m4 
 
 NLY OFFICIAL PUBLICATION ON THIS<;'fUBJECT 
 
 i/LPTVRE&MVRAL5j 
 
 OF THE 
 
 WIAHMFIC INTERNATIONAL EXPOSITiON 1 
 
 OFFICIAL HANDBOOK i 
 
 THE WAHLGREEN CO. j 
 
 OFFICIAL PUBLISHERS TO THE EXPOSITION = 
 
 SAN FRANCISCO PRICE 50c' 
 
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THIS IS THE ONLY OFFICIAL AND APPROVED 
 PUBLICATION ON THIS SUBJECT 
 
 The 
 
 Sculpture kS^ Murals 
 
 OF THE 
 
 Panania-Paciric International 
 Exposition 
 
 THE OFFICIAL HANDBOOK 
 
 GIVING THE SYMBOLISM, MEANING AND LOCATION OF 
 
 ALL THE WORKS, WITH INFORMATION 
 
 CONCERNING THE SCULPTORS 
 
 AND ARTISTS 
 
 By STELLA, (3. S. PERlilY 
 
 Publiflked by 
 THE WAHLGREEN COMPANY 
 
 Official Publishers to tbe Exposition 
 San Francisco, 1915 
 
 Copyrizht IQIS, h the Wahlgreen Company 
 
3 2^jr 
 
 
 A a- 
 
Criticism IS tke vanity of tke 
 weak. Appreciation is tke 
 art of noUe souls. 
 
 S. G. S. P. 
 
 310094 
 
Introduction 
 
 This guide to the sculpture and its symbolism can do no more 
 than lead the imagination of the beholder in the direction in- 
 tended by the sculptor. Each person must feel and fancy for 
 himself the true spirit of any work of art; no one can do this 
 for another. 
 
 Sculpture, the art that combines the human and the heroic, the 
 actual and the ideal, has given the Exposition its most uplifting 
 expression. To understand it is to get the very meaning of this 
 great enterprise. 
 
 
Symbolism of the' Sculptuf $.*.;:*/- . 
 as a Whole 
 
 The Panama-Pacific International Exposition is the first World's 
 Exposition in which all the sculpture has been planned around a 
 central idea. As the Exposition celebrates the opening of the 
 Panama Canal, the latest great work of man, it is fitting that the 
 Spirit and Romance of Man's Development, Energy, Adventure, 
 Aspirations and Achievements should be signified in the design. 
 And as the Canal will unite the nations of the world in closer 
 fellowship and understanding, the ideal of Universal Brotherhood, 
 the oneness of all the world, is deeply impressed upon the Expo- 
 sition sculpture. These two conceptions are merged and held 
 together by a still loftier idea: Man's Place in the Universe, in 
 his relation to the Cosmos, to Nature and to the Divine. 
 
 So we may say that the Exposition statuary represents Man's 
 Environment, Man's Achievements and Man's Dreams. 
 
 The Men Who Planned the Sculptural 
 Sequence 
 
 Karl Bitter, Chief of Sculpture, and A. Stirling Calder, Acting 
 Chief, aided by a committee of distinguished artists, planned and 
 designed this great sculptural theme the first time that all 
 the sculpture of an exposition has been made in one sequence. 
 Definite assignments were then made to the sculptors artistically 
 and temperamentally fitted for the motifs desired. 
 
 The actual conduct of the work was in the hands of Mr. 
 
 Calder. 
 
 Karl Bitter, whose recent tragic death removed one of the 
 greatest artists and noblest men, was a native of Vienna. A 
 pupil of the Vienna Academy of Fine Arts, he came to 
 America in his young manhood and made an early and last- 
 ing success, beginning with his winning the competition for 
 the Astor Memorial Gates, Trinity Church, New York City. 
 Among his permanent works are the Doorway of the New 
 York Chamber of Commerce, Beliefs for the Pennsylvania 
 Station, Philadelphia, and notable work in the residences of 
 C. P. Huntington and Cornelius Vanderbilt, New York City. 
 He has won many awards and been honored at all Exposi- 
 tions. Was Director of Sculpture of the Buffalo Exposition. 
 
 For sketch of Mr. Calder, see Fountain of Energy, page 2. 
 
 [1] 
 
/* ' Vi l^ in the Sc\ 1 Gardens 
 
 Seen as you enter the ivlain Gate at Scott Street 
 
 FOUNTAIN OF ENERGY. By A. Stirling Calder. Acting 
 
 Chief of Sculpture, Panama-Pacific International Exposition. 
 
 Mr. Calder is one of the most interesting figures in Amer- 
 ican art. His work is keenly original in subject and treat- 
 ment, and appeals to the poetic as well as the decorative 
 sense. Pupil of Pennsylvania Academy of the Fine Arts and 
 of Chapu and Falguiere in Paris. Notable works in many 
 American cities, including 1892 Fountain of University of 
 Pennslyvania, statues in Fairmount Park, General Sewell 
 Memorial: Lee Memorial: Ryan Art Gallery, N. Y., Franklin 
 Inn Club, Permanent Collection Academy of Fine Arts, Phila- 
 delphia, and in Smithsonian Institute grounds in Washington. 
 Winner of medals at former Expositions and of many other sig- 
 nificant awards. (See also Nations of the East and Nations 
 of the West, Star Figures and Medallions in Court of the 
 Universe, Flower Girls in Court of Flowers.) 
 
 This wonderful fountain is distinguished for its originality and 
 freedom as well as for its impressive beauty. It has a double 
 significance : 
 
 THE PACIFIC, DETAIL OF THE FOUNTAIN OF ENERGY 
 [2] 
 
THE ^OKTH SEA, DETAIL OF THE FOUNTAIN OF EJNEKUY 
 
 1 . It represents the triumph of the Panama Canal. The 
 splendid figure. Energy, is mounted upon the globe as a pedestal 
 and divides the lands with outstretched hands to let the waters 
 flow. Fame and Glory ride upon his shoulders and trumpet forth 
 his triumph. TTie lines of the sun's path, north and south, are 
 marked upon the globe beneath his feet; the Eastern and Western 
 hemispheres are shown upon its sides. All the oceans of the 
 world take part in the carnival of his glory, the Atlantic, a 
 classic figure on a fish; the Pacific, a beautiful, happily brooding 
 Oriental; the North Sea, brisk and powerful, with forked triton, 
 and the South Sea, blowing a triumphant blast. Lesser waters 
 join in the revels. 
 
 2. In its second meaning the fountain stands for the Spirit 
 of Human Energy in its origin and destiny. Edwin Markham, 
 the poet, has called it *'The Coming of the Superman." 
 The trumpet-bearing figures on the shoulders of the mighty youth 
 are of two sexes to indicate the dual nature of man, urging him 
 
 [3] 
 
to greater triumphs. His outstretched palms are held points 
 upward to contact with the divine. The figures in the two 
 hemispheres, part fish, part animal and part human, indicate our 
 evolution from lower to higher forms of life. The whole effect 
 is joyous, superbly prophetic and confident of a glorious future. 
 
 THE MERMAID (Fountains in the long pools). By 
 Arthur Putman. 
 
 Mr. Putnam is prominent in the group of California artists. 
 His work is well known throughout America, especially for his 
 beautiful small bronzes. 
 
 This lovely creature repeated in the two pools full of 
 action, grace and vigor, is a fitting accompaniment to the great 
 central fountain. The bifurcated tail heightens the decorative 
 effect, and gives an added feeling of motion. The sea-nymph 
 here depicted suggests Tennyson's "Mermaid": 
 
 And if I should carol aloud, from aloft 
 All things that are forked and horned and soft 
 Would lean out from the hollow sphere of the sea. 
 All looking down for the love of me. 
 
 I 4 1 
 
In the South Gardens 
 At the Base of the Tower of Jewels 
 
 CORTEZ (Equestrian statue at left of Tower). By Charles 
 Niehaus. 
 
 studied at the McMichen School of Design in Cincinnati 
 and the Royal Academy in Munich. Fellow of International 
 Artistic Association of Rome. Honored in many exhibitions 
 and holder of many awards. Represented at all great modern 
 American Expositions. Among notable works: the famous 
 Garfield in Cincinnati; Hahnemann, Washington; Astor Memor- 
 ial Doors, Trinity Church, New York City; Pediment, Appel- 
 late Court House, New York City; Gibbon and Moses, Con- 
 gressional Library, Washington; Harrison, Minneapolis. His 
 work is noted for its dignity and probity. 
 
 Hernando Cortez was a Spanish soldier-adventurer, one of the 
 dashing conquistadors of early American history. He was born 
 in Estremadura, Spain, in 1485. After many years of thrilling 
 adventures in the West Indies, he conquered Mexico, in 1519, 
 overcoming the Tlascalans and the Emperor Montezuma. In 
 1523, he was ordered to conquer New Spain. He began the 
 coast navigation of the Pacific in 1528. After bitter troubles 
 with rivals and followers in Mexico, he died in 1547 in Spain, 
 where he had gone to appeal against the injustice of his enemies. 
 Cortez was a fearless, unscrupulous, ruthless and brilliant ad- 
 venturer. As such Mr. Niehaus has presented him. The graceful, 
 kingly, arrogant, triumphant, stern figure gives a great sense of 
 dignity and power. But the sculptor has added, in the counte- 
 nance of Cortez, a feeling of vision, as if the conqueror had a 
 dimpse of the future of the western lands. The perfect horse- 
 manship and the impression of proud motion increase the almost 
 dazzling sense of romantic beauty. 
 
 PIZARRO (Equestrian statue at right of Tower). By 
 Charles Carey Rumsey. 
 
 Pupil of Paul Bartlett. 
 
 This splendid figure, stern, rugged, advancing grimly with 
 drawn sword, sitting proudly on his handsome steed, shows the 
 sculptor's remarkable insight into the spirit of the indomitable and 
 
 [5] 
 
relentless Pizarro. Francisco Pizarro, the conqueror of Peru, 
 was born in 1471, in Estremadura, the same section of Spain in 
 which Cortez saw the light fourteen years later. After Italian 
 campaigns, Pizarro went to Darien, where he was put in charge 
 of a colony in 1510. He was with Balboa when that explorer 
 discovered the Pacific in 1513. In 1519, with the soldier-priest 
 deLuque and the adventurer de Amalgro, he started into the 
 wilderness to find and conquer the great Southern Empire of the 
 Incas. Long after the other leaders had given up the search 
 and most of the followers had perished, Pizarro and sixteen men, 
 refusing to return upon the ships that were sent after them, con- 
 tinued to brave perils and sufferings and were rewarded by 
 finding the rich cities of the South. These Pizarro conquered 
 on a later expedition. He forced the captured Inca, Atahualpa, 
 to fill a room with gold as the price of liberty. This treasure 
 equalled $15,000,000 of modern coin. But the poor Inca lost 
 his life nevertheless. The merciless conqueror pillaged, looted and 
 destroyed the cities or turned them into Spanish strongholds. In 
 1535, he was made Marquis and given great estates. Shortly 
 afterward, he was slain by the rival adventurer de Amalgro and 
 his followers. 
 
 I 6 I 
 
tn 
 
THE ADVENTUBEB, THE SOLDIEB, THE PRIEST AND THE PHILOSOPHER, 
 ON TOWER OF JEWELS 
 
 [8] 
 
The Sculpture on the Tower of 
 Jewels 
 
 Joy and triumph for the present, glad and proud appreciation 
 of the historic past, and the utmost optimism for the future ex- 
 press the spirit of this original, sparkling tower. Those who 
 attempt to judge it by tradition alone or expect it to be like the 
 things that they are accustomed to see fail to realize its purpose, 
 its forceful and courageous originality and the joyful bravura of 
 its message: All ye who enter here leave care behind. 
 
 The shields of conquering men and nations, the prows of 
 treasure ships, the votive garlands of success, the globe itself 
 circled with a joyous band, the classic columns of olden glory 
 supporting the glittering rewards of today, are bejeweled as for a 
 carnival. Surely nothing could better express gladness and 
 festival than this sparkling and original work. 
 
 The jewels were made in Austria by a special process which 
 insured their marvelous brilliancy. 
 
 THE ADVENTURER, THE SOLDIER, THE PRIEST 
 and THE PHILOSOPHER (over the pillars surrounding the 
 entrance). By John Flanagan. 
 
 Pupil of St. Gaudens, Chapu, and Falguifere. Represented 
 in French National Collection of Living Artists, Paris. Among 
 other notable works: Clock on Congressional Library, Wash- 
 ington; Aphrodite, Knickerbocker Hotel, New York; Frieze 
 for Public Library, Newark, N. J.; Memorial, Smithsonian 
 Institute, Washington, D. C. 
 
 These dignified, restful and impressive figures represent the his- 
 toric side of the jeweled tower's message, and inject a serious note. 
 They stand for agencies that have built up our Western civiliza- 
 tion the adventurous Explorer, the conquering Soldier, the grave 
 Priest fired with his mission to strange pf^nles, and the Philoso- 
 pher, the thinker, who is making the futi ,. 
 
 THE ARMORED HORSEMAN (repeated figure on ter- 
 race of Tower). By F. M. L. Tonetti. 
 
 A native of France. Pupil of Falgui^re and MacMonnies. 
 Made the Statue of Venice, New York Custom House. 
 
 This young knight in armor, facing the four winds and every 
 corner of the earth, with vigor and eagerness for high adventure, 
 typifies the eternal enterprise and romance of daring and self-con- 
 fident youth. 
 
 [9] 
 
CENTRAL FIGURE OF THE FOUNTAIN OF YOUTH, WITHIN THE 
 TOWER OF JEWELS 
 
 t 10 1 
 
Within the Tower of Jewels 
 
 It is interesting to note that the two beautiful fountains in the 
 Colonnades of the Tower were the work of American women. 
 
 THE FOUNTAIN OF YOUTH (in the Colonnade to your 
 
 right as you enter the Tower). By Edith Woodman Burroughs. 
 
 Pupil of St. Gaudens in New York and Inglebert in Paris. 
 Studied also at the Luc Oliver Meeson's School. Winner of 
 the Shaw Memorial Prize. Decorative sculpture and charm- 
 ing statues and busts of children are her specialty. Exhibited 
 in America and Europe. 
 
 The Fountain of Youth, a mural fountain, is dominated by a 
 single figure, a little girl rising, like the flowers she stands among, 
 from the lives of her ancestors. A pure, tender and appealing bit 
 of work! In the frieze around the walls of the fountain are in- 
 dicated very touchingly the perpetual search for the fountain of 
 
 CEJSTEAL PANEL, THE FOUNTAIN OF EL DORADO, WITHIN THE 
 TOWER OF JEWELS 
 
 [11] 
 
youth and the charm and pathos of the voyages upon which 
 Youth leads us. 
 
 EL DORADO (in the Colonnade to your left as you enter 
 
 the Tower). By Gertrude Vanderbilt Whitney. 
 
 Pupil of Fraser and Andrew O'Connor. Honorable mention 
 in Paris Salon, 1913. Made the Fountain, Pan-American Build- 
 ing, Washington, D. C. (See Exhibits Palace of Fine Arts.) 
 
 This mural fountain, showing the partly opened portals of El 
 Dorado the land of gold is particularly appropriate at a Cali- 
 fornia Exposition. TTie doors through which a tantalizing glimpse 
 of the longed-for land has been seen by the kneeling suppliants are 
 guarded by two silent, mysterious figures. We cannot know 
 whether they will open them or swing them close with pitiless 
 indifference, though the fact that the top of the door is overgrown 
 with foliage makes the latter all too likely. The Aztec dress of 
 these strange guardians suggests the beginning of the legend of 
 El Dorado. It was thought that in what is now Mexico or South 
 America, there existed a rich land, the king of which was gilded 
 and scattered jewels as one might scatter flowers. It was the 
 search for this land of the Gilded One that led many of the 
 Spanish adventurers into the wilderness and laid the foundation 
 for European civilization in America. In the artist's concept the 
 Golden King has just disappeared through the door. 
 
 TTie frieze shows the rush and striving of mankind and woman- 
 kind to follow the lure of wealth. 
 
 [12 1 
 
[13] 
 
In the Court of the Universe 
 
 The name of this Court expresses its feeling, and a few mo- 
 ments of quiet contemplation here will give the beholder a sense 
 of the bigness, grandeur and oneness of man and nature. 
 
 The two great arches, the Arch of the NATIONS OF THE 
 EAST and the Arch of the NATIONS OF THE WEST face 
 each other across the great Court. The Rising Sun and the 
 Setting Sun glow on their high columns. Earth, Air, Fire and 
 Water mark the main entrances to the sunken plaza. Music and 
 Dance celebrate the joy of this concourse, and above all the quiet 
 Stars look down. 
 
 THE NATIONS OF THE EAST (on the Eastern arch). 
 THE NATIONS OF THE WEST (on the Western arch). 
 By A. Stirling Calder, Frederick H. Roth and Leo Lenlelli, col- 
 laborators. 
 
 The general composition of both groups is the work of Mr. 
 Calder. In the Eastern group the sculptors' work is divided 
 as follows: Elephants and camels, by Mr. Eoth; Llama, Fal- 
 coner and Negro, by Mr. Calder; the two equestrians, Mon- 
 golian and Arabian, and the two camel riders, Egypt and 
 Assyria, by Mr. Lentelli. In the Western group: Pioneer 
 Mother, Spirit of Enterprise and Hopes of the Future, by Mr. 
 Calder; oxen, prairie schooner, Italian, German and the 
 Alaskan Woman, by Mr. Both. The four equestrians, Latin 
 America, French-Canadian, Anglo-American, Indian, and the 
 Squaw, by Mr. Lentelli. 
 
 (See also Fountain of Energy, page 2, for sketch of Mr. 
 Calder. Note also Star Figures and Medallion In this Court 
 and Flower Girls In the Court of Flowers. For sketch of 
 Mr. Lentelli, see Genii on Columns this court, page 
 16. Note also Water Sprite Columns in Court of Abundance, 
 and Aspiration, on Fine Arts Portal. For sketch of Mr. Both, 
 see Pegasus Spandrels, this Court, page 17.) 
 
 These majestic and imposing groups are not only picturesque 
 and beautiful in etfect and idealistic in intention, but they also 
 have a striking architectural mass effect and high decorative value. 
 They are admired as unusual examples of good pyramidal compo- 
 sition, being a group of architectural triangles with the weight well 
 placed at the bases. >. 
 
 The two groups representing the Orient and the Occident, 
 facing each other across the Court, symbolize the brotherhood of 
 man and the ideal of Hands Around the World. 
 
 [14] 
 
115] 
 
The central figure of the Eastern group, the massive elephant, 
 is balanced by the prairie schooner of the Western. 
 
 Around the richly decked elephant advance figures that sym- 
 bolize the spirit and history of the Nations of the East. Of these, 
 the Chinese Llama and the Arab Falconer in the foreground have 
 been particularly admired. 
 
 On the arch below this group are inscriptions significant of the 
 highest thought of Oriental sages. 
 
 The peoples that have made Western civilization face the 
 Eastern group. This interesting tableau of brave and hardy 
 spirits has been popularly called "TTie Pioneers." On the tongue 
 of the Prairie Schooner, between the oxen, in the place of honor 
 stands a beautiful girlish, but strong and womanly figure, a model 
 of simplicity, a young pioneer mother looking fearlessly across 
 desert and danger, out into the future. Mr. Calder, who made 
 her, calls her **The Mother of Tomorrow." Notable also in the 
 group and worthy of being kept in permanent form are Mr. Roth's 
 realistic and touching figure of the burdened, trudging Alaskan, 
 and Mr. Lentelli's graceful, dashing, debonair equestrian Latin 
 America. Above this group of sturdy pioneers rides "The Spirit 
 of Enterprise," a winged figure, flanked by "The Hopes of the 
 Future," inspiringly indicated by two lads, one white and the 
 other Negro. 
 
 Below this group are the noble words of Western thinkers, 
 
 (These and other inscriptions on the Exposition walls and 
 arches were selected by Mr. Porter Garnett.) 
 
 GENII STATUES ON COLUMNS (Arches of East 
 and West). By Leo Lentelli. 
 
 Mr. Lentelli is a Latin American, a native of Italy. Though 
 still a young man, born in 1877, he has attained distinction. 
 He is well known throush his Christ and other figures upon 
 the Cathedral of St. John the Divine, and his Memorial to 
 Mr. and Mrs. Isadore Strauss, New York City, where he has 
 also done much decorative sculpture. 
 
 (See also Nations of East and West, above, and Water Sprite 
 columns in Court of Abundance and Aspiration over Portal of 
 Fine Arts.) 
 
 The quiet Guardian Spirit stands serene, in dienified repose, 
 as if resting to observe and to protect the great Court and all 
 
 [16] 
 

 within it. This impressive, reverent and imaginative work merits 
 the repetition it has received. The sculptor's remarkable versa- 
 tility can be seen by comparing this serious angel with his works 
 in gayer mood, listed above. 
 
 PEGASUS, SPANDRELS (Arches of East and West). 
 By Frederick G. R. Roth. 
 
 (See also Nations of East and West, above.) 
 Pupil of Hellmer, Meyerhelm, and Academy of Fine Arts, 
 Berlin. Winner of medals, St. Louis and Buenos Aires. His 
 work on St. Louis and Buffalo Expositions won wide atten- 
 tion and awards. Represented in Metropolitan Museum, New 
 York City. 
 
 Pegasus, the winged steed on which, according to classic leg- 
 end, the poet rides in his flights of inspiration, has been chosen 
 as the subject of these lovely spandrels. East or West from Earth 
 or Sea, among the stars and sun and the creatures of the sky and 
 the imagination, Man, too, can ride and rise, on the wings of 
 Poetry. 
 
 MEDALLIONS: NATURE AND ART (on Arches of 
 East and West). By A. Stirling Calder and B. Bufano. 
 
 For sketch of Mr. Calder, see Fountain of Energy, page 2. 
 Mr. Bufano is a pupil of Fraser. 
 
 These decorative medallions indicate with much charm the 
 themes of Nature and Art. 
 
 STARS (on Colonnades of Court of Universe cUid Forecourt 
 of Progress). By A. Stirling Calder. '. _ ;,/ . 
 
 (See Fountain of Energy, Nations of East and West, Medal- 
 lions, Flower Girls.) 
 
 Around all the efforts and aspirations of man and Nature, stand 
 the still stars looking on. This line of beautiful, semi-convention- 
 alized figures with jewels in their crowns, gives a sense of bigness, 
 brightness, serenity and universality. Note the gentle motion of 
 the draperies. The circling arms about each starry head add to 
 the symmetry and indicate the oneness of the universe. 
 
 - ' [17] 
 
STAB FIGURE, COURT OF THE UNIVERSE AND FORECOURT OF STARS 
 
 [ 18] 
 
iOUNTAIN OF THE RISING SUN, COURT OF THE UNIVERSE 
 [ 19 ] 
 
THE SETTING SUN, FOUNTAIN, COURT OF THE UNIVEBSE 
 [20] 
 
SIGNS OF THE ZODIAC (frieze on corner pavilions). 
 
 By Hermon A. MacNeil. 
 
 Pupil of Chapu and Falguifere, in Paris. Four years' study 
 in Borne as winner of Bhinehart Scholarship. Did important 
 work at all great American Expositions and at Paris. Holder 
 of high awards. Made the Main Cascade at St. Louis. Among 
 permanent works: McKinley Memorial, Columbus, Ohio; Sol- 
 diers' and Sailors' Monument, Albany, N. Y.; Decorations, 
 ^^ Marquette Euilding, Chicago; Statues at Cornell University, 
 ^p and at Fegbody Institute, Baltimore. His Indian studies, 
 i^ especially TS$t9mm-^ow and The Moqui Snake Dance, have 
 won international fame. (See also Column of Progress.) 
 
 This harmonious frieze in low relief continues the idea of the 
 Star figures about the colonnades, indicating the scope and seren- 
 ity of the universe and the steady passage of the years as the 
 constellations sw^ing above us. 
 
 The signs of the Zodiac, Aries the Ram, Taurus the Bull, 
 Gemini the Twins, Cancer the Crab, Leo the Lion, Virgo the 
 Maiden, Libra the Scales, Scorpio the Serpent, Sagittarius the 
 Archer, Capricornus the Goat, Aquarius the Water Bearer, and 
 Pisces the Fishes, each bearing its symbol in its hand, move softly 
 onward in their course about Atlas or Time, the central figure. 
 Hieir slow motion, almost repose, suggests permanence, inevit- 
 ability. A swifter motion would have spoiled the suggestion of 
 steadiness; and perfect rest would not have given the sense of 
 sequence. 
 
 The zodiacal signs were originated by the Babylonians, 2100 
 years before the Christian era. 
 
 THE RISING SUN, THE SETTING SUN (two foun- 
 tains). By Adolph A. Weinman. 
 
 Pupil of Martiny, St. Gaudens, Clin Warner, Niehaus, and 
 French. Winner gold medal of honor Architectural League, 
 1913, and many other awards. Bepresented at St. Louis ana 
 Buffalo Expositions. Among permanent works: General 
 Macomb Monument, Detroit; Soldiers' and Sailors' Monument, 
 Baltimore; Lincoln Statue, State House, Frankfort, Kentucky; 
 Colonel Vilas Monument, Vicksburg National Park; decorative 
 sculpture, Wisconsin State Capitol, and New York Municipal 
 Building. 
 
 High in the air upon the shafts of light in the center of the 
 Court of the Universe stand the Rising and Setting Sun. 
 
 Nothing at the Exposition has been more admired than these 
 superb winged figures. Nothing shows truer inspirational fire. 
 
 [ 21 ] 
 
The Rising Sun has been called by a poet "The Wings of the 
 Morning.'* And this lithe, beautiful youth, a-tiptoe, poised with 
 outstretched wings as if eager for the flight across the heavens, 
 could not be better described. He stands for hope, faith, courage, 
 inspiration, renewed vigor, all that we associate with the sunrise. 
 When seen against the sky with a cloud floating behind him, it is 
 not difficult to believe the figure actually in motion. 
 
 Opposite him, The Setting Sun, a graceful, female figure folds 
 her wings above her head, making a soft and comforting twilight, 
 and sinks gently to her radiant rest. 
 
 The shafts bearing these figures are translucent. At night they 
 are illuminated from within and glow like columns of light. 
 
 At their bases the water gushes forth into bowls borne by 
 winged mermen. Happy sea creatures disport in the lower basins. 
 
 THE ELEMENTS: EARTH. AIR. FIRE and WATER 
 
 (four large reclining figures at top of main stairways into sunken 
 
 garden). By Robert I. Aitken. 
 
 A native of San Francisco. Winner of the 1916 gold medal 
 of the American Architectural League, New York. Student 
 of the Mark Hopkins Institute, of Mathews and Tilden. 
 Further studies in Paris. Much of Mr. Aitken' s earlier work, 
 as the McKinley Monument, the Bret Harte Monument, and 
 the American Navy Memorial appear in San Francisco; some 
 fine specimens of his later method are exhibited in the 
 Palace of Fine Arts. His portrait busts of Madame Modjeska, 
 President Taft and David Warfield, and the Greenhut and Gates 
 Mausoleum Doors are widely known. (See also Fountain of 
 Earth, Court of Abundance.) 
 
 These titantic. symbolic figures of the Elements show the sweep, 
 precision and realism that this sculptor can so well combine with 
 poetic imagery. 
 
 AIR holds a star in her hair and looks downward upon human- 
 kind. Birds fly about her, their wings continuing harmoniously 
 the beautiful lines of hers. Back of her we see a small human 
 figure strapped to the great wings striving, as man is now striving, 
 to mount on the wings of the wind. 
 
 EARTH sleeps, passive, potent, fruitful, while small human 
 figures toil about her. 
 
 122] 
 
FIRE, full of action and the suggestion of sound, the lightning 
 in his hand, plays with the salamander; and wind-blown WATER, 
 calling lustily, wells to the surface, with triton and seaweed. 
 
 MUSIC AND DANCE (at the east and west staircases into 
 sunken garden). By Paul Manship. 
 
 studied St. Paul Art School, Pennsylvania Academy of Fine 
 Arts, and American Academy at Rome. Mr. Manship was 
 chosen to design the medal presented by New York to Colonel 
 Goethals. Winner of the Barnett prize, National Academy, 
 and Widener Medal, Pennsylvania Academy. Represented in 
 Metropolitan Museum of Art. His method is a combination 
 of classicism and freedom. 
 
 These groups, highly decorative and composed with very 
 gratifying dignity and mass, express a musical mood with great 
 success. The heavy garlands of flowers are beautifully expressed. 
 
 [23] 
 
[24] 
 
[25] 
 
THE ADVENTUBOUS BOWMAN, CX)LUMN OF PBOGBESS 
 [S6] 
 
Forecourt of the Stars 
 
 Looking toward the Bay from the Court of the Universe, the 
 eye traverses the Forecourt of the Stars and is arrested at the 
 Marina by 
 
 THE COLUMN OF PROGRESS (or COLUMN OF 
 
 HUMAN ACHIEVEMENT). By Hermon A. MacNeil 
 
 (crowning group, frieze and decoration), and Isadore Konti (bas 
 
 relief, four sides of pedestal). 
 
 For sketch of Hermon A. McNeil, see Signs of Zodiac, page 21. 
 Isadore Konti is an Austrian-American. Student of the 
 Imperial Academy and the Meisterschule of Kundmann, 
 Vienna. Two years scholarship in Home. Distinguished work 
 and high awards at former American Expositions. Among other 
 permanent works: Group for International Bureau of Amer- 
 ican Bepublics Building, Washington; McEinley Memorial, 
 Philadelphia; Belief on doors of Grace Church, New York 
 City; "The Brook," Yonkers, New York; Carson and Beal 
 Monument, Washington; "Awakening of Spring," "Inspira- 
 tion," and others frequently exhibited. 
 
 The Column of Progress is a noble and serious work and one 
 of the Exposition's great contributions to contemporary art. It 
 is the first sculptured column ever made and the first to be in- 
 spired by a purely imaginative and poetic theme. 
 
 Its keynote is optimism, faith, courage and the constant up- 
 ward progress of mankind. 
 
 FBIEZB AT BASE OF COLUMN OF PB0GRE8S 
 [27] 
 
tHLtU.i!: AT UASiE OF COL-UAlxN OF l'UOUKl!;S 
 
 TTie sculptured shaft itself shows by an ingenious device, The 
 Ship of Life winding upward on long spiral waves the slow but 
 constant ascent of man. 
 
 The pedestal frieze presents the aspirations, inspirations and 
 labors of humankind pressing onward through the ages to many 
 goals of endeavor. Aspiration, Thought and Love are keynotes 
 of the panel facing the bay. Labor, Patience, Hope and Duty 
 underlie the panels facing westward and eastward, the eastern 
 indicating the more comprehensive toils of mind and body, as the 
 arts and crafts, government and invention, while the western ex- 
 presses the simple tasks of the common day. But in all we see the 
 dream that moves the world and the stars. Each person in each 
 age follows his own bent, or talent ; but all aspire together. 
 
 The panel over the doorway shows by its trumpets, its palms 
 and its glad note of achievement the triumphs that mark each age 
 and stir mankind onward to greater and greater service and accom- 
 plishment. 
 
 At the top of the colunm, supported on the shoulders of a 
 circle of toilers, the Adventurous Bowman the leader, the 
 achiever, the man who dreams and dares shoots his arrow into 
 the sun. He is a splendid, commanding figure full of fire and 
 feeling, and the sun into which he shoots is the Sun of Truth. 
 The woman kneeling beside him otfers the reward of his glory, 
 
 [28] 
 
FRIEZE AT BASE OF COLUMN OF PROGRESS 
 
 and the encouragement of her hope. Behind his flowing mantle 
 the next man waits, shielded by him, supporting him, ready to 
 take up his work when he leaves it. 
 
 A fine ideal in this column, and wonderfully expressed! 
 
 FRIEZE AT BASE OF COLUMN OF PKOGKKSS 
 [29] 
 

 F 
 
 ''im 
 
 
 
 
 f-^--^^ 
 
 .] 
 
 1 j Wh 
 
 '" ^^^H 
 *!^^l 
 
 p< 
 
 ^M 
 
 
 
 
 
 THE FEAST OF SACRIFICE, COURT OF FOUR SEASONS 
 
 [30] 
 
In the Court of the Four Seasons 
 
 The stately, quiet, classic Court of the Four Seasons is restful, 
 serene and satisfying in the extreme. Its architecture is so simple, 
 so pure and so faultless that it placed a severe responsibility upon 
 the sculptors who embellished it. 
 
 The faintest deviation from exquisite harmony and accordance 
 with classical ideals would have marred the calm perfection of 
 the Court. That the sculptors have been able to increase its 
 loveliness is indeed a triumph. 
 
 THE HARVEST (above the half-dome). By Albert 
 Jaegers. 
 
 Winner in many competitions of National Sculpture Society. 
 Mr. Jaegers was practically self-taught in sculpture. Did 
 important work on St. Louis and Buffalo Expositions. Per- 
 manent works: Fine Arts Building, St. Louis; New Custom 
 House, New York City; many portrait works; Baron Von 
 Steuben Statue for United States Government, Washington, 
 of which replica sent by Congress to Emperor of Germany. 
 Decorated by Kaiser. Mr. Jaegers' work always combines 
 correctness with freedom and virility. (See also Bain, Sun- 
 shine, and Feast of Sacrifice, this Court.) 
 
 This is one of the best examples in modern art of architectural 
 or decorative sculpture. Observe how faultlessly the group crowns 
 and blends with the architecture of the half-dome it enriches and 
 with the lines and spirit of the Court itself. 
 
 The richness of the harvest and the fruitfulness of the earth are 
 symbolized by the superb goddess seated upon an overflowing 
 horn of plenty, holding in her outspread arm a sheaf of grain and 
 supplemented by a beautiful boy bearing a fruitful vine. 
 
 The poise and balance of the group are gratifying. 
 
 RAIN AND SUNSHINE (figures on tops of columns). By 
 Albert Jaegers. 
 
 (See Harvest, above, and Feast of Sacrifice following.) 
 
 These lovely attendants of The Harvest are by the same 
 sculptor. RAIN shows the nymph of the fields shielding her head 
 with a cloudy garment, but holding up gratefully her shell-like 
 cup to be filled by the welcome rain. In SUNSHINE she shades 
 
 [31] 
 
her face with a graceful palm branch, but looks up gratefully still 
 to the warmth and brightness that enfold her. 
 
 FEAST OF SACRIFICE (groups on pylons of the fore- 
 court). By Albert Jaegers. 
 
 (See also Harvest and Bain and Sunshine above.) 
 
 The Feast of Sacrifice fittingly marks this Roman Court that 
 typifies the earth's richness. It recalls the ancient custom of 
 celebrating the harvest and giving thanks to the gods by the 
 sacrifice of a handsome bull. The garlanded bull is full of action 
 and energy, yet poised to give a fine and restful mass effect. The 
 comely youth and maiden who lead and guide him bear sacri- 
 ficial garlands too. 
 
 THE SEASONS (SPRING, SUMMER, AUTUMN and 
 WINTER, four groups above the cascades in the niches). By 
 Furio Piccirilli. 
 
 Furio Piccirilli is a member of a distinguished family of 
 sculptors. Educated in New York and in San Luca Academy 
 at Bome. Has done beautiful private portrait work. 
 
 The exquisitely composed groups of the Seasons, while purely 
 classic in treatment and in effect, are novel and original in their 
 conception of what might have seemed a hackneyed theme. 
 
 The sculptor has thought of the year as a whole, and not 
 strongly marked into sections. Therefore the seasons blend into 
 one another. They fittingly express the gentle changes of Cali- 
 fornia's seasons, perhaps, rather than the more rigorous divisions of 
 sterner climates. 
 
 There is in each of them a gentle pathos, a something tender 
 and pensive, as of regret at the hastening of time. 
 
 SPRING, a maiden, shows new life springing from the old. The 
 poetry of spring, the stirring of inward beauty, the dawn of love 
 are felt as much as the beauty of the garland of spring flowers. 
 
 SUMMER Here is a summer more tender than triumphant. 
 It indicates the young or early harvest of life and nature, that 
 
 [32] 
 
harvest of first fruits that bears promise of a greater one to come. 
 This is symbolized by the newly-born infant, combining fulfill- 
 ment and promise, and in the fast-growing grain. 
 
 AUTUMN Perhaps the most admired of the four groups, 
 comes Autunm, a beautiful expression of richness and fruition, with 
 the harvested grape and grain, the jar of wine or oil, the lusty 
 child and the general sense of mental and physical soundness. This 
 Autumn might almost as well be called "California." Here, too, 
 is the wistful touch, a sense of the year's swift passing that 
 humanizes this series. 
 
 WINTER As the gladness of the other seasons has been 
 touched by a note of pathos, the sadness of Winter is relieved by 
 a touch of joy and hope. The Winter seems seer and old, indeed, 
 but instinct with life and the promise of its bright renewal. 
 
 ATTIC FIGURES and SPANDRELS. By August Jae- 
 gers. 
 
 Brother of Albert Jaegers and pupil of St. Gaudens. 
 
 The satisfying and well-balanced repeated figure in the attic 
 of this court holds two full-bearing fruit trees, a treatment as 
 original as it is pleasing and appropriate to this court that cele- 
 brates the fruits of the earth. In harmony, too, are the spandrel 
 figures bearing fruit and grain. 
 
 \ 
 
 [33] 
 
SPBINS, COUBT OF THE FOUB SEASONS 
 [84 J 
 
SUMMEE, COUBT OF THE FOUB SEASONS 
 [85] 
 
AUTUMN, COUBT OF FOUB SEASONS 
 
 [36] 
 
WINTER, COURT OF FOUR SEASONS 
 [37] 
 
Forecourt of Ceres 
 
 Elssentially part of the Court of the Four Seasons is the 
 Forecourt of Ceres, in which we see, as we look from Four Seasons 
 to the Marina, the work that gives this court its name: 
 
 THE FOUNTAIN OF CERES. By Evelyn Beatrice 
 
 Longman. 
 
 studied at Art Institute of Chicago, where she took first 
 honors. Was assistant in the studio of Daniel Chester French. 
 Medal at St. Louis Exposition, where her Winged Victory 
 was much admired. 
 
 Ceres or Demeter was the goddess who presided over agri- 
 culture and the earth's abundance. It was she who instructed 
 man in the use of the plough and by her favor alone came the 
 good harvest. 
 
 Here we see her, a light but queenly, graceful and gracious 
 figure, rather younger than she is usually pictured. She extends 
 to the waiting world her crown of summer and her sceptre, the 
 growing corn. 
 
 The pedestal on which she stands is a thing of beauty. The 
 frieze, in low relief, shows dancing maidens celebrating the feast 
 of Ceres, which was the prototype of the festivals of Harvest 
 Home and Thanksgiving. 
 
 [38] 
 
FOUNTAIN OF CERES, FORECOUBT OF CERES 
 [39] 
 
[40] 
 
THE MIDDLE AGES, SECOND GROUP, TOWER, COURT OF ABUNDANCE 
 
 [41] 
 
THE PRESENT AGE, CROWNING GROUP, TOWER, COURT OF ABUNDANCE 
 
 [42] 
 
In the Court of Abundance 
 
 TTie rich, alluring and supremely beautiful Eastern Court, 
 called the Court of Abundance, was originally styled "The Court 
 of Ages." The idea of man's growth in physical dignity and in 
 thought and spirit throughout the age-long struggle that developed 
 him is the motif of the decorative and monumental pieces. 
 
 The sculpture in this court is deeply symbolic, but so dramatic 
 and direct that its meaning reaches us easily. 
 
 However, no person can give to another all the spiritual in- 
 tuition of works so poetic as these. It is necessary for each to 
 "invite his soul" and to interpret the inner message of the artist 
 for himself. 
 
 THE GROUPS ON THE TOWER OF ABUNDANCE. 
 
 By Chester A. Beach. 
 
 A native of San Francisco. One of the most interesting 
 of the younger men in American art. Memher, National 
 Sculpture Society, American National Academy, and Archi- 
 tectural League of New York. Best known for his medal- 
 lions and decorative work. Member American Numismatic 
 Society. Winner of Bartlett prize, American Academy, 1909. 
 
 These three groups are really part of the same great conception 
 and may be treated as one theme. 
 
 They express the evolution, change and growth of men. 
 
 First group at the base of series : 
 
 At the bottom of this group you see the slimy saurian, the 
 creatures of the ooze, the lowest forms of life. Above them, in 
 the Stone Age, rise the cave man and the savage, crude figures 
 still suggesting the animal in the human. But at the apex of this 
 lowest group we see a higher state beginning, the conception of 
 family love and unity, the ideal that brought about racial develop- 
 ment. 
 
 Second group, as you look up the tower: 
 
 Here is a step higher in the upward growth of our common 
 life. Here is the great Middle Age. The priest and the soldier, 
 
 [43] 
 
the skillful bowman of that day, are placed one on each side of 
 the central figure, the Crusader, holding aloft the ideal for which 
 he is willing to battle. 
 
 Third group The Shrine : 
 
 So we advance upward and onward until we reach the last 
 and greatest state of mankind, the present age. This is symbolized 
 by the Woman Enthroned, Enshrined and Crowned, with her 
 children the Future at her feet. Glowing altar torches stand 
 beside her. 
 
 MUTATION (side figures on the great tower). By Chester 
 
 A. Beach. 
 
 (See above.) 
 
 Still a part of the main idea of Evolution, these two symbolic 
 figures mean Mutation or Change. They show a man and a 
 woman in the throes of the struggle from lower to higher planes. 
 The man's old animal self can be vaguely seen, a crude hand, 
 gripping his foot and trying in vain to hold him back. The 
 woman struggles upward out of the clutch of intellectual slavery, 
 a veiled figure, barely distinguishable at her feet. 
 
 THE FOUNTAIN OF THE EARTH (main pool. Court 
 of Abundance). By Robert I. Aitken. 
 
 (For sketch of Mr. Aitken, see under The Elements, Court of 
 the Universe, page 22.) 
 
 Here is a tremendous, serious and magnificent piece of work. 
 It has rare and dramatic depth of meaning, shows a mastery of 
 modeling and composition and is charged with emotion. 
 
 It has been awarded the gold medal for sculpture of the Archi- 
 tectural League for this year. 
 
 The group in the foreground: 
 
 On the prow of the Good Ship Earth, on which we live and 
 move, lie two great arms of Destiny. One points, and the other 
 pushes, its guidance of our lives. In this group, upon the prow, 
 
 [44] 
 
[45] 
 
are all our passions and desires, our griefs and longings, our 
 labors and failures, our greed and our self-sacrifice, our strength 
 and our weakness. All under the same destiny, not indifferent, 
 but necessary to one another. 
 
 The main composition: 
 
 The globe of the Earth, surrounded by sprays and, at night, 
 by clouds of steam that make it seem to float in space, is en- 
 closed in four great panels. 
 
 First panel (facing south) : 
 
 Here are shown the beginnings of human emotions, those lower, 
 coarser passions out of which, through the Great Good Will, 
 somehow the higher ones have grown. Here are Sexual Love. 
 Vanity and mere Physical Parenthood. 
 
 Second panel (facing west) : 
 
 In this panel the Strong Man begms to arise and attracts by 
 his strength the Woman. His strength is not only physical now; 
 the little wings beside his head indicate the beginnings of an in- 
 tellect. Jealousy follows him on one side the jealousy of the 
 weaker man who weeps and resigns, and on the other, the stronger 
 who prepares to fight. 
 
 Third panel (facing north) : 
 
 Here is the struggle of human life, the battle for existence and 
 for love. Here still we have the three types of men, the Con- 
 queror, the protester and the weakly resigned. Here are two 
 types of woman, too, she who cautions and takes a hand in 
 life's problem and she who clings and hides her face from the 
 struggle. In her attitude is also a suggestion of shame. 
 
 Fourth panel (facing east) : 
 
 Here we reach the latest stage of our voyage. Here is high. 
 Intellectual. Spiritual Love, indicated through the straightforward 
 gaze into each other's eyes and the tender hand-grasp of the pure 
 
 [46] 
 
browed woman and the helmeted man. Here is Strong Youth 
 listening to the counsel of Age and Reason. And here is the 
 Mother in the shadow. 
 
 So, in spite of the fatalistic feeling in those long arms of 
 Destiny and the grim sorrow that is felt throughout, the fountain 
 of Earth is still optimistic. 
 
 '*Yet I doubt not through the ages one increasing purpose runs 
 And the thoughts of men are widened with the process of the 
 suns." 
 
 The sphinx-like, brooding figures at the comers are the god 
 Hermes, used here to mark the stages of human destiny as he was 
 used to mark the milestones of Rome. The scarab and the ser- 
 pent add a touch of occultism and mystery. 
 
 At the head of the pond, on the forward wall, man struggles 
 to be free from the toils of lower emotion, holding for support to 
 the Cosmos, the Infinite. 
 
 THE WATER SPRITE COLUMNS. By Leo Lentelli. 
 
 .^ (For sketch of Mr. Lentelli, see Guardian Genii, Court of 
 
 Universe, page 16. See also Nations of East and West, and 
 Aspiration.) 
 
 A touch of the grace and humor that are the spice of ex- 
 istence is given to this court by the playful Water Sprite Columns. 
 They continue, too, the thought of the sea that is appropriately 
 indicated everywhere in this Exposition that celebrates the 
 Panama Canal. 
 
 The beautiful water sprites grouped about the base of the 
 columns are whimsical, fanciful and delightful, and that charming 
 archer at the top of the shaft is the very sea spray itself. 
 
 PRIMITIVE MAN AND WOMAN (figures on top of 
 
 arcade). By Albert Weinert. 
 
 (For sketch of Mr. Weinert, see under The Miner, page 
 63. See also Spandrels, Court of Palms, and Philosophy, 
 Palace of Education.) 
 
 The arcade is surrounded by figures of man and woman in 
 
 early stages of development. Above them is the Cock, symbol of 
 
 Immortality, and, as befits this Eastern Court, of the Dawn. 
 
 [47] 
 
In the Forecourt of 
 Abundance 
 
 This court lies between 
 the Court of Abundance 
 and the Marina. 
 
 AQUATIC LIFE. By 
 Sherry E. Fry. 
 
 studied at Art Institute of 
 Chicago and Julien Academy 
 and Beaux Arts, Paris. Pupil 
 of MacMonnies, Barrias, Ve- 
 riet, Lorado Taft. Held Na- 
 tional Soman Prize for three 
 years. Other awards. First 
 gained fame through studies 
 of animals and American In- 
 dians. His Turtle Fountain 
 is widely known. 
 
 (See also all the sculpture 
 on and about Festival Hall.) 
 
 This handsome denizen 
 
 of the ocean is also called 
 
 "The Goddess of the 
 
 Waters." 
 
 BASE AND FINIAL OF WATER SPRITE COLUMNS, COURT OF ABUNDANCE 
 
 [48] 
 
The Courts of Palms and Flowers 
 
 These minor courts, the Court of Palms and the Court of 
 Flowers, are called "the fairy courts." They are playful, gentle 
 interludes among the grander symbolisms of the great courts. 
 
 The Sculpture in the Court of Flowers 
 
 TTie Court of Flowers leads from the Avenue of Palms into 
 the Court of Abundance and lies between the palaces of Varied 
 Industries and Manufactures. 
 
 It is indeed the Court of the Fairy Tale with its garlanded 
 girls, its friendly animals and its central Fountain of Beauty and 
 the Beast set in a garden of magical charm. 
 
 THE FAIRY (on top of the Italian Towers at entrances 
 to Courts of Palms and Flowers). By Carl Gruppe. 
 Pupil of Karl Bitter. 
 
 The long oval of the wings, the delicate poise and light grace 
 of these fairies combine with the airy and graceful towers and add 
 a touch of poetry to the courts. 
 
 BEAUTY AND THE BEAST (Central Fountain). By 
 Edgar Walter. 
 
 studied with Douglas Tilden and in Paris. One of the bril- 
 liant group of California artists. Represented in the Metro- 
 politan Museum of Art, New York. Made the much-admired 
 fountain upon Riverside Drive, New York City. 
 
 Any child can tell us the story that inspired this fountain. 
 We can imagine Beauty refreshing with water the poor, faithful, 
 fainting Beast at the moment before his transformation into The 
 Fairy Prince. Older observers may find in the tale and the 
 statue a subtler symbolism, but the simple story will do. 
 
 Piping fairy creatures girdle the fountain and enchanted beasts 
 form a frieze about the basin. 
 
 [49] 
 
FLOWER GIRL AND FOUNTAIN OF BEAUTY AND THE BEAST, 
 COURT OF FLOWERS 
 
 [BO] 
 
THE FRIENDLY LIONS (at the portals). By Albert 
 Laesslie. 
 
 studied at Spring Garden Institute, Drexel Institute, Penn- 
 sylvania Academy of Fine Arts and with Charles Grafly. Won 
 Stewardson Prize and Cresson Scholarship. Bronze Medal 
 Buffalo Exposition. 
 
 Handsome, regal beasts guard the portals of the Court of 
 Flowers. They have been charmed into friendliness and bear 
 wreaths of flowers. 
 
 FLOWER GIRLS (in niches). By A. Stirling Calder. 
 
 (For sketch and works of Mr. Calder, see Fountain of Ener- 
 gy, etc.) 
 
 Garland-bearing, flower-like maidens give name and character 
 to the Court of Flowers. 
 
 (For statue. The Pioneer, at entrance to the Court of Flowers, 
 see page 56.) 
 
 The Sculpture in the Court of Palms 
 
 The Court of Palms leads from the Avenue of Palms into the 
 Court of Four Seasons and lies between the palaces of Liberal 
 Arts and Education. 
 
 With its quiet lines, its two pools and glimpse of the distant 
 hills, it is one of the most restful spots of the Exposition. Note 
 the beauty of the coloring applied upon the sculptured decora- 
 tions. 
 
 THE FAIRY (top of Italian Towers at Entrance). 
 
 (See description under same title in Court of Flowers, page 49.) 
 
 CARYATIDES. By John Bateman and A. S. Calder. 
 
 (See sketch of Mr. Bateman, Caryatides on Horticulture 
 Palace, page 61. For Mr. Calder, see Fountain of Energy, 
 page 2, Nations of East and West. etc.. etc.) 
 
 These whimsical, pensive figures, with quaint, bat-like, elfin 
 wings are full of interest and fairy beauty. 
 
 [51] 
 
SPANDRELS. By Albert Weinert. 
 
 (For sketch of Mr. Weinert, see under The Miner, page 
 63. See also Figures on Arcade. Court of Abundance, and Phil- 
 osophy, Palace of Education.) 
 
 One of these decorative spandrels in low relief shows Orpheus, 
 the musician whose strains enchanted heaven and earth; and the 
 other, a listening Muse. 
 
 (For statue, "The End of the Trail," at entrance to the Court 
 of Palms, see page 57.) 
 
 152] 
 
The Sculpture on the Avenue of Palms 
 
 The Avenue of Palms is the street that flanks the South or 
 front of the main block of palaces. It runs between Festival 
 Hall, the South Gardens and Horticultural Palace on one side 
 and Varied Industries, Manufactures, Liberal Arts and Educa- 
 tion on the other. 
 
 The South Doorway of the Palace of 
 Varied Industries 
 
 The portal itself is in the Spanish Renaissance style of archi- 
 tecture and is a copy of a famous old doorway at the Hospice of 
 Santa Cruz, Toledo, Spain. The sculptured decoration is known 
 as Plateresque, because it suggests hammered silver. The figures, 
 however, are by modern artists, as follows: 
 
 THE MAN WITH THE PICK (in niches). By Ralph 
 
 Stackpole. 
 
 Pupil of Mercie. A young Californian much admired for 
 his honest portrayals of phases of modern life and industry. 
 Mr. Stackpole studied the artistic aspect of workaday life, 
 at first hand, working as a miner himself. 
 
 (See also all other figures this doorway and Youth on 
 columns Administration Avenue, and kneeling figure on Altar, 
 Fine Arts Building.) 
 
 This vigorous figure of young American manhood explains it- 
 self and indicates the grace and dignity of labor. . 
 
 THE SEATED WORKER (Keystone Figure). By Ralph 
 Stackpole. 
 
 (See above.) 
 
 TYMPANUM GROUP: VARIED INDUSTRIES. By 
 
 Ralph Stackpole. 
 
 (See above.) 
 
 This group does honor to the varied labors of men and women 
 through which human progress continues. 
 
 [53] 
 
[64] 
 
THE PIONEER, AVENUE OF PALMS, AT ENTRANCE TO COURT OF FLOWERS 
 
 [55] 
 
FROM GENERATION TO GENERATION (Crowning 
 or Secondary Group). By Ralph Stackpole. 
 
 (See above.) 
 
 This group indicates the passing of the burden of industry from 
 the older to the younger generation, throughout the history of 
 man. 
 
 THE PIONEER (at Entrance to Court of Flowers). By 
 
 Solon Borglum. 
 
 Mr. Borglum, a native of Utah, himself lived on a pioneer 
 farm. Pupil of Cincinnati Academy, where he won scholar- 
 ship to Paris. Pupil of Bebesso and Fremiet. Highly hon- 
 ored work on all former Expositions. Among permanent 
 works: Captain O'Neil, Prescott, Arizona; Backus Memorial, 
 Packer Institute, Brooklyn; Soldiers' Monument, Danbury, 
 Connecticut; "Private Jones," Ljrnchburg, Virginia; General 
 Mower, Vicksburg Battlefield. Famous for studies of Western 
 and Indian life; his Lassoing Wild Horses, the Stampede, 
 Border of White Man's Land, and others being widely known. 
 
 The Pioneer is one of the chief shrines of the Californian's loy- 
 alty. The dauntless adventurers who conquered the wilderness 
 and founded our western civilization are properly appreciated and 
 honored by this splendid old man, rugged, erect and fearless. 
 Symbols of Indian life, the tepee, the canoe, the star are marked 
 on the leather trappings of the horse. 
 
 (For the sculpture within the Court of Flowers, see page 49.) 
 
 Sculpture on the South Doorways of the Palaces of 
 Manufactures and of Liberal Arts 
 
 These doorways, balancing each other, are identical. They are 
 in the Spanish Renaissance style and are copies of ancient portals. 
 TTie lace fan is especially beautiful. 
 
 THE USEFUL ARTS (frieze over doorway and figures in 
 
 niches on each side). By Mahonri Young. 
 
 studied at Art Students' League, New York City. Pupil 
 of Julien, Colorossi and Delacluse academies, Paris. Exhib- 
 ited largely. Winner of distinguished prizes in three branches 
 of art: painting, etching, and sculpture. 
 
 This frieze of workers at the wheel, the anvil, the forge and 
 
 other tools of the useful crafts celebrate Skilled Labor, its services 
 
 [56] 
 
VARIED INDUSTRIES, TYMPANUM GROUP, PALACE OF VARIED INDUSTRIES 
 
 and rewards. So, too, do the highly decorative figures in the 
 niches, the Woman with the Distaff and the Man with the Sledge 
 Hammer. 
 
 THE END OF THE TRAIL (at Entrance to Court of 
 Palms). By James Earl Eraser. 
 
 studied at Art Institute of Chicago, and pupil of St. Gan- 
 dens, Beaux Arts and Julien Academy, Paris. Winner of 
 many first awards. Among permanent works: Bust of Theo- 
 dore Roosevelt, Senate Chamber, Washington; Bishop Potter 
 Monument, Cathedral of St. John the Divine, New York City; 
 John Hay Monument, Cleveland, Ohio. Designer of the latest 
 United States five-cent pieces. Well known for studies of 
 Indians. 
 
 In this appealing and noble work an Indian brave, storm-spent 
 and utterly weary, has come on his exhausted horse to the end of 
 the trail, at the close of a hard, long ride. A reminiscence of 
 early American history and its traditions of courage and endurance, 
 and the pathos of the Indian's decline. The follov^ng lines are 
 given by Mr. Eraser as applicable to his group: 
 
 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. 
 
 (For sculpture within the Court of Palms see page 51.) 
 
 [57] 
 
THE END OF THE TRAIL, AVENUE OF PALMS, AT ENTRANCE TO 
 COURT OF PALMS 
 
 [6S] 
 
The Sculpture on the South Doorways of the 
 Palace of Education and Social Economy 
 
 This doorway, too, is modeled after the old portals of the 
 Spanish Renaissance embellished with harmonizing Byzantine col- 
 umns. The sculpture is modern. The globe crowning the door- 
 way is an effective touch. 
 
 EDUCATION (Tympanum group). By Gustave Gerlach. 
 
 Pupil of Karl Bitter. Did striking work at other Exposi- 
 tions, particularly the admired Minnesota at St. Louis. 
 
 This group sympathetically expresses the spirit of the educator. 
 It is very colorful and full of human interest. In one corner a 
 mother tenderly teaches two young children and a little sister adds 
 her aid to the wee brother's efforts. The central figure, a teacher, 
 has the place of honor. On the other side, a scientist labors 
 at research. 
 
 The two wall panels of Education over the minor entrances of 
 this building are by the two pupils of the Societe Beaux Arts 
 Architects and National Sculpture Society, Mr. Peters and Mr. 
 Stea. 
 
 EDUCATION, TYMPANUM GROUP, PALACE OF EDUCATION 
 [ 59 ] 
 
RECLINING NYMPH, FESTIVAL HALL 
 
 The Sculpture on Festival Hall 
 
 By Sherry E. Fry. 
 (For sketch of Mr. Fry, see Aauatic Life, page 48.) 
 
 Festival Hall, the center of tbe inusicaLJi(ai*UiAaac{3asiUpn, 
 is in the French Renaissance style of architecture that depends so 
 much on sculptured decorations. These are most harmonious not 
 only in their classic beauty, elegance and decorative quality, but 
 also in that they express sympathetically the moods of music. 
 
 The great reclining nymph and god high upon the pylons seem 
 to be listening in pleasant relaxation. The dancing figure crown- 
 ing the minor domes has a lyric quality. In front of the pylons 
 surrounded by flowering shrubs, we have, on each side, a lovely 
 Muse. One guards an exquisite Young Nymph and the other a 
 Boy Pan tuning his pipe. This little Pan the god of wild 
 nature and woodland music is one of the best liked figures on 
 the grounds. 
 
 [60] 
 
The Sculpture on the Palace of 
 Horticulture 
 
 This home of gardens and orchards in French Renaissance 
 architecture is appropriately decorated in gay and flo>yery fashion 
 with garlands and clusters and masses of fruit and flowers and 
 flower-bearing nymphs. The effect is full of the carnival spirit. 
 
 FRIEZE AT THE BASE OF SPIRES. By Ernest Louis 
 
 Boutier. 
 
 A Parisian sculptor who has done notable work for the 
 Mexican government. 
 
 A garland of girls. A simple and happy treatment of the deco- 
 rative scheme. 
 
 PAIRS OF CARYATIDES. By John Bateman. 
 
 studied in Pennsylvania Academy of Fine Arts. Pupil of 
 Grafly and Calder. Winner of two Cresson Scholarships. (See 
 also Caryatides in the Court of Palms.) 
 
 TTiese caryatides are repeated with good effect on the Press 
 Building and the Y. W. C. A. Pavilion, smaller buildings in the 
 South Gardens, thus harmonizing them with their larger neighbors. 
 
 161 ] 
 
CBEATION, AVENUE OF PBOOBESS 
 
 [62] 
 
The Sculpture on the Avenue of 
 Progress 
 
 The Avenue of Progress extends from the Plaza at the Fillmore 
 Street entrance to the Marina. It runs between the Palace of 
 Machinery on the east and the Palaces of Varied Industry, and 
 Mines and Metallurgy on the west. 
 
 Sculpture on the East Doorways of the Palaces of 
 Varied Industries and Mines and Metallurgy 
 
 Here, on this repeated doorway, we have another beautiful 
 reproduction of the Spanish Renaissance with its rich, plateresque 
 decorations, set upon a plain wall space. The figures in the 
 niches are modern. 
 
 THE MINER (figure in niches). By Albert Weinert. 
 
 A distinguished German-American sculptor. Pupil of Mel- 
 chior and Van der Stappen. Represented by historical monu- 
 ments throughout the United States. Made the General John- 
 son and King Hendrick in New York State Park, Lake George. 
 (See also Arcade figures, Court of Abundance, and Philos- 
 ophy, Administration Avenue.) 
 
 The sturdy self-respect of the men who work in mines, and 
 the importance of their physical and mental vigor inspired the 
 sculptor to this roundly modeled, direct piece of work. 
 
 THE GENIUS OF CREATION (on the plaza in front 
 
 of Machinery Palace). By Daniel Chester French. 
 
 Daniel Chester French, the dean of American sculptors, 
 popularly called "the Perfect Sculptor" because he makes 
 no mistakes in composition. A true Greek in the perfec- 
 tion of masses and in finish. Pupil of Dr. William Kumner, 
 Boston, and Thomas Ball, Florence. Widely known for his 
 Minute Man at Concord, Mass. Among notable permanent 
 works: John Harvard, Cambridge; General Grant, Phila- 
 delphia; Alma Mater, Columbia University; Millmore Memor- 
 ial, Death and the Sculptor; Bronze Doors, Boston Public 
 Library; Thomas Starr King, San Francisco; Abraham Lin- 
 coln, Lincoln, Nebraska; Dr. Gallaudet and Pupil, Washing- 
 ton, etc. Has received every possible honor. 
 
 [63] 
 
This work, like all of Mr. Frenches, is straightforward, pure, 
 intellectually true, but commanding and full of emotion. Its su- 
 perb simplicity is its charm. 
 
 The Genius of Creation, a majestic angel seated upon a rough 
 rock, extends life over the world. The soft, long wings represent 
 protection and power. Note especially the beautiful treatment of 
 light and shade; see how the grave, kind face looks out of its 
 heavy veiling draperies in the midst of a deep mysterious shadow. 
 Observe the sculptural quality of the drapery. 
 
 Man and Woman stand one on each side of the pedestal rock. 
 They face the world from different sides, but at the back of the 
 group their hands have met. The serpent girdles the whole, sug- 
 gesting perhaps the old story of Genesis, but more symbolic of the 
 waters from which life sprang and the encircling oneness of the 
 world. 
 
 The Sculpture on the Palace of Machinery 
 
 This huge palace, the largest wooden building in the world, 
 is modeled after the Baths of Caracula and is sculpturally treated 
 with the massive ornateness of Imperial Rome. 
 
 THE POWERS (figures on columns). By Haig Patigian. 
 
 A Californian sculptor of Armenian birth, whose powerful 
 and sincere work is compelling general attention. Pupil of 
 Marquette. Member Soci6t des Artists Francais. Among per- 
 manent works: Martha Cooper Memorial, Monterey; Dolbeer 
 Mausoleum, San Francisco; Dr. Chester H. Bowell, Fresno. 
 Winner of competition for monument to "San Francisco 
 Besurgant." 
 
 These strong, virile figures, grander than men, represent 
 Steam Power, Electric Power, Invention and Imagination, the four 
 powers of might and of thought that made the contents of this 
 palace and the progress they report. STEAM POWER is about 
 to force the driving-arm of an engine; ELECTRIC POWER 
 holds the mastered earth beneath his foot and the lightning in his 
 grasp. He wears the winged helmet of Mercury, the messenger 
 of the gods, because electricity is our modern messenger. IN- 
 
 164] 
 
ELECTBICITY, PALACE OF MACHINEBY 
 
 [66] 
 
VENTION bears the wreath of achievement; a birdman is about 
 to fly from the sphere of earth he holds. IMAGINATION dreams 
 with closed eyes; the eagle of Power is beside him. 
 
 FRIEZES ON COLUMNS (in vestibule). By Haig Pati- 
 gian. 
 
 (See above.) 
 
 These vigorous friezes in low relief symbolize the Genius of 
 Mechanics and his disciples. 
 
 SPANDRELS. By Haig Patigian. 
 
 (See above.) 
 
 The decorative spandrels on this building combine a classic 
 treatment with a modern idea. They represent The Mechanical 
 Arts. 
 
 cc I 
 
The Sculpture on the Marina 
 
 The Marina lies along the bayside from the Avenue of Prog- 
 ress to the California Building. It runs beside the North Gardens 
 and the North Walls of the Palaces of Mines and Metallurgy, 
 Transportation, Agriculture and Food Products. 
 
 The North Doorways of the Palaces of Mines, 
 Transportation, Agriculture and 
 Food Products 
 
 This handsome portal with its rich sculptured design and its 
 ornate canopied niches is repeated on all the palaces flanking 
 the Marina, giving a finely balanced and beautiful effect from 
 the bay. As is appropriate to this water front, the figures in the 
 niches are reminiscent of the olden days of romance and adventure 
 on the Spanish Main. 
 
 THE CONQUISTADOR (central figure). By Allen New- 
 man Studied at National Academy of Design, New York. Highly 
 
 admired for significant monumental work. Among best known 
 permanent works: The Hiker, a Spanish-American war tribute 
 reproduced in several cities; Triumph of Peace, Atlanta, Geor- 
 gia; Henry Hudson, New York; Phil Sheridan, Scranton, Pa.; 
 Joel Chandler Harris, Atlanta; Women of the South, Jack- 
 sonville; the great clock, Night and Day, Harriman Bank, 
 New York. 
 Here stands the grim adventurer, the Captain, by land and 
 sea, the none too scrupulous but gloriously daring conqueror and 
 explorer who came from far-off Spain in the long ago. This great 
 figure, thirteen feet in height, raised fifty feet in air, has historic 
 and architectural distinction. Note the beautiful balance in the 
 composition, and the rigid strong line, so characteristic of the un- 
 bending master of men and destiny, that extends down the cen- 
 ter of the figure from helmet point to sword tip. 
 
 THE PIRATE DECKHAND. By Allen Newman. 
 (See above.) 
 
 Another strong and interesting figure of the ancient "Spanish 
 Main." This dangerous and fearless sailor on the ship of 
 pirate or conquistador or, as often happened, both combined 
 stands here revealed as small boys for generations have tried to 
 visualize him. Note the fine decorative line of the rope he holds 
 in his hands. 
 
 [67] 
 

 
 1 
 
 [68] 
 
The Sculpture on Administration 
 Avenue 
 
 Administration Avenue leads from the Baker Street entrance 
 to the California Building. It runs between the Lagoon of Fine 
 Arts and the West Walls of the Palaces of Education and Food 
 Products. 
 
 Sculpture on the West Walls of the Palaces of 
 Education and Food Products 
 
 This wall, called the Roman wall, is in the classic spirit to ac- 
 cord with the Fine Arts Palace, which it faces across the Lagoon. 
 
 TRIUMPH OF THE FIELD AND ABUNDANCE (re- 
 
 peated in niches, both Palaces). By Charles R. Harley. 
 
 Mr. Harley is a prominent Philadelphia sculptor, noted 
 for his freedom and his tendency toward the new school in 
 art. Received medal at Buffalo Exposition for his "Mother 
 of Sorrows" and his "Pierrot." 
 
 These massive works, very full of detail, express a feeling of 
 richness and success. The central figures, the male representing 
 Man and the woman. Nature, seem to be riding in a triumph- 
 ant pageant, bearing their harvest of abundant achievement. 
 
 YOUTH (repeated figure on top of columns flanking the 
 
 half-domes on both palaces). By Ralph Stackpole. 
 
 For sketch of Mr. Stackpole, see page 53. See also figures 
 on South Doorway, Varied Industries. Figure on Altar, 
 Palace of Fine Arts. 
 
 Flanking . as it does, the half-dome of Philosophy and the 
 
 half-dome of Physical Vigor, this splendid YOUTH signifies 
 
 mental and bodily poise and perfection, *'a sound mind in a 
 
 sound body." 
 
 PHILOSOPHY (repeated figure, in the half-dome of Phil- 
 osophy, Palace of Education). By Albert Weinert. 
 
 See sketch on page 63. See Primitive Man and Woman, 
 Court of Abundance; Spandrels, Court of Palms. 
 
 [69] 
 
The repeated figure of Philosophy reading from the scroll of 
 life tells its own message very directly and has decorative grace. 
 
 PHYSICAL VIGOR (repeated figure in half-dome of Physi- 
 cal Vigor, Palace of Food Products). By Earl Cummings. 
 
 Native of Salt Lake City, pupil of Douglas Tilden and 
 Mark Hopkins Institute, San Francisco. At present professor 
 in Mark Hopkins Institute. Made Bobert Burns statue and 
 the Conservatory Fountain, San Francisco, and other admirable 
 creations throughout the West. 
 
 This classic figure, holding a wreath of victory to his breast, 
 is not the gross vigor of brute strength, but the lithe, poised, re- 
 strained and graceful physical power that was the ideal of Greece 
 and is that of modern youth. 
 
 THE FOUNTAINS (within the half-domes of Philosophy 
 and Physical Vigor). 
 
 These lovely fountains are modeled from ancient ones in 
 Italy. Note how charmingly the water itself is used for decora- 
 tive effect. 
 
 I 70] 
 
Within the Small Connecting Courts 
 
 These little courts are really only passages between the 
 larger ones, but their beauty of design, detail and landscape plant- 
 ing have been as carefully considered. 
 
 THE COURT OF MINES leads from the Avenue of Prog- 
 ress to the Court of Abundance, and is flanked by the South 
 Wall of the Palace of Mines and Metallurgy and the North Wall 
 of Varied Industries. For description of statuary on portals, see 
 The Miner, page 63. 
 
 THE FLORENTINE COURT leads from the Court of 
 Abundance to the Court of the Universe. It is flanked by the 
 South Wall of the Palace of Transportation and the North Wall 
 of Manufactures. It is identical in design with the VENETIAN 
 COURT, leading from the Court of the Universe to the Court 
 of Four Seasons, flanked by the South Wall of Agriculture and 
 the North Wall of Liberal Arts. These two courts are exquisitely 
 simple, their walls decorated with Italian medallions. They are 
 enriched by the rear of the great arches of the main courts, for 
 description of which see under Court of Universe, page 14, and 
 following. 
 
 THE COURT OF THE SUNSET leads from the Court 
 of Four Seasons to Administration Avenue and is flanked by 
 the South Wall of the Palace of Food Products and the North 
 Wallof Education^. For descriptions of portal and sculpture, see 
 under Education Palace, page 59. 
 
 VICTORY (winged figure on gables of Palaces, called the 
 Acroterium). By Louis Ulrich. 
 
 Pupil of the New York Academy of Beaux Arts. 
 
 This noble Victory, stepping forward supported by her wings, 
 extends the Crown of Success over the works of man. Observe 
 the satisfying treatment of the wind-blown draperies. 
 
 [ 71 ] 
 
The Sculpture on the Palace of 
 Fine Arts 
 
 The beautiful Palace of Fine Arts is in classic style, Graeco- 
 Roman, and represents the best period of Roman art. The sculp- 
 ture blends excellently into the feeling of the whole. 
 
 ART TENDING THE FIRES OF INSPIRATION 
 (kneeling figure on Altar, seen from across the lagoon). By 
 Ralph Stackpole. 
 
 (See sketcb, page 53. See also decorations on Portal of 
 Varied Industries and on Administration Avenue.) 
 
 Art, a pure, reverent figure, kneels as an humble attendant, 
 watching and guarding the fires of inspiration. 
 
 The FRIEZE UPON THE ALTAR is the work of Bruno 
 L. Zimm (see below). 
 
 ASPIRATION (large figure over doorway). By Leo 
 
 Lentelli. 
 
 (See sketch of Mr. Lentelli, page 16. See also Nations of 
 East and West, Oenii, Water Sprites.) 
 
 This figure is best viewed from across the lagoon, in con- 
 nection with the above. TTius Aspiration is seen approaching 
 the kneeling Art. This figure typifies the aspiration of the artist 
 for higher ideals. 
 
 PANELS OF GREEK CULTURE (high around the Ro- 
 tunda). By Bruno L. Zimm. 
 
 Pupil of Karl Bitter. Attracted attention by his North 
 Dakota at the St. Lonis Exposition. 
 
 These low-relief panels, done with rare delicacy and spirit, 
 present Greek Culture and its desire for poetic and artistic ex- 
 pression. The panels show **The Unattainable in Art," "Poetry, 
 or the Triumph of Pegasus,*' the winged horse of the poets, and 
 
 [72] 
 
PEGASUS PANEL, FRIEZE OF GREEK CULTURE, ON ROTUNDA, 
 PALACE OF FINE ARTS 
 
 "The Chariot of Apollo," the god of Music, Inspiration and 
 the Sun. 
 
 CLASSIC ART (large figures in attic of Rotunda). By 
 Ulric H. Ellerhusen. 
 
 A German-American. Studied at Art Institute of Chicago, 
 Art Students' League and Cooper Institute, New York. Win- 
 ner of the Borglum Prize and the Cooper Union Medal for 
 composition. 
 
 (See also friezes, following.) 
 
 These majestic Greek Figures of Art are appropriately decora- 
 tive and restful. , 
 
 FRIEZES (around flower-boxes and around base of Ro- 
 tunda). By Ulric H. Ellerhusen. 
 (See above.) 
 
 Nothing could be more expressive of the spirit of classic art 
 than these gracefully balanced and harmonious friezes with their 
 gentle dignity and restraint. Note the beautiful line of the heavy 
 garlands. 
 
 [73] 
 
THE PRIESTESS OF CULTURE, IN ROTUNDA 
 BEFORE PALACE OF FINE ARTS 
 
 [74] 
 
PRIESTESS OF CULTURE (on columns inside the Ro- 
 tunda). By Herbert Adams. 
 
 One of America's foremost artists. Pupil of Massachusetts 
 Institute of Technology and Normal Art School, Worcester, 
 and of Mercie, Paris. Awards at all great Expositions. Vice- 
 President of Art Commission of New York, President National 
 Sculpture Society. Works represented throughout the United 
 States. See exhibits Fine Arts. 
 
 The serenity and intellectual beauty of this controlled angelic 
 figure well express the high mission of Culture upon the earth. 
 
 WEEPING FIGURES ON TOPS OF COLUMNS. By 
 Ulric H. Ellerhusen. 
 
 (See Classic Art and Friezes, above.) 
 
 A beautiful conception of the humility that belongs to all true 
 artists! Here at the outer edge of the Exposition Palaces is a 
 figure not of flaunting triumph or self-satisfaction, but instead 
 after all is done here stands Art weeping at the Impossibility 
 of Achieving her Dreams. 
 
 The Outdoor Exhibit Sculpture 
 
 The statues standing under the Rotunda, along the colonnade 
 and in the gardens surrounding the Palace of Fine Arts are part 
 of the Fine Arts exhibit. Titles are to be found in the catalogue 
 of Fine Arts. 
 
 [75] 
 
THE PIONEER MOTHER MONUMENT, AT ENTRANCE TO PALACE 
 OF FINE ARTS 
 
 [76] 
 
The Pioneer Mother Monument 
 
 (Before the Entrance to the Palace of Fine Arts.) 
 
 By Charles Grafly. 
 
 Pupil of Pennsylvania Academy of Fine Arts and of Chapu 
 and Damft in Paris. ..Noted for Ms sincerity and precise 
 sculptural feeling. Honors and medals at Philadelphia, Chi- 
 cago, Atlanta, Paris (gold medal), Charleston (gold medal), 
 and Buffalo (gold medal). Expositions. Holder of the 1913 
 Widener gold medal and of the Converse gold medal, Penn. 
 Acad, of Fine Arts. Permanent works in Detroit and St. Louis 
 Museum, Pennsylvania Academy and portraits and symbolic 
 bronzes in many cities. 
 
 The superb monument to the Pioneer Mother, set here in a 
 place of honor, is a permanent bronze, the gift to the State of the 
 grateful sons and daughters and admirers of these noble mothers 
 of the West. It is not part of the Exposition sculpture as such, 
 and after the Exposition period will stand in the Civic Center of 
 San Francisco. 
 
 Here the Pioneer Mother, sturdy, confident, fearless, enduring, 
 tender without weakness, guides and guards lier children. Her 
 figure has a wonderful dignity, fidelity and sculptural quality. And 
 the two children are beautifully natural and expressive of the grace 
 of childhood. The statue has a splendid simplicity. 
 
 The panels at the base show the old sailing vessel and the 
 Golden Gate, the goal of desire. The decorations are conven- 
 tionalized oxen skulls, indicating the long desert, strewn with car- 
 casses of perished beasts. The garlands are of pine cones, leaves, 
 cacti and other western tokens. 
 
 The pedestal bears this high-spirited inscription from the pen 
 of President Benjamin Ide Wheeler of the University of California: 
 
 Over rude paths beset with hunger and risk, she pressed 
 on toward the visio7i of a better country. To an assemblage 
 of men busied with the perishable rewards of the day, she 
 brought the threefold leaven of enduring society faith, 
 gentleness and home with the nurture of children. 
 
 [77] 
 
Under it is a relief map of the old emigrant trails, secured by 
 the sculptor from the Historical Society of Des Moines, Iowa. 
 
 Note: This statue is erected at a cost of |25,000. Mr. J. 
 E. D. Trask, Chief of Fine Arts, P. P. I. E., presented to the 
 Woman's Board of the Exposition the question of thus cele- 
 brating the Pioneer Mother. The Board, having already moth- 
 ered the Traveler's Aid and undertaken the care and main- 
 tenance of the California Host Building, could not take up this 
 cause officially. But a number of its members formed the 
 nucleus of the Pioneer Mother Monument Association, a volun- 
 teer organization. Its President, Mrs. F. G. Sanborn, and 
 Honorary President, Mrs. Phoebe Hearst, hold the same offices 
 on the Woman's Board, P. P. I. E. The necessary $25,000 
 is being raised by popular subscription, largely aided by dona- 
 tions from the following organizations: The Native Sons and 
 Native Daughters of the Golden West, the Auxiliary Society of 
 Pioneers, the Pioneer Women's Organization, and the Daugh- 
 ters of Pioneers. The school children of California, under the 
 leadership of State Superintendent Hyatt, have contributed a 
 considerable sum. The subscription lists are still open to all 
 who wish to honor the thought of Brave Motherhood, through 
 the Treasurer of the Pioneer Mother Monument Association, 
 care Woman's Board, P. P. I. E. 
 
 The Lamps, Lanterns, and Light 
 Standards 
 
 All the architectural lanterns, lamps, and light-bearing pieces 
 are the work of Emile Reiss. 
 
 \ 78] 
 
The Travertine Finish 
 
 The beautiful texture on walls and statues, that gives them 
 their look of age and mellowness, is an imitation of Roman Trav- 
 ertine, invented by Paul Deniville, who also had charge of the 
 modeling of the ornamental sculpture. 
 
 Panels inlaid in walls over minor entrances and other subsidiary 
 details are the work of pupils of the Society of Beaux Arts Archi- 
 tects and the National Sculpture Society. 
 
 The Enlargement of the Models 
 
 The successful enlargement of models depends in great degree 
 upon the conscience and vigilance of the operators of the pointing 
 machines, by which enlargements are made. Mr. Robert Paine, 
 whose pointing machine, devised at the time of his connection with 
 the Department of Sculpture for the World's Columbian Exposition 
 in Chicago, was chosen from many others, was made Foreman of 
 Pointing. He was aided by ninety assistants of the Department 
 of Sculpture. The importance of this part of the building of the 
 sculpture in works of great size and number, such as we have 
 produced for the Exposition, is very great. 
 
 Finishing the Sculpture 
 
 Far more important than even the enlargement, which is me- 
 chanical, was the finishing of the statuary. This had to be done by 
 sculptors with artistic feeling, who could interpret on a large scale 
 the small originals, making texture and mass as the artist intended. 
 This work was done under Mr. Calder's direction by a score of 
 young sculptors, most of whom were well acquainted with the 
 technique of the masters from whose designs they worked. 
 
 These sculptors worked directly in the plaster staff in which the 
 pieces were erected, often having to interpret in plaster or cement 
 models that were made in clay. 
 
 r 79 ] 
 
THE MURALS 
 
 I 80 I 
 
Introduction 
 The Color Scheme and the Murals 
 
 Here for the first time mural painting has been employed on 
 a large scale as an essential part of the beauty of an Exposition. 
 Here for the first time in modern architecture, mural decoration 
 on a large scale has been employed outdoors. 
 
 This broad and artistic innovation is part of the originality of 
 using color for the first time on the outside of Exposition build- 
 ings. For here, also for the first time, is an Exposition in colors, 
 a whole city painted from the design of one artist. 
 
 Instead of the glare of white or the haphazard of different 
 color splashes, we have a superbly harmonized plan. 
 
 Jules Guerin, the great colorist, whose paintings, or copies of 
 them, beautify American homes from shore to shore, planned the 
 enchanting harmonies of the buildings and courts, to combine in 
 tone and in contrast with the natural beauties of the city, the 
 hills, the bay, the sunshine, the opal mist and the atmospheric 
 changes. They were designed also to express the vivid and artistic 
 spirit of California and of this great celebration. 
 
 The artists who painted the murals were chosen by Mr. Guerin 
 
 and their work was carefully harmonized to the general scheme. 
 
 Jules Guerin, Chief of Color and Decoration of the Panama- 
 Pacific International Exposition, is a native of Missouri. His 
 works are widely known in the original and through the 
 Century and Stokes prints. He won medals at all the great 
 American Expositions and high mention at Paris. He is 
 holder of the first Yerkes medal, Chicago. The mural paint- 
 ings on the Pennsylvania Station, New York City, are his. 
 
 How to Look at Murals 
 
 A mural painting must be regarded as a part of the wall 
 structure, a part of the building upon which it appears. It is 
 not merely a picture, it is a decoration and therefore must have 
 an architectural quality. It must merge into its surroundings and 
 interpret and enrich them without calling undue attention to itself. 
 It must be broad, with flat masses and smooth surfaces, and 
 must be kept in harmony with the wall design. 
 
 [81] 
 
When it combines the pictorial and poetic with the purely 
 decorative, as these do, it is a triumph. 
 
 To enjoy these murals as they deserve, we should look at the 
 entire surface which they adorn, with particular feeling for the 
 color plan of the whole. 
 
 The Men Who Made the Murals 
 
 Any collection of paintings by the men who made these murals 
 would be worth crossing the continent to see. To those inter- 
 ested in the best of art, these decorations are as important as 
 anything upon the grounds. 
 
 The artists who made them have achieved the highest place 
 in their profession, ahd are known and acknowledged masters 
 among those who appreciate the fine arts. They have won every 
 distinction that the world could give them. 
 
 The men in this distinguished group are Frank Brangwyn, 
 Robert Reid, William de Leftwich Dodge, Edward Simmons, 
 Frank Vincent Du Mond, Childe Hassam, Milton Herbert Ban- 
 croft, Charles Holloway, and Arthur Mathews. 
 
 182] 
 
The Murals Within the Tower of 
 Jewels 
 
 By William de Leftwich Dodge. 
 
 Native of Virginia. Studied in Munich and with Jerome 
 in Paris. Among his high honors: Medals at the Paris 
 Exposition; the Chicago Exposition; The Gold Fund Foundation, 
 New York; the Beaux Arts, Paris; the Exhibition of Amer- 
 ican Artists and the Special Exhibition American Art Gal- 
 leries, New York City; and at the Paris Salon where he has 
 been hors concours since 1905. 
 
 Among his notable murals: Decorations, Library of Con- 
 gress, Washington; Atrium of Court House, Syracuse, N. Y.; 
 Cafe Martin, New York City; Auditorium Annex, Chicago; 
 Empire Theatre, New York City; Majestic Theatre, Boston; 
 Keith's Theatre, Philadelphia; King Edward Hotel, Toronto; 
 Hotels Astor, Algonquin, Devon, and Waldorf Astoria, New 
 York City; and designs for mosaics, Hall of Becords, New 
 York City. 
 
 As the Exposition celebrates the completion of the Panama 
 Canal, the great panels in the triumphal Tower are properly dedi- 
 cated to the same idea. They interpret the history, spirit and 
 achievement of the Canal and the service it will render. 
 
 The two great panels, 200 feet long by 1 6 feet high, are each 
 divided into three parts, the central panels being 96 feet long. 
 The underlying idea of the entire composition is that the Canal 
 is the result of the power, endurance and sacrifice of Labor. 
 
 ATLANTIC AND PACIFIC (Central panel. West wall 
 within the Tower of Jewels). 
 
 Between the spirits, of the two great oceans one hovering 
 above the Eastern and the other above the Western land stands 
 a symbolic figure of Labor. He unites the oceans with the pow- 
 erful arms that have just sundered the barriers between the East 
 and West. 
 
 The Eastern and Western worlds, each having reached the 
 limits of the land, gaze across the water, face to face, ready for 
 the interchange of their arts and achievements. 
 
 The Western peoples are indicated by the pioneers and labor- 
 ers who have wrested civilization from the wilderness a vigorous 
 group. A touching appeal is made by the figure of the American 
 
 r 83 ] 
 
Indian, all but crowded off of his own hemisphere in spite of 
 his vain though courageous protest. 
 
 The Eastern nations, full of poise and color, extend their arms 
 to the Western in welcome and applause. 
 
 In the background dimly seen, are the ships of all ages. 
 
 DISCOVERY (First side panel. West wall, within Tower 
 of Jewels). 
 
 Balboa the Spaniard, the discoverer of the Pacific, led by the 
 Spirit of Adventurous Fortune, stands in awe "upon a peak in 
 Darien," gazing upon the magnificent ocean he has first seen in 
 this great moment. In the background is a ship of the type that 
 then sailed the Spanish Main. 
 
 Opposite the Spaniard, the Indian, the owner of the land, sits 
 watchfully upon his treasures with a tinge of grim prophecy in 
 his face, as if he foresaw the end of his people's power. 
 
 THE PURCHASE (Second side panel. West wall, within 
 the Tower of Jewels). 
 
 This panel expresses the sale by France to America of her 
 control of the Canal region, which was first assailed by French 
 genius. France, wearing the tricolor, hands a scroll giving the 
 title of possession, to her sister republic. America offers in return 
 a bag of gold. The French laborers are seen laying down their 
 tools. American workmen, led by the Spirit of Enterprise, are 
 about to take them up. 
 
 GATEWAY OF ALL NATIONS (Central panel. East 
 wall, within Tower of Jewels). 
 
 The laborers swing open the locks of the Canal that they have 
 made and rest from their noble toil. Neptune, monarch of the 
 sea, draws through the locks, by flowery garlands, the ships of 
 all nations and ages in a parade of triumph. 
 
 The horses of Neptune and the spirits of Earth, Air and Fire 
 join the revels, while Winged Progress urges mankind onward. 
 
 [84] 
 
DISCOVERY AND ACHIEVEMENT, MURAL PAINTINGS WITHIN THE 
 TOWER OF JEWELS 
 
 I 85] 
 
ACHIEVEMENT (First side panel. East wall, within the 
 Tower of Jewels). 
 
 Before the throne of Achievement, who sits crowned, with 
 the world in his grasp, the laborers who have made the Canal 
 come for their reward. With them are the Woman and Child 
 who have given their sacrifice also to the great work just com- 
 pleted. 
 
 Balancing these, on the other side of Achievement, are grouped 
 his great attendants who have helped to make the Canal a fact; 
 Knowledge, Wealth, Science, and Work. 
 
 LABOR CROWNED (Second side panel. East wall, within 
 the Tower of Jewels). 
 
 Labor is here crowned by the Spirit of Enterprise. The groups 
 of laborers are shown rejoicing in work well done. They are 
 led by the soldier, thus acknowledging that the American Army 
 led and directed this great work of peace. 
 
 The patient woman and her child sit on the steps of the throne, 
 surrounded by flowers of tribute. 
 
 86 I 
 
The Murals Within the Eastern Arch, 
 Court of the Universe 
 
 By Edward Simmons. 
 
 studied with Boulanger and Lefebvre in Paris. Honored 
 by prizes, medals and awards in Paris Salon, Paris Exposi- 
 tion, Bufifalo Exposition, New York Architectural League. 
 Winner of the New York Municipal Art Society Prize for 
 work on Criminal Courts Building. Essentially a painter of 
 murals, noted for his imagination and clear, pure color. 
 Permanent works upon the walls of the Massachusetts State 
 House, Boston; the Library of Congress, Washington; Minne- 
 sota State Capitol, St. Paul; Capitol, Pierre, South Dakota; 
 Court House, Mercer, Pennsylvania; and Appellate Court, 
 New York City. 
 
 (The panels are 47 feet long by 12 feet high.) 
 
 The two Simmons panels express the Romance and Adventure 
 of the Atlantic. They are highly poetic in feeling and treatment. 
 
 THE LURE OF THE ATLANTIC (Panel on South 
 wall, within Eastern Arch, Court of the Universe). 
 
 Here, led by the Call of the New World, are those adventur- 
 ous explorers who braved the Atlantic in the search for fortune 
 or larger fields of effort. 
 
 First comes the man of Atlantis, who, according to the old 
 legend, explored the ocean in the search for Yucatan. Then, 
 the man of the classic age, sharpening his sword. Following him 
 are two readily recognizable explorers, representing Latin or South- 
 ern Europe, and Anglo-Saxon or Northern Europe those men 
 who found our America for us. Then comes the missionary priest 
 on his high adventure. Next, the artist, looking backward to 
 tradition while moving forward. Last comes the modern immi- 
 grant, fired with the same fine courage that brought the first ones 
 over the water. A symbolic figure, the veiled Future, is behind 
 him, still barkening to the onward call. 
 
 In the background are the ships of all times, from the earliest 
 vessel to the modern greyhound. 
 
 [87] 
 
THE VISIONS OF EXPLORATION (Panel on North 
 wall, within Eastern arch, Court of the Universe). 
 
 In this charming imaginative panel are the ideals and dreams 
 that led men onward to brave the deep, the dreams that still lead 
 them to dare fortune. 
 
 The two Hopes lead the procession. They are Hope and 
 Illusory Hope, she who casts bubbles behind her for men to follow. 
 
 Then comes Adventure, stooping to pick up a bubble of Illusion. 
 
 In the central group Commerce, Imagination, the Fine Arts 
 and Religion proceed on their surer, stately way. 
 
 At last. Wealth and the Family show the hopes in the heart 
 of the brave immigrant of today. 
 
 In the background the Taj Mahal and a modern city indicate 
 the Ideal and the Practical as motive sources of human enterprise. 
 
 188] 
 
Mural Paintings Within the Western 
 Arch, Court of the Universe 
 
 By Frank Vincent Du Mond. 
 
 Mr. Du Mond studied with Boulanger, Lefebvre and Con- 
 stant in Paris. He has been honored with medals at the 
 Paris Salon, as well as in Boston and at the Atlanta, Buf- 
 falo and St. Louis Expositions. He is having important 
 weight as an instructor in the Art Students' League, New 
 York City, and was Director of Fine Arts at the Portland 
 Exposition. Paintings by Mr. Du Mond appear in many 
 museums and collections. 
 
 (The panels are 47 feet long and 12 feet high.) 
 
 These panels commemorate the pioneer spirit on the continent 
 
 of America, the march of civilization from the Atlantic to the 
 
 Pacific. They take up the story of immigration and adventure 
 
 where the panels in the Eastern Arch leave it. 
 
 They have a narrative quality which is original and novel in 
 
 mural art. 
 
 LEAVING THE EAST (Panel on North wall, within 
 Western Arch, Court of the Universe.) 
 
 Here is pictured the source of the Western spirit adventurous 
 enterprise upon a background of stern tradition. On the bleak, 
 glacial New England coast, its bare rocks covered with snow, a 
 youth bids farewell to his family. The fire of adventure is in 
 his face. His grieving family do not understand and are bewil- 
 dered by it. 
 
 At the head of. the westward-bound procession, we see other 
 such youths, carrying with them only their bare necessities on their 
 long journey. 
 
 In the central group about the old Concord wagon full of 
 household goods pray note the grandfather's clock, a pretty bit 
 of sentiment the emigrants move. They leave behind them the 
 New England meeting-house, custodian of our early civilization, 
 shown here in the background. But they take from it with 
 them the Preacher, the Jurist, the Schoolmistress, and the Child, 
 representing the Family Ideal. 
 
 [89] 
 
Some of these figures are portraits. The Preacher is drawn 
 from William Taylor, a famous street preacher of the early days 
 in California. The Pioneer is James Adams, better known to 
 early Californians as "Grizzly" Adams. The Judge is James 
 Dudley Field. 
 
 With them are the old plains driver and the trapper. 
 
 The symbolic figure leading them is the Call of Fortune. 
 
 THE ARRIVAL IN THE WEST (Panel on South Wall, 
 within Western Arch, Court of the Universe). 
 
 This panel, full of life and joy and color, contrasts with the 
 rigor of the one opposite. Here in a volcanic land, fertile and 
 balmy, the West where Conquest sits enthroned amid fruits 
 and abundance awaits the newcomers. They have reached their 
 goal. 
 
 Here come the Artist, the Writer, the Scholar, the Architect, 
 the Sculptor, the Youth, and the Family. Among them may be 
 recognized, in the Author, Bret Harte, in the Artist. William 
 Keith, and other figures well known to Californians. 
 
 At the end of the procession a tribute is paid to the early 
 Spanish civilization of the West. Led by the Spirit of Enlight- 
 enment, Padre Junipero Serra is seen bearing one of the missions 
 he founded. Following him is Captain Juan Bautista Anza at 
 the head of his soldiers. Captain Anza crossed the continent 
 on foot at the time of the Revolution. 
 
 [90] 
 
The Murals in the Court of Four 
 Seasons 
 
 By Milton Herbert Bancroft. 
 
 studied in Massachusetts Normal Art School, Boston; the 
 Pennsylvania Academy of Fine Arts, Philadelphia, and with 
 Courtois, Callot, Delance and Girardot in Paris. Exhibited 
 in Society des Artists Frangais and in all large exhibitions 
 in important artistic centers of America. Well known as a 
 portrait painter. Formerly Professor of Art at Swarthmore 
 College and Instructor in Pennsylvania Academy of Fine Arts. 
 
 The murals in the Court of Four Seasons had to combine with 
 both the classic formalism of the architecture and the vigor and 
 richness of the main idea of the year's kind abundance. There 
 is also an underlying ideal, the celebration of the achievements 
 of men, especially in the Fine Arts and artistic crafts. 
 
 To all the panels Mr. Bancroft gives the unifying title, PLEAS- 
 URES AND WORK OF THE SEASONS. 
 
 The treatment is broad, restful, simple, finished and imposing. 
 
 MAN RECEIVING INSTRUCTION IN NATURE'S 
 LAWS (large panel under half-dome. Court of Four Seasons). 
 
 (14 feet wide by 18 feet high.) 
 
 All the forces that the Universe brings to man for his wise use 
 and for his service stand here in dignified grace, attendant upon the 
 child, their master. Fire, tending his flame. Earth with his fruit- 
 age. Water with Neptune's trident. Life shielding her little lamp, 
 and even Death all may serve him, if he will harken to Nature's 
 laws, which she is here shown teaching. 
 
 ART CROWNED BY TIME (large panel under half-dome. 
 Court of Four Seasons). 
 
 (14 feet wide by 18 feet high.) 
 
 Here Art, a superb goddess, proudly awaits her crowning at 
 the hands of Time. The artist has shown her sufficient in her- 
 self, sure of her crown and indifferent to it. She is surrounded 
 by those artistic crafts that so nobly combine the beautiful and 
 the useful: Weaving, Glass Work, Jewelry, Pottery, Smithery, 
 and Printing. 
 
 [91] 
 
ABT CBOWNED BT TIME, MUBAL PAINTING IN THE COUBT 
 OF FOXJB SEASONS 
 
 [92] 
 
SPRING (Panel in the Four^iaih'mche of Spnng.'Gourt of 
 Four Seasons). 
 
 (14 feet wide and 9 feet high.) 
 
 The first panel shows Spring's pleasures. Here is the Spring 
 of the poets the Spring of the piping shepherd, of flowery gar- 
 lands, of youth and young love and of the Muse who dreams high 
 dreams inspired by the lovely season. 
 
 SEEDTIME (Panel in Fountain niche of Spring, Court of 
 Four Seasons) . 
 
 (14 feet wide and 9 feet high.) 
 
 The second Spring panel is devoted to the season's labors. 
 Fair Spring, sceptered with an Easter lily, extends her promise 
 over the budding land. The farmers, ready for the season's toil, 
 look out hopefully upon the year propitiously begun. 
 
 SUMMER (Panel in Fountain niche of Summer, Court of 
 Four Seasons). 
 
 (14 feet wide and 9 feet high.) 
 
 Here are the joys of the Summer. Lusty youthful athletes, 
 with canoe and discus and oar, come for the rewards of prowess 
 in the sports of the outdoor season. 
 
 FRUITION (Panel in Fountain niche of Summer, Court of 
 Four Seasons). 
 
 (14 feet wide and 9 feet high.) 
 
 The serious side of Sunmier, her abundance and its attendant 
 labors are here typified by the gleaners and their plentiful gath- 
 ering. 
 
 AUTUMN (Panel in Fountain niche of Autumn, Court of 
 Four Seasons). 
 
 (14 feet wide and 9 feet high.) 
 
 Autumnal gayety is indicated by the dance of the vineyard, 
 the old bacchanal of classic story that has come down to us 
 modified in the hearty revels of Harvest Home. 
 
 [93] 
 
HARVEST (Pane! :n Fountain niche of Autumn, Court of 
 Four Seasons) . 
 
 (14 feet wide and 9 feet high.) 
 
 The earnest message of the Autumn is expressed by the happy 
 calm of the successful harvesters laying their useful tribute at 
 the feet of the glowing season. 
 
 WINTER (Panel in Fountain niche of Winter, Court of 
 Four Seasons). 
 
 (14 feet wide and 9 feet high.) 
 
 The huntsman and the woodman bring their services to the 
 Winter, who sits beside her brazier, busy with the distatf, signify- 
 ing Household Arts. 
 
 FESTIVITY (Panel in Fountain niche of Winter. Court of 
 Four Seasons). 
 
 (14 feet wide and 9 feet high.) 
 
 The happy year ends with the holy joys of the Yuletide. Youth 
 decks the world with holly garlands; the season of the children 
 and the home has come; while for poetic souls the old bards 
 in the heart or in a book beside the hearth sing the old great 
 songs. 
 
 L94]j 
 
The Murals in the Court of Palms 
 
 This beautiful, colorful little court, with its restful pools and 
 quiet richness, lends itself admirably to mural decoration. The 
 lunettes above the portals merge perfectly into the general effect. 
 
 THE PURSUIT OF PLEASURE (Eastern Lunette. Court 
 of Palms, over entrance into Palace of Liberal Arts). 
 
 By Charles W. Hollovyray. 
 
 studied in Washington University and St. Louis School of 
 Art. Distinguished for stained-glass work as well as for 
 murals. Gold medal for glass sketches at Paris Exposition; 
 cartoons and glass sketches purchased by the French govern- 
 ment. Murals, windows and decorations in Auditorium, Stein- 
 way Hall, College Theatre, Planters and Metropole hotels, 
 Clifton House, Mandel's Caf6 and Tom Jones' Bestaurant, 
 Peacock's, and Carson, Pirie, Scott & Co., Palmer and Hig- 
 ginson residences, Chicago; Theatre, Y. M. C. A., and others 
 in South Bend, Ind.; Court House in Upper Sandusky, Ohio, 
 and Fort Wayne, Indiana; Cleveland National Bank; Bihlical 
 Institute, Northwestern University, Evanston; Milwaukee Post 
 Office; St. Louis Art Museum; Pennsylvania Station, Pitts- 
 burgh; Supreme Court Boom, Pierre, South Dakota; Keeley 
 Institute at Dwight, Illinois; Leiter residence, Washington, 
 D. C; Mayor's residence, Paintsville, Kentucky; Garley resi- 
 dence, Altadena, California; Hotel Charleston, West Virginia; 
 Bingling residence, Baraboo, Wisconsin. 
 
 (The lunette is 22 feet wide and 1 I feet high.) 
 
 The graceful, alluring, brilliant figure of Pleasure floats by, 
 just out of reach, looking back with a mocking but bewitching 
 smile at her followers. The composition is full of youth and 
 the joy of life. In spite of a touch of wistfulness in the faces of 
 those who wait upon Pleasure, the whole idea is gay and bright. 
 The artist does not moralize. 
 
 FRUIT AND FLOWERS (Western Lunette, Court of 
 
 Palms, over side entrance. Palace of Education). 
 
 By Childe Hassam. 
 
 Studied in Boston and with Lefebvre and Boulanger, Paris. 
 Winner of practically every honor to which an American 
 painter is eligible. Noted for truth of line, color and com- 
 position. Medals: Munich, Paris Expositions; Art Club of 
 Philadelphia; Chicago, Buffalo and St. Louis Expositions; 
 Cleveland Art Association; Carnegie Institute, Pittsburgh; 
 Pennsylvania Academy of Fine Arts (the Temple Gold Medal 
 
 [95] 
 
and the Jennie Sesnan Gold Medal). Frizes: Webb Prize 
 and Carnegie Prize, Society American Artists; Boston Art 
 Club; Carnegie Institute, Pittsburgh; Clarke Prize, National 
 Academy of Design; Lippincott Prize, Pennsylvania Academy 
 of Fine Arts; Worcester Museum; Corcoran Art Gallery; 
 Evans Prize, American Water Color Society. Represented 
 permanently in Metropolitan Museum, New York City; Na- 
 tional and Corcoran Art Galleries, Washington; Cincinnati 
 Museum; Carnegie Institute; Toledo Museum; Buffalo Fine 
 Arts Academy; Rhode Island School of Design; Pennsylvania 
 Academy of Fine Arts; Detroit Museum of Art; Worcester 
 Museum; Art Institute of Chicago. 
 
 (The lunette is 22 feet at base, 1 1 feet high.) 
 
 This lunette is decorative rather than s5anbolic. It expresses a 
 feeling, and indicates the richness of California, its fruits, flowers, 
 the free grace of its abundance. It is Greek in its simplicity and 
 shows the clear charm of atmosphere and color of this master 
 technician. 
 
 THE VICTORY OF CULTURE OVER FORCE 
 (Lunette over entrance to Court of Four Seasons, Court of 
 Palms). 
 
 By Arthur M. Mathews. 
 
 A native of Wisconsin, Mr. Matthews is now a leader 
 among California artists, and is esteemed the foremost mural- 
 ist in the West. Studied under Boulanger in Paris. Formerly 
 Dean of the California School of Design. Winner of the Hop- 
 kins Institute competition for best painting of the Discovery of 
 San Francisco Bay. Distinguished as a draughtsman. Ex- 
 hibited in Paris salons and Paris and Chicago Expositions. 
 Permanent murals in the Oakland Free Library, the Lane 
 Memorial Library, the New Masonic Temple, the Taussig and 
 Borel residences and many others. Famous for his paintings 
 of Monterey Bay. 
 
 (The lunette is 22 feet wide and 1 1 feet high.) 
 
 In this fine conception we see the goddess of Enlightenment 
 spuming Brute Force from the path of Greek, Asiatic, and Egyp- 
 tian culture, all of whom guide the steps of the Child, the Cul- 
 ture of our later day. 
 
 The treatment is vigorous, straightforward and sincere, the 
 color delightfully stimulating, and the decorative masses beautifully 
 placed. 
 
 [96] 
 
The Murals in the Court of Abundance 
 
 By Frank Brangwyn. 
 
 Frank Brangwyn is generally conceded to l)e one of the 
 great painters of all time and the leading muralist of our 
 day. He was born in Belgium and lives in England, but is 
 a citizen of the world. President of the Royal Society of 
 British Artists and an honored member of La Societe des 
 Beaux Arts, France; the Royal Academy of Milan, Italy; 
 the Swedish Royal Academy; the Munich Secession and the 
 Association of Spanish Artists. He holds the Great Gold 
 Medal of Honor presented by the Emperor of Austria, won 
 the Gold Medal at Venice and the Grand Prize at Milan; 
 medal at the Chicago Exposition. Permanently represented 
 in the great museums of the world, including the Luxem- 
 bourg, the Venice, Stuttgart, Munich, Prague, Barcelona, 
 Pittsburgh, Chicago, Sydney, Wellington and Johannesburg 
 Museums. Among his mural decorations: London Royal Ex- 
 change; Skinner's Hall; Grand Trunk Railway Offices; Ven- 
 ice Exhibition; Lloyds Registry, London; Cleveland Court 
 House; decorations for L'Art Nouveau of M. Bing; private 
 residences. 
 
 (The panels are 27 feet high and 12 feet wide.) 
 
 If the Exposition had done no more than bring the Brangwyn 
 panels to the American public, it would have still merited the 
 thanks of art lovers. These decorative masterpieces must leave 
 their permanent impress upon the minds of all who behold them. 
 
 They are placed in the corners of the ambulatory about the 
 Court. To get the full decorative architectural value, stand well 
 back within the cloister and view the panels in their relation to 
 the color plan of the long gallery. You will see then, in the 
 highest degree, the purpose of mural painting, to harmonize 
 with the surroundings and glorify them by complete accordance. 
 These are flat, architectural surfaces as well as beautiful pictures. 
 
 The beholder must stand a long while before them. The no- 
 bility of the composition, the opulence, warmth, depth and bril- 
 liancy of color, the golds that seem to give out light, the liquid 
 luminous arrangements of blue upon blue should not be passed 
 hurriedly, but quietly enjoyed. 
 
 [97] 
 
THE WINDMILL, MURAL PAINTING IN THE COURT OF ABUNDANCW 
 
 [98] 
 
The Subjects of the Brangwyn Murals 
 
 Each comer is devoted to one of the Elements: Earth, Air, 
 Fire and Water, two panels to each. The elements are treated 
 entirely in relation to humanity, to their actual services to the 
 welfare of human beings. They are not allegorical but intensely 
 human, full of the good red blood of outdoor toilers. They 
 tingle with the warmth of the earth, the spur of the light, the 
 tang of the winds, the smell of growing things. They are the 
 poetry of the simple. 
 
 Note the use of old-fashioned English flowers, as fox-gloves, 
 iris, morning glory, wild rose, and harebell in the decorative 
 scheme. 
 
 AIR: Two Panels. 
 
 1. The Hunters. 
 
 The hunters, shielded from sight by the trees at the edge of 
 the forest, let fly their anows. The whole scene glows in the 
 ruddy sunlight of late afternoon. The flight of the arrows and 
 the flying birds emphasize the thought of the sustaining air. 
 
 2. The Windmill. 
 
 The sun-gilt windmill in the midst of the wind-blown golden 
 grain, the mounting kites, the dark wind-clouds making way for 
 the bright rainbow, the wind-tossed garments of the workers pass- 
 ing by all make this dazzling picture seem to quiver with the 
 life of the wind. 
 
 EARTH: Two Panels. 
 1. Dancing the Grapes. 
 
 Under the generous vine, purple and green against a lustrous 
 blue, the workers gather the great clusters and pass them down to 
 those below. These trample out the rich juice in the great stone 
 vat. Note the beautiful treatment of light and shadow. 
 
 i:99] = 
 
2. The Fruit Pickers. 
 
 In this group, so wonderfully composed, is the very spirit of 
 the earth's abundance. The fruit pickers on high ladders, those 
 bending low above the fertile earth, or bearing the burdens of 
 overflowing baskets, are all aglow with strength and health and 
 the warm light of plenitude. 
 
 FIRE: Two Panels. 
 
 1. Primitive Fire. 
 
 In the bite of an early Autumn day, the workers gather for 
 warmth about their good servant, a fire. See how alive and true 
 the thin flume of woodsy smoke mounts upward in the air. 
 
 2. Industrial Fire. 
 
 About the kiln, the workers employ fire for industrial service. 
 You can see the gases coming from the baking clay, in the 
 metallic colors of the rising cloud of smoke. Study its contrast 
 with the sky clouds behind it, to appreciate this artist's mastery. 
 
 WATER: Two Panels. 
 
 1. The Net. 
 
 See the muscular force of these hardy fishermen, standing in 
 lush reeds, hauling in the last catch of the afternoon. Observe the 
 wetness of the soft sea-clouds that hang low above the water. 
 
 2. The Fountain. 
 
 Where the thin line of water juts in a graceful bow from the 
 spring, the people have come, with their bright vessels, for water. 
 Here, too, enjoy the liquid beauty of the sky and water in the 
 background and the wonderful gradations of color. 
 
 [100] 
 
The Murals Within the Rotunda Before 
 The Palace of Fine Arts 
 
 By Robert Reid. 
 
 studied in Boston Museum School, Art Students' League, 
 New York, and with Boulanger and Lefebvre in Paris. 
 Supremely honored by medals at Paris, Chicago, Buffalo and 
 St. Louis Expositions and the Corcoran Gallery, Washington. 
 Winner of the Clarke and First Hallgarten Prize, National 
 Academy of Design, and the Clarke Prize, $1000, in the Cor- 
 coran Gallery. Permanently represented in National Gallery 
 and Corcoran Gallery, Washington; Allbright Gallery, Buffalo; 
 Brooklyn Institute Museum; Metropolitan Museum, New York 
 City; Indianapolis Museum; Cincinnati Museum and Galleries 
 in Lincoln, Omaha and Richmond, Nebraska. Mural decora- 
 tions in Massachusetts State House, Boston; Library of Con- 
 gress, Washington; Appellate Court, New York City; Paulist 
 Church, New York City; High School, Springfield, Massachu- 
 setts; windows for Rogers Memorial Church, Fair Haven, 
 Massachusetts. Represented by pictures and murals in notable 
 private collections and residences. 
 
 The Rotunda or Belvedere before the Palace of Fine Arts, is 
 called the Temple of Sculpture. It is one of the eminent beauty 
 places of the Exposition. The task given the artist here was 
 indeed a test of skill and power. That it has been well per- 
 formed all will testify; for looking upward into this great dome 
 every beholder must be impressed by the brilliant decorative ef- 
 fect of these paintings and their wonderful blending into a radiant 
 ceiling. 
 
 Mr. Reid's work is always distinguished for fluent brightness, 
 life, fervor, youth and joy. Here these qualities have full play. 
 
 The backgrounds are chiefly golden and sunny blue to signify 
 the golden west and its bright skies. On these planes, buoyant 
 figures full of motion float upon luminous clouds. 
 
 These figures had to be made very large to appear in proper 
 size when seen so high overhead. The artist had to calculate to 
 a nicety the scale of each in proportion to the distance from the 
 eye. 
 
 The murals are in two sets of four panels placed in alternating 
 order. One set is devoted to the idea of Golden California, the 
 other to Golden Art. 
 
 (The panels are 27 feet high and 23 feet wide.) 
 
 [101] 
 
THE FOUR GOLDS OF CALIFORNIA (Alternate pan- 
 els in the Rotunda, before the Palace of Fine Arts) 
 
 The golden products of the golden State have inspired these 
 four brilliant and appropriate panels. 
 
 1. The Golden Poppy. 
 
 California's State flower, the bright poppy that gilds her hills 
 in all shades from pale yellow to vivid orange, is here celebrated. 
 A beautiful floating nymph with poppies in her hair and a poppy 
 sceptre has two cherubic attendants, one playing in a bank of 
 poppies, one wafted otf on a golden dream. 
 
 2. Wheat The Golden Grain. 
 
 A true golden treasure is the valuable wheat, here borne aloft 
 in triumph by another joyous figure, with her happy attendant 
 cherubs. 
 
 3. The Golden Fruit. 
 
 The citrus fruits, real "golden apples of Hesperides" to this 
 State, are honored in a gay and exquisite group, full of grace, 
 motion and enthusiasm. 
 
 4. The Golden Metal. 
 
 Gold, the lure that brought the brave '49-ers to California, gold 
 that still lies deep in her mountains and sparkles in her river 
 beds, is here symbolized by a commanding figure, showing the 
 mastery of this metal over so much of the work and thought 
 of the world. Cherubs guard cornucopias of golden coin. 
 
 THE GOLDEN ARTS (Alternating panels in the Rotunda 
 before the Palace of Fine Arts). 
 
 These panels alternating with the Four Golds, do honor to 
 the Fine Arts, as is appropriate to their location. TTiey are 
 highly ix)etic in thought, and it is interesting to note that these 
 large groups still keep the light, floating, sparkling quality of 
 the smaller ones. 
 
 [102] 
 
1. The Birth of European Art. 
 
 Beside the sacred fire sits the lordly infant Art of Europe. 
 The guardian goddess and her attendants protect him. One bears 
 the globe of Insight and Knowledge, one the fairy wand of Fancy, 
 one the oil of Industry that feeds the sacred flame, another the 
 quiet Cloak of TTiought. A human messenger borne aloft in 
 his chariot, led by winged Imagination, has just received the 
 Torch of Inspiration. 
 
 2. Oriental Art. 
 
 The inspirations of Oriental Art are pictured in this vivid 
 panel. Here we see warriors of ancient dynasties, the record of 
 whose deeds form the subject of much of the art of their descend- 
 ants. Here are Fu, the sacred dog and Fuji, the beloved moun- 
 tain. A Japanese maiden, symbol of the womanly loveliness 
 that inspires Eastern as Western artists, sits beside the flowers 
 so important to Oriental feeling. Above, the battling forces of 
 the Earth are shown by a joyous knight on a royal dragon bat- 
 tling with an eagle. This concept is based upon a legend of 
 the Ming dynasty. 
 
 3. Ideals in Art. 
 
 This panel shows those powerful ideals that have inspired 
 the work of artists from the ancient days to our own. The classic 
 nymph gazing into a mirror is Beauty, the Greek ideal. Religious 
 Inspiration is indicated by the Madonna adoring the Babe; the 
 Heroic, by Jeanne d'Arc, armed, upon her charger. The modem 
 maiden and her symbol, the peacock, inspire artists, too. Here 
 also is Fame holding aloft the laurel wnreath, and here are the 
 motive ideas of Honor to the Living Great Ones and Honor to 
 the Dead. 
 
 4. Inspiration of All Arts. 
 
 Music, Painting, Poetry, Sculpture and Architecture here get 
 their inspiration from the glow of the divine fire held on high by 
 a winged messenger. Another heavenly servitor draws aside the 
 curtains of darkness. 
 
 [ 103 ] 
 
Murals in the State and Government 
 Pavilions 
 
 Besides these outdoor murals of the Exposition itself, there are 
 attractive mural paintings in several of the State and Foreign pa- 
 vilions. 
 
 Work of particular interest is that of Miss Florence Lundborg 
 of San Francisco, in the tea room of the Auxiliary to the 
 Woman's Board of the Exposition in the Auxiliary section of 
 the California Building. 
 
 This mural panel, one of the largest ever done by a woman, 
 represents the richness of California. It takes as its text the line 
 from Theocritus, descriptive of Sicily, '*A1I breathes the scent of 
 the opulent summer the season of fruits." The large panel is 
 supplemented by a series of beautiful medallions of fruit and 
 flowers. 
 
 Bf\Y OF SAN FRANCISCO 
 
 
 MAP, CENTEB OF OBOUNDS 
 
 [104] 
 
INDEX TO THE SCULPTURE 
 
 ACCORDING 
 
 Pages 
 
 TO LOCATION! 
 
 Pages 
 
 Administration Ave. . 
 Avenue of Palms . . 
 Avenuen-of Progress 
 Court of Abundance . 
 Court of Flowers . . 
 Court of Four Seasons 
 Court of Palms . . . 
 Court of Universe . . 
 Festival Hall .... 
 Forecourt of A bundance 
 Forecourt of Ceres 
 Forecourt of Stars 
 Marina 
 
 69,70 
 53-59 
 62-66 
 40-47 
 49-51 
 30-38 
 51,52 
 13-25 
 60 
 48 
 38,39 
 26-29 
 67,68 
 
 Palace of Agriculture . . 67, 68 
 Palace of Education, South 59 
 
 Palace of Education, West . 69, 70 
 Palace of Fine Arts , . . 72-78 
 
 Palace of Food Products, 
 
 North 
 
 West 
 
 Palace of Horticulture 
 Palace of Liberal Arts 
 Palace of Machinery . 
 Palace of Manufactures 
 Palace of Mines, East 
 Palace of Mines, North 
 Palace of Transportation 
 Palace of Varied Industries, 
 
 South 53,54,56 
 
 East 
 
 South Gardens 
 
 Small Connecting Courts 
 Tower of Jewels, 
 
 At Base 
 
 On Tower .... 
 
 Within 
 
 67,68 
 
 69,70 
 
 61 
 
 56 
 
 64-66 
 
 56 
 
 63 
 
 67,68 
 
 67,68 
 
 2- 4 
 
 71 
 
 4- 7 
 
 8- 9 
 
 10-12 
 
 Abundance ... 
 Adventurer ... 
 Adventurous Bowman 
 
 Air 
 
 Armored Horseman 
 Altar Frieze ... 
 Art Tending Fires . 
 Aspiration ... 
 Attic Figures . . 
 Autumn .... 
 Aquatic Life . . . 
 Beauty & Beast (Fountain) 
 Caryatides . . . 
 Ceres (Fountain) 
 Classic Art . . . 
 Column of Progress 
 Conquistador . . . 
 
 Cortez 
 
 Creation .... 
 
 Dance 
 
 Earth 
 
 Earth (Fountain) . 
 Early Ages . . . 
 Education .... 
 El Dorado (Fountain) 
 Elements .... 
 Electric Power . . 
 End of the Trail 
 Energy (Fountain of) 
 Frontispiece and 
 
 Fairy 
 
 Feast of Sacrifice . 
 
 Fire 
 
 Flower Girls . . , 
 Flower Boxes . . 
 
 ACCORDING TO SUBJECT: 
 
 Pages 
 
 69 Fountains, 2, 4, 10, 11, 12, 44, and 
 
 49, 19, 20, 32-37, 39, 70 
 
 Friendly Lions 51 
 
 From Generation to Genera- 
 tion 54,56 
 
 Pages 
 
 8- 9 
 28 
 22 
 
 72 
 
 72 
 
 72 
 
 33 
 
 33-36 
 
 48 
 
 49-50 
 
 51,61 
 
 39-40 
 
 73 
 
 26-29 
 
 67,68 
 
 5, 7 
 
 62-64 
 
 23,25 
 
 22 
 
 44-46 
 
 40,43 
 
 59 
 
 11-12 
 
 22,24 
 
 64,65 
 
 57,58 
 
 2- 4 
 49 
 
 31-33 
 22 
 
 50,51 
 73 
 
 Genii 16 
 
 Genius of Creation .... 63 
 
 Greek Culture (Panels) . . 72 
 
 Harvest 31 
 
 Horticulture (Frieze) . . 61 
 
 Imagination 66 
 
 Invention 66 
 
 Man with Pick 53,54 
 
 Mermaid 4 
 
 Middle Ages 41, 43 
 
 Miner 63 
 
 Music .23,25 
 
 Mutation . . .... . 44 
 
 Nations of the East . . . 13-14 
 
 Nations of the West . . . 14-15 
 
 Pegasus Spandrels ... 17 
 
 Philosopher 8-9 
 
 Philosophy ...... 69 
 
 Physical Vigor 70 
 
 Pioneer 55,56 
 
 Pioneer Mother .... 76-78 
 
 Pirate Deckhand . . . . 67, 68 
 
 Pizarro 55,56 
 
 Present Age 42, 44 
 
 Priest 8-9 
 
 Priestess of Culture ... 74, 75 
 
 Primitive Man and Woman 47 
 
 Rain 31 
 
 Reclining Nymph .... 60 
 Rising Sun (fountain) . 19, 21, 22 
 
Pages 
 
 Seasons 32-37 
 
 Seated Worker 53 
 
 Setting Sun (fountain) . . 20-22 
 
 Signs of the Zodiac ... 21 
 
 Soldier 8-9 
 
 Spandrels 33,52 
 
 Spring 83, 34 
 
 Stars 17-18 
 
 Summer 33, 35 
 
 Steam Power 64 
 
 Triumph of the Field 
 Useful Arts . . . 
 Varied Industries 
 
 Victory 
 
 Water 
 
 Water Sprite Columns 
 Weeping Figures 
 
 Winter 
 
 Youth 
 
 Youth (Fountain of) 
 
 Pages 
 69 
 
 56,57 
 53 
 71 
 22 
 
 47-48 
 75 
 
 33,37 
 69 
 
 10-11 
 
 INDEX TO MURALS 
 
 ACCORDING TO LOCATION: 
 
 Page Page 
 
 In Court of Abundance . 97-100 Western Arch, Court of the 
 
 In Court of Four Seasons . 91- 94 Universe 89-90 
 
 In Court of Palms ... 95- 96 In Rotunda of Fine Arts . 101-103 
 
 Eastern Arch, Court of the Within Tower of Jewels . 83- 86 
 
 Universe 87-89 
 
 INDEX TO SCULPTORS AND ARTISTS 
 
 Adams . 
 Altken . 
 Bancroft 
 Bateman 
 Beach 
 Bitter . 
 
 Page 
 . 75 
 22 
 91 
 61 
 43 
 1 
 
 Page 
 
 Konti 27 
 
 Laesslle 61 
 
 Lentelli 16 
 
 Longman 38 
 
 Lundborg 104 
 
 MacNeil 
 
 Manship 
 
 Mathews 
 
 Newman 
 
 NIehaus 
 
 Paine 
 
 Peters 
 Piccirllli 
 Putnam 
 Reid . . 
 Reiss 
 Roth . . 
 Rumsey 
 Simmons 
 
 Borglum 56 
 
 Boutier 61 
 
 Brangwyn 97 
 
 Bufano 17 
 
 Burroughs 11 
 
 Calder 2 
 
 Cummings 70 
 
 Deniville 79 
 
 Dodge 83 
 
 Du Mond 89 
 
 Ellerhusen 73 
 
 Flanagan 91 
 
 Fraser 57 
 
 French 63 
 
 Fry 48 
 
 Gerlach 59 Stea 
 
 Grafly 77 TonettI 
 
 Gruppe 49 Ulrich . 
 
 Guerin 81 Walter . 
 
 Harley 69 Weinert 
 
 Hassam 95 Weinman 
 
 Holloway 95 Whitney 
 
 Jaegers 31 Young . 
 
 Jaegers (August) 33 Zimm . 
 
 Color Scheme and Murals 
 Enlargement of Models 
 Finishing the Sculpture 
 How to Look at Murals 
 Introduction .... 
 Lamps, Lanterns, etc. . 
 Map of Exposition . . 
 
 21 
 23 
 96 
 67 
 5 
 79 
 Patiglan 64 
 
 59 
 32 
 
 4 
 
 101 
 
 78 
 
 17 
 
 5 
 87 
 
 Stackpole 68 
 
 69 
 
 9 
 
 71 
 
 49 
 
 68 
 
 21 
 
 12 
 
 66 
 
 72 
 
 81 
 79 
 79 
 81 
 
 a- 6 
 78 
 
 104 
 
 Men Who Planned the Sculp- 
 ture 
 
 Men Who Made the Murals 
 Murals in Government Pa- 
 vilions 
 
 Outdoor Exhibit Sculpture 
 Symbolism of Sculpture . . 
 Travertine Finish .... 
 
 1 
 
 82 
 
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 RETURN TO the circulation desk of any 
 University of California Library 
 
 or to the 
 
 NORTHERN REGIONAL LIBRARY FACILITY 
 BIdg. 400, Richmond Field Station 
 University of California 
 Richmond, CA 94804-4698 
 
 ALL BOOKS MAY BE RECALLED AFTER 7 DAYS 
 
 2-month loans may be renewed by calling 
 (510)642-6753 
 
 1 -year loans may be recharged by bringing 
 books to NRLF 
 
 Renewals and recharges may be made 
 4 days prior to due date 
 
 DUE AS STAMPED BELOW 
 FEB 1 2006 
 
 LD2. 
 
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