery especially illustrates the decorative tendency. on the north wall are panels by auburtin, a follower of de chavannes, and by devoux, which are pure decorations. on the south wall is a large canvas by the celebrated menard; but his little seascape on the west wall ( ) is more appealing, being one of the most attractive things in the section. note how the decorative tendency characterizes not only these outdoor pictures, but the neighboring portraits as well. on the east wall is a canvas by le sidaner, a leader of the plein-air school, which reminds one that good french landscapes are few in this exhibit. the italian section is the best arranged in the galleries. there is a general feeling of orderliness and rest that is quite welcome as one comes from the overcrowded american rooms. the italian paintings do not give the impression of an exhibition of masterpieces-indeed there are very few canvases that demand special notice-but they are well up to the average set in the other sections. gallery is the most interesting. on the wall facing the main doorway are five pictures by ettore tito, perhaps the greatest and certainly the most popular, of italian painters. all are strong, and they are painted with a bigness and a sureness of touch that are compelling. very interesting too are the canvases on the adjoining wall by camillo innocenti, who has achieved the vibrating light and fresh coloring of the impressionist school in an individual way. gallery contains a varied collection, ranging from the academic to the radical. here are two canvases by arturo noci, one of the leaders of the italian secession. gallery is given up mainly to sculpture. the most compelling thing is d'orsi's realistic "tired peasant." with the exception of some of the small bronzes, the rest of the sculpture of the section is hardly notable. gallery contains a very interesting canvas in plinio nomellini's picture of a woman and child in a boat drawn up under a tree. the thing is full of sunlight and sparkling color; and it strikes a good medium between the old tight painting and that which carries impressionism too far-both of which extremes can be seen in plenty in this room. gallery is an average room, without special features. the cuban section occupies gallery , next to the italian section. there is hardly a picture here that does not seem labored in comparison with the freedom elsewhere. the uruguay section, in the adjoining gallery , is just the opposite full of freshness and vigor, and brilliant in color. but the gift of brilliancy is rather undisciplined, and while there is unmistakable promise, one feels that the art of uruguay has not yet found itself. the chinese section occupies galleries to , and is notable for the paintings on silk and paper, the cloisonne, and the lacquer. there is a wealth of interesting material in the display, but it really requires a great amount of study for full appreciation. the chinese commission has prepared a special catalogue, which can be had in the rooms if one is specially interested. the philippine section, in the adjoining gallery , is almost negligible in a building where there is so much really worth seeing though some of the paintings by felix hidalgo have a dramatic interest. the swedish section, in galleries to , is one of the most important in the building. one who likes a gentle, polished sort of art will not be at home here; but for virile, fresh and colorful painting there is no other section that achieves the same high standard. many of the pictures are so strong and big that they never should have been put in these box-like little rooms, where a proper perspective is impossible. in the paintings there are traces of french and german training, and especially of impressionism; but the exhibit shows more true national feeling and more individual independence than any other in the building. the two featured groups are the remarkable paintings and tapestries of gustav adolf fjaestad in gallery -well worthy of long study-and the paintings and prints of carl larsson in gallery . but there are many other things quite as important: the brilliant and fresh canvases of carlburg, the snow scenes touched with late sunlight, by schultzberg, and the compelling autumn decorations by osslund, all in gallery ; the illustrations by bauer in gallery ; the big landscapes by hesselborn in gallery ; and the deep-toned studies by anna boberg, and the virile portraits, in gallery . if you doubt that these swedish painters can do the polished, poetic thing, as well as the big vigorous sort, go back to gallery , and look at bergstrom's atmospheric "spring day." the swedish sculpture is not so remarkable as the painting; but the print section in gallery contains a number of very interesting etchings and wood engravings. the argentine section, in gallery , shows much that is fresh, strong, and brilliant in color. it is interesting to see how much closer these south american painters are to spain than to france and germany. here are many echoes, not only of velasquez and goya, but of the vital modern spaniards like zuloaga. the collection is very uneven; but in the work of men like jorge bermudez and hector nava there is a mighty promise if not any great achievement. the few sculptures are unusually strong and interesting. the portuguese section, in galleries to , has the appearance of belonging to an older period in the history of art than the present. one feels that the artists who show pictures here have not that mastery of light which marks the nineteenth century's greatest advance in painting. certainly there is evidence of a general reliance on the older standards. perhaps the best works are those of columbano, in the central gallery. here too, and in the next room, are some realistic works of malhoa that compel attention. the international room, gallery , contains all that the exposition has of german work. on wall c are such splendid things as leo putz' "the shore" and heinrich von zugel's "in the rhine meadows;" and on wall a is franz stuck's "summer night"-by no means one of this decorator's best works, though characteristically rich and deep-toned. but one feels the lack of those others who have lately lifted germany back among the greatest nations artistically: von uhde, liebermann, von gebhardt, klinger, erler, and von hofmann. in the same way the young and virile english group is not represented, though in this room is a passable portrait by the great john lavery. on wall d are two spanish works of lopez-mezquita, that are worthy of attention but nothing of zuloaga or sorolla. the holland section, occupying galleries - , contains a display that is well balanced but without outstanding features. there are echoes of many departed glories, of rembrandt, of hals, and even of the french barbizon men, and a few typical beautifully lighted dutch interiors. but there is none of the work of the men whom the art magazines have taught us to consider the representative dutch painters of today: israels, the maris brothers, and mauve. the print room is likewise good rather than splendid, unless one excepts m. a. j. bauer's fine rembrandtian etchings. charles van wyck's small bronzes are notable among the sculptures. scattered art exhibits state and foreign buildings the palace of fine arts has been reserved exclusively for painting, sculpture and prints, with the result that the material of the usual "arts and crafts" exhibitions has been badly scattered. certain exhibits have been taken to the state and foreign buildings, some of which are also of interest architecturally; but most of the craftswork is to be found in the four exhibition palaces on the avenue of palms. the palace of varied industries contains, between th and th streets, three important displays: at avenue a is denmark's exhibition of porcelain and pottery, with a small section devoted to the book arts; at avenue b is an excellent display of german porcelain; and at avenue d is the netherlands exhibit of porcelain and pottery. at th street and avenue c is the exhibition of chinese arts and crafts. the american section of so-called "domestic arts and crafts" is at st street and avenue c, and contains a very small but select showing of all the usual handicrafts. elsewhere in the building there are minor displays of textiles, ceramics, tapestries, silver work, and interior decoration, installed by commercial firms. one can see looms working, jewelry being made, and china being painted. the palace of manufactures is notable for the extensive arts and crafts exhibit of japan, which covers almost one-quarter of the building's floor space; for that of italy, which includes a large number of statuettes besides the usual departments; and for those of france, and great britain and ireland. one will find all of these displays by walking along avenue c. the palace of liberal arts contains a few exhibits of the book arts and architecture. the most important architectural display is that in the united states government section, shown by the national fine arts commission. on avenue d between st and th streets there are displays of fine photography. the palace of education contains the exhibition of the american art schools, at avenue b and th street. at avenue e and rd street pottery is made. in the group of palaces on the marina there is little to interest in art matters. in the mines palace the government's exhibit of coins and medals is of some interest. in the transportation palace the student of applied art can find much to think about in the relation of art to automobile design. in the agriculture and food products palaces there is little to attract the art-lover except at meal-time. the italian buildings contain an extensive museum of national historic art and archaeology, which is well worth seeing. the mural painting in the royal salon represents "the glorification of italy." the buildings reproduce historic italian styles of architecture. the charming central court, the gardens, and the buildings contain many replicas of masterpieces of sculpture. the french building was unfinished at the time this was written (june first), but it is to contain an extensive art display. there are to be a number of statues by rodin, the greatest of modern sculptors, which alone would make a visit imperative for every art lover. the swedish building is one of the most interesting architecturally, suggesting the fine originality of recent scandinavian architecture. it is worthy of note too, that the norwegian and danish buildings strike a note of freshness that is in fine contrast with most of the foreign pavilions. in all three of these buildings there are small exhibits of painting and handiwork. the turkish building contains an attractive exhibit of rugs; and in the philippine building there is a display of metal work and basketry. the state buildings are in general designed for social purposes. that of pennsylvania is an interesting bit of colonial architecture, and contains two virile and colorful decorations by john trumbull, representing "penn's treaty with the indians" and "the industries of pennsylvania." the maryland building is also a simple, dignified bit of colonial design. the massachusetts building reproduces the famous "bulfinch front" of the boston state house. the mission style of architecture is pleasingly exemplified in the california building. index "abundance"- adams, herbert- "adventurous bowman"- aitken, robert- , , "aquatic life"- architecture as a whole- argentine fine arts section- "armored horseman"- arts and crafts exhibits- bacon, henry- bakewell & brown- bancroft, h. milton- bateman, john- , beach, chester- "beauty and the beast- bennett, edward h.- berge, edward- , bitter, karl- , borglum, solon- boutier, e. l.- brangwyn, frank- bufano, b.- "bulls, the"- burroughs, edith woodman- calder, a. stirling- , , , , , , , chase, william m.- chinese fine arts section- color scheme- column of progress- corbett, gail sherman- "cortez"- court of abundance- court of flowers- court of four seasons- court of palms- court of universe- crafts exhibits- cuban fine arts section- cummings, earl- dallin, cyrus e.- diagram of art galleries- diagram of grounds- dodge, w. del.- dumond, f. v.- duveneck, frank- "elements, the"- , ellerhusen, ulric h.- "end of the trail"- farquhar, robert- faville, w. b.- "feast of sacrifice"- festival hall- "festivity"- fine arts galleries- flanagan, john- florentine court- foreign buildings- fountain of ceres- fountain of earth- fountain of el dorado- fountain of energy- fountain of rising sun- fountain of setting sun- fountain of youth- fountains of the seasons- fraser, james earl- french, daniel chester- french building- french fine arts section- fry, sherry e.- , , "genius of creation"- gerlach, gustave- gruppe, carl- , half-dome of philosophy- half-dome of physical vigor- harley, charles r.- "harvest"- hassam, childe- , hastings, thomas- historical fine arts- holland fine arts section- holloway, charles w.- illustration section- international room- italian building- italian fine arts section- italian towers- jaegers, albert- , jaegers, august- japanese fine arts section- keith, william- kelham, george w.- , konti, isidore- ladd, anna coleman- , laessle, albert- lentelli, leo- , , , lighting- longnan, evelyn b.- , manship, paul- , mathews, arthur f.- , maybeck, bernard r.- mckenzie, robert t.- , mckim, mead & white- mclaren, john- macneil, hermon a.- , medals- melchers, gari- mermaid fountain- miniature section- "mother of tomorrow"- "motion"- mullgardt, louis c.- mullgardt tower- murals-in arches- murals-court of abundance- murals-court of four seasons- murals-court of palms- murals-fine arts rotunda- murals-tower of jewels- "music"- "nations of the east"- "nations of the west"- newman, allen- niehaus, charles- outdoor gallery of sculpture- palace of agriculture- palace of education- , palace of fine arts- palace of food products- palace of horticulture- palace of liberal arts- , palace of machinery- palace of manufactures- , palace of mines- palace of transportation- palace of varied industries- , patigian, haig- , pennell, joseph- philippine fine arts section- piccirilli, furio- pietro, c. s.- "pioneer, the- "pizarro"- portal of varied industries- portals of north facades- portuguese fine arts section- print section- putnam, arthur- pyle, howard- redfield, e. w.- reid, robert- richardson, w. symmes- rodin- roth, f. g. r.- , rumsey, charles c.- ryan, w. d'arcy- st. gaudens- , sargent, john singer- scudder, janet- sculpture section- , "signs of the zodiac"- simmons, edward- south gardens- stackpole, ralph- , , , "stars"- state buildings- swedish building- swedish fine arts section- tarbell, edmund c.- tonetti, f. m. l.- "torch bearer"- tower of jewels- tower of jewels-height- "triumph of the field"- troubetzkoy, paul- twachtman- "types of power"- ulrich, louis- u. s. fine arts section- uruguay fine arts section- venetian court- "victorious spirit"- walter, edgar- ward, clarence r.- ward, j. q. a.- "water sprites"- weinert, albert- , , , whistler- whitney, gertrude v.- "winged victory"- young, mahonri- zimm, bruno louis- copies of this guide can be obtained from any bookseller or newsdealer, or will be sent postpaid on receipt of cent, by the sign of the berkeley oak, college avenue, berkeley, california 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 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 , 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 , 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, ; 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. , 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: --rodrigo de bastides pursuing his course beyond the west indies discovers panama. the panel at the left of the central arch reads: --vasco nunez de balboa crosses the isthmus of panama and discovers the pacific ocean. at the right of the central arch the panel reads: --the united states succeeding france begins operations on the panama canal. the panel at the right end of the colonnade is inscribed: --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: --juan rodriguez cabrillo discovers california and lands on its shores. the panel at the left of the central arch reads: --jose joaquin moraga founds the mission of san francisco de isis. at the right of the central arch the panel reads: -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: --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 . 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. none produced from scanned images of public domain material from the google print project.) the argentine republic _the commission of the argentine republic takes pleasure in offering this volume, descriptive of the growth and position of the argentine republic, as a souvenir of the panama-pacific-exposition of ._ _horacio anasagasti, commissioner-general._ _san francisco, may, ._ the argentine republic [illustration: colophon] panama-pacific-exposition san francisco, copyrighted, , by the argentine commission of the panama-pacific-exposition, san francisco, _all rights reserved_ press of j. j. little & ives co. new york argentine national commission panama-pacific exposition, san francisco, _president_ dr. angel gallardo _vice-presidents_ mr. agustin de elia dr. francisco a. barroetaveÑa _treasurer_ mr. eliseo f. canaveri _members_ engineer horacio anasagasti dr. abel bengolea dr. cupertino del campo arch. julio dormal mr. carlos guerrero mr. gustavo herten mr. juan b. mignaquy engineer domingo noceti engineer luis f. nougues mr. ricardo pillado mr. luis e. zuberbuhler _commissioner-general_ engineer horacio anasagasti argentine commission at the panama-pacific exposition san francisco, _commissioner-general_ engineer horacio anasagasti _special delegate of fine arts_ dr. cupertino del campo _vice-commissioner general and commissioner of agriculture_ mr. enrique m. nelson _commissioner of education and social economy_ mr. ernesto nelson delegate from the ministry of justice and public instruction _secretary general and live-stock commissioner_ mr. luis vernet basauldo _executive secretary_ mr. alberto m. d'alkaine _commissioner of liberal arts and transportation_ engineer salvador positano _commissioner of varied industries and food products_ engineer eusebio garcia _commissioner in charge of the information bureau_ dr. guillermo koch _sub-commissioner of fine arts_ mr. juan carlos oliva navarro _sub-commissioner of agriculture_ mr. h. m. curren _honorary assistant_ mr. alfredo j. deck _assistants_ mr. herman bucher mr. enrique haymes mr. arturo fauzon mr. guillermo l. aguirre mr. luis frugoni introduction in order to add clearness to the brief description of the argentine republic presented in this little work, it has been thought desirable to depart from the traditional method of submitting a mass of statistical and historic matter and, instead, to furnish a rapid, though comprehensive, survey of the main features of interest, such as will at once convey to the reader the actual situation and potentialities of the "land of the silver river." for the fulfilment of this purpose, it has been necessary to closely condense the facts and figures relating to the growth of the argentine republic, to its constitution, laws, commerce, the high standard of its culture and the protection afforded, without distinction, to all residents within its territories, by the national charter of its freedom and by the advanced nature of its legislation. the character and scope of the argentine exhibits at the panama-pacific exposition eloquently testify to the importance of the republic as a field for an interchange of commerce with the united states, and, it is hoped, that the statements and suggestions contained in this volume will add impetus to the obviously growing desire to strengthen the commercial and friendly objects which animates the people of both countries. the argentine commission. san francisco, . the argentine republic some of its physical features the evolution of the argentine republic of to-day from the position of an obscure spanish dependency laboring under the disabilities of colonial government, into one of the great countries of the world whose watchwords are "progress" and "freedom," may be said to date from may , , when the people of buenos aires declared their independence and established the united provinces of the river plate. from that date forward, until may , , when the federal constitution of the argentine republic was proclaimed at santa fé and even to a later period, the history of that country bears many points of resemblance to the early history of the united states. just as the united states had to subdue savage indians, to enter into war and to offer great sacrifices to develop the resources of vast uninhabited territories in order to establish the principles of liberty and justice, the argentine republic has successfully conquered the same difficulties and, to-day, is inviting the rest of the world to add to its developments and to share its wealth. in the disposition of its territories, in its form of government and in its constitution and laws, the argentine republic has modelled its policy upon that of the united states. situated in the southern portion of south america, the republic, which is divided into fourteen provinces (states) and ten national territories, is bounded on the north by bolivia, paraguay and brazil; on the east by paraguay, brazil and uruguay; and on the south and west by chile. it embraces the most important sections of the vast estuary of the river plate, with its entire line of coast on the atlantic ocean. within its extensive areas, covering about , , square miles, the possibilities of production are practically unlimited owing to the wealth of the soil and the variety of its climate, which includes the sub-tropical, the temperate and the cold regions. yet, in none of these is to be found the extreme, as may be judged by health statistics and by the figures of the rates of mortality and longevity, which are respectively lower and higher than in any country of europe. geographically, the argentine republic may be divided into three sections: the western, or andine, the pampean, and the mesopotamian. the western is mountainous and comprises the long strip sheltered by the cordillera of the andes and its ramifications. it contains numerous valleys of varied character and abounds in mineral wealth. the northern and andine provinces and the western part of the southern territories are included in this division. the pampean section embraces the southern and central part of the republic from the eastern portions of the province of salta, with the territories of formosa and the chaco, down to the territories in the south; they include the plains stretching south and extending through the rich provinces of santa fé and buenos aires. this section, as its name indicates, is one vast plain rolling towards the south-east. it is crossed by innumerable rivers and streams which descend from the andes, and either lose themselves in the pampa, or become tributaries of the great river system of the paraná, or flow on till they join the atlantic ocean. in this section there are some few isolated ranges of hills, besides numerous lakes and lagoons with swamps and salt marshes, while a rich and varied vegetation gives sustenance to millions of cattle. the mesopotamian section lies between the rivers paraná and uruguay and comprises the provinces of entre rios and corrientes, and the territory of misiones. at its southern extremity is the beautiful delta of the paraná studded with islands of rich soil and fertile vegetation. advancing northwards, the land becomes undulating with tree-clad hill slopes, intersected by a network of rivulets and streams which water rich meadows and woodland and stretch to the north over a great part of the province of corrientes. here the land dips in a remarkable manner, forming great lagoons and marshes and once more changes its character in the territory of misiones, where hills abound, covered with forests which extend far inland. there are also various systems and ranges of mountains, the principal chain being that of the andes, which extends from north to south as far as tierra del fuego, and constitutes a giant boundary wall between argentina and chile; but even the barrier created by this great chain of mountains--at some points of a height approaching , feet--to rapid communication between the two countries has been removed by the opening of railway communication which now permits of the journey from one side of the mountains to the other, to be performed, during the greater part of the year, in a comparatively few hours. other physical features of the argentine republic have been so much more fully referred to elsewhere in these pages that it is merely necessary for the purposes of this brief sketch to make some reference to the constitution in its relation to national progress. as stated above, the federal constitution of the argentine republic is almost a counterpart of the american constitution and is based upon the broadest principles of liberty and justice, with even fewer limitations in regard to foreign residents than are imposed by the constitution of the united states. nor is there any doubt that in an almost equal degree to its great natural resources, the remarkable development and advance of the republic is due to its liberal constitution and to the legislation enacted in terms of its provisions. the principles it embodies have been carried into practice in all its laws. in that republic there is perfect religious and civil freedom; there are no restrictions upon healthy immigration, or upon the nationality of land owners. the right is accorded to every inhabitant, native or foreign, to engage in any lawful commerce or occupation, to petition the authorities, to enter, remain upon, travel over, or leave argentine territory at will; and to use and dispose of property and to form part of any society or association having lawful purposes. [illustration: the argentine pavilion at the panama pacific exposition] [illustration: interior view of the argentine pavilion at the panama pacific exposition] under its provisions the right of property is inviolate and prerogatives of blood, of birth, or titles of nobility are not recognized, all men being equal under the law. the composition of the judiciary, the executive and the legislative branches of government, differs only from that of the united states in that all judges are appointed and not elected. each of the fourteen provinces of the republic has its own constitution, which cannot be in conflict with the federal constitution which provides a necessarily limited degree of autonomy in the government of the provinces. the federal constitution prohibits the state government from usurping such functions of the federal government as entering into treaties with foreign powers, enacting laws affecting interstate or foreign commerce, navigation, citizenship, naturalization, the coining of money, or the establishment of custom houses. the organization of its tribunals and the creation of its own laws and forms of procedure is an absolute state right; but the federal, civil, commercial, penal and mining laws are in force throughout the republic, the custom houses and tariffs being also under the supreme control of the federal government. these restricted autonomous powers were wisely provided to prevent the conflict of laws which is of frequent occurrence under other federal systems. the protection of the moral and material interests of foreign residents of the republic, or of foreigners having interests therein, is scrupulously enforced by the courts according to the constitution where such questions are involved; and frequent decisions have been given by the federal tribunals in that direction in order to maintain the inviolability of the constitution which was framed in the interest of the argentine nation and of "all the people of the world who may reside in argentine territory." the progress of two decades in the succeeding review of the progress achieved by the argentine republic during the past twenty years, by a comparison of the facts and figures relating largely to commercial movement, uniformity of date has been overlooked and particular years have been selected, in some cases, for the reason that official figures have not been available to equalize the comparisons, although most of the figures given are embraced within the period named. the factors which, in a material sense, contribute chiefly to the progress of a nation, are its sources of production, its means of communication both within and beyond its territories, its domestic and fiscal legislation and the labor and enterprise of its people. it is therefore to these matters that it is principally intended to draw attention, in so far as they pertain to the national industries, to home and foreign trade, to railways, to ports and shipping, to finance and to the general advance in all matters of a kindred nature; and as this purpose will be better served by a straight-forward and concise formulation of official figures shorn of all comment which might tend to obscure their real significance, the form in which they are presented will convey, at a glance, the extraordinary growth of the argentine republic: area under cultivation the area under cultivation in for wheat, linseed, corn, alfalfa, and similar products totalled , , hectares ( hectares being equal to nearly one square mile) and in to , , hectares, showing an increase of the cultivated areas of more than six times the extent of twenty years previously. exports and imports in the total exports of the argentine republic amounted to $ , , , and the total imports for the same year to $ , , , whilst in the value of the exports reached $ , , , and the imports $ , , .[a] [a] all figures relating to money signify gold dollars, except where otherwise stated. mileage of railways in the total length of railways in operation was , miles and in , miles, with many thousands more projected and since placed under construction. tonnage of shipping the aggregate tonnage of vessels entered at and cleared from argentine ports in the year was , , , whilst in the total tonnage was , , . . population the national census of gave the population of the country as , , , whereof the city of buenos aires had , inhabitants. according to the census of , the total population amounted to , , , with that of the capital at , . a new census, taken may, , is now being compiled, but from figures supplied we know the population of the city was at that time , , inhabitants. according to the division of statistical and rural economy, the entire population of the republic in was estimated to be , , . the latter figures are necessarily based upon incomplete returns and have probably been estimated upon a ratio of increase established by earlier calculations; but all indications point to the probability that on the completion of the new census, during the present year, the total population of the republic will approach , , . investment of foreign capital the investment of foreign capital in the argentine republic has assumed far greater proportions during the past twenty years than in any other corresponding period since its formation. as one example of importance, it may be stated that the total capital invested in private and government-owned railways in the year amounted to $ , , , whilst in the capital employed in railways operating in the argentine republic reached $ , , , , of which over ninety per cent is british. in the foreign capital invested in the republic, including, at that time, about $ , , of external national debt, barely exceeded $ , , , . an official estimate of foreign capital invested in the country at the end of gave the following figures: $_gold_ . loans and various argentine bonds , , . railways , , . banks , , . ports , , . street car lines , , . freezing plants , , . gas and electric companies, water works and sanitary works , , . land and loan companies , , . other companies , , . mortgages and properties , , . commerce and credit , , -------------- grand total $ , , , gold reserves the vast increase in exports during latter years has naturally attracted considerable imports of gold; and, as showing the wealth and stability of the republic, it may be mentioned that the conversion fund created by law in to secure the national issues of paper and nickel currency (which was then to consist of appropriations from certain sources of revenue until a total of $ , , had been obtained) showed at december st, , gold reserves in the caja de conversion to be $ , , , or considerably more than per cent. of the entire issues of paper and nickel currency. custom house revenue the custom house revenue on import duties for amounted to $ , , , and in to $ , , . when it is remembered that the argentine republic covers an area of about one-third of the united states and that up to the present time not nearly one-fifth of its productive soil has been placed under cultivation, the figures relating to its production will leave little doubt that the world, in the not distant future, will find in that favored land one of the main sources of its food supply. but it is not alone in the development of the agricultural and pastoral industries that the great advance of the republic is to be noted. in every form of national activity the forward march of the argentine republic has made itself felt far beyond its own borders; while from a purely commercial point of view it has become a centre of universal interest and has added materially to the enrichment of the commerce of many of the countries of europe. [illustration: one of the reception rooms of the argentine pavilion at the panama pacific exposition] [illustration: another interior view of the argentine pavilion at the panama pacific exposition where the artistic richness of the mural decorations can be appreciated] in legislation there have been many notable advances during the past twenty years and, in some cases, examples worthy of being followed by older communities. amongst the most important legislative measures, those dealing with immigration, colonization, electoral reform, land settlement, education, labor, animal and sanitary laws, may be singled out for special mention. the immigration laws have been framed, since their inception, with a view to inviting foreigners to share in the development and enjoyment of the national wealth. no restrictions are imposed upon the entry of immigrants other than those which have for their object the exclusion of the criminal classes or persons who are physically or mentally unsound. not only can the immigrant acquire rich government land on conditions unequalled in other new countries, but provision is also made for the supply of the necessary funds to furnish the colonist with implements and other equipment to enable him to reap an ample reward for his labors. the naturalization laws impose no difficulties in the acquisition of citizenship, although there is absolute freedom on the part of the alien resident to hold land and property and to enjoy all the privileges conferred upon inborn citizens, except that of voting at congressional or presidential elections. even certain public positions may be held by foreigners without naturalization. in electoral matters, the law recently passed to enforce compulsory voting at elections has already produced excellent results and has succeeded in removing attempts at coercion and the exercise of undue influence in the return of candidates for elective offices; and most of these legislative reforms have been effected during the past twenty years. although not precisely within the period under review, the enactment of the conversion law of has had such far-reaching effects upon the financial situation and general stability of the republic that it should not be omitted from a record of national legislation dating from even four years later. prior to the passage of that law, violent fluctuations in the premium of gold, induced by speculation, led to so much disturbance of commerce as to render it necessary to place the national currency on a more substantial basis. with that object in view an average was taken and the value of paper currency was fixed by the law at per cent of the value of gold, in other words, making $ . , currency, equal to $ gold. the law further provided for the establishment of a conversion fund, which was to be formed by the appropriation of certain sources of revenue and to be added to by annual increments until it reached a total of $ , , gold, which with the gold reserves then existing and to be accumulated were to be employed exclusively for the public exchange of gold and paper at the rate fixed. as shown in the figures relating to gold reserves, the accumulation of gold held in the caja de conversion for the purposes of the law, at december , , amounted to $ , , , representing upwards to per cent of the entire national currency in circulation, a proportion not exceeded by any other country of the world; and with the resumption of exports upon a normal scale, which will constantly bring more gold to the republic, the relation of gold reserves to currency issues will, in a comparatively short time, be such as to justify the creation of a definite and exclusive gold standard as the monetary system of the republic. [illustration: statue of general san martin, buenos aires] [illustration: one of the palatial residences in buenos aires] the argentine republic has achieved many triumphs in diplomacy and many legitimately claim to have made new international law for all the countries of the american continent. one of the most important steps yet taken in this direction was the formulation, in , of the now universally accepted doctrine establishing the principle that contractual debts by sovereign states to foreign private subjects, or citizens, should not be collected by the employment of armed forces. this doctrine was propounded by the then argentine minister of foreign affairs in a note addressed to the united states government as the result of the occupation, at that time, of the territorial waters of an independent state by the warships of some of the european powers, for the avowed purpose of compelling payment to their subject of claims for damages and for the fulfilment of the service of a national debt due to foreign creditors and then in default. this note aroused world-wide attention and the subject was dealt with diplomatically by many of the countries of europe which had commercial relations with the latin-american republics. it formed the subject of frequent discussion at various pan-american congresses, and was particularly favored in the united states, where, subject to certain slight modifications, it was regarded as a logical pendant to the monroe doctrine. at the second international peace conference at the hague, in , the doctrine was submitted for the approval of the conference by the american delegation with slight modifications and was accepted, without dissent, by the delegates of all the countries represented. it is not necessary here to enter into a discussion of the merits or importance of this argentine doctrine. suffice it to add, however, that the negation of its main purpose would be to endanger the existence of the monroe doctrine by shattering the principal object with which that policy was conceived and established. another great international movement in which the argentine republic assumed a leading part and which is likely to have far-reaching effects in advancing the friendly relations of the united states with the sister american republics, was the recent mediation of the "a. b. c." powers (argentine, brazil and chile). the events of that particular time are too fresh in the memory of the american public to need description of detail. it is sufficient to say that the mediation referred to averted a war which would probably have involved the sacrifice of countless lives and of countless millions. but the initiation of the policy of mediation entered into on that occasion has even more importance than that which attaches to it as having prevented a great and unnecessary war. it has served, firstly, to show that the great advance made by the leading south american republics is not merely an advance made for selfish purposes, but for the benefit of the whole of the latin nations of the american continent. the great statesmen of those countries, whilst recognizing the occasionally intemperate political acts which take place in some of the lesser republics, have placed a cloak of protection around the weaker sisters of their countries to prevent attacks upon their national independence and sovereignty. by their offer of mediation in the critical situation which had then arisen on this continent, they also gave birth to a policy which, independently of its humane aspect, is calculated to secure the real objects of legitimate pan-americanism. the united states has invariably exhibited a spirit of justice and of generosity in all its relations with the other american republics, and the "a. b. c." mediation has not only strengthened this wise policy on the part of the united states, but has demonstrated the capacity and the influence, without actual intervention, of the most important latin republics to save the less advanced countries from a sacrifice of their national independence. still another step of diplomatic importance has recently been taken by the argentine ambassador at washington by a submission of a lengthy resolution to the governing body of the pan-american union (consisting of the secretary of state of the united states and the ambassadors and ministers of the other twenty american republics) with a view to providing means for the restriction of hostilities by belligerents in neutral waters. this course was adopted in consequence of the hardships and difficulties imposed on the south american republics and on other neutral countries through the present war in europe and through the prevailing indefinite character of the international rules and of international law in the definition of the respective rights of neutrals and belligerents. whilst it would be difficult to assume that any reforms will be effected during the continuance of the present war in europe or immediately thereafter, it is reasonable to suppose that the substantive portions of the argentine ambassador's resolution will influence succeeding international conferences to so regulate these vital matters as to confine naval operations within limits which, in future wars, will not place so heavy a burden upon the coastal and oversea trade of neutral countries. in its relations with the different countries of the world the republic enjoys the most friendly intercourse and shares the privileges accorded to the great powers in international commercial treaties. it has never failed to fulfil its national obligations either at home or abroad; it has no ambitions for territorial expansion and desires only to maintain internal and external peace in order to extend the country's material prosperity and the welfare of its inhabitants. primary education primary education owes its present state of development to that master patriot, pedagogue and president of the republic, domingo f. sarmiento, who as a personal friend and student of the noted american educator had every opportunity to introduce the best that he considered practicable into the educational system of argentina. the education of youth of argentina is the concern of state authorities who work in harmony with the educational bodies of its cities, towns and villages. the exception to it consists in the control of the primary schools of the federal city of buenos aires by the national board of education, together with some other exceptions to be mentioned later on. one of the more recent and far-reaching developments of this federal control is the fact, that in some of the provinces (states) primary schools are established and subsidized by the federal government, where local conditions are equal to the needs of popular education. argentina maintains therefore in some of the provinces the regular state controlled as well as federal government controlled primary schools; likewise are many of the special type schools controlled by the national government. in there were primary schools, public and private, which increased during the next twenty years to schools; likewise did the teaching force of these schools grow from to over , teachers. the pupils attending these primary schools in numbered , , whereas in the attendance increased to , pupils. the expenditures incurred for the maintenance of these schools show an even more remarkable increase of service and efficiency. the total expenses for primary education in were , , pesos; in the expenditures rose to a figure, six times that of , , , pesos. in the normal schools, in number, had an enrollment of pupils, preparing themselves for the teaching career in primary schools; in the year of the number of normal schools increased to over in number and the enrollment to students, more than six times of its enrollment twenty years ago. during this same period the expenditures in this particular department of public education rose from , , pesos to that of , , pesos. secondary education the secondary schools are responding also to the modern demands of a democratic conception of education. from mere preparatory institutions for the universities they are fast becoming schools of advanced education to an increasing number of men and women. in the students of secondary schools numbered , which number rose to , in , the expenditures having increased from , , pesos to nearly , , pesos in the year of . technical education [illustration: president roca school, buenos aires] [illustration: the rodriguez peÑa school, buenos aires] technical education is also a matter of recent development, there having been organized and are maintained in flourishing condition two distinct types of technical schools. one kind provides technical training in the various trades for young men from to years, while the second type serve to train the young men for positions as foremen and superintendents. for this purpose these schools give a more extensive and intensive instruction along theoretical and practical science as far as it applies to these various trades. there are large schools of each one of these two types, supported and controlled by the national government at a yearly expense of - / millions of pesos. in addition to these, there are trade schools for girls, also under the control of the national government, giving instructions in the trades wherein girls predominate, such as millinery, dressmaking, flower-making, telegraph operators, stenographers and typewriters, glove-making, and so forth. commercial education of recent development and also under control of the national government are the commercial schools for men and women, which provide adequate modern instruction in salesmanship and bookkeeping and all other affiliated activities of commerce. these schools graduate pupils with the rank of bachelors of commercial science and also train the certified public accountants. a more recent addition to the scope of these schools is the degree of doctor, given for advanced work in economic sciences. the national government spends about - / millions of pesos for this branch of education. agricultural education agricultural education in argentina is of a twofold type, general and special. the special or so-called regional schools, look towards the education of future workers in special fields, such as, for example, the sugar industries of tucuman. these schools specialize on the intelligent development of special industries all over argentina. the curriculum of all these schools is intensely practical, but cover and maintain a sufficient scientific background as these practical studies require in the various industrial fields. these schools are also under the control of the national government, through the department of agriculture. the schools which provide for the thorough scientific instruction underlying all agricultural occupations are under the control of the national universities of buenos aires and la plata. the annual cost of all agricultural schools is about - / millions of pesos, including the expenses incurred in the maintenance of experimental stations, class excursions and university extension teaching. military education military education comprises army and navy schools for machinists, mechanics, electricians, the officers of the army and the navy, pilots, seamen and so forth, to which million pesos were devoted in . practical instruction is offered in warships and particularly in the training-ship _presidente sarmiento_, which visited the panama-pacific international exposition at san francisco during the month of may of , during her th cruise of instruction. university education the universities of argentina maintain the traditional faculties of jurisprudence, belles lettres and philosophy, pure and applied science, to which recently have been added such departments as pedagogics, agriculture, and other newer departments. the enlargement of the activities of these universities, especially the creation of the university of la plata, is proof of argentina's advancement in this field. the la plata university has been instrumental in the exchange of professors and has encouraged in many ways the visits of public men of note of europe and north america, thus recognizing the desirability of maintaining and fostering the most pleasant relations between europe and the united states of america. recent statistics show that the university at buenos aires had on its register , students in the law faculty; in that of philosophy and letters; , of medicine; and of exact sciences. the la plata university, according to the same figures, had , students, and the university of córdova . in point of fact, in all the liberal arts and professions, the argentine republic takes one of the first places. literature, music and art are also at a very high standard and it is perhaps appropriate to mention here in regard to music that not only is its study general throughout the country but, that in buenos aires alone, there are upwards of sixty conservatories of music where instruction is received in the higher branches. in regard to the national defences, article of the constitution provides for compulsory service by all argentine citizens in defence of the country. the regular army, though comparatively small, has attained a high state of efficiency, which may also be said of the reserve forces. during latter years considerable and important additions have been made to the argentine navy, notably by the recent construction in the united states of the _rivadavia_ and the _moreno_, which, to-day, without doubt, are among the finest battleships afloat. in other naval matters, such as gunnery, dry docks, naval bases, armaments, repairing shops and technical instruction, there has been a remarkable advance in the last twenty years. while the figures given here in connection with argentine exports indicate increased production for home consumption, it is also desirable to demonstrate the progress made by the republic in latter years in the establishment and development of national industries, as well as in exported articles. the new era of industrial expansion which set in about the year , shows equally remarkable advance in regard to industries already then established and the creation of others which in time will assume considerable importance. metallurgical industries have made rapid strides not only in numbers but also in the value and extent of their production; and, there is little doubt, that as the exploitation of the many iron and copper mines to be found in the republic is proceeded with, this branch of national industry will attain still greater proportions. other new industries for which the republic offers a most suitable field are those of cotton, tobacco, textile fabrics, oils, rice, silk and forestal productions. some of these have been largely extended during the last ten or twelve years, notably those pertaining to the production of hard-woods and their extracts, furniture and other wood manufactures. the latter industries especially are likely to receive a great impetus through the action of the government in devising efficient means for new methods of exploitation and conservation of the forests, as foreshadowed in the message of the president to congress in . to demonstrate the extraordinary development of the stock breeding industry, it is only necessary to state that according to the last agricultural and livestock census taken in , the republic was shown to possess , , head of cattle, , , sheep, , , goats, and , , horses, being an increase over the census of of approximately per cent in the number of head of cattle and of nearly per cent in the number of horses. this numerical increase, however, does not fully express the high degree of development reached in this national industry and particularly in regard to cattle and horses. in the years intervening between those two censuses, hundreds of millions of dollars were expended on the purchase and importation of pedigree stock, which have placed argentine bred animals on a standard of equality with many of those raised in the old countries. this may be seen by the values stated in the respective years named. in the stock of cattle was valued at $ , , and in at $ , , , whilst the horses were valued in the first census at $ , , , the value given in was over $ , , . [illustration: colon theatre (teatro colon), buenos aires, one of the finest opera houses in the world] [illustration: plaza hotel, buenos aires] the founding in of the argentine rural society by a group of social spirited breeders and land owners, was the starting point of the expansion of this industry and owing to the ideas and methods introduced by that association, it was found necessary in more recent years to create the ministry of agriculture, which includes within its sphere of operations not only the governmental control of the agricultural and pastoral industries, but also the entire range of the republic's foreign commerce. the annual shows of the rural society in buenos aires attract visitors from all parts of europe and it has been conceded that for the variety and all-round quality of the animals exhibited, they excel the regularly established shows of europe. at the exhibition of the argentine rural society, the locally-bred champion short-horn bull, "americus," created a world's record by realizing the unprecedented price of about $ , ($ , currency), whilst even larger sums have been obtained for yearlings produced in the country. nor is this surprising when it is stated that argentine breeders have paid the highest known prices for pure pedigree stock, in which general statement may be included the payment of more than $ , each for three famous derby winners. the breeds of cattle most encouraged in argentina are shorthorns and herefords, lincolns predominating in sheep and clydesdales and percherons in horses. still, there are hundreds of millions of acres of rich pasture lands not yet stocked, so that when the time comes to place these vast areas under cultivation, the number of animals that could be maintained is almost illimitable. it should be further added that the climatic conditions of the country permit of all its animals being reared in the open; and as showing the possibilities awaiting those who enter this field of national industry, it may be pointed out that in hundreds of cases where land has been rented and cultivated for the purpose of fattening cattle, the lessees have been enabled within a very few years to become absolute owners of the land as a result of their profitable operations. the dairy and flour industries have likewise shown great improvement, whilst considerable promise is held out by the establishment and development of other industries, such as the cultivation and export of fruits, the breeding and fattening of hogs, poultry farming, bee-culture and the manufacture of vegetable and animal oil products. the vigilant economic policy undertaken by the present government of the republic is likely to exercise a very beneficial effect upon the future of these and other industries when normal conditions are restored. the questions of roads, canals, ports, transport charges and other matters which affect the development of commerce were all being considered with a view to improvement prior to the outbreak of war; and even at the present time work is proceeding for the deepening of existing channels and the extension of ports and docks. immigration has necessarily been checked through the war, but when this disturbing element no longer exists, renewed vigor will be applied to a general extension of industrial establishments in every direction where the natural resources of the republic can be made available. the argentine republic in the san francisco exposition of all the great expositions held in the united states to celebrate some distinct occurrence or achievement in the history of the country, none has assumed the importance or splendour of the world's fair at san francisco, created to commemorate america's immeasurable service to the cause of humanity by the construction of the panama canal to link up the atlantic and pacific oceans. conceived and decided upon in times of general peace, most of the nations of the earth were invited to participate; and though laboring at the time under certain difficulties induced by universally disturbed economic conditions, many of the countries subordinated these considerations to the higher purpose of cementing the bonds of international friendship by accepting the invitation of the united states to take part in the great exposition of san francisco, formed to crown the colossal work initiated by ferdinand de lesseps and carried into execution by american skill, labor and courage. not least amongst the countries willing to make sacrifices to share in this noble work was the argentine republic which, in the face of many obstacles to adequate representation, at once entered into the spirit of the undertaking and after assembling its leading authorities in all the branches of national arts and industries, decided to assume its appropriate part in the glorification of the american continent by the effort to show that the nations of the south were advancing step by step with the great republic of the north. preliminary action was at once taken to organize influential committees representing all the states and territories of the republic, an immense sum of money was voted by congress and full preparations were set on foot to secure a practical and eloquent manifestation of the phenomenal progress and of the social and political economy of the argentine republic. no sooner had these measures been adopted than a series of perturbations, culminating in the outbreak of the war in europe, occurred to create an unfavorable ambient and to sow doubts and mistrust forshadowing failure for the great enterprise. in spite, however, of the fears and even of the opposition thus created, the argentine government through its organized committees proceeded uninterruptedly with the completion of its plans and has been able to organize the most important representation it has yet had in any foreign exposition. the argentine section of the international exposition of san francisco admittedly holds high rank in every aspect of its participation, not excluding the magnificence of its pavilion and the area of space allotted to argentine exhibits, which reflect the indisputable importance and advance of the republic. the spaces occupied in the various palaces of the exposition embrace an area of , square meters which, added to the , meters occupied by the pavilion and garden, gives a total area of , square meters and constitutes a space record over all previous exhibitions in which the argentine republic has so far assisted. the areas excluding the pavilion and garden are divided as follows: ( ) agriculture , square meters ( ) various products " " ( ) food products " " ( ) education and social economy " " ( ) liberal arts " " ( ) mining and metallurgy " " ( ) fine arts " " ----- total , " " the argentine pavilion, which has been accorded a prominent position amongst other palatial constructions of the exposition, conveys an expressive idea of the higher standard of national art, both from the architectural and decorative standpoints. in the centre portion of the pavilion there is a beautiful conference hall and a spacious gallery in which there will be kinetoscopic and dioramic exhibitions of characteristic views of national life and activity and of some of the natural beauty spots of the country, such as the iguazú falls, the nahuel huapi and others. there is a buffet for the testing and tasting of exclusively argentine products, whilst other surrounding installations include a library of national authors, a reading room, an information bureau, a reception hall and the various offices of the commission. the principal frontage of the pavilion is composed of two high laterals which coil on a central figure crowned by a handsome dome reaching to a height of meters. approach is obtained by a wide "stoop" which gives access to a porch adorned with caryatides forming a vestibule, the porch being decorated with a symbolic "vitrail" and enclosed in an imposing arch meters high. on the right and left of this entrance there are two sculptured plaques, respectively, representing the profiles of san martin and washington, and throughout the graceful halls and buildings, all designed by argentine architects and constructed by argentine workmen, there are beautiful and graphic pictorial representations of the port and city of buenos aires, of the campo de mayo, of the puerto militar, of the immigrant hotel and the natural fields and forests of quebracho. [illustration: marble and onyx entrance and staircase of the jockey club, buenos aires] [illustration: the may avenue (avenida de mayo), buenos aires] the main divisions of argentine exhibits have been sub-divided into so many departments and classifications as to render it difficult within the necessarily brief limits of this work to describe in detail the character of each of the sub-divisions and of the respective exhibits they contain. it will, therefore, suffice for the object in view to furnish merely an outline of the plans adopted by the argentine commission to demonstrate the high grade of excellence and perfection of the national products and industries. the most important of the buildings comprising the argentine section is the palace of agriculture, which covers an area of about , square meters and embraces a collection of about , samples of classified products covering the entire field of agriculture, including those of the crops of - and - . in each sample of the collection there is specified the name of the product, the weight and measure in kilos and hectolitres, the weight in pounds per bushel, the output in pounds per acre, the zone of production, the name of the exhibitor and, in many cases, indications of the nature of the soil and other physical conditions. the arrangement of the exhibition of the various products has been moreover much simplified by the adoption of the plan of enclosing them in boxes with glass covers, giving to each product a unit of measure in a square of centimeters, thus permitting the sample, once placed in its original packing, to remain unchanged and to be easily removed and classified, whilst by this arrangement space has been economized and facilities given for the addition of photographs and explanatory notes which serve the double purpose of giving useful information and decorative effect. other features of interest in this section comprise a collection of tobaccos cultivated in argentina and on a wall of about square meters in dimension there is exhibited a large illustration of a national tobacco manufactory in full operation. considerable attention has been devoted to this particular department, one cabinet alone having cost $ , to construct. in the section set apart for textile products, there is an artistically arranged exhibition of samples of wool consisting of about separate collections contributed in more, or less, equal proportion by public bodies and individual producers. the beautiful cabinet containing these samples also has a number of photographic views relating to the products shown as well as pictorial reproductions of sheep-shearing and other mechanical operations as carried out on the larger farms of the republic. there are likewise shown here many classified samples of cotton and a variety of vegetable fibres. the collection of woods and other forestal products is another centre of attraction for visitors and gives a clear idea of the riches enclosed in argentine forests. the collection consists of upwards of a thousand samples representing, in their varied forms, a hundred classes of different woods. in addition to the great variety of this exhibit, its interest has been added to by the contribution of a number of maps and photographic views by the forest department of the ministry of agriculture. to make the agricultural section of the argentine republic more attractive and of added practical value, a number of the official departments of the republic have contributed statistics, plans and graphic illustrations pertaining to the methods and progress of this branch of industry. the drawings, paintings and statistics shown by the board of rural economy demonstrate the enormous growth and progress made in this direction, whilst the exhibits of the argentine meteorological office and the national board of agriculture furnish every necessary detail in regard to climatic and meteorological conditions and the provision made against agricultural plagues. added to all this, there is a collection of photographic views relating to pastoral and agricultural production which may be considered to excel both in detail and variety. the development of other argentine national industries is to be seen in the palace of industry, which occupies a rectangular space of meters frontage by deep, on the central avenue. in this section are shown samples of a great variety of articles produced in the numerous factories devoted to the production of cloth, shoes, hats, decorative ornaments, electric light fittings, crockery, construction material, tools, implements, mechanical products, glassware, matches, tannery, saddlery and many others. as in all the other argentine sections, the exhibition is made more complete by the display of splendid photographs which assist in demonstrating the rapid advance in the number and character of argentine manufactures. the justification of the description of the argentine republic as the "universal provider" of foodstuffs is to be found in the section assigned to such products, notwithstanding the absence of an exhibition of chilled and frozen meats, together with some of their by-products, as a result of circumstances which have temporarily impeded the operations of the great packing houses. the vast proportions of this branch of industry may be gathered from the admirable collection of photographs displayed. the regrettable fact that the argentine republic is unable to offer any practical demonstration of its meat-producing capacity through circumstances over which neither the country nor the producers had any control is, to some extent, however, compensated for by the large and interesting exhibition of many of its other leading food products. the milling industry is amply represented by samples of excellent quality from the raw material down to such by-products as biscuits, nutritious pastes, sweets, candies and all the other articles made from it. here important space is also given to such articles of general consumption, as preserved fruits, condensed milk, sterilized and antiseptic, lard, cheese, conserved vegetables, etc. beverages, wines, beer and liqueurs are abundantly represented, whilst there are numerous exhibits of other alcoholic products, oils and vinegars. a prominent feature of this section is the diorama illustrating field sports and fishing and an interesting collection of embalmed animals, particularly birds and fishes, of many different species and dimensions. in the mineral and metallurgy department of the exposition, the argentine republic has an effective display of a general collection of minerals and three special exhibits of petroleum and combustibles, borates, salts and materials for construction. in regard to these, more attention has been given to the object of securing typical samples which demonstrate the character of the various ore deposits, than to the consideration of the actual number of samples. in the collection of petroleum and combustibles, there are samples from the following deposits: commodore rivadavia, laguna de la brea, cerro buitres, san rafael, cacheta, covunco (neuquen), cerro sotena, challaco, mina carmelo (salta), yacuiba, garrapatal (jujuy). this collection contains different samples, with specific details and statistics especially tabulated in every case. the exhibition of marbles and stones for purposes of construction is most complete. here are to be seen the famous marble onyx of san luis and of san rafael, the marbles from the sierras of cordoba (represented by varieties), and specimens of the large granites of sierras bajas, olavarría, etc. there is also a collection of mineral waters in which are included those mostly used in the thermal establishments of rosario de la frontera; whilst, as a decorative contribution to the exhibition there is a plastic representation of the sierras of famatina, showing a part of its wonderful aerial railway, together with an admirable series of photographs, maps, and diagrams embracing practically every branch of the mineral and metallurgical industries. the designation of "palace of liberal arts" is a somewhat inadequate description of the argentine exhibits of liberal arts in the generic sense of the words, as, in addition to the branches of study usually embodied in that classification, there are included under that head many exhibits of a scientific and technical character which, for the demonstration they afford of national progress in the direction referred to, might well have formed a separate collection. here are to be seen a complete series of drawings, maps, statistics and plans of works graphically depicting, with full details, the principal river systems and general workings of the rivers and ports of the republic, all prepared by the department of public works. nearly every technical division of the government departments is represented in this section, many of the exhibits having been sent by the general board of railways, the board of bridges and roads, the board of architecture, the board of health, the board of the capital and various divisions of the war cabinet, each unit containing photographs, plans and diagrams indicating the advance that has been made in all these important public works. amongst other features of interest contained in this section, special mention should be made of the representation of the national and foreign press, which furnishes unquestionable evidence of the high state of efficiency and general excellence as well as the enterprise of argentine journalism. here also are the exhibits of the literary, scientific and educational works produced in the republic and the contributions of the national centre of engineers, of the argentine graphic institute, of the central society of architecture, of the society of architects and construction of works, etc., etc., all combining to illustrate the high degree of argentine progress in the field of liberal arts. in an earlier chapter reference is made to the great advance made by the argentine republic, in recent years, in the development of education, to which cause successive governments have given ever-increasing thought and attention, whilst congress has, year by year, sympathetically supported the government policy by augmented money votes for the addition to the number and the improvement of educational institutions. in the palace of education and social economy which was voluntarily accorded a place of honor by the exposition commission amongst the principal palaces of the fair, there has been formed a collection of detailed exhibits pertaining to argentine national education which points to the very great importance given to this subject by the authorities of the republic. the efforts of every official element in educational matters have been brought into play with a result that leaves no doubt, either as to the desire for, or the standard of culture in the argentine republic. this exhibition, moreover, is not only an effective exponent of national progress but will also serve to remove an easily understood, though generally prevailing ignorance in many foreign countries of true conditions in argentina. in order to add perfect completeness to the educational exhibits, a new departure has been made to show full details of every branch of teaching, official and private, primary, secondary, university, commercial, industrial, agricultural, professional, etc., etc., for all classes and ages, by means of plans, statistics and some , photographs representing leading institutions and upwards of , students and pupils whose physical characteristics at once reveal the predomination of the higher european types. as may be imagined, these illustrations represent the scholarly activities of the country in their widest aspect and are not merely photographs of special groups of children such as are frequently shown in educational exhibitions. the statistics, which form an instructive addition to the pictorial matter, have been so compiled and tabulated as to make their full value and significance easy of comprehension and there is every reason to believe that those which accompany the illustrations of the agricultural sections and experimental stations will be of special interest to the majority of american visitors to the exposition. in regard to the group of exhibits corresponding to the section of social economy contained in the same artistically arranged building, much detail is furnished concerning many of the social and charitable institutions of the republic, in reference to which there is an absence of information abroad. the co-operation of the argentine social museum and other important public bodies has enabled the commission to present a comprehensive exhibition of views and of the methods of operation of the various national associations established, as asylums, refuges, hospitals, poor-houses and other organizations for the protection of women and children and for the prevention of crime, as well as demonstrations of the work performed by these bodies, some of which also have for their purpose the extension of social improvement, of public order, economy, hygiene, labor, the construction of dwellings and other objects of public advantage. in this section there is also an exhibition of works of arts produced by argentine artists embracing a careful selection of paintings and examples of sculpture representative and characteristic, in every sense, of national art; and with a view to demonstrating the artistic progress of the country, this collection is made up of only recent works, not one of which has previously been shown in any foreign exposition. [illustration: sarmiento school, buenos aires] [illustration: the century school (escuela del centenario)] this shadowy outline of the nature and quality of the argentine exhibits at the san francisco exposition, though utterly incomplete as a description of their importance and value, will convey a general idea of the position attained by the argentine republic in all those moral and material factors which go to make up a great nation; and if to these elements are added the initiative and beneficial labors of argentina in the international sphere, a sense of pride should be awakened in the hearts of all americans that in the arts of peace, the widely separated, though great, countries of the american continent, stand out as shining examples, worthy of emulation even by many countries of the old world. interchange of commerce in the exports from the united states to the argentine republic amounted in value to $ , , and the imports from that country to $ , , . in the exports from the united states amounted to $ , , and the imports to $ , , . these figures sufficiently indicate the results likely to follow the active campaign of the manufacturers and commercial bodies in this country, recently initiated as a consequence of the war. the conditions arising out of the great upheaval caused by that world disaster have furnished the occasion for the exercise of an effort without parallel in the united states in any previous attempt to secure a larger share of south american trade. in this movement the argentine republic must necessarily be the main objective, owing to the vastness of its resources and commercial activities. yet, although there is no doubt that the united states should and will constitute a still greater source of supply to that country of manufactured products, machinery and other articles, not only during the war, but for a long period after its close, it is necessary to consider that in order to secure a permanent extension of international trade upon a scale of magnitude apparently justified by superficial conditions, serious attention should be given to matters of reciprocal interests and the past relations of the argentine republic with the european countries to which it has freely opened its markets. in this connection the words "reciprocal interests" must be taken rather in a literal sense than in the sense of reciprocity, as that expression is usually understood when applied to international treaties. even though the question of tariffs does not now form so insuperable an obstacle to a large interchange of commerce between the two countries as was formerly the case, the fact that the balance of argentine's trade with the leading countries of europe has always been in her favor, renders it a condition precedent to a permanent expansion of international commerce that there must be a greater quality of interest than exists at present. in other words, the united states must offer corresponding advantages to the argentine republic to attract a transfer of a considerable share of her commerce from european competitors. in the instances of great britain, germany and france, with which countries the argentine republic has always transacted the greater part of her foreign trade, there has not only been a steady and ever-increasing growth in the consumption of argentine national products, but those countries have likewise furnished huge amounts of capital for the establishment on argentine soil of industrial and commercial undertakings, which, by their own necessities, create a natural extension of commercial interchange. it must also be remembered that the main products of the argentine republic are also the main products of the united states, where they are protected by high tariffs, whereas, in great britain, which is argentina's principal customer, there are no duties upon the imports of foodstuffs. in these circumstances it is obvious that some means must be found whereby the interests of argentina in her commercial relations with the united states must be made more reciprocal, either by the introduction of american capital for the development of local industries, or by the remission, at least, of a substantial portion of the duties now imposed upon argentine exports to the united states. the enormous growth of population which has changed the position of the united states from an exporting to a consuming country, so far as foodstuffs are concerned, will, doubtless, in course of time, considerably ameliorate the restrictive conditions which have heretofore operated as a barrier to large exports of argentine products to this country. on the other hand, the production of the argentine republic, by reason of the largely increased area placed under cultivation year after year, maintains her exporting capacity at a constantly higher level. thus, given equal conditions in other respects, the united states might ultimately become as free a market for argentina's meat and grain as any of the countries of europe. under similar circumstances as those indicated, there could also be infinitely larger imports of raw material which could subsequently be re-sold to the argentine republic in manufactured form. the countries which have hitherto occupied the first place in argentine foreign trade are those which not only gave initial impulse to the development of national industries by the founding of banks and the construction of railways, but likewise by the creation of adequate steamship services. there are to-day upwards of , kilometers of railway in operation in the republic, with an aggregate capital of considerably over $ , , , , more than per cent, of which is entirely british, whilst the oversea communications are conducted by regular and rapid services of steamships flying the flags of the maritime countries of europe. the great traction companies in the capital and the provinces are british; the street electric railways established on an important scale throughout the republic are british; the foremost light and power concerns are german; with the exception of the national bank of the republic and the branch of the national city bank of new york recently opened, the banking interests are largely european, whilst the great majority of the principal industrial and commercial enterprises are also european. of the $ , , of the argentine external debt, practically the whole of the issues making up this vast sum are in the hands of european investors and, in normal times, as further capital is called for to meet the requirements of any of the established enterprises, or of others formed on similar lines, it is invariably forthcoming from europe; and to these advantages which the argentine republic enjoys in her commercial relations with the older countries, there is the additional fact that she derives all her immigration from northern and southern europe. let us now examine the american interests, the most encouraging features of which are the establishment of a branch bank of the national city bank of new york and the unqualified success in the united states of the loans recently made by that enterprising institution and other american bankers to the argentine republic. these two factors point to the realization, by those who are best able to judge, of the necessity for a new basis of intercourse in the future; and that this fact is understood in the argentine republic may be seen by the appreciative opinions of the press and the public authorities of that country. in other forms of industrial or commercial enterprises, american interests are comparatively insignificant. the acquisition and establishment of local freezing plants by the american packing houses, though important in extent, involve considerations of too controversial a character to be dealt with in this survey of the commercial relations of the two countries. it is considered desirable, therefore, to treat only of such branches of industry, commerce and finance as embrace the general field of foreign enterprise. the only american interest in railways is in the argentine railway company, which consists of a combination of three or four minor lines in the north and north-eastern provinces, with a small proportion of american capital. in the great cattle raising and agricultural industries there is little or no american capital employed and it is also conspicuous by its absence from the lengthy list of land, mortgage and finance companies established in the republic. it is true that there are many manufacturing concerns of the united states represented by agencies, but apart from the customs revenue this representation brings to the country it is in no sense a contributor to its development. [illustration: another private residence in buenos aires] [illustration: water works building, buenos aires] an impartial examination of these circumstances raises the question as to how, without some changes in the directions pointed to, the united states may hope to share with europe, on anything like equal terms, the profitable and ever-growing trade of the argentine republic? to sum up the situation, it may be asked, in what way can the united states equalize the advantages which europe offers to the argentine republic by way of the purchase of her products, the large and constant supply of capital and the labor of its emigrants? there are many articles of merchandise and items of machinery in regard to which europe cannot successfully compete with the united states, notwithstanding the greater facilities for transportation; but there are also numberless articles of american production which could find a ready market in argentine if the surrounding conditions approached a greater measure of equality. an analysis of the figures of the foreign trade of the argentine republic for the past twenty years establishes the fact that the united states is in a position to successfully compete with europe in many lines far beyond the limits already reached; and there is certainly no lack of effort or inclination on the part of american manufacturers to enter into such competition. it is therefore reasonable to assume that there are other causes operating to check a growth in the volume of american trade with the argentine republic. there are no laws in the argentine republic, either of a fiscal or domestic nature, which are calculated to affect ruling market prices, or which admit of inequality of treatment. tariffs are based upon a reciprocal policy, the tariff laws of the argentine republic being so framed as to permit the executive to relax and reduce in favor of those countries which accord similar treatment to her national products. credits are intrinsically sound and in ordinary periods are usually regulated with foreign countries by purchase at ninety, or one hundred-and-twenty days' sight drafts. in the discussion of this point it may also be urged that the statements so generally made in regard to the alleged long credit demanded by argentine buyers owe their origin to the conditions prevailing in regard to shipping matters in days gone by, when the steamship services between north and south america were more irregular and far less rapid than is the case to-day. it was no fault of the argentine importer that merchandise was frequently tied up for weeks together in an american port and that the trip took much longer than it now does. yet, those delays caused the exporter to wait weeks and frequently months longer than was necessary to receive his money. hence, the currency of the statement that long credit is an indispensable condition to trading with argentine. at the present moment the argentine republic is gradually recovering from the effects of a financial and commercial crisis brought about through conditions which it had no power to change; and, in order to secure immediate results, it may be necessary at the present time to extend the customary terms of credit, but this may be done with perfect safety and with commensurate profit if the exporter avails himself of the services created by the national city bank of new york and others for the investigation of prospective buyers. irrespective, however, of all other conditions, satisfactory banking and shipping facilities are essential requirements of an extended commerce between the united states and the argentine republic. the establishment of an american bank has paved the way for the removal of many of the difficulties hitherto imposed on the american exporter, but there still remains the important question of ocean transport. the service of steamships now in regular operation between north and south american ports is wholly inadequate to support a rapidly developing trade unless the ships now running are substituted by vessels of adequate speed and capacity. to secure this object some provision would have to be made to cover the increased cost of construction and of operation of the larger vessels and also to overcome the difficulty of return cargoes. practically all of the european steamships trading with south america carry full return cargoes, but owing to the reasons already given and principally because of the fact that the shipments from argentina to the united states are at present limited to a small number of products, the services established between north and south america cannot compete in the matter of freight until they are placed on a similar footing as the european lines in regard to return cargoes, which, under existing conditions, are unavailable and must remain so until either the laws or the needs of the united states will permit of larger and more general imports from the argentine republic. the figures already given in the relation to the trade of the united states with the argentine republic show a considerable balance, almost amounting to forty per cent in favor of the former. now let us see what are the proportions of argentine trade with some of the countries of europe. argentine imports from the united kingdom in amounted to $ , , , and her exports to $ , , . in the same year her exports to germany amounted to $ , , , and her imports to $ , , . to france the exports were valued at $ , , , and her imports $ , , . to belgium her exports totalled $ , , , and her imports $ , , . these figures speak for themselves and taken in conjunction with the other solid inducements offered by the countries of europe in return for the benefits of a larger trade with the argentine republic, should form a subject for serious consideration in the effort to secure for the united states a proportionate share of argentine commerce. the city of buenos aires favored by nature and by the conditions under which it was founded, the city of buenos aires from its earliest days has been endowed with elements which have considerably influenced the vast growth and development that have made it the leading latin city of the new world. situated on the banks of the river plate and at the gateway of the atlantic, nature has largely contributed towards making it a great commercial centre. at the time of its foundation, it attracted but few of the adventurers, who, in their quest of gold, migrated to other parts of south america, the wealth of the soil and the abundance of the flocks and herds having brought to its shores a less turbulent and more laborious class of immigrants who sought a new home and a new outlet for their activities in the "city of good airs." the pure european origin and the commercial spirit of the new inhabitants soon produced changes in pre-existing conditions and in marking out the path for the present argentine metropolis to become the hub of south america. founded in by pedro de mendoza, and subsequently destroyed and twice depopulated, the modern rise of the capital of what is now the argentine republic may be said to date from , after the formulation of the monroe doctrine and the recognition of the independence of the people of buenos aires by the united states and great britain. at about that time efforts were initiated to provide the means of facilitating the transport of its products to foreign markets and in order to establish the necessary facilities for that purpose, buenos aires raised (in england) its first loan of $ , , . to that comparatively small financial transaction may be traced the reasons for the enormous investment of foreign capital--chiefly british--which has since enabled the country to serve humanity by the increasing development of its numerous sources of wealth. following this preliminary introduction of foreign capital, there was established a regular line of sailing packets between buenos aires and montevideo and, later, a line of steamers between buenos aires and rio de janeiro, which progressive measures were added to an official bank and, within the next thirty years, a line of railway extending in a westerly direction from the capital. these were the beginnings of the evolution of modern buenos aires, which now properly ranks as the second latin city of the world. nor is it by any means alone to material progress that the city of buenos aires owes its present proud position. the spirit and qualities of its early founders are manifested to-day in the outward expression of all the attributes of a highly civilized and enlightened community. the architecture and adornments of the city, the culture, education and manners of the inhabitants, their inborn courtesy and generous instincts combine to explain the admiration which all who visit the city never fail to entertain and express. the cosmopolitan character of the population, the palatial residences--the broad and spacious avenues, museums, libraries, art galleries and other unmistakable signs of the high degree of culture of the citizens, fully justify the description of buenos aires as the paris of the western hemisphere. originally built up on spanish lines of single-story houses and narrow streets, the mason has been superseded by the architect and many of the old narrow thoroughfares by wide and beautiful avenues intersecting the central portions of the city. the domestic architecture of the time of rozas was gradually succeeded by the introduction of the architectural beauty of the period of the renaissance and subsequently by the various grecian orders, culminating in the advent of european architects and artists who evolved many unique and distinct styles which are to-day illustrated in a number of the imposing and artistic edifices that adorn the city and, with the surrounding parks, trees, gardens, flowerbeds and running waters, both in the centre and in the suburbs, reveal a panorama of unsurpassing beauty. many of the ancient houses with flat roofs and severely simple facades have been substituted by highly ornamented dwellings of two, three, or more stories; and, with a desire to add to the embellishment of the city, the municipality offers a gold medal and a diploma to the architect, and an immunity from payment of the building tax to the owner, of the building for the most artistic façade, the jury being composed of representatives of different bodies exercising authority in relation to such matters as architecture, surveys, public works, engineering and fine arts. by the employment of these methods, buenos aires, in recent years, has made notable advance in architecture, not only in regard to private dwellings, but also in its public buildings and the unquestionable increase in number and quality of the monuments, statues, and sculptural groups dotted over every part of the city. during the last twenty years there have been constructed new avenues and thoroughfares of great width and length lined by handsome buildings, paved with asphalt and lighted with huge electric globes, whilst the municipality has spared no expense in widening many existing streets to meet the growing demands of the population and to give more light and air to quarters of the city which are densely inhabited. the æsthetic side of the city of buenos aires is to be found in its splendid museums, art galleries and public and private libraries, of which there are many of unquestionable merit. amongst these, special mention should be made of the natural history museum, which is of great interest from the point of view of educational value and intellectual progress. the zoological, botanical, mineral, archeological and ethnographical specimens, numbering many thousands, have been classified on a scientific basis by eminent authorities over a period of many years and form a collection of objects and curiosities of nature unexcelled for their variety and interest. the national historical museum possesses a collection of historic trophies and works, manuscripts, ancient coins and other objects, over , in number. here are also halls and galleries, containing portraits of the viceroys, pictures of naval and military battles, trophies of the war with great britain, the room in which san martin lived and died, furniture, uniforms, arms, decorations and a variety of other articles of great historic interest. on the same order and limited to its expressed purpose, there is a museum of arms which contains a collection of weapons with records of their authenticity attached. in this collection there are many specimens of rare weapons and accoutrements of different periods ranging from the fourteenth to the eighteenth centuries. there are, besides, many flags and other articles associated with the wars of different periods. of much more recent date and, perhaps, also of greater practical interest, is the natural agricultural museum, the objects of which are to promote the knowledge of agriculture by instructive exhibits and to demonstrate the measures best adapted to the scientific methods of cultivation and to overcome the natural drawbacks besetting that branch of national industry. the collection comprises upwards of twenty thousand specimens of agricultural products of every description as well as statistics and information pertaining to rural economy. the libraries of the city are both extensive and numerous and contain in addition to modern works of importance in different languages bibliographical treasures of different periods representing the world's various cycles of literature. the public and private art galleries of the city with their varied collections embrace a great number of old masters and of modern productions in painting, sculpture, pottery, engraving and every form of art representing all known periods and all nations. first amongst these exhibitions is the museum of fine arts, which contains a number of important works collected and arranged with great skill and taste, whilst many of the private galleries have been especially erected in the palaces of wealthy residents for the purpose of housing some of the priceless objects which are to be found in the capital of the argentine republic. a feature of striking interest in the life of buenos aires is the number and excellence of the many hospitals, asylums and other charitable organizations established to provide for the afflicted and poorer classes of the community. apart from those endowed by the various foreign colonies residing in the city, the majority of these institutions are largely supported by state aid in form of appropriation or specific revenues. on the other hand, vast sums are privately subscribed to those not entirely of an official character. as a great commercial centre, the aspect and movement of the city are equally striking. the port, docks, railroad depots, wharves, warehouses, street railways, lighting and other signs of industrial activity abound in every direction and make buenos aires to the argentine republic what new york is to the united states. it is, moreover, the principal mart for the agricultural and pastoral products of many of the leading ranches of the republic and draws to its periodical sales of wool, hides, cattle and sheep, buyers from many foreign countries. buenos aires, like many other great capitals, is confronted with the difficulty of a congestion of traffic owing to the large increase of population and the narrowness of the streets in the older sections of the city, but this problem is being gradually solved by the construction of new broad diagonal avenues and by the building of subways which are now being rapidly extended. with all these evidences of progress on every side, it will not be a surprising revelation to add that buenos aires possesses some of the greatest newspapers, one of the finest opera houses and the finest club houses in the world. there are other large and flourishing cities in the republic, such as rosario, santa fé, córdova, la plata (capital of the province of buenos aires) and bahia blanca, but the city of buenos aires is the brain and heart of the republic and must always maintain its supremacy as the leading metropolis of latin america. end this ebook was produced by david schwan <davidsch@earthlink.net>. sculpture of the exposition palaces and courts descriptive notes on the art of the statuary at the panama-pacific international exposition san francisco by juliet james to a. stirling calder who has so ably managed the execution of the sculpture, and to the vast body of sculptors and their workmen who have given the world such inspiration with their splendid work, this book is dedicated. foreword what accents itself in the mind of the layman who makes even a cursory study of the sculptors and their works at the panama-pacific international exposition is the fine, inspiring sincerity and uplift that each man brings to his work. one cannot be a great sculptor otherwise. the sculptor's work calls for steadfastness of purpose through long years of study, acute observation, the highest standards, fine intellectual ability and above all a decided universalism - otherwise the world soon passes him by. it is astonishing to see brought together the work of so many really great sculptors. america has a very large number of talented men expressing themselves on the plastic side - and a few geniuses. the exposition of has given the world the opportunity of seeing the purposeful heights to which these men have climbed. we have today real american sculpture - work that savors of american soil - a splendid national expression. never before have so many remarkable works been brought together; and american sculpture is only in its infancy - born, one might say, after the centennial exposition of . the wholesome part of it all is that men and women are working independently in their expressions. we do not see that effect here of one man trying to fit himself to another man's clothing. the work is all distinctly individual. this individualism for any art is a hopeful outlook. the sculpture has vitalized the whole marvelous exposition. it is not an accessory, as has been the sculpture of previous expositions, but it goes hand in hand with the architecture, poignantly existing for its own sake and adding greatly to the decorative architectural effects. in many cases the architecture is only the background or often only a pedestal for the figure or group, pregnant with spirit and meaning. those who have the city's growth at heart should see to it that these men of brain and skill and inspiration are employed to help beautify the commercial centers, the parks, the boulevards of our cities. we need the fine lessons of beauty and uplift around us. we beautify our houses and spend very little time in them. why not beautify our outside world where we spend the bulk of our time? we, a pleasure-loving people, are devoting more time every year to outside life. would it not be a thorough joy to the most prosaic of us to have our cities beautified with inspiring sculpture? we do a great deal in the line of horticultural beautifying - we could do far more - but how little we have done with one of the most meaningful and stimulating of the arts. let us see to it, in san francisco at least, that a few of these works are made permanent. take as an example james earle fraser's "end of the trail." imagine the effect of that fine work silhouetted against the sky out near fort point, on a western headland, with the animal's head toward the sea, so that it would be evident to the onlooker that the indian had reached the very end of the trail. it would play a wonderful part in the beauty of the landscape. or take edith woodman burroughs' "youth." what a delight a permanent reproduction of that fountain would be if placed against the side of one of the green hills out at golden gate park - say near the children's playground - with a pool at its base. it is only by concerted action that we will ever get these works among us. who is going to take the lead? the contents introduction the fountain of energy the mother of tomorrow the nations of the occident the nations of the orient the alaskan the lama the genius of creation the rising sun descending night winter the portals of el dorado panel of the fountain of el dorado youth the american pioneer cortez the end of the trail panel from the column of progress the feast of the sacrifice the joy of living the man with the pick the kneeling figure the pegasus panel primitive man thought victory the priestess of culture the adventurous bowman pan air the signs of the zodiac the fountain of ceres the survival of the fittest earth wildflower biographies of sculptors sculpture around the fine arts lagoon the illustrations the fountain of energy - a. stirling calder, sculptor the mother of tomorrow - a. stirling calder, sculptor the nations of the occident - a. stirling calder, frederick roth, leo lentelli, sculptors the nations of the orient - a. stirling calder, frederick roth, leo lentelli, sculptors the alaskan - frederick roth, sculptor the lama - frederick roth, sculptor the genius of creation - daniel chester french, sculptor the rising sun - adolph alexander weinman, sculptor descending night - adolph alexander weinman, sculptor winter - furio piccirilli, sculptor the portals of el dorado - gertrude vanderbilt whitney, sculptor panel of the fountain of el dorado - gertrude vanderbilt whitney, sculptor youth - edith woodman burroughs, sculptor the american pioneer - solon hamilton borglum, sculptor cortez - charles niehaus, sculptor the end of the trail - james earle fraser, sculptor panel from the column of progress - isidore konti, sculptor the feast of the sacrifice - albert jaeger, sculptor the joy of living - paul manship, sculptor the man with the pick - ralph stackpole, sculptor the kneeling figure - ralph stackpole, sculptor the pegasus panel - bruno louis zimm, sculptor primitive man - albert weinert, sculptor thought - albert weinert, sculptor victory - louis ulrich, sculptor the priestess of culture - herbert adams, sculptor the adventurous bowman - herman a. macneil, sculptor pan - sherry fry, sculptor air - robert ingersoll aitken, sculptor the signs of the zodiac - herman a. macneil, sculptor the fountain of ceres - evelyn beatrice longman, sculptor the survival of the fittest - robert ingersoll aitken, sculptor earth - robert ingersoll aitken, sculptor wildflower - edward berge, sculptor sculpture of the exposition palaces and courts "the influence of sculpture is far reaching. the mind that loves this art and understands its language will more and more insist on a certain order and decorum in visual life. it opens an avenue for the expression of aesthetic enjoyment somewhere between poetry and music and akin to drama. - arthur hoeber the fountain of energy a. stirling calder, sculptor [see frontispiece] the fountain of energy is a monumental aquatic composition expressing in exuberant allegory the triumph of energy, the lord of the isthmian way. it is the central sculptural feature of the south garden, occupying the great quatrefoil pool in front of the tower. the theme is energy, the conqueror - the over lord - the master; energy, mental and physical; energy - the will, the indomitable power that achieved the waterway between the oceans at panama. the earth sphere, supported by an undulating frieze of mer-men and women, is his pedestal. advancing from it in the water at the four relatively respective points of the compass, north, south, east and west, are groups representing the atlantic and the pacific oceans and the north and the south seas; groups richly imaginative, expressing types of oriental, occidental, southern and northern land and sea life. the interrupted outer circle of water motifs represent nereids driving spouting fish. vertical zones of writhing figures ascend the sphere at the base of the victor. across the upper portions of the sphere, and modeled as parts of the earth, stretch titanic zoomorphs, representing the hemispheres, east and west. the spirit of the eastern hemisphere is conceived as feline and characterized as a human tiger cat. the spirit of the western hemisphere is conceived as taurine and characterized as a human bull. the base of the equestrian is surrounded by a frieze of architecturalized fish and the rearing sea horses that furnish the principal upper motif for the play of water. energy himself is presented as a nude male, typically american, standing in his stirrups astride a snorting charger - an exultant super-horse needing no rein - commanding with grandly elemental gesture of extended arms, the passage of the canal. growing from his shoulders, winged figures of fame and valor with trumpet, sword and laurel, forming a crest above his controlling head, acclaim his triumph. the fountain embodies the mood of joyous, exultant power and exactly expresses the spirit of the exposition. its unique decorative character has been aptly described as heraldic, "the power of america rising from the sea." a. stirling calder the mother of tomorrow a. stirling calder, sculptor with upturned face, with steady onward gaze, the stalwart mother of tomorrow moves ahead. hers is the firm, determined purpose, the will to do - to accomplish that for which she has started. she marches ahead of the types of the occident. it has taken all these types striving with common purpose to produce the future, therefore they form the mother of tomorrow, the matrix from which the future generations are to come. mr. calder's high, splendid ideals are directly mirrored in this one figure. it is not hard to read the man in his handiwork. the nations of the occident a. stirling calder, frederick roth, leo lentelli, sculptors into the great court of the universe, from the top of the arch of the occident, march the types of men who have made the western civilization. from left to right - the french-canadian, the alaskan, the german, the latin-american, the italian, the anglo-american, the squaw, the american indian. in the center of this well-balanced pyramidal group, surmounted by enterprise and drawn by sturdy oxen, comes the old prairie schooner. to right and left atop are seen the heroes of tomorrow - one a white boy, the other a negro type. in front marches the splendid mother of tomorrow. the nations of the orient a. stirling calder, frederick roth, leo lentelli, sculptors atop the arch of the orient is the superb tableau representing the types of men that form the orientals. from left to right - the arab sheik, the negro servitor, the egyptian warrior, the arab falconer, the indian prince and spirit of the east, the lama, the mohammedan warrior, the negro servitor, the mongolian warrior. on they come to join the nations of the west in the great court of the universe. this group is as fine as any group ever seen at an exposition. it rises in its impressive pyramidal height to a climax in the spirit of the east - a fitting pivot on which to turn the types. the alaskan frederick roth, sculptor frederick roth has fashioned one of the most expressive figures of the exposition sculpture, but so far above the eye is she and so overshadowed by her companions, that we do not see her in her true light. it is the alaskan indian of the nations of the occident. she is moving on with her totem poles and blankets. you feel her tug and strain, for her load is growing heavier with each step, and she has yet a long way to go. the modeling of the figure, the foot, the rigid arm and hand, all tell of sustained effort that is truly life-like in expression. the lama frederick roth, sculptor the priest of thibet, the lama, passes on his onward march before you. you do not wonder what race claims him. he is of mongolian blood. he stolidly passes by, looking neither to the right nor to the left. he is used to being obeyed. his rod of authority tells you that what he says is law. indifference and arrogance are on his face. his very posture, the very way in which his robe hangs from his shoulders, the position of his nerveless fingers that hold the rod, speak of centuries of indifference to everything except what he thinks. the genius of creation daniel chester french, sculptor the spirit of creation is a bisexual being, and yet you feel the spirit and not the flesh. its idealism is of the highest order, being largely produced by the hood drawn far over the face, throwing such deep shadow that personality is lost sight of and only creative force is left. high on a mighty boulder it sits with arms raised. the word has just been spoken and man and woman have come forth - their feet on the serpent, the symbol of wisdom and eternity. at the rear of the group their hands meet as if in mutual dependence, while above appear the alpha and omega - "i am the beginning and the end." the rising sun adolph alexander weinman, sculptor this fresh, strong young sun is about to start on his journey - dawn is soon to break upon the world. with muscles stretched, the wind blowing through his hair, the heavenly joy of the first move expressed upon his face, the vigor of young life pulsating through his body, he will start the chest forward and move those outstretched wings. let us preserve this glorious figure for our western city. it would so admirably suggest the new light that has been shed upon san francisco by the exposition of nineteen hundred and fifteen, as well as the new light occasioned by the opening of the panama canal. descending night adolph alexander weinman, sculptor the figure on the page opposite is a beautiful lyric poem. she might be called "a hymn to the night." every line of her figure is musical, every move suggested, rhythmical. seen at night, she croons you a slumber song. how subtly mr. weinman has told you that she comes to fold the world within her wings - to create thru her desire a "still and pulseless world." the muscles are all lax - the head is drooping, the arms are closing in around the face, the wings are folding, the knees are bending - and she too will soon sink to slumber with the world in her arms. what a fine contrast of feeling between the tense young "sun" and relaxed "descending night." winter furio piccirilli, sculptor naked winter stands before you. it is the period of the year when the leaves are of the trees and the bark is splitting. after the activities of autumn man is resting. the fruits have been gathered - the golden apples and the purple grapes - so man's labors have ceased. it is the period of conception. the sower has just cast forth the seed. mother earth will nurture the little seed until the cold winter has passed and the warm sunshine comes again to give each clod its "stir of might." the portals of el dorado gertrude vanderbilt whitney, sculptor there was once among the south american tribes a belief that in a certain far-off country lived a king called el dorado, the gilded one. he ruled over a region where gold and precious stones were found in abundance. the story influenced a vast number of adventurers who led expeditions to seek the land of golden treasure; but notwithstanding the fact that their searched most carefully and for long periods, they all failed to find it. the idea of the unattainable gave the suggestion to mrs. whitney for her fountain. the gold of el dorado was used as a symbol of all material advantages which we so strongly desire - wealth, power, fame, et cetera. panel of the fountain of el dorado gertrude vanderbilt whitney, sculptor in the panel are seen men and women in their mad race for the unattainable. many have had a glimpse of the gilded one, and are rushing on to pass the mysterious gate behind which the desires of life await them. some faint by the roadside or stop in their race for the goal to contend or to loiter by the way, but those nearest the el dorado increase their speed. beside the gateway that has only just allowed the gilded one to pass thru are two mortals who have come close to the land of their desires, but only to find the door shut and slaves beside it barring the way. their strength is expended, their courage gone in the long race for material things. youth edith woodman burroughs, sculptor a little figure of innocence and purity in all her virgin loveliness stands before you - the incarnation of all that is fresh and wholesome. she is only a slip of a girl and yet the dignity of her carriage betokens hopeful days for her womanhood later on. her form is exquisitely moulded. those little bony shoulders will all too soon fill out and she will bloom into womanhood. the chief charm of this little lady is her simplicity. mrs. burroughs uses such beauty of line, such sweet language to tell her story. the american pioneer solon hamilton borglum, sculptor erect, dignified, reflecting on the things that have been, the american pioneer appears before us, reminding us that to him should be given the glory for the great achievements that have been made on the american continent. he it was who blazed the trail that others might follow. he endured the hardships, carved the way across the continent, and made it possible for us of today to advance thru his lead. all hail to the white-headed, noble old pioneer who, with gun and axe, pushed his way thru the wilderness; whose gaze was always upward and onward, and whose courage was unfaltering! cortez charles niehaus sculptor one of the finest equestrians at the exposition is cortez by charles niehaus. as we look upon the rider on his sumptuously caparisoned horse we are convinced that he is every inch a conqueror. he is represented absolutely motionless - his feet in the stirrups - and yet you feel that he is a man of tremendous action. you also feel his fine reserve, and yet how spirited he is! this is that intrepid spirit that desired the land of the montezumas. after determined invasions he conquered the country in the early part of the sixteenth century. the end of the trail by james earle fraser, sculptor "the trail is lost, the path is hid, and winds that blow from out the ages sweep me on to that chill borderland where time's spent sands engulf lost peoples and lost trails." - marion manville pope. one of the strongest works of the exposition in its intense pathos is this conception of the end of the indian race. over the country the indian has ridden for many a weary day, following the long trail that leads across a continent. a blizzard is on. he has peered to right and left, but alas! the trail is gone and only despair is his. so has it been with the indian. his trail is now lost and on the edge of the continent he finds himself almost annihilated. panel from the column of progress by isidore konti, sculptor the four panels on the column of progress show the different mental conditions of men on their onward march thru life. in the center of the panel stands the man of inspiration - the eagle, bird of inspiration, perched on his shoulder. he goes thru life with upturned face, depending upon his god for strength. beside him on the right is seen the warrior who wins his way by sheer physical strength. on his left stands the ascetic philosopher, who through constant vigils "hath a lean and hungry look." to the extreme left falteringly steps the man who fears the unknown future; his wife and mother sustain him by spiritual cheer. the figures are in very high relief so that they seem almost human as you gaze upon them. the feast of the sacrifice albert jaegers, sculptor in your imagination you see as of old the harvest procession marching around the fields. it is led by the great bulls for the sacrifice to the gods, that the harvest may yield bounteously. on either side of the bulls are the youths and the maids carrying flowered festoons. the long procession passes on and halts before the altar where the bull being sacrificed, the head with its festoons is placed upon the side of the altar. a most decorative group is this feast of the sacrifice - brute strength and the graceful form of the maid making a splendid play of line that most satisfactorily charms the eye. the joy of living paul manship, sculptor with perfect abandon come these maidens into the court of the universe, carrying their festoons of wild roses. they bring to the great festival joy and love of life - a telling addition to all that has been expressed in the court. they savor of old greek days, these maidens of archaic hair and zigzag draperies. paul manship loves the classic which brings with it much of free expression, and he has adopted the archaic style that recalls the figures such as are seen on old greek vases. no one is more joyous among the sculptors than this man. he has a rarely beautiful gift from the gods. the man with the pick ralph stackpole, sculptor an ordinary workman with his pick - and yet how impressed you are with his sincerity. in him is asserted the dignity, the usefulness, the nobility of all labor. he helps to turn the wheels of trade, to further the interests of the world. he works patiently day by day, notwithstanding the fact that those above him reap the benefits. mr. stackpole has been most happy in his expression. the broad treatment is thoroughly suitable to just such work as this. there are no accessories employed. the work is absolutely direct. the kneeling figure ralph stackpole, sculptor with the love for all that is beautiful in life, in what god has made and in what man has fashioned, the grateful devotee has mounted the steps that lead to the altar at which she offers up her devotion. she bows her head in humble reverence to her god for all that he has given her to enjoy - all that is good, pure, true, beautiful, uplifting. and we onlookers, too, would join the moving throng that bend the knees at the altar of beauty and truth. across the lagoon we gaze upon the great stillness, and we with her murmur, "father, i thank thee." the pegasus panel bruno louis zimm there are no reliefs more classically inspiring than are these superb reliefs by bruno zimm. the one on the opposite page is of great beauty. the young artist has caught the inspiration of his art - he has bridled pegasus. beside him march the arts - literature, holding aloft her symbol, the lamp; sculpture extending in front of her the statuette, a devotee admiring, and music leading the procession, stilling ever the beasts - a veritable orpheus. mr. zimm has been most successful in the fine working out of his subject in a classical way, for the style of relief work accords well in feeling with the superb classic architecture it decorates. primitive man albert weinert, sculptor long ages past i lived and gave no thought of time or doing aught save going as my fancy took me. ofttimes i took my bow and arrow and hide me to the mighty forests where herds of nature's roaming kind served as my food when i required it. again i followed to the sea where, casting in my net, i drew up myriads of the finny tribe to satisfy my appetite. oft drew i up such numbers vast that having naught to do but to amuse myself i fed my extra fish the friendly pelican that had become companion in my walks along the shore. a simple man was i with not too many thoughts and only few desires. my body was my foremost daily thought, and little cared i for aught else besides. thought albert weinert, sculptor the ages have passed on and i more thoughtful have become, for mighty revolutions have gone on within my frame. my mind, a once too puny thing, has year by year grown stronger, until to-day i realize that feeble is my flesh - a thing to be abhorred, and mind does rule above all else. my very face which once was rude and lacked that fire that strong intelligence does give now has a steady purpose and fine spirit writ upon it. it is as if my flesh of old had dropped and like a cast-off cloak had fallen at my feet. then come those days when tumult as of yore is waged within me, and then i grasp my new-made self and yearn to hold my old position within the body walls. thought more strong than flesh does wield its strength and back i crouch beneath the feet to stay till thought is off his guard again. victory louis ulrich, sculptor against the blue sky, with wings poised and draperies blown back, appears a victory from every gable point of the palaces of the exposition. she is positively charming in her sweep forward. poised far above you, she holds the laurel wreath ready for the victor. blessed victories! we rejoice that there are so many of you for we have found so many victors. sideview, against the clear blue sky, she suggests the great victory of samothrace. mr. ulrich, we feel sure that the lady samothrace has exerted her subtle influence. the priestess of culture herbert adams, sculptor there are few sculptors with greater refinement or more cultured reserve than herbert adams. he understands the selection of the significant and in many ways seems most fitting to represent the priestess of culture. this figure at the base of the dome of the rotunda of the fine arts palace, on the inside, is eight times repeated. simple, dignified, beautifully balanced, with elegance expressed in every line of her garment with its rich border sparingly used, she holds in either arm an overflowing cornucopia, the symbol of what she is able to give you. the adventurous bowman herman a. macneil, sculptor at the top of the column of progress where the sea-wind blows thru his locks, stands the adventurous bowman, the symbol of achievement. at the base of the column are seen figures representing the progress of men thru life. we watch them file past, but it is with this man of splendid daring, of consummate achievement, that we are most concerned. he has striven and has reached the top. he has only just pulled the chord of his bow, and his arrow has sped on. with confident eye he looks to see it hit the mark. the laurel wreath and palm of victory await his efforts. pan sherry fry, sculptor you cannot look upon this little figure without feeling that he is inimitably charming. pan, a god of the woodland, the symbol of the festive side of the exposition, sits among the shrubs in front of festival hall. he has selected a marble capital on which to sit - quick reminder of those classic days when he roamed the greek glades. over the cold seat he has spread his fawn-skin. he has just been moving his lips over the pan-pipes, but a rustle among the leaves has caused him to pause in his melody. in the grass he sees a lizard which is as intent on pan as pan is on him. care-free pan with pointed ear and horned brow, we love thee, for dost thou not give us all our jollity and fun, the tonic for our daily walks! air robert ingersoll aitken, sculptor robert ingersoll aitken has added to the cosmical meaning of the court of the universe his four elements - monumental, horizontal compositions of pronounced decorative effect. air is the one of finest poetic feeling. she holds the star to her ear and listens to the music of the spheres. the eagle, the symbol of the air, is used with finely balanced effect. on her back are fastened wings, and man, puny man, is aiming, by attaching wings to himself, to overcome her - a subtle suggestion of airships. the signs of the zodiac herman a. macneil, sculptor one of the loveliest gems of beauty in the court of the universe is herman a. macneil's cameo frieze of gliding figures. in the centre, with wings outstretched, is atlas, mythologically the first astronomer. passing to left and right glide maidens, two and two, carrying their symbols - for these are the signs of the zodiac. these maids are the hyades and pleiades, the fourteen daughters of atlas. it is as if the figures of some rare old greek vase had suddenly distributed themselves along the top of the great piers. for absolute refinement, for a certain old greek spirit in the court of the universe, these reliefs could not be excelled. the fountain of ceres evelyn beatrice longman, sculptor the architectural side of the fountain of ceres, with its pleasing proportions, is most satisfying to the eye. it was a happy selection to place the goddess of agriculture between the food products palace and the palace of agriculture. ceres strikes the keynote of this delightfully beautiful court. with corn sceptre and cereal wreath, ceres is poised on the globe, the winds of the golden gate blowing thru her drapery. below on the die of the fountain are graceful figures in relief suggesting the decorations of a greek vase. eight joyous, happy creatures trip past you, some with tambourines, others with pipes sounding roundelays, or carrying festoons of flowers. the survival of the fittest robert ingersoll aitken, sculptor this is the initial expression of martial spirit, when the first combat is seen and man by physical force seeks to override the power of his fellows. far back in the childhood of history one finds, as often to-day is the case, that woman is the motive for the fray. three combatants are here - the one on the right separated from the most powerful by the hand of her who loves him. the cause of the trouble stands at the left, steadfastly watching to see which of those that seek her is to be the victor. a glance tells you that he of powerful build in the center of the panel is to hold sway. he it is who is the most fitting survivor. earth robert ingersoll aitken, sculptor a very remarkable figure, her head hanging forward, lies stretched in slumber. it is the sleeping earth. from her come the great trees whose ramifying roots extend in all directions. man is seen wresting from her stone and precious metals. wonderfully has robert aitken worked out the mother earth idea. she has brought forth many times and yet is ever young. it is keenly interesting to look at "earth" and then at michelangelo's "night" to see the source of inspiration. wildflower edward berge, sculptor at sight of your form, i seem now to see a bright stretch of color across a broad lea, where the wildflowers sway to and fro in the breeze, where the winds sing soft lullabies up in the trees where all is as fresh, free and wholesome as you, little wildflower, blooming, so sweet and so true. and i come from the flight of my far-away dream as i look and i listen, to me it would seem that i hear a small voice in a most charming way say, "goodmorrow! goodmorrow! take time while you may, just step up yet closer; i'll give you a chance to have something far sweeter than just a bright glance." appendix the sculptors the planning, the placing, the naming of all this noble sculpture has practically been done by two men - the late karl bitter of new york, a man of great executive and technical ability as well as of immense inspiration, and a. stirling calder, on whom the honor for the great bulk of the work rests. besides acting as personal overseer for the execution of the sculpture of the palaces and courts of the exposition, mr. calder has designed the nations of the orient, the nations of the occident, the fountain of energy, the stars, column of progress and its sculpture, and the oriental flower girl. since the sculpture is one of the strongest factors of this exposition, we should extend to mr. calder our heart-felt appreciation of all that he has done to help make this exposition such a wonderful, artistic success. robert ingersoll aitken robert ingersoll aitken was born in san francisco in . he was a pupil of arthur f. mathews at the mark hopkins institute of art and later of douglass tilden, the well-known california sculptor. he has done a great deal of very strong, compelling work. the examples of his sculpture seen at the panama-pacific international exposition are of pronounced virility and of fine composition. he is a man who excels in technique. he has done in san francisco the victory for the dewey monument in union square, the mckinley monument, the bret harte monument and the hall-mcallister monument. in the metropolitan museum of new york is "the flame." at the fine arts palace are a number of works from his chisel - the gates of silence, the gates' memorial, being by far the finest. herbert adams herbert adams was born in vermont in . he has had many advantages, not the least of which were the five years spent in paris. while there he did the beautiful bust of adelaide pond, who afterwards became his wife. in he returned to america, becoming instructor in the art school of pratt institute, brooklyn. he has done a number of works for the congressional library, the vanderbilt bronze doors of the st. bartholomew church of new york, the tympan of the madonna and child in the same church, a statue of william ellery channing and many others. his beautiful busts of women are said to be unsurpassed even in france. edward berge edward berge was born at baltimore, maryland, in . he was admitted quite early in life to the maryland institute of art, and the rhinehart school of sculpture of baltimore, following this instruction by the usual finishing-off at paris. he had the good fortune while in paris to study under the great rodin. he won bronze medals at both the pan-american exposition of and the st. louis exposition of . his many very interesting fountain figures seen at the panama, pacific international exposition have won deserved praise from the many who have seen them. solon borglum solon borglum was born in at ogden, utah. the greater part of his early life was spent on the plains of nebraska, lassoing wild horses and photographing at the same time every detail of this strange life upon his brain. he spent a short time in california, where he began his life as an artist. realizing his limitations, he went to the cincinnati art school, where he studied some time under rebisso. it was while here that he spent all of his spare time on the anatomy of the horse. the time soon arrived for a sojourn in paris. his "little horse in the wind" excited pronounced attention at the salon that first year abroad and honors were bestowed upon him as long as he remained in paris. he has given the indian the greatest attention, and is one of the best sculptors of the red man in the united states. he has but one group in the fine arts palace - "washington." edith woodman burroughs one of the chief women sculptors of the united states is edith woodman burroughs, born at riverdale-on-the-hudson, in . she was a pupil at the new york art students' league under augustus saint-gaudens, later studying in paris with injalbert and merson. in she was married to bryson burroughs, a new york artist. she has made a specialty of fountain sculpture. no one who has ever seen her fountain of youth at the panama-pacific international exposition can forget it. it will always be a source of regret that the appropriation for the panama-pacific international exposition sculpture was reduced, thus preventing the public from seeing the speaking, simple groups of "arabian nights entertainments." mrs. burroughs is represented at the metropolitan museum of new york by "john la farge," a remarkably interesting portrait head, full of character. she has the power of speaking her language in a few words - but just the right ones. a. stirling calder the man at the wheel in the management of all the works of sculpture at the panama-pacific international exposition has been a. stirling calder. he was born at philadelphia in . having studied four years at the pennsylvania academy of fine arts, he had the advantage of two years in paris. for some time he has been connected with the philadelphia school of industrial arts. he is a man of splendid imagination, of dignified and noble purpose, being one of the sincere men of his art who keeps the standards where they should be. one of his early works, "the man cub," in the pennsylvania academy of fine arts, is most original and interesting in its treatment. it stands a most unique figure in the line of sculpture. it is said that his "martha w. baldwin memorial" is one of the best designs for a figure and pedestal yet produced in america. mr. calder lived some time in southern california and when there did the sculptured work on the portico of throop polytechnic institute of pasadena. this work was done by means of enormous castings made in fine concrete. mr. calder originated this method and it will probably be the means of revolutionizing the relief work done on many of the public buildings in the future. mr. calder's rare intellectual fiber, added to his accurate knowledge of his subjects, with his exalted outlook, has placed him among the foremost american sculptors. james earle fraser james earle fraser was born at winona, minnesota, in . his father was a railroad constructor, so that the lad had a good chance in traveling around the country to study the free types and life of the west. being very impressionable, he imbibed a great deal which he has turned to good account in his chosen work. at fourteen he started to carve figures from the chalk that conventionality required to be used on blackboard problems. at eighteen he entered the chicago art institute, where he stayed for but three months. he soon went to paris, going first to the beaux arts and later to the colorossi and julian academies. he won many honors during his three years stay in paris. in he won the prize offered by the american art association in paris for the best work in sculpture. augustus saint-gaudens was on the jury and immediately became interested in the talented boy who later on held the place of chief assistant in the saint-gaudens studio. he became instructor of the art students' league of new york in , holding the position until . he it was who made the new five-cent piece design - the indian head on one side, the bison on the other. he is particularly interested in personalities, having done a number of very clever portrait busts. it is enough to look at the portrait bust of mrs. harry payne whitney's boy to realize what he is able to do in the line of portraiture. he has produced nothing finer in that line. he is a master of character records. daniel chester french since the passing of augustus saint-gaudens, daniel chester french has been regarded by many as standing at the head of american sculpture. he was born in exeter, new hampshire, in . after having one year at the massachusetts institute of technology, he studied with doctor rimnier of boston, the first teacher of art anatomy in the united states. later he studied with thomas ball of florence, italy, and a short time in paris. he has been practically his own instructor. his work is of the noblest type. it is anatomically correct, of a high intellectual order, perfect technique and of fine imagery. his first important work was "the minute man" of concord, massachusetts. among his many works are "death and the sculptor," "the alice freeman palmer memorial," the head of "emerson" (which caused emerson to say, "this is the head i shave"), "the milmore memorial," "the alma mater of columbia college," and finest of all, the wonderful "mourning victory" in sleepy hollow cemetery, concord. his memorials are of high spiritual import. sherry e. fry sherry e. fry was born in iowa in . he has been most fortunate in having the best instruction, having studied at the chicago art institute, the julian academy and the beaux arts of paris, a year in florence, and later with mcmonnies, barrias, verlet and lorado taft. he has traveled extensively, so has had the opportunity of seeing the best that the world holds for the artist. he won the national roman prize in and held it for three years. he has been a careful student of the indians. his work at the panama-pacific international exposition is distinctly graceful and decorative. albert jaegers albert jaegers, a man who has taught himself his art, having fine powers of observation and much invention, was born at elberfeld, germany, in . he has been an indefatigable worker, holding his art above all else. solving technical problems by himself, studying the world around him with an intense love in all his undertakings, albert jaegers has come to be a power among his fellows. he has exhibited at several expositions, has done considerable municipal work - the finest figure probably being his "baron steuben," of washington - and many fine portraits. his "uncle joe cannon" in the fine arts palace, shows his power as a portraitist. his work has brought him decorations from the german emperor. isidore konti a foreign sculptor living in new york, isidore konti has steadily risen in the excellence of his work until to-day he stands among the foremost american sculptors. he was born at vienna, in . his father's capture by the viennese in the war against hungary, where the father lived, and his subsequent compulsory connection with the viennese army made the son, isidore, long for the freedom of america. he came to america as a boy, living in chicago. he exhibited at the chicago exposition in , and later attracted much favorable comment at the pan-american exposition at buffalo. his works in the fine arts palace are of a very high order and are exquisitely modeled. the more sober life of the individual, with appreciation of sentiment and longing, are evident in his works. leo lentelli leo lentelli was born in bologna, italy, in . he came to the united states in , where he has been permanently located in new york. his most notable work is seen in the cathedral of saint john the divine, new york, where he has done "the savior with sixteen angels" for the reredos. he has recently completed a group which has been placed over the entrance to the new branch public library of san francisco. he is still another of the sculptors who is self-taught. evelyn beatrice longman evelyn beatrice longman has risen constantly in her work since she took her first step in art at the chicago art institute. she was born in ohio of english parents, being one of six children. at fourteen she began to earn her own living in chicago, studying at night at the chicago institute of art. she saved her money, using it on her education at olivet college. she returned to chicago and studied drawing and anatomy. so clever was she that at the end of the first year she began to teach those subjects at the institute. later, she went to new york where she studied with herman macneil and daniel chester french. she really made her debut in sculpture at the st. louis exposition, where she showed "victory," a male figure which was so excellent in invention and technique that it was given a place of honor on the top of festival hall. in john quincy adams ward offered a prize for the best portrait bust. this competition was open to all american sculptors. charles grafly won in the competition, but miss longman won the second place with her "aenigma." besides some excellent portraits, she has done two remarkable bronze gates at the entrance to the chapel of the united states naval academy at annapolis, and much fine figure work. daniel chester french says "she is the last word in ornament." herman a. macneil herman a. macneil was born in , at chelsea, massachusetts. after graduating from the state normal school of massachusetts, he went to paris, where he studied under chapu of the julian academy, and two years under falguiere of the ecole des beaux arts. he came home and soon answered a call to cornell, where he remained three years. then three years were spent in teaching art at the chicago art institute. while there, he taught miss carol brooks of chicago, whom he married in . she is a very clever sculptor herself. her "listening to the fairies," "the first wave," "the first lesson," "betty," in the fine arts palace of the exposition, readily show how very charming her work is. mr. and mrs. macneil studied together in rome for four years and on their return to america established themselves in new york, where the macneil studio is. he is the teacher of modeling of the national school of design, new york. he has made a specialty of indian subjects, "the sun vow," "the coming of the white man," and the "moqui runner" being some of his best pieces. to him the indians are as fine as greek warriors and most worthy of careful study. whatever he does in sculpture is in its very essence national. he is extremely refined, a superb modeler and one whose every piece of work is strong and of the first rank. paul manship standing quite apart from the other sculptors in his special joyous line of work is paul manship, a young man from st. paul, minnesota, born in . he obtained the prix de rome from the american academy, which prize allowed him to study in rome and greece for three years, from to . his study in greece gave a most interesting, individual touch to his work, for he united to his fresh, vigorous western style the classic precision of the greek. he has a certain archaistic mannerism in his work recalling the aeginetan marbles, which individuality puts a manship stamp upon his work, striking a distinctly personal note. his statuettes are most charming and natural - little bursts of spirit and intense feeling. his work is always interesting - the kind you cannot pass by. he fills a niche all his own and is a most promising, gifted young sculptor. his "spring awakening" and "playfulness" in the twachtman room of the fine arts palace are delightfully exhilarating little figures. charles niehaus charles niehaus' great talent lies in the lines of monumental sculpture. he was born in cincinnati, in . he was a pupil of the mcmicken school of art of that city, later attending the royal academy of munich, germany, where he took the first medal ever won by an american. he has won gold medals at the pan-american exposition, the charleston exposition and also at the exposition of st. louis. his work is of the extremely dignified order, and shows great simplicity of line. it is always the spirit of the work that claims you in all that he undertakes. he has done nothing finer than his "garfield" at cincinnati. his astor memorial doors of trinity church, new york, his "doctor hahnemann" of washington, d. c., and his "driller," symbolic of the energy of labor, are among his best works. furio piccirilli living in new york in truly florentine style is the piccirilli family - a household of five families. it is said that nowhere in america is the old florentine style of the fourteenth century way of living so well exemplified. the men of the family were marble cutters, but within the last few years attilio, an elder brother, has been expressing himself in sculpture of a pronounced order. furio is a young member who is coming to the front thru the very lovely representations of his work at the panama-pacific international exposition. he has given a fine human touch to his work. it stands quite apart in its italian feeling from the robust american sculpture. frederick roth frederick roth is one of the greatest animal sculptors of the united states and is studying abroad year by year. he was born in brooklyn, new york, in , and was fortunate in being sent to berlin and vienna to pursue his studies when he was very young. he attracted very favorable attention at the pan-american exposition by his great originality and technical skill. he is extremely fond of modeling small animals, many of which can be seen in the fine arts palace of the exposition. "the equestrienne" is as clever and spirited a small work as he has done. ralph stackpole ralph stackpole, one of the younger sculptors, was born near grants pass, oregon, in . at the age of sixteen he began his art study at the san francisco school of design, remaining here for the short period of four months. he later studied with g. f. p. piazzoni and arthur putnam, and considers that from these men he received his best instruction. in he went to paris, where he continued his studies at the ecole des beaux arts and atelier merces, where he remained two years. he exhibited his work at the salon in . you meet the man face to face in his work on the varied industries palace. he is sincere, broad, direct. as to his reverence and refined feeling, you need but to look at his "kneeling figure" at the altar in front of the fine arts palace to see that he possesses these qualities in abundance. louis ulrich the world is probably receiving its first introduction to louis ulrich, a pupil of the joint school of the national sculpture society and the society of beaux arts architects. he has achieved a "crowning success" in his dignified figure of sweeping lines. albert weinert albert weinert was born at leipzig, germany, in . he studied at the art academy at leipzig under meichior zur strapen, later coming to america, where he is now located in new york. he has done a great deal of municipal work of a high order, among which can be mentioned sculpture work on the interior of the congressional library at washington, a monument to president mckinley for toledo, ohio, a "lord baltimore" for maryland and some very excellent statues on the facade of the masonic building, san francisco. his work in the court of the ages has added greatly to the interest of that court and is forceful, virile work. adolph alexander weinman adolph alexander weinman, one of the poets of the sculpture world, was born in karlsruhe, germany, in . when but a boy of ten, he came to america with his parents. in his youth he began his student life in art with the great augustus saint-gaudens, attending also cooper union, new york. each year has seen him move successfully ahead until now he is among our finest american sculptors. he is one who stimulates the imagination and raises the standards of art in whatever he models. his work is pregnant with life and is thoroughly individual, so that you feel when you look upon his figures that you have met more than mere bronze or marble. his portraits are of a very high order, many of which can be seen in medal form in the fine arts palace. he lives in new york, where he is well appreciated. mrs. gertrude vanderbilt whitney mrs. gertrude vanderbilt whitney is one of the foremost american woman sculptors. the fountain of el dorado is her first public contribution. bruno zimm bruno zimm, living in new york, was a pupil of the late karl bitter. he has designed work for former expositions, and we trust that his name will be better known in the future. he has added great beauty to the fine arts palace by his classic friezes designed in effective, bold masses. the archaic style used in his work is evident in many of the sculptural forms at this exposition. sculpture around the fine arts lagoon the first group of statuary in the following list is located on the south-east side of the fine arts lagoon. proceeding thence to the left and through the colonnade, the most important subjects will be found in the order described. sea lions. frederick g. r. roth most carefully studied as to form and babies; you almost: hear the bark of the great mate. the scout. cyrus edwin dallin the horse and the indian wait motionless; his hand shading his eyes from the sun, the indian looks intently into the distance for sign of the enemy. wind and spray. anna coleman ladd a ring of figures - male and female - fleeting and gay - like the wind and the spray. diana. haig patigian the goddess of the hunt appears with her bow; the arrow has just left the string. peace. sherry fry quiet, serene, she stands, her brow bedecked with olive leaves; her serpent bordered robe may betoken the wisdom of peace. the kirkpatrick fountain (extreme left). gail sherman corbett erected to dr. wm. kirkpatrick, superintendent of ononda salt springs from to and from to , at syracuse, new york. the bison ( ). a. phimister proctor the last of a vanishing race - fine, powerful figures. henry ward beecher memorial. j. q. a. ward a noted american clergyman, lecturer, reformer, author, journalist; lived between and ; a man of forceful personality and fine intellect; he looks the very man of opinions who would not hesitate to give them to you - and you would be prone to accept them. william h. taft. robert ingersoll aitken one of america's greatest statesmen. halsey s. ives. victor s. holm was director of the fine arts palace, pan-american exposition. seated lincoln. augustus saint-gaudens the firm man of thought and action; a replica of the seated lincoln of lincoln park, chicago. piping pan. louis saint-gaudens he stands, utterly thoughtless, with his double pipes - passing the hours in amusement; we see him at a musical moment. flying cupid. janet scudder with the rhyton, the greek drinking-horn in his hand, cupid stands above the globe, his little toes holding on firmly so that he will not slip. a muse finding the head of orpheus. edward berge the mourning muse has just chanced upon the severed head of orpheus which had been cast into the stream by the thracian maidens; short pieces of marble are left to support parts easily broken. michael angelo. robert ingersoll aitken we seem to hear him say "and now where next to place the chisel?" he is creating "day," which is seen in the medici chapel, church of san lorenzo, florence, italy. nymph. isidore konti a poetic conception of the origin of the stream, from which the fawn drinks. young pan. janet scudder a favorite subject. pan is piping his woodland notes and marching to his own music. such expressive little hands are those that hold the pipes! the crab comes up to listen and is held - spellbound. wildflower. edward berge everybody's love! a real darling! a little flower of the fields. mother and child. furio piccirilli a typical mother-expression as she croons over her baby - such a dear one! eurydice. furio piccirilli orpheus has just looked back-eurydice, realizing that he is forever lost to her, looks mournfully after him. great longing fills her soul. boy and frog. edward berge an independent young chap stands among the rushes - and how expressive are those toes! the frog, as the fountain, spouts water. the dancing nymph. olin warner her pine-cone wand thrown down, her pan-pipes cast aside, the ivory-crowned nymph indulges in the dance. the outcast. attilio piccirilli a powerful nude; his very toes portray his grief; surely suggested by rodin's work. boyhood. charles cary rumsey the youth who is just beginning to gather his sheaves, looks up and sees the stars! a new treatment in sculpture. the pioneer mother. charles grafly a simple, dignified woman dressed in home-spun. at her knees a boy and a girl - the future builders of the western country. she has crossed the cactus-covered plains, has endured the greatest hardships, that she may rear her sturdy little ones to lay the foundations of a mighty western empire. the bulls' heads are symbolic of sacrifice; oak leaves symbolize strength. she is best seen in the afternoon. thomas jefferson. karl bitter the seated president, with a world of thought upon his face, has on his lap the declaration of independence. lincoln. daniel chester french the rugged man of magnificent understanding, whose every thought was for the betterment of the race. relief from the boston museum of fine arts. richard h. recchia illustrating sculpture. the commodore barry monument. john j. boyle. a naval hero who died . fought in the american revolution. victory rides at the prow with laurels for him. the "eagle" shows for whom he fought. relief from the boston museum of fine arts. richard h. recchia this panel represents architecture. earl dodge memorial. daniel chester french earl dodge, scholar and athlete, was a greatly beloved princeton student - a senior who died just as his college gown was about to be placed upon his shoulders. the young franklin. robert tait mckenzie with all his earthly possessions wrapped in a bandana, with upward gaze and confident gait, benjamin franklin goes to seek his fortune. lafayette. paul wayland bartlett the young lafayette who helped the united states in the revolutionary war and was present at the surrender of lord cornwallis. relief. bela l. pratt representing sculpture. relief from the boston museum of fine arts representing sculpture. a relief of simple sweeping lines of great beauty. the awakening. lindsay morris sterling the day has dawned and with it life awakens. beyond. chester beach a girlish figure wonders what is coming with the future years. best seen from across the road. william cullen bryant ( - ) an american poet of the first rank. he sits thoughtfully - his manuscript before him. laurels grace his pedestal. the sower. albin polasek along the field he goes, scattering his seed. centaur. olga popoff muller this bestial creature is in the act of abducting a beautiful woman. she has almost swooned from fright. the boy with the fish. bela pratt they are singing for joy - the fish seeming to be most comfortably at home. even the little turtle is happy. the little toes must not be overlooked. returning from the hunt. john j. boyle the indian is advancing under the weight of a huge bear across his shoulders, and the huge skin of a companion bear being dragged at has side. l'amour (love). evelyn beatrice longman a group of tender, loving trustfulness. in the background are seen angel heads, denoting the spiritual side of love. the serpent below suggests the great wisdom born of love. it overcomes all death (the skull). the oak leaves symbolize eternal love. garden figure. edith woodman burroughs is this little adam with the apple, or only a little boy with a ball? youth. victor h. salvatore a little maid in sweet simplicity - against the shrubbery. soldier of marathon. paul noquet recalling one of the niobids of the uffizi gallery, florence. the last dying agony of a greek soldier. his shield stands at the left. primitive man. olga popoff muller he hauls the quarry home. would the nose of primitive man be so lacking in primitiveness? the scalp. edward berge the indian stands exultant! his hands alone betray what has happened. the rest of the work is most carefully treated to cover the barbarous side of the subject. apollo hunting. haig patigian "i shot an arrow into the air." this muscular figure recalls the work on machinery palace done by the same sculptor. a faun's toilet. attilio piccirilli an awkward, somewhat bashful, wholly boyish faun - his costume an ivy crown. duck baby. edith barretto parsons a gleeful little soul with chubby toes - more gleeful than the quacking ducks she squeezes. a maiden of the roman campagna. albin polasek like an antique bronze from pompeii. the anemones in her braided hair are surely some of those that grow so plentifully on the great campagna beyond rome. head of lincoln. adolph alexander weinman he might have looked like this at the time of his gettysburg speech. daughter of pan. r. hinton perry a girlish satyr most intent upon the echoes that she makes when blowing through her double pipes. mother of the dead. c. s. pietro the old mother though grief-stricken, accepts the inevitable, while her motherless grandson, not understanding, feels that something is wrong. destiny. c. percival deitsch does destiny decree that man shall lead, while woman meekly follows, as she did in ancient egyptian days? chief justice marshall ( - ). herbert adams a dignified seated figure - one of the greatest chief justices the united states ever had. he held the position from to . the united states is symbolized by the eagle. rock and flower group. anna coleman ladd a decorative group with no special meaning. it might be called "idle moments." great danes. anna vaughan hyatt watchful danes guard well the portals. their names might easily be "keenly alert" and "in sober thought." bondage. carl augustus heber the mother, tightly bound, thinks not of herself as she turns away, but of the weeping child beside her. saki - a sun dial. harriet w. frishmut a nymph acts as a pedestal for a sun-dial. sun - dial boy. gail sherman corbett how interested he is in the chameleon which has curiously crept up to see who it is that gazes at him. sun - god and python. anna coleman ladd apollo, the god of light, shoots at the python (the symbol of darkness). triton babies. anna coleman ladd i.e., children of the sea-gods, the tritons. bird fountain. caroline evelyn risque the little boy holding the bird clings to the globe with his toes. a simple and very appropriate bird fountain. prima mater. victor s. holm the "first mother" holds her babe to her breast. the fountain of time, lorado taft the great ocean of time is rolling on, carrying with it men and women of all conditions of thought. some advance blindly, some hopelessly, some fearfully, some buffeted by the great waves as they roll on. nymph - a garden figure. edward t. quinn showing how any figure gains in beauty by being placed among the shrubbery. the dying lion. paul wayland bartlett a powerful and most realistic group. the poor animal is in the last agony - is evidently starving. new bedford whaleman. beta pratt such was the type of man who left the town of new bedford, massachusetts, a whaling port, to seek his occupation in northern water. a foreword to the panama-pacific international exposition by juliet l. james berkeley, california [illustration] january, ricardo j. orozco press san francisco the pastel city by the sea there is a hill-crowned city by a silver sea, near a _golden gate_. for ages, the water has washed from an almost land-locked bay against this hill-crowned city, and on its northern side has created of the shore an amphitheatre stretching for some three miles to the western headlands. behind this amphitheatre rises, in terraces, the steep hills of this water-lashed city, and in part, a forest of pines stretches to the west. man has flanked this reach of shore by two lowering forts, and in front, across the sapphire sea, one looks onto the long undulations of hills, climaxed by grand old tamalpais. just three years ago, and one saw in this same low-lying shore only a marshy stretch, with lagoons working their way far into the land--the home of the sea-gull. there came a time when, had you looked closely, you would have seen coming thru the golden gate a phantom flotilla of caravels, freighted with clever ideas. on the vessels came, and at the prows were several noble figures: _energy_, _enterprise_, _youth_, _the spirit of the east_, _the spirit of the west_, _success_, and in the last caravel, the stalwart _mother of tomorrow_. they had dug and delved with mighty _hercules_ and had created that great gap that has severed two continents. then, leaving their work to be finished, they had sailed on to celebrate their triumph in the _land of el dorado_ the region of their desires. in a shallop in front of these floating winged vessels, riding on the waves, came venus rowed by the fairies--in her hand the golden ball of opportunity. the _mermaids_, the _dolphins_, the little _sea-horses_ sported in the wake of these vessels, leaving a long line of foam and silver as they sped on. over the waves they came to the _golden land of the pacific_. they moored their vessels by the fort-flanked shores, and stepping out upon the haunt of the sea-gull, they moved boldly across this unsightly stretch of wave-washed shore. _enterprise_ and _energy_ pushed ahead: the _fairy_ ever flitting near. at a signal from _enterprise_ the _fairy_ turned her wheel, venus threw her golden ball of opportunity, and lo! out of the foam of the sea rose a venus city with the round sea-bubbles resting on the roofs. one day a man appeared on the hill-top o'er-looking this wondrous city, and by his magic power, being filled with music, with color-music, he cast a spell, and behold a pastel city by the sea--such an one as only those who dream could think of; a city glowing with warmth of color, with a softness and mystical charm such as only the brain of _jules guerin_ could produce. he is the conductor of this wondrous symphony, this beautiful mozart fantasia, and if you listen, you can hear the strains of the great beautiful melodies wafted now east, now west, now north, now south, rising to great climaxes, falling back to great chords of harmony, or, in an allegro movement, causing you almost to trip with delight in the joy of it all. your eye is enthralled with the beauty of the coloring. one sees turquoise green domes floating in a silver-moated ether, long colonnades of glacial ice columns leading to regions beyond, where quiet silver pools throw back the mirrored glories. battalions of daffodils holding their long sabres, stand in the _south garden_ making ready for the great festival. soon those daffodils will raise their golden trumpets and will sound the fanfare at the opening of the great jubilee, and up will spring _two hundred thousand_ wide-eyed yellow pansies to look and wonder at the marvelous beauty, and help in the hallelujah chorus that will be one great paeon of joy, one splendid hymn of praise. and the blue eucalypti against the walls will lend their voices, the yellow acacias will add their cadences; while down by the great lagoon, ten thousand periwinkles will dance for joy. far out on the waters will be intoned to the rhythm of the waves, a chorus from white robed water-lilies who like a throng of choristers will send their anthems rippling over the sun kissed waves. the _spirit of the east_ that has added its domes, its minarets, its soft-glowing colors will remain and join hands with the _spirit of the west_, that strong, pulsating, energetic spirit, and the harmony produced will vibrate from the shores of the occident to the shores of the orient, and bring about a better understanding; a great world peace. and the world will come to listen. the great music will sound across the waters, and the world will be the better in its way of thinking, of working, of living--and all because of the great beauty. wonderful is it to be living today, to have the opportunity of watching the beginning of this mighty growth; to be present at one of the world's greatest events. and the pastel city by the sea will not leave us, for as the years go on, whatever be our mission, the vision of this dream-city will float before us, leading us to finer, higher works, strengthening our ideals, and causing us to give only of our finest fibre. [illustration] transcriber's notes: text in italics is indicated with underscores: _italics_. this ebook was produced by david schwan <davidsch@earthlink.net>. the sculpture and mural decorations of the exposition a pictorial survey of the art of the panama-pacific international exposition described by stella g. s. perry with an introduction by a. stirling calder, n. a. acting chief of sculpture of the exposition paul elder and company publishers - san francisco copyright, , by paul elder & company san francisco the courtesy of the cardinell-vincent company, official photographers of the panama-pacific international exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged. to the memory of karl bitter when i have fears that i may cease to be before my pen has glean'd my teeming brain, before high-piled books, in charactery, hold like rich garners the full ripen'd grain; when i behold, upon the night's starr'd face, huge cloudy symbols of a high romance, and think that i may never live to trace their shadows, with the magic hand of chance; and when i feel, fair creature of an hour, that i shall never look upon thee more, never have relish in the faery power of unreflecting love; then on the shore of the wide world i stand alone, and think till love and fame to nothingness do sink. -keats contents sonnet. keats the sculpture and mural decorations of the exposition. a. stirling calder, n. a. illustrations exposition sculpture the mother of tomorrow - detail from the nations of the west. cardinell-vincent, photo. (frontispiece.) fountain of energy - central group, south gardens. pillsbury pictures equestrian group - detail, fountain of energy. cardinell-vincent, photo north sea-atlantic ocean - details, fountain of energy. cardinell-vincent, photo mermaid fountain - festival hall, south gardens. cardinell-vincent, photo torch bearer - finial figure, festival hall. cardinell-vincent, photo the muse and pan - pylon group, festival hall. w. zenis newton, photo boy pan - detail, pylon group, festival hall. cardinell-vincent, photo detail, spire base, palace of horticulture. cardinell-vincent, photo cortez - in front of tower of jewels. j. l. padilla, photo pizarro - in front of tower of jewels. william hood, photo the pioneer - avenue of palms. w. zenis newton, photo the end of the trail - avenue of palms. w. zenis newton, photo historic types - finial figures, tower of jewels. cardinell-vincent, photo fountain of youth - colonnade, tower of jewels. w. zenis newton, photo fountain of el dorado - colonnade, tower of jewels. w. zenis newton, photo frieze - details, fountain of el dorado. cardinell-vincent, photo nations of the east - group, arch of the rising sun. gabriel moulin, photo pegasus - spandrels, east and west arches. cardinell-vincent, photo the stars - a detail of the colonnade. cardinell-vincent, photo earth - detail, one of "the elements." cardinell-vincent, photo the signs of the zodiac - frieze on the corner pavilions. cardinell-vincent, photo nations of the west - group, arch of the setting sun. cardinell-vincent, photo enterprise - detail, nations of the west. cardinell-vincent, photo dance - balustrade, court of the universe. cardinell-vincent, photo the rising sun - fountain, court of the universe. w. zenis newton, photo column of progress - in the forecourt of the stars. cardinell-vincent, photo frieze - base, column of progress. cardinell-vincent, photo primitive ages - altar tower, court of ages. cardinell-vincent, photo primitive man - arcade finial, court of ages. cardinell-vincent, photo fountain of earth - central group, court of ages. w. zenis newton, photo survival of the fittest - a panel, fountain of earth. cardinell-vincent, photo lesson of life - a panel, fountain of earth. cardinell-vincent, photo helios - separate group, fountain of earth. cardinell-vincent, photo water sprites - base of column, court of ages. cardinell-vincent, photo a daughter of the sea - north aisle, court of ages. w. zenis newton, photo the fairy - finial figure, italian towers. cardinell-vincent, photo flower girl - niche, court of flowers. cardinell-vincent, photo beauty and the beast - fountain detail, court of flowers. cardinell-vincent, photo caryatid - court of palms. cardinell-vincent, photo the harvest - court of the four seasons. cardinell-vincent, photo rain - court of the four seasons. cardinell-vincent, photo fountain of spring - court of the four seasons. cardinell-vincent, photo fountain of winter - court of the four seasons. cardinell-vincent, photo fountain of ceres - forecourt of the four seasons. w. zenis newton, photo the genius of creation - central group, avenue of progress. cardinell-vincent, photo the genius of mechanics - column friezes, machinery hall. cardinell-vincent, photo the powers - column finials, machinery hall. w. zenis newton, photo pirate deck-hand - niches, north facade of palaces. cardinell-vincent, photo from generation to generation - palace of varied industries. cardinell-vincent, photo the man with the pick - palace of varied industries. cardinell-vincent, photo the useful arts - frieze over south portals. cardinell-vincent, photo triumph of the field - niches, west facade of palaces. cardinell-vincent, photo worship - altar of fine arts rotunda. ralph stackpole, photo the struggle for the beautiful - frieze, fine arts rotunda. cardinell-vincent, photo guardian of the arts - attic of fine arts rotunda. cardinell-vincent, photo priestess of culture - within the fine arts rotunda. cardinell-vincent, photo frieze - flower-boxes, fine arts colonnade. j. l. padilla, photo exhibit sculpture the pioneer mother - exhibit, fine arts colonnade. w. zenis newton, photo lafayette - exhibit, fine arts rotunda. w. zenis newton, photo thomas jefferson - exhibit, fine arts rotunda. cardinell-vincent, photo lincoln - exhibit, south approach. cardinell-vincent, photo earle dodge memorial - exhibit, fine arts rotunda. gabriel moulin, photo fountain - foyer, palace of fine arts. gabriel moulin, photo wildflower - garden exhibit, colonnade. w. zenis newton, photo the boy with the fish - garden exhibit, colonnade. w. zenis newton, photo young diana - garden exhibit, colonnade. pillsbury pictures young pan - garden exhibit, colonnade. cardinell-vincent, photo fighting boys - garden exhibit, colonnade. w. zenis newton, photo duck baby - garden exhibit, colonnade. w. zenis newton, photo muse finding the head of orpheus - garden exhibit, colonnade. w. zenis newton, photo diana - garden exhibit, south lagoon. w. zenis newton, photo eurydice - garden exhibit, colonnade. w. zenis newton, photo wood nymph - garden exhibit, colonnade. w. zenis newton, photo l'amour - garden exhibit, colonnade. w. zenis newton, photo an outcast - garden exhibit, colonnade. gabriel moulin, photo the sower - garden exhibit, colonnade. w. zenis newton, photo the bison - garden exhibit, south approach w. zenis newton, photo the scout - garden exhibit, south lagoon w. zenis newton, photo the thinker - exhibit, court of french pavilion. w. zenis newton, photo mural decorations earth - fruit pickers. court of ages. w. zenis newton, photo fire - industrial fire. court of ages. w. zenis newton, photo water - fountain motive. court of ages. w. zenis newton, photo air - the windmill. court of ages. w. zenis newton, photo half dome - court of the four seasons. gabriel moulin, photo art crowned by time - court of the four seasons. gabriel moulin, photo the seasons - court of the four seasons. gabriel moulin, photo westward march of civilization - arch, nations of the west. gabriel moulin, photo discovery - the purchase. tower of jewels. gabriel moulin, photo ideals of emigration - arch, nations of the east. gabriel moulin, photo the golden wheat - rotunda, palace of fine arts. gabriel moulin, photo oriental art - rotunda, palace of fine arts. gabriel moulin, photo the arts of peace - netherlands pavilion. gabriel moulin, photo penn's treaty with the indians - pennsylvania building. clayton williams, photo return from the crusade - court, italian pavilion. cardinell-vincent, photo the riches of california - tea room, california building. gabriel moulin, photo the sculpture and mural decorations of the exposition the sculpture and mural decorations "in this fair world of dreams and vagary, where all is weak and clothed in failing forms, where skies and trees and beauties speak of change, and always wear a garb that's like our minds, we hear a cry from those who are about and from within we hear a quiet voice that drives us on to do, and do, and do." the persistent necessity for creation is strikingly proved by the prolific output of the arts. year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists. good or bad, useful or useless, it must be satisfied. it amounts to a law, like the attraction of the sexes. discouraged in some directions, it will out in others, never permanently satisfied. each age and people must have its own art as well as what remains of the arts of past ages and peoples - in spite of scant patronage, commercial limitation, and critics' hostility. the philosopher tells us that everything has been done, yet we must do it again - personally. art is so much a part of life that to discourage it is to discourage life itself - as if one would say: "others have lived; all imaginable kinds of life have been lived. therefore it is unnecessary for you to experience life." the plastic and pictorial decoration of an exposition offer unusual opportunity to the artist, at the same time imposing handicaps - the briefness of time, the poverty of material. it affords chances for experiment, invention, and originality only limited by the necessary formal settings of the architecture, out of proportion to the initiative of the artists, a majority of whom prefer, either from inclination or necessity, to take the safe course, the beaten path of precedent. artists are of two kinds - the imitators and the innovators. the public also is of two corresponding kinds - those who accept only what they have learned to regard as good, preferring imitations of it to anything requiring the acquisition of a new viewpoint; and that other kind, receptive to new sensations. the first class is the more numerous, which explains why most of our art, in fact most of all art, is imitative - that is, imitative of the works of other artists. the sculpture and mural decorations of the buildings and grounds of the exposition adequately represent the output of american art today. it is the best possible collection under existent conditions. its many sources of inspiration - all european, like the sources of our racial origin - are clothed in outward resemblances of the styles and tinged with the thought of the masters, old and new, who constitute precedent. thus, in sculpture we have imitations, conscious or unconscious, of the greek, of michael angelo, donatello, rodin, barye, meunier, saint gaudens; in painting, of besnard, merson, monet, et cetera, as well as some more complex personal notes, more difficult to relate, although they too are related in the main, adding only another variation of character to the great mass of human ideality. as in nature, there is nothing absolutely pure - nothing that can exist totally unrelated to the whole - so it is in art. its works should be judged, not by their absolute adherence to any so-called standard, but finally by the appeal they make to the receptive and unprejudiced mind. be brave, mr. critic - madame public, think for yourself, at the risk of ridicule. be not ashamed to admire what appeals, before learning its author, and when it no longer appeals leave it without remorse. in this introduction to the sculpture of the exposition, it is unusually fitting that grateful recognition be accorded the memory of the sculptor whose lively faith in our growth, and tireless energy first launched the enterprise. karl bitter possessed more than any other american sculptor that breadth of vision that enabled him to discern talent - that generosity that enabled him to give praise where he believed it due - that suppleness of mind that could comprehend new concepts - and that sense of justice that avoided no obligation. such an unusual combination of faculties defined a man broader and more profound than his broad achievement - one of the rare personalities in our art, the most this exponent that sculpture has known in this land. in the initial stages of planning, his fiery initiative and amazing grasp of detail commanded attention, speedily resulting in the first general plan of the sculpture of the buildings and grounds; while later his tenacity and generosity assured the completed unity, as it now stands. forty-four sculptors contributed designs, the subjects of which were assigned to the number of seventy-eight items, some of which comprise compositions involving a score of figures. the number of replicas used as repeated architectural motifs in order to create an effect of richness necessitated by the styles of architecture, is very numerous. vitality and exuberance, guided by a distinct sense of order, are the dominant notes of the arts of the exposition and pre-eminently of the sculpture. it proclaims with no uncertain voice that "all is right with this western world" - it is not too much to claim that it supplies the humanized ideality for which the exposition stands - the daring, boasting masterful spirits of enterprise and imagination - the frank enjoyment of physical beauty and effort - the fascination of danger; as well as the gentler, more reverent of our attitudes, to this mysterious problem that is life. one of the strongest influences the sculpture will have will be in the direction of a new impulse to inventive decoration. this field has remained relatively undeveloped, partly owing to our fondness for the portrait idea, but the direction is legitimate and worthy. architecture, which is the growth of a selective precedence, must be continually supplied with new impulses - new blood to re-energize, rehumanize its conventions - and on the other hand, all such new impulses must be trained into order with architecture. within the last few years a school devoted to the development of this, as it might be styled, applied sculpture, has been maintained by a group of public-spirited architects under the management of the society of beaux arts architects and the national sculpture society of the united states of america. the star goddess on the colonnades of the court of the universe amounts to a definite creation of a new type of repeated architectural finial - a human figure conventionalized to be come architecturally static - yet not so devitalized as to be inert. based on another style of architecture the finials of the cloister of the court of ages serve a correspondingly related purpose, and the crouching figures on columns in this court are excellent examples of decorative crestings. the groups of the nations of the east and the nations of the west are new types in motif and composition of arch-crowning groups - to be seen in silhouette against the sky at all points. both of these are grandly successful solutions of problems never before attempted since the ancients imposed the quadriga form of composition. they were first of all made possible by the receptive attitude of the distinguished architects, messrs. mckim, mead and white - which proves conclusively to me that those who are most versed in the various forms of antique arts are also those who are most capable of accepting the application of new motifs when sufficiently proven, and of quickly assimilating genuine contributions to the growth of progressive art. by so doing they lend to them all that wealth of refined elegance that has come down through the ages. this acceptance in itself is fraught with much encouragement to the growing school of public sculpture that aims to understand the principles of co-operation and to weld them to an ideal. the above is true also of the column of progress, which was again made possible by the instant comprehension of the architect, mr. w. symmes richardson. the column illustrates a new use for an ancient motif. a type of monument which while distinctly architectural in mass has been humanized by the use of sculpture embodying a modern poetic idea. now, mr. critic, it does not matter in the least whether you care for this idea or not. the fact remains, and is all important, that as a type of sculptured column it is new and fills architectural and aesthetic requirements, so that other columns of the same or kindred types will be designed. the fountain of energy and the fountain of the earth are the two original fountain compositions. by which is meant that while there are many other very charming fountains on the grounds they are distinctly conceived within the rules of precedent and offer no new suggestion of type. an exposition is the proper place to offer new types in design and execution and happy are they who accept the challenge. the fountains in the court of the universe are examples of how the charm of sculpture can vitalize architectural conventions. the crowning figures of these fountains, representations of the rising and the setting suns, have achieved great popularity. the still potent charm of archaic methods applied to modern uses is well illustrated in the groups of the "dance" and of "music" on the terraces of the court of the universe. again on the rotunda of the fine arts palace and elsewhere this tendency crops out and always with the assurance of pleasing. the group representing the "genius of creation" lends a modifying note of refinement against the vigorous western facade of machinery building, and adds much to the interest of the vistas north and south of the avenue of progress. there are figures and reliefs of genuine feeling that do not gain by resemblances to the mannerisms of rodin and meunier, that are not in harmony with the surrounding architecture. the original figures in the south portal of the palace of varied industries and the panel over the entrance to the palace of liberal arts are quite successful inserts of new thought in old frames in spite of a touch, of this influence. rodin, the emancipator of modern sculpture, and a notorious anarchist as regards architecture, is not always applicable. the imitation of his style induces a negation of modeling only in evidence in one of his manners of execution. there is a vague tendency voiced by some critics to advance the theory that the real future democracy of art depends on the verdict of the man in the street. this is ridiculous. the future of art depends on no one class of men, aristocratic or democratic. it depends on all men. art is neither democratic nor aristocratic. it knows no class - it is concerned with life at large - elemental life. art is praise and all things in life are its subjects. the group "harvest" surmounting the great niche in the court of the seasons is a fine placid thing - and the bull groups on the pylons are time-honored, virile conceptions strikingly placed. the three-tiered sculpture groupings of the tower of ages make rich appeal in relation to the romantic architecture. there are groups in niches in the west walls that will remain caviar to the general, but which are conceived with a fine sense of decoration, and need only a touch of relation to reconcile them to the observer. to him they are too strange. yet strangeness exists and if sufficiently medicated is even admired. it is strange when one thinks of it, to have had an exposition. "the end of the trail" is perhaps the most popular work on the grounds - the symbolism is simple and reaches many, with just the right note of sentiment. on the other hand, there are those who have gone beyond the obvious and prefer less realistic subjects particularly in relation to architecture. of this kind may be found many inserts and details making no particular claim for attention except that of delightful enrichment. the details of the exposition are excellent and sometimes brilliant. "the pioneer" is not well understood. the trappings here puzzle the realists who insist on a portrait of a certain personage - joaquin miller. the sculptor, i know, intended nothing of the sort. it is his vision of an aged pioneer living over again for a moment his prime. astride his ancient pony hung with chance trappings, symbols of association, with axe and rifle with which he conquered the wilderness, he broods the past. a mural decoration should be fitting for the place which it embellishes - both in color and composition. the subject, also, should be relatively interesting, but not the first consideration as is the color, the line, the chiaros-curo. at a glance the decoration should be the jewel for the surrounding space. the murals at the exposition are rather unusual in their settings, where every building and every court is so replete with mr. guerin's splendid coloring. mr. brangwyn's decorations are by far the most interesting in their free joyous use of color and amusing composition. from about the middle of the cloister under the arches one turns to the right or left and is greeted with a pleasant surprise of color. then the story appears and is buoyant and rich in execution. one is rather shocked when standing directly near or underneath by the big patches of color and coarse drawing, the vulgar types not well enough drawn to move our admiration. the cloister looked poor to have such rich notes in each corner, but one glance without the arches into the rich and teeming court, and we were reconciled to their placing. mr. simmons' color note is pleasant, seen across the great court. how much more pleasant it is than to have adopted the blue of the heavens as the dominating note - all the blue decorations in spite of their many excellences look dull and grey and weary - the painters have not been able to play up to and dominate the brilliant blue of the sky. in the court of the four seasons one finds color notes that are fitting, though lacking in imaginative interest. from the avenue of palms one looks across the court of flowers and sees over an opening what appears to be a crucifixion. on nearer view one is undeceived. the rich orange coloring and darker contrast is very handsome. it is to be regretted that the lunettes over the other doors are again that watery blue from heaven. though brilliant in themselves and clear in coloring, none of the three decorations in this court are sufficiently naive in design for the space - much too smart and knowing, they might be easel picture motifs used for the occasion. the american public is so quick and clever that it is difficult to find in the painters the simplicity of mind necessary for such work. again we find good composition and brilliant coloring in the two wall paintings in the pennsylvania building. the italians have given us an imitation of their frescoing - the doing of it in this manner illustrates the simplicity of the italian mind, but does not convey to one who has not been to italy the absolute grandness of italian fresco. this is not a detailed review nor can justice here be done to all that honest, earnest, hopeful effort of the world-loving artist - he who delights in the myriad phases of our lovely-terrible life, who naively labors to bring forth his sonnet of praise. be kind to him all ye who contemplate, and remember how much easier it is to criticize than to - be intelligently sympathetic. it is all for you. take what you like, and leave the rest without pollution. it may serve to comfort and to joy thy fellow-man. a. stirling calder. illustrations and descriptive notes of the sculpture and mural decorations of the exposition fountain of energy central group, south gardens the fountain of energy in the place of honor within the main entrance gives the keynote of the exposition - a mood of triumphant rejoicing. the proud bearing of the equestrian group, the wide sweep of water when the fountain is in play, the sportive movement of the figures in the basin, all express the joy of achievement. in the conception of the sculptor, a. stirling calder, this was fitting tribute to the completion of the panama canal which the exposition celebrates. the fountain has a double significance. in the first aspect it records the conquest by energy of the labors of the canal. in the second it proclaims the approach of the super-energy of the future. both interpretations are detailed upon the following pages. on the globe supporting the horseman are indicated the sun's course north and south and the evolution of mankind from lower to higher forms of life. that of the strenuous western hemisphere is connoted by a bullman; the quiet east by a cat-human. great oceans and lesser waters revel in the fountain-bowl. a garland of merfolk join globe to base with great sculptural beauty. equestrian group detail, fountain of energy in the more obvious phase of the fountain's meaning, energy, the lord of the isthmian way, rides grandly upon the earth, triumphing because of the canal so well achieved. his outstretched arms have severed the lands and let the waters pass. upon his mighty shoulders stand fame and glory, heralding the coming of a conqueror. the second and more subtle intention is nobly prophetic. energy, the power of the future, the superman, approaches. twin inspirations - of two sexes to denote the dual nature of man - urge him onward. his hands point upward, contacting human energy with divine. it is interesting to note the steadiness of the central figure, the sense of firmness, security, in spite of the feeling of motion in the whole. this is largely due to the hold of the feet upon the stirrups and the weight of the body in the saddle. north sea - atlantic ocean details, fountain of energy the basin of the fountain of energy is devoted to the revel of the waters. the genii of the four great oceans dominate the scene. they are mounted upon cavorting marine monsters and surrounded by the smaller waters, fearlessly playing, head-downwards, upon dolphins about to dive. the atlantic ocean faces east; the pacific, west; the north and south seas their appropriate quarters. the symbolic figures are designed to interpret the spirit of the oceans they represent - the atlantic, fine and bright, upon her armored sword-fish; the pacific, a beautiful, graceful, happily brooding oriental; the north sea, finned and glistening, strange and eerie; the south sea, savage and tempestuous, blowing a fitful blast. the lesser waters have a lighter quality. the hair of the sea-spirits suggests seaweed and coral. from the mouths of of the sea-chargers jets of water rise to meet the nimbus and rainbows of the semi-spherical downpour of the main fountain. mermaid fountain festival hall, south gardens long, quiet mirror pools flank the great fountain of energy, giving balance and calm to the entrance plaza, or south gardens. they are oblong in shape with the farther ends curving into a graceful convex. the pools are surrounded by formal flowerbeds planted to correspond to the beds surrounding the central fountain, thus giving continuity to the whole. these beds are enclosed by a decorative fence which follows the outline of the pools; the entering paths, emphasized at the outer ends by flower urns, at the inner by sculptural light standards. the curved ends of the pools are marked by arthur putnam's beautiful mermaid fountain, in duplicate. the crowning figure is by no means the conventional mermaid. she is free, full of grace, charmingly poised. the bifurcated tail is original and gives sculptural distinction as well as greater human appeal. the figure is instinct with a spirit of play but is not boisterous. arthur putnam is a californian who has greatly influenced the development of art in the west. torch bearer finial figure, festival hall as festival hall is the seat of the exposition's musical life, all the sculpture on and about the building expresses a lyrical mood. the sculptor has contrived to give this feeling great variety; but, on the whole, the large reclining figures - the beautiful, relaxed reclining nymph and the listening god over the great pylons - seem to be meditatively listening, the seated figures have a fanciful, lighter suggestion and those standing give a gentle effect of rhythm. the great arches are marked by a cartouche emphasizing this intention. "the torch bearer" here pictured is lightly yet firmly poised above the minor domes. exquisitely silhouetted against the sky, she has a spiral beauty, and the grace of one posed in the midst of a dance. the work of sherry edmundsen fry, who made all the sculpture on festival hall, is, generally characterized by a classic correctness combined with a modern robustness. it lends itself well to this french renaissance building - a type that depends upon its sculptured embellishments. the muse and pan pylon group, festival hall at the base of the great pylons that flank the columnar entrance court of festival hall, are low pyramidal masses of foliage and flowering shrubs. an interesting group by sherry e. fry is set in the midst of each. the more evident figure, mounted upon a decorative pedestal, is identical in both groups - a classic, flower-bearing muse, who seems to step softly forward. but though the muse is repeated, the groups vary in the smaller seated figures at the base of the pedestals. this variation is not felt architecturally, for the figures balance perfectly and are nestled in a mass of leafage. at the feet of the muse before the northern pylon a boy pan sits among the flowers, balanced in the southern group by a young nymph or dryad. the gentle dignity of the standing muse and the reality and softness of her draperies recall the same sculptor's figure, peace, exhibited in the department of fine arts and awarded a medal by the jury. the architectural beauty of these groups, in relation to the arched panels of the pylons forming their background, is worthy of study. it will be seen that the group, in spite of its statuesque quality, is actually part of the wall surface. the beauty of the ensemble is greatly enhanced by the sympathetic planting. boy pan detail, pylon group, festival hall without doubt the most popular, if not the most admired, of the statues that adorn festival hall is the "boy pan," nestled in the foliage at the base of the pedestal in the group just described. this roguish little god of woodland music has, besides his traditional attributes, a certain urchin quality that is very appealing. he has just taken his pipe from his lips, momentarily diverted by the presence of an alert lizard his melody has attracted. the lizard is here hidden in the leafage. the arch amusement of the whole figure, the mischievous, boyish smile upon his face, have allurement, just lifted from the normal by the quaint suggestion of small horns still in velvet. here in his youth is the wholesome, simple, poetic pan of the earlier myths, he who grew into the "great god pan," rather than the hero of the more subtle and diversified later legends. his pertness is contrasted with the shy modesty of the young nymph, the companion figure at the foot of the opposite pylon. detail, spire base palace of horticulture the palace of horticulture, a combination of french renaissance with the byzantine, is consistently flowery in decoration. it has been given a carnival expression. the general sculptured adornments are heavy garlands and overflowing baskets, and profuse ornamentations of flowers. large flower-decked jars stand in niches; the cartouches bear the flower motif. suggestions of lattices and arbors appear in the low domes on the porches surrounding the great greenhouses, reminiscent of french garden architecture of the great age. the superb central glass dome that gives the building distinction is crowned by a huge flower basket and draped at its base by a long garland. at the foot of the sharply ascending spires - the slender shafts of which are carved with conventionalized vines and bear tapering flower urns as finials - stand graceful garlands of girls. these pleasing spire bases, the attendants of flora, are by ernest louis boutier, a parisian. they carry small baskets of flowers on their heads, a chain of flowers binds them. the same feeling is continued in the caryatids on this building, by john bateman. these, also flower-capped, are repeated on the press and y. w. c. a. buildings, smaller structures in the south gardens adjoining the horticultural palace, thus unifying the buildings in the plaza. cortez in front of tower of jewels equestrian statues of cortez and pizzaro stand in the avenue of palms at the base of the tower of jewels to suggest the early history of the south and west of this hemisphere as a background to the present achievements at panama and, indeed, at san francisco. this spirited and romantic presentation of the fearless conquistador, hernando cortez, shows him at the very height of his proud successes. charles niehaus, whose work is always direct and convincing, has made us feel the spanish conqueror's own sense of victory. we know that now mexico, the tlascalans and the emperor montezuma have been vanquished, that the victor's ruthless ambition is already dreaming of the conquest of new spain and the navigation of the pacific. there are infused into the work a brilliancy and dash that fill the imagination with the glamor of that picturesque period of history. the perfect horsemanship, the restrained but vigorous motion, the whole bearing, have a stirring beauty. there is also intended and expressed in the countenance a sense of vision, as if cortez had here a prophetic moment in which he saw the future of the continent he claimed. pizarro in front of tower of jewels pizzaro, the companion equestrian to cortez, is the work of charles cary rumsey. the grim, stern and epic history of the bold, arrogant adventurer who was merciless in success and dauntless in failure is ruggedly suggested by this figure, mounted upon a heavily armored charger and advancing with drawn sword. the fact that pizzaro was a member of balboa's party when that explorer discovered the pacific and that he himself was in charge of a spanish colony at darien in , makes his appearance at this exposition appropriate. but it is, after all, the conqueror of the incas, the indomitable, who spared neither his men nor his enemy until the rich cities of the southern empire had been pillaged of their gold and destroyed, who is here portrayed. after achieving wealth and honors pizzaro was slain by the followers of a rival conquistador. the position of these two equestrians is well chosen; the colonnade of the tower makes an impressive background. the pioneer avenue of palms history of a later period, nearer to the heart of westerners, is embodied in solon borglum's lusty and venerable pioneer. this impressive equestrian stands on the avenue of palms at the entrance to the court of flowers. it is interesting to note that, in this rugged and commanding figure, fineness, dignity and nobility are emphasized as well as the more customary endurance and hardihood conventionally associated with the character. on the leather trappings of the old pioneer's horse, the tepee, the canoe and other symbols of indian life are marked. the sculptor is himself the son of pioneers and has treated this subject with sincerity and affectionate insight. the pioneer has been greatly appreciated and has received special notice in a number of addresses delivered by distinguished guests of the exposition. its veracity is attested by the fact that resemblance to several famous pioneers has been imagined in it by their admirers. the end of the trail avenue of palms still further back into the historical records of american stamina goes the end of the trail by james earle fraser. no single work of art at the exposition has attracted more popular applause than this. it has a gripping, manly pathos that makes a direct appeal. the physical vigor of the rider, over-tried but sound, saves it from mere sentiment. an indian brave, utterly exhausted, his strong endurance worn through by the long, hard ride, storm-spent, bowed in the abandon of helpless exhaustion, upon a horse as weary as he, has come to the end of the trail, beyond which there is no clear path. it is easy to apply the message of this statue to the tragedy of the american indian's decline upon the continent he once possessed. the sculptor acknowledges as his text these words of marian manville pope: the trail is lost, the path is hid and winds that blow from out the ages sweep me on to that chill borderland where time's spent sands engulf lost peoples and lost trails. historic types finial figures, tower of jewels as repeated alternating figures on the top of corner pedestals on the first stage of the tower of jewels, stand the four agents of civilization, the historic influences that have developed our american life. these, the adventurer, the soldier, the priest and the philosopher, have been presented with vivid simplicity by john flanagan. he has given us, first, the adventurous explorer, romantic, courageous, he who crossed the uncharted seas and found new worlds; then the formidable conquering soldier, he who founded settlements and held them with his sword or fought with natives for empire or riches for european monarchs; then the missionary priest, inspired with a holy zeal to spread the divine message to strange peoples; and, last, the philosopher, the thinker, whose great influence is but now beginning. the treatment of these figures is quiet, restful and architectural in feeling, as becomes their position. they supply the serious note to the gala tower. fountain of youth colonnade, tower of jewels within the colonnades of the tower are two wall-fountains by american women. the fountain of youth in the eastern colonnade is the work of edith woodman burroughs. she has given us the eternally desired fountain in a new aspect, not as the legendary restorative that changes age to adolescence, but as the fount of perpetual youth that keeps inspiring and vivifying the race and every stage of our life. an exquisite nude girl stands in a beautifully balanced archway rising like a flower from a pedestal on which are seen, like roots, vaguely outlined, the faces of her ancestors. she is youth, the center of life, for which the world, its dreams and its rewards are made. the side panels show the ships of life laden with the aged and manned by infants, off on the sea of time on the endless quests upon which youth and desire for its fulfillment's keep the world launched. however, the enduring charm of the fountain certainly comes from the little-girlhood of the central figure, the gentle, expectant sweetness of waning childhood and the perfect purity of the emotion it produces. fountain of el dorado colonnade, tower of jewels within the west colonnade of the tower of jewels is the other fountain desired by all the world - the fountain of el dorado. like the fountain of youth it is connected by legend with early spanish exploration in america. long ago, the story goes, there lived in mexico or south america a golden king who scattered treasures along his path. el dorado and his realm have long been symbols of the elusive gold sought by mankind in all ages and every clime. in this fountain by gertrude vanderbilt whitney, it is not the mere possession of wealth that is so sought, but those joys of which our mistaken imaginings make gold the symbol. in the central composition here pictured, the gilded one has vanished through the portals. impersonal, unresponsive attendants in aztec garb guard the door from suppliant followers. with subtle symbolism they give no sign as to whether or not they will relent and give entrance. but the fact that branches of trees have grown close across the opening seems to imply that hope is slight. frieze details, fountain of el dorado two long curving panels supplement the main archway of the fountain of el dorado. they represent the striving of humankind for power and possession. some by prowess, some by thought; some gaily, some sorrowfully; some urgent, some patient; some rushing, some lingering - all press onward toward the longed-for goal. here and there one falls fainting; another halts for love or pleasure or indifference. some stop to lift or help the fallen, others press by unheeding. the certain sad fatality of the concept is relieved of its pang by the light and fluent beauty of treatment. the idea is perhaps a little grim, but the handling is pleasant and the impression agreeable. the beauty of both the colonnade fountains is enhanced by the lines of the water in the cascade stairway. in the fountain of el dorado this effect is increased by a line of balanced jets flowing from dolphin heads in the lower panel. nations of the east group, arch of the rising sun across the great court of the universe, the court of honor of the exposition, the nations of the east and west face each other from the summits of their triumphal arches. they express the coming brotherhood of man, the nations brought closer by canal and exposition, and the fact that civilization has girdled the earth. inscriptions characteristic of eastern and western wisdom are engraved beneath them. these heroic groups are the result of the successful collaboration of a. stirling calder, frederick g. r. roth, and leo lentelli. in the eastern group here pictured, about a richly caparisoned elephant stand the camel drivers, egypt and assyria; the equestrians, arabian and mongolian; two negro servitors; the bedouin falconer and the chinese llama. the pyramidal composition is massive and the eastern spirit nobly sustained. on pylons before both arches, leo lentelli's guardian genii - calm, impressive, winged spirits - guard the universe. the unity of men and nature are denoted by the rising and setting sun fountains, the row of stars, the zodiac friezes and the elements. of these, "air and earth" appear in the foreground of the picture. in the distance is "music," one of the classic groups contacting the court with the carnival spirit. all these are described on later pages. pegasus spandrels, east and west arches these spandrels, by frederick g. r. roth, are interesting artistically, not only for the eager sweep and sense of bigness not usual in the narrow scope of a spandrel, but especially for their warm decorative value to the wall surface and the aspiring way in which they follow the rising line of the archway over which they are placed. the spandrels are made in very vigorous low relief. they express the place of poetry in the universe. for, in this court that celebrates man's achievements in the east and west, and nature's gifts to all, the poet on his winged horse appears to inspire the one and interpret the other. the spandrels throughout the exposition are noteworthy. it is significant of the artistic conscientiousness in detail of those who planned the sculpture that these and other smaller pieces are so uniformly beautiful. notable among them are august jaegers' spandrels in the court of the four seasons and albert weinert's in the court of palms. the stars a detail of the colonnade a sense of eternal spaces, the feeling of calm and elemental tranquillity, is given to the court of the universe by the surrounding colonnade of stars. the quiet stars look, down upon the activities of men. the semi-conventionalized star figure, light and firm, repeated about the colonnade is a highly important factor in the architectural beauty of the court. she stands a-tiptoe on the globe that forms her pedestal; the circle of her arms about the starry head-dress implies the endlessness of space. the pointed headdress is hung with jewels of the kind that decorate the tower. these carry the jubilant idea of the tower around the court. they twinkle brilliantly where the sun strikes them and are illuminated by thin shafts of searchlight at night. this star figure by a. stirling calder has been reproduced in the insignia of the exposition on a number of its official engravings and is the central design of the gold badges of the directors and the silver badges of the chiefs of departments. earth detail, one of "the elements" the four elements, heroic pieces by robert i. aitken, are placed at the top of the main stairways leading down into the sunken gardens of the court of the universe. in spite of their imaginative themes, these massive works have the same gripping reality that characterizes all the later method of this sculptor. he has treated the elements, especially "earth" and "air," in their relation to man. as here pictured, "earth," the quiet mother, sleeps on her rocks, over which little human beings struggle and toil. the rear view of "air," the group on the opposite side of the same stairway, may be seen in the foreground of the plate illustrating the nations of the east. "air" holds a star in her hair; she has great wings and is attended by floating sea-gulls. behind her, a man has strapped his arms to her mighty pinions, signifying the effort of the present age to ride the winds. "fire" and "water," across the gardens, are shown in vivid action; "fire" roaring with his salamander, and "water" blowing a stormy gust across the waves. the signs of the zodiac frieze on the corner pavilions low relief, the form that is so difficult and so beautiful and satisfying when perfectly achieved, is at its finest in the sculptured mural panels that crown the corner pavilions of the court of the universe and the forecourt of the stars. these are the panels of "the signs of the zodiac," by hermon a. macneil, who is better known to exposition visitors by his finial group, "the adventurous bowman," on the column of progress. the idea of the overhanging, serene heavens, expressed by the star colonnade, is extended by these panels. about the central figure of atlas or time, his heavenly daughters move, bearing the zodiacal symbols, to indicate the sweep of the constellations and the onward march of time. this impression of the steady, slow passage of our days is increased by the gentle motion of the figures, so slight as to be felt rather than seen. the frieze has a clean-cut effect almost cameo-like in its precision and the harmony and grace of the whole composition have frequently been found suggestive of the decorations on an attic urn. nations of the west group, arch of the setting sun as we look across the court of the universe towards the nations of the west, the vastness of the court and the commanding effect of these great groups of the nations impress us. the high columns of the rising and setting sun fountains, the monumental groups of the "elements," the classic "music" and "dance" of heroic size, are merged in the splendid sweep of the court; the dignified circle of sculptured light-standards is dwarfed by the perspective. but these mighty processional masses of the nations still dominate the whole. this western group, companion to the nations of the east, centers about the prairie schooner, which balances the elephant in the opposing composition, and the girlish figure of a young pioneer mother, poetically called "the mother of tomorrow." accompanying her are represented the nations that have contributed to our american civilization. the group is by the same sculptors in collaboration who made the group of eastern nations. the four equestrians, the latin-american, the french-canadian, the anglo-american, the indian and the trudging squaw are by leo lentelli; the pedestrian figures, the bowed alaskan women, the german and the italian are by f. g. r. roth, who made also the oxen and the prairie schooner. the mother and the crowning symbolic group of "enterprise" and the "hopes of the future" are by a. stirling calder, who is responsible for the general composition. enterprise detail, nations of the west the prairie schooner that forms the axis of the nations of the west is crowned by an animated, imaginative group so perfectly co-ordinated with the realistic main composition that it causes no sense of discord. this group of "enterprise" and the "hopes of the future" by a. stirling calder, forms the apex of the pyramidal construction. it gives the required height and balances the howdah on the elephant in the companion group, the nations of the east, on the opposite archway. the spirit of enterprise, a kneeling figure whose encircling wings carry the rewards of the world, calls aloud to summon initiative, encouragement and perseverance to the brave and adventurous who advance our progress. this enterprise is the pioneer spirit that discovered and developed america. at the feet of enterprise sit the hopes of the future; two boys, one white, the other, negro. these sound the note of deep humanity that underlies the poetry of the conception. this group of the western nations has an appropriate sub-title, "the pioneers." dance balustrade, court of the universe at the top of the longitudinal stairways in the court of the universe are paul manship's "music" and "dance." these are typical examples of that sculptor's power to combine classic restraint, sculptural dignity and grace of line with complete freedom and untrammeled ease of method. they express a musical mood, supplying the honor of musical art to the otherwise incomplete celebration of man's achievements. in "dance," here reproduced, the beautiful movement of the figures and the garlands, full in volume but light in weight, are superlatively well presented. a glimpse of the companion group, "music," can be had in the plate devoted to the nations of the east. in this are two classic male figures, the composer and the musician. one holds an open scroll from which the other reads as he pauses in touching the strings of a lyre. a number of distinguished exhibits by mr. manship, showing all phases of his art, appear in the palace of fine arts where he has been awarded the honor of a gold medal. the rising sun fountain, court of the universe "the rising" and "the setting sun," by adolph a. weinman, stand high against the heavens on tall shafts that rise from fountain bowls. they are inspired with a sort of rapturous imagery and they so inspire the beholder. "the rising sun," a youth with outstretched wings, a figure suggestive of gladness, hope and the dawn of high adventure, is a fitting symbol of the sunrise. he seems "a-tiptoe for a flight" on the summit of his column; his profile against the sky is superb. on the opposite column "the setting sun," a young woman with pensive face, shaded by her hair and drooping wings, sinks to rest. these figures stand on translucent shafts that are pillars of light in the evening. they bear garlanded capitals and rise from double fountain bowls bound together by rising and falling jets and sheets of water. the column bases are finished with beautiful friezes, one symbolic of the sun of truth, the other of the peace of night. winged mermen support the upper basin; sea-creatures gambol in the lower. column of progress in the forecourt of the stars one of the most serious and thoughtful works of the exposition sculpture is the column of progress which faces the bay at the end of the forecourt of stars. this column represents with direct imagery the upward progress of man. the shaft itself is sculptured with conventionalized waves in a gradually ascending spiral, upon which a repeated vessel, the ship of life, sails upward, indicating the slow upward rise of our life. the lower panels, significant of man's endeavors, are described on the following page. the crowning group, "the adventurous bowman," noble in intent and in sculptural power, is from the hand of hermon a. macneil. at the highest point of man's achievement, stands this adventurous bowman, the super-hero, the leader, the man with insight into the future, who shoots his arrow into the sun of truth. behind him the next man supports and is protected, by him. beside him kneels the woman with his reward in her hands. the frieze beneath the group shows the burden-bearers on whose shoulders the hero stands - an arresting thought; reminder of the true values in modern life. frieze base, column of progress the four panels at the base of the column of progress sympathetically express its exalted idealism. they are by isadore konti, in richly wrought high relief. the play of color values, the planes of light and shade, are handled with mastery. these four panels indicate that the thought, the dream, the aspiration, the dutiful devotion underlying all the labors of the common day are the source of their progress. one panel shows the higher toils of the mind, as in the arts and statesmanship. in the center of this stands the inventor or leader of thought with the eagle of aspiration above him. another shows the motives of love and pain and prayer and the central power of labor as movers of the world. still another, which is shown here, expresses the humbler toils of mankind; even they, it says, progress upward through the thinker who pauses in their midst to dream. the other panel here pictured represents the triumph of man's endeavors, and the successes that spur to greater achievements. primitive ages altar tower, court of ages the tower of ages, in the court of ages, represents evolution. the lower group, here illustrated, presents "the early ages." this shows the development of man from his physical beginnings among the creatures of the ooze up through the cave man and the stone age to the growth of the family ideal out of which sprang a higher civilization. the second group shows "the middle ages." its three figures are the monk, the armored bowman, and, at the apex, the crusader, the highest expression of idealism, of that period. "the present age" crowns the whole, upon an altar sits the woman enthroned and enshrined. her children, the future, are at her feet. their finger-tips touch a symbol, the cosmos. one bears a book, the other the wheel of a machine. figures of mutation flank the central composition. the sculpture on the tower of ages is by chester a. beach, whose emancipated and vigorous manner is exactly suited to the presentment of these strong ideas. primitive man arcade finial, court of ages in accord with the basic idea of the beginning, change and upward growth of the human race and its emotional life that are emphasized in this eastern court, rough, plastic figures of "primitive man" and "primitive woman" surmount the elaborate arcade. they harmonize with the conception and treatment of the, group on the tower of ages. they are the work of albert weinert, the sculptor who made the much-admired "miner" in the portal niches of the palace of mines and metallurgy, and "philosophy" on administration avenue. he presents these parents of civilization at the transition stage when they are still savage but have become physically upright and begun to develop the elementary glimmering of intellectual and emotional consciousness. they stand as finials on the continued columns that pierce the arcade wall and emphasize the arches. dividing the spaces above them, on a higher level, are repeated finials of a pert chanticleer, emblem of the east, the dawn and immortality. fountain of earth central group, court of ages here is one of the most majestic and imposing enrichments of contemporary art developed by the exposition. the fountain of earth by robert i. aitken has compelled the attention of the world of art and won the gold medal for sculpture of the year offered by the architectural league. in this fountain the idea of man's evolution takes a subtler and more profound significance. in general, it shows the development and growth of love from its lower to higher forms and the upward effect of that spiritualization upon the life of the earth. in the secondary group, a prelude and epilogue to the main composition, on the prow of the ship of earth are grouped the loves, greeds, passions, griefs and spiritual cravings of man and woman, who come and go from the unknown to the unknowable. the great arms of destiny, pushing and pointing, giving and taking, guide the way. between the four panels of life on the earth, stand the hermes, milestones of ancient rome, here used as milestones upon the road of time. sea-creatures indicate our origin in the waters. the description of the panels follows on succeeding pages. survival of the fittest a panel, fountain of earth the central fountain shows the globe of earth revolving in the infinite. streams of water by day, clouds of luminous steam by night, give it the effect of swimming out of chaos. the powerful panels of earth are boldly modeled in pierced relief, giving statuesque realism as well as the picturesqueness demanded of a panel. they follow in a natural sequence as regards their deep and arresting symbolism. the order is, first, the southern, then the western, northern and eastern panels as the fountain lies. the panel here illustrated is third in the sequence. in the first panel are shown the motive elemental emotions - vanity, sexual love and mere physical parenthood without enlightenment. after the next milestone is the second panel called "natural selection." this presents the approach of the strong man; little wings beside his head indicate the dawn of intellect. women turn to him attracted by his qualities. of the men whom they have deserted, one resigns in sorrow; the other prepares to contend the the issue. in the next phase, here illustrated, "the survival of the fittest," the struggle has begun. the following pages resume the story. lesson of life a panel, fountain of earth in the panel of "the survival of the fittest" the battle of life is at its height. the men are in a furious struggle of strength and prowess. the interplay of human passions, the contests of wills and capacities, has developed. the women, too, are taking a conscious part in life, one weeping and shrinking from the fray, the other extending a restraining hand. in the last and noblest panel, called "the lesson of life," we see the spiritualized and intellect-guided emotions. a helmeted man and pure-browed woman gaze tenderly in each other's eyes. youth, full of impulse and fire, stays to listen to the voice of reason. the lover keeps in touch with the guiding memory of the mother. and the cycle is completed from animal to mental toward the higher foundation of life upon the earth. seldom has more exaltation of thought or intensity of feeling been infused, without mawkishness or exaggeration, into a work of art. the fountain of earth, is deeply interpretive of the trend of modern thought. helios separate group, fountain of earth on the wall of the basin of the fountain of earth, is a subsidiary group called "helios, the sun." it is a decorative point of finish and is also symbolic. the sun is taken as the symbol of the cosmos, the enduring, the day, the source of life. man is pictured as clinging to it, in the hope of being freed from the encircling coils of his baser self and the old earthy entanglements that hold him down, and destroy him. this group and the main fountain, as well as the sides of the beautiful court, are mirrored in the long still pool in which the fountain stands - a pool properly free from splashes or springs as befits the setting of this intricate and massive work. the rapid and stable growth of robert i. aitken, sculptor of the fountain of earth, is of particular interest to san francisco, the city of his birth, and the site of several of his earlier efforts. water sprites base of column, court of ages the "water sprite columns" in the court of ages bring the somber symbolism of this court back to the gay spirit of festival. the sprites are the work of leo lentelli; they have a quaint elfin quality that is very engaging. the amusing and lovely group seated about the base of the column have a certain chic habit of pointing elbows, wrists and ankles that lends an unworldly attraction. their sister sprite at the top of the slender decorated shaft is mischievously aiming an arrow downwards. these sprite columns express the gay, frolicsome mood of the waters. their feeling harmonizes more with the sea-weed and shell decorations of the court itself and its falling-water motif than with the weightier sculpture it contains. they create a pleasing ripple of merriment. their light and airy modeling has the beauty of unconscious and unforced artistry. the columns stand just within the northern entrance of the court, guarding a vista of the bay. a daughter of the sea north aisle, court of ages in this "daughter of the sea," sherry e. fry has given us a nymph who typifies the life within the watery sphere where it is deep and broad. she has the robustness, volume and vigor of the great high seas. she is deep-bosomed and broad of thigh and stands as though storms and monsters had no terrors, as one accustomed to breast and conquer the waves. water creatures supplement her, but she seems made on too goddess-like a scale to disport herself with them. it is interesting to contrast this nymph of the fathomless trough of the sea with the arch and playful water sprites of the froth and ripple, on the columns within the court of ages. this statue is placed in the forecourt of ages, facing the marina, the court that is designed to graduate the richness of the larger court toward the more severe facades on the marina. sherry e. fry's work, in a less rugged vein, appears upon festival hall. the fairy finial figure, italian towers the gay and gracefully ethereal towers on corner pavilions at the entrance to the court of palms and the court of flowers, sometimes called the kelham towers for their architect, are pointed by a long and pleasing slope of wings. carl gruppe's slender fairy stands upon them, poised, as though just alighted. this finial figure has a pretty wistfulness that suggests the whimsical firefly fairies of peter pan more than the conventional gauzy creatures of ordinary fairy tale, and is more like a female counterpart of shakespeare's "delicate ariel" who sucks "where the bee sucks" than any other creature of fancy. the curving antennae increase this impression. she carries in her hand a whirling star. the silhouette of the figure is attractive and the halo of sky behind the head framed within the circle of the wings, lends a distinct charm. it is pleasant to have this symbol of imagination over the exhibit palaces, especially in the courts of palms and flowers, more suited to the fairy feeling than, perhaps, any other spot upon the grounds. flower girl niche, court of flowers the perfect balance of this "flower girl" by a. stirling calder, saved from any hint of rigidity by the graceful curves of its extended lines, makes it an admirable wall decoration. harmony with the wall-niche in which it appears is part of its allurement. the sculptor has modestly sought to merge the figure's loveliness into that of the court and has succeeded in increasing both. "the flower girl" appears in outer niches of the attic cloister of the court bearing her name, the court of flowers. a light garlanded mantle falls like a petal from her shoulders, the floating edge following the line of the nymph's divided hair, so that the maiden seems more like a flower itself than a flowerbearer. however, she has the sculptural solidity necessary for her location and resembles not some frail, wind-blown blossom, but the robust and buxom california blooms that flourish in the court below her. beauty and the beast fountain detail, court of flowers the fountain of beauty and the beast in the court of flowers accentuates the feeling of gentle fancy and the spirit of the fairytale that are the mood of this and its companion court. it is by edgar walter, a distinguished san franciscan; he has given us a delightful, playful and tender rendition of the old tale that has held the imagination of the world since it first appeared in straparola's "piacevoli notti" in . since it was popularized by madame le prince de beaumont in , the story has been translated into every language. the fountain shows, with great restraint and refinement of handling, one of beauty's ministrations to the sick monster shortly before his transformation. it is subject to the symbolism that may be read into the story itself; but the note of fairy magic is the essential theme of the fountain. quaint fairy pipers, the unseen musicians of the monster's palace, stand about the pedestal. the lower basin bears a frieze of charmed or enchanted beasts, very lightly handled and not insistent. their idea is continued in the court by the gryphon decorations and albert laessle's wreath-bearing friendly lions, at the entrances to the palaces. caryatid court of palms the court of palms is restful, meditative, a place where the feeling of magical allure takes a deeper, more subjective character. it might well be called the court of pools, for two, quiet pools, one circular, one oblong except for its concave side to hold the other, fill the floor of its sunken garden and reflect its pensive as well as its physical charms. the caryatids repeated throughout this court are the joint work of john bateman and a. stirling calder. they inject into the court its fairy spirit without disturbing its repose. they are puckish, bat-winged, goblin-horned fairy creatures of an eerie beauty, elfin, roguish and quaint. their quality is enhanced by the beautiful color that has been applied to them, to the garlanded panels between them, to the cartouches over the archways and, indeed, to all the decorations on the walls and columns of this court. this richness and depth of color leads the eye to the three splendid mural lunettes in the arches. these are childe hassam's "fruit and flowers" and charles holloway's "pursuit of pleasure," at the entrances to the palaces, and arthur mathews' "victory of culture over force" in the portal that leads to the court of the four seasons and frames a vista of the bay. the harvest court of the four seasons the court of the four seasons, classic in spirit, finished and chaste in execution, required a perfect harmony of mass, line and feeling in the sculpture that was to embellish it. it was the further task of the sculptors and mural painters to give the court its meaning, to illustrate the idea of the earth's abundance and the fruitful beneficence of the seasons that is implied in the title of the court. that they have nobly succeeded in this difficult double achievement is an actual triumph. "the harvest," by albert jaegers, crowning the half-dome, is a magnificent bit of architectural sculpture. it seems a faithful part of the surface it enriches; its outlines are faultlessly balanced; although its sides are varied, its mass is superbly centered. the goddess of the plentiful harvest sits in the slope of an overflowing cornucopia; a sheaf of ripe wheat rests in her supporting arm; she is attended by a lad who can scarcely lift the weight of fruit he bears. the group is bound more closely to the half-dome by a graceful garland applied to the wall-surface mr. jaegers has further illustrated the traditional idea of harvest home festivals by the vigorous groups, "the feast of sacrifice," which adorn the huge pylons of this court. rain court of the four seasons on separate columns flanking the half-dome of the harvest, albert jaegers has given us classic presentations of the two great resources of nature that bring the blessing of rich harvest. these are symbolic figures, "rain," here pictured, and "sunshine." in "rain," the nymph of the earth, holds upward a shell, her cup, in grateful expectation of the beneficent rainfall, while she shields her head from the storm with a cloud-like mantle. on the other column, that of "sunshine," the nymph shades her head with an arching palm-branch, though she looks up in happy appreciation to the welcome glow of the sun. as in his "harvest" and "the feast of sacrifice," mr. jaegers has here given with perfect restraint a sense of generous weight, of richness, profusion and mass that are highly satisfying in their artistic aspect and are valuable interpreters of the message of the court. august jaegers, a younger brother of this sculptor, has embellished the arcade of this court with an attractive repeated attic figure. in voluminous, decorative draperies this female figure stands between two young orange trees, her arms about them - significant of the harvest of california. fountain of spring court of the four seasons the seasons of the year are expressed in the court that honors them by four wall-fountains, the work of furio piccirilli. the sculptured groups are set in colonnaded niches, against a warm background of deep pastel pink wall. the water flows over a cascade stairway. the floors of this and of the basin are painted pale oriental green, giving a luminous beauty to the water, especially at night in the glow of hidden lighting. the planting about the niches and the trailing green on the walls are component parts of the fountains' beauty. the sculptor has felt the seasons in their gradual changes, as found in california, rather than in the usual sharp divisions. he has infused them with a wistful sadness, however, as at the passing of time. in "spring," here illustrated, for example, we feel something more than the youth, flowers, love and promise obvious in the composition - something tender and romantic but by no means gay. fountain of winter court of the four seasons fountains of summer, autumn and winter, by the same sculptor as spring, just described, are similarly installed in their respective niches in the court of four seasons. in "summer" is represented the earth's early fruition. a young mother lifts her new-born babe for its father's kiss. a gleaner harvests the grain. over all is a gentle solemnity. in "autumn," probably the most admired of the four, against the background of a fruit-bearing tree, a superb nymph bears proudly the full jar of wine or oil. on one side a crouched figure gathers a richly-laden garland of the vine; on the other, a youthful, kneeling female figure plays with a lusty child. even this period of completion is marked by the general pensive beauty. it is emphasized most, however, in "winter," here illustrated. the bowed, worn toiler rests on his shovel, the spirit of the year waits, still and brooding. but, on the other hand, the sower is ready to cast the new seeds; the cycle re-commences. fountain of ceres forecourt of the four seasons the forecourt of the seasons, the continuation of the court of the four seasons to the marina, is officially called the forecourt of ceres, because of evelyn beatrice longman's fountain of ceres which commands it. ceres, or demeter, the goddess of agriculture, presided over the earth's abundance. by her favor, came the good harvest; she it was who first instructed man in the use of the plough. in the loveliest of antique myths she is the mother of prosperine, the spring. miss longman has expressed her as exultant, regal, young - far less matronly than as conventionally pictured - glorying in her power to bless the cooperative labors of man and nature. she holds as her sceptre the stalk of corn, and offers the crown of summer to the world. the central figure is not more lovely than the pedestal base on which she stands. a frieze of dancing maidens, wrought in cleancut low relief, greek in manner, celebrate the harvest feast. in the accompanying illustration, the groups on pylons, by albert jaegers, already described, may be seen in the background. the genius of creation central group, avenue of progress "the genius of creation," by daniel chester french, has the superb simplicity of all works of that master of sculptural calm, intellectual power and straightforward sincerity. mr. french is said to make no mistakes in composition; his precision is not dryness but technical ease and infallibility; his classical quality is not obedience to tradition but insight, into the underlying laws that made tradition. here we have a splendid example of his perfection of mass, balance and finish and of quiet, inspiring depth and directness of feeling. creation extends life-giving arms over the universe. serene, brooding, blessing, the noble face emerges from mysterious shadows of the enveloping mantle. the sculptural quality of the draperies, their weight and texture and grace are notable. at the foot of the pedestal rock, man and woman stand - facing different sides, but their hands are clasped at the back of the group. the serpent surrounds all, inevitably suggestive of the story of genesis, but symbolic of the waters from which life emerged and the encircling oneness of the universe. the genius of mechanics column friezes, machinery hall all of the sculpture about the palace of machinery partakes appropriately of the size and strength of that huge building which houses the world's progress in mechanical arts. the sculpture, like the building, is roman rather than greek in type and modern american in vigor and expression, as are the chief contents of the palace. the sculptor, haig patigian of san francisco, has expressed this combination with power and virility. the frieze here illustrated appears at the base of massive columns, interestingly made of simulated sienna marble, the warm tones truly reproduced. the frieze is extremely energetic, although well restrained, and supports the great column as a basic frieze should do, especially when its subject is so appropriate to the purpose. two winged genii, one holding a pulley, one upholding the column upon his hands, alternate with two disciples, for whom their extended wings create a background. one of these is complemented by hammer and anvil, the other by furnace and tongs. both share the column's weight on powerful arms. the imaginary figures show potential strength in repose, the human figures potent strength in action. the frieze in low relief is colorful and decorative. the powers column finials, machinery hall high upon the mighty columns that surround, relieve and give color to the immense facades of machinery palace, are haig patigian's masculine and trenchant figures "the four powers." these are of heroic height, and create an impression of superhuman size and strength even when raised so far above the ground. they have a simple robustness that accords well with their theme. two of the powers are abstract, the driving powers of thought; these are invention and imagination. two are concrete, representing the mightiest powers of modern mechanics, steam power and electric power. steam power is forcing the driving arm of an engine; electric power, the world at his feet, handles the lightnings. he wears the winged cap of mercury, messenger of the gods, for electricity is the messenger of modern days. invention, crowned with the bays of achievement, holds in his hand a bird-man about to leave the earth; imagination, accompanied by the eagle making ready to soar, dreams with closed eyes. pirate deck-hand niches, north facade of palaces the northern facades of all the palaces along the marina are beautifully embellished above the vestibules with an intricate plateresque decoration, modeled after portals in old spain. in the three ornate statue-niches - in the original probably devoted to saintly images - are romantic figures by allen newman. it is appropriate that these figures facing the water-front should represent, as they do, the conquistador and the pirate deck-hand, who once were masters and terrors of the main. the conquistador stands in the central canopied niche, the strong line from his helmet-point down his sword-hilt making a grimly decorative axis for the whole. the deck-hand is repeated in the niches on each side. this ruthless minion of sea adventurers is here pictured beyond the urchin's dreams. the line of the rope he carries is a touch of excellently handled decoration. both these figures are so well harmonized architecturally and sculpturally to their pedestals and location that the entire facade should be seen for their proper appreciation. from generation to generation palace of varied industries in the portals on the south side of the group of palaces, facing the avenue of palms, we have again the beauteous old spanish doorways in plateresque design, with niches filled with modern sculpture. the portal of the palace of varied industries, copied from a famous prototype in the old hospice of santa cruz, in toledo, spain, was assigned to ralph stackpole. he is a sculptor who delights to honor the laborer and the craftsman and has supplied the figures for niches and keystone space and the tympanum and secondary groups in the portal of varied industries with evident affection. he treats the subject of labor with dignity, according it respect and not sentimentality. in this secondary or crowning group, a strong young man is taking the burden of labor from the shoulders of the last generation - an old workman, bowed but still hale and vigorous. there is a sense of responsibility and earnestness in the group, but complete confidence and power. it might well have been feared that these rugged types of american life might ill accord with the ancient ornate doorway. but the decorative proprieties have been thoroughly sustained. the man with the pick palace of varied industries in the repeated niches following the line of the archway in the portal of varied industries, described in the foregoing page, appears ralph stackpole's "man with the pick," a manly tribute to the intelligent, self-respecting workman who is the basis of our national life. there is a frank and unaffected realism in the work that attracts by its uncapitulating sincerity. its impression of rugged power and self-respect saves it from becoming merely photographic, and its plastic feeling is excellent. in this and the preceding group, as also in the keystone figure and the tympanum, the courageous employment of the actual commonplace garments of everyday labor instead of idealized draperies has met success. the tympanum group is called "varied industries." it appreciates the various daily labors of mankind through which civilization continues and is almost devotional in its expression - "in the handicraft of their work is their prayer." the useful arts frieze over south portals another artist who appreciates the spirit and enterprise of our own day and finds inspiration in its humble labors is mahonri young. this feeling appears in much of his work and is notable in the panel of "useful arts," as also in the niche figures that flank it and are really part of the conception. these appear over the handsome portal arch of the liberal arts palace. the beautiful grouping of the many figures in the panel is a delight; the planes of perspective are skillfully handled, without in the least marring the flat surface requisite in a mural panel. this panel of "useful arts" does honor to skilled labor. men and women are shown busy with the spinning-wheel, the anvil, the forge and other implements of skilled craft. satisfying figures in the niches, the woman with the distaff and the man with the sledge-hammer, continue the same idea. mr. young's place in art is unique in that he has won distinguished consideration in three branches - painting, etching and sculpture. in the palace of fine arts he exhibits twelve etchings and nine works of sculpture, several of each devoted to the phases of life expressed in this panel. triumph of the field niches west facade of palaces in the western facade of the palaces of food products and education are examples of the new tendency in sculpture. these are "the triumph of the field" and "abundance" by charles r. harley, the modernist. he has made them intricate and teeming with imagery, giving the beholder much food for study and personal interpretation. these works have been useful in arousing much artistic discussion. they endeavor to express a mood of richness, fullness and success and have the effect of laden chariots in a triumphant pageant. in "the triumph of the field," man sits upon the skeleton head of a steer, surrounded by a multitude of symbols indicative of festivals of agricultural success in the past. some are pagan, some christian. above his head is the wheel of an antique wagon; he holds crude farm implements of long-past days. in "abundance," the companion piece, nature, a female figure, sits in the prow of a ship, surrounded by the abundance of land and sea. her hands are extended; one, in order to receive greatly; the other, that she may greatly give. worship altar of fine arts rotunda this lovely, adoring figure, pure, devoted, appealing, emblematic of art tending the fires of inspiration, is placed upon the altar before the palace of fine arts and can be seen only from across the waters of the lagoon. her perfect self-surrender to her holy task of guarding inspiration's flame is a sermon and a poem. she is the worshipful spirit for whose reward the glow of genius is sent. she is an image of the perfect reverence for an ideal. it is interesting to note that she is by the same hand that fashioned those rugged laborers on the portals of the palace of varied industries, that of ralph stackpole. the altar of fine arts, separated from the beholder by the whole width of the beautiful lagoon, set before the great rotunda and surrounded by sculptured barriers and growing green buttress walls of flowers that quite shut it off from all access of the passerby, has the effect of a shrine. this sense of seclusion adds much to the impressiveness of the statue. the struggle for the beautiful frieze, fine arts rotunda a surpassingly beautiful contribution to the exposition art has been made by bruno louis zimm in his panels of greek culture. these lovely panels in low relief, surely worthy of a permanent medium, are set in the attic of the rotunda or belvedere before the palace of fine arts, used and known as the temple of sculpture. the panels express not so much the historical greek tradition - though they are, indeed, produced in the purest greek manner - as they do the high spirit and ideals of greek art, the devoted seeking for divine fire, the determined opposition to the trivial and the base. each of the panels is once repeated. the panel of "the triumph of apollo" shows the fiery god of inspiration, music and the sun in a procession of worshipers; his flaming wings are the rays of the sun. the panel of "the unattainable in art" might well be called "the struggle for the beautiful." it pictures the unending struggle with the gross and stupid, both objective and subjective, that confronts the champion of the beautiful. art stands serene, aloof, unassailable in the center of the fray. the panel of "pegasus" shows the winged steed of the poets controlled by a true aspirant, attended by music, literature and art. guardian of the arts attic of fine arts rotunda two stately "guardians of the arts," one male, one female, of godlike proportions and great dignity, are placed in the attic of the fine arts rotunda, separating the panels of greek culture. they are the work of ulric h. ellerhusen, who has shown a keen perception of the structural necessities involved in these immense details. the rotunda of fine arts, the temple of sculpture, is one of the most interesting architectural features of the exposition. it is the culminating beauty of the marvelous colonnade of fine arts palace, its chief distinction. within are some of the treasures of the exhibit sculpture. under the arching dome are robert reid's mural paintings described in a later place. the weeping figures on top of the colonnade itself are also by mr. ellerhusen. they express the humility that ennobles the true artistic spirit and distinguishes it from the spurious. instead of the self-satisfied triumph or victory that might be expected to crown this last of the exposition palaces, these represent the spirit of art weeping at the impossibility of achieving her dreams. priestess of culture within the fine arts rotunda high on the decorative columns that mark the great arches within the beautiful rotunda of fine arts, stand, repeated, the peaceful, dignified and serene "priestess of culture," by herbert adams, an angelic figure, modeled with the control and calm that fittingly express the mission of culture upon the earth. indeed the work of mr. adams may be said generally to be characterized by that probity and intellectual beauty ministering to the purposes of culture. these figures are harmonious ornaments to the richly decorated ceiling which they touch and to which they give a certain tranquillity. the slope of their wings connects gracefully with that of the arches; this, with the quiet beauty of the drapery and its accord with the line of the cornucopia, creates a restful architectural effect. it is a pleasant coincidence that these priestesses of culture look down upon the statue of william cullen bryant by the same sculptor, an exhibit piece, charmingly installed at the entrance to the great rotunda. frieze flower boxes, fine arts colonnade the very large flower boxes bearing masses of luxuriant california shrubs that mark the peristyle walk in the fine arts colonnade are constantly admired for their own beauty, the beauty of their contents and their part in the general effectiveness of the delightful colonnade they enrich. the friezes are by ulric h. ellerhusen, who made also the weeping figures and the heroic "guardians of arts" already described. it is interesting to note that the precision of handling has given this design, in spite of its size, an exquisite delicacy. standing at charmingly balanced intervals, a circle of maidens bear a heavy rope-garland. this rope makes a gratifying line that has given pleasure to connoisseurs. the frieze is so successful largely because, though frankly decorative as suits its purpose, its personality and charm distinguish it from the pattern-like or conventional. the landscape planting in the boxes, in the flower beds and above, is one of the enduring attractions of this colonnade and walk. the green is architecturally massed and the relief of flowers bright and delicate, never intrusive. the pioneer mother exhibit, fine arts colonnade the "pioneer mother" monument, by charles grafly, is a permanent bronze, a tribute by the people of the west to the women who laid the foundation of their welfare. it is to stand in the san francisco civic center, where its masterful simplicity will be more impressive than in this colorful colonnade. it is a true addition to noteworthy american works of art and fully expresses the spirit of this courageous motherhood, tender but strong, adventurous but womanly, enduring but not humble. it has escaped every pitfall of mawkishness, stubbornly refused to descend to mere prettiness, and lived up to the noblest possibilities of its theme. the strong guiding hands, the firmly set feet, the clear, broad brow of the mother and the uncompromisingly simple, sculpturally pure lines of figure and garments are honest and commanding in beauty. the children, too, are modeled with affectionate sincerity and are a realistic interpretation of childish charm. oxen skulls, pine cones, leaves and cacti decorate the base; the panels show the old sailing vessel, the golden gate and the trans-continental trails. the inscription by benjamin ide wheeler perfectly expresses what the sculptor has portrayed. lafayette exhibit, fine arts rotunda paul wayland bartlett's "lafayette," of which this is a plaster copy, should be known and honored by every loyal american. it is considered by many the most successful equestrian statue of modern times and it was the gift of the school children of america to the republic of france. the original bronze stands in the court of the louvre, the most coveted location in paris. the position of honor among the sculpture exhibits accorded to this copy, as the central piece in the temple of sculpture, gives the impressive beauty of the "lafayette" the distinction it deserves. seen at a little distance, with the background of the lagoon, the superb bearing of both horse and rider get their full effect. this interpretation of lafayette, commanding, heroic, graceful, unselfconscious, his gallic dash and fire evident but restrained by military and aristocratic control, is stirring and convincing. the upheld sword is a touch of fine artistry. mr. bartlett was chairman for sculpture of the exposition jury of fine arts. he has just completed the pedestal heads for the house wing of the capitol at washington. his "dying lion," exhibited in plaster copy in the fine arts garden, has been coupled by critics with the "wounded lion" of rodin. thomas jefferson exhibit, fine arts rotunda all the work of the late karl bitter bears a peculiar appeal at this time, since he was chief of sculpture of the exposition, was so close personally to many of the men who made its beauty, was so valuable an influence to the art of our nation and left so ennobling a memory as man and as artist. his sustained, faithful and enduring works are well represented in the exhibit galleries by his "signing of the louisiana purchase treaty," made for the st. louis exposition and loaned by that city; his tappan memorial from the university of michigan; his rockefeller fountain, and the appealing "faded flowers." a medal of honor was awarded to him. thomas jefferson was always a sympathetic study to karl bitter, who has interpreted that statesman, scholar and patriot in his several capacities. the original of the present statue was made for the university of virginia; jefferson said he preferred to be remembered as founder of that institution rather than as president of the united states. he is here represented in a moment of meditative leisure. lincoln exhibit, south approach two noble lincolns by the great augustus saint-gaudens do honor to the city of chicago and are distinguished by the titles "the standing lincoln" and "the seated lincoln." both have the homely beauty, greatness and dignity of character that are essential to the presentment of this national inspiration. "the seated lincoln" here shown is the original bronze, not a replica. it was loaned, under the protection of heavy insurance, to the fine arts department, and will soon be installed in a chicago park. it is the property of the lincoln memorial fund, a foundation of $ , left by the late john crerar to commemorate abraham lincoln in chicago. saint-gaudens, having made "the standing lincoln" with such success, was given the opportunity for a new presentation of this great theme. "the seated lincoln" has a soul-stirring expression of figure and countenance; the crumpled shirt, the square-toed shoes, the well-known shawl draped upon the chair, are not more real than the simple greatness of soul that somehow expresses itself throughout. earle dodge memorial exhibit, fine arts rotunda the "princeton student" made by daniel chester french as the earle dodge memorial, is lent to the exposition by the trustees of princeton university. it is this master's expression of the type of young manhood that makes for the winning of respect and enthusiastic friendship and worthy leadership in our modern college life. full of energy and spirit, the youth steps forward, physically rugged, of athletic prowess and sportsmanly character, intelligent, frank, clearbrowed, fearless and straightforward of gaze, bearing his books with care and ease and draped with the academic gown, symbol of scholastic achievement. to give this figure of young manhood the solemnity of a memorial and still keep it true to the hearty and cheerful vigor it depicts was a notable achievement. the setting in one of the arches of the rotunda, with the lagoon and the landscape-planting in the background, is admirable. two great universities have in recent years been graced by mr. french's work; his "alma mater" on the great stairway of the columbia university library is one of the art treasures of new york city. fountain foyer, palace of fine arts this fountain, by gertrude vanderbilt whitney, who made the fountain of el dorado for the exposition, is strikingly different from that work in treatment and character, showing a notable versatility and responsiveness to change in motif. as that was poetically symbolic, this is a massive direct work in a more virile and vigorous manner. it shows three well-modeled nudes supporting a bowl heavy with richly laden vines. its installation in the center of the entrance hall of the fine arts palace is in itself a work of art. the white marble fountain - for this is the original work, loaned by the artist - is cleverly contrasted with vivid green water plants in the bowl; just enough of them and tastefully placed. and in the rim small trees are set, of well-chosen verdure, shape and size. the fountain was awarded a bronze medal. wildflower garden exhibit, colonnade one of the most varied and interesting talents among the younger men of distinction who have exhibited in the department of fine arts is that of edward berge of baltimore. the entire originality and freedom from mannerism with which each subject is met, and the variety of the subjects themselves, are worthy of note, as are also mr. berge's singular lightness and fluidity of method. his correctness is apparently unlabored. no small piece has more admirers than this sweet and merry little "wildflower." a secret of her appeal may lie in the fact that the artist is the father of the model. the little girl, crowned with a wildflower, posed with the pertness of a wayside blossom, her hands extended like pointed leaves, has a roguishness and playful grace that charm. with something of the same humorous whimsy mr. berge exhibits a sundial showing a nude baby, buxom and cuddlesome, embracing a new doll while the old one lies discarded, illustrating the legend, "there is no time like the present." the boy with the fish garden exhibit, colonnade bela lyon pratt, widely esteemed for his vital and imposing serious works, of which a splendid collection here exhibited has been awarded a gold medal, has amused himself and all of us with this jolly little garden piece, "the boy with the fish." it is a unique bronze, never to be reproduced or copied. though hundreds of persons have wished to purchase replicas, no one can ever do so, for the owner stipulated with the sculptor never to allow reproduction. the moulds have been destroyed. but no one can stop the joyous memory in many minds of this spirited little elf, riding a turtle, struggling with his slippery fish and having so much fun about the difficult feat. one of mr. pratt's more serious works that is attracting the deserved attention of exposition visitors is "the whaleman," a detail of his noble whaleman's memorial. this sculptor has done much to encourage individuality and earnestness among the younger men, not only by example but also in his capacity of instructor in the boston museum of fine arts. young diana garden exhibit, colonnade janet scudder, an american artist whose work has been as highly honored in france as in her native land, is known chiefly for her poetic and happy expressions of the out-of-door spirit. her fountains and garden pieces are small and sportive but intensely sincere and never trivial. she has a pagan sense of natural imagery and a deep feeling for childhood. her finish is delicate and perfect. the "young diana," here illustrated, girlish, with singularly natural untrammeled grace - slender, beautiful and novel in conception - was awarded honorable mention in the paris salon of . the young goddess of the chase, the moon and of maidens, is presented as still more of a maid than a goddess, glad with the freedom of girlhood, unconscious of her olympian inheritance. miss scudder has received the distinction of having one of her fountains purchased by the metropolitan museum in new york. this is the frog fountain which, loaned by that museum, appears in the palace of fine arts. her "little lady of the sea," also here exhibited, received notable consideration in the paris salon of . she is the holder of a silver medal awarded by the present exposition. young pan garden exhibit, colonnade one of the charms of the exposition lies in the fact that the long rainless summer and beautiful plant-life of california permit the garden pieces to be displayed out of doors in the setting desired for them by their sculptors. this little pan of janet scudder's, for instance, is far happier in his appropriate mass of foliage than if he were inside of a gallery. "young pan," a garden figure, is witty, elfin, very engaging. he is a seaside pan instead of the woodland dweller usually portrayed. his foot is - rather recklessly one would think, were this not a magical, superhuman being - placed heel-down upon the back of a great crab. a pretty pedestal base, with sea-shell decoration, supports the baby god. this base, by the way, miss scudder attributes as the work of laurence grant white. pan is enjoying the music of the two long pipes he blows-playing one of the unplaced wild lilts of nature, we may be sure. this sense of enjoyment and his debonair little swagger are festive and delightful. his mischievous gaiety communicates itself to the beholder. this humorous quality appears in another merry little god by the same sculptor, her "flying cupid," close at hand. fighting boys garden exhibit, colonnade another evidence of the charm of outdoor installation is seen in miss scudder's fountain of the fighting boys, so beautifully placed, with the waters in actual play, in the peristyle walk about the fine arts palace. the original of this little fountain is owned by the art institute of chicago. there can be no doubt that this fight is without rancor; the faces of the cherubic contestants are so gay and good-natured that only the determined little tug of the hair, the business-like pressure of chubby knee upon knee, the uncertain possession of the big fish that is the cause of contention, makes us see that a battle is raging. the boys fight merrily, evidently enjoying both the contest and the downpour of water that complicates it. an unexpected accidental beauty has been added to this and all the exposition fountains. some colorful substance in the water that plays upon them has given soft touches of the same rich ochre tone that appears in the columns. this increases the effectiveness and takes away the appearance of boldness or newness, substituting a weather-beaten and permanent aspect. when long spires of flowers are in bloom and reflect their beauty in this little fountain pool, the gayety and loveliness of the spot are entrancing. duck baby garden exhibit, colonnade the contagious mirth of "the duck baby," a garden figure by edith barretto parsons, is irresistible. this plump little image of good cheer conquers the most serious; every observer breaks into answering chuckles as this smile-compelling small person, holding fast her victims, beams upon them. the frieze of busy ducklings on the pedestal base adds to the amusing impression. this figure makes such a universal appeal that thousands of postal card pictures and amateur photographs by exposition visitors have been sent in a steady stream throughout the land, scattering the duck baby's good cheer far and wide ever since the exposition opened. in the presence of so much that is weighty and powerful, this popularity of the "duck baby" is significant and touching indication of the world's hunger for what is cheerful and mirth provoking. another well-liked and winsome work with a chubby baby figure at its center is "the bird bath" by caroline risque, in which a lovable baby, with an expression of the tenderest sympathy, holds a little bird to his breast. muse finding the head of orpheus garden exhibit, colonnade under the branches of a low tree the poetic group by edward berge, "muse finding the head of orpheus," a white marble group of superior elegance and texture, arrests the passerby. a muse kneels, drooping in exquisite pathos over the head of orpheus found in the waves. the sculptor has chosen the tragic side of the orphean myth. the son of apollo and the muse calliope, whose heaven-taught lyre charmed men and beasts, melted rocks and even opened the gates of erebus, had failed to win from death his bride, eurydice, lost to him for the second time. as he wandered disconsolate, the thracian bacchantes wooed him in vain. maddened by failure and by their bacchanal revels, they called upon bacchus to avenge, and hurled a javelin upon him. but the music charmed the weapon, until the wild women drowned it with their cries. then they dismembered the singer and threw him to the waves; but the very fragments were melodious and reached the muses, who buried them where the nightingale still sings "eurydice." so runs the allegory; even drowned by earthly clamors, slain and torn by wanton hands, the song of poetry continues, the weeping muses save. diana garden exhibit, south lagoon in a setting of surpassing appropriateness and beauty, installed high amid the tall shrubbery as if emerging from the edge of one of her own forests, the huntress diana points the arrow she is about to let fly. this rendering by haig patigian, who made the heroic powers and other decorations on machinery hall, is simple, classic, pure, imaginative, poetic in purpose and in effect. he has softened the traditional coldness of the goddess by a warmer humanity without injuring the sense of proud aloofness. the maiden goddess of the hunt bears in her hand the crescent bow, its lines here strongly suggestive of those of the young moon, of which it is the symbol and this goddess the deity. mr. patigian exhibits in the colonnade a companion piece, "apollo, the sun god," twin brother of diana. a vivid figure of manly grace, apollo is presented in the guise of the sun of the morning. he kneels and shoots an arrow upward; the long, pleasing curve of his bow suggests the outline of the sun above the horizon as apollo releases his first bright shaft of light. eurydice garden exhibit, colonnade this "eurydice," by furio piccirilli, pictures the nymph as standing against the background of an echoing rock, listening to the distant strains of the magic lyre of her lover, orpheus. orpheus had been taught to play by apollo, his father, and could enchant the animate and inanimate world by his music. so he charmed the nymph, eurydice; but hymen, god of marriage, refused to prophesy happiness at their nuptials and soon eurydice, in escaping from a pursuer, trod upon a snake, was bitten and died. orpheus' sorrowful music moved all the earth to pity. even pluto and the keepers of erebus relented, allowed the musician to descend into their forbidden realm and lead eurydice back to life, provided he should not turn backward to gaze upon her until they reached the world of mortals. but the lover could not resist the desire to assure himself of her presence, looked, and lost her forever. furio piccirilli, who made this marble, is the sculptor who has graced the exposition with the four fountains of the seasons in the court of that name. for this "eurydice" and his other small group, "mother and child," he has taken a silver medal. wood nymph garden exhibit, colonnade isadore konti, from whose hand came also the inspiring, panels at the base of the column of progress, described in a preceding page, is the sculptor of this pretty "hamadryad." the dryads and hamadryads lived, according to old legend, within the trunks of trees and perished with their homes. so it was an impious act to destroy a tree without cause. this nymph of the woods has emerged from the tree-trunk home or from some rocky fastness and taken the urn of a naiad, a sister nymph of brook and fountain, to give drink to the gentle, confident fawn that is her charge. the little animal is lapping the stream that flows from the overturned vase. this study in white marble follows tradition and is regarded chiefly for its gentle grace and careful tooling. it is harmoniously composed and has a beautiful surface. mr. konti's varying moods are, represented in the fine arts collection by a number of works, each revealing a different intention - from the pretty and restful, like this, to the large and stirring. l'amour garden exhibit, colonnade there are few more complete examples of delicacy of feeling and of refined, caressing perfection of tooling than this exquisite marble group, "l'amour," by evelyn beatrice longman. the purity of its emotion, the tenderness and fidelity of its poignant pose, are surpassed only by the marvel of surface finish. the surface has been gone over so lovingly, so painstakingly, so repeatedly that the marble has taken on the soft, warm impression of living flesh. and the gentle unstrained modeling has the plastic grace of the human body. miss longman, winner, by the way, of a silver medal for exhibits in the fine arts, is the maker of the fountain of ceres in the forecourt of seasons that has been described. she is an earnest and serious artist of abundant talent whose work is treated with ever-increasing respect and admiration. she won the competition for the doors of the naval academy at annapolis, for which there were many distinguished aspirants. she presents love in the group under discussion as a rarefied and inspiring emotion in which the physical and spiritual commingle and "sense helps soul" as well as "soul helps sense." an outcast garden exhibit, colonnade this epic figure, "an outcast," compelling by its earnestness and the tragedy of its motive idea, is handled with firmness, assurance and a perfect sense of volume and sculptural mass values. it is exhibited by attilio piccirilli, the artist who designed the maine memorial in new york city. the appeal of "an outcast" is too direct to need any illumination. its frank bigness and physical power and tenseness, so suggestive and so desperate, are rodinesque. but though the work is influenced by that master's school and thought, it is by no means a copy of his method. this sculptor has a number of interesting groups in the exhibit palaces and has been granted a gold medal. the dejected and desolate outcast, so huge and so tragic, is in sharp contrast with the quaint and fanciful "fawn's toilet," by the same hand, at the entrance to the colonnade. attilio and furio piccirilli, whose work has been here noticed, are brothers, members of a family of sculptors. the sower garden exhibit, colonnade one of the most useful services of a great exposition, especially as it relates to the world of art, is its service in bringing to the attention of the public the power of new and rising stars on the horizon of achievement. albin polasek has made his work generally felt at this exposition, where he received a silver medal. he is one of the most talented sculptors of the american academy at rome. he won honorable mention in the paris salon in , and the prix de rome in . he was the holder of the cresson scholarship. his "sower" was the culminating work of his early labors, the product of his final year at rome, in which year a heroic figure is required of every student. it caused the critics to prophesy for this sculptor the future that is developing. mr. polasek's work has the same unassailable rigor of truth as that of charles grafly, who was his teacher. "the sower" ennobles an humble theme. it has sweep and life and distinction of bearing. in "the girl of the roman compagna," close at hand in this colonnade, the sculptor shows his equal power in a softer theme. the roman girl is a well-poised and beautiful expression of the spirit of old rome in the days of her grand simplicity. the bison garden exhibit, south approach these mighty monarchs of the plains, now disinherited by human progress, the american bisons, are here more than portrayed; they are realized. their essential characteristics, their strong mass, bulky without clumsiness, are made present and convincing in these two statues by a. phimister proctor, a master of animal sculpture. there is good reason for the living and sharp aspect of these plaster models. they are not copies of the permanent statues; they are the sculptor's own original plasters from which the permanent pieces were cast. a number of mr. proctor's animal studies stand in the great zoological parks of our nation. he does not idealize or humanize the beasts he depicts; but he understands them and reverses the underlying life that gives them their racial and personal individuality. partly his canadian love of the wild, partly a technician's delight in mastering this difficult phase of art, has caused a lifelong devotion to animal studies. they are not photographic, but combine the qualities of sculptural beauty with rugged and imposing freedom. a varied and stimulating collection of mr. proctor's work, exhibited at the exposition, has won a gold medal. it includes the famous "princeton tiger." the scout garden exhibit, south lagoon cyrus edwin dallin has devoted many years and much of his high talent to the poetry and beauty of the american indian. he says that this scout is to be the last of his long series of indian studies, and he believes it to be the best of them all. surely it has an exalted beauty and is a noble example of mr. dallin's firm, finished, accurate method, perfection of restraint and free grace of modeling. it has a clear and beautiful directness that is almost greek in feeling. those who do not believe in the picturesqueness and dignity of the indian as celebrated in these bronzes, need only to have seen the photographs in the exhibit of the indian memorial booth in the palace of education. some of the chiefs there shown have the dignity of caesar and the knightly splendor of heroic periods. copies of almost all the dallin indians and other of his notable works appear in the palace of fine arts, where mr. dallin is a gold medalist; they include the famous "appeal to the great spirit," which stands before the boston museum of art. the thinker exhibit, court of french pavilion it is a satisfaction that at the entrance to the pavilion of france should stand this great work of the master sculptor of our age. this is a replica of "le penseur" (the thinker), placed before the doors of the pantheon in paris. paul gsell says of it: "before us, the thinker, his fist beneath his chin, his toes clutching the rock upon which he sits, bends his back beneath the overpowering weight of a meditation that surpasses the endurance of the human spirit." here, tremendous, rugged, primitive human strength at its highest power suffers under the first great grapple of the human mind with problems of the unknowable universe. it is majestic, true, an expression of our age; it is everlasting art. rodin kept this replica outdoors for a long time, thinking the rigor of the elements helpful to its finish. "the thinker" and other rodins in the french pavilion are loaned by mrs. a. b. spreckels of san francisco. americans and american museums have long appreciated this master of whom octave mirbeau says: "not only is he the highest and most glorious artistic conscience of our time, but his name burns henceforth like a luminous date in the history of art." earth fruit pickers, court of ages in the corners of the ambulatory about the court of ages, crystallizing the color and design of its long, arched ceiling, are the opulent, warm, vibrant murals by frank brangwyn. they introduce to the general public of america this belgian-english artist who has long been esteemed among the great of the world. he has presented here the elements, two interpretations of each, in relation to their service to simple human life. the paintings are neither allegorical nor photographic, but highly interpretative of the luxuriant picturesqueness of nature and the everyday labors of man. the luminosity of color, dash and daring of contrast, fairly crackle with life and yet have rich depths of quietness. the two panels of earth glow with the earth's abundance. the first, the "fruit pickers," here shown, in which harvesters gather fruits from high trees and the laden ground, is notable for its marvelous massing of composition and color. the second, "dancing the grapes," is remarkable for its shimmering contrasts of light and shade. in both you get the tang of the harvest season. fire industrial fire, court of ages the two fire panels represent this element in its two phases of serviceability. the first shows its simplest use, that of giving warmth to man; the second, its more developed employment as an agent of manufacture. in the "primitive fire," a gray, woodsy plume of smoke rises to the autumn sky. a group of workers have made a fire at the edge of a grove; they surround it, some encouraging the growing blaze by blowing upon it, others leaning forward toward its warmth. the thin pillar of waving smoke is executed with such fidelity that it explains why this artist's admirers dwell upon his handling of fugitive surface tones, as smoke or clouds, as much as upon his more obvious excellences. in "industrial fire," here reproduced, the smoke rises not in fine line, but in heavy mass from a kiln. it is a rich cloud, colorful with iridescent metallic lustres. workers feed the blaze, their warm flesh glowing in the mixed light. whole vessels and broken bits of pottery are heaped and scattered upon the ground. water fountain motive, court of ages as the earth panels are luxuriant, teeming with a sense of plentitude, and the fire panels are moving with the grace of rising smoke, those that represent the phases of water are moist and lush. in the one here shown, "the fountain," people have come through the damp grasses, bearing their bright vessels to fill them with water that flows downward from a spring in a long, fine, curving bow. the beautiful grouping, the pose of the figures and the graceful lines of the vessels are unforgettable. the air is fluid; great white clouds stretch across the sky, which has the same liquid beauty as the water in the background. water-birds and dewy flowers add life and color. the grateful use of water for man's thirst is beautifully told. in the other water panel, "the net," hardy fishermen, standing in the water-reeds and blossoming flag-lilies, haul in the last catch of the brightly dying day. others bear on their heads baskets heavy with the success of earlier castings. heavy sea-clouds are tinted by the late afternoon sunshine. air the windmill, court of ages the two panels of air may well be thought of as the air that moves and the air that supports. in the first, "the windmill," which is illustrated, the motion of the wind and of the world it blows is dazzling. the field of, golden grain, bright in the glow of the sun that has just broken through the rain clouds, is quivering with graceful undulations. the great wings of the windmill turn, with flapping sails. the little kites are blown tempestuously. the garments of the workers wave forward as they walk, braced against the wind that blows from behind them. a brilliant rainbow and wind-blown dark rain-clouds tell the end of a passing storm. in the second air panel, which is called "the hunters," the air supports the arrows just shot from the bows of hunters who hide behind the last trees at the edge of a wood. it bears also flocks of homing birds and light clouds blown across a ruddy sunset sky. half dome court of the four seasons the murals in the court of the four seasons are the work of milton herbert bancroft. they are smooth, flat, highly decorative to the wall surfaces into which they blend with rare discretion and harmony. they have a soft beauty of coloring and a classic definiteness of outline that accord well with the pure feeling of this court. mr. bancroft has kept two ideas consistently throughout these murals. one is the abundance of rewards and delights brought by the changing seasons; the other, the fruitful labors of man. in this second idea special honor is tendered to those who labor in the arts and artistic crafts. to these two ideals the sculptor has given the unifying title, "the pleasures and work of the seasons." the panels of the seasons appear in the walls of the fountain niches. in the place of honor is the beautiful half dome; beneath its colorful decorated roof are the great, panels, "man receiving instruction in nature's laws" and "art crowned by time." in the former, nature holds her child, man, in her arms. she has summoned for him all the forces of the universe, who attend in a group of calm dignity. she teaches him that by obedience to her laws all these forces, earth, fire, water, life, and even death, will serve and never harm. the other panel is described on the following page. art crowned by time court of the four seasons in this calm and classic panel, "art crowned by time," the sculptor has done honor not only to the fine arts but also to those artistic crafts that fulfill the perfect combination of use and beauty. in the center of the panel stands art, a superb, regal figure, serenely indifferent to the wreath of appreciation with which she is being crowned by the hand of time. she is surrounded by her attendants, the useful crafts: weaving, with her distaff; glasswork, holding carefully a delicate example of her skill; jewelry, a beautiful youth severely garbed, bearing an ornate casket; pottery, with a finished vase upon her knee; smithery, carrying in his strong arm a piece of armor; and printing, cherishing in both hands a beautiful clasped book. the panel has a fine olympian dignity and an ornateness that becomes simplicity through grace of handling, and does not mar the correct mural flatness of surface. in spite of the gracefully composed grouping each figure has individual, almost statuesque, distinction. the treatment of the draperies is interesting. the seasons court of the four seasons the fountain niches of the seasons in the court of the four seasons are graced by milton herbert bancroft's appropriate panels. two of these, one on each wall of the fountain niche, are devoted to each season. one represents the pleasures that that period of the year brings forth for man; the other shows the duties it demands of him. in "spring," we have the poet's conception of the time of blossoms and garlands, of young loves, piping shepherds and dancing maidens, while the goddess of the season dreams of coming glories. in the companion panel, "seedtime," the waiting farmers attend her as she stands, sceptered with an easter lily, and extends her benison on the land. "summer" crowns the victors in athletic sports; while in "fruition" the goddess of the season receives the tribute of the successful workers of the soil. the panel called "autumn" is gay with the dance of the vineyard festival; three happy figures modeled with grace and much refinement are placed on a background divided into panels by a vine. but "harvest" is quiet and serious; the goddess, bearing the torch of indian summer, receives the sheaves of the gleaners. so in "winter," one panel shows festivity, with the old bard, the christmas garland and the gaieties of the home; the other, the distaff by the fireside, the huntsman and the wood-cutter. westward march of civilization arch, nations of the west decorating the inner walls of the arch of the setting sun are two long, colorful panels by frank vincent du mond, inspired by the historical background of the west. they have refreshing vividness of color, clear precision of draughtsmanship and a bright enthusiasm for their subject. with a narrative quality unusual in a mural they commemorate the adventurous spirit that led a stable civilization in the march across the continent of america. in the panel, "leaving the east," emigrants depart from a barren, snowy coast, upon which stands the meeting-house, source of so many national traditions. a youth bids farewell to his sorrowing friends; a group of adventurers bearing the bare necessities of life leads the way to the frontier. in the central group, surrounding the old concord wagon laden with household goods, appear the jurist, preacher, schoolmistress, the child - symbol of the home - the plains' driver and the trapper. a symbolic figure, "the call of fortune," accompanies them. some of the characters are actual portraits, as are also the artist, writer, scholar, architect and sculptor in the opposite panel, "the arrival in the west." in this the lavishness and opulence of california welcome the pioneers. mr. du mond is a member of the international jury of awards in the fine arts department of the exposition. discovery - the purchase tower of jewels the murals in the great tower are properly dedicated to the panama canal. in them william de leftwich dodge admirably interprets its history, labors and triumphant achievement. each of the long decorative bands is divided into three panels. the central panels, feet long, are, on the west wall, "the atlantic and the pacific," celebrating the united nations face to face across the united waters, and on the east, "the gateway of all nations," an allegorical pageant of triumph. the "gateway of all nations" is flanked by "achievement" and "labor crowned," noble and timely tributes to the workers who made the canal. those here reproduced, opposing them on the western wall, are historic. "discovery" shows balboa, "on a peak in darien," in awe at his great moment of discovering the pacific. the spirit of adventurous fortune attends him. watching him, sits the indian guarding his treasures, a tragic prophecy in face and figure. "the purchase" commemorates the part of france in this achievement. columbia is purchasing the title from her sister republic. american workmen, led by enterprise, take up the tools that french laborers have relinquished. ideals of emigration arch, nations of the east the mural panels in the eastern arch are devoted to the ideals and motives that brought men across the sea. they are by edward simmons and show that fresh juvenility of touch, that exquisite lucid tenderness of color and gentle lightness of motion that give his work its delightful poetic quality. but mr. simmons' art has always a deep accent and the imagery in these panels touches fundamentals. "visions of exploration," the upper as here pictured, are hope and illusory hope - she who casts bubbles behind her - adventure, following the lure of the bubbles; then, in a dignified central group, commerce, imagination, fine arts and religion; these, followed at a little distance by wealth and the family, potent motives of the immigrant of today. in the background, the taj mahal and a modern city indicate the ideal and the practical. on the opposite panel, called the "lure of the atlantic," the call of the new world, a youth blowing a trumpet, summons the brave explorers, the man of atlantis, of the classic age, of northern and southern europe, the missionary priest, the artist and the modern immigrant. they are followed by the veiled future, still hearkening to the onward call. the golden wheat rotunda, palace of fine arts the richly ornate ceiling of the rotunda of fine arts is embellished by a double series of eight panels from the brush of robert reid, in the luminous, fervid, joyous vein that characterizes the method of this highly honored american artist. the task assigned him here was a test of skill. the arched effect, so beautifully achieved, and the great accomplishment of merging the huge, brilliant panels into the decorative plan, were not the only difficulties. he had also to calculate the scale of proportion to a mathematical nicety, to make the figures large enough to appear the proper size when viewed so high overhead. the panels are in two sequences, four of them devoted to each subject. the sequence of which an example is illustrated is the four golds of california: "the golden poppy," the "cup of gold" that makes the spring a glory on california hills; "the golden fruit," the citrus fruits that are her pride; "the golden metal" that called the world to her hill-sides, and "the golden wheat," here shown, the treasure of her fields, borne high in honor. these alternate with the sequence of the golden arts, described on the succeeding page. oriental art rotunda, palace of fine arts the great panels of the golden arts alternate, in the ceiling of the rotunda of fine arts, with the four golds of california. all of these panels so tone their brilliancy into the great sweep of the ceiling that the beholder gets a sense of the beauty of the whole rather than that of any part. this arching, floating unity of the ceiling is an admirable example of the self-control of the muralist. the golden arts are interpreted by symbolic groups including a larger number of figures than the four golds. they are entitled "inspirations of all art," "ideals in art," "the birth of european art," and "oriental art," here illustrated as typical. in this, against the soft but sparkling background of bright sky and clouds that supports all of the panels, are set with much verve the historical, legendary and romantic inspirations of oriental art. the group is dominated by a contest between an eagle and a knight mounted upon a dragon - based upon a legend of the ming dynasty. fugi, the sacred mountain, is in the distance; the sacred dog attends the chinese hero in the foreground. a beautiful japanese woman - indicating the inspiration of romance, east and west - sits among flowers. the space is filled in a manner appropriately and charmingly suggestive of oriental composition. the arts of peace netherlands pavilion the pavilion of the netherlands is inevitably reminiscent of the peace palace of the hague, by natural association of ideas and because of the spirit of its central mural painting, "the arts of peace." it is therefore an interesting fact that hermann rosse, the artist who painted this imposing work, and, indeed, designed the entire interior decoration of the pavilion, was also muralist and decorator of the palace of peace. the pavilion walls and hangings - steel blue, olive green and silver grey, relieved by quaint conventional stencils of orange trees and tulips and severe shields of the four divisions of the kingdom - has a broad, cool puritanism that lends itself well to the rich depth of the painting. holland holds high the image of peace, surrounded by the peace-nurtured arts and industries on whose support all human welfare rests. among them stand not only representatives of trades and crafts, with their symbols and implements, but also the art of motherhood and the art of play shown by a happy child. ships of all ages in side-panels and background tell of the maritime history of holland which so largely and peacefully colonized the world. beneath the painting is a comforting and inspiring legend. penn's treaty with the indians pennsylvania building the pennsylvania building was designed with the patriotic purpose of enshrining the liberty bell. the bell stands in a loggia between two wings, the architectural motif following that of independence hall. on the walls of the loggia are two mural lunettes of distinction by edward trumbull of pittsburg. their deep glowing color and massive grouping mark mr. trumbull a worthy pupil of his master, frank brangwyn. "penn's treaty with the indians," here given, shows william penn and the foremost of his shipmates on "the welcome" making with chief tamanend and his braves the treaty of shackamaxon in , the treaty that never was broken. the plainness of the kindly friends, the barbaric splendor of the indians, the deep green of the overarching treaty elm and the lovely typical pennsylvania landscape have enduring attraction. the panel is in contrast with mr. trumbull's vigorous and burning modern picture, "the steel workers," on the opposite wall. in the reception room of this building are seven delightful small panels by charles j. taylor, showing the early life of pennsylvania villages. they are painted in the quaint style of old colonial decorations and have charm, humor, naivete and beauty too pleasing to be overlooked. return from the crusade court, italian pavilion the courts and palaces of italy, with their appearance of age and their remote, sheltered calm, present an education in artistic reserve and decorative uses of space that all who linger may learn. they represent four centuries of architecture, of three historic types. the lovely piazzetta with its antique well is the center of beauty. on one of its walls is what appears to be an ancient mural, soft, flat, with that faded, velvety coloring associated with age. it was recently painted by mathilde festa-piacentini, in the ancient manner to harmonize with the court. it represents "the return from the crusade" of one noble pandolfo, and bears date and description in latin. quaint old-time stiffness and weather-worn coloring combine with modern correctness and fluency. the young artist is the wife of the architect of the pavilion and has won a silver medal in the italian section of fine arts. below this lunette stands a bronze copy of an antique david with the marble head of goliath. other interesting murals appear in italy's pavilion, by pierretto banco and bruno ferrari, son of the sculptor, ettore ferrari. the riches of california tea room, california building the tea-room of the auxiliary to the woman's board, in the california building, was decorated by florence lundborg, a californian whose work has won consideration in this country and in france. in her large mural, "the riches of california," one of the most extensive ever painted by a woman, and in the supplementary medallions she has expressed the generous abundance of california's fruitage. feeling a similarity between copious california and sicily, where she has lived and painted, the artist chose for her text a line from theocritus describing that country: all breathes the scent of the opulent summer, the season of fruits. this inscription, in old spanish lettering, surrounds the great canvas. across a restful, soft-toned landscape, bright but tempered, the peaceful, happy harvesters bear homeward the plenteous fruit. a mood of quiet gladness is over all. the window arches, throughout the soft gray walls of the room, are marked by brilliant medallions of fruit and flowers, sumptuously composed upon a gold background. here ends the sculpture and mural decorations of the exposition, with an introduction by a. stirling calder. the descriptive titles have been written by stella g. s. perry. edited by paul elder. published by paul elder and company and seen through their tomoye press under the typographical direction of h. a. funke, in the city of san francisco during the month of october, nineteen hundred and fifteen panama-pacific international exposition the jewel city: its planning and achievement; its architecture, sculpture, symbolism, and music; its gardens, palaces, and exhibits by ben macomber with colored frontispiece and more than seventy-five other illustrations introduction no more accurate account of the panama-pacific international exposition has been given than one that was forced from the lips of a charming eastern woman of culture. walking one evening in the fine arts colonnade, while the illumination from distant searchlights accented the glory of maybeck's masterpiece, and lit up the half-domes and arches across the lagoon, she exclaimed to her companion: "why, all the beauty of the world has been sifted, and the finest of it assembled here!" this simple phrase, the involuntary outburst of a traveled visitor, will be echoed by thousands who feel the magic of what the master artists and architects of america have done here in celebration of the panama canal. i put the "artists" first, because this exposition has set a new standard. among all the great international expositions previously held in the united states, as well as those abroad, it had been the fashion for managers to order a manufactures building from one architect, a machinery hall from another, a fine arts gallery from a third. these worked almost independently. their structures, separately, were often beautiful; together, they seldom indicated any kinship or common purpose. when the buildings were completed, the artists were called in to soften their disharmonies with such sculptural and horticultural decoration as might be possible. the exposition in san francisco is the first, though it will not be the last, to subject its architecture to a definite artistic motive. how this came about it is the object of the present book to tell,--how the exposition was planned as an appropriate expression of america's joy in the completion of the canal, and how its structures, commemorating the peaceful meeting of the nations through that great waterway, have fitly been made to represent the art of the entire world, yet with such unity and originality as to give new interest to the ancient forms, and with such a wealth of appropriate symbolism in color, sculpture and mural painting as to make its great courts, towers and arches an inspiring story of nature's beneficence and man's progress. much of mr. macomber's text was written originally for the san francisco chronicle, to which acknowledgment is made for its permission to reprint his papers. the popularity of these articles, which have been running since february, has testified to their usefulness. in many cases they have been preserved and passed from hand to hand. they have also won the endorsement of liberal use in other publications. it is proper to say, however, that similarity of language sometimes indicates a common following of the artists' own explanations of their work, made public by the exposition management. mr. macomber has revised and amplified his chapters hitherto published, and has added others briefly outlining the history of the exposition, and dealing with the fine-arts, industrial, and livestock exhibits, the foreign and state buildings, music, sports, aviation, and the amusement section. apart from the smaller guides, the book is thus the first to attempt any comprehensive description of the exposition. without indiscriminate praise, or sacrificing independent judgment, the author's purpose has been to interpret and explain the many things about which the visitors on the ground and readers at home may naturally wish to know, rather than to point out minor defects. for the general exhibit palaces, anything more than a brief outline of their contents would fill several books. but the chapter entitled "the palace of fine arts and its exhibit, with the awards," supplies such an account of the plan of the galleries and of the important works therein as will furnish a clear and helpful guide to this great collection. the awards of the fine arts juries, just announced, have been incorporated in the account, while a full list of the grand prizes, medals of honor and gold medals also follows the chapter. with the artists thus named are noted the rooms where the works of each may be found. the appendix offers a practical aid to the study of the "exposition art" in the list there given of the mural paintings and sculptures which form the notable decorations of palaces and gardens. with these are cross-references to the pages in the text where they are described. in selecting the photographs here reproduced, the aim has been not so much to show exhibits as to illustrate the plan, architecture and decorative art of the exposition, and to indicate the advance which it scores over its predecessors. the pictures, with their full "underlines," will aid those who have not yet visited the exposition to apprehend its spirit and much of its unprecedented beauty. cross-references from text to illustrations increase their helpfulness. but even these abundant illustration can do little more than suggest how far the artistic achievement is the finest yet seen in america. no book can adequately represent this world's fair. its spell is the charm of color and the grandeur of noble proportion, harmonizing great architectural units; its lesson is the compelling value, demonstrated on a vast scale, of exquisite taste. it must be seen to be understood. john h. williams. san francisco, july , . contents i. motive and planning of the exposition ii. ground plan and landscape gardening iii. the south gardens iv. "the walled city": its great palaces and their architecture, color and material v. the tower of jewels vi. the court of the universe vii. the court of the ages viii. the court of the seasons ix. courts of flowers and palms x. the fountains xi. the palace of machinery xii. the palace of fine arts and its exhibit, with the awards xiii. the exposition illuminated xiv. music at the exposition xv. inside the exhibit palaces xvi. the foreign pavilions xvii. the state buildings xviii. the live-stock exhibit xix. sports and games; automobile races; aviation xx. the joy zone appendix: lists of sculptures, mural paintings, and artists. roster of the exposition. index. illustrations unless otherwise noted, these are from photographs by the official photographers, the cardinell-vincent company. roman arch of the setting sun, color plate from photo by gabriel moulin ground plan of the palace of fine arts aeroplane view of the exposition, photo copyrighted by gabriel moulin avenue of palms the south gardens the palace of horticulture festival hall--george h. kahn map of the panama-pacific international exposition "listening woman" and "young girl," festival hall south portal, palace of varied industries--j. l. padilla palace of liberal arts sixteenth-century spanish portal, north facade "the pirate," north portal "the priest," tower of jewels the tower of jewels and fountain of energy "cortez"--j. l. padilla under the arch, tower of jewels fountain of el dorado column of progress--pacific photo and art co. "the adventurous bowman" arch of the setting sun--j. l. padilla frieze at base of the column of progress ( ) the court of the universe and arch of the rising sun "earth" and "fire" ( ) "the rising sun" and "the setting sun" ( ) tower of the ages--j. l. padilla fountain of the earth--j. l. padilla "air," one of brangwyn's murals the court of seasons arch in the court of seasons--george h. kahn court of flowers, detail--pacific photo and art co. "the end of the trail"--j. l. padilla "the pioneer" the court of palms. portal between the courts of palms and seasons--pacific photo and art co. fountain of summer--j. l. padilla the mermaid fountain fountain of "beauty and the beast" the palace of machinery palace of machinery, interior vestibule, palace of machinery--gabriel moulin palace of fine arts open corridor, palace of fine arts detail of rotunda, palace of fine arts colonnade, fine arts, and half-dome, food products palace --j. l. padilla "the mother of the dead" "high tide; the return of the fishermen"--gabriel moulin "among the white birch trunks"--gabriel moulin tower of jewels at night--j. l. padilla "the outcast" "muse finding the head of orpheus" palace of fine arts at night--paul elder co. tympanum, palace of varied industries tympanum, palace of education "the genius of creation" pavilions of australia and canada ( ),--h. w. mossby, j. l. padilla pavilions of france and the netherlands ( ) rodin's "the thinker"--friedrich woiter a court in the italian pavilion the pavilion of sweden pavilions of argentina and japan ( ) the new york state building--pacific photo and art co. california building illinois and missouri ( ) massachusetts and pennsylvania ( ) inside the california building oregon and washington ( ) aeroplane flight at night the jewel city i. motive and planning of the exposition the panama canal a landmark in human progress--its influence through changes in trade routes san francisco determines, in spite of the great fire, to celebrate its completion--millions pledged in two hours-- congressional approval won--the exposition built by california and san francisco, without national aid--only two years given to construction-- fifty millions expended. human endeavor has supplied no nobler motive for public rejoicing than the union of the atlantic and pacific oceans. the panama canal has stirred and enlarged the imaginations of men as no other task has done, however enormous the conception, however huge the work. the canal is one of the few achievements which may properly be called epoch-making. its building is of such signal and far reaching importance that it marks a point in history from which succeeding years and later progress will be counted. it is so variously significant that the future alone can determine the ways in which it will touch and modify the life of mankind. first of all, of course, its intent is commercial. experts have already estimated its influence on the traffic routes. but these experts, who can, from known present conditions, work out the changes that will take place, that are already taking place, in the flow of commerce on the seven seas, cannot estimate the effect those changes will have on the life of the people who inhabit their shores. changes in trade routes have overwhelmed empires and raised up new nations, have nourished civilizations and brought others to decay. from the days when merchants first followed the caravan routes, nothing has so modified the history of nations as the course of the roads by which commerce moved. huge as was the canal as a physical undertaking alone, it is not less stupendous in the vision of the effects which will flow from it. in this vision, the western shore of the united states feels that it looms largely. no small part of the benefits of the canal are expected to fall to the pacific states. long before it was completed, the minds of men in the west were filled with it. its approaching completion appealed to everyone as an event of such tremendous significance as to deserve commemoration. thus when r. b. hale, in , first proposed that the opening of the waterway should be marked by an international exposition in san francisco, he merely gave expression to the thought of the whole west. the canal is a national undertaking, built by the labor and money of an entire people. it is of international significance, too, for its benefits are world-wide. the exposition thus represents not only the united states but also the world in its effort to honor this achievement. san francisco and california have merely staged the spectacle, in which the world participates. an international exposition is a symbol of world progress. this one is so complete in its significance, so inclusive of all the best that man has done, that it is something more than a memorial of another event. it is itself epochal, as is the enterprise it commemorates. it bears a direct relation to the canal. the motive of the exposition was the grandeur of a great labor. completed, it embodies that motive in the highest expression of art. it took eleven years to prepare for and build the exposition. the first proposal in was followed by five years of discussion of ways and means. two years were occupied in raising the money and winning the consent of the nation, and then four years more in planning, building, and collecting the exhibits. the first plans were interrupted, but not ended, by the most terrible disaster that ever befell a great city--the fire of , which wiped out the entire business portion, with much of the residence section, of san francisco, and destroyed hundreds of millions of wealth. before that year ended, and while the city was only beginning its huge task of rebuilding, it again took up its festival idea. a company was formed, but, until reconstruction was largely out of the way, it was impossible to do more than keep the idea alive. in october, , the idea began to crystallize into a definite purpose. in that month president taft, at a banquet at the fairmont hotel, declared that the canal would be opened to commerce on january , . that announcement gave the final impulse to the growing determination. the success of the portola celebration that summer had given the city confidence in its ability to carry out a great festival undertaking. in fact, it was at a meeting of the portola committee that the first move was made toward the organization that later became effective. a mass-meeting in the merchants' exchange, on december , , ended in a resolve to organize an exposition company. this found such strong popular support that at a second mass-meeting on april , , $ , , was subscribed in less than two hours. in two months the subscription had risen to $ , , . governor gillett called the california legislature in special session in august to submit to the people constitutional changes enabling san francisco to issue exposition bonds in the amount of $ , , , and the state to raise another $ , , by special tax. in november the people of state and city voted the two amounts. that placed a minimum of $ , , to the credit of the exposition company and assured the world that california meant business. then followed the struggle for congressional approval. new orleans demanded the right to celebrate the opening of the panama canal. all the resources of both cities were enlisted in a battle before congress that drew the attention of the nation. three times delegations went from california to washington to fight for the exposition. california won, on january , , when, by a vote of to , the house of representatives designated san francisco as the city in which the panama-pacific international exposition should be held in to commemorate the opening of the canal. during this struggle california gave her word that she would not ask the nation for help in financing the exposition. the promise has been kept. the government has not even erected a national building. it has, however, helped in material ways, by granting the use of portions of the presidio and fort mason reservations, by sending naval colliers to bring exhibits from european countries, and by becoming one of the heaviest exhibitors. the national exhibits include three companies of marines encamped on the grounds, and the battleship oregon anchored off the marina. after congress had acted, half a year was spent in choosing a site. it was at first expected that the exposition would be built in golden gate park. a compromise among advocates of different sites was reached on july , , when a majority vote of the directors named a site including portions of golden gate park, lincoln park, the presidio, and harbor view. before , people president taft broke ground for the exposition in the stadium of golden gate park. but it was not long before the choice settled finally on harbor view alone. the work began with the organization of the architectural staff. the following architects accepted places on the commission: mckim, mead and white, henry bacon, and thomas hastings of new york; robert farquhar of los angeles; and louis christian mullgardt, george w. kelham, willis polk, william b. faville, clarence r. ward, and arthur brown of san francisco. to their number was later added bernard r. maybeck of san francisco, who designed the palace of fine arts, while edward h. bennett, an associate of burnham, of chicago, made the final ground plan of the exposition group. when san francisco had been before congress asking national endorsement for the exposition here, the plans which were then presented, and on which the fight was won, were prepared by ernest coxhead, architect, of this city. these proposed a massed grouping of the exposition structures, around courts, and on the bay front. they were afterwards amplified by coxhead, and furnished the keynote of the scheme finally carried out. while the exposition belongs not to california alone, but to the whole world, it is pleasant to find that so much of what is best in it is the work of californians and san franciscans. the architects perfected the plan in . at the same time the actual work of preparing the site was completed with the filling of the tide-land portions by hydraulic dredgers and the removal of the standing buildings. in the same year the department chiefs were named and began their work. john mclaren, for many years superintendent of golden gate park, was put in charge of the landscape engineering; w. d'a. ryan was chosen to plan the illumination, and jules guerin and k. t. f. bitter were placed at the heads of the departments of color and sculpture. with these details behind, the ground-breaking for machinery palace in january, , marked the beginning of the final stage. in the two years that remained it was necessary only to carry out the plans already perfected. no other exposition has been so forehanded. when the gates opened on february , , to remain open till december , the exposition was practically complete. some of the exhibitors had not finished their installation; some of the foreign nations were not ready, but the exposition had kept a promise made two years before to have its own work done on time. this achievement was quite unprecedented. it is the more remarkable in that the record was made by a city which had been almost annihilated by fire a few years before. the entire cost of the exposition, exclusive of the value of exhibits, is estimated by the controller at $ , , . this total is made up of $ , , spent by san francisco and california, $ , , laid out in state and foreign buildings and displays, $ , , by private exhibitors, and $ , , by the one hundred concessionaires on the joy zone. san francisco contributed $ , , , the state of california $ , , , and its fifty-eight counties, $ , , . the amounts expended by foreign nations range from $ , , by argentina to sums as low as $ , . the state of new york spent nearly $ , , . ii. ground plan and landscape gardening the exposition a product of co-operation of the arts--the landscape made part of the scheme--block grouping of palaces and courts--plan of the buildings--mclaren's wonders in gardening--succession of flowers throughout the exposition--changes overnight--unique wall of living green. the artistic quality which distinguishes this exposition above all others in america or europe rests on two outstanding facts: the substantial unity of its architectural scheme, and its harmony of color, keyed to nature's coloring of the landscape in which it is placed. the site furnished the clue to the plan; co-operation made possible the great success with which it has been worked out. "centuries ago," said george w. kelham, chief of exposition architecture, "before the modern age of advanced specialization was dreamed of, had an architect been asked to create an exposition, he would have been not only an architect, but painter, sculptor and landscape engineer as well. he would have thought, planned and executed from this fourfold angle, and i doubt if it would have even occurred to him to think of one of the arts as detached from another." these words express the method of the exposition builders. the scheme adopted was a unit, in which all of the arts were needed, and in which they all combined to a single end. each building, each court, every garden and large mass of foliage, was designed as part of a balanced composition. to make the landscape an integral part of the exposition picture, by fitting the exposition to the landscape, was the common aim of architect, colorist, sculptor and landscape engineer. the mediterranean setting offered by a sloping bench on the shore of the golden gate suggested, as most capable of high expression of beauty, the scheme of a city of the far east, its great buildings walled in and sheltering its courts. the coloring of earth, sky and sea furnished the palette from which tints were chosen alike for palaces and gardens. the beauty of this plan is matched by its practical advantages. the compact grouping of the exposition palaces not only meant a saving of ground and labor, but it makes it easier to handle the crowds, and lessens the walking required of the visitor. there is no monotony. in developing the general idea, each architect and artist was left free to express his own personality and imagination. the result is that varied forms and colors in the different courts and buildings blend truly into the whole picture of an oriental city, set in the midst of a vast amphitheater of hills and bay, arched by the fathomless blue of the california sky. the ground plan is as simple as it is compact. entering through the main gate at scott street, the visitor has the exposition before him, practically an equal section on either hand. (see map, p. , .) on right and left in the south garden are festival hall and the palace of horticulture. (p. , , .) in front is the tower of jewels, before it the fountain of energy. (p. .) the tower centers the south front of a solid block of eight palaces, so closely joined in structure, and so harmonized in architecture, as to make really a single palace. on the right and left of the tower are the palaces of manufactures and liberal arts; beyond them, on east and west, are varied industries and education. behind these four, and fronting on the bay from east to west, are mines, transportation, agriculture and food products. in the center of the group, cut out of the corners of the manufactures, liberal arts, agriculture and transportation palaces, and entered from the south through the tower of jewels, is the great court of the universe, opened on east and west by the triumphal arches of the nations. (p. and .) the court opens northward between the palaces of transportation and agriculture in a splendid colonnaded avenue to the column of progress, near the bay. (p. .) through the arch on the east the court of the universe opens into an avenue which leads to the court of the ages, cut out of the intersection of the four palaces of manufactures, varied industries, mines and transportation. (p. .) a similar avenue on the west passes to the court of seasons, carved from the common junction of liberal arts, education, food products and agriculture. (p. and .) avenues pass east and west and to the north from each of these two courts, and on the south each connects through an arch with a court set back into the south front of the palace group, the courts of flowers and palms. (p. , , , , .) on east and west of this central group of eight palaces are the palace of machinery and the palace of fine arts (p. , ), serving architecturally to balance the scheme. east of the exhibit palaces is the joy zone, a mile-long street solidly built with bizarre places of amusement. balancing the zone on the west is the state and foreign section, with the live-stock exhibits, the polo field, race track and stadium beyond, at the western extremity of the grounds. the state buildings stand along two avenues on the north side of the section; the foreign pavilions occupy its southern half. the tower of jewels and the central palace group face south on the avenue of palms (p. ), which, at its west end, turns as it passes the fine arts lagoon, and becomes the avenue of nations. this latter highway, bordered by the foreign buildings, joins at its western extremity the esplanade, a broad avenue passing the north face of the palace group and continuing westward between the state and the foreign sections. on the east, the avenue of progress divides the central group from the palace of machinery. administration avenue on the west separates the central group from the palace of fine arts. along the bay shore is the marina, and between it and the esplanade are the yacht harbor and the lawns of the north gardens. surrounding all these buildings, filling the courts and bordering the avenues, are john mclaren's lovely gardens. for multitudes of visitors this landscape gardening is the most wonderful thing about the exposition. the trees and flowers have been placed with perfect art; they look as though they had been there always. it is hard for a stranger to believe that three years ago the exposition site was a marsh, and that these trees were transplanted last year. the avenue of palms is bordered on each side for half a mile with a double row of california fan palms and canary date palms, trees from eighteen to twenty-five feet high and festooned higher than a man's head with ivy and blooming nasturtium. (see p. .) these massive plants, soil, roots, vines and all, were brought bodily from golden gate park. against the south walls of the buildings facing this avenue are banked hundreds of eucalyptus globulus, forty to fifty feet high, with smaller varieties of eucalyptus, and yellow flowering acacias. the avenue of progress is bordered with groups of draceona indivisa, averaging twenty feet in height. the walls of the palaces on either hand are clothed with tall monterey and lawson cypresses and arbor vitae. between these and the draceonas of the avenue are planted specimens of abies pinsapo, the spanish fir. banks of flowers and vines cover the ground around the bases of the trees. administration avenue has on one side the thickets of the fine arts lagoon, on the other, masses of eucalyptus globulus against the palace walls, finished off with other hardy trees and shrubs. against the north front of the palaces are set monterey cypresses and eucalyptus, banked with acacias. the entire city side of the south gardens is bordered by a wondrous wall of living green,--not a hedge, but truly a wall,--the most surprising of all mclaren's inventions. for this wall, though living, is not rooted in the ground, but is really a skeleton of timbers, three times the height of a man, paneled solidly on both sides with shallow boxes of earth thickly set with a tiny green plant, which, as though crushed down by the weight of its name, mesembryantliemum spectabilis, hugs the soil closely. each box, really nothing more than a tray, is barely deep enough to contain a couple of inches of earth, and is screened over with wire mesh to prevent the slice of soil from falling out when it is set on edge. some thousands of these boxes are required to cover the entire wall, which thus appears a solid mass of greenery. the little plant looks like the common ice-plant of old-fashioned gardens, and is actually kin to it. it asks little of this world, is accustomed to grow in difficult places, and is kept green by sprinkling. if a section of it gives up the struggle, the tray may be replaced with a fresh one. from time to time a blush of tiny pink flowers runs over the wall. there seems to be no season for the blossoms, but whenever the sun shines, this delicate shimmer of bloom appears. the season opened in the great sunken garden of the court of the universe with solid masses of rhododendron. the court of the ages was a pink flare of hyacinths, which, with an exquisite sense of the desert feeling of the court, were stripped of their leaves and left to stand on bare stalks. the south gardens and the court of flowers were a golden glow of daffodils. daffodils, too, were everywhere else, with rhododendron just breaking into bloom. the daffodil show lasted several weeks until, over night, it was replaced by acres of yellow tulips blooming above thick mats of pansies. this magic change was merely the result of mclaren's forethought. the daffodils had all been set at the right time to bloom when the exposition opened. the pansies were set with them, but were unnoticed beneath the taller daffodils. unnoticed also were the tulips, steadily shooting upward to be ready in bloom the moment the daffodils began to fail. one night and morning scores of workmen clipped off all the fading daffodils, and left a yellow sea of tulips with cups just opening. when the tulips faded early, because of continued rains, the solid masses of pansies remained to keep up the golden show. with the end of the yellow period came three months of pink flowers, to be followed in the closing third of the exposition's life by a show of variegated blooms. this marvelous sequence of flowers without a gap is not the result of chance, or even of california's floral prodigality, but of mclaren's hard-headed calculation. he actually rehearsed the whole floral scheme of the exposition for three seasons beforehand. to a day, he knew the time that would elapse between the planting and the blooming of any flower he planned to use. thus he scheduled his gardening for the whole season so that the gardens should always be in full bloom. in mclaren's program there are ten months of constant bloom, without a break, without a wait. no such gardening was ever seen before. needless to say, it could hardly have been attempted elsewhere than in california. iii. the south gardens a charming foreground to the great palaces--palace of horticulture and some of its rare plants--food for pirates--ancient and blue-blooded forest dwarfs--the horticultural gardens--house of hoo hoo--festival hall, with its fine sculptures by sherry fry--a remarkable pipe organ. entering the exposition by the main or scott street gate, the visitor has before him the beautiful south gardens. (see p. .) these form an animated and effective foreground for the exposition palaces. except for their fountains, the gardens and the structures in them are less notable for sculpture than the central courts of the exposition. most of the plastic work here is purely decorative. the gardens are formal, french in style, laid out with long rectangular pools, each with a formal fountain, and each surrounded by a conventional balustrade with flower receptacles and lamp standards. in harmony with their surroundings, the buildings, too, are french, of florid, festival style. the palace of horticulture, bakewell and brown, architects, is the largest and most splendid of the garden structures. (p. .) byzantine in its architecture, suggesting the mosque of ahmed i, at constantinople, its gallic decorations have made it essentially french in spirit. the ornamentation of this palace is the most florid of any building in the exposition proper. yet this opulence is not inappropriate. in size and form, no less than in theme, the structure is well adapted to carry such rich decoration. this is the palace of the bounty of nature; its adornment symbolizes the rich yield of california fields. in harmony also with the theme, the human figure is absent from the sculpture, save in the caryatids of the porches and the groups supporting the tall finials. fruits and flowers, interwoven in heavy garlands and overflowing from baskets and urns, carry out the idea of profuse abundance. the great dome, larger than the dome of either st. peter's at rome or the pantheon at paris, is itself an overturned fruit basket, with a second latticed basket on its top. the conception of profusion becomes almost barbaric in the three pavilioned entrances, flanked on either side by the tall finials suggesting minarets. here the oriental influence of the architectural form, the mosque, becomes most pronounced, changing to french again in the caryatid porches. altogether, the palace of horticulture is a beautiful building, but rather hard to see properly from the ground. from an elevation, where it appears more as a whole, it is far more effective. curiously, it photographs better than any other building here, save the fine arts palace, but in actual view it hardly lives up to the pictures. perhaps this is because the comparatively small portions of the structure seen between the trees near-by are dwarfed by the huge dome, while in photographs the camera emphasizes the lower and nearer sections and reduces the proportions of the dome. the exhibit housed under the great dome should not be passed by. a vivid bit of the tropics is the cuban display. here, in an atmosphere artificially heated and moistened to reproduce the steaming jungle, is massed a splendid exhibit of those island trees and flowers that most of us know only through pictures and stories of southern seas. around the central source of light, which is hidden under tropic vines, stands a circle of royal palms; and planted thickly over the remaining space are jungle trees, vivid enough to our imagination, but many of which have never before been seen in this country. boys who feel pirate blood in their veins will revel in this reproduction of the scenes of imagined adventure. any reasonable pirate could be quite happy here. for here is the breadfruit tree, read of in many a tale of castaways; also the cocoanut palm, with the fruits hanging among the fronds, waiting for the legendary monkey to scamper up the trunk and hurl the great balls at the heads of the beholders. here, too, are the mango, and many sorts of bananas, and the cabbage palm, another favorite resource of starving adventurers. with these there are other jungle denizens,--the bamboo palm, the paperleaf palm, splendid specimens of the world-old cycad family, the guanabana, and a tom thumb palm, which, full grown, is no more than a handbreadth high. ancient among trees are the two specimens of microcycas from the swamps of cuba. these methuselahs of the forest are at least , years old, according to the botanists. they are among the slowest growing of living things, and neither of them is much taller than a man. they were seedlings when alfred the great ruled england, and perhaps four feet high when columbus first broke through the western seas. in the four centuries of cuban history they have not grown so much again. these venerable trees belong to the bluest-blooded aristocracy of the vegetable world. ages ago they inhabited our northern states. their family has come down practically unchanged from the steaming days of the carboniferous period, when ferns grew one hundred feet high, and thronged with other rank tropical growths in matted masses to form the coal measures. the fossil remains of cycads in the rocks of that period prove that they once flourished in the tropic swamps where now are the hills of wyoming and dakota. scattered among the trees is a host of flowering vines, of huge crotons with variegated leaves, giant gardenias and tropical lilies. when these bloom, the air of this transplanted jungle is heavy with the perfume of their own island habitat. the horticultural gardens south of the palace belong to it, and contain a large part of the horticultural exhibits. as they were planted for competitive exhibition purposes, they will not show the constant beauty that appears in the south gardens. here we must wait for the flowers in their season, and not expect to have them changed overnight for us by the gardeners' magic. back of this horticultural garden is the house of hoo hoo, in forestry court, flanked by the pine and redwood bungalows. it needs but a glance at its beguiling loveliness to know that here is another lesson in art and architecture by bernard maybeck. here again is poetry in architecture, of a different order from the noble theme of maybeck's fine arts palace, but none the less poetry. this is a sylvan idyll, telling of lofty trees, cool shades, and secret bowers of fern and vine and wild flower, in the moist and tangled redwood forests. there is little used but rough-barked tree trunks, but what delicate harmony of arrangement! this lumbermen's lodge is one building outside the exposition palaces that should not be missed, even though almost hidden away against the south wall. it is worth pondering over. no one may want to build a house like it, but it proclaims how beauty can be attained with simple materials and just proportions. festival hall, robert farquhar, architect, balances the palace of horticulture in the architectural plan of the south gardens. (p. .) it, too, is french in style, its architecture suggested by the theatre des beaux arts in paris, a design which furnished the dome necessary to harmonize with that of the palace to the west. as architecture, however, it fails to hold up its end with the splendid horticultural palace. its dome is too large, and has too little structure around it, to be placed so near the ground without an effect of squattiness. its festive adornment is extremely moderate. on the cornice above the main entrance is the rhyton, the ancient greek drinking horn, symbol of festivity. the sculpture, all done by sherry e. fry, carries out the same idea. the graceful figures poised on the corner domes are torch bearers. on the pylons at either end of the semicircular arcade of the main entrance are two reclining figures. on the right is bacchus, with his grapes and wineskin,--a magnificently "pickled" bacchus! on the left a woman is listening to the strains of festal music. (p. .) each of the pedestals before the false windows at the ends of the arcade supports a figure of flora with garlands of flowers. on the ground below the two floras are two of the most delightful pieces of all the exposition sculpture. one is a little pan, pipes in hand, sitting on a skin spread over an ionic capital. this is a real boy, crouching to watch the lizard that has crawled out from beneath the stone. the other is a young girl dreaming the dreams of childhood. there is something essentially girlish about this. unfortunately, it is now almost hidden by shrubbery. within festival hall is one of the half-dozen greatest organs in the world. it has more than , pipes. the heaviest of them weigh as much as , pounds apiece. though mere size is not the essential quality of a fine instrument, it is hard to ignore the real immensity of this. the echo organ alone is larger than most pipe organs. this complementary instrument, which is played from the console of the main organ, is placed under the roof of the hall, above the center of the ceiling. its tones, floating down through the apertures in the dome, echo the themes of the great organ. few organs have so mighty a note as the sixty-four-foot open pitch attainable on the exposition's instrument. speaking by itself, this note has no sound. it is only a tremendous quaking of the whole building, as though the earth were shuddering. by itself it has no place in organ music. it is not intended to be struck alone. it is used only as a foundation upon which to build other tones. in combination it adds majesty to the music, rumbling in a gigantic undertone to the lighter notes. even the open stops in this organ are of more than ordinary dimensions. the usual limit in a pipe organ is the sixteen-foot open stop. but in this organ there are several pipes, both of wood and of metal, thirty-two feet or more in length. two small buildings, balanced on either side of the scott-street entrance, are the press building and the exposition home of the national young women's christian association. they are alike, french in style, and fronted with caryatid porches. the real glory of the south gardens lies in their flowers, and in the charming setting the landscape engineers have here given to the south facade of the palace group. there is the air of versailles in the planned gayety of the scene. in this the pools and fountains, the formal gardens, the massed trees and shrubbery, and the two palaces themselves, play their part. iv. "the walled city": it's great palaces and their architecture, color and material the central group of exposition structures really a single vast palace, behind a rampart--historical fitness of such architecture here--the south facade--spanish portals of varied industries and education palaces--italian renaissance portals of manufactures and liberal arts, and of the courts of flowers and palms--the roman west wall--ornate doorway of north facade interior courts and aisles--a balanced plan-- this the first exposition to adopt the colors of nature for its structures--jules guerin's color scheme, designed for an artificial travertine marble--simplicity of his palette, from which he painted the entire exposition--even the flowers and sanded walks conform. although there are eight buildings named in the central palace group, these are so closely connected in design and structure that in reality they make but one palace. here is seen the unity with variety which marks this exposition above all others. commemorating a great international event, its architecture is purposely eclectic, cosmopolitan. under a dominating moorish-spanish general form, the single architect of the group, w. b. faville, of san francisco, drawing upon the famous styles of many lands and schools, has combined into an ordered and vastly impressive whole not only the structural art of orient and of the great spanish builders, but also the principles of the italian renaissance and the architecture of greece and rome from which it sprang. thus the group is wholly southern in its origin. there is no suggestion here of the colder gothic architecture of the north. differing from each other in many details, the eight palaces are alike in their outer walls, their domes and gables, and similar in their entrances. these portals give a distinctive character to each palace. while the palaces differ widely in details of decoration, they all have a common source; they are all mediterranean,--not all byzantine, or roman, or italian, or spanish, or moorish, but some thing of each. the manner in which these forms are carried over from one palace to another, and the almost constant recurrence of some of them, like the moorish domes at the corners, blends them without jar or break. the great wall, almost blank, except for the entrances, encloses the palaces like a walled city of the mediterranean or the nearer orient. such a walled city it is, with its courts, its avenues, its fountains and pools, all placed in a setting of landscape, sea and sky, that might belong to spain, or southern italy, or the lands of the moslem. the broad, unbroken spaces that mark each face of this vast block greatly heighten the illusion. they lend an old-world aspect, the historical fitness of which must not be overlooked. for these plain surfaces are indeed significant in the celebration of an event which was predicted by the spanish conquistadors a century before the english cavaliers and puritans laid the foundations of our american commonwealth. relieved only by the foliage that is finely massed against them, the great blank spaces of the "walled city" recall the severer side of mediterranean architecture, just as their gorgeously ornate portals, towers and domes speak of its warmth and color. they are an architectural feature that has traveled far. the unbroken rampart, born of the need of defense in immemorial cities on the east and south shores of the mediterranean, was carried thence by the moors to spain, to go in turn with the conquerors of the new world, and became a characteristic of the civic and ecclesiastical architecture of latin america. hence it is not without meaning and reason that this historic architectural form, the blank exterior of the walled city, has found its finest use in the far-western city of st. francis. quite apart from their frequent occurrence in the mission architecture of old alta california, these simple wall spaces well befit the monumental structure that honors an achievement so important to all spanish america as the panama canal. the southern front of the group, facing the avenue of palms, has the aspect of a single palace, opened in the center by the noble roman arch of the tower of jewels, and indented by the court of flowers and the court of palms. (see p. , .) seen across the south gardens, the whole facade rising from the trees along the wall, is wondrously beautiful. the wall is seventy feet high, topped with a red-tiled roof. the pale green domes over the centers of the palaces are byzantine, a style much used in the mosques of islam. the gables are each crowned with a figure of victory, sometimes called an "acroterium," from the architectural name of the tablet on which it stands. the towers on either side of the entrances to the courts are italian. the little towers buttressing the domes on the corners of the palaces at the extreme right and left of the front, and from there repeated around the east, west and north walls, are moorish, with characteristic latticed windows. the palace of varied industries, on the extreme right, is made entirely spanish in its southern front by its beautiful central portal, modeled after the sixteenth-century entrance to the hospice of santa cruz at toledo. (pp. , .) except for the sculpture, in which the spanish saints have been replaced by figures of industry, the portal is a copy of the original. all the figures are the work of ralph stackpole, whose treatment of the subjects, no less than their exalted position in the niches of the saints, has dignified the workman. on each side of the entrance is the "man with a pick." the group in the tympanum represents varied industries. (p. .) the central figure is agriculture, the basic food-supplying industry. on one side is the builder, on the other the common workman. beyond them are commerce holding the figurehead of a ship, and a woman with a spindle, a lamb before her, typifying the textile industries. the figure in the keystone represents the power of industry. under the upper canopy is an old man handing his burden to a younger one, the old world passing its burdens on to the new world. the infant figures come from the spanish original. the two lesser portals on the south side of this palace are likewise spanish. in the grill work of their openings, designed in imitation of metal, as well as in that of the central portal, there is a strong suggestion of the arabian architecture brought into spain by the moors. indeed, there is something moorish about the whole work, except that the mohammedans do not represent living things in art. a passage in the koran tells devout followers of the prophet that if they should carve or picture a plant or animal they would be called upon at the judgment to make it real. sometimes, however, they employed christian workmen to execute such representations, being quite resigned to let the unbeliever risk damnation. the bears terminating the buttresses on the walls represent california, and hold the seal of the state. such buttresses against a plain wall, with a tiled roof, are common in the franciscan missions of california. the palaces of manufactures and liberal arts, on either side of the tower of jewels, are alike on the south, and italian. the moorish corner domes are omitted here, as the palaces terminate on one side in one of the italian towers and on the other in the wings of the tower of jewels. the central portals are italian, with tiled roofs and latticed grills, with handsome imitations of bronze work under the arches. the friezes over the arches as well as the figures in the niches are by mahonri young, of new york. the frieze represents industries of various kinds, the work of women as well as of men. in the niche on the left is a woman with a spindle, on the right a workman with a sledgehammer. like stackpole's figures on the portal of varied industries, young's sculptures are simple and strong. the lion used as the keystone figure of the arch and the lions and elephants alternating as fountain heads in the niches in the wall give an oriental touch to these palaces. of their portals none are more beautiful than those leading from the courts of flowers and palms. all four are finely expressive of the noblest architecture of the italian renaissance. they glow with the sunshine and color of italy. those entering the palaces of liberal arts and education from the court of palms are identical in design, and seem almost perfect in their harmonious lines and warm color. (p. .) the other pair, opening from the palaces of manufactures and varied industries into the court of flowers, are cheery portals, made more domestic in feeling by the loggia between the colonnade and the tiled roof. (p. , .) the three portals of the palace of education are of the spanish renaissance, and the moorish towers reappear at the corners. the twisted columns of the entrances are byzantine. the tympanum above the central portal contains gustav gerlach's group "education." (p. .) in the center is the teacher with her pupils, seated under the tree of knowledge; on the left, the mother instructs her children; on the right, the young man, his school days past, is working out for himself a problem of science. thus the group pictures the various stages of education, from its beginning at home to that training in the school of life which ends only at death. the cartouche just above the entrance bears the book of knowledge, shedding light in all directions, the curtains of darkness drawn back by the figures at the side. the hour glass below the book counsels the diligent use of time; the crown above symbolizes the reward of knowledge. the banded globe over the portal signifies that education encompasses the world. above each of the flanking portals is an inset panel representing the teacher, a woman at the left, a man at the right. the man looks toward the woman, thus signifying that the world is no longer dependent on man alone. turning the corner, the entire west wall of the palaces becomes roman to accord with the roman palace of fine arts across the lagoon. the characteristic features are the roman half-domes above the entrances, and the sculptures repeated in the niches of the walls. (p. .) on this side, the palaces of education and food products are alike, except for a slight difference in the vestibule statuary and the fountains. on the great sienna columns beside the half-domes stands ralph stackpole's "thought." the semicircle of female figures in the vestibule of the dome of the palace of education, bearing in their hands books with the motto "ex libris," though the preposition is omitted, represents the store of knowledge in books. the similar array of men bearing wreaths of cereals in the half-dome of the palace of food products signifies the source of vigor in the fruits of the soil. the simple italian fountains in the vestibules, the work of w. b. faville, are decorative and beautiful. the alternated groups in the niches along the wall are "the triumph of the fields" and "abundance." this is well called archaeological sculpture, for the emblems are from the dim past, and can be understood only with the help of an archaeological encyclopaedia. in the first are the bull standard and the celtic cross, which were carried through the fields in ancient harvest festivals. in the second, the objects heaped around the lady suggest abundance. the north facade of the palace group is an unbroken spanish wall, blank, except for the four beautiful and identical sixteenth-century portals. (see p. .) this magnificent decoration, suggestive of the finest work in rare metals, is, in fact, called "plateresque," from its resemblance to the work of silversmiths. the figures looking out on the blue water that reaches to panama and the shores of peru, are historical. in the center is the conquistador. flanking his stately figure on each side is the pirate of the spanish main, the adventurer who served with but a color of lawful war under drake, the buccaneer that followed morgan to the sack of panama. (p. .) these statues are by allen newman. every man jack of the eight pirates on the four portals is apparently bow-legged. there is a vast space between the knees of these buccaneers of panama, but when you look more closely it is hard to decide whether those pirate knees are really sprung, or whether it is the posture of the figures that suggests the old quip about the pig in the alley. the sculptor has at least given to the figures a curious effect of bandy legs. the feet are set wide apart, the space between and behind the legs is deeply hollowed out, and the rope which hangs from the hands curves in over the feet to add to the illusion. there used to be a saying that cross-eyed people could not be honest. similarly, perhaps, newman thought the appearance of bow-legs would increase the villainy of his pirate. certainly, no such blood-curdling ruffian has been seen out of comic opera. the east wall of the palace group becomes old italian, to harmonize with the roman architecture of the machinery palace opposite. the portals suggest those of ancient italian city walls. in the niches stands albert weinert's "miner," here used because the palace of mines forms one half the wall. in the long avenue that runs east and west through the center of the group, the unity of the eight buildings becomes more apparent as we view the noble arches which join them, and note the character of their inner facades. education and food products are alike in the walls and portals fronting on the dividing aisle. the spanish architecture of the south facade of education is here carried over to food products. similarly, the avenue between mines and varied industries is the same on both sides, carrying out the old italian of the east front, and with the miner repeated in the portal niches of both palaces. the avenues leading from the court of the universe to the court of ages and the court of seasons have been variously called the aisles of the rising and the setting sun, or the venetian and florentine aisles. their four walls are in the style of the italian renaissance, and show a diaper design similar to that on the italian towers of the courts of flowers and palms. in an artistic sense, this group is incomplete without the palace of fine arts on the west and machinery hall on the east. (p. , .) balancing each other in the general scheme, they form the necessary terminals of the axis of the exposition plan. this matter of balance has been carefully thought out everywhere, and affords a fine example of the co-operation of the many architects who worked out the vast general design. the courts of seasons and ages are set off against each other; the courts of palms and flowers weigh equally one against the other; the arches of the nations not only balance but match; even the tower of jewels, which is the center of the whole plan, is offset by the column of progress. in the south gardens, the palace of horticulture is balanced against festival hall. color and material.--all other expositions have been almost colorless. this is the first to make use of the natural colors of sea and sky, of hill and tree, and to lay upon all its grounds and buildings tints that harmonize with these. jules guerin, the master colorist, was the artist who used the exposition as a canvas on which to spread glorious hues. guerin decided, first, that the basic material of the buildings should be an imitation of the travertine of ancient roman palaces. on this delicate old ivory background he laid a simple series of warm, yet quiet, oriental hues, which, in their adaptation to the material of construction and to the architecture, as well as in their exquisite harmony with the natural setting, breeds a vast respect for his art. the color scheme covers everything, from the domes of the buildings down to the sand in the driveways and the uniforms of the exposition guards. the walls, the flags and pennants that wave over the buildings, the shields and other emblems of heraldry that hide the sources of light, draw their hues from guerin's plan. the flowers of the garden conform to it, the statuary is tinted in accordance with it, and even the painters whose mural pictures adorn the courts and arches and the fine arts rotunda were obliged to use his color series. the result gives such life and beauty and individuality to this exposition as no other ever had. it makes possible such beautiful ornamentation as the splendid nubian columns of the palace of fine arts, and the glories of the arches of the court of the universe. (see frontispiece.) go into that court on a bright day and take note of the art that has made nature herself a part of the color plan. from a central position in the court, where one can look down the broad approach leading from the bay, nature spreads before the beholder two expanses of color, the deep blue of salt water sparkling in the sun, and the not less deep, but more ethereal, blue of the california sky. with this are the browns and greens of the hills beyond the bay, and, nearer at hand, the vivid verdure of lawns and trees and shrubs. all these the designer used as though they were colors from his own palette. to go with them in his scheme he chose for pillar and portico, for the wall spaces behind, for arch and dome, for the decorations and for material of the sculptures, such hues that the whole splendid court and its vistas of palaces beyond blend with the colors of sea and sky and of green living things in a glorious harmony. such a view of the heart of the exposition at its best compels recognition of guerin's skill in color. it needed a vivid imagination to realize the possibilities of the scene, and visualize it. it required infinite delicacy and a fine sense of the absolute rightness of shade and tint to produce such harmonious beauty. the mere thought of it is a lesson in art. the decision of the architects to develop the theme of an oriental walled city, and the natural setting of the site, mediterranean in its sea and sky, led guerin to select oriental colors. aiming at simplicity, he decreed that not more than eight or nine colors should be found upon the subdued palette from which he would paint the exposition. then he took into consideration the climate and atmospheric conditions peculiar to san francisco. every phase of sky and sea and land, every shadow upon the marin hills, across the bay, was noted in choosing an imitation of natural travertine for the key color of the palaces. this is a pale pinkish-gray-buff, which may be called old ivory. it is not garish, as a dead white would be, especially in the strong california sunlight, but soft and restful to the eye. it harmonizes with the other colors selected, and, most important of all, it avoids a certain "new" effect which pure white would give, and which is deadly to art. paul deniville, who had already developed a successful imitation of travertine, was engaged to make the composition to be applied over the exterior walls. this is a reproduction in stucco of the travertine marble of the roman palaces of the period of augustus. this marble is a calcareous formation deposited from the waters of hot springs, usually in volcanic regions, and is common in the hills about rome. it often contains the moulds left by leaves and other materials incorporated in the deposit. these account for the corrugations of the stone when it is cut. in california, as in other regions where hot springs are found, travertine is not uncommon. it is found notably in the volcanic district of mono county, and elsewhere, sometimes in the form of mexican onyx, which is only a translucent variety of the same marble. in its reproduction here the marble has been imitated even to the natural imperfections which roughened the italian stone. in the concave surfaces of the ornamentation the color has been deepened, so that it appears sometimes as a rich reddish brown. all this enhances the antique effect, making the palace walls and columns still more like those of the old roman construction. besides the travertine the eight other colors employed are: . french green, used in all lattices, flower tubs, curbing of great plats, where it complements the green of the grass, in the exterior woodwork and some of the smaller doors. . oxidized copper green, a peculiar mottled light green. all the domes, except the six yellow ones in the court of the universe, are of this light green. it forms a sharp contrast with the blue sky and a pleasing topping to the travertine walls. . blue green, found in the ornamentation of the travertine, and in the darker shades at the bases of the flag poles. these first three colors, all in tones of green, are regarded as one unit in the spectrum of nine colors allowed by guerin. . pinkish-red-gold, used in the flag poles and lighting standards only. it is a very brilliant and striking pigment, and is always topped with gold. . wall-red, used in three tones. they are found in the backgrounds of the colonnades, courts and niches, on the tiled roofs, and in the statuary. these reds run from terra-cotta to a deep russet, and predominate in the interiors of the principal courts. . yellow-golden-orange, largely used in enriching the travertine and in enhancing shadow effects. it is found in the architectural mouldings and in much of the statuary. the following rule was adopted in regard to the coloring of the statuary: that which is high off the ground, that is, the figures surmounting the domes and spires, is of golden yellow, while that close to the eye of the beholder is of verde-antique, a rich copper-green streaked with gray, and much is left in the natural travertine tint. . deep cerulean blue and oriental blue, verging upon green, are used in the ceilings and other vaulted recesses, in deep shadows, in coffers and in the background or ornamentation in which travertine rosettes are set in cerulean blue panels. it might be called electric blue. it is brilliant and at the same time in harmony with the other colors. . gray, very similar to the travertine. . marble tint, spread over the travertine in places with a transparent glaze. . verde-antique, really one of the many shades of green--a combination of the copper-green and a soft gray, and therefore not to be counted as one of the nine cardinal colors. it simulates corroded copper, and has faint yellow and black lines. with the gamut thus restricted by the taste and discrimination of a master, the decorators and artists were strictly limited to the nine colors named. no one might use other than cerulean blue, if he employed blue at all; no other red than the tone popularly known as "pompeiian" has been admitted in the scheme. in this red the admixture of brown and yellow nullify any tendency towards carmine on crimson. the french and the copper greens and the intermediate shades approved by guerin are the only greens allowed. here is seen the great advantage of a one-man idea. no other exposition was ever so carefully or successfully planned in this particular. there is no court of one color clashing with a dome, palace or tower of conflicting tone, whether near by or at a distance. all is in harmony. working with guerin, john mclaren, in charge of the landscape gardening, so selected the flowers which border the paths and fill the parterres that they too conform to the color scheme. though three different complete floral suits are to be seen at the exposition in three periods, each one accords with the hues of wall and tower, completing in harmony the effect of the whole. the pinkish sand spread on the paths and avenues to harmonize with other ground colors was not always tinted. some one had noticed that the white beach sand at santa cruz turned pink when heated. seizing upon this fact, mclaren and guerin used it to give a final touch to their scheme of color. they drew another lesson from the washerwoman. a familiar laundry device was used to give sparkle and brilliance to the waters of the pools and lagoons. they were blued, not by dumping indigo into the water, but by tinting the bottoms with blue paint. v. the tower of jewels imposing as the central accent of the exposition's architecture--its magic glow at night--a magnificent roman arch--"jewels" of the tower-- an historical landmark--inscriptions, sculpture and murals--fountains of "youth" and "el dorado"--an epitome of the exposition's art. the tower of jewels, carrere and hastings, architects, is the central structure in the exposition architecture. (see p. .) it plays a triple role. in architecture it is the center on which all the other buildings are balanced. in relation to the theme of the exposition, it is the triumphal gateway to the commemorative celebration of an event the history of which it summarizes in its sculpture, painting and inscription. last of all, it is an epitome of the exposition art. towering above everything else, it is at once the culminating point and the center of the exposition scheme. it links the palaces of the central group, otherwise divided into two sections. upon it rests the balance of festival hall and the palace of horticulture, of the courts, the gardens, the palace of machinery and the palace of fine arts. it finds its own balancing structure in the column of progress. it is intended to be the first thing seen from afar, the point from which the eye travels to lesser things on either hand. at night the tower remains the center of the transformed exposition. under the white light of the powerful projectors, details disappear, the structure is softened into a form almost ghostly. it becomes ethereal. all its daytime glitter gone, it seems really spiritual. the jewels hung over the upper portion do not flash out a diamond brilliance, as they might have been expected to do; rather they spread the light in a soft film about the tower. (p. .) from close at hand, the arch and its flanking colonnades are truly imperial. there the ornamentation and color of the upper part are not in the eye. up to the cornice above the arch, the mass of the tower is magnificent in proportion and harmonious in line and color. it almost seems that the builders might have stopped there, or perhaps have finished the massive block of the arch with a triumphant mass of sculpture. studied from the ground underneath the tower and around it, the arch and the two little colonnaded courts in the wings are gloriously free and spacious, with the spaciousness that the exposition as a whole reflects, that of the sea and sky of its setting. i walked here when the ocean breeze, fresh from winter storms at sea, was sweeping through them. there is no confinement, no sense of imprisonment from the boundless depths of air outside. something which the architect could not include in his plans has come in to make constant this increase in the sense of freedom and space. the openings of the arches, being the only free and unconfined passageways through the south facade of the palace group, provide the natural draft on this side for the interior courts. the air rushes through at all times, even when no breeze is stirring outside. this uncramped movement of air currents, far from being unpleasant, gives the same sense of open freedom that one gets on a bold headland, where the ocean winds whip the flowers and lay the grass flat. from the court behind the tower you see the mansioned hills of san francisco through the colonnades like panelled strips of painting; and, looking northward, the long spaces over the bay to the great marin hills beyond. the jewels on the tower give it a singularly gay and lively touch when the sun is bright and the wind blowing. the wind is seldom absent around the top of so lofty a structure, and there these bits of glass are always sparkling. at night they produce, under the strong white light of a whole battery of giant reflectors hidden on other buildings, the mystic haze that shrouds the tower. they were a fine idea of the chief of illumination, w. d'a. ryan, giving just a touch of brilliance to an exposition otherwise clothed in soft tones. the jewels are only hard glass, fifty thousand of them cut in austria for the purpose, prismatic in form, and each backed with a tiny mirror. hung free to swing in the wind, they sparkle and dance as they catch the sun from different angles. as the great gate to the exposition, the tower becomes historical in relation to the event celebrated beyond its archway. its purpose, from this point of view, is to tell the entering visitor briefly of the milestones along the way of time up to the digging of the canal. its enrichment of sculpture, painting and inscription summarizes the story of panama and of the pacific shore northward from the isthmus. the architect has expressed in its upper decorations something of the feeling of aztec art. the four inscriptions on the south faces of the arches tell how rodrigo de bastides discovered panama in ; how balboa first saw the pacific ocean in ; how the united states began to dig the canal in , and opened it in . the four on the north faces epitomize the history of california, thus honored as the state that commemorates the opening of the canal. they speak of cabrillo's discovery of california in , of the founding of the mission of san francisco by moraga, in , of the acquisition of california by the united states, , and its admission to the union in . the sculpture carries out the same idea. pizarro and cortez sit their horses before the tower, splendid figures of the spanish conquerors, the one by charles c. rumsey, the other by charles niehaus. (p. .) above the entablature of the supporting columns are repeated around the outer wall of the arch, adventurer and priest, philosopher and soldier, types of the men who won the americas, all done by john flanagan. above the cornice, the mounted figures by f. m. l. tonetti are those of the spanish cavaliers, with bannered cross. the eagles stand for the nation that built the canal. excellent in spirit are flanagan's figures of the four types, especially that of the strikingly ascetic priest. (p. .) besides their symbolism, the statues fulfill a useful architectural purpose in relieving what would otherwise be the blankness of the wall. but the same cannot be as truly said of the armoured horsemen above. vigorous as they are, they are not in the right place. they clutter up the terrace on which they stand. the globe on the pinnacle, with its band, signifies that now a girdle has been put around the earth. on the side walls of the arch under the tower, the murals by william de leftwich dodge tell the story of the triumphant achievement which the exposition commemorates. on the east, the central panel pictures neptune and his attendant mermaid leading the fleets of the world through the gateway of all nations. (p. .) on one side labor, with its machines, draws back from the completed task, and, on the other, the intelligence that conceived the work and the science that made it possible, move upward and onward, while a victorious trumpeter announces the triumph. one figure, with covered face, flees from the appeal of the siren, but whom he represents, or why he flees, i cannot tell. in the smaller panel to the left, labor is crowned and all who served with toil are acclaimed. its companion picture on the right represents achievement. the mind that conceived the work is throned, the sciences stand at one side, while a figure crouching before the bearer of rewards points to labor as equally worthy. on the west side of the arch, the central panel portrays the meeting of atlantic and pacific, with labor joining the hands of the nations of east and west. in the panel to the left, enlightened europe discovers the new land, with the savage sitting on the ruins of a forgotten civilization, the aztec once more. on the right america, with her workmen ready to pick up their tools and begin, buys the canal from france, whose labor has been baffled. the two lovely fountains in the wings of the tower draw their inspiration from the days of the conquistadors. mrs. harry payne whitney's fountain of el dorado is a dramatic representation of the aztec myth of the gilded one, which the followers of cortez, in their greed for gold, mistook for a fact instead of a fable. (p. .) the fountain of youth by edith woodman burroughs finds its justification as a part of the historical significance of the tower in the legend of that fountain of eternal youth sought by ponce de leon. (p. .) the interpretation of these sculptures is set forth in the chapter on fountains. the tower of jewels epitomizes the exposition's art. the glories of its architecture, color, sculpture, painting, and landscape gardening all find an expression here. in architecture it reflects something of almost all of the orders found in the exposition. in the main it is italian renaissance, which means that the basic characters are roman and greek, enriched with borrowings from the orient and byzantium. in column and capital, in wall and arch and vaulted ceiling, it represents the architecture of the whole exposition, and so harmoniously as to form a singular testimony to the unity of the palace scheme. in color, from the dull soft gold of the columns of the colonnades on either wing, through the vivid hues of dodge's allegorical murals under the arch, and the golden orange and deep cerulean blue in the vaulted recesses, up to the striking green of columns on the upper rounds of the tower, the structure summarizes all the pigments which the master of color, guerin, has laid upon the exposition. in sculpture, the conquistadors in front, the hooded franciscans and the spanish warriors who stand around the cornice, the corner figures on the tower above, and, finally, the great globe on top, repeat in varied form the themes of palace, court, facade, and entrance. it has its own fountains in its own little courts. then, as a final touch to complete this epitome of exposition art, the dark cypresses set in the niches on either side of the openings of the arch, gracefully express the debt the whole palace scheme owes to its landscape engineer. in the original models of the tower, these niches were designed for vases. it was a happy thought that placed the cypresses there instead. vi. the court of the universe most important of the three great courts of the "walled city"-- a meeting-place of east and west--roman in its architecture and atmosphere, suggesting the vast piazza of st. peter's triumphal arches of the nations--their types of the great races of orient and occident-- fine mural paintings by simmons and du mond--fountains of the rising and the setting sun--aitken's "elements"--the "column of progress." the court is the key to the scheme of the palace group of the exposition. leaving out the state and foreign quarters, and the other suburbs, and omitting the fine arts palace and machinery hall, which, from a purely architectural standpoint, are merely balanced ornaments needed to complete the whole, the exposition city is a palace of blank walls enclosing three superb courts. the court is an essential element of the oriental architecture of the mediterranean, which provided the theme of the exposition plan. there, however, it is the patio, the place of the siesta, the playground of the children. here the courts have been made the chief architectural feature of the group. there the courts are private. here they are merely hidden. the central court at the exposition, the largest and the most splendid, is the court of the universe. (see p. .) it is the most important, too, in the story which its sculptures tell, and in its relation to the purpose of the exposition. whether it is also the most beautiful is a matter about which opinions differ. many persons admire mullgardt's romantic court of ages beyond anything else, while others are in love with the calm court of seasons. paradoxically, the court of the universe suffers from its very magnificence. it is so vast that the beholder is slow to feel an intimate relation with it. the same is true of some of the noblest sights in nature. first seen, there is something disappointing in the grand canyon. there is too much in the view to be comprehended until after many days. in this court, the visitor is pleased with its splendid proportions, its noble arches, its rich sculpture, the wonderful blending of its colors with those of sea and sky; but the pleasure at first is of the intellect rather than of the emotions. like other big and really fine things, it grows on one. the sweep of its colonnades is majestic, the arches are noble monuments, the column of progress is inspiring, the fountains show a graceful play of water, the sculpture is big, strong, and significant; the flowers of the sunken garden are a glory long to be remembered. the court of the universe is roman in architecture, treated in the style of the italian renaissance. its commanding features, the triumphal arches and the magnificent flanking colonnades are most roman in spirit, their italian decoration appearing in the medallions and spandrels of the arches, the garlands hung along the entablature of the colonnade, and the interior adornment of the vaulted corridors. the columns, including the huge sienna shafts before the arches and the tower of jewels, are roman corinthian, with opulent capitals, though not too florid when used in a work of such vast extent. most roman of all is the great column of progress, at the north end of the court. mckim, mead and white of new york, the architects, had the piazza of st. peter's at rome in mind when they designed this great sweep of colonnades. there, too, they borrowed from the circle of saints the idea of the repeated star figure. the colonnade not only encloses the court but is produced along the sides of the palaces of agriculture and transportation to form two corridors of almost egyptian vastness. these two features, the arches and the colonnades, here at the center of the palace group, strike the exposition's note of breadth. their decoration is the key to the festal richness of all the adornment. by day the four entrances to the court are its finest features. nowhere in the whole exposition is the air more gloriously free than around the lofty arch and colonnades of the tower of jewels. nowhere is the sunlight purer, or the sky bluer, than over the broad approach leading up from the glancing waters of the bay, past the aspiring column of progress, and between the noble colonnades of the palaces on either hand. from within the court, or from the approaches on east and west, the triumphal arches of the nations impress one with the magnificence of their proportions, their decoration, and their color. there the oriental hues of the exposition are carried upward, to meet and blend with the sky, and magically to make the heavens above them bluer than they really are. (see frontispiece.) there is little oriental about the court, except the color and the group of the nations of the east above the arch of the rising sun. the colonnade is corinthian, all the arches are roman, the sculpture is classic, the paintings are romantic, mystic,--the court of the universe may properly hold all things. it is thus an arena for the expression of universal themes, on which the nations of the east and west look down from their lofty arches of triumph. with this key, the symbolism of the sculpture in the court is easy. the stars, by calder, stand in circle above the colonnade. the frieze below the cornices of the pavilion towers represents the signs of the zodiac, by herman a. macneil. the graceful figures atop the two fountain columns in the oval sunken garden are the rising and the setting sun, by adolph a. weinmann. (p. .) in the east the sun, in the strength of morning, the masculine spirit of "going forth," has spread his wings for flight; in the west, the luminary, now essentially feminine, as the brooding spirit of evening, is just alighting. the sculptural adornment of the shafts is detailed in the chapter on fountains. the titanic elements slumber on the balustrade, one on either hand of the stairways leading down on north and south into the sunken area. (p. .) on one side, on the north, the elemental power holds in check the dragon of fire. the whole figure expresses the primitive terror of fire, a fear that still lives in the beasts. on the other side lies water, the roaring ocean, kelp in his hair, neptune's trident in his hand, by him one of his fabled monsters. on the south, eagles of the air hover close to the winged figure of the woman, who holds up the evening star and breathes gently down upon her people. icarus, who was the first airman, appears upon her wings. opposite, rests earth, unconscious that her sons struggle with her. these remarkably expressive figures are the work of robert aitken. the youthful groups by paul manship upon the extremities of the balustrade, on either hand of the eastern and western stairways, represent music and poetry, music by the dance, poetry by the written scroll. the sculpture is archaic in type,--an imitation of greek imitations of still earlier models. the colossal groups on the arches of the nations symbolize the meeting of the peoples of the east and west, brought together by the panama canal, and here uniting to celebrate its completion. in the group of the nations of the east the elephant bears the indian prince, and within the howdah, the spirit of the east, mystic and hidden. (p. .) on the right is the buddhist lama from tibet, representative of that third of the human race which finds hope of nirvana in countless repetitions of the sacred formula, "om mani padme hum." next is the mohammedan, with the crescent of islam; then a negro slave, and then a mongolian warrior, the ancient inhabitant of the sandy waste, a type of those tartar hordes which swept asia under tamerlane and genghis khan. on the left of the indian elephant are an arab falconer, an egyptian mounted on a camel and bearing a moslem standard, then a negro slave bearing a basket of fruit on his head, and a sheik from the deserts of arabia, all representing the mohammedans of the nearer east. thus are figured types of the great oriental races, the hindoo, the tartar, which includes the turk and the northern chinese; the chinese stock of the south, the arab, and the egyptian. only the persian is omitted, and possibly the japanese, unless that, too, is mongol. on the arch of the setting sun, the prairie schooner is the center of the group of the nations of the west, on the top a figure of enterprise, the spirit of the west. (p. .) on either side of her is a boy. these are the heroes of tomorrow. between the oxen rides the mother of tomorrow. beside the ox at the right is the italian immigrant, behind him the anglo-american, then the squaw with her papoose, and the horse indian of the plains. by the ox at the left is the teuton pioneer, behind him the spanish conquistador, next, the woods indian of alaska, and lastly the french canadian. three sculptors collaborated in the modeling of these groups, a. stirling calder, leo lentelli, and frederick g. r. roth. of the mural paintings under the arches of the nations, the two by edward simmons in the arch on the east are an allegory of the movement of the peoples across the atlantic, while those by frank vincent du mond in the western arch picture in realistic figures the westward march of civilization to the pacific. historically, the picture on the southern wall of the arch of the nations of the east comes first. here simmons has represented the westward movement from the old world through natural emigration war, conquest, commerce and religion, personifying these in types of the people who have crossed the atlantic. on the strand, beyond which appear types of the navies of the ages, are the following: an inhabitant of the fabled atlantis, here conceived as a savage; the greek warrior, perhaps one of those who fared with ulysses over the sea to the west; the adventurer and explorer, portrayed as columbus; the colonist, sir walter raleigh; the missionary, in garb of a priest; the artist, and the artisan. all are called onward by the trumpet of the spirit of adventure, to found new families and new nations, symbolized by the vision of heraldic shields. behind them stands a veiled figure, the future listening to the past. the long period in which this movement has been in progress is expressed by the dress of the travellers. this might be called the material movement to the west, for the picture opposite depicts the ideals of that progress. hope leads the way, though some of the hopes, shown as bubbles, were but illusions. then follow adventure, art, imagination, truth, religion, and the spirits of domestic life. simmons' work is characterized by grace and delicacy. the pictures are pleasing as form and color alone, but without titles the allegories are too difficult for people unaccustomed to interpreting this kind of art. du mond's two murals in the western arch are easier. they make a continuous story. the first chapter, on the north side, pictures the emigrant train, led by the spirit of adventure, leaving for the west, while the second shows the pioneers reaching the shores of the pacific and welcomed by california. to express the many-sided development of the west, du mond has portrayed individuals as the types of the pioneers. here are junipero serra, the priest; anza, the spanish captain who first trod the shores of san francisco bay; joseph le conte, the scientist; bret harte, the author; william keith, the artist; and starr king, the divine. the energy of these men has actually outstripped the spirit of adventure. du mond's story parallels in a way that pictured by simmons. color and composition are both exceedingly grateful to the eye. the column of progress, outside the court, commands the entire north front of the exposition, as the tower of jewels does the southern. (p. .) symmes richardson, the architect, drew his inspiration from trajan's column at rome, an inspiration so finely bodied forth by the designer and the two sculptors who worked with him, macneil and konti, that this shaft stands as one of the most satisfying creations on the exposition grounds. its significance completes the symbolism of the exposition sculpture and architecture, as the joyous fountain of energy at the other end of the north-and-south axis begins it. that fountain celebrates the completion of the canal. the tower of jewels with its sculpture tells the historical story of the conquest of the western seas and their shores. the court of the universe is the meeting place of the nations, come to commemorate the joining of east and west. from this court, a splendid avenue leads down to the border of the western ocean, where stands the column of progress, beyond the exposition. both in its position and in its sculpture the column signifies that, this celebration over, human endeavor stands ready to go on to still vaster enterprises on behalf of mankind. the figure atop this column is the adventurous bowman, past human achievement behind him, seeking a new emprise in the west, whither he has loosed his arrow. at his back is a figure of humanity, signifying the support of mankind. by his side is the woman, ready to crown his success. (p. .) the question has often been asked, why there is no string to the archer's bow. the sculptor properly omitted it, for, at the moment the arrow leaves the bow, the cord is vibrating far too strongly to be visible. the cylindrical frieze below the bowman represents the burden bearers. this, with the bowman, is the work of h. a. macneil. the spiral of ships ascending the shaft symbolizes the upward course of man's progress. around the base is the frieze by isidor konti, on three sides striving human figures, on the fourth celestial trumpeters announcing victory. the whole signifies man's progress through effort. (p. .) yet the visitor must not look for a story in all the sculpture here or elsewhere. some of this art is merely decorative, fulfilling purposes of harmony or completeness in the general mass. the winged figures by leo lentelli on the columns before the arches of the nations are simply ornaments, relieving, with their shafts, what would otherwise be too sheer a wall in the structure. they may be angels or they may be genii. decorative, also, are the sculptured medallions between these columns, and the pegasi on the spandrels of the arch, the medallions done by calder, the pegasi by roth. the caryatids in pairs of male and female surmounting the balustrade of the sunken garden are merely lamp bearers. the spouting monsters in the fountain pools are but ornamental, and so are the figures in relief under the basins. those at the base of the shafts are described in detail in the chapter on fountains. in the decoration of the entablature of the colonnade, the skull of the ox repeated between the garlands recalls the vicissitudes of the pioneers in their long march across the continent. the court of the universe, this huge piazza of the nations, is thus all-inclusive. within its vast oval is room for every theme. from it lead the ways to all the exposition. in spirit it is as cosmopolitan as the forum under the caesars. its art revives for us "the glory that was greece, the grandeur that was rome." - inscriptions in court of the universe i. arch of the rising sun, east side of the court. (a) panel at center of attic, west side of the arch, facing the court: the moon sinks yonder in the west while in the east the glorius sun behind the dawn appears. thus rise and set in constant change those shining orbs and regulate the very life of this our world. --kalidasa, india. (b) small panel at right of center, facing the court: our eyes and hearts uplifted seem to gaze on heavens' radiance. --hitomaro, japan. (c) small panel at left of center, facing the court: they who know the truth are not equal to those who love it. --confucius, china. (d) panel at center of attic, east side of the arch: 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, persia. (e) small panel at right of center: a wise man teaches be not angry. from untrodden ways turn aside. --phra ruang, siam. (f) small panel at left of center: he that honors not himself lacks honor wheresoe'er he goes. --zuhayr, arabia. ii. arch of the setting sun, west side of the court. (a) panel at center of attic, east side of the arch, facing the court: facing west from california's shores--inquiring tireless seeking what is yet unfound--i a child very old over waves toward the house of maternity the land of migrations look afar--look off the shores of my western sea the circle almost circled. --whitman, america. (b) small panel at right of center: truth--witness of the past councilor of the present guide of the future.--cervantes, spain. (c) small panel at left of center: in nature's infinite book of secrecy a little i can read. --shakespeare, england. (d) panel at center of attic, west side of the arch: 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, germany. (e) small panel at right of center: the universe--an infinite sphere the center everywhere the circumference nowhere.--pascal, france. (f) small panel at left of center: the world is in its most excellent state when justice is supreme. --dante, italy. vii. the court of the ages (officially called "the court of abundance.") an artist's dream in romantic orientalism--mullgardt's own title for it - his great "tower of the ages"--mullgardt interprets his architectural masterpiece--brangwyn's splendid murals, "earth," "air," "fire" and "water"--the "fountain of earth," by robert aitken, realism set amidst the romantic. the court of the universe is not oriental, the court of the ages is. not in architecture, but in feeling, in the atmosphere with which the architect has invested it, this court brings to mind those brilliant lands of the mediterranean touched by the east through the moors. you pass under its arcades and walk out into a region of the sun, warm, bright, dazzling. the architect, louis christian mullgardt, has caught the feeling of the south,--not the rank, jungle south of the tropics; nor the mild, rich south of our own gulf states; but the hard, brilliant, arid south of the desert. this court expresses arizona, new mexico, spain, algiers,--lands of the sun. the very flowers of its first gardens were desert blooms, brilliant in hue, on leafless stalks. there are orange trees, but they, also, are trees of the sun, smooth of leaf, to retain moisture. it is a court, too, of romance. it might be a garden of allah, with a plaintive arab flute singing, among the orange trees, of the wars and the hot passions of the desert. it might be a court in seville or granada, with guitars tinkling and lace gleaming among the cool arcades. it is a place for dreams. the architecture has been called spanish gothic, but, according to the architect, it "has not been accredited to any established style." we may well be content to call it simply mullgardt. the court is an artist's dream, rather than a formal study in historic architecture; and it is the more interesting, as it is the more original, for that. except for the central fountain, which, fine though it is as a sculptured story, is out of harmony with the filigreed arcades around it, all the sculpture in the court is, in feeling, an intimate part of the romantic architecture. this portion of the art of the court is best considered as decoration, finding its justification in the beauty it imparts to the whole. it has genuine meaning, but what that is remains inscrutable so long as the court is called that of abundance. mullgardt called his creation the "court of the ages." he was overruled because the officials deemed the name not in accord with the contemporaneous spirit of the exposition. they called it the "court of abundance." in spite of the name, however, it is not the court of abundance. mullgardt's title gives a key to the cipher of the statues. read by it, the groups on the altar of the tower become three successive ages of civilization. (see p. .) tower of the ages.--this is the most admired of all the exposition towers, and with reason. the originality, strength and beauty of its design set it above anything else of the sort yet seen in america; and the symbolism of its sculptures, which are the work of chester beach, is of almost equal interest with the tower itself. at the base, on the gable above the arch, rude of face and form, with beasts low in the scale, are the people of the stone age. above them is a mediaeval group, the crusader, the priest, the peasant soldier armed with a cross-bow, with similar figures on the side altars. enthroned over all, with a crown on her brow, is modern civilization, expressed as intelligence. at her feet are two children, one with an open book, symbolizing learning; the other, a boy with a part of a machine, representing industry. the supporting figures on the sides are the man and woman of the present, sprung from the earlier types. the delicate finials rising from the summit of the tower express aspiration. the two shafts at the head of the court, each surmounted by a huntress with bended bow, symbolize earth and air. originally they were intended as finials to the double cascade which was to have swept down to the court from the altar of the ages on the tower. the cascade was not built, much to the benefit of the beauty of the court, but the ornaments were suffered to remain. the giddy females who support each shaft are sufficiently romantic to be in keeping with the decoration of the court. the three figures repeated around the top of the arcade are of a hunter dragging a deer, a woman with her offspring on her shoulder, and a primitive man feeding a pelican, all so happily expressed that they are an intimate part of the arcade on which they stand. they seem almost to have grown from their supports. these figures alone, unless we add the florid ladies of the ornamental shafts, with the rich filigree of the arcades and the tower, are all that express in any way the idea of abundance carried in the present name of the court. mullgardt conceived this court as a sermon in stone. its significance as a whole is best explained by the architect himself. he interprets the court as rising in four horizontal strata: "the court is an historical expression of the successive ages of the world's growth. the central fountain symbolizes the nebulous world, with its innate human passions. out of a chaotic condition came water (the basin), and land (the fountain), and light (the sun, supported by helios, and the electroliers). the braziers and cauldrons symbolize fire. the two sentinel columns to the right and left of the tower symbolize earth and air. the eight paintings of the four corners of the ambulatory symbolize the elements of earth, air, fire and water. the central figure in the north avenue symbolizes 'modern time listening to the story of the ages.' "the decorative motifs employed on the surrounding arcade are sea-plant life and its animal evolution. the piers, arches, reeds and columns bear legendary decorative motifs of the transition of plant to animal life in the forms of tortoise and other shell motifs;--kelp and its analogy to the prehistoric lobster, skate, crab and sea urchin. the water-bubble motif is carried through all vertical members which symbolize the crustacean period, which is the second stratum of the court. "the third stratum, the prehistoric figures, surmounting the piers of the arcade, also the first group over the tower entrance, show earliest forms of human, animal, reptile and bird life, symbolizing the stone age period. "the fourth stratum, the second group in the altar tower, symbolizes human struggle for emancipation from ignorance and superstition, in which religion and war are dominating factors. the kneeling figures on the side altar are similarly expressive. the torches above these mediaeval groups symbolize the dawn of understanding. the chanticleers on the finials surrounding the court symbolize the christian era. the topmost figure of the altar symbolizes intelligence, 'peace on earth, good will towards all,' the symbols of learning and industry at her feet. the topmost figure surmounting the side altar symbolizes thought. the arched opening forming the enclosure of the altar contains alternating masks expressing intelligence and ignorance in equal measure, symbolizing the peoples of the world. a gradual development to the higher forms of plant life is expressed upward in the altar tower, the conventionalized lily petal being the highest form." this, then, is the lesson, the deepest and most spiritual attempted in any of the exposition structures, and surely entitling the court to be called, as its creator wished, the court of the ages. brangwyn's murals.--the mural paintings by frank brangwyn in the four corners of the arcades are rich, glorious in color, freighted with the opulence of the harvest, but they symbolize the four primeval elements-- earth, air, fire and water. their themes have nothing to do with abundance. it is unfortunate that these pictures, far and away the best in the decoration of the exposition, have been hidden in the corners of a court. the canvases are bold, free, vast as the elements they picture. they need space. when they were unpacked and hung on the walls of machinery hall, they were far more effective. here they are cramped by their close quarters, and easily overlooked. people are not going in to see them as they should, and so are missing one of the chief joys of the exposition,--the masterpieces of one of the world's greatest living painters. these representations of the four elements glow and burn with the vivid hues of nature. all of the pictures have a setting of autumn,, that season of the year when nature puts on her dying hues, and floods the earth with color. their rich reds, purples, yellows, browns, greens and indigoes are the hues of autumn skies, the falling leaves of hardwoods, the dense foliage of pines, colors of the harvest, of fruit and grapes, of flowers, and of deep waters. the men and women in them are primeval, too, of mediterranean type, and garbed in the barbaric colors in which southern folk express the warmth of their natures. free and vivid as is their color, the breadth of primeval liberty is not less seen in the splendid spaces of brangwyn's pictures. the forest vistas are illimitable; the air has the freedom of the golden age; the skies stretch out and up to heaven. each set of two pictures represents one of the elements. the first of the earth pictures in the northwest corner of the corridor is a harvest of orchard fruits, products of earth. tall cypresses on the right enhance the vast space of sky over the orchard, the best sky in all the eight paintings. the colors are those of the rich fruits, the autumn flowers, and the garish costumes of brangwyn's peasantry. the companion picture represents a vintage, with great purple grapes hanging among the bronzing leaves on a trellis, and yellow pumpkins and flowers underfoot. the color is in these, and in the same southern costumes seen in the first picture. the first of the air pictures is as easy to read as the second is difficult. (p. .) in it a huge windmill stands on a height against rain-laden clouds and a glowing rainbow. the slope is covered with heavy-headed grain, and stained with vivid flowers, all bending before the swift currents of air. laborers, men and women, hurry homeward before the wind, from their task of winnowing grain. boys flying their kites complete the symbolism. in the companion picture a group of archers are loosing their arrows between the boles of tall, straight hardwoods on the brink of a deep valley. great white birds are winging outward through the tops of the trees. the distance in the sky beyond is wonderful. the color is of the gorgeous autumn leaves of hardwoods and of rich flowers. in one of the water pictures fishermen are drawing a net from a lake suggested by a fringe of purple, white and yellow iris. the men seem to stand on an island or a peninsula, for behind them, beyond tall trees, is a deep indigo lake. great pregnant clouds float in the sky, and the picture glows with autumn colors. in the other, men and women come forward with water jars to a source suggested by tall white water birds and flowers growing thick among the sedges. there are the same clouds, big with the promise of rain, and the same profusion of vivid hues. primitive fire is suggested in the next pair by a thick-clustered group of peasants with hands outstretched where a thin column of smoke rises straight. autumn skies and foliage tell of chill in the air. the colors burn in dying leaves, in the sky, in fruit and grapes. a man is bringing a burden of fagots. men of bovine anatomy crouch before the fire, their backs arched, their cheeks bulging, as they blow it into flame. these folk are all primitive, candid in their animalism, samsons in limb and muscle. brangwyn's mastery of anatomy is notable, and he builds his men with every flexor showing, like a machine. pottery burners working around a furnace dimly suggested convey the idea of industrial fire in the last of the pictures. there is the same motif of cold in the sky and the fruits, intensified by the somber leafage of fir and pine. in striking contrast with the light and ethereal quality of the allegorical murals in the arches of the court of the universe, these paintings are rich to the point of opulence. there is an enormous depth in them. the figures are full-rounded. the fruits, flowers and grain hang heavily on their steams. the trees bear themselves solidly. the colors, laid on with strong and heavy strokes, fairly flame in the picture. public auction is the fate said to be destined by the exposition company for these wonderful pictures. it is not to be blamed for this. it is a business corporation, and these paintings are assets on which it may be necessary to realize. but if the company finds itself financially able, it should see to it that the paintings remain in san francisco as the property of the city. like the great organ in festival hall, which the exposition has promised to install in the civic auditorium when the fair ends, these splendid pictures should be hung in the auditorium as a gift to the city. if the exposition is not able to give them, an opportunity is presented for men of wealth to do art a great service in san francisco. our cities, unlike those of europe and of south america, are not accustomed to buy works of art. private generosity, then, must supply the deficiency. in the northern extension of the court, beyond the tower, where the spanish decoration is carried almost to the bayward facade of the palace group stands a massive female figure, modern time listening to the story of the ages. beyond it are four standards of the sun, like two at the southern end of the pool in the main court, brilliant at night. there remains but the central fountain, in the main court, symbolizing the earth, done by robert aitken. (p. .) taken by itself, this is a notable work, but it is not in keeping with the romantic spirit of the court of ages. its figures are magnificently virile, but wholly realistic. only at night, when, through clouds of rising steam, the globe of the earth glows red like a world in the making, and from the forked tongues of the climbing serpents flames pour out on the altars set around the pool,--only then does the fountain become mystic. even then it suggests cosmogony, mechanics, physics, which are not romantic, except in so far as there may be romance of the intellect. however, this is aitken, not mullgardt. the allegories of the group are detailed in the chapter on fountains. viii. the court of the seasons a charming bit of italian renaissance--its quiet simplicity--the alcove fountains of the seasons, by furio piccirilli--milton bancroft's murals - the forecourt, with evelyn longman's fountain of ceres--inscriptions. in the court of the seasons, the architect, henry bacon of new york, has shown us a charming mood of the italian renaissance. (p. , .) this court, neither too splendid to be comfortable nor too ornate to be restful, is full of a quiet intimacy. nature's calm is here. it is a little court, and friendly. its walls are near and sheltering. people like to sit here in the shelter of the close thickets around the still pool in the center. i notice, too, that persons hastening across the grounds come this way, and that they unconsciously slacken pace as they walk through the court. this is the only one of the three central courts in which everything is in harmony. there is nothing obtrusive about it. the effect is that of a perfect whole, simple, complete. the round pool, smooth, level with the ground, unadorned, gives its note. the colors are warm, the massive pillars softly smooth. the trees press close to the walls, the shrubbery is dense. birds make happy sounds among the branches. water falls from the fountains in the alcoves, not with a roar, but with something more than a woodland murmur. these fountains touch one of the purest notes in nature. in cool, high, bare-walled alcoves the water falls in sheets from terrace to terrace, at last into a dark pool below. the sound is steady, gently reinforced by echo from the clean walls behind, and pervasive. it is a very perfect imitation of the sound of mountain waters. nothing in this court takes effort. the pictures and the sculpture of the alcoves and the half-dome tell their own story. here is no elusive mysticism, no obscure symbolism to be dug out with the help of guidebooks, like a hard lesson. the treasures of the seasons are on the surface, glowing in the face of all. the seasons are sheltered in the four alcoves, distinguished from each other only by the fountain groups of furio piccirilli and the murals by h. milton bancroft. neither pictures nor statues need much explanation. the first alcove to the left of the half-dome is that of spring. in the sculptured group of the fountain, flowers bloom and love awakens. it is a fresh and graceful composition. the murals are on the faces of the corridor arches. no one can mistake their meaning. springtime shows her first blossoms, and the happy shepherd pipes a seasonal air to his flock, now battening on new grass. in the companion picture, seedtime, are symbols of the spring planting. next comes summer, the time of fruition. (p. .) above the fountain the mother gives the new-born child to its happy father, and the servant brings the first fruits of the harvest. this is less likable than the other groups. the posture of the mother is not a happy one. the two murals picture summer and fruition. bancroft has taken athletic games as the symbol of the season. summer is crowning the victor in aquatic sports. conventional symbols of fruits and flowers represent fruition. in the group of autumn, providence is the central figure, directing the harvest. she is bringing in the juice of the grape. the season is significantly represented in the full modeling of the figures and the maturity of the adults. the mural of autumn, in the rich colors of the dying year, suggests by its symbols of wine and music, the harvest festival. opposite, is pictured the harvest, with the garnered crops. last of all is winter, with the bare desolation of the wintry world in the melancholy fountain group. then nature rests in the season of conception, while a man sows, his companion having prepared the ground. in his mural of winter, bancroft pictures the snowy days, the fuel piled against the cold, the chase of the deer, the spinning in the long evenings. the companion piece represents the festival side of the season, when men have time to play. the seasons are complete. on the walls of the half-dome are two formal paintings by bancroft, conventional but charming in their allegory. these are bancroft's best murals. in the first, time crowns art, while her handmaids, painting, pottery, weaving, glass-making, metal-working and jewel-making, stand in attendance. in the other, man is taught the laws of love, life, and death, earth, fire, and water. on the summit of the half-dome is a group representing the harvest, and before it, on two splendid columns, are rain, a woman bearing the cup of the waters, and sunshine, another with a palm branch. all three are by albert jaegers. at the other extremity of the court each of the two pylons is surmounted by a bull, wreathed in garlands, and led by man and maiden to the sacrifice. these groups, each called the feast of the sacrifice, are also by albert jaegers. (p. .) the spandrels on the arches and the female figures on the cornices are by his brother, august jaegers. the abundance of the seasons is symbolized in the fruit-bearing figures that form the pilasters of the cornices of the arches, and by the fat ears of corn depending from the ionic capitals of the columns. these types of fruitfulness have a further justification in the neighborhood of the palaces of agriculture and food products, which border the court on the north. the eastern and western arches are exquisite in their simple proportion, and the delicate charm of the fresco of their vaulted passages. the quality of this interior decoration is enhanced by the beauty of the staff work, which throughout this court is the most successful found in the exposition. here this plaster is soft, rich and warm, and looks more real and permanent than elsewhere. i prefer to consider the northern approach between the two palaces as not a part of this court. the pleasant intimacy of the court would have been enhanced if it had been cut off from this approach by an arch. half way down the forecourt is the formal fountain of ceres by evelyn beatrice longman, which must cheer the hearts of those who would have all art draped. - inscriptions in court of seasons (a) on arch at east side: 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 silken 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. (b) on arch at west side: 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. ix. the courts of flowers and palms the court of flowers typically italian--its delightful garden and fountain, "beauty and the beast," by edgar walter--borglum's fine group, "the pioneer"--the court of palms is grecian in feeling--"the end of the trail," by fraser, a chapter in american history--murals in the doorways--arthur mathews' "triumph of culture." recessed in the south front of the palace group, and leading back to the court of the seasons and the court of the ages, are two perfect smaller courts, each admirably living up to its name--the court of flowers and the court of palms. (see p. , , .) both courts were designed by george w. kelham. each is a pleasant and colorful bay of sunshine facing southward between two graceful towers. one is bright with level fields of flowers, the other cool with greensward and palms set about a sunken garden. both are calm, peaceful spots to rest and dream in the sun. both are of the south. here summer first unfolds her robes, and here she longest tarries. though at first sight these courts are much alike, they differ in feeling and effect. the court of flowers is italian, the court of palms grecian, though grecian with an exuberance scarcely athenian. perhaps there is something sicilian in the warmth of its decoration. when it is bright and warm, the court of palms is most greek in feeling; less so on duller days. but the court of flowers is italian in all moods. with its shady balcony above the colonnade, it might be in verona or mantua. it is a graceful court, formal, yet curiously informal. its paired corinthian columns, its conventional lions by the porches and its flower girls around the balcony, its lamp standards and the sculptured fountain, go with formal gardens. the garden here is itself formal in its planting, and yet so simple, so natural, that it banishes all ceremony. this garden is one of the best things in the truly wonderful floral show at the exposition. the flowers are massed as we always dream of seeing them in the fields,--a dream never quite so well realized before. the areas of the court in the exposition's opening weeks were solid fields of daffodils, thick as growing wheat, with here and there a blood-red poppy, set to accent the yellow gold of the mass. other flowers have now replaced these in an equal blaze of color. here, too, are free, wild clumps of trees and shrubs, close set, with straggling outposts among the flowers, as natural as those bordering grain fields in california valleys. it is a summery court, lacking but one thing to make it ideally perfect. it ought to have crickets and cicadas in it, to rasp away as the warm afternoons turn into evening, and tree hylas to make throaty music in the still, rich-lighted night. the statuary goes well with the court. there is a pretty, summery grace about the flower girls designed by calder for the niches above the colonnade, and in the figures of edgar walter's central fountain. here on the fountain are beauty and the beast, beauty clad in a summer hat and nothing else, the beast clothed in ugliness. (p. .) never mind the story. this is beauty, and beauty needs no story. four airy pipers, suggestive at least of the song of the cicada on long, hot afternoons, support the fountain figure. around the basin of the pool is carved in low relief a cylindrical frieze of tiger, lion and bear, and, wonder of wonders, hanuman, the monkey king of hindoo mythology, leading the bear with one hand and prodding the lion with the other. before the court the pioneer sits his horse, a thin, sinewy, nervous figure; old, too,--as old as that frontier which has at last moved round the world. (see p. .) the statue, which is by solon borglum, is immensely expressive of that hard, efficient type of frontiersmen who, scarcely civilized, yet found civilization always dogging their footsteps as they moved through the wilderness and crossed the deserts. he is, indeed, the forerunner of civilization, sent forward to break ground for new states. this group is offset against that other fine historical sculpture, the end of the trail, placed before the court of palms. as representatives of the conquering and the conquered race, the two must be studied together. the elusive grecian feeling of the court of palms comes in large part from the simple ionic columns, and the lines of the gabled arches. properly, this court is in the italian renaissance, but it is less italian than the court of flowers. like that court, it is warm and sunny, full of color and gladness. it has the same harmonious perfection, but it is more formal. its sunken garden is bordered with a conventional balustrade and grass slopes, with marble seats by the paths. there is no fountain, only a long pool in the sunken area, and a separate raised basin at the inner end with gently splashing jets, giving out a cool and peaceful sound. fat decorated urns, instead of lions, guard the entrances to the buildings. italian cypresses border the court, with formal clipped acacias in boxes between the pillars of the colonnade. the fountain of beauty and the beast, which stands in the court of flowers, was designed to be set here, while mrs. harry payne whitney's fountain of the arabian nights was to have found a place in the court of flowers. these two courts were planned as the homes of the fairy tales, one of oriental, the other of occidental lore. many beautiful things were designed for them. the attic of the court of flowers, which was intended as the place of oriental fairy tales, was to have carried sculptured stories from the arabian nights. but none of these things was done. mrs. whitney's fountain was modeled but never made, unfortunately, for the modeled figures are charming. the only sculpture in the court of palms, aside from the "end of the trail," which stands before it, is in the decoration of the entablature and the arches. horned and winged female caryatids mark off the entablature into garlanded panels. all the three arches under the gables are enriched with figures of women and of children supporting a shield, conventional groups, but graceful. "the end of the trail," by james earle fraser, of new york, is a great chapter in american history, told in noble sculpture. the dying indian, astride his exhausted cayuse, expresses the hopelessness of the red man's battle against civilization. (p. .) there is more significance and less convention, perhaps, in this than in any other piece of exposition sculpture. it has the universal touch. it makes an irresistible appeal. to make up for the lack of statuary in this court there are mural paintings over the entrances leading into the palaces of education and liberal arts on either hand, and into the court of the seasons. of these three lunettes two add little to the beauty of the court except for the vivid touch of color which they give it. one, over the door of the palace of education, is entitled "fruits and flowers," by childe hassam. it is a triumph of straight line applied to the female form. over the door of the palace of liberal arts is "the pursuit of pleasure," ascribed to charles holloway. the figures are gracefully drawn, the coloring flowery. there is better quality in arthur f. mathews' "triumph of culture," over the entrance to the court of seasons. in color and force this comes nearer to the splendid standard set by frank brangwyn than anything else in the exposition's mural decoration. perhaps that is too faint praise, for this is a real picture. in it a victorious golden spirit, crowding aside brute force, allows the humanities, representatives of culture, to triumph as the guardians of youth. the figures are human, there is strength and ease in them, and the color is a deep-toned song. x. the fountains a characteristic and fitting feature of the exposition--fountain of energy--the mermaids--gertrude vanderbilt whitney's "el dorado" and mrs. burroughs' "youth"--rising and setting sun--piccirilli's "seasons"--aitken's masterpiece, the fountain of earth--"beauty and the beast." the fountain, the spring, the well, is a characteristic note in the life and art of all lands in the sun. the arabians, the moors, the spaniards, the italians and the greeks loved fountains. it is less so in the north, in the regions of much rain, where water flows naturally everywhere. but nothing is so welcome in a thirsty land as a fountain. hence there is appropriateness in the many fountains of this exposition, which reflects in its plan the walled cities of the orient of the mediterranean, where fountains play in the courts of palaces, in public squares and niches in the walls; and pools lie by the mosques, and in the gardens. here are many kinds of fountains, from huge masses of sculpture spouting forth many powerful streams in the sun to terraced basins where water murmurs in quiet alcoves, and simple jets tinkling in summery courts. of those fountains that have especially been dignified and adorned by sculpture there are fourteen, some single, some in pairs, with one quartet in the court of seasons. their sequence from the chief gate of the exposition follows in a way the symbolic significance of all the sculpture. the fountain of energy, by a. stirling calder, in the center of the south gardens before the tower of jewels, as a figure of aquatic triumph, celebrates the completion of the panama canal. (see p. .) resting on a pedestal in the center of the pool, and supported by a circle of figures representing the dance of the oceans, is the earth, surmounted by a figure of energy, the force that dug the canal. fame and victory blow their bugles from his shoulders. when all the jets are playing, energy, horsed, rides through the waters on either hand. the band around the earth, decorated with sea horses and fanciful aquatic figures, represents the seaway now completed around the globe. on one side a bull-man, a rather weak-chinned minotaur, stands for the strength of western civilization; on the other, a cat-woman represents the civilization of the eastern hemisphere. surrounding the central figure in the pool are the four oceans,--the atlantic with corraled tresses and sea horses in her hand, riding a helmeted fish; the northern ocean as a triton mounted on a rearing walrus; the southern ocean as a negro backing a sea elephant and playing with an octopus; and the pacific as a female on a creature that might be a sea lion, but is not. dolphins backed by nymphs of the sea serve a double purpose as decoration and as spouts for the waters. the central figure of this fountain has been severely criticized, and with reason. the design is a beautiful one, but unfortunately not well adapted to reproduction on so large a scale. symbolism is here carried to an extreme that spoils the simplicity which alone makes a really great work imposing. calder had a fine idea of a figure of joyous triumph to stand as the opening symbol of the festival side of the exposition. he deserves credit for the real beauty of his design. it is a pity that a thing so charming as a model should not have worked out well in heroic proportions. as a fountain, though, it is splendid. the pool and its spouting figures are glorious. the play of the waters when all the jets are spouting is not only magnificent but unique. this veil of water shooting out and falling in a half sphere about the globe has not been seen before. there is a real expression of energy in the force of the leaping streams. mermaid fountains, by arthur putnam.--at the far end of each of the lovely pools in the south gardens is an ornamental fountain of ample basins topped by a graceful mermaid, behind whose back a fish spouts up a single jet of water. these are formal fountains, but exceedingly harmonious. without trying to be pretentious, they achieve an effect of simple beauty. (p. .) "el dorado" and "youth."--within the colonnaded wings of the tower of jewels are two fountains which carry' out the symbolism of the days of the spanish explorers in their themes, the aztec myth of el dorado, and the fabled fountain of youth, sought by ponce de leon. in their way, these are the loveliest fountains on the exposition grounds, though they differ so from all the rest that comparison is not easy. the naive conception of the fountain of youth and the realistic strength of that of el dorado lead visitors back to them again and again. they are hidden fountains, as their prototypes were hidden. each terminates one of the two open colonnades with a central niche composition flanked on either hand by a sculptured frieze. each is the work of a woman sculptor, and both, though very different, are far from the conventional or the commonplace. the fountain of el dorado, by gertrude vanderbilt whitney, tells the story of an aztec myth of a god whose brilliance is so dazzling that the sun is his veil, and who lives in a darkened temple lest his light destroy humanity. (p. .) at the center of the recessed wall are doors of the deity's shaded abode, a guardian on either side. in the friezes naked humanity moves ever onward, striving to reach the home of the god. the figures, in full relief, are splendid in their grace and vigor. here are men and women whom nothing can hold back; here are those who must be pushed along, some who linger for love, others for worldly goods; but all, the strong and the faint, the eager and the tardy, move forward irresistibly to their destiny. in wait's "the stories of el dorado," the following account is given of this aboriginal myth of an expected indian messiah, el hombre dorado, the gilded man, as the spaniards interpreted the native words,--which played a fateful part in the history of the primitive races of spanish america: "no words incorporated into the english language have been fraught with such stupendous consequences as el dorado. when the padres attempted to tell the story of the christ, the natives exclaimed 'el dorado'--the golden. the ignorant sailors and adventurers seized upon the literal meaning, instead of the spiritual one. the time, being that of don quixote and of the inquisition, accounts for the childish credulity on one side and the unparalleled ferocity on the other. the search for el dorado, whether it was believed to be a fabulous country of gold, or an inaccessible mountain, or a lake, or a city, or a priest who anointed himself with a fragrant oil and sprinkled his body with fine gold dust, must always remain one of the blackest pages in the history of the white race. the great heart of humanity will ever ache with sympathy for the melancholy and pitiful end of the natives, who at the time of the conquest of mexico were confidently expecting the return of the mild and gentle quetzalcoatl,--the mexican variant of this universal myth. * * * the golden hearted came from an island in the east, and to this he returned, in the legend. in all variants, he gave a distinct promise of return. this accounts for the awe inspired by europeans in the minds of the natives, causing them everywhere to fall easy victims of the unscrupulous adventurers swarming into their country. fate never played a more cruel prank than to have one race of men speak and act constantly from the standpoint of tradition, while the other thought solely of material gain." interesting, too, is mrs. edith woodman burroughs' conception of the fountain of youth. (p. .) the beautiful central figure is a girl child standing without self-consciousness by blooming primroses. modeled faintly on the pedestal are the parents, from whose upturned faces and uplifted hands the primroses seem to spring. in the friezes, wistful old people are borne onward to destiny in boats manned by joyous chubby children, unconscious of their priceless gift of youth to which their elders look back with so much longing. fountains in the court of the universe.--passing through the tower of jewels into the great court where themes become universal under the circle of stars above the surrounding colonnade, we come to the fountains of the rising and the setting sun, by a. a. weinmann, one at either focus of the elliptical sunken garden. in the east, the sun, in the strength of the morning, his wings spread for flight, is springing upward from the top of the tall column rising out of the fountain. walk toward him from the west and you get the effect of his rising. (p. .) at his feet a garland of children is woven in the form of a ring at the top of the column. at the base of the shaft, just above the basin, is a cylindrical frieze in low relief, symbolizing day triumphant. weinmann interprets this as the spirit of time, hour-glass in hand, followed by the spirit of light with flaming torch, while energy trumpets the approaching day. interwoven with these figures is an allegory of truth with mirror and sword, escaping from the sinister power of darkness, falsehood shrinking from its image in the mirror of truth, and vice struggling in the coils of a serpent. it is not easy to read either series, or to disentangle one from the other. in the west the setting sun is just alighting, with folding wings. the luminary, which in the morning was male, to represent the essentially masculine spirit, the upwardness and onwardness of opening day, has now become female in its quality of brooding evening. in fact, this same figure, which the sculptor shows in the palace of fine arts, is there called by him "descending night." the frieze at the base of the shaft of the setting sun is as difficult to interpret as the other. on it are shown the gentle powers of night. dusk folds in her cloak love, labor and peace. next are illusions borne on the wings of sleep, then the evening mists, followed by the star dance, and lastly, luna, the goddess of the silver crescent. luna may be recognized, for the silver crescent is in her hand; and, with the sequence i have just given, you may recognize the others. the figures supporting the basins and the creatures in the pools of each fountain are merely decorative. the play of water in these fountains is joyous and delightful. the purpose of a fountain is well and adequately fulfilled. there now remain the seven fountains of the lesser courts, connected more or less intimately in theme with their immediate surroundings. in the court of seasons.--four are in the court of seasons, where spring, summer, autumn and winter, by furio piccirilli, have each its own alcove in the wall and its own play of water. these are pleasant fountains, simple and quiet. there is some feeling of lonely mountain cliffs in the plain walls behind them, hung with streamers of the maidenhair vine. in the first alcove stands spring with her flowers; on one side the man, in whom love awakens, on the other fresh young flora, bringing the first offerings of the year. next comes the alcove of summer, the time of fruition. the mother brings her babe to its father, the laborer bears the first fruits of the harvest. (p. .) autumn follows, the time of harvest. the central figure of the fountain group is providence. the fruits of the year are brought in, and the vintage is in progress. last of all comes winter, the melancholy time when the trees are bare and the bark splits with the frost. the central figure is naked nature resting in the period of conception. on one side is bowed an old man, after preparing the ground for the seed; on the other is a strong man sowing. this is perhaps the best of the four fountain groups it expresses admirably the bleakness and sadness of the season. there is a wintry chill about it, the gloom of a dark december day. of the others, spring is most likable, with its conception of the seasonal impulse to love; and autumn, for the strength of its figures and the beauty of their modeling. in the forecourt, appropriately placed between the palaces of agriculture and food products, stands the fountain of ceres. (p. .) it is an odd fountain, with the water gushing from the mouths of satyrs set barely above the level of the ground, as though for the watering of small animals. ceres stands above, with a wreath of cereals and a scepter of corn. the frieze pictures the dance of joyous nature. fountain of earth.--in mullgardt's court of ages is the fountain of earth, by robert aitken, the most magnificently virile of all the exposition fountains, conceived of a powerful imagination and executed in strength and beauty. (p. , .) the sculpture of the fountain must be described in three parts. aitken's own interpretation is condensed in the following account. on the wall of the parapet at the foot of the pool, sixty feet from the central structure, is a colossal figure symbolizing helios, in his arms the great globe of the setting sun after it has thrown off the nebulous mass that subsequently became the earth. the whole expresses primitive man's idea of the splashing of the sun into the water as it sets. on the side of the central structure toward the figure of helios, and leading up to the earth, are two groups, each of five crouching figures, and divided by a conventional plane. at the outer extremity, destiny, in the shape of two enormous hands and arms, gives life with one and takes it with the other. the five figures on the left side represent the dawn of life, those on the right, the fullness and end of existence. the first group begins with a woman asleep, just from the hand of destiny; while the succeeding figures symbolize the awakening, the joy of being, finally, the kiss of life, with the human pair offering their children, representing the beginnings of fecundity. on the east side, a figure of greed looks back on the earth, the mass in his hands suggesting the futility of worldly possessions. next is a group of faith, wherein a patriarch holds forth to the woman the hope of immortality, with a scarab, ancient symbol of renewed life. then comes a man of sorrow, as the woman with him falls into her last slumber. these are about to be drawn into oblivion by the relentless hand of destiny. the gap between these groups and the main structure of the fountain typifies the unknown time between the beginning of things and the dawn of history. each of the four panels in pierced relief surrounding the globe of the earth tells a single story, with the exception of the first, which tells three. traveling to the left around the globe, we begin with the figure of vanity, mirror in hand, in the center of the first panel, as the symbol of worldly motive. here, too, are primitive man and woman, bearing their burdens, symbolized by their progeny, into the unknown future, ready to meet whatever be the call of earth. the woman suggests the overwhelming instincts of motherhood. passing into the next panel, we see their children, now grown, finding themselves, with natural selection. the man in the center, splendid in physical and intellectual perfection, attracts the women on either hand, while two other men, deserted for this finer type, display anger and despair. one tries to hold the woman by force, the other, unable to comprehend, turns hopelessly away. the succeeding panel symbolizes the survival of the fittest. here physical strength begins to play its part, and the war spirit awakens, with woman as its cause. the chiefs struggle for supremacy, while their women try in vain to separate them. the last panel portrays the lesson of life. the elders offer to hotheaded youth the benefit of their experience. the beautiful woman in the center draws to her side the splendid warrior, whose mother on his left gives her affectionate advice. on the right of the panel, a father restrains a wayward and jealous youth who has been rejected by the female. passing again into the first panel we find a representation of lust,--a man struggling to embrace a woman, who shrinks from his caresses. thus the circle is complete; these last two figures, though in the first panel, are separated from those first described by decorations on the upper and lower borders. framing the panels, while also indicating the separation in time of their stories, stand archaic figures of hermes, such as the ancients employed to mark distances on the roads. their outstretched hands hold up the beginnings of life in the form of rude primeval beasts, from whose mouths issue the jets of the fountain. at night this fountain glows deep red, from lamps concealed within the panels, while clouds of rosy steam rising around the globe create an illusion of a world in the making. the fountain of beauty and the beast was originally intended for the court of palms, which was conceived as the court of occidental fairy tales, just as the court of flowers was to have been that of oriental fairy tales. mrs. whitney's fountain of the arabian nights, a creation of whimsical beauty, was to have stood in the latter court. it was modeled, but was never enlarged; and its place was taken by beauty and the beast, the work of edgar walter. (p. .) this is another harmonious fountain, rightly conceived, so that its sculpture does not overbalance its use in the play of water, and admirably in tune with the flowery grace of the court. beauty, pouring water from a greek amphora, sits lightly upon the ugly beast. why she wears a smart paris hat no one has discovered. four cheery pipers, lively as crickets in the sun, support the upper bowl. around the lower basin is a frieze in low relief, figuring hanuman, the king of monkeys, leading a bear with one hand and prodding a lion with the other. all this is part of the original fairy-tale significance of the court. the fountains are of the glories of the exposition. there is always charm in the movement of the waters, rest in their music. the appeal is elemental, and therefore, universal. artificial jets can never equal the play of water in nature, but when adorned with harmonious sculpture, as here, they become that significant and satisfying imitation which is art. xi. the palace of machinery a vast rectangular hall, saved by ward's successful architecture from being a huge barn--modeled on the roman baths of caracalla--patigian's finely decorative sculptures, symbolizing the mechanical forces and labor--beauty of the interior--a cathedral of dynamics. a mighty hall is the palace of machinery. (see p. , .) beachey flew in it. the olympic might rest in its center aisle with clear space at both bow and stern, and room in the side aisles for two ocean greyhounds as large as the mauretania. vastness is the note of the architecture which clarence ward has employed to give body to this enormous space. it is an architecture of straight lines in all the outer structure, lending itself admirably to the expression of enormous proportions. in general ground plans the palace is a simple rectangular hall. think, then, of the task the architect had before him to avoid making the palace a huge barn. his work succeeded, as any great work succeeds, because he used simple means. first of all, a roman model was well chosen for so vast a building. the greeks built no large roofed structures. their great assemblages were held in open-air theaters and stadia. the greek masterpiece, the incomparable parthenon at athens, was considerably smaller than oregon's timbered imitation at the exposition. on the other hand, the solid roman style lends itself to bulk. the models followed in the machinery palace were the roman baths, particularly the baths of caracalla. they have been used once before as a model in this country, in the building of the pennsylvania railway station in new york. there, too, travertine was first successfully imitated by paul deniville. looking at the palace of machinery, indeed, it is not difficult to imagine it as the noble metropolitan terminal of a great railway system. it would hold many long passenger trains, and an army of travelers. the distinctive feature of the perspective is the triple gable at the ends of the palace and over the great main entrance. by thus breaking up the long roof lines, as well as by lowering the flanks of the building to flat-roofed wings, a barn like effect was avoided. in the triple gables, also, the three central aisles which distinguish the interior show in the outer structure. under the gables the huge clerestory windows above the entrances relieve the great expanse of the end walls. similar windows open up the walls above the flat-topped wings. in the main entrance, the gables are deepened to form a huge triple vestibule where the row of columns is repeated. the long side walls are relieved by pairs of decorated columns flanking the minor entrances. thus, by entirely simple devices, the long lines and vast expanses of wall are deprived of monotony. the architect has given majesty to the palace, not merely a majesty of hugeness, but of just proportions and dignified simplicity. in the general architectural scheme of the exposition it forms one end of the main group of palaces, at the other end of which is set the palace of fine arts. machinery hall, with its severe massiveness and solidity, is a balance to the poetry and spirituality of the fine arts. the main entrance is on the west side, looking down the avenue between the palaces of mines and varied industries. perhaps it is better, though, to take a first view of the sculptural decoration at the entrance at either the north or the south end, where almost everything is shown that appears in the more complicated main vestibule. the three clerestory windows make three arches with four piers. in front of each pier stands a great sienna column crowned with one of four symbolic figures, each, in the strength of the male, emblematic of force. first on the left is "electricity," grasping the thunderbolt, and standing with one foot on the earth, signifying that electricity is not only in the earth but around it. the man with the lever that starts an engine represents "steam power." "imagination," the power which conceives the thing "invention" bodies forth, stands with eyes closed; its force comes from within. wings on his head suggest the speed of thought. at his feet is the eagle of inspiration. "invention" bears in his hand a winged figure,--thought, about to rise in concrete form. the eagle appears as a symbol of the united states, on the entablature carried across the opening below the arch on two corinthian columns in each embrasure. the lower third of each of these shafts is decorated with a cylindrical relief representing the genii of machinery, flanked by human toilers and types of machines. the genii are blind, as the forces developed by machines are blind. there are only two of these cylindrical friezes, but they are repeated many times on the columns at either end and at the main entrance, and on the pairs of columns that flank the minor openings in the western wall. over the main entrance the gable is extended to enclose a majestic triple vestibule, backed by the same effect that appears at the palace ends, but with the entablature and its supporting columns repeated across the outer arches. (p. .) with the exception of the spandrels on the transverse arches, the sculptural decoration here is the same as that described for the end entrances, though more often repeated. the spandrels represent the application of power to machines. all this decoration is the work of haig patigian, of san francisco. before the main entrance stands the only example, in the exposition sculpture, of the work of the dean of american sculptors, daniel chester french. this is his noteworthy group, the genius of creation. (p. .) other statues by french will be found among the exhibits of the fine arts palace. the genius of creation was placed here at the last moment. it had been intended for the court of the universe, while douglas tilden's group of "modern civilization" was to have stood before the palace of machinery. when this was not completed, the exposition wisely decided that the great court already had enough statuary, and ordered french's group erected in its place. according to french himself, this group might well have been called "the angel of generation." the winged figure, neither male nor female, but angelic, is veiled, suggesting the creative impulse as a blind command from unknown sources. the arms are raised in a gesture of creative command. it has wings, said french, because. both art and the conception demanded these spiritual symbols. the man and woman against the rock whereon the angel sits are emblems of the highest types created. the man looks upward and outward with one hand clenched, ready to grapple with life. the woman reaches out for sympathy and support; her fingers find this in the hand of the man at the back of the rock. man and woman are encircled by the snake, the earliest symbol of eternity and reproduction, a figure appearing, curiously enough, in every religion, and with much the same significance. without ignoring the majesty of the exterior, glowing with color and adorned with statuary, it may be said that the real nobility of this great structure appears in the splendid timber work of the interior. here, where every bone and rib of the huge hall stands bare as the builders left it, is a note of true grandeur. the long rows of great timbered columns, the lofty arches that spring from them, the almost endless vista of truss and girder, tell of vastness that cannot be expressed by the finished architecture outside. the finest character of the palace is within. from the outside it is a great and well-proportioned hall. within it becomes a vast cathedral, dedicated to the mighty spirit of dynamics. xii. the palace of fine arts and its exhibit, with the awards a memorable demonstration of the value of landscape to architecture-- simplicity the foundation of maybeck's achievement--the colonnade and rotunda--altar, friezes and murals--equestrian statue of lafayette-- night views--the palace should be made permanent in golden gate park-- the fine arts exhibit--its contemporaneous character and great general merit--american art well shown--the foreign collections--sweden's characteristically national art--exhibits of france, italy, holland, argentina, and other countries--japan and china exhibit ancient as well as modern art--the annex--work of the futurists--notable sculptures in the colonnade--grand prizes, medals of honor and gold medals awarded. if everything else in the beautiful architecture of the exposition were forgotten, the memory of the palace of fine arts would remain. it should be a source of pride to every californian that this incomparable building is the work of a californian, and a source of deep satisfaction to the architect himself that it so completely points the lesson which he intended it to convey. for the palace of fine arts is a sermon in itself. in it old roman models have been used to elaborate a california text. its structure and setting are the demonstration of a theorem,-- the finished word of the preachment of a lifetime. the exposition gave the preacher his opportunity. bernard maybeck, the berkeley architect, had long been telling california that architecture here, to be beautiful, needed only to be an effective background for landscape. his theory is that as trees and plants grow so easily and so quickly here, californians are wasting their finest source of beauty if they do not combine landscape with building. when maybeck was called upon to design a palace of fine arts at the exposition, one fact enabled him to exemplify his theory in the finest way. the old harbor view bog was found to have a bottom impervious enough to hold water, and the trees of the demolished resort were still standing. when the mud was scooped out, a lake was left. that gave not only growing trees, in addition to the resources of the exposition's forestry, but also a real sheet of water, for the landscape. (see p. .) maybeck surprised me by saying that there is nothing specially remarkable about the palace itself. "what is it the people like?" he asked, and himself replied, "it is the water and the trees." when i reminded him of the beauty of the colonnade seen from points in the enclosed passageway, where no water is in view, he answered: "the public was bribed to like that. leaving off the roof between the colonnade and the gallery was a direct bribe. a few other simple devices give the effect the people like. one of these is the absence of windows in the walls, a device well known to the old italians. others are the water, the trees, and the flower-covered pergolas on the roof." maybeck's modesty is genuine, but he deserves more credit than he gives himself. i quote him because his point is worth emphasizing. the highest beauty can be attained by simple means. if all our architects could see that, we should have less straining for effect, less over doneness, and more harmony and significance in our buildings. the people can and do appreciate this kind of beauty. it was surely inspiration that made it possible for maybeck to produce this masterpiece. sweeping in a great arc around the western shore of the lagoon, the palace, in the architect's view, is merely a background for the water, the trees and the plants on the terraced walls and pergolas. certainly it is a beautiful setting to a beautiful scene. so perfectly are the palace and its foreground fitted to each other that the structure looks as though it might have stood there for twenty centuries, a well-preserved roman villa, while generations of trees grew, and decayed, and were reproduced around its base. the great detached colonnade, with its central rotunda, is the climax of the entire structure. it is backed up and given solidity by the walls of the gallery behind it, , feet long. these walls, unbroken save for the entrances, are relieved and beautified by shrubbery set on a terrace halfway between the ground and the eaves. (p. .) at the extremities of the double colonnade, and spaced regularly along it, are groups of four columns, each crowned with a great box designed for flowers and vines. unfortunately, the architect's plan to place growing plants in these receptacles was vetoed because of the cost. the weeping women at the corners, by ulric ellerhusen, expressive of the melancholy felt on leaving a great art collection, were intended to be only half seen through drooping vines. on the water side of the rotunda, a novel effect of inclusion is obtained by semi-circular walls of growing mesembryanthemum. around the entablature of the noble octagonal rotunda are repeated bruno louis zimm's three panels, representing "the struggle for the beautiful." (p. .) in one, art, as a beautiful woman, stands in the center, while on either side the idealists struggle to hold back the materialists, here conceived as centaurs, who would trample upon art. in another, bellerophon is about to mount pegasus. orpheus walks ahead with his lyre, followed by a lion, representing the brutish beasts over whom music hath power. back in the procession come genius, holding aloft the lamp, and another figure bearing in one hand the pine cones of immortality, in the other a carved statue which she holds forward as a lesson in art to the youth before her. in the third panel appears apollo, god of all the arts, in the midst of a procession of his devotees bearing garlands. between the panels are repeated alternately male and female figures, symbolizing those who battle for the arts. on an altar before the rotunda, overlooking the lagoon, kneels robert stackpole's figure of venus, representing the beautiful, to whom all art is servant. the panel in front of the altar is by bruno louis zimm, and pictures genius, the source of inspiration. unfortunately, this fine altar has been made inaccessible; it can be seen only from across the lagoon. (p. .) the friezes decorating the huge circular flower receptacles set around the base of the rotunda and at intervals in the colonnade are by ellerhusen. eight times repeated on the lofty columns within the rotunda is "the priestess of culture," a conventional but pleasing sculpture by herbert adams. above, in the dome, robert reid's eight murals, splendid in color, are too far away to be seen well as pictures. two separate series are alternated, one symbolizing the progress of art, the other depicting the four golds of california. the panel in the east, nearest the altar, is "the birth of european art." the sacred fire burns on an altar, beside which stands the guardian holding out the torch of inspiration to an earthly messenger who leans from his chariot to receive it. on the right is the orange panel, representing one of the california golds. "inspiration in all art" comes next. the veil of darkness, drawn back, reveals the arts: music, painting, poetry, and sculpture. a winged figure bears the torch of inspiration. the second of the california golds, the wheat panel, follows, and then "the birth of oriental art." the allegory here is the ancient ming legend of the forces of earth trying to wrest inspiration from the powers of air. a chinese warrior mounted on a dragon struggles with an eagle. gold, the yellow metal, is the subject of the next panel, followed by "ideals in art." in this appear concrete symbols of the chief motives of art, the classic nude of the greeks, the madonna and child of religion, joan of arc for heroism, youth and material beauty represented by a young woman, and absolute nature by the peacock. a mystic figure in the background holds the cruse wherewith to feed the sacred flame. a winged figure bears laurels for the living, while the shadowy one in the center holds the palm for the dead. last of all comes the poppy panel, representing the fourth gold of california. "the entire scheme--the conception and birth of art, its commitment to the earth, its progress and acceptance by the human intellect,--is expressed in the four major panels. they are lighted from below by a brilliant flood of golden light, the sunshine of california, and reach up into the intense blue of the california skies." this, as well as much of the interpretation of the eight pictures, is drawn from reid's own account. within the rotunda has been installed paul wayland bartlett's spirited equestrian statue of lafayette. this is a replica of the original work, which was presented to the french government by the school children of the united states, and stands in the gardens of the louvre. other notable statues here are karl bitter's thomas jefferson, john j. boyle's commodore barry, herbert adams's bryant, and robert t. mckenzie's charming figure of "the young franklin." outside the rotunda, facing the main entrance to the gallery, is "the pioneer mother," charles grafly, sculptor. over the entrance is leo lentelli's "aspiration." beautiful as is the palace of fine arts by day, it is even more lovely at night. (p. .) either by moonlight or under the gentle flood of illumination that rests softly upon it when the heavens are dark, it is wonderful. there is so much of perfection in the building, and it is so well placed, that it needs no special conditions to be at its best. nor is any particular viewpoint necessary. stand where you will around this structure, or on the opposite margin of the lagoon, and each position gives you a different grouping of columns and dome and wall, a different setting of trees and water. the form of the palace is responsible for this. roughly speaking, a rectangular structure presents but four views. but the great arc of the fine arts, with its detached colonnade following the same curve on either side of the rotunda, is not so restricted. every new point of view discloses new beauty. the breadth of the lagoon before it guarantees a proper perspective. it is impossible not to see it aright. an excellent test of the quality of all such temporary structures is the satisfaction with which one thinks of them as permanent buildings. no other of the palaces would wear so well in its beauty if it were set up for the joy of future generations. it would be a glorious thing for san francisco if the fine arts palace could be made permanent in golden gate park. to duplicate it in lasting materials would cost much, but it would be worth while. san francisco owes it to itself and its love for art to see that this greatest of western works of art does not pass away. as it stands on the exposition grounds, it is more enduring than any of the other palaces. to induce the loan of its priceless contents, the building had to be fireproof. but the construction is not permanent. the splendid colonnade, a thing of exquisite and manifold beauty, is only plaster, and can last but a season or two. even were the building solid enough to endure, its location is impossible after the exposition closes. it should be duplicated in permanent form. no doubt a proper site, with a setting of water and trees, can best be found in golden gate park. the steel frame and roof of the main gallery could easily be transferred there and set up again. while it would cost too much to duplicate in real marble the pillars of the colonnade and dome, yet these can be reproduced in artificial stone as successfully as they have here been imitated in plaster. in the pennsylvania railroad station in new york travertine has been counterfeited so well that no one can tell where the real ends and the imitation begins. every other considerable city in the civilized world has its art gallery. san francisco has already the full-sized model of surely the most beautiful one in the world. made permanent in the park, this palace of art would not only honor san francisco, but would be "a joy forever" to all america. the fine arts exhibit[ ].--the palace of fine arts contains what the international jury declares the best and most important collection of modern art that has yet been assembled in america. the war in europe had a two-fold effect on this exhibition. while it prevented some countries, like russia and germany, from sending their paintings and sculptures, it led others, such as france and italy, to send more than they otherwise would have sent. the number the exposition might have was limited only by its funds available for insurance. so many were the works of art sent over on the vega and the jason that an annex was required to house them. it must be remembered that this art exhibit, like the other exhibits of the exposition, is contemporaneous. it represents, with exceptions, the work of the last decade. most of the exceptions are in the rooms of the historical section, the abbey, sargent, whistler, keith, and other loan collections, and the great chinese exhibit of ancient paintings on silk. in general, the paintings and sculptures made famous by time are not in the fine arts palace. its rooms are mainly filled with the latest work of artists of the day, exhibited under the exposition's rule which limits competition in all departments to current production. this explains, for instance, why the french government has placed its meissoniers and detailles, with rodin's bronzes, in the french pavilion. a michelangelo, works of benvenuto cellini, and many old paintings and statues are in the beautiful italian pavilion. other paintings of value are in the belgian section of the french pavilion, and in the danish pavilion. this limitation of the fine arts exhibit has made room for a great representation of the men of today. the palace contains a multitude of splendid pictures. while of course, as in all such collections, there is some inferior work, the most pertinent criticism is that there are too many really notable things, and the scope of the collection is too broad, to be seen with due appreciation in a limited time. there is so liberal a showing of different schools, styles and lands, that one is liable at first to be bewildered. but the exhibit is most popular. the great number of visitors constantly thronging the galleries is significant of the value the people put upon art. excellent as the collection is as a school for artists, it was made for popular enjoyment and education. the best result to be looked for is its stimulation and culture of the public taste. the people are already in love with it, and what they love they make their own. the exhibits are arranged in fifteen sections, consisting of national, sectional, or personal, collections of paintings, besides many important displays of miniatures, etchings, prints, drawings, and tapestries. the art of the sculptor is abundantly illustrated in grouped statuary, single pieces, panels in low or high relief, and wood carvings. passing the heroic emblems of history or allegory in marble, bronze or plaster, nothing is more beautiful or appealing than the hundreds of small bronzes shown. in brief, the fine arts exhibit embraces all the classifications of modern art, save the "arts and crafts" exhibits, which are scattered among the several exhibit palaces. first in importance to a citizen of this country is the art of the united states. possibly it may also be of first importance to foreign visitors. for the phrase "american art" no longer raises a doubt. it is at last recognized that america has something of its own to offer the world,--a style developed within the last, two decades. the prime movement of the times presenting boldness, brilliance and a laxity of detail in portrayal, the art of america, as shown in this exhibition, embodies these characteristics without emphasizing them. keeping in mind the fact that the palace contains little american art earlier than , american artists are showing marked individualities, even in their acceptance of popular precepts. the virile men of the day love luminosity; it dominates all else, and marks their canvases with light; they restrain the too bold stroke of the radical impressionist, but outline with firmness, so that details are more easily imagined by the observer, even when an expected delineation is absent. even the older men, though still under the influence of earlier tradition, show a distinctiveness of style that sets them well apart from their english, french or german contemporaries. the international section, in room and in the annex, is peculiarly interesting in that it makes easy a comparison of the characteristic fingerprints of each country represented. there is ample opportunity here for a discriminating and profitable study. unfortunately, because of the war, the gallery contains no special rooms for the art of england and germany. both countries are represented only by loan collections. of german art there are forty well chosen paintings. france, italy, holland, sweden, portugal, japan, china and several of the south american countries have installed representative collections in the palace; while the annex, made necessary by the unexpected number of pictures from europe, contains a large exhibit of hungarian art, a norwegian display, filling seven rooms, a large british exhibit, and a small group of pictures by spanish painters, showing that the influence of velasquez is still powerful in spanish art. the norwegian display is one of the largest foreign sections, quite as characteristic as the swedish, and certain to arouse discussion because of its extreme modernism. the ultra-radical art of edvard munch, who is called the greatest of norwegian painters, and to whom a special room is assigned, is sure to be a bone of contention among the critics. the work of harald sohlberg (medal of honor) and halfdan strom (gold medal), differing widely from munch's, though hardly less modern in style, will also attract much attention. the omission of munch from the honor list is really a tribute to his eminence. an artist who has won the grand prix at rome and awards in every other european capital was deemed outside of competition here. axel gallen-kallela, the celebrated finnish painter, winner of the exposition's medal of honor, fills another room in the annex. this room, covering adequately gallen's progress through twenty-five years, is the only one in the exposition to illustrate the development of a great painter from his student days. the collection runs from his earliest academic work, photographic in its care for detail, to his present mastery of impressionism, wherein by a few strokes he expresses all the essentials. the italian futurists are well shown in the annex, and for the first time in this country. the futurist pictures hitherto seen in america have been french imitations of the italian originators of the mode. a sample futurist title, "architectural construction of a woman on the beach," may or may not indicate what these pictures reveal. the annex, too, has a splendid exhibit of the etchings of frank brangwyn, the great englishman, who is no less renowned as an etcher than as a painter, and who has won the exposition's medal of honor in the international section. the arrangement of the rooms in the fine arts gallery becomes simple enough when the key is supplied. the united states section is in the center, and, with the historical rooms, occupies, roughly, half the space, flanked by the foreign rooms at either end of the building. four rooms of the united states section are separated from the rest and form a narrow strip across the extreme north end of the gallery. the prints, drawings, miniatures, and medals are installed in rooms forming a strip along the west wall of the building. the united states section is opened by a central hall opposite the main entrance, and by a corridor extending on either side through to the foreign sections. the central hall is chiefly devoted to sculpture, including karl bitter's strong and characteristic group, "the signing of the louisiana purchase treaty," daniel chester french's "alice freeman palmer memorial," both winners of the medal of honor, gertrude vanderbilt whitney's fine central fountain, and other important work. the walls are hung with ancient tapestries of great interest, and paintings, mostly decorative, though robert vonnoh's "poppies" and ben au haggin's "little white dancer" are admirable. vonnoh won a gold medal. historical section.--south of the united states section, a block of ten rooms, with room at the southwest angle of the central hall, is devoted to painters who either have influenced american art or represent its earlier stages. room , on the east side of the block, contains old dutch, flemish, french, and italian pictures, none very interesting, though teniers, watteau and tintoretto are represented. rooms , , and , constituting the tier next to the italian section, show chiefly examples of the french painters, including those of the barbizon school, who have influenced later american painting. along with other names less known, room displays canvases by daubigny, courbet, charles le brun, meissonier, tissot, monticelli and rousseau. it has two corots, one a delight. room is even more important. it offers a millet, far from typical; a capital schreyer, two portraits by the german von lenbach, a small but interesting sample of alma tadema's finished style, and the sensational "consolatrix afflictorum" by dagnan-bouveret. better still, in jules breton's "the vintage" and troyon's "landscape and cattle" it has two of the noblest paintings to be seen in the entire palace,-- pictures that show these great masters at their best. room is mainly devoted to the early impressionists, with seven canvases by their leader, claude monet, and other landscapes by renoir, pissaro and sisley, and a brilliant interior (no. ) by gaston la touche. the pictures by monet illustrate his progress from the hard conventionalism of his early academic style (seen in ) to such delightful embodiments of light and atmosphere as and . the gallery contains no more triumphant piece of impressionism than the saucy "lady in pink" by the russian, nicholas fechin. the story set afloat that it is the work of an untaught russian peasant simply testifies to ignorance of this master. every splotch of color here breathes technique. as if by way of contrast, the opposite wall shows one of puvis de chavannes' classical murals, even more anaemic than usual. the large room no. shows a venetian sunset by turner, two portraits by goya, another attributed to velasquez, a splendid raffaelesque altar-piece by tiepolo, the like of which rarely leaves italy, and canvases by guido reni, ribera, and van dyke. almost all the remaining space is taken up by excellent examples of the british art that influenced the early american painters, with some of prior date. here are canvases by lely, kneller, hogarth, reynolds, gainsborough, hoppner, beechey, allan ramsay, lawrence, raeburn, and romney. the last four are especially well represented. in this room, too, is the bronze replica of weinmann's figure, "the setting sun," here called "descending night." american "old masters."--following logically the english portrait painters, the american historical section begins with rooms and . the former is mainly filled with the work, much of it admirable, of the early american portrait painters. here are gilbert stuart's lovable "president monroe," benjamin west's "magdalen," and portraits by peale, copley, west, sully and others. in room , the antiquarian interest predominates, with a few fine portraits by inman, harding, king, and s. f. b. morse, who, besides inventor, was an artist. but nothing here surpasses no. by charles loring elliott, a canvas that is irresistible in its vivid setting forth of personality. room brings the story of american painting well past the middle of the nineteenth century, with typical examples of bierstadt, eastman johnson and other fading names. room contains a number of edwin abbey's finely illustrative paintings, the most popular of which is his "penance of eleanor," and a collection of his splendid drawings; also important canvases by theodore robinson and john la farge. room covers a wide sweep, from church's archaic "niagara falls" down to stephen parrish, eakins, martin, the morans, hovenden, and remington. edward moran's "brush burning" ( ) is capital. room , the last of the american historical rooms, is perhaps the most important, finely showing inness, wyant, winslow homer, hunt, and other american masters. modern american painting.--we come now to the great and splendid representation of present-day painters. in noting these, the artists achieving grand prizes, medals of honor or gold medals will often be mentioned; but a full list of such honors will be found at the end of this chapter. it should be remembered that no member of a jury, and no man who received the honor of a separate room, was eligible for award. in general, it may be said, the exposition puts forward the work of artists who have "arrived" since the opening of the century. in accordance with this helpful policy, older painters who had won many honors at previous exhibitions were passed over for the encouragement of younger men. it should also be noted that awards were not made for particular pictures, but upon each artist's exhibit as a whole. rooms , , and show contemporary americans,--the last two with great credit. no. is a large room of canvases by american women painters. one who has not kept abreast of woman's work in art in this country has a surprise awaiting him in the the high quality shown here. two pictures by ellen rand ( , ), mary curtis richardson's captivating "young mother" and her "professor paget" ( , ), and alice stoddard's inimitably girlish group, "the sisters" ( ), will reward very careful study of their sincerity and strength of treatment. especially brilliant are the works of cecilia beaux and m. jean mclane,-- the first winning the exposition's medal of honor, the latter rather theatrical in their gayety of color. here also is a canvas ( ) by violet oakley, another honor medallist. room is enriched by the canvases of charles walter stetson, horatio walker, charles w. hawthorne, douglas volk (gold medal), and george de forest brush. volk's three charming pictures deserve to be better hung. the stetson group illustrates the impressionist method and result as well as anything in the palace. take his "smugglers" or his "summer joy" ( , ), and note how a few heavy and apparently meaningless dabs of color may be laid side by side on canvas in such a way that, when seen from a distance, they blend, until the picture not only outlines figures and foliage, but also glows with atmosphere, life and movement. these rooms complete the south half of the american section, with the exception of the very interesting, though not fully adequate, whistler room, ; the print rooms, to , in the tier along the west wall, and five more one-man rooms along the east wall. these five, in their order from the main entrance are: no. , devoted to the old-masterlike works of frank duveneck, who, more perhaps than any other american, shows the great manner of velasquez, rembrandt and franz hals, and to whom the jury has recommended that a special medal be given for his influence on american art; no. filled with the admirable impressionist landscapes of e. w. redfield; and , given up to the widely contrasted work of edmund c. tarbell and john h. twachtman, each in his own fashion a master and enjoying a well-earned popularity, twachtman's pictures in particular commanding almost as high prices as those of the men in room ; and no. , just off the tarbell room, containing a small loan collection which very incompletely represents william keith. five other individual rooms are north of the main entrance: no. , portraits and still life by william m. chase; , childe hassam's radically impressionist work; , gari melchers' pictures of dutch types and scenes; , the charming western pictures of arthur f. mathews and francis mccomas, both californians; and , the john s. sargent room, containing among other works his famous early portrait of mme. gautrin, his "john hay," and the sympathetic portrait of henry james which was mutilated by the british suffragettes. all these one-man rooms exhibit characteristic work of the men thus distinguished, though the younger men are the more completely represented. the whistler, keith, chase and sargent rooms, which may be classed with the historical block, show few of the best-known masterpieces of these artists. room , cut out of the northeast corner of the central hall, a gallery of well restrained pictures, contains the interesting work in light and color of william mcg. paxton, member of the jury; portraits and figures by leslie p. thompson (silver medal), philip l. hale's warm-toned portraits, the delicate but brilliant landscapes of willard l. metcalf (medal of honor), and those by philip little (silver medal). the portraits are in the older academic style; the landscapes, modern. rooms and are distinguished by some notable landscapes and marines. no. shows emil carlsen's fresh "open sea," his single picture here, but the winner of a medal of honor, and albert laessle's small animal sculptures (gold medal), and capital examples of paul dougherty, j. f. carlson, leonard ochtman and ben foster. no. holds two fine snowy landscapes by w. elmer schofield (medal of honor), two engaging studies in brown by daniel garber, brilliant figures by j. c. johansen, and california coast views by william ritschel. the last three artists are gold medallists. room is made noteworthy by works of three of the nine american winners of the medal of honor,--lawton parker's voluptuous "paresse" and two portraits, and single paintings by john w. alexander and richard e. miller ( , ). alexander's airy "phyllis" is his only picture in the palace. miller shows one more canvas, a colorful "nude" ( ) in room . room is entirely devoted to portrait painters, among them julian story, h. g. herkomer, robert vonnoh, and irving c. wiles ( ), the latter two both winners of the gold medal. no. shows admirable small landscapes, among them the "group of white birches" by will s. robinson (silver medal), charles c. allen's "mountain and cloud," and land and water views by charles j. taylor, especially no. . room shows good landscapes by ernest lawson (gold medal), paul king (silver medal), and the two beals. gifford beal's work won a gold medal. room , a gallery in the academic style, contains a variety of portraits, figure paintings and landscapes, including w. r. leigh's spirited "stampede," and the more conventional work of walter macewen. no. is another varied room. in addition to some landscapes, the visitor will be struck by the small but exquisite exhibit in gold, enamel, and precious stones of louis c. tiffany. the western tier of this section, rooms - , contains work of all grades of merit. no. is conglomerate. perham nahl's well drawn "despair" ( ) is perhaps best worth mention. in no. putthuff's two brown western scenes and clarkson's portrait of e. g. keith are interesting. no. is better. walter griffin's opulent landscapes (medal of honor) are well worth studying. here also are two canvases by robert reid, one almost japanese in its effect; the restrained landscapes of william sartain, and charles morris young's sharply contrasting "red mill' and "gray mill," with his characteristic wintry landscapes. reid and young won the gold medal. in no. are a half-dozen delicately handled landscapes by frank v. du mond, a member of the jury. in no. e. l. blumenschein's warm indian pictures and a. l. groll's desert scenes won silver medals. but the best thing here is richard e. miller's "nude," already mentioned. on the east wall of room hangs "sleep," the best of the eight canvases shown by frederic carl frieseke, distinguished above all other american painters in the palace by the exposition's grand prize. seven other pictures by frieseke, interesting by reason of comparison with this masterpiece, hang in room . in gallery are also some good landscapes,--robert vonnoh's "bridge at grez" and cullen yates' "november snow." in no. , a better balanced room than most in this tier, three walls are made noteworthy by j. alden weir's luminous and impressionist landscapes, and d. w. tryon's more academic canvases. weir was the chairman of the jury for oil paintings. no. is dominated by sergeant kendall, in both painting and sculpture. in the first he won the gold medal, in the second the silver medal. room has been called the "chamber of horrors," because it shows several of the extremists; but it has some masterpieces. staring things by john sloan, william j. glackens, adolphe borie, and arthur b. caries are relieved by h. h. breckinridge's highly colored fruits and flowers, gertrude lampert's "black and green," thomas anshutz' two studies of women, and several of robert henri's strong figure pieces. in the extreme northern end of the gallery, beyond the foreign sections, is a tier of four rooms, - , ranging from the mediocre to the admirable. in no. are seven interesting canvases by frieseke, the grand-prize winner, already mentioned. these pictures show the artist's scope. no. and others are strikingly like plinio nomellini's no. in the italian section. no. is as different from these as "sleep" is from all the rest. in the same room are mora's "vacation time" ( ) and tanner's "christ at the home of lazarus" ( ), both winners of the gold medal. room holds the pictures of several gold-medal winners, the "promenade" ( ) by max bohm; the noble "lake louise" ( ) by h. j. breuer, whose pictures of the canadian rockies are also to be found in rooms and ; the tender "spring" ( ) by w. d. hamilton, worthy of a better place; and h. l. hoffman's clearlighted "a mood of spring" ( ), and his vivid "savannah market" ( ). room is filled with water-colors, drawings, engravings and etchings. room holds george bellows' post-impressionistic canvases, myron barlow's well-drawn figures, w. d. hamilton's speaking likeness of justice mckenna ( ), charles h. woodbury's "the bark" ( ), and waldo murray's portrait of "robert fowler" ( ), wrongly catalogued with the international section. all these painters won gold medals. this is perhaps the best room in this tier. in the tier on the western wall devoted to the minor forms of art, howard pyle's illustrations occupy two small rooms, and . the first contains ink sketches, the second his works in characteristic color. room is devoted to admirable miniatures and to water colors. here on the east wall are jules guerin's vividly colored oriental scenes, which won the gold medal. the walls of room are given up to a series of charming pastels by john mcclure hamilton. no. also contains cases of medals, as does no. . room is devoted to miniatures, and to drawings. in the section known as the "print rooms," - , along the west wall, are hundreds of famous etchings. this branch of art, old and respected through the examples offered by early masters like albrecht durer and rembrandt, has still to be fully appreciated. it has come to the public slowly, the layman who likes and buys pictures more often holding aloof from the thing called an etching. that there is now a closer acquaintance than before is due in large measure to joseph pennell. working through the practical, he allied his art years ago with such subjects as bridge and railroad building, and by giving the public an easier avenue of approach, has attracted it to the beauty of this method of art. the print rooms show dozens of pennell's etchings, with those of whistler and many others. whistler's etchings, lithographs, and drawings are in no. , pennell's in no. . room holds the work of henry wolf, winner of the grand prize. b. a. wehrschmidt, an honor medallist, is represented in room . j. andre smith, herman a. webster and cadwallader washburn are in room , allen lewis and gustav baumann (gold medals) are in room . room holds the loan collection of whistler's works, already mentioned, chiefly from the national gallery, washington. room contains photographic reproductions of painting and sculpture. room is devoted to original drawings for illustration. the foreign sections.--these are placed north and south of the united states collections. in the extreme south end, japan occupies a large block of rooms, numbered from to . with this abundant floor and wall space at her disposal, that country left nothing undone to make her art exhibit comprehensive and beautiful. the display stands alone for completeness. japan's art is as old as her history; and now, with her advent among the modern nations, she has added occidental art to her more ancient forms. the essayal, as shown here, is still beyond her, but the strides are noteworthy. in the wonderful display of her own art, she shows both the beauties of antiquity and the masterpieces of her present day artists. the paintings upon silk, landscape embroideries, porcelains, ink drawings, metal work, and scrolls will occupy the art lover many hours. france adjoins japan, filling a block of rooms from to , and italy follows, in rooms to . the intervening rooms, nos. and , are assigned respectively to uruguay and cuba. the french and italian exhibits had to wait for the arrival of the jason. now they are installed, and beautifully hung and set. though france is the home of the post-impressionists, and italy that of the futurists, the flagrancy of neither of these schools is on view here. both countries show their best balanced art since . in the french exhibit, the mode of the day prevails, color, luminosity, richness of texture. all that differentiates the art of france to-day from that of other countries is her own inimitable, delicate, inherent taste and touch. the subject matters little; the french perception and execution are there. where other canvases offer--say a beautiful glow--the french picture "vibrates." if other works are finished, these have finesse. there is similar spirit in the italian galleries, with a variation due to national characteristics rather than to difference of opinion or method. the italian pictures fully occupy the mind and eye; the french often fascinate by something more than skill and color. both countries have placed their older art, and some of its best, in their official pavilions. france.--in the french section, room contains a diverse collection of water color, drawing, engraving, and painting, among the latter, henry grosjean's "the bottoms" ( ). room , full of strongly contrasting work, is distinguished by maurice denis' daring decorative panels. here also is claude monet's "vetheuil" ( ), the same scene, though not the same picture, as his no. in room . comparison is interesting for the difference in touch, though both were painted in the same year. francois flameng is represented here by "paris" ( ), not so compelling as his "madame letellier" ( ), and "fete venetienne" ( ), in rooms and . room , containing a good many decorative canvases, has also, besides flameng's "fete," two of the extreme impressionistic paintings of henri martin, "the lovers" ( ), and his own dim "self portrait" ( ). two colorful breton scenes ( ) by darrieux, and ( ) by le gout-gerard stand out on the north wall. room shows some charming pieces,--lucien simon's strongly contrasting work in the spiritual "communicants" ( ) and his barbaric "gondola" ( ); domergue's "the frog" ( ), besnard's glowing "gipsy" ( ), and lemordant's "the wind" ( ). these last give a strong color to the room, relieved by leroux' calm "lake" ( ), and maury's delicate young girls ( ). room is better balanced. remembering "the frog," domergue's versatility appears in the portrait of gina mabille, the danseuse. a delicate bit of impressionism in le sidanier's "the harbor: landernau" ( ). two canvases by menard are hung here. his "opal sea" ( ) is charming. auburtin's decorative panels hang on the north wall. one of the most notable works of p. franc lamy, his golden "venice: morning" ( ), will be found on the west wall. room shows little of striking interest. augustin hanicotte, one of the few french painters to adopt the strong colors and lights of the scandinavian artists, is represented by the gay "winter in the low country" ( ). andre dauchez' "le pouldu" ( ) is a fine brown lowland landscape. in spirit, though in richer colors, jean veber's captivating "little princess" ( ) reminds one of john bauer's swedish fairy-tale pictures. strength and truthfulness characterize jeanniot's fine group of norman fisherfolk ( ). (see p. .) room is better. note marie cazin's "diana asleep" ( ), done in a single brown. here, too, is flameng's "portrait of madame letellier" ( ). a soft, delicate bit of landscape is brouillet's "among the dunes" ( ), which deserves better than to be hung in a corner. one who has seen the futurist pictures in the annex should not overlook here albert guillaume's "le boniment" ( ), a rich burlesque on futurist art. italy.--no other section in the palace is so finely hung as the italian. as no attempt has been made to crowd the rooms, each canvas is properly placed. room holds the most important paintings honored by the jury. on the west wall is the work of ettore tito, the winner of the grand prize, five canvases demonstrating both his versatility and his mastery of color. on the north and south walls are the medal-of-honor pictures of onorato carlandi and camillo innocenti, the latter striking in their golden tone. coromaldi's rich harvest scenes ( , ), and a leonardo bazzaro ( ) (both gold medallists), hang on the east wall. not to be overlooked, though passed by the jury, are casciaro's warm landscapes on the north wall and ricci's "butterflies" ( ), which help to make this collection one of splendid color. room also glows with color. ferraguti's "portrait in red" ( ) (gold medal) holds the place of honor on the west wall. on the north wall is the glowing "fiametta" ( ) by matilde festa piacentini, wife of the architect of the italian pavilion, and beside it the equally warm "golden rays" ( ) by ferretti. on the east wall burns traiano chitarin's "evening fires" ( ). among the sculpture is dazzi's "portrait of a lady" ( ) (gold medal). room holds the greater portion of the sculpture, including amigoni's simple "adolescence" ( ), brozzi's spirited "animals" ( ), in relievo on bronze, graziosi's "susanna" ( ), and pagliani's "on the beach" ( ). all of these won gold medals, but the really striking piece in the room is "proximus tuus" ( ), the weary peasant, by achille d'orsi. of the few paintings nothing is very remarkable, though bazzani's "arch of septimus severus" ( ) is interesting for its workmanship. room presents extremely varied styles from morani's no. to domenico irolli's heavily painted "violin player" ( ), and enrico lionne's gorgeous purple figures in the extreme of impressionism. one of nomellini's effects in light and shade appears in no. , on the east wall. paolo sala's "along the thames" ( ) deserves better place and notice. irolli, lionne and nomellini are gold medallists. room , without any remarkable canvases, is very pleasing as an example of harmonious hanging. this is best illustrated by the west wall where hang four pictures by the three ciardis, beppe, emma, and guiseppe, and one, no. , by bartolomeo bezzi, the group admirably centered by beppe ciardi's large "venetian scene" ( ). all three of the ciardis won gold medals. in the center of the north wall is a fine ruddy sunset ( ) by francesco sartorelli. the south wall is dominated by z. v. zanetti's richly decorative "tree" ( ). beside it, on the cut-off of the wall, is guiseppe mentessi's gripping "soul of the stones" ( ). mentessi won the gold medal with this picture, as italo brass did with his "bridge across the lagoon" ( ). sculpture in this room is represented by small bronzes and ernesto biondi's almost terrible "st. francis d'assisi" ( ). uruguay.--the uruguayan exhibit of painting and sculpture is in one small room, no. , against the west wall, next to france. the work has characteristics in common with that of the south of europe, and shows national feeling. manuel rose ( - ) was awarded a gold medal. cuba.--the cuban section in room , adjoining uruguay, though small, is interesting. the jury thought well enough of leopoldo romanach's canvases ( - ) to give him the medal of honor. m. rodriguez morey ( - ) won the gold medal. china, occupying four rooms, - , adjoining the northern end of the united states section, though desirous of appearing before the world as a modern republic, has wisely brought here the most beautiful examples of her ancient art. many of the pieces go so far beyond the records of man that their authorship is lost in darkness. the exquisitely beautiful ink paintings on silk, the finest collection of these works in existence, represent the master painters of all the dynasties of china. their subjects deal with tradition and religious precepts. precious cloisonne in heroic pieces has been used for the background of paintings. there are picture-screens made of five or six attached panels of fine porcelain inlaid with cloisonne, and many splendid carvings and porcelains. the medal of honor for water color went to kiang ying-seng's "snow scene" ( ) in room . the water colors of su chen-lien, kao ki-fong, and miss shin ying-chin, and the exquisite carvings in semi-precious stones of teh chang, all gold medal winners, are in the same room. the philippines, room , by the west wall, have an exhibit which shows that their march toward civilization includes well-grounded ambitions of art. mentality, feeling, spirit, all reveal themselves in the canvases. crudity is apparent, but it comes more from an untutored hand than from failure to grasp the significance of the subject. many pictures are flamboyant, some are melodramatic, nearly all are big subjects handled with great boldness; what they lack in finish they make up in sincerity. felix r. hidalgo's contributions ( - ) won him a gold medal. sweden.--the achievements of sweden, rooms - , next to china, have surprised everybody. that country has sent the most distinctively national of all the european exhibits. swedish artists are stay-at-homes, and their pictures are filled with the scandinavian love of country. the scenes and portraits are all swedish, from carl larsson's intimate pictures of family life and forest picnics (see p. ), or bruno liljefors' great paintings of the misty northern ocean, down to john bauer's captivating little illustrations of swedish goblin tales. no one who has viewed the snow scenes of anshelm schultzberg can ever forget the impression of cold and impenetrable depth. swedish painters are heroic in method, very lavish with their pigments, and generous in the size of their canvases. some of the pictures, in fact, like "the swans" ( ) by liljefors, are too large to be seen to the best advantage in the small rooms where they hang. liljefors won the grand prize, and gustav fjaestad the medal of honor, for swedish painting; larsson, the grand prize for water color. anna boberg, room , whose masculine paintings have always won her honor hitherto, is without award. this famous painter is the wife of the architect of the fine swedish pavilion. the jury offered her a silver medal, but commissioner schultzberg refused to accept it. spain is to have an excellent exhibit in the annex building behind the palace. thus far portugal alone represents the iberian painters. the collection fills three rooms, - , between sweden and holland. the portuguese artists infuse the spirit of revelry into much of their work. indeed, it sometimes approaches the bacchanalian. the work is of the extreme modern school as to color, although, technically, there is much drawing in and respect for definite form. most striking, perhaps, is the splendid representation in many of the pictures of the intense sunlight that beats upon that southern country. no more vivid examples of this can be found in the collection than malhoa's "returning from the festival" ( ) and his "catholic procession in the country" ( ). malhoa, deservedly, captured the grand prize for portuguese art. the single medal of honor went to jose veloso salgado for his scenes of minho. the portraits, too, have much of the intensity of the south. the most noteworthy are those by columbano, room , winner of the grand prize at st. louis. the four rooms show portugal prolific of artists who seek beauty in scenes of domesticity and the qrandeur of landscapes. argentina.--it is interesting to note that the painters of portugal show more characteristics in common with those of south america and the philippines than with their european neighbors. their execution is more tamed than that of the filipino painters, their style more settled than that of the argentine. that is not to the discredit of the argentinos, who, though a new people, have accomplished much that deserves praise. their exhibit, in room , is important in its showing of the progress of art in so new a country, and it is said to be representative. the artists whose works are shown are almost all young men, a fact which, in connection with their performance, proclaims that argentina will do something free and original in the future. three pictures by antonio alice, nos. , , and , have been awarded the medal of honor. they bear witness to alice's great versatility. jorge bermudez' three figure studies (gold medal) are striking. no. , "the daughter of the hacienda," is wrongly entitled in the official catalog "the young landlady." others in the collection suffer in the same way, as coppini's "the old station" ( ), which is catalogued as "the old stall." some of the argentino landscapes are striking expositions of the spirit of the pampas, particularly lavecchia's "near twilight" ( ). as a whole, the paintings are significant of the country of their painters, a truly worthy quality. the sculpture in this room, particularly "increase and multiply" ( ), by pedro zonza briano (medal of honor), and a splendid indian portrait ( ), by alberto lagos (gold medal), is admirable. the international room, no. , on the east wall between sweden, holland and portugal, contains but a small portion of the foreign pictures. its chief feature is the exhibit of german art. franz stuck's "summer night" ( ), heinrich von zugel's "in the rhine meadows" ( ), both winners of the medal of honor; curt agthe's "at the spring" ( ), and leo putz' "the shore" ( ), gold-medal pictures, are worthily characteristic of germany's best art. "el cristo de los andes," by e. w. christmas (bronze medal) is interesting. the bulk of the pictures under "international section" are in the annex. holland, in rooms - , shows an art so different in its characteristics from that of sweden that she might be at the other end of the earth. where the swedish artists show boldness, sometimes almost to the point of crudeness, the dutch are intent on some degree of finish. modernity of color is apparent, and while there are few strokes that indicate timidity, there are fine touches of the poetic in which the hollander's heart shows its love of home and gardens. those great tulip beds are real and luscious. family life in the netherlands is shown in several fine interiors, and the portraits by dutch artists are more graceful than those of the average modernist. the grand prize in the netherlands section went to breitner's snowy "amsterdam timber port" ( ). bauer's "oriental equestrian" ( ) won the medal of honor. gold medals were given to seven artists, named in the list following this chapter. a thoroughly delightful portion of the art exhibit is the sculpture shown in the colonnades and on the grounds of the palace. this is the first time a great exhibit has been displayed in such a manner. it adds everything to the effectiveness of the sculpture, wherever the pieces have been designed to be erected out of doors. it has been possible to show much of the fountain sculpture in its actual relation to real fountains, and to give the hunters and indians, the nymphs and the satyrs, the advantage of natural backgrounds. in addition to the contemporaneous sculpture there are some famous pieces here, such as saint-gaudens' lincoln, brought from chicago, and the copy of bartlett's equestrian lafayette. among recent sculpture, one of the most interesting works shown is a group by c. l. pietro, of new york, "the mother of the dead,"--a powerful story in bronze of the burden which the war has brought to woman. (see p. .) pietro's modeling is worthy of an older artist. another human tragedy is well told in "the outcast," a graphic figure by attilio piccirilli. (p. .) charming bits of comedy are the whimsical little fountain pieces by janet scudder and anna coleman ladd. the honor-winners in sculpture are named in the following list. awards awards have been completed and announced by the fine arts juries in all sections except the french. the following list includes all the grand prizes, medals of honor and gold medals. the numerous silver and bronze medals and honorable mentions are omitted. numbers following the names indicate the rooms where the work may be found. united states section.-- oil painting grand prize.--f. c. frieseke, , . medals of honor.--john w. alexander, ; cecilia beaux, ; emil carlsen. ; walter griffin, ; violet oakley, ; willard l. metcalf, ; richard e. miller, , ; lawton parker, ; w. e. schofield, . gold medals.--myron barlow. ; gifford beal, ; george bellows, ; max bohm, , ; h. h. breckenridge, ; h. j. breuer, , , ; c. c. cooper, , ; h. g. cushing, , ; charles h. davis, ; ruger donoho, ; paul dougherty, ; j. j. enneking, ; daniel gerber, ; lillian w. hale, , , ; w. d. hamilton, , , ; harry l. hoffman, ; james b. hopkins, , ; john c. johansen. ; sergeant kendall, ; william l. lathrop, , ; ernest lawson, ; hayley lever, , , ; f. l. mora, , , ; waldo murray, ; elizabeth nourse, ; joseph t. pearson, ; marion powers, ; ellen emmet rand, ; robert reid, ; william ritschel, , ; edward f. rook, , ; robert spencer, , ; h. o. tanner, ; louis c. tiffany, ; giovanni troccoli, ; douglas volk, ; robert vonnoh, , , ; horatio walker, ; e. k. k. wetherell, , ; irving h. wiles, ; c. h. woodbury, , , , ; charles m. young, . water colors, miniature painting and drawing medals of honor.--lillian westcott hale, ; laura coombs hills, , ; henry muhrmann, , , , ; frank mura, , ; p. walter taylor, ; charles h. woodbury, . gold medals.--william jacob baer, ; jules guerin, ; george hallowell, ; charles e. hell, ; arthur i. keller, ; henry mccarter, , ; f. luis mora, , ; alice schille, ; henry b. snell, . , ; n. c. wyeth, . etching and engravings grand prize.--henry wolf, . medals of honor.--d. a. wehrschmidt, ; c. harry white, not hung. gold medals.--gustav baumann, ; allen lewis, ; d. shaw maclaughlin, not hung; . andre smith, ; cadwallader washburn, ; herman a. webster, . sculpture medals of honor.--herbert adams, , colonnade; karl bitter, , ; d. c. french, , , rotunda. gold medals.--cyrus e. dallin, , , , , , , , , , colonnade; james e. fraser, , ; a. laessle, , , ; paul manship, , ; attilio plccirilli, , , , , , colonnade; bela pratt, , , , colonnade; a. phimister proctor, ; arthur putnam, ; f. g. r. roth, . medals medals of honor.--john flanagan, , . gold medals.--james e. fraser, , ; h. a. macneil, , . argentine section.-- in room . oil painting medals of honor.--antonio alice. gold medals.--jorge bermudez, alejandro bustillo, ernesto de la carcova, fernando fader, jose leon pagano, octavio pinto, c. bernaldo de quires, eduardo sivori. sculpture medal of honor.--pedro zonza briano. gold medals.--alberto lagos. australian section.-- in australian pavilion. etchings and engravings gold medal.--mrs. j. c. a. traill. chinese section.-- water color painting medal of honor.--kiang ying-seng, . gold medals.--su chen-lien, ; kao ki-fong, ; miss shin-ying-chin, . sculpture gold medal.--teh chang, . cuban section.-- in room . oil painting medal of honor.--leopoldo romanach. gold medal.--rodriguez morey. international section.-- oil painting medals of honor.--axel gallen, annex; eliseo meifren, annex; franz von stuck, ; heinrich von zugel, . gold medals.--john quincy adams, annex; curt agthe, ; conde de aguiar, annex; gonzales bithao, annex; istvan csok, annex; harold knight, annex; laura knight, annex; heinrich knirr, annex; lajos mark, annex; julius olssen, annex; leo putz, ; george sauter, annex; c. w. simpson, annex; harold speed, annex; h. hughes stanton, annex; carlos vasquez, annex; janos vaszary, annex; valentin de zubiarre, annex. etchings and engravings medal of honor.--frank brangwyn, annex. gold medals.--r. g. goodman, annex; willy pogany, annex; bela uitz, annex. medals gold medal.--ede telcs, annex. italian section.-- oil painting grand prize.--ettore tito, . medals of honor.--onorato carlandi, ; camillo innocenti, . gold medals.--leonardo bazzaro, ; italo brass, ; emma ciardi, ; beppe ciardi, ; guiseppe ciardi, ; umberto coromaldi, ; visconti ferraguti, ; domenico irolli, ; enrico lionne, ; guiseppe mentessi, ; plinio nomellini, ; feruccio scattola, . sculpture gold medals.--luigi amigoni, ; renato brozzi, ; arturo dazzi, ; guiseppe graziosi, ; antionetta pagliani, . japanese section.-- water color painting medals of honor.--ranshu dan, ; toho hirose, ; shoyen ikeda, ; keisui ho, ; tomoto kobori, . gold medals.--bunto hayashi, ; taisei minakami, ; yoshino morimura, ; hachiro nakagawa, ; hosui okamoto, ; tesshu okajima, ; kangei takakura, . sculpture gold medals.--choun yamazaki, ; yoshida homei, . metal work grand prize.--chozaburo yamada, . gold medal.--kazuo miyachi, . lacquer medal of honor.--jitoku akazuka, . gold medals.--kozen kato, ; hikobei nishimura, ; mesanori ogaki, . pottery, porcelain and cloisonne grand prize.--kozan miyakawa, . medals of honor.--sosuke namikawa, ; yohei seifu, . gold medals.--eizaemon fukagawa, ; yoshitaro hayakawa, ; hazan itaya, ; tomotaro kato, ; shibataro kawado, ; sobei kinkozan, ; meizan yabu, . dyed fabrics and embroideries grand prize.--jinbei kawashima, . medal of honor.--seizaburo kajimoto, . gold medals.--chokurei hamamura, ; yozo nagara and riyoshi hashio, ; goun namikawa and torakichi narita, ; saiji kobayashi, . the netherlands section.-- oil painting grand prize.--g. h. breitner, . medal of honor.--m. a. j. bauer, . gold medals.--david bautz. ; g. w. dysselhof, ; arnold marc. gorter, ; johan hendrik van mastenbroek, ; albert roelofs, ; hobbe smith, ; w. b. tholen, . etchings and engravings gold medal.--t. h. van hoytema, . norwegian section.-- in the annex. oil painting medal of honor.--harald sohlberg. gold medal.--halfdan strom. etchings and engravings medal of honor.--olaf lange. gold medal.--edvard munch. sculpture gold medal.--ingebrigt vik. philippine section.-- oil painting gold medal.--felix r. hidalgo, . portuguese section.-- oil painting grand prize.--jose malhoa, , , . medal of honor.--jose veloso salgado, , . gold medals.--artur alves cardoso, , , ; ernesto ferreira condeixa, , ; joao vaz, , , . swedish section.-- oil painting grand prize.--bruno liljefors, . medal of honor.--gustaf fjaestad, . gold medals.--elsa backlund-celsing, ; wilhelm behm, ; alfred bergstrom, ; oscar hullgren, ; gottfrid kallstenius, , ; helmer mas-olle, ; hehner osslund, ; emil osterman, ; wilhelm smith, , , ; axel torneman, , . water color, miniature paintings and drawings grand prize.--carl larsson, . medal of honor.--john bauer, . gold medal.--oscar bergman, . sculpture gold medal.--gottfried larsson, . medals gold medal.--eric lindberg, . uruguay section.-- oil painting gold medal.--manuel rose, . [ ] for plan of rooms and national sections in the palace of fine arts, see map on page . xiii. the exposition illuminated first attempt to light an exposition indirectly, from concealed sources-- notable success of ryan's work--transformation of the tower of jewels-- details of his method--weirdness of the court of ages at night. beautiful as the exposition is by day, it is at night that it becomes loveliest as a spectacle. then it is a great glow of soft color, without shadow, but also without garishness. never before has the attempt been made to light an exposition as this one is lighted. the highest standard before attained was a blaze of electric light secured by outlining the buildings with incandescent bulbs. that was the work of electricians. here the illuminators are artists who have created a great picture of light and color. there is no blaze or glare. light floods the exposition, but from concealed sources. all-pervasive, seemingly without source, the illumination is rather a quality of the exposition atmosphere than an effect of lights. nor is it a white light. it is softened and tinged with the warmest and mellowest of colors. so mellow, indeed, is the illumination that it would not even be brilliant but for the radiance of thousands of prisms hung about the great tower of jewels, the intense light of which swathes the lofty structure in a pure glow, at once bright and ethereal. (p. .) above the glow in which the palaces are bathed, a pageant of light and color marches across the sky, a splendid aurora borealis, its bannered troops now wheeling in ordered array, now breaking their formation in wild riot, until out of the fantastic show huge beams of light separate to pierce the heavens. this unique system of illumination, devised by w. d'a. ryan expressly for the panama-pacific exposition depends upon floods of light from concealed sources. around the walls of the palaces stand tall venetian masts, topped with shields or banners. concealed behind the heraldic emblems are powerful magnesite arc lamps. these spread their intense glow on the walls, but are hardly recognized as sources of light by the passer-by on the avenues. batteries of searchlights and projectors mounted on the tops of buildings light the towers, the domes, and the statuary. even the banners on the walls are held in the spotlights of small projectors constantly trained on them. that there may be no shadows, concealed incandescent bulbs light up every corner and angle of the towers, the arches, and the cloisters. the ghostly radiance of the tower of jewels comes from huge searchlights aimed at it from a circle of hidden stations. the many-colored fan of enormous rays, the scintillator, which stands against the sky behind the exposition, is produced by a searchlight battery of thirty-six great projectors mounted on the breakwater of the yacht harbor. it is manned nightly by a company of marines, who manipulate the fan in precise drills. concealed lights shine through the waters of the fountains. in the court of the universe they are white, the colorless brilliance of the stars; in the court of seasons they are green, the color of nature; in the court of the ages they are red, with clouds of rosy steam rising around them. writhing serpents spout leaping gas flames on the altars set around the pool of the ages, and from other altars set by the entrances of the court rise clouds of steam given the semblance of flame by concealed red lights. by the high altar on the tower of ages the same device is used to make the lights flame like huge torches. the palaces themselves are not lighted at night, though they have the appearance of being illuminated. behind each window and doorway are hung strings of lights backed by reflectors. a soft glow of light comes forth, giving animation to the palaces and strengthening the picture outside. there are two ways to see the exposition at night, both of which must be followed if one is to get the fullest appreciation of the magic beauty of the lighting. one is to wander about the palaces and courts in the midst of the soft flood of mysterious light, watching the play of the fountains, the barbaric flames of the court of ages, the green shimmer of the waters in the court of seasons, the banners fluttering in strong white light, the statuary in changing hues according to the color screens used before the projectors, the aurora borealis above the scintillator battery. the other is from a distance. i have seen the illuminated exposition from the top of mount tamalpais, whence it was a wondrous spectacle. but best of all i like to watch it from the hill at the corner of broadway and divisadero streets. it is best to go there early, before the lights are turned on. then you may see the wonderful rosy glow of the tower of jewels and the two italian towers before the white light of the projectors is flashed on them. red incandescents are hidden behind all the columns of the tower of jewels and concealed in each of the italian towers, as well as in the open spaces in and around the dome of festival hall. these are always turned on first. the tower of jewels then glows with a soft mellow red, less brilliant, but warmer and more colorful than its incandescence later on. the rich light wells up from the italian towers and festival hall, and spreads from all their openings to stain the walls around with deep rose. then the ray of a searchlight falls on the bowman atop the column of progress, silhouetting that heroic figure in the night as though he floated at a great height above the earth. beams from other searchlights cause the nations of east and west to stand out with startling distinctness on their triumphal arches; the great bulls of the court of seasons glow against the night; the golden fires are lighted in the court of ages. the tall masts around the palaces softly illuminate the walls. first one side and then another of the tower of jewels is bathed in white light, until the tower stands out in ghostly radiance. two slender shafts of light shoot upward on either side of the globe atop the tower and stand there, symbols of pure aspiration reaching to the heavens. behind it all the huge and many-colored fan of the scintillator opens in gorgeous color in the northern sky. the illumination is at its best on a misty night. then its spectacular effects become more spectacular. the moisture in the air provides a screen to catch the colored lights and make them visible in their fullest beauty. the exposition recognized this need of a background for the great beams of the scintillator when it provided for the clouds of steam that are nightly sent floating upward through the shafts of colored light. nothing brings out the wonder of the court of ages at night like mist or fog. on the first night that all the illumination was given a full rehearsal it was raining slightly. the incandescence of the great globe of the earth, the leaping flames on the altars by the pool, the rosy clouds over the bowls by the entrances and from the torches on the high altar of the ages, became strange, mystic, almost uncanny. of the beautiful light that falls upon the palace of fine arts (p. ), i can do no better than to quote from royal cortissoz: "at night and illuminated, it might be a scene from rome or from egypt, a gigantic ruin of some masterpiece left by emperor or pharaoh. the lagoon is bordered by more of those heavenly hedges that i have described. there are trees and thickets to add to the bewilderment of the place, to make it veritably the silenzio verde of the poet. and with the ineffable tact which marks the lighting of the fair, this serene spot is left almost, but not quite, to the dim loveliness of night. the glow that is given its full value elsewhere is here at its faintest. the pageant ends in a hush that is as much of the spirit as of the senses." xiv. music at the exposition early neglect of music by the exposition management remedied by the appointment of george w. stewart, of boston, as manager--engagements of camille saint-saens and the boston symphony orchestra the musical events of the summer--original compositions by the french master--sousa and his great band--other notable bands--lemare's organ concerts- splendid choral performances by famous organizations--a half-million for music. music cannot be omitted from any scheme of mundane celebration. in an exposition of the character of this one, where all art has been given so high a place, this gift of the gods must assume an unusual importance. it is important here, not only as a means of entertainment, but as a means of cultural development, and as an intellectual factor in the evolution of the race. this exposition justifies itself by its storehouses of knowledge. its reason for existence is, the permanent advancement of the people of the world in all that art, science, and industry, can bring to its palaces for pleasurable study. with the agreement that a great pipe organ was to be installed in festival hall, and that orchestras and bands were to be engaged, the early speculative musical labors of the directorate ended. casual indeed was the attention paid to music during all of the early part of the pre-exposition period. material interests--and there were millions of them--cried for consideration, while the still, small voice of music was drowned in the clangor of construction. just as music is the last of the arts to receive recognition at our universities, so it was neglected here until so much time had elapsed that only the most fortunate of accidents could give song and symphony their proper places among the wonders that were ultimately to find a home in the jewel city. fortunately, accident for once proved kind; vigorous direction emerged fortuitously from apathy. in the early building period, president c. c. moore turned aside from his other cares long enough to appoint j. b. levison chief of the music department. a better choice could hardly have been made. for more than two decades mr. levison, an able amateur in music, and a business man of high standing, had been identified with all of san francisco's larger efforts in its musical life. but mr. levison's grasp of the importance of such a post was more comprehensive than president moore's, for he refused the position. fortunately, however, he had his attention directed to george w. stewart, of boston, a former artist of the boston symphony orchestra, a man technically equipped, who had made a great success of the music at the st. louis exposition. stewart was engaged, and to him is due the credit for the remarkable record music has already made at the panama-pacific exposition. aside from the construction of the $ , pipe organ, which, after the exposition, will be placed permanently in the civic auditorium, the two most important musical items found on the schedule of exposition enterprises are the engagements of camille saint-saens and the boston symphony orchestra. the former, who maintained that "beethoven is the greatest, the only real, artist, because he upheld the idea of universal brotherhood," is perhaps better fitted than any living composer to write special music for the exposition. this he has done,--writing two compositions in fact; and their presentation has been an outstanding feature. "hail, california," was dedicated to the exposition. scored for an orchestra of eighty, a military band of sixty, a chorus of voices, pipe organ and piano, its first presentation was an event. the saint-saens symphony in c minor (no. ) opus , composed many years ago, has become a classic during the life-time of its creator. it was one of the wonders of the boston symphony programmes played in festival hall. its yield of immediate pleasure and its reassurance for the works of saint-saens to be heard later, grew from the fact that it was scored for orchestra and pipe organ, and in this massive tonal web the genius of the composer to write in magnificent size was overwhelmingly evident, thus forecasting the splendors of "hail, california." the other work written by this visitor from paris is in oratorio form and titled, appropriately, "the promised land." a huge choir of voices, directed by wallace sabin and named in honor of the visitor, the "saint-saens choir," rendered a good account of the ensemble sections of the choral composition, while the exposition orchestra of instrumentalists and the exposition organ added effectiveness to the accompaniment. sabin presided at the organ. in addition to these appearances, the composer conducted three recitals during the latter part of june, when all of the compositions offered were his work. the visit of dr. karl muck with his boston symphony orchestra has become a luminous memory. the trip is utterly new in the history of music anywhere, nothing like it ever before having been attempted. it is said that the transportation bills alone amounted to $ , , and there were no stop-overs en route for concert performances to help in defraying this bulky first cost. it is proper to record here the financial success of the venture. while the season of twelve concerts was yet young, more than $ , had been taken in at the box office, and the estimated expenses of $ , were liquidated, with a margin of profit. this was enhanced by an extra concert, the thirteenth. tickets for the season were sold in chicago, new york, boston, seattle, spokane, tacoma, st. louis, portland, maine, and portland, oregon, while san francisco and the bay communities in general sent their thousands to the glorious recitals. the result will be seen in a stimulation of music in the west. but the engagements of saint-saens and dr. muck with his orchestra do not sum up the important activities of the exposition's music. there are other features which challenge even these in popular estimation. john philip sousa has spent a long season at the exposition. a blunder was somewhere made in dating the arrival of the march king and his splendid instrumentalists, who came while yet the boston symphonists were playing in festival hall. as a result the finest of bands was placed in competition with the finest of orchestras. but nothing disastrous happened. those who desired, to the number of fifteen thousand, heard sousa at his opening concert in the court of the universe; those who desired heard dr. muck's instrumentalists, to the seating capacity of festival hall. featured concerts have been and are being given by massed bands composed of sousa's, cassasa's, conway's and other military or concert organizations. briefly, and regardless of the importance of each item, here are some of the attractions which make this exposition vocal and harmonious: edwin henry lemare, of london, by general critical agreement declared the greatest living organist, is expected here early in september, when he will begin his series of one hundred organ recitals, to continue till the exposition closes in december. a unique episode of the exposition music must not be overlooked in the recital by madame schumann-heink, whose graciousness found another expression in her concert given exclusively and gratuitously to the children. more than three thousand of the little folk were in festival hall when the grandest of singers sang for them alone. the visit already accomplished of gabriel pares and his famous republican guard band of paris; the engagement already begun of the ogden tabernacle choir of voices; the eisteddfod competitive concerts; the long stay of the philippine constabulary band under the leadership of captain w. h. loving; emil mollenhauer's big boston band; the concerts of the united swedish singers; the apollo music club's premised visit from chicago--the organization is coming intact with all of its vocalists and its distinguished composer-conductor, harrison m. wild; la loie fuller's spectacles, and the engagement of forty noted organists to appear in festival hall in addition to lemare and clarence eddy, are a few of the accomplished or promised attractions. to this list must be added the daily concerts given gratis at different periods by various bands other than those named--the official exposition band of players under the seasoned direction of charles h. cassasa; thaviu's splendid band of ; conway's military and concert band of , and others yet to be had in the world of music will be spread for their delecta-concerts are booked. as proof of the worth of these, let the achievements of the recent past speak. we have heard the alameda county chorus of voices under alexander stewart in a majestic performance of handel's "messiah;" the exposition chorus under wallace sabin in a repetition of the music sung as part of the opening day's celebration--"the heavens are telling," from haydn's "creation," and the official hymn--"a noble work"--by mrs. h. h. a. beach; the berkeley oratorio society under the inspiring direction of paul steindorff in two splendid concerts, the first given to rossini's "stabat mater" and the second to brahms' "german requiem;" and the pacific choral society's performance of haydn's "creation" under the musicianly leadership of warren b. allen. more music may confidently be looked for from these rich sources. the exposition authorities declare that half a million dollars will have been expended on music before the end of the life of the great enterprise. thus visitors to the exposition may come at any period of the jewel city's existence, knowing that the best to be had in the world of music will be spread for their delectation, and that they will be afforded a comprehensive view of the art of tone as it exists today. in this respect the exposition's musical "exhibit" is similar in its scope to the revealments in all its other departments; for the exposition is avowedly devoted to contemporaneous rather than historic achievements. nothing that extends contemplation over a wider period than the last five years is admitted for competitive exhibition. the modern composer, no less than the modern inventor, is having his day at the exposition. this is as it should be. we are hearing, have heard, or will hear, the last utterances of present-day musical creators. indeed, in the case of one--saint-saens--we heard, as i have recounted, two massive compositions written expressly for the panama-pacific international exposition, and john philip sousa has bent his most martial mood to the composition of an inspiring march which is called "panama." but music also enjoys a privilege not accorded equally to any other department of exposition display. the works of the past, as well as the present, are given. a history of music at the exposition properly written--as one surely should be--would be an epitome of the evolution of the art from cherubini, haydn and bach to richard strauss, saint-saens and debussy. it would involve in its telling the stories of music in italy, germany, austria, england, france, russia, scandinavia, yes, and america, too! it would include an account of the genealogy of the modern orchestra as exemplified in the boston symphony or the official symphony, and of military bands up to the perfected concert organizations headed by a sousa or a gabriel pares. it would embrace with like inclusiveness the history of the pipe organ through its stages of evolution from the ponderous instruments with men straddling unwieldy bellows to the marvel installed in festival hall, and it would embrace the history of the art of organ music up to such exemplars as our own clarence eddy, john &. mcclellan, edwin lemare, and camille saint-saens. what a chapter would be set aside for the record of exposition choral music! already there has gone abroad from the festival hall an impetus towards better chorus music that will, i feel sure, firmly establish this somewhat neglected department of musical art in the far west. xv. inside the exhibit palaces all competitive exhibits strictly contemporaneous, showing the arts of to-day--revolution worked by the motion-picture theater in exhibition methods--the lessons of machinery palace--coal and steam fast yielding to liquid fuels and waterpower and electricity--life-saving devices, accident prevention and employees' welfare made prominent in palaces of machinery and mines--a contrast in locomotives--building a motor car every ten minutes--co-operative exhibits in food-products palace--many great displays by the united states government--educational exhibits not duplicated, each state or city showing its specialty. in its industrial displays, as well as its art, the exposition keeps steadily in view the fact that it commemorates a contemporary event; it is contemporaneous, not historical. hence it was decreed from the first that the exhibits must be the products of the last decade, a rule strictly observed save in rare cases where older forms have been admitted for comparison. the result is two-fold. the exhibits are condensed to the essential, giving room for a greater number of exhibitors; and the progress of the world is shown as of today. eleven palaces house the exhibits, exclusive of live stock. officially, the things shown in the state and foreign buildings are not "exhibits," but "displays," and are not eligible for award. in general, the names of the palaces indicate the classes of exhibits to be found in them. no sharp line, however, can be drawn between the palaces of manufactures and varied industries, or between agriculture and food products. in other cases there is some overlapping of classes. one section of the liberal arts exhibit is in the palace of machinery. a striking feature of almost all the palaces, and one that differentiates this exposition from its great predecessors of a decade or more ago, is the common use of the moving-picture machine as the fastest and most vivid method of displaying human activities and scenery. everywhere it is showing industrial processes. former expositions, for want of this device, have been mainly exhibitions of products. these have hitherto been shown in such bulk as to fill vast floor spaces and become a weariness to the flesh, while it was impossible, from the nature of things, to exhibit the great primary industries of field, forest, sea and mine in actual operation. the motion-picture machine has not only lessened the areas of products shown, thus making this exposition more compact than former ones; but it has increased the effectiveness of exhibition methods by carrying the spectator, figuratively, into the midst of operations, and showing him men at work in all the important processes of agriculture, in the logging camps, in mines and fisheries, as well as in the mills and factories where the raw materials of these basic industries are worked into finished products. its value for showing scenery, too, is fully utilized here. many of the states and foreign countries employ it. even faraway siam uses it to instruct the occident concerning her resources and people. counting those in the state and foreign buildings, seventy-seven free moving-picture halls are to be found within the exposition. their efficiency is indicated by the crowds that throng them daily. the palace of machinery holds three lessons for the observer. it shows not only the state of man's invention at the present moment, the increasing displacement of coal by hydroelectric plants and liquid fuels, but what is perhaps more significant, the changing direction of invention toward devices for human betterment. the diesel oil engine and multitudes of electrical machines stand for the latest word in mechanical invention. the diesel again, with a host of other internal combustion engines, the electric motors and waterpower plants, and the absence of steam machines, bear witness to the downfall of steam. but the great space given to safety devices, to labor-saving machines, to road-making machinery, and to mechanical devices for increasing the comfort of country life, are evidence of the part machinery is coming to play in the task of making life more livable. as an exhibition of modern mechanical invention, machinery hall is unique, as all this exposition is unique. there is almost nothing in it that is not the product of the last ten years; it actually represents construction of the last two years. indeed, the wholly contemporary nature of the exhibits leaves the visitor without visible means of comparison. as at the centennial exhibition in , a prime mover is the central figure in the building. there it was the immense corliss steam engine. here it is a diesel, started by president wilson by wireless on the opening day, and generating all the direct current used in the palace. another commanding exhibit is a , horsepower hydro-electric generator, significant of the modern use of water-power. the united states government is the largest exhibitor in the building, with numerous fine models of warships, docks, dams and submarine mines; torpedoes, artillery, armorplate and shells, army equipment, ammunition-making machinery in operation, light-houses and aids to navigation, and a splendid set of models illustrating road-making methods. crowded out of its proper place in the palace of liberal arts, the exhibit of the printing trades occupies a section here, including a huge color press turning out illustrated sunday supplements. the palace of mines and metallurgy offers ample evidence of the great figure which steel now makes in the world, and of the vast extent of the petroleum industry. here, too, as in machinery hall, accident prevention is emphasized. from this point of view insurance exhibits are not out of place here. the united states steel corporation, with its subsidiary companies, shows in this palace the largest single exhibit seen in the exposition, save those of the united states government. noteworthy are its excellent models of iron and coal-mining plants, coke ovens. furnaces, rolling mills, docks, ships, and barges, and an extensive section devoted to the welfare of employees, with model playgrounds. many states and nations, and many world-famous mining companies are represented by exhibits of ores and metals, of mine models, and mining and metallurgical processes in operation. california shows a gold dredger and a hydraulic mine in operation. the great copper mines of california, montana, utah, and japan, have installed significant exhibits. the united states government operates in this palace a model mint, a model post office, and features a daily "mine explosion," with a demonstration of rescue work. the palace of transportation places its emphasis on automobiles and roads, electric locomotives and cars, and the mammoth types of modern steam locomotives. all of these exhibits represent construction of the last year, with one exception. the first central pacific locomotive stands beside a mallet articulated engine,--an enormous contrast. one third of the floor space is filled with steam and electric locomotives and modern cars. some are sectioned, and operated by electric motors, vividly illustrating the latest mechanical devices. another third of the palace is devoted to motor cars. the ford motor car company maintains a factory exhibit in which a continuous stream of fords is assembled and driven away, one every ten minutes. plans for a great exhibit of aeroplanes were destroyed by the war. the exposition, however, maintains a constant exhibit of the spectacular side of aeronautics in remarkable flights by famous aviators. after lincoln beachey was killed in one of these performances, his place was taken by arthur smith, who was instantly crowned as a far more dazzling birdman. two aeroplanes are the only representation in the palace. steamship companies have erected here sections of their vessels. railroads make interesting exhibits of scenery along their routes, of safety devices and of railroad accessories. the canadian pacific, grand trunk pacific, great northern, southern pacific, union pacific, and santa fe systems maintain buildings of their own, exhibiting the scenery, agriculture and other resources of the country through which they pass. the palace of varied industries illustrates the enormous complexity of modern material needs. packed with severely selected manufactures, it is made especially interesting by the many processes shown in operation. cotton and woolen mills, linen looms, knitting machines, machines for weaving fire hose, a shoe-making factory, a broom factory, and many others, are particularly attractive because they are engaged in making familiar articles. the machines in use demonstrate the refinements of present-day manufacturing processes. the factories of many nations are represented in this palace. germany makes here her largest exhibit, notably of cutlery and pottery. the palace of manufactures differs from the palace of varied industries as a bolt of silk differs from a bale of leather. yet this general distinction between the finer and the coarser classes of factory products is not rigidly adhered to. the palace of manufactures is distinguished by a remarkable exhibit of fine wares by the japanese, and another of commercial art from italy. fortunately this japanese display is of goods in the ancient style, infinitely more interesting, though less significant, than the extensive exhibits in other palaces of japanese wares manufactured in competition with western nations. most beautiful are the ceramics, the lacquered ware, and the silks. great britain is an extensive exhibitor of cutlery, pottery, and textiles. manufacturing processes are shown in operation in this palace, though less than in the palace of varied industries. the palace of liberal arts found its six acres of floor space insufficient. the exhibits, forming a remarkable demonstration of the breadth of applied science, embrace electrical means of communication, including wireless telegraphy and telephony, musical instruments, chemistry, photography, instruments of precision and of surgery, theatrical appliances, engineering, architecture, map-making, typography, printing, book-binding, paper manufacture, scientific apparatus, typewriters, coins and medals, and innumerable other articles. a great space is occupied by talking machines "demonstrated" in musical theatres, and by cameras. the american telegraph and telephone company maintains transcontinental telephone connection between its theatre and new york, and gives daily demonstrations. the united states government has installed a great variety of displays. most striking, perhaps, is the section from the national museum, where the most modern methods of exhibition are exemplified in cases containing human groups that are almost real life. the great pipe organ in festival hall is classed as one of the exhibits of this palace. germany, japan, china, the netherlands, uruguay, cuba, and new zealand are heavy exhibitors here. of special interest is the german exhibit of radium and its allied metals. the palace of education and social economy contains the special educational exhibits of this exposition, which itself, as a whole, is a world-university. its striking features are the great number of official exhibits by states, cities and foreign nations, and the emphasis laid on industrial and vocational education, public health, playgrounds, and the training of abnormal children. an educational exhibit is one of the most difficult to make vivid and interesting to the general public. this palace has succeeded by avoiding duplication. to each state or city was assigned a special problem, as far as possible the one to which it had contributed a noteworthy solution. thus, massachusetts shows her vocational methods, while oregon specializes on rural schools as neighborhood centers. among the cities, st. louis devotes most of its space to the educational museum, while philadelphia emphasizes central high schools. the united states government supplies a branch of its children's bureau, with daily conferences for parents. among the many instructors who have been engaged to conduct classes in the palace is dr. maria montessori, who is to give a course of lessons based on her famous system. the philippine exhibit shows that americans have developed in the islands a system of practical education which american teachers should study. the palace of agriculture is an instructive presentation of modern farm methods, as well as of raw products of the soil. it shows admirably the great advance in agriculture in the united states, giving due space to the work and influence of the state agricultural colleges. particularly impressive is the array of farm machinery and the wide application to it of the gasoline motor. after seeing it, one wonders what place is left on the farm for the horse. the fundamental nature of agriculture has brought more states and foreign countries into this palace than are represented in any other. a significant representation is that of the philippines, an exhibition of enormous natural resources. its display of fine hardwoods is the finest ever made by any country. similar exhibits of argentina and new zealand are also excellent. forestry takes a large place in this palace, the united states government making a big forestry exhibit in addition to the great general display of the department of agriculture. the palace of food products is a temple of the tin can and the food package. it is made one of the most interesting of all the exposition buildings by its numerous processes in operation. a large part of it is really a factory, turning out before the visitor's eyes the different familiar edibles of the magazine advertisements. a mint of money must have been spent by these exhibitors. a flour company, for example, has installed a complete mill in which flour is manufactured, and then made into many kinds of cakes and pastries by a row of cooks of various nations. a bakery in connection with this mill turns out loaves at a baking. as in every exposition, visitors crowd the booths where edible samples are distributed. after viewing many such scenes, a local humorist dubbed this building "the palace of nibbling arts." the new idea of co-operation among manufacturers appears in a number of collective exhibits. california wine producers have united in a splendid display, far more impressive than could be made by an individual. the pacific coast fisheries have joined in an elaborate exhibit of every sort of tinned fish. the united states bureau of fisheries maintains an extensive aquarium of fresh and salt-water fishes. the state of washington has another, with a salmon hatchery in operation. modern production of pure food is greatly emphasized. in a building of its own, a pacific coast condensed milk concern operates a good-sized factory, using the milk of its herd of pure-bred holsteins, kept in the live-stock section. the palace of horticulture, with its gardens, has been planned with a three-fold purpose, to appeal with equal interest to the tourist, the student, and the business man. its exhibits by states and foreign nations picture the gardens and orchards of the world. its factory installations exhibit actual processes of preparing and preserving fruit and vegetable products. under the great dome are the cuban and hawaiian collections of tropical plants and flowers, already described in the chapter on the south gardens. in the flanking rooms are displays of orchids and aquatic plants. in the main hall luther burbank shows his creations. an exhibit of fresh fruits in season is maintained. the gardens outside show plants and shrubs from many states and countries, including the great exhibit of the netherlands board of horticulture. xvi. the foreign pavilions buildings characteristic of the nations represented--many adaptations of famous old-world structures--younger countries build expressions of their progress--noteworthy pavilions of france, holland, and the scandinavian kingdoms--italy's masterpiece in historic architecture-- argentina, bolivia and other latin-american republics well represented-- canada and australia present fine buildings and splendid exhibits-- china and japan reproduce renowned gardens, temples and palaces--rich treasures of art and industry shown by many countries. almost all the twenty-one foreign pavilions at the exposition are characteristic of the architecture of the nations that built them. some, like the unique japanese temple or the beautiful french pavilion, are reproductions of famous old-world buildings. the three fine scandinavian pavilions reflect notable types of national architecture. italy's delightful group, which is the most noteworthy of all, is for every one who has visited that country an epitome of her most interesting historic palaces, rich in the art of the renaissance. the buildings of the newer countries, like canada or the argentine, which have not yet had time to develop characteristic styles of their own, are admirable expressions of their progress and prosperity. argentina.--the argentine pavilion is really a palace. it is the work of sauze, a celebrated architect of buenos aires, in the style of the french renaissance. (see p. .) the argentino exhibits, with the exception of dioramas, moving pictures, and photographs, are in the exposition palaces. the pavilion is the center for the social functions of the commission. both exterior and interior of the building illustrate the amazing progress of the south american republic in art, as its exhibits in the exposition palaces exemplify its advancement in industry and commerce. the entrance opens into a noble hall, imposing in its simplicity. in the clerestory the walls are decorated with fine murals by the brush of the argentine artist, colivadeno,--works which show that argentine art has the beauty, freshness and vigor of the nation from which it springs. in the center of the hall is an exquisite bit of sculpture. on left and right the foyer opens into a fine reception hall and a graceful refreshment room. in the rear is a theater, where moving pictures of argentine scenes are shown daily. in the wall of the corridor surrounding the theater on the first floor are excellent panoramas showing scenery and resources. among these is a view of the famed iguazu falls, the greatest and most magnificent waterfall on the globe. in the corridor upstairs are other panoramas, a series of photographs, and a collection of graphic charts which show the commerce, finance, industry, administration, education and social service of the republic. the second floor ends at the rear in a beautiful library. the pavilion was built entirely of materials brought from buenos aires, and constructed by argentino workmen. australia.--the australian pavilion, at the presidio entrance to the exposition, was designed by george j. oakeshott, f. i. a. n. s. w. (p. .) obviously it is intended to symbolize the industrial cohesion of the six australian states, new south wales, victoria, queensland, south australia, west australia, and tasmania. the facade bears below the cornice the titles of the states, with the state banner waving from a staff above. all are subordinated to the central tower, floating the flag of the commonwealth. because its exhibits are eloquent of the resources of the great young country, the pavilion has been described aptly as "the shop window of the commonwealth." the building is, in fact, a huge sample room; and although the large states only, new south wales, victoria and queensland, provided the display, each section is adequately representative of all australia produces. tropical fruits and other products from the northeast combine with the horticultural and agricultural products of the temperate zone. minerals from the rich fields of all the states are grouped. the opals and gems from white cliffs and lightning ridge in new south wales vie with other precious stones from queensland in forming one of the great attractions. handsome building stones, including exceptional marble, are side by side with samples of the world-famous hardwoods and the scarcely known but beautiful cabinet woods from the australian forest, while the pastoral areas have provided wonderful collections of wool, leathers, meat and by-products. the agricultural exhibits have attracted much attention, and were so arranged as to show the productiveness of irrigated areas as well as of the country generally. carefully prepared literature, distributed liberally, has been a feature of the efforts of the australians. the commissioners have made it their boast that nothing has been exaggerated; everything is "real." even art critics who visit the pavilion will not be disappointed, for on the walls they will find many paintings of merit by australian artists, including loan collections from the national gallery of new south wales and the victorian art society. the australian exhibits, unlike those of most other countries, have been grouped in this building, instead of being shown in the various exposition palaces. bolivia.--bolivia has erected one of the most essentially national pavilions at the exposition, an admirable building that expresses equally the two elements of its population, the spanish and the indian. the building is spanish in its solid rectangular plan; its entrance is copied from the portal of the church of san lorenzo, and its central patio fashioned after that of the old mint at potosi. it is indian in the curious carved work of the facade and the monoliths flanking the entrance, both being exact copies of ceremonial temple stones from the lake region of bolivia. the building was designed by dr. calderon of the bolivian commission and albert farr of san francisco. tropical plants and fruits are shown in the brick-paved patio. the rooms in the interior include a moving-picture theater, an art gallery and museum, with pictures by bolivian artists, and relics of the civilization of the incas. the national exhibits are shown in the exposition palaces. canada.--the canadian pavilion is the largest of the foreign buildings, and the best example at the exposition of businesslike advertising by a government. (p. .) planned by a permanent commission which has had fifteen years of exposition experience, the canadian exhibit, down to the last detail, is designed to advertise the country. even the site, at the junction of the highways leading to the live-stock section, was chosen to get the largest number of the kind of visitors canada is most anxious to greet. the architects were humphreys, limited, of london. architecturally, the building is mixed classic, finished in the exposition travertine. the maple leaf of canada appears in medallions on the walls, the royal arms of britain over the entrances, and the british lion on either side of the approaches. canada's entire exhibit is here. her commission cares nothing for awards, but is concerned solely with attracting settlers and capital. with this in view, the chief feature of the display consists of canadian landscapes, illustrating the agricultural, lumbering, mining, and shipping interests of british north america. the scenes are set to produce a remarkable perspective. the beholder seems to stand on rising ground, looking away over miles of country. in each view the foreground is enlivened with real water and either living or moving things. there is a panorama of the great wheat fields bordering on lake superior. trains move from grain elevators in the interior to the docks on the lake, where model steamers ply on real water. electricity supplies the power. the largest scene of all is of canada as it was and as it is. the foreground represents the north, when the indian and the game had it to themselves. in the background the visitor looks for miles down a broad canadian valley filled with wheat fields and pleasant farms. canada's wild life is represented in the foreground by splendid stuffed specimens, from the bear and the moose and the musk-ox to the marten and the muskrat, and from the great gray honker to the hummingbird. on the right, in a forest scene, is a beaver pond with dam and house, where the real beavers splash in the water. on the left of the scene, where a cascade tumbles into it, is a pool of canadian trout, maintained in the wonted chill of their native waters by an ice-making plant under the scenery. canada hopes to draw wealthy sportsmen and vacationists, who will then see for themselves the opportunities for investment. some of her largest enterprises have begun thus. the canadian pavilion makes no provision for social functions, but it is an attractive place, where everyone is welcomed. by common consent canada has made the most effective exhibit of its kind at the exposition. central america.--guatemala, honduras and panama have each erected pavilions characteristic of central american architecture. the guatemalan pavilion houses a display of the products of the forests, fields, and mines of the country, with coffee as its most notable exhibit. a native marimba band playing guatemalan airs makes complete the central american spirit of this pavilion. the pavilion of honduras, which might have been brought entire from central america by a genie, contains a display of laces, woven hats, tropic ferns and flowers. china.--the imperial audience hall of the forbidden city at peking is reproduced in miniature in the three government buildings of the chinese compound at the exposition. the central pavilion is modeled after the great hall where for three centuries the manchu emperors gave audiences. the two flanking structures, both alike, are copies of the buildings where court officials and the delegations awaited the coming of the son of heaven to the throne room. the pagoda and the tower at the left and right of the entrance are likewise copies of structures in the forbidden city. all the buildings were constructed by native artisans, brought over from china for the purpose. the flag of the republic floats from the tower, its colors from top to bottom standing in order for manchuria, south china, tibet, and mongolia. the ancient dragon is absent, banished by the spirit of new china. within the three government pavilions are magnificent carvings, vases and lacquered furniture, old prints and paintings on silk. the priceless collection of the latter, shown here and in the chinese section of the fine arts palace, is the finest in the world, the property of a chinese collector. its pictures are a complete representation of chinese painting for more than a thousand years. china is represented by exhibits in all the exposition palaces, the most extensive participation by any foreign country. cuba.--the cuban pavilion, designed by francisco centurion, is a good example of spanish-american architecture. it is distinguished by a square tower at one corner, a wide portico, roof of spanish tile, and a central patio, designed for receptions. on the second floor is a great ballroom approached by a splendid stairway in the old spanish style. cuba's most striking exhibit at the exposition is the display of tropical plants and flowers in the palace of horticulture. denmark.--denmark, like the two other scandinavian countries, has made her pavilion characteristic of her own national architecture. though not in any sense a reproduction, the building finds its motive in hamlet's castle of kronberg at elsinore. the architect has softened the grimness and bulk of the ancient fortress into a pleasing building, that has the spirit of the gray land by the german ocean, and the solid character of the danes. the dim past appears in the great gravestones on the grounds, copies of monuments on ancient danish barrows. in the entrance is a tiled lobby, with the information bureau. beyond is the "garden room," so styled because of its exquisite furnishings and abundance of cut flowers. to the left is a reception room, done in massive danish decoration, with danish woods and danish furniture. a handsome cabinet of mahogany and hammered silver is its most striking piece. other rooms also contain wonderful antique furniture. an assembly room with a raised dais, and mural decorations suggestive of danish industry and commerce, is in the northeast corner. the building contains a number of paintings by danish masters that are of great interest and value. funds for this pavilion were contributed by danish residents of california. the danish government supplied the furnishings. no commercial displays are in the building. france.--the pavilion of france is a replica of the eighteenth-century home of the prince de salm, at paris, now and for more than a century the palace of the legion of honor. (p. .) the original building, in the soberer mode of the french renaissance, was of caen stone, the effect of which has been reproduced in the present construction. the erection of this pavilion marks a record in work of such magnitude. on the outbreak of the war, all thought of participating in the exposition was dropped; but later the american ambassador, mr. herrick, succeeded in persuading the french government to reconsider its decision. the plans were cabled from paris, at a cost of $ , , and the structure was completed in sixty days. more notable than the building itself, or its priceless contents, is the fact that these are here. that, in the midst of war and its demands, france should still find time for the ideal, and for this beautiful tribute to the long-standing friendship between the two countries, is a demonstration of french spirit and of french culture that will not escape the attention of any thoughtful american. for france herself, as it has well been said, her appearance here means as much as a victory on the battlefield. the french pavilion is a dignified and impressive structure, as those who recall the legion of honor palace in paris will understand. the entrance to the court is a triumphal arch flanked by double rows of ionic columns on either side, with figures of fame as spandrels. the arch is connected by lateral peristyles with the wings of the pavilion, the attics of which are adorned with has reliefs. ionic colonnades extend along the sides of the court to the principal front of the building, which is decorated with six corinthian columns, forming a portico for the main entrance. the portal opens on a stage, above which a great central hall, flanked by lesser halls, extends back through the palace. but the glory of the building is in its exhibits. france poured out the treasures of the louvre, the luxembourg and the national museum to adorn this pavilion. fine as is the exhibit in the french section of the palace of fine arts, the best pictures and sculptures are shown here. in the court of honor stands the masterpiece of the master sculptor of modern times, "the thinker," by auguste rodin. (p. .) in the galleries are his "john the baptist" and other important bronzes. vast, unique and of the greatest interest is theodore riviere's wonderful group in bronze representing a triumphant band of desert soldiers dragging captive the moroccan pretender, secured in an iron cage. there, too, are splendid paintings by monet, meissonier, detaille, de neuvilie, and many other french artists approved by time. magnificent old tapestries adorn the walls of the great hall, with modern hangings on the entrance stage. two shrines hold relics of lafayette and rochambeau, sent by their descendants; and busts of washington and franklin stand on either side of the heroic figure of france at the entrance. french manufacturers have sent here those commercial articles which french taste elevates almost to the standards of art. exquisite products of the jeweler, the perfumer, the milliner and the costumer, with fine fabrics that make france famous, are shown in the wings beside the court of honor. but the greater part of the french industrial exhibits are in the exposition palaces. belgium also finds her place in the french pavilion, with an exhibit of great interest, including many admirable modern paintings, fine panoramas of antwerp, ghent and bruges, and a collection of rare old laces that will delight the heart of every woman. greece.--the greek pavilion represents the latest addition of a foreign nation to the exposition family. the building was begun by the kali syndikat, a german corporation, forced by the war to abandon its undertaking. in april, , the greek government bought the building and finished it in classic style. its exhibits include two hundred and fifty replicas of the most famous of ancient grecian sculptures. italy.--though other countries have built pavilions characteristic of their soil and people, or have lavished their money on splendid examples of exposition architecture, it has remained for italy to present in a single group a summary of the best that art has produced in a national history of two thousand years. (p. .) the italian pavilion does not attempt to reproduce any one architectural masterpiece. it echoes many. therein is the triumph of the architect. without copying, piacentini has suggested in this building much that is famous in the architecture of florence, venice, and rome. it is itself a masterpiece. the italian pavilion is an irregular group of seven structures, all connected by arcades except the last building to the east, a moving-picture hall. the main entrance is at the west, where a broad low flight of steps leads up to a plaza between two tall buildings irregularly placed. that on the right, in fifteenth century style, contains the offices of the commission. the hall on the left, reminiscent of the bargello, is devoted to a splendid collection of antique roman, grecian, and italian art, shown by signor canessa. on either side of the entrance is a roman "discus thrower" in bronze. the bargello hall is connected by an arcade with a square etruscan tower, which in turn is similarly joined with other buildings that close the plaza on the east. in the rectangle between the two parallel buildings on the east, is a beautiful peristyled venetian court, adorned with bronzes and marbles copied from originals in the museum of naples. in the center is a reproduction in stone and bronze of the well of the palace of campo san giovanni e paolo at venice. of the two parallel buildings on either side of this court, the southern one is a florentine structure containing a single hall devoted to purely governmental exhibits. the tribuna between the two is the sanctuary of the pavilion, containing the portraits of king victor emmanuel and queen margherita, and portraits and relics of the great of italy, explorers from columbus to the duke of the abruzzi, scientists like galileo, galvani, volta and marconi, statesmen like mazzini, and soldiers like garibaldi. the other principal hall contains a series of rooms representing the cities of italy during the renaissance. first from the east is a reproduction of the fifteenth century library of the sacristy of the church of santa maria alle grazie at milan, a chamber of beautiful armoires of carved wood, with panels painted with sacred pictures in colors. next is a neapolitan room, filled with reproductions in bronze and silver and marble of the pompeiian treasures of the museums of naples and rome. then comes the florentine room, furnished in fifteenth century style with carved and inlaid wood, and adorned with copies of the best bronzes and marbles of the great mediaeval city. there is also a dining room in fourteenth century florentine style, and then comes, at the western end, the royal salon, a magnificent hall with ceilings in blue and gold, and murals by pieretto and bruno ferrari. all the art works of the mediaeval rooms are copies of originals, but in the bargello hall, signor canessa, who was j. p. morgan's european agent, shows his collection of veritable italian and ancient art. here are many things familiar through books, michelangelo's bust of the virgin; a cabinet full of reliquaries and profane vessels in crystal, gold and enamel done by beuvenuto cellini; the bronze bacchante with silver eyes which was dug up in the gardens of the persian embassy at stamboul, and which dates from the third century b. c.; the famous portrait bust in rock-crystal of an egyptian king of the eighteenth dynasty; madonnas and saints by fifteenth century painters; a complete garden set, fountain, statues and all, from a pompeiian villa; greek bronze and silver vessels and statuettes; bernini's bust of the cardinal de medici; fifteenth century tapestries, and so many other objects of mediaeval and ancient art that a special catalogue has been prepared to describe them. italy's modern painting and sculpture are well represented in the palace of fine arts, and her industrial and commercial exhibits are in the other palaces. japan.--japan has chosen her temple and palace gardens as the types to represent her at the exposition. (p. .) she dug up the mikado's private garden at the end of the sacred red bridge in nikko, trees, shrine, rocks, greensward and soil, and set it down again on the exposition grounds. so doing, she has shown the western world a lesson in the beauty of simplicity. the central building in this charming garden is a copy, enlarged, of the golden pavilion of the roku-on-ji temple in the city of nara. it is of plain wood and lacquer, with interior walls and ceiling entirely covered with gold leaf. the office building joined to the temple was suggested by the shrine of the ancient castle of fushimi. the exhibit building north of this temple houses a complete and remarkably beautiful fac-simile of the famous temple at nikko, one of the finest in japan. the mikado's private collection of japanese art, never before opened to the public, even in japan, is placed in the japanese section of the fine arts palace. the paintings, scrolls, porcelain, satsuma ware, sculptures and metal work shown in this very noteworthy exhibit were collected by the late emperor mutsuhito. one of the tea houses is an exhibit of the central tea traders' association, the other one by the formosan government. the striking features of the gardens, beside the stream and the lakelet, are the dwarfed conifers, priceless trees. two of them are the products of ten centuries of systematic pinching back. with them are three sago palms, five hundred years old. scattered throughout the gardens are stone lanterns. every plant, every bit of turf, every stone in the bed of the stream even, came from nippon. japan is one of the largest exhibitors in the exposition. her displays, shown in every palace except machinery, are an amazing demonstration of the degree to which she has entered the trade of the world. the netherlands.--in its domed pavilion, gay with many bannered staffs, the netherlands has achieved one of the most striking buildings in the foreign section. (p. .) its architecture is not representative of the traditional dutch style but fulfills the modern ideas of the present-day school of builders in holland. most prominent is the clock tower, where a bell rings the hours. within, the pavilion presents holland as one of the great colonial nations. roughly, it has three divisions, devoted to the mother country, the dutch east indies, and the dutch west indies, in each of which industry and commerce is pictured in dioramas and exemplified by displays of products. dutch girls in national costume serve visitors in the refreshment room. holland's most noteworthy exhibits are those made by the board of horticulture of the netherlands in the gardens of the palace of horticulture, and her pictures in the palace of fine arts. holland sent to san francisco ten carloads of rhododendrons, conifers, and bulbs. to install them she sent mynheer arie van vliet, the landscape engineer of the peace palace at the hague. her industrial exhibits are in the exposition palaces. new zealand.--the new zealand pavilion is of mixed french and italian styles. it was designed by lewis p. hobart of san francisco, in collaboration with commissioner edmund clifton. while it contains a representative display of the chief products of the youngest of the dominions, the main exhibits are in the palaces of mines, agriculture, and food products. norway.--norway, like sweden and denmark, has succeeded admirably in reproducing its national spirit in its pavilion. the building is a long story-and-a-half structure, in the ancient norse style, dominated by a beautiful tower on which is emblazoned the norwegian coat-of-arms. the lower floor contains three large dioramas of characteristic norwegian scenery, and an exhibit hall wherein are shown products of the industries of norway, especially her great maritime activities. as in the case of the other two scandinavian countries, the sons of norway in california built the pavilion, while the norse government provided the exhibits. portugal.--a sign of the glorious past, when henry the navigator made his country a great sea power with colonies around the globe, appears in the knotted cable that binds portugal's pavilion. the fantastic architecture of this little palace is also historically significant, for it was adapted from that of the cathedral of jeronymos, the convents of thomar and batalha, and the tower of belem, built in celebration of portugal's golden age of discovery. the style is known as the manuelino. antonio do couto of lisbon was the architect, assisted by the sculptor, mota sobrinho. the building has a local significance in california, where thousands of portuguese have settled. in the pavilion is a display of laces, inlaid articles and wickerwork, exhibits which are repeated in greater variety and with other products in the exposition palaces. the walls are beautified with a series of very remarkable photographs of famous portuguese cathedrals. siam.--the siamese pavilion is a perfect example of the architecture of the far east. it reproduces a pavilion on the palace grounds at bangkok. it was first built there by native workmen, taken apart in sections and shipped to san francisco to be set up on the exposition grounds. teak, sandal-wood and other rare asiatic timbers are used in its construction. hammered metal work, carved ivory, and tapestries form its interior decorations; but, in striking contrast to its ancient art and spirit, the building is a moving-picture palace where siam's life and industry is shown. sweden.--sweden has delighted everybody with her pavilion, a building finely representative of the people who built it, and with her industrial exhibit as well. (p. .) the pavilion combines the best in swedish ecclesiastical and domestic architecture, the church tower and the gabled hall near the center, dwelling-house types at the ends. it was designed by ferdinand boberg, a noted leader in swedish art. the building is almost entirely filled with exhibits of swedish industry, a presentation as good in its way as canada's splendid picture of her great, hardly touched resources. the swedish steel works have sent numerous models of locomotives, steamships, and machinery, and full-sized samples of smaller products. the government has furnished models of docks and bridges, of buildings and other engineering works. the familiar swedish matches are here in pyramids. there are rooms furnished by swedish artisans in birch and oak, with chandeliers of hammered iron, carpets from swedish looms, and fine ceramics from the swedish potteries. other exhibits are in the exposition palaces. in art, the swedish collection in the palace of fine arts is perhaps the most distinctive display made by a foreign nation. sweden's part in the exposition was made possible by the swedish citizens of california, who gave the funds for the pavilion, while the home government provided for the installation of the exhibits. turkey.--the turkish pavilion supplies the one touch of islam in the foreign section. the ottoman building is a copy of the palace of sultan ahmed i at stamboul, the summer home of the present sultan. within the pavilion is a ballroom, cafe, and lounging rooms. but the interest of the building, and of the little mosque behind it, as examples of turkish architecture, is entirely overshadowed by the wonderful collection of rare rugs, beautiful brasses and carvings, and rich inlaid and jeweled ornaments, all part of the sultan's treasures, and valued at $ , , . xvii. the state buildings a section full of historical and architectural interest--many notable buildings simply furnish state headquarters, others contain important exhibits--california's great mission structure--the remarkable display of her counties--new york's stately palace--oregon's timbered parthenon--interesting chapters in american history told by the houses of massachusetts, virginia, pennsylvania, maryland and new jersey--fine buildings of the western states--attractive pavilions of the philippines and hawaii. the state buildings at the exposition fall naturally into three groups: those that reproduce or suggest historical structures, those characteristic in some way of their builders, and those that express the importance of their states by dignified architecture and significant exhibits. the richer the history of the state, the more likely its building is to reflect its past. several states which possess famous historical buildings, such as mount vernon or independence hall, have either copied them or used their motives in the exposition structures. twenty-seven states, the territory of hawaii, and the philippine islands, are represented by twenty-eight buildings. the california building, thomas h. burditt of san francisco, architect, by far the largest state building ever erected at any exposition, is an exceedingly happy treatment of the mission style. (see p. .) its commanding tower is better than anything ever done by the padres in california. from its facade, fray junipero serra looks out over a charming garden, which, more than anything else, invests this building with the real spirit of california. it is a reproduction, even to the fountain, the pepper trees, and the old fashioned flowers, of the private garden of the santa barbara mission, a spot where no woman treads. from this garden, enclosed by walls of clipped monterey cypress, one looks at the tower and is at once translated to southern california. this building covers five acres, and is worthy to be ranked with the exposition palaces. under the tower is a fine vaulted loge and a reception room, both opening into a splendid balconied ballroom behind, all finished in the exposition travertine. the walls of the reception room are hung with magnificent tapestries, loaned by mrs. phoebe a. hearst. the west wing contains the administrative offices of the exposition and the woman's board, and the directors' club rooms. the large eastern wing is entirely filled with the displays of the fifty-eight california counties. (p. .) these together form one of the most noteworthy exhibits in the entire exposition. they demonstrate the fact that a multitude of other resources besides her gold entitle california to be called "the golden state." the oregon building, foulkes and hogue of portland, architects, imitates, though it does not reproduce, the parthenon of the athenian acropolis. (p. .) doric marble is replaced by the natural columns of the great trees of oregon, and the frieze of phidias, by the fretwork of the bark of pine and fir. there are forty-eight of the great columns, the same number as in the outer colonnade of the parthenon, and, coincidentally, one for each state of the union. they were cut from among the largest of trees. the douglas fir, next to the redwood and the sequoia the most massive of living things, furnished most of them. but the largest happen to be the two giant incense cedars, which stand on either side of the main entrance. these are eight feet and ten inches in diameter. then there are two columns on the south side, both cut from a spruce that was four feet seven inches through at feet above the ground. in exterior proportions the building reproduces the parthenon, but the parthenon had a double row of columns around its porch, the oregon temple has but a single row. in size it is considerably larger than the partheon. the great flagpole is a single stick of douglas fir, feet long, set in a -ton block of concrete. the building contains an excellent exhibit of oregon's resources. the washington building, a. f. heide of san francisco, architect, is a striking example of the french renaissance. (p. .) unlike most of the state buildings, it is used largely for the exhibition of home products. its motion pictures, its group of wild life, and its displays of agriculture, mining, forestry and fisheries, are all designed to advertise the remarkable scenery and resources of the evergreen state. washington is an important exhibitor in the palaces of horticulture, agriculture, food products, mines and education. the new york state building is, next to that of california, the largest structure erected by any state. (p. .) it is in every way a dignified and noteworthy example of the best modern civic architecture. charles b. meyers, of new york city, was the architect. the building is finished in plastic travertine. a magnificent entrance opens upon a wide central corridor. an assembly room, intended for the use of new york organizations, and a restaurant, pierce the second story. the other rooms on the first floor are devoted to the reception and convenience of new york visitors. on the other floors are the offices and apartments of the commission, with a special suite for the governor of the state. new york's official exhibits are in the several exhibit palaces. the new york city building, bertram g. goodhue, of new york, architect, is the only municipal building at the exposition. it is a simple classic structure, housing an extensive display intended to demonstrate and promote municipal efficiency. its exhibits, maps, models, photographs and charts,--admirably illustrate all sides of city government. the massachusetts building, planned by wells and dana, of boston, is a fac-simile reproduction of the bulfinch front of the massachusetts state house on a scale of two-thirds. (p. .) within, as well as without, it is of commanding interest to every american. its rooms are furnished with veritable colonial furniture. the club room to the right of the entrance hall is done in jacobean style, the reception room opposite shows fine copies of chippendale, sheraton, hepplewhite and adams originals, and is hung with a long series of historic portraits, lent by massachusetts families and the state historical society. on the second floor is a room filled with genuine old furniture by the most famous makers, fine colonial mirrors, and a willard clock. the governor's suite and the commissioners' rooms are furnished with exquisite copies of colonial models. the pennsylvania building, henry hornbostel, of pittsburgh, architect. this interesting structure is reminiscent of independence hall, philadelphia, though it is not a reproduction of the cradle of liberty. (p. .) its plan was dictated by the necessity of a fireproof structure in which to house the liberty bell at the exposition. consequently, it is the solidest and most enduring of the state buildings. besides the bell, which is placed in the loggia, its most striking feature is the two fine mural paintings under the attic, from the brush of edward trumbull, of pittsburgh, one representing penn's treaty with the indians, and the other pittsburgh industries. the new jersey building, hugh roberts, of jersey city, architect, like those of pennsylvania and virginia, tells of the days of the revolution. it is a copy of the old trenton barracks, erected in , and used alternately by british and colonial troops during the revolution. within, its simple and comfortable appointments make it one of the most popular of the state buildings. a large lounge with blazing fireplaces, and furnished in white reed, occupies the entire central section. in the east wing are the offices and rooms of the commission. the west wing contains the lobby and a reception room in which hang two large marines painted by n. hagerup, of san francisco. as the building is to be president wilson's headquarters if he comes to the exposition, a splendid suite, corresponding with the rooms occupied by general washington, has been furnished and reserved for him. the maryland building, designed by thomas, parker and rice, of baltimore, presents a fascinating study of colonial architecture in its reproduction of "homewood," built by charles carroll of carrollton in . the present aspect of "homewood" has been imitated in appearance of age given to the brickwork and the timbering. the contents of the building are no less delightful, historically, than the structure itself. the colonial dames of america have enriched the walls with original portraits of colonial celebrities, old prints, original grants by the baltimores, and many historical documents and relics. colonial furniture adorns the rooms. few of the state buildings will so well repay a visit. the virginia building, charles k. bryant, of richmond, architect, is as significant historically as any on the grounds. it is a complete reproduction of george washington's home at mount vernon, down to the spinning room, the detached kitchen and the servants' quarters, and furnished in part with washington's own furniture loaned by miss nannie randolph heth, of virginia, the official hostess of the building. there is washington's chair, mrs. washington's work box, nellie custis' music stand, and many other relics of the father of his country. the remaining furniture, also loaned by miss heth, consists of antique specimens brought over from england in colonial days. the west virginia building, designed by h. rus warne, of charleston, w. va., while not copying any individual structure, suggests well-known colonial types. its veranda, in particular, is like that of the home of the lees at arlington. the chief room is the long reception hall, where logs always burn in a huge fireplace, typifying the warmth of west virginian hospitality. the mississippi building, overstreet and spencer, of jackson, architects, was designed to suggest the old-style southern mansions. some of its motives, especially the pillared portico, were taken from the old capitol building at jackson. the displays contained in it are chiefly agricultural. mississippi is also represented in the exposition palaces. the ohio building, designed by albert pretzinger, of dayton, is a copy, on a smaller scale, of the classic state house at columbus. containing no exhibits except the relics shown by the state historical society, the building serves the social side of ohio's participation in the exposition. its upper floor is entirely occupied by suites for the governor and the commissioners. the indiana building, designed by j. f. johnson, of indianapolis, represents a type of modern hoosier dwellings. it is of permanent construction, of sandstone and brick with a tiled roof, and unique in the fact that all of the materials used and all the furnishings are indiana products. state pride appears again in the library of , volumes, confined entirely to the works of indiana authors and books about indiana. in addition to the building, which is wholly an exhibit, indiana is well represented in the exposition palaces. the illinois building, designed by state architect james di belka, of chicago, is perhaps the best exhibit of the state at the exposition. (p. .) it is a dignified three-story structure of the italian renaissance. the sculptured tablets of the facades represent the history and progress of illinois. the exhibits within are of unusual interest. the lincoln memorial room, made possible by mrs. jessie palmer weber, contains a great collection of photographs, letters and relics of lincoln, and many articles connected with his life. the valuable series of films prepared by the chicago city planning commission is shown in the moving-picture hall. this building contains a fine pipe organ on which frequent recitals are given. the wisconsin building, designed by r. a. messmer & co., milwaukee, in the colonial style with wide porticoes, contains one of the state's best exhibits in its interior finish of fine wisconsin hardwoods. the floors are all of maple and the paneled wall of birch. "old abe," the famous wisconsin war eagle, stands above the main entrance. over the fireplace in the reception room is a panel in relief, "the progress of wisconsin." the building is used a headquarters for wisconsin visitors. the iowa building, clinton p. shockley, of waterloo, ia., architect, is a classic structure, finished, like most of the state buildings, in the exposition travertine. it does credit to the public spirit of iowa business men, who, in default of a legislative appropriation, supplied the funds. the missouri building, designed by h. h. hohenchild, of st. louis, is a structure of real distinction in the georgian style. (p. .) it copies no missouri building, and is historical only in its pleasant combination of architectural features much used in early days. the building is of permanent construction and after the exposition closes is to be turned over to the government as a club house for the army,--this as a compliment to major-general arthur murray, who, like so many other eminent americans, hails from pike county. the missouri home, as it is called, is used as a gathering place for visiting missourians, and for the strong missouri society of california. the kansas building, charles chandler, of topeka, architect, is a pavilion in the style of the italian renaissance. it is a club house, devoted solely to the comfort and entertainment of visitors. strong exhibits are made by the state in the palaces of agriculture, horticulture, food products, education, and in the live-stock section. the arkansas-oklahoma building, designed by george r. mann, of little rock, was built and furnished by private subscriptions by citizens of the two states. it is a roomy bungalow designed for the convenience of visitors from arkansas and oklahoma, and exhibits some of their products. the texas building, page and brothers, austin, architects, is a pleasing example of mexican architecture as distinguished from the california mission style. it suggests the alamo, and bears the lone star pierced through its raised cornice. within is a patio, reached by broad entrances from the verandas at front and rear. a motion-picture hall, a ballroom, offices and rest rooms occupy the greater part of the building. the state exhibits are in the exposition palaces. the north dakota building, joseph b. de remer, formerly of grand forks, now of los angeles, architect, owes its unique ground-plan to a three-cornered lot. that it is a pleasing structure is witnessed by several dwelling houses now being built in california after its plans. the building is french in style, treated in a simple manner. it contains interesting exhibits of the products of the northern state, including a noteworthy display of pottery made at the university of north dakota, an institution which devotes much of its effort to promoting state industries. the montana building, carl nuese, san francisco, architect, is one of the group of classic structures finished in plastic travertine. the only display made in the building, which serves as a social center for visitors from montana, is a school exhibit. the state is, however, largely represented in the palaces of mines, agriculture and horticulture. the idaho building, wayland and fennell, of boise, architects, was the first state structure completed at the exposition. it is built in the manner of the italian renaissance and looks out over the bay. like most buildings of the western states, it is equipped with a moving-picture theatre, as well as rooms for visitors. idaho's exhibits are chiefly in the exposition palaces. the nevada building, designed by f. j. de longchamps, of carson, is another structure in the style of the french renaissance. it is the headquarters of the nevada society of california and of visitors from the sagebrush state. nevada has important exhibits in several palaces. the utah building, cannon and fetzer, of salt lake, architects, is a classic structure with deep porticoed front. all its furniture is an exhibit, made by the pupils of the manual training department of the utah schools. the building contains interesting models of copper and gold mines, and an exhibit of the processes of salt-making, displays of building-stone, grains and grasses, and collections from the cliff dwellings. other exhibits are in the palaces of mines, education and horticulture. the hawaiian building, c. w. dickey, of oakland, architect, excellently represents the pacific isles. in style it is french renaissance, built with a half rotunda at the rear to accommodate a semi-circular aquarium. in the center of the main hall is a clump of palms and tree ferns, and native singers give the island touch. the aquarium contains a wonderful collection of the many-hued fish of the south seas. interesting displays of native cabinet woods are made in the finish of the offices. though small, the hawaiian building has proved one of the most popular. the philippines pavilion, designed by the bureau of architecture, is one of the exposition places which no one should miss. it marks the creation of an original style of exposition building. it is filipino in all its motives. its groups of four columns suggest the four essential posts of native hut construction; the broad roofs are tiled; the windows are not glass, but of thin shell, the common material used in the islands; the walls are finished in split bamboo matting. the same style of construction is used also in all the philippine booths in the palaces. the materials are used with restrained taste, and this, with the magnificent cabinet woods employed throughout the construction, has resulted in a beautiful building. it is a little hard to realize the richness of the woods used here. the very floors in the pavilion and the booths are good enough to make piano cases of. the central portion, upstairs and down, is floored, wainscoted and ceiled with the costliest of timber. the two offices to right and left of the main entrance are finished in a beautiful, hard, heavy rosewood, called narra, the one to the right in yellow narra, that on the left in red narra. the stairway is of a magnificent, richly figured, claret-red hardwood called tindalo, the favorite material for such construction in the islands. the panels of its wainscoting and the balusters are of a dark velvety epil, so dark and so glossy in some places that it looks almost like agate. all the columns are natural trunks of the palma brava. xviii. the live-stock exhibit the first exposition to offer a live-stock exhibit covering its entire period--prizes total $ , --classification of competitions--new methods of displaying herds and flocks--contests in dairy and beef cattle--other exhibits range from high-bred horses, hens and sheep down to pet rabbits, rats and mice. for the first time in the history of similar celebrations, this exposition offers a continuous live-stock show. other expositions have confined their live-stock exhibit to a few weeks during the time of award-making. here, however, the show extends from the opening of the exposition until its closing. the competitive period extends from september to december . naturally this will mark the high tide of the display. during this time the international jury on awards will distribute in cash prizes a total of $ , . of this amount, $ , has been given by the exposition management, $ , by the breed record associations of the country, and $ , by various states to be used in prizes and the transportation of stock. these attractive prizes will be distributed, among the well-established and well-known breeds of draft and light horses, ponies, beef and dairy cattle, sheep, swine, poultry, pigeons, and pet animals. all animals will be judged according to the rules of recognized breed associations. foreign or other animals not recorded in the books of the associations named in the premium list will be judged by the standards of the associations to which their exhibitors belong. the educational value of the live-stock show for the general public, as well as the stock breeder, has been emphasized in every department. the increased cost of living being a dominating topic for both producer and consumer, much attention has been centered on meat-producing animals. liberal provision has been made in the prize list for fat classes in beef-cattle, sheep and swine. when the exposition management designed the live-stock section and planned the buildings for the various features of this department, an effort was made to create a model arrangement for exhibit purposes. so successful was this effort that a number of states have requested the plans for a ground layout. this portion of the exposition cost the management approximately $ , , and covers sixty-five acres. the buildings represent, in their equipment, the very latest development in the housing and caring for stock. the visitor first approaches from the east a quadrangle of eight large stables, enclosing the forum where the live-stock shows are held. these stables have a total accommodation of horses. the forum has a seating capacity of persons. to the north of the stable quadrangle is congress hall, for the accommodation of conventions and other meetings, and containing also the administration offices of the chief of the live-stock department. on this side also are the corrals, feed storage barns, a service yard, and an area for open-air exhibits. to the south is the large dairy building, a dairy manufactures building, and the poultry exhibit building. the dairy building houses more than animals. west of the stable group is the mile racecourse with its polo and athletic field. one of the novel features of this show is the manner in which the view herds and flocks are displayed. these are seen in stalls and pens built at an angle of about forty-five degrees to permit the visitor to get a side view of the stock. the view-herd idea in itself is something new. these exhibits are purely educational in purpose, and non-competitive. they have been on display since the opening, and will continue until the close of the exposition, thus enabling the visitor to see a creditable live-stock show, no matter at what season he may come. the view herds are selected by competent authorities, and represent the best of their respective breeds. among such herds on exhibit are shorthorn cattle, berkshire swine and percheron horses. these exhibits are changed from time to time. in addition to these general features, the special events include the milk show, harness races, universal polo, wool grading, sheepdog trials, poultry show, and an international egg-laying contest. for eleven classes of dairy cattle the exposition offers awards, as follows: jersey, ayrshire, guernsey, holstein-friesian, dutch-belted, dairy shorthorn, brown swiss, french-canadian, simmenthal, kerry and dexter, and grade-dairy herd. this last is a recognition on the part of the exposition of the great utility value of the grade-dairy cow, which forms the basis of the dairy industry, and yet could not exist without the pure-bred stock. in the beef-cattle group, the exposition offers awards in the following classes: short-horn, hereford, aberdeen-angus, galloway, polled durham, red polled, devon, fat cattle (by ages) and car-lots. one of the especially attractive features pertaining to the dairy section is the exhibit of high-grade holsteins for utility purposes. this herd is in full flow of milk and is maintained by a large milk condensing plant. this exhibit, in the daily care given these perfect specimens of dairy cattle, the yield of milk, the quality of feed and the appliances used, forms one of the most attractive units in the department. an important event in this section was the pure milk and cream contest, june to , in congress hall. city and state boards of health and the dairy divisions of agricultural colleges participated in the contest. the purpose of the event was designed to create a greater interest in pure milk and cream. four samples of milk and cream each were submitted. one of these was submitted to an official bacteriologist, a second given to the official chemist, a third displayed in congress hall, and the fourth tested for its butter-fat content. awards of gold and silver medals and cash prizes were made in the following classes: city boards of health, cream dealers, milk dealers, college experiment stations, pasteurized milk, pasteurized cream, market milk producers, certified and medical milk commissions. in the horse exhibit the following classes are provided: percheron, belgian, clydesdale, shire, suffolk-punch, standard trotter, thoroughbred, saddle horses, morgan, hackney, arabian, shetland pony, welch pony, roadsters, carriage horses, ponies in harness, draft horses, hunters, jumpers, and gaited saddle horses. among special events in this section are the following: trot under saddle, one-mile track, one-mile military officer's race, one-mile mounted police race, gaited saddle race of one mile, steeple chase, hurdle race, polo pony dash, relay race of one mile, cowboy's relay race of same length, cowgirl's relay race, six furlongs, saddle tandem. exposition jumping contest and five-mile marathon four-in-hand. on the closing day of the exposition there will be a grand parade of all first and second winners, not only in the horse display, but in all other displays in this department. the following dates have been set for the exhibition of stallions and mares in the breeding classes in the forum: thursday, september ,-- percheron, standard trotter, welch pony, and morgan; friday, october ,-- belgian, thoroughbred, hackney, and shetland pony; saturday, october ,--clydesdale, saddler, arabian, and suffolk-punch; monday, october ,-- shire, jacks and jennets, and mules. the exhibition of horses for awards is from thursday, september , to wednesday, october . one of the important events of this period is the special horse show. two other big special events are the races and international polo tournament. the polo tournament from march th to may st enlisted the following teams: cooperstown, n. y.; philadelphia country club; midwick polo club; pasadena, burlingame and san mateo clubs; boise, idaho, team; portland, oregon, team; first cavalry, monterey; second division army, texas city, texas; and southern department army, san antonio, texas. the exposition harness races cover two periods, one from june to june , and the other from october to november . in addition to these there will be matinee races from may to september . a total of $ , has been set aside for purses in these races. the poultry exhibit for award is scheduled from november to . this is known as the universal poultry show, and is planned to be one of the largest ever held. between , and , chickens, entered from all parts of the union, will be in competition. in conjunction, the american poultry association meets in congress hall in the live-stock section. the international egg-laying contest, extending over a period of one year from november , , has attracted widespread attention. pens of fowls have been entered in this contest from the united states and canada, and even distant england. daily records are kept of the production of each hen, and, once a month, the score is bulletined by the live-stock department for the information of owners. sheep and goats are to be judged for awards from wednesday, november , to monday, november . the breeds classified are: shropshire, hampshire, cotswold, oxford, dorset, southdown, lincoln, cheviot, leicester, romney, tunis, rambouillet, merino-ameiran, merino-delaine, corriedale, exmoor, persian fat-tailed, karakule, and car-lots; goats, toggenburg, saanen, guggisberger, and anglo-nubian breeds, with the grades of each breed, and native goats. the exhibit of swine for awards runs between the same dates. the eligible breeds, besides swine in car-lots, are poland-china, berkshire, duroc-jersey, chester white, hampshire, tamworth, mule foot, large yorkshire, large english black, victoria, essex, and cheshire. the scope of the live-stock department is not limited to the material things of rural life. a universal kennel show is scheduled from november to december . two classes of dogs are provided for in the awards, sporting and non-sporting. a cat show, of long and short-haired cats, is set for the same period as the kennel show. other groups of exhibits in this line are pet stock, rabbits, hares, rats and mice, and children's pets. xix. sports and games; automobile races; aviation exposition contests include nearly every branch of sport--national championships of the a. a. u.--two great automobile races, the international grand prix and the vanderbilt cup, already run--polo and golf--sensational flights of the aviators--the international yachting regatta and other aquatic events--all-star baseball expected in the fall. an account of the exposition, and indeed, american athletic history for the year , would be incomplete without a description of the sports programme. this outline of games and exhibitions includes nearly every branch of sport familiar to the american public, and its wide appeal has attracted many thousands to the athletic fields and gymnasiums of the exposition. although ten months of sport was originally intended by the athletic committee, this period has been somewhat abbreviated by circumstances, though a practically continuous performance has held sway since february . international competition, at first intended in many branches of the programme, was generally abandoned on account of the european conflict; but the want of foreign representation has in no way lessened the quality of competition, or dampened the attractiveness of the summer contests. some of europe's star track men are entered here, in spite of conditions on the continent. perhaps the most popular attractions of the programme are the national championships, held every year under the auspices of the amateur athletic union. at the convention of that body during november, , prior to the death of its president, james e. sullivan, it was voted unanimously to award all of the organization's events, with the exception of boxing, to the panama-pacific exposition. these championships are the blue-ribbon events of the amateur world. they include track and field games, swimming, boxing, wrestling and indoor gymnastics. three of these championships were staged in san francisco before the opening of june. in basket ball, the first of the national competitions, premier honors went to a california organization, the san francisco olympic club. next in line came gymnastics, followed by wrestling. although these sports are not immensely popular with the athletic enthusiasts, generous galleries turned out to see the american champions in action. the more important part of the amateur athletic union programme was scheduled for the summer months, when the track and field championships are held. facilities for staging these games are ideal. the cinder path, situated at the far end of the exposition grounds, with unexcelled scenic advantages, is reputed to be the equal of any athletic stadium in the country. the oval measures one-third of a mile to the lap, with a -yard straightaway flanking the grandstand. the earlier games convinced eastern athletes that there could be no complaint against facilities. the senior and junior track and field championships of the amateur athletic union loom up as the banner track events of the programme. national stars have signified their intention of participating in these games, and it will be surprising if many national records are not broken. in addition to these games, the international olympic committee, which controls all the modern olympic meets, conferred upon the exposition the right to hold the modern pentathlon, this being the first time it has been contested outside of the olympic games. in addition, america is to have for the first time the decathlon, and the famous marathon race originated in greece centuries ago, and impressively revived during recent years by the more important athletic bodies of the world. besides the amateur athletic union track and field games, an abundance of competitions, ranging from grammar school contests to collegiate struggles, was arranged. among the first of these, the pacific coast intercollegiate conference, was won by the university of california from a field of collegiate teams representing the entire pacific coast. several high and grammar school contests have attracted spectators to the stadium. one thousand grammar school athletes entered the lists upon the exposition cinder path, and staged a carnival that stands as a record in california, and approaches any american event of its kind both in the number of entrants and the class of competition offered. automobile racing, of the kind that thrills, was furnished by the exposition during its early weeks. two events of international importance were run upon the exposition grounds, and in each instance attracted one hundred thousand spectators to the course. the first of these was the international grand prix, run in the rain and under other conditions far from ideal, over a four-mile course for the distance of four hundred miles. sensation followed sensation in this feature, a final winner being supplied in the swarthy darius resta, who drove a peugeot car for an average speed of fifty-six miles, : : being his actual time. other drivers of international reputation appeared in this struggle, among them de palma, hughes and wilcox. handsome prizes were distributed to the winners in these events. the vanderbilt cup race was staged over the same course on march , and brought out an equally attractive field. running with the precision and dexterity that brought him home a winner in the grand prix, resta repeated his victory in the vanderbilt race, coming home from his journey of three hundred miles ahead of such stars as burman, pullen, wilcox and de palma. resta earned the reputation of being one of the most skillful drivers holding the wheel in this or any other country. for six weeks, from march to may, polo held popular sway at the exposition. ten teams competed in a tournament which offered many valuable trophies. the contests were held daily and attracted thousands to a specially prepared turf field near the athletic stadium. the sport furnished thrilling competition throughout its period. perhaps the most famous team seen in competition was the noted four from cooperstown, new york, bearing an international reputation. the easterners, although weakened by illness in the ranks of their players, proved practically invincible. another notable organization was the four representing the midwick club of pasadena, california. in addition to the civilian teams, the united states army was represented by some fast fours, who provided thrill after thrill with their reckless but winning form in the saddle. perhaps the most notable of the military combinations was the fort sam houston four, which went through the tournament with practically an undefeated record. the army teams were granted certain handicaps, however, which gave them a slight edge in some of the contests. aviation, a branch of sport which claims a large place in the popular fancy, was not neglected by those who drew up the programme. two world-famed aviators have performed before hundreds of thousands, though one of these, lincoln beachey, became a victim to the elements which he had so often defied. while giving an exhibition flight in a german taube, beachey fell to his death on march when his monoplane crumpled at the start of a daring loop. nothing daunted by the untimely end of beachey, a new luminary appeared in arthur smith, whose aerial maneuvers exceed in point of recklessness anything attempted by his predecessor. smith thrills thousands in daily flights and skiey acrobatics, including crazy dips and loops, startling dashes to the earth and illuminated flights through the night air. (see p. .) smith became in a day an attraction outshining, perhaps, any other single performer upon the huge exposition programme. those who loved horse racing and grieved at the decline of the sport in california, were rejoiced at the announcement of some of the biggest harness and running events yet staged in this country. two meetings were arranged for the exposition schedule, a summer harness event, june th to th, and a fall running meeting, october th to november th. the panama-pacific is the first exposition to make horse racing an outstanding feature of its activities. about $ , was set aside to be distributed in handsome purses and stakes for the events. a $ , trotting and a $ , pacing stake was put up for each meeting, with other sums ranging from $ , to $ , . the four stakes of $ , each are the largest ever offered in any light-harness event, and insured entries of the highest class. the race track is situated near the athletic stadium, and commands an unsurpassed view of the san francisco bay, together with the marin county heights and the entrance to the golden gate. the grandstand seats thirty-five thousand spectators. the course, under scientific preparation for several months, was put in fine shape. the length of the lap is one mile. one of the biggest golf events ever staged in this country was successfully managed by the exposition. five weeks of sport on the links around the bay counties, including high-class exhibitions by both men and women, were in the plans of the committee. events included both professional and amateur contests, and seldom, if ever before, had a community of the size of san francisco maintained so continuous an interest in the sport. valuable prizes and trophies were offered for the different events of the programme. handsome cups and medals were granted amateurs, while professionals were tendered purses of generous proportions. perhaps the banner event of the tournament was the amateur championship for men played on the course of the ingleside golf and country club. players of international reputation were entered in this event, and as a result, the play offered sensation after sensation. the tournament was won by harry davis, of the presidio golf club, after a struggle in which he eliminated such stars as chick evans, h. chandler egan, heinrich schmidt, and jack neville. davis met schmidt in the finals of the event and won only after a dazzling exhibition of driving and putting such as has seldom been seen on a california course. in addition to the men's championships, the women were in the limelight for a week. miss edith chesebrough won the finals of the first flight play over mrs. h. t. baker. mixed foursomes, events for professionals, driving, putting, and approaching contests were all included upon the programme, with gratifying results. yachting was granted an appropriate position upon the calendar, the races scheduled including yachts, sloops and motor boats upon san francisco bay and the ocean waters in the neighborhood of the farallones. perhaps the biggest event upon the programme is to be the international regatta scheduled for august st to st, an event intended to bring into competition practically every type of racing craft afloat. this has brought attractive entries from both eastern and pacific clubs. special events were also arranged. a schooner race, with a course starting from a point on the bay off the exposition and extending to the farallone islands, is one of them. perhaps the most attractive of these events, however, will be the long-distance race for yachts from new york to san francisco. the boats are to sail along the atlantic seaboard, reaching san francisco via the panama canal. several entries for this contest have already been filed, and it is expected that by the time set for the start, a first class field will be ready to weigh anchor. handsome cups, furnished by the exposition for winners in the different nautical events, include many valuable trophies. boxing, the professional phase of which was recently abolished by an act of the california legislature, found an important place upon the exposition programme. amateur events staged at the civic auditorium excited great interest. by a special arrangement with the amateur athletic union, the exposition management obtained the national winners of boston for the san francisco tournament. accordingly, the best of the country's amateur glove crop exhibited their wares to big galleries. in the matter of championships, california and the pacific northwest obtained the chief honors, several of the eastern ring stars falling by the wayside in their work. not to be found wanting in the completeness of their scheme, the exposition directors are still busy with plans which promise many events of unusual attractiveness for the fall. it is hinted that the winner of the world's baseball series, waged between the national and american leagues, will be brought to the coast for an exhibition series in october, to play against an all star team. other phases of sport during the exposition period include rowing, lawn tennis, handball and certain types of football, though disagreements between the two largest universities of the coast have made the autumn sport an uncertain quantity. xx. the joy zone a mile of amusement places, many of which are really educational--the panama canal, grand canyon, yellowstone park and the native villages-- "the ranch"--"toyland grown up"--other notable features. the joy zone, nearly a mile in length, is a broad avenue bordered with closely packed places of amusement. there are more than one hundred concessionaires, with two hundred and twenty buildings devoted to refreshment or pleasure, including a few in other places on the grounds. here are all sorts of divertissements, from roller coasters to really great educational sights like the panama canal or the grand canyon. by common consent the panama canal is the most noteworthy feature of the zone. indeed, it ought not to be on the zone. it should have had a place in the exposition proper, as one of its finest exhibits. the show is a working reproduction of the panama canal, on so large a scale that it covers five acres. the landscape of the canal zone is faithfully reproduced, with real water in the two oceans, the gatun lake, the chagres river and the canal. the visitor sees it from cars which travel slowly around the scene, and which are fitted with telephonic connections with a phonograph that explains the features of the canal zone as the appropriate points are passed. next to seeing the canal itself, a sight of this miniature is the most interesting and instructive view possible of the great engineering feat. in one way it is even better than a trip through the canal. it gives the broad general view impossible from any point on the isthmus itself. in much the same class are the reproductions of the grand canyon and the yelllowstone park. the grand canyon has an added interest in the presence of navajo and hopi families living in reproductions of their desert homes. representing other native races, there are the samoan village, the maori village, and the tehuantepec village. all these people are genuine and live in primitive style on the zone, though, to tell the truth, they are quite likely to use college slang and know which fork to use first. not on the zone, but proper to be mentioned here, are the blackfoot indians brought to the exposition from glacier park by the great northern railroad. eagle calf is a real chief of the old days, and his band is a picturesque group. there is toyland grown up, a product of the astonishing genius of frederic thompson, creator of luna park, covering nearly twelve acres and packed with thompson's whimsical conceptions of the figures of the mother goose tales, kate greenway's children, and soldiers and giants, and the familiar toys of the noah's ark style-all on a gigantic scale. japan beautiful, a concession backed by the japanese government, has many interesting features, including the enormous gilded figure of buddha over the entrance and a reproduction of fujiyama in the background. then there is an antarctic show entitled "london to the south pole;" the streets of cairo; the submarines, with real water and marine animals; creation, a vast dramatic scene from genesis; the battle of gettysburg; the evolution of the dreadnaught; and many other spectacles and entertainments of many classes, but all measuring up to a certain standard of excellence insisted upon by the exposition. the aeroscope, a huge steel arm that lifts a double decked cabin more than two hundred and fifty feet above the ground and then swings it around in a great circle over the zone, is one of the thrillers. the joy zone has suffered from the excellence of the exposition to which it is the side-show. the exposition itself is so wonderful a sight and contains so vast a number of remarkable and interesting things that multitudes have been content to stay with it, too much engrossed to find time for any but a few of the best things on the zone. no better evidence could be found of the beauty, interest and value of this exposition. appendix (a) sculptures and mural paintings the following lists give the titles, locations and names of artists of the exposition sculptures and mural paintings. they do not include work exhibited in the palace of fine arts, or in the state or foreign buildings, but only those which were designed for the adornment of the exposition palaces, courts, and gardens. the lists also index all matter and illustrations describing or showing this "exposition art." figures in light-face type refer to pages in the text; those in black-face type, to illustrations. i. sculptures. south gardens.--two mermaid fountains, by arthur putnam ( , , ); fountain of energy, by a. stirling calder ( , ). palace of horticulture--figures at bases of spires, by eugene louis boutier; pairs of caryatids, by john bateman ( ). festival hall.--the torch bearer (on domes), bacchus, the listening woman, flora and pan, flora and dreaming girl, figures on cartouche over entrance, all by sherry e. fry ( , , ). tower of jewels.--cortez (east side of arch), by charles niehaus ( , ); pizarro (west side of arch), by charles c. rumsey; priest, soldier, philosopher and adventurer, by john flanagan ( , ); armored horseman (on terrace of tower), by f. m. l. tonetti ( ); fountain of youth, by edith woodman burroughs ( , , , ); fountain of el dorado, by gertrude vanderbilt whitney ( , , , ). palace of varied industries.--man with a pick, tympanum group of varied industries, new world receiving burdens of old, keystone figure, power of industry, all by ralph stackpole ( , , ); victory (on the gables of all the central palaces), by louis ulrich ( , ). palaces of manufactures and liberal arts.--frieze over portals, craftsmen, woman with spindle, man with sledgehammer, all by mahonri young ( ). palace of education.--typanum group, education, by gustav gerlach ( , ); panel, male teacher, by cesare stea; panel, female teacher, by c. peters ( ). west facade of palace group.--thought (on columns flanking half domes), by ralph stackpole; the triumph of the field, by charles b. harley; abundance, by charles r. harley; ex libris (half dome of education), by albert weinert; physical vigor (half dome of food products), by earl cummings; vestibule fountains, by w. b. faville (all on p. , ). north facade of palace group.--the conquistador and the pirate, both by allen newman ( , , ). east facade of palace group.--the miner, by albert weinert ( ). column of progress.--the adventurous bowman, by herman a, macneil ( , , ); the burden bearers (frieze at base of group), by herman a. macneil ( ); frieze of progress (frieze on pedestal), by isidore konti ( , ). court of the universe.--nations of east and west (on arches), by a. stirling calder, leo lentelli and frederick g. r. roth ( , , , ). genii on columns, by leo lentelli; pegasus spandrels, by frederick g. b. roth; medallions, by b. bufano and a. stirling calder; the stars, by a. stirling calder; signs of the zodiac, by herman a. macneil (all on p. ). fountains of the rising and the setting sun, by a. a. weinmann ( , , , ); the elements, earth, air, fire and water, by robert aitken ( , ); music and poetry, by paul manship ( ). court of the ages.--fountain of the earth, by robert aitken ( , , , - , , ); columns of earth and air, by leo lentelli ( , ); ages of civilization (on altar) and thought (on side altars), by chester beach ( , , ); primitive man, primitive woman, and the hunter (on arcades), by albert weinert ( ); modern time listening to the story of the ages (in north court), by sherry e. fry ( , ). court of seasons.--the harvest (on half dome), by albert jaegers; rain and sunshine (on columns), by albert jaegers; feast of the sacrifice (on pylons), by albert jaegers ( , ); fountain groups, the seasons, by furio piccirilli ( - , - , ); attic figures of abundance, and spandrels, by august jaegers; fountain of ceres (forecourt), by evelyn beatrice longman ( , , ). court of flowers.--the pioneer, by solon borglum ( , ); fountain of beauty and the beast, by edgar walter ( , , ); flower girls (in niches), by a. stirling calder ( , ); the fairy (above italian towers), by carl gruppe; lions, by albert laessle. court of palms.--the end of the trail, by james earle fraser ( , ); caryatids (on attic), by a. stirling calder and john bateman; spandrels (over portals), by albert weinert. palace of machinery.--genius of creation, by daniel chester french ( , ); steam power, electricity, imagination, invention; friezes, genii of machinery; reliefs on bases of columns, application of power to machines; all by haig patigian ( , ); eagles, by c. h. humphries ( ). palace of fine arts.--the weeping woman (on colonnade flower boxes), by ulric h. ellerhusen ( , ); the struggle for the beautiful (three panels repeated on attic of rotunda), by bruno louis zimm ( , ); figures between panels, by ulric h. ellerhusen; venus, altar of inspiration, by ralph stackpole ( , ); frieze of genius (on altar), by bruno louis zimm; the priestess of culture (in rotunda), by herbert adams ( ); aspiration (over main portal), by leo lentelli; decorations on flower receptacles, by ulric h. ellerhusen ( ). ii. mural paintings. tower of jewels.--west panel--joining of atlantic and pacific, center; discovery, left; purchase, right. east panel--gateway of all nations, center; labor crowned, left; achievement, right; all by william de leftwich dodge ( , ). arch of the nations of the east.--south panel--the western march of civilization; north panel--ideals attending immigration; both by edward simmons ( - ). arch of the nations of the west.--north panel--pioneers leaving for the west; south panel--pioneers arriving on pacific coast; both by frank vincent du mond ( , frontispiece). court of the ages.--earth, two panels (northwest corner of corridor); air, two panels (southwest corner of corridor); water, two panels (southeast corner of corridor); fire, two panels (northeast corner of corridor); all by frank brangwyn ( , , , ). court of seasons.--art crowned by time (in half dome); man receiving instruction in nature's laws (in half dome); spring and seedtime (two panels in corridor before niche of spring); summer and fruition (two panels in corridor before niche of summer); autumn and harvest (two panels in corridor before niche of autumn); winter and festivity (two panels in corridor before niche of winter); all by h. milton bancroft ( , ). court of palms.--fruits and flowers (lunette over entrance of palace of education), by childe hassam; the pursuit of pleasure (lunette over entrance of palace of liberal arts), by charles holloway; the triumph of culture, sometimes called the victorious spirit (lunette over entrance of court of seasons), by arthur mathews (all on p. ). rotunda, palace of fine arts.--the conception and birth of art, four panels alternated with four panels of the golds of california. in order they are: the birth of european art, the orange panel, inspiration in all art, the wheat panel, the birth of oriental art, metallic gold, ideals in art, the poppy panel; all by robert reid ( , ). (b) statistics of construction work palace size, feet exhibit area cost mines and metallurgy x . acres $ , transportation x . acres $ , agriculture x . acres $ , food products x . acres $ , varied industries x . acres $ , manufactures x . acres $ , liberal arts x . acres $ , education x . acres $ , machinery x . acres $ , fine arts x . acres $ , horticulture x . acres $ , festival hall seats $ , tower of jewels feet high $ , dome of palace of horticulture feet high, feet in diameter. paved area within the exposition grounds, , , square feet, or . acres. at an average width of feet, this is equal to nearly miles of asphalt. (c) the exposition roster president.--charles c. moore. vice-presidents.--william h. crocker, reuben b. hale, i. w. hellman, jr., m. h. de young, leon sloss, james rolph, jr. secretary.--rudolph j. taussig. treasurer.--a. w. foster. board of directors.--john barneson, m. j. brandenstein, john a. britton, frank l. brown, george t. cameron, philip t. clay, william h. crocker, r. a. crothers, m. h. de young, a. i. esberg, charles s. fee, h. f. fortmann, a. w. foster, h. b. hale, i. w. hellman, jr., homer s. king, curtis h. lindley, p. h. mccarthy, james mcnab, charles c. moore, thornwell mullally, dent h. robert, james rolph, jr., a. w. scott, jr., henry t. scott, leon sloss, charles s. stanton, rudolph j. taussig, joseph s. tobin. executive staff.--director-in-chief, frederick j. v. skiff; director of works, harris d. h. connick; director of exhibits, asher carter baker; director of exploitation, george hough perry; director of concessions and admissions, frank burt. architectural commission.--george w. kelham, san francisco, chief of architecture; willis polk, william b. faville, clarence h. ward, and louis christian mullgardt, san francisco; robert farquhar, los angeles; mckim, mead & white, carrere & hastings, and henry bacon, new york. associate architects: arthur brown, jr., g. albert lansburgh, bernard r. maybeck, san francisco. division of works.--director, harris d. h. connick; assistant director of works and chief of department of construction, a. h. markwart; chief of architecture, george w. kelham; chief, department of sculpture, k. t. f. bitter; acting chief, a. stirling calder; chief, department of color and decoration, jules guerin; chief, department civil engineering, e. e. carpenter; chief, mechanical and electrical engineering, guy l. bayley; chief, department of illumination, w. d'a. ryan; chief, department of landscape gardening, john mclaren. division of exhibits.--director, asher carter baker; chief, department of fine arts, john e. d. trask; assistant chief, department of fine arts, robert b. harshe; chief, department of education and social economy, alvin e. pope; chief, department of liberal arts, theodore hardee; chief, department manufactures and varied industries, charles h. green; chief, department of machinery, george w. danforth; chief, department of transportation, blythe e. henderson; chief, department of agriculture, thomas g. stallsmith; chief, department of live stock, d. o. lively; assistant chief, department of live stock, i. d. graham; chief, department of horticulture, g. a. dennison; chief, department of mines and metallurgy, c. e. van barneveld. other department heads.--traffic manager, andrew m. mortensen. general attorney, frank s. brittain. commandant of exposition guards, captain edward carpenter, u. s. a. director of congresses, james a. barr. director of music, george w. stewart. director of special events, theodore hardee. chief of special events, rolls e. cooley. chairman of music committee, j. j. levison. california state commission.--governor hiram w. johnson, ex officio; matt i. sullivan, president, san francisco; chester h. rowell, fresno; marshall stimson, los angeles; arthur arlett, san francisco. commissioner general, w. d. egilbert. secretary, f. j. o'brien. controller, leo s. robinson. woman's board of the exposition.--honorary president, mrs. phoebe a. hearst; president, mrs. f. g. sanborn; vice-presidents, mrs. lovell white, mrs. i. lowenberg, mrs. w. h. taylor, mrs. john f. merrill, mrs. frank l. brown, mrs. irving m. scott; secretary, mrs. gaillard stoney; treasurer, mrs. p. e. bowles; assistant treasurer, mrs. e. r. dimond; auditor, mrs. charles w. slack. directors, mrs. edson f. adams, mrs. frank b. anderson, mrs. p. e. bowles, dr. marian bertola, mrs. frank l. brown, mrs. aylett r. cotton, mrs. francis carolan, mrs. edwin r. dimond, mrs. joseph a. donohoe, mrs. joseph d. grant, mrs. reuben b. hale, mrs. p. c. hale, mrs. phoebe a. hearst, mrs. i. w. hellman, jr., mrs. c. edward holmes, mrs. john johns, mrs. henry krebs, mrs. jesse n. lillenthal, mrs. i. lowenberg, miss laura mckinstry, mrs. john f. merrill, mrs. robert oxnard, mrs. horace d. pillsbury, mrs. george a. pope, mrs. f. &. sanborn, mrs. henry t. scott, mrs. laurence irving scott, mrs. william t. sesnon, mrs. ernest g. simpson, mrs. charles w. slack, mrs. m. c. sloss, mrs. gaillard stoney, mrs. william hinckley taylor, mrs. william s. tevis, mrs. lovell white, mrs. edward wright. foreign commissioners argentina.--horacio anasagasti, resident commissioner general; alberto m. d'alkaine, secretary. australia.--alfred deakin, commissioner general, resigned; niel nielsen, new south wales; f. w. hagelthorn, victoria; f. t. a. fricke, victoria, deputy commissioner; j. a. robertson, queensland; george oughton, secretary. bolivia.--manuel vicente ballivian, commissioner general. canada.--william hutchison. canadian exhibition commissioner. china.--chen chi, resident commissioner general; allan s. chow, secretary. cuba.--general enrique loynaz del castillo, commissioner general; dr. amando montero, secretary. denmark.--otto wadsted, resident commissioner. france.--albert tirman, commissioner general; jean guyffrey, secretary. guatemala.--jose flamenco, resident commissioner; fernando crux, sec. honduras.--antonio a. ramirez f. fontecha, commissioner general; fernando somoza vivas, resident commissioner. italy.--ernesto nathan, commissioner general; vito catastini, secretary. japan.--haruki yamawaki, resident commissioner general; shinji yoshino, secretary. netherlands.--b. a. van coenen torchiana, resident commissioner. new zealand.--edmund clifton, commissioner general; m. o'brien, sec. norway.--f. herman gade, commissioner general; birger a. guthe, sec. persia.--mirza ali kuli khan, commissioner general. portugal.--manuel roldan, commissioner general. siam.--james h. gore, commissioner general; a. h. duke, secretary. spain.--count del valle de salazar, representative. sweden.--richard bernstrom, commissioner general; herman virde, sec. turkey.--vahan cardashian, imperial adjutant high commissioner. uruguay.--eduardo perotti, commissioner general. commissioners from states and islands national commission.--william phillips, chairman; franklin d. roosevelt, judge w. b. lamar; f. n. bauskette, secretary. arkansas.--f. b. t. hollenberg, commissioner general. california.--matt l sullivan, president; w. d. egilbert, commissioner general; f. j. o'brien, secretary. hawaii.--r. p. wood, chairman. idaho.--jay a. czizek, executive commissioner. illinois.--adolph karpen, chairman; guy e. cramer, resident executive; john g. oglesby, secretary. indiana.--s. p. hamilton, resident commissioner. iowa.--w. w. marsh, chairman. kansas.--george h. hodges, president; h. s. dean, secretary. maryland.--roberdeau a. mccormick, chairman; robert j. beachman, sec. massachusetts.--peter h. corr, chairman; charles o. power, secretary. mississippi.--isham evans, chairman; d. ben holmes, secretary. missouri.--john l. mcnatt, chairman; norman m. vaughan, secretary. montana.--david hilger, chairman; frank a. hazelbaker, secretary. nevada.--george t. mills, commissioner. new jersey.--robert s. hudspeth, president; charles f. pancoast, sec. new york.--norman e. mack, chairman; daniel l. ryan, secretary. north dakota.--governor l. b. hanna, chairman; will e. holbein, sec. ohio.--d. b. torpey, resident commissioner. oklahoma.--j. j. dunn, resident commissioner; mrs. fred e. sutton, sec. oregon.--o. m. clark, chairman; george ryland, general manager. pennsylvania.--martin g. brumbaugh, president; a. g. hetherington, director in charge; c. b. carothers, secretary. philippines.--leon m. guerrero, president; w. w. barkley, secretary. texas.--mrs. eli hertzberg, chairman; j. t. bowman, secretary. utah.--glen miller, chairman; mae lail, secretary. virginia.--w. w. baker, chairman; alexander forward, secretary. washington.--john schramm, president; charles g. heifner, executive commissioner. west virginia.--paul grosscup, chairman; g. o. nagle, secretary. wisconsin.--john t. murphy, chairman; arthur w. prehn, resident commissioner; d. e. bowe, secretary. (d) bibliography the panama-pacific exposition presents so many aspects of public importance that it will doubtless inspire a considerable library of books upon its various features. those heretofore published, however, agree in testifying to the unprecedented appeal which it makes on its artistic side; they have attempted little more than to describe the architecture of the main exhibit palaces, and interpret the sculpture and murals which adorn them. of the titles given below, the first two volumes are wholly of this character. mrs. james' little book has especial reference to the story told by the decorative sculpture. the attractive neuhaus volume is a more critical discussion of the exposition art, as distinguished from exhibits in the palace of fine arts, which are to be covered by prof. neuhaus' second book. to an outline of exposition art, mr. cheney's booklet adds a brief, helpful account of the fine arts exhibit. mr. barry's more ambitious volume opens with an interesting chapter on the exposition's inception and growth; the remainder of the text "is mainly devoted to the artistic features associated with the courts and the main palaces.". the other books named describe and show "exposition art." palaces and courts of the exposition, by juliet james. mo., pp.. including illustrations. san francisco, the california book co. the art of the exposition, by eugen neuhaus. vo., pp., with ills. san francisco, paul elder & co. an art-lover's guide to the exposition, by sheldon cheney. mo., pp., including ills. berkeley, published by the author. the city of domes, by john d. barry. mo., pp., with ills. san francisco, j. j. newbegin. in the court of the ages (poems), by edward robeson taylor. vo., pp., ills. san francisco, a. m. robertson. the sculpture and murals of the panama-pacific international exposition, by stella g. s. perry. mo., pp., including ills. san francisco, the wahlgreen co. the galleries of the exposition, by eugen neuhaus. vo., pp., with ills. paul elder & co. the sculpture of the exposition palaces and courts, by juliet james. mo., ills. san francisco, h. s. crocker co. index in order not to overload this index with details which, for most readers, would render it inconvenient, only the more important sculptures and murals among the "exposition art" have been listed here, together with the different national and historical sections of the fine arts palace, and the names of artists mentioned most frequently in the text. fuller lists will be found on p. - (winners of grand prizes, medals of honor and gold medals in the fine arts exhibit) and p. - (murals and sculptures). figures in light-face type refer to pages in the text, those in heavier type to the illustrations. abbey, edwin a., painter, , . adams, herbert, sculptor, , . "adventurous bowman, the," , . agriculture, palace of, ; architecture and sculpture, , , ; exhibits, , . "air" sculpture by aitken, ; murals by brangwyn, - , . aitken, robert, sculptor, , , . "among the 'white birch trunks," , . arabian nights, fountain of, . arch, tower of jewels, , , . arches of the court of seasons, . arches of the rising and the setting sun, architecture, ; sculpture, . ; murals, , ; frontispiece, , . architects, board of, . architecture, main palace group, - ; tower of jewels, ; court of the universe, ; court of the ages, - ; court of seasons, ; court of flowers and palms, ; palace of machinery, ; fine arts, - . argentina, appropriates $ , , for its representation at p. p. i. e., ; fine arts exhibit, , ; forestry exhibit, ; pavilion, , , . arkansas, building, . australia, fine arts exhibit, ; pavilion, . . autumn, fountain of, , . avenue of palms, , . aviation, , , , . awards in fine arts exhibit, - . bacon, henry, architect, , . bancroft, h. milton, mural painter, , . baths of caracalla, . beach, chester, sculptor, . beachey, lincoln, aviator, . "beauty and the beast," fountain of, ; described, , . belgium, exhibits in french pavilion, , . bennett, edward h., architect, plan for exposition, . bitter, karl t. f., chief of sculpture, . , . blank walls, use of in exposition architecture, . bolivia, pavilion, . borglum, solon, sculptor, . boston symphony orchestra, - . brangwyn, frank, painter, - , ; etchings, . brown, arthur, architect, . burbank, luther, exhibitor, . burroughs, edith woodman, sculptor, , . byzantine architecture, , . calder, a. stirling, sculptor, , , , , , . california, votes $ , , bonds for exposition, ; counties raise $ , , , ; mining exhibit, ; building, , , . canada, pavilion, , , . ceres, fountain of, , , . chase, william m., painter, . chicago, exhibit, . china, fine arts exhibit, , , , ; industrial exhibits, ; pavilion, , . color of exposition palaces, - . column of progress, , ; description, , , , , , ; frieze, , ; night illumination, . see also "adventurous bowman." "cortez," , . cortissoz, royal, art critic, quoted, . court, key to the palace group, . court of abundance, see court of the ages. court of the ages (or court of abundance), ; its gardens, ; architecture, sculpture, and symbolism, - , ; fountain of earth, , ; brangwyn's murals, , , , ; night illumination, , . court of flowers, ; garden in, ; portals, ; architecture, sculpture and gardening, , , , , ; fountain of "beauty and the beast," , ; "the pioneer," , . court of palms, ; portals, ; architecture, sculpture and gardening, , , , , , ; "the end of the trail," , . court of seasons, ; architecture, sculpture and murals, - ; night illumination, , , , , . court of the universe, ; its gardens, ; its coloring, ; architecture, sculpture and murals, - ; inscriptions, ; night illumination, , . coxhead, ernest, architect, prepares first plans for exposition, . crocker, w. h., vice-president of the exposition, . cuba, rare trees and plants in palace of horticulture, , ; fine arts exhibit, , , ; industrial exhibits, ; horticultural exhibit, ; pavilion, . deniville, paul, his imitations of travertine, , . denmark, paintings, ; pavilion, . de young, m. h., vice-president of the exposition, . dodge, william de leftwlch, mural painter, , . du mond, f. v., painter, , , . duveneck, frank, painter, . earth, fountain of, , , ; symbolism of, , ; illumination, , , . "earth," sculpture by aitken, , ; murals by brangwyn, - . education and social economy, palace of, ; architecture and sculpture, , ; exhibits in, , . el dorado, fountain of, , , , , "elements," sculptures by aitken, , ; murals by brangwyn, - , . ellerhusen, ulric, sculptor, , . "end of the trail, the," , , . energy, fountain of, , - , . esplanade, . etching, , , fairy tales, , farquhar, robert, architect, , . faville, wm. b., architect, , , . "feast of the sacrifice, the," , . festival hall, ; architecture and sculpture, , ; organ, ; music in, - ; organ an exhibit, ; views of, , . fine arts, palace of, relation to exposition's architectural plan, , ; architecture and sculpture, - ; murals, , ; statuary in rotunda and colonnade, , ; should be preserved in golden gate park, , ; the annex, , ; night illumination, , , , , , . fine arts exhibit, - ; mainly contemporaneous, - ; great extent of the collection, ; american art, - ; unexpected foreign representation, ; the futurists, ; the united states section, , - ; historical section, - ; foreign sections, - ; awards of grand prizes, medals of honor, and gold medals, - . "fire," sculpture by aitken, , ; murals by brangwyn, - . fisheries, . flanagan, john, sculptor, . "flower girl," , . food products, palace of, ; architecture and sculpture, , ; exhibits, , , . forestry, , , , , foster, a. w., treasurer of the exposition, . fountain of "beauty and the beast," , , . fountain of ceres, , , . fountain of earth, , , ; symbolism of, , ; illumination of, , , . fountain of el dorado, , , , . fountain of energy, ; described, , , . fountains of the rising and the setting sun, , , , . fountains of the seasons, , , , ; fountain of summer, . fountain of youth, , , , . fountain, the mermaid, , . france, fine arts exhibit, , , , , - , ; pavilion, , , , , . fraser, james earle, sculptor, . french, daniel c., sculptor, , . frieseke, frederic c., painter, , . fry, sherry e., . futurists, the, . gallen-kallela, axel, painter, . "genius of creation, the," , . gerlach, gustav, sculptor, . germany, fine arts exhibit, , , ; industrial exhibits, , . grafly, charles, . great britain, fine arts exhibit, , ; industrial exhibits, . greece, pavilion, . greek architecture, , . guatemala, pavilion, . guerin, jules, chief of color, ; color scheme, - , , . hale, r. b., proposes exposition, ; vice-president, . hassam, childe, painter, , . hastings, thomas, architect, . hawaii, exhibits, ; building, . hearst, mrs. phoebe a., . hellman, i. w., jr., vice-president of the exposition, . "high tide: return of the fishermen," , . holloway, charles, painter, . honduras, pavilion, . hoo hoo, house of, . horticulture, palace of, ; architecture and sculpture, , ; cuban display, , ; exhibits in, ; view of, . hungary, fine arts exhibit, , . idaho building, . illinois, building, , . illumination, , - , , , , . impressionists, , . indiana, building, . inscriptions, on tower of jewels, , ; in court of the universe, , ; in court of the seasons, . iowa, building, . italian fountains, . italian towers, , . italy, fine arts exhibit, , , , , , , , ; industrial exhibits, ; pavilion, , , . jaegers, albert, sculptor, . jaegers, august, sculptor, . japan, fine arts exhibit, , , , ; mining exhibit, ; industrial exhibits, , ; pavilion, , , . joy zone, outlay of concessionaires, $ , , , , ; described, - . kansas, building, . keith, william, painter, , . kelham, george w., architect, ; describes co-operative plan of exposition, ; courts of flowers and palms, . konti, isidore, sculptor, , . ladd, anna c., sculptor, . lafayette, statue of, , , . landscape gardening, importance in exposition plan, , . lemare, edwin h., organist, , . lentelli, leo, sculptor, , , . levison, j. b., head of music committee, , . liberal arts, palace of, ; architecture and sculpture, , ; exhibits in, , , ; view of, . lighting of exposition, - . lincoln, abraham, statue of, ; relics in illinois building, . "listening woman," , . live-stock exhibit, ; classes and awards, - . longman, evelyn beatrice, sculptor, , . machinery, palace of, ground broken for, ; relation to exposition's architectural plan, , ; architecture and sculpture of, - ; exhibits in, , , ; views of, , , . macneill, h. a., sculptor, , , . "man with a pick," . mckim, mead and white, architects, , . mclaren, john, chief of landscape engineering, ; importance of his gardens in the exposition scheme, , ; his gardening conforms to color scheme, . manufactures, palace of, ; architecture and sculpture, , ; exhibits in, , . maryland, building, . massachusetts, exhibits, ; building, , . mathews, arthur f., painter, , . maybeck, bernard b., architect, , , , . mermaid fountain, , . mines and metallurgy, palace of, ; architecture and sculpture, , ; exhibits in, . miniatures, fine arts exhibit, , . mississippi, building, . missouri building, , , . montana, mining exhibit, ; building, . montessori, maria, educator, . moore, c. c., president of the exposition, , . moorish domes, ; towers, . "mother of the dead," , . motion pictures, used for exhibition purposes, , . muck, karl, director of boston symphony orchestra, . mullgardt, louis christian, architect, , - , . munch, edvard, painter, exhibit in fine arts annex, . mural paintings, see list in appendix, pp. , . music at the exposition, - . nations of the east and west, arches of, , , , . netherlands, the, fine arts exhibit, , , ; industrial exhibits, ; horticultural exhibit, ; pavilion, , . nevada, building, . new jersey, building, , . newman, allen, sculptor, . new orleans, . new york city, building, . new york state, appropriates $ , , for its representation at p. p. i. e., ; building, , , . new zealand, exhibits, , ; forestry exhibit, ; pavilion, . niehaus, charles, sculptor, . north dakota, building, . norway, fine arts exhibit, , ; pavilion, . ohio, building, , . oklahoma, building, . oregon, exhibits, ; building, , . organ, in festival hall, , - , ; in illinois building, . "outcast, the," , . palaces of main exposition group, see agriculture, education, food products, liberal arts, manufactures, mines, transportation, varied industries, machinery, and fine arts. panama, pavilion, . panama canal, the motive of the exposition, , ; reproduction of . panama-pacific exposition; motive and planning, ; first suggested, ; plans interrupted by fire of , ; exposition company formed and subscriptions begun, ; california and san francisco vote bonds, ; san francisco wins congressional approval, ; national aid not asked, ; site selected, ; president taft breaks ground, ; board of architects appointed, ; ground plan perfected, site prepared and work begun, ; exposition ready on time, ; cost, $ , , , ; ground plan described, - , - . patigian, haig, sculptor, . pennell, joseph, . pennsylvania, building, , . pennsylvania railway station, new york, , . philadelphia, exhibit, . philippines, the, fine arts exhibit, , ; forestry exhibit, , ; building, . piccirilli, furio, sculptor, , . piccirilli, attilio, sculptor, . pietro, c. l., sculptor, . pine and redwood bungalows, . "pioneer, the," , . "pioneer mother," . "pirate, the," , . polk, willis, architect, . portals: palace of varied industries, , , , ; manufactures and liberal arts, , ; education, , , . half-domes, education and food products, ; on north facade, , , ; east facade, , ; on interior aisle, ; in courts of flowers and palms, . portugal, fine arts exhibit, , , , ; building, . press building, . "priest, the," , . putnam, arthur, . pyle, howard, painter, . redfield, e. w., painter, . reid, robert, painter, , , . richardson, symmes, architect, . rising and setting sun, fountains of, , , , . rodin, auguste, sculptor, ; his statue, "the thinker," . rolph, james, jr., vice-president of the exposition, . roman architecture, , , , . roth, frederick g. r., sculptor, , . rumsey, charles c., sculptor, . ryan, w. d'a., illumination expert, , , . sabin, wallace, organist, . saint-gaudens, augustus, sculptor, . saint-saens, camille, composer, - . san francisco, votes , , bonds for exposition, ; raises total of $ , , , ; wins fight for congressional approval, . sargent, john s., painter, , . schumann-heink, mme., singer, . scudder, janet, sculptor, . sculpture, exhibits in fine arts palace and its colonnade and rotunda, , , , , , ; "exposition sculpture," adorning the palaces, courts and gardens, see list in appendix, pp. , . seasons, court of, see court of seasons; fountains of, see fountains. setting sun, see rising and setting sun. siam, pavilion, . simmons, edward, mural painter, , . sloss, leon, vice-president of the exposition, . smith, arthur, aviator, , , . sousa, john philip, musical conductor, - . south gardens, ; hedge of mesembryanthemuin, ; flowers in, ; description of south gardens and their buildings, - ; view of, . spain, fine arts exhibit, , , . sports and games, exposition contests and prizes, - . spring, fountain of, , , . stackpole, ralph, , , . stars, in court of universe, , . stewart, g. w., musical director, . st. louis, city, exhibit, . summer, fountain of, , , . sweden, fine arts exhibit, , , ; pavilion, , , . taft, william h., breaks ground for exposition, , . tarbell, edmund c., painter, . taussig, rudolph j., secretary of the exposition, . texas, building, . "thinker, the," . tiffany, louis c., exhibit in fine arts palace, . tonetti, f. m. l., sculptor, . tower of the ages, , , , . tower of jewels, ; central feature of main palace group, , ; architecture and sculpture, - ; illumination, ; "jewels," ; historical significance, - ; epitomizes the exposition art, ; relation to court of the universe, ; night illumination, , , ; views of, , . transportation, palace of, ; architecture and sculpture, , , ; exhibits in, , . travertine, artificial, material of exposition palaces, , , , , , . trumbull, edward, painter, . turkey, pavilion, . twachtman, john h., painter, . tympanum, palace of varied industries, , ; education, , . united states, fine arts exhibit, - , - , , . united states government exhibits, , , . uruguay, fine arts exhibit, , , ; industrial exhibits, . utah, mining exhibit, ; building, . varied industries, palace of, ; its architecture and sculpture described, , , ; exhibits, , . "victory," crowning all gables of main palace group, , . virginia building, . "walled city," main group of exhibition palaces, ; architecture of, - ; material and color, - . walter, edgar, sculptor, , . ward, clarence r, architect, , . washington, state, exhibits, ; building, , . water colors, in fine arts exhibit, , . "water," murals by brangwyn, - . weinert, albert, sculptor, . weinmann, a. a., sculptor, , , . weir, j. alden, painter, . west virginia, building, . whistler, james mcneill, painter, , , . whitney, gertrude vanderbilt, sculptor, , , , , . winter, fountain of, , . wisconsin, building, . wolf, henry, etcher, , . young, mahonri, , . youth, fountain of, , , , . young women's christian association building, . zimm, bruno louis, , .