presented to the 
 
 UNIVERSITY LIBRARY' 
 UNIVERSITY OF CALIFORNIA 
 SAN DIEGO 
 
 by 
 Douglas Warren


 

 
 The ARCHITECTURE and LANDSCAPE 
 GARDENING of the EXPOSITION
 
 THE ROTUNDA OF THE PALACE OF FINE ARTS 
 A VIEW BY NIGHT
 
 THE ARCHITECTURE 
 
 AND LANDSCAPE 
 
 GARDENING of the 
 
 EXPOSITION 
 
 A PICTORIAL SURVEY OF 
 
 THE MOST BEAUTIFUL OF THE 
 
 ARCHITECTURAL COMPOSITIONS 
 
 OF THE PANAMA-PACIFIC 
 
 INTERNATIONAL 
 
 EXPOSITION 
 
 DESCRIBED BY 
 
 MAUD WOTRING RAYMOND 
 
 AND OTHERS 
 WITH AN INTRODUCTION BY 
 
 LOUIS CHRISTIAN MULLGARDT 
 
 F.A.I. A. 
 
 ARCHITECT OF THE 
 
 COURT OF AGES MEMBER OF THE 
 
 ARCHITECTURAL COMMISSION 
 
 OF THE EXPOSITION 
 
 PAUL ELDER AND COMPANY 
 PUBLISHERS-SAN FRANCISCO
 
 COPYRIGHT, 1915, BY 
 
 PAUL ELDER AND COMPANY 
 
 SAN FRANCISCO 
 
 The courtesy of the Cardinell- Vincent Company, 
 
 official photographers of the Panama-Pacific Internatior 
 
 Exposition, of granting permission to reproduce the 
 
 selection of official photographs appearing in 
 
 this volume, is gratefully acknowledged 
 
 SECOND EDITION, REVISED
 
 To the spirit of 
 
 Community Loyalty by which greatest 
 results are accomplished. To generous CollecJive 
 Energy which unites the world 1 s people in 
 universal kindliness. To the whole- 
 some people of our San Francisco, 
 whose united efforts unconsciously 
 disproved the impossible, this 
 book is affectionately 
 dedicated. 
 
 L. C. M.
 
 REFLECTION 
 
 International Expositions are independent kingdoms in 
 their corporate relation with other countries of the world. 
 They are phantom kingdoms wherein the people do every- 
 thing but sleep. They germinate and grow with phenomenal 
 energy. Their existence is established without conquest and 
 their magic growth is similar to the mushroom and the moon- 
 flower; they vanish like setting suns in their own radiance. 
 Thousands of neophytes of every race, creed and color come 
 with willing hearts and hands to do homage and bear manna 
 to nourish the sinews of a phantom kingdom. 
 
 The National Constitution of phantom kingdoms com- 
 mands that the Spirit of beauty, refinement, education, culture 
 and frolic shall govern. The result is that they contain many 
 palaces and shrines decorated with sculpture and painting 
 and that the earth is studded with fountains and pools within 
 tropical gardens. Such a Kingdom exists within a wonderful 
 valley bordering on a great sea. It is surrounded by high 
 velvet hills of fine contour and by many real cities. As the 
 people look down on this phantom kingdom from the hill-tops, 
 or from ships sailing on the water, they see Architecture 
 nestling like flamingoes with fine feathers unfurled within a 
 green setting. 
 
 If building Phantom Kingdoms symbolizes man's highest 
 aims on earth, then the same is true when building Real 
 Kingdoms. Architecture and the sister arts are the most 
 reliable barometers in recording human thought. They are 
 direct exponents of a universal language wherein national 
 progress is most clearly read. 
 
 People who build Phantom Kingdoms look hopefully for 
 universal approval by all mankind. 
 
 L. C. M. 
 
 [v]
 
 CONTENTS 
 
 PAGE 
 
 Reflection. Louis Christian Mullgardt v 
 
 The Architecture and Landscape Gardening of the Exposition. 
 
 Louis Christian Mullgardt 3 
 
 ILLUSTRATIONS 
 
 FACING PAGE 
 
 The Rotunda of the Palace of Fine Arts A View by Night. Hilda 
 
 Fan Sicklen, photo. (Frontispiece) 
 Panorama Exposition from Presidio Heights. W. Zenis Newton, 
 
 photo 14 
 
 Tower of Jewels The Illumination by Night. /. L. Padilla, 
 
 photo 16 
 
 Fountain of Energy A View in the South Gardens. W. Zenis 
 
 Newton, photo 18 
 
 Festival Hall South Gardens and Mermaid Pool. W. Zenis 
 
 Newton, photo 20 
 
 Festival Hall The Terrace and Colonnade. W. Zenis Newton, 
 
 photo 22 
 
 Festival Hall Mermaid Pool in the Mist. Jesse T. Banfield, 
 
 photo 24 
 
 Palace of Horticulture The Dome and East Entrance. W. Zenis 
 
 Newton, photo 26 
 
 Palace of Horticulture Dome and Spires by Night. James M. 
 
 Doolittle, photo 28 
 
 Palace of Horticulture The Colonnade on the East. W. Zenis 
 
 Newton, photo 30 
 
 Horticultural Gardens Floral Exhibit in the Open 32 
 
 Avenue of Palms View from Administration Avenue. W. Zenis 
 
 Newton, photo 34 
 
 Palace of Education Main South Portal. W. Zenis Newton, 
 
 photo 36 
 
 Palace of Education One of the Minor Entrances. Pillsbury 
 
 Pictures 38 
 
 Court of Palms The Sunken Pool by Night. W. Zenis Newton, 
 
 photo 40 
 
 Court of Palms Portal, Palace of Education. Jesse T. Banfield, 
 
 photo 42 
 
 Court of Palms Portal, Palace of Liberal Arts. W, Zenis Newton, 
 
 phots 44 
 
 Court of Palms Italian Tower from Main Portal. W. Zenis 
 
 Newton, photo 46 
 
 Court of Palms In the Colonnade by Night. William Hood, photo . 48 
 [VII]
 
 THE ILLUSTRATIONS 
 
 FACING PAGE 
 
 Court of Palms A Curve in the Colonnade. W. Zenis Newton, photo SO 
 Palace of Liberal Arts Portal, From the South Gardens. 
 
 Cardinell-Vincent, photo 52 
 
 Palace of Liberal Arts The Tower of Jewels by Night. 
 
 /. L. Padilla, photo 54 
 
 Palace of Liberal Arts Elephant Fountain Niche by Night. 
 
 W. Zenis Newton, photo 56 
 
 The Tower of Jewels The Great Roman Archway. W. Zenis 
 
 Newton, photo 58 
 
 The Tower of Jewels Colonnade, The Fountain of Youth. 
 
 W. Zenis Newton, photo 60 
 
 The Palace of Manufactures Portal, From the South Gardens. 
 
 W. Zenis Newton, photo 62 
 
 Court of Flowers Fountain, Beauty and the Beast. /. L. Padilla, 
 
 photo 64 
 
 Court of Flowers Portal of Varied Industries. W. Zenis Newton, 
 
 photo 66 
 
 Court of Flowers A Vista in the Colonnade. William Hood, photo 68 
 Court of Flowers Italian Tower from Colonnade. W. Zenis 
 
 Newton, photo 70 
 
 Court of Flowers The Friendly Lion at the Portal. Jesse T. 
 
 Banfield, photo 72 
 
 Palace of Varied Industries Main Portal. Cardinell-Vincent, photo 74 
 Avenue of Palms The South Facade by Night. Cardinell-Vincent, 
 
 photo 76 
 
 Avenue of Progress The Fine Vista to the Marina. W. Zenis 
 
 Newton, photo 78 
 
 Machinery Hall The Central Arch in the Portal. W. Zenis New- 
 ton, photo 80 
 
 Machinery Hall The Colonnade in the Portal. W. Zenis Newton, 
 
 photo 82 
 
 Machinery Hall One of the Minor Entrances. W. Zenis Newton, 
 
 photo 84 
 
 Palaceof Mines A Lamp Niche in the Court. W. Zenis Newton, photo 86 
 Court of Ages The Tower by Night Illumination. William 
 
 Hood, photo 88 
 
 Court of Ages The Fountain of Earth. Pillsbury Pictures . . 90 
 Court of Ages The Garden of Hyacinths. W. Zenis Newton, photo 92 
 Court of Ages A Glimpse from the Colonnade. W. Zenis 
 
 Newton, photo 94 
 
 Court of Ages A Vista in the Colonnade. W. Zenis Newton, photo 96 
 Court of Ages The Tower through North Aisle. W. Zenis 
 
 Newton, photo 98 
 
 Florentine Court Palaceof Transportation. W. Zenis Newton, photo 100 
 Court of the Universe Through Three Great Arches. W. Zenis 
 
 Newton, photo 102 
 
 Court of the Universe Triumphal Arch, The Setting Sun. 
 
 W. Zenis Newton, photo 104 
 
 [ VIII ]
 
 THE ILLUSTRATIONS 
 
 FACING PAGE 
 
 Court of the Universe Triumphal Arch, The Rising Sun. . . . 106 
 Court of the Universe Fountain of the Rising Sun. Pillsbury 
 
 Pictures 108 
 
 Court of the Universe Fountain of the Setting Sun. W. Zenis 
 
 Newton, photo 110 
 
 Court of the Universe The Fountain Pool and Tower. Janus M. 
 
 Doolittle, photo 112 
 
 Court of the Universe Corinthian Colonnade and Gardens . .114 
 Court of the Universe In the Promenade by Night. Jesse T. 
 
 Banfield, photo 116 
 
 Court of the Universe A Niche and Urn by Night. Jesse T. 
 
 Banfield, photo 118 
 
 Palace of Transportation In the Corinthian Colonnade. W. Zenis 
 
 Newton, photo 120 
 
 Venetian Court Palace of Agriculture. James M. Doolittle, photo 122 
 Court of the Four Seasons The Night Illumination. William 
 
 Hood, photo 124 
 
 Court of the Four Seasons The Great Half Dome. Jesse T. 
 
 Banfield, photo 126 
 
 Court of the Four Seasons The Western Archway. W. Zenis 
 
 Newton, photo 128 
 
 Court of the Four Seasons One of the Colonnade Murals. W. 
 
 Zenis Newton, photo 130 
 
 Court of the Four Seasons The Ionic Columns. Jesse T. Ban- 
 field, photo 132 
 
 Court of the Four Seasons The Colonnade and Lawn. W. Zenis 
 
 Newton, photo 134 
 
 Court of the Four Seasons The North Colonnade by Night. 
 
 W. Zenis Newton, photo 136 
 
 Palace of Food Products The Portal from the Gardens. W. Zenis 
 
 Newton, photo 138 
 
 Palace of Food Products A Detail of the Main Portal. W. Zenis 
 
 Newton, photo 140 
 
 The Esplanade North Facade, Column of Progress. W. Zenis 
 
 Newton, photo 142 
 
 North Facade A View from the Bay. Pillsbury Pictures . . 144 
 Palace of Food Products A View from the Fine Arts Laguna. 
 
 Jesse T. Banfield, photo 146 
 
 Palace of Education A View from the Fine Arts Laguna. Cardinell- 
 
 Vincent, photo 148 
 
 Palace of Education The Half Dome of Philosophy. W. Zenis 
 
 Newton, photo ISO 
 
 Palace of Education The Fountain in the Portal. W. Zenis New- 
 ton, photo 152 
 
 Administration Avenue The Fine Arts Laguna 154 
 
 Palace of Fine Arts The Rotunda and Laguna. Jesse T. Banfield, 
 
 photo 156 
 
 [IX
 
 THE ILLUSTRATIONS 
 
 FACING PAGE 
 
 Palace of Fine Arts The Rotunda and Peristyle. W. Zenis New- 
 ton, photo 158 
 
 Palace of Fine Arts The Peristyle and Laguna 160 
 
 Palace of Fine Arts In the Peristyle Walk. W. Zenis Newton, photo 162 
 
 Palace of Fine Arts The Rotunda from the Peristyle. W. Zenis 
 
 Newton, photo 164 
 
 Palace of Fine Arts The Peristyle Walk by Night. Jesse T. 
 
 Banfield, photo 166 
 
 Palace of Fine Arts A Fountain in the Laguna. W. Zenis New- 
 ton, photo 168 
 
 Palace of Fine Arts A Picturesque Garden Fountain. Jesse T. 
 Banfield, photo 170 
 
 Palace of Fine Arts The Garden and Fountain of Time. Jesse 
 
 T. Banfield, photo 172 
 
 California Building Bell Tower and Forbidden Garden. . . . 174 
 
 California Building The Arches of the Colonnade. W. Zenis 
 
 Newton, photo 176 
 
 California Building A Vista in the Colonnade. W. Zenis Newton, 
 
 photo 178 
 
 California Building The Forbidden Garden. Hilda Fan Sicklen, 
 
 photo 180 
 
 California Building The Semi-Tropical Garden. W. Zenis New- 
 ton, photo 182 
 
 Netherlands Pavilion As Seen from the Laguna. Pillsbury Pictures 184 
 
 Italian Pavilion The Piazzetta Venetia. Cardinell-Fincent, photo 186 
 
 Italian Pavilion In the Court Verrochio. James M. Doolittle, 
 
 photo 188 
 
 Avenue of the Nations Tower of Sweden's Pavilion. W. Zenis 
 
 Newton, photo 190 
 
 The Esplanade A View of the Foreign Pavilions. W. Zenis New- 
 ton, photo 192 
 
 The Esplanade A View of the State Buildings. W. Zenis Newton, 
 
 photo 194 
 
 The Zone A Holiday Gathering 196 
 
 The Zone The Bizarre Decorations. /. L. Padilla, photo . . .198 
 
 The Fireworks Star Shells and Steam Battery. Jesse T. Ban- 
 field, photo 200 
 
 Zone Salvo The Final "Big Noise." Jesse T. Banfield, photo . 202 
 
 [x]
 
 ARCHITECTURE and LANDSCAPE 
 GARDENING*/ the EXPOSITION
 
 THE ARCHITECTURE <f 
 LANDSCAPE GARDENING 
 
 WHEN San Francisco was destroyed by fire 
 in 1906, many people predicted that the 
 city would never be rebuilt. A great number 
 of men and women packed their goods and chat- 
 tels and hastily bade farewell to the still smoking 
 ruins of a City That Was, firmly believing that 
 destiny had determined that it should remain 
 forever buried in its own ashes. 
 
 There was another class of men and women 
 who were optimists. They predicted that the 
 city would be rebuilt, but that it would require 
 from twenty to thirty years. 
 
 There was still another class of men and 
 women who knew by observation that it required 
 no more time to build ten buildings than one, 
 provided the Spirit of Energy and Determination 
 existed, to fortify the desire. 
 
 We all know now that the Spirit of Energy 
 and Determination did abound in San Francisco 
 that the City did not remain buried in its 
 own ashes, and that it did not require from 
 twenty to thirty years to rebuild it. The City 
 was not only rebuilt in less than ten years, but, 
 in addition thereto, an International Exposition, 
 surpassing all previous Expositions, was built 
 by its people. 
 
 San Francisco wisely selected for the location 
 of this International Exposition what seemed 
 [3]
 
 The ARCHITECTURE and LANDSCAPE GARDENING 
 
 to many to be an impossible site, for it was 
 disorderly and uninteresting to look at. But 
 the site was appropriately situated on the shores 
 of San Francisco Bay beautiful in its surround- 
 ings and most convenient alike to its citizens and 
 visitors. It consisted of a pond and a strip of 
 waste land and marsh land, apparently destined 
 to remain unfilled and unorderly for years to 
 come. The People of Energy, Determination 
 and Desire have also made this strip of waste 
 land permanently available. 
 
 The arrangement of this Exposition is dis- 
 tinctive because of its Court Plan. Eight 
 Palaces seemingly constitute a single structure, 
 containing five distinct courts or places for large 
 public gatherings, which are open to the sky. 
 
 This colossal group of buildings, consisting 
 of the Palaces of Education, Food Products, 
 Agriculture, Liberal Arts, Manufactures, Trans- 
 portation, Mines, and Varied Industries, is ter- 
 minated east and west by Machinery Hall and 
 the Palace of Fine Arts. To the south of this 
 group, and on the lateral axis of the two end 
 courts, are the Palace of Horticulture and 
 Festival Hall. This group of eight buildings, 
 with its Tower of Jewels, and the separate 
 buildings, Festival Hall, the Palace of Horti- 
 culture, the Palace of Fine Arts and Machinery 
 Hall, constitute the main structures. 
 
 The buildings and gardens of Foreign Coun- 
 tries and of the States of the Union adjoin, at 
 their western termination, the thirteen main 
 structures erected by the Exposition Company. 
 Still further west, are the Livestock Barns and 
 Poultry Houses. The Aviation, Military and 
 [4]
 
 The ARCHITECTURE and LANDSCAPE GARDENING 
 
 Polo Fields, including the Race Course, occupy 
 the extreme end of the site. The amusement 
 section, "The Zone," extends for a distance of 
 seven city blocks eastward from the main group. 
 
 President C. C. Moore of the Exposition 
 first appointed an Advisory Architectural Board, 
 in the fall of 1911, consisting of Messrs. Willis 
 Polk, Clarence R. Ward, John Galen Howard, 
 Albert Pisses and William Curlett. This Advi- 
 sory Board was succeeded by an Architectural 
 Commission, consisting of Messrs. Willis Polk, 
 Chairman, Clarence R. Ward, W. B. Faville, 
 George W. Kelham, Louis Christian Mullgardt 
 (all of San Francisco), Robert D. Farquhar of 
 Los Angeles, McKim, Mead and White, Carrere 
 and Hastings, and Henry Bacon (all of New 
 York); Messrs. Bakewell and Brown and Ber- 
 nard R. Maybeck were subsequently commis- 
 sioned as Exposition Architects. The first- 
 named nine architects constituted the permanent 
 Architectural Commission which recommended 
 to the Board of Directors the General Plan of 
 the Exposition, which was substantially followed 
 as a guide to the results accomplished. 
 
 Three important elements in the design of 
 an Exposition are represented by Planting, 
 Sculpture, Color and Decoration. The Chiefs of 
 these Departments were selected by the Archi- 
 tectural Commission at its second conference, 
 August, 1912; John McLaren, of San Francisco, 
 was appointed to the important position of 
 Landscape Engineer; Karl Bitter and A. Stirling 
 Calder of New York were appointed chief and 
 assistant chief of the Department of Sculpture; 
 Jules Guerin, of New York, became chief of the 
 [5]
 
 The ARCHITECTURE and LANDSCAPE GARDENING 
 
 Department of Color and Decoration. The Chiefs 
 of these departments attended the architects' con- 
 ferences and collaborated in their deliberations. 
 
 Another very important element in the 
 design of this Exposition was represented by 
 the Department of Travertine Texture, for the 
 proper manipulation of colored plastic materials 
 to give correct surface expression to all buildings 
 and sculpture. This department was placed 
 under the direction of Paul E. Denivelle of New 
 York. The element of Texture as embodied in 
 the construction of this Exposition, has again 
 emphasized its general importance in plastic 
 architecture. 
 THE MARINA 
 
 The north side of the main group is flanked 
 by a greensward, called the Marina, which skirts 
 the bay. This enormous green carpet is bor- 
 dered by walks and roadways. The Marina 
 affords excellent opportunity for thousands of 
 people to view special attractions offered daily 
 along the waterfront. War vessels and pleasure 
 crafts are always just beyond the low Marina 
 wall. An uninterrupted view of the bay and its 
 northern coast line of hills and mountains, extend- 
 ing from the Golden Gate, west to east, as far as 
 eye can reach, is here obtained under most fav- 
 orable conditions. No one will ever forget the 
 wonderful panorama which this Exposition faces. 
 THE SOUTH GARDENS 
 
 Flanking the south side of the main group is 
 the marvelous Avenue of Palms, which appears 
 to have existed always. It was established 
 A. D. 1914, by John McLaren, Landscape Engi- 
 neer, as part of the most colossal system of 
 [6]
 
 The ARCHITECTURE and LANDSCAPE GARDENING 
 
 successful transplanting ever undertaken in the 
 history of the world. The South Gardens adjoin 
 the Avenue of Palms and extend to the Expo- 
 sition enclosure along the south boundary line, 
 where a wall fifty feet high and ten feet wide 
 has been erected of a solid green moss-like 
 growth, studded with myriads of tiny pink 
 star-like blossoms. This great wall is perforated 
 by simple arched masonry entrances, leading 
 through the richly planted foreground formed 
 by the South Gardens. 
 
 Basins of reflecting blue waters extend to the 
 right and left of a central fountain of colossal 
 proportions. The basins themselves are punc- 
 tuated at their east and west ends by fountains 
 of subordinate size, back of which are Festival 
 Hall to the right and the Palace of Horticulture 
 to the left, as we enter the green wall portals 
 from the city of San Francisco beyond. To the 
 south and west of the Foreign Countries, States 
 Buildings and Gardens, a graceful contour of 
 hills extends, sloping onward to Golden Gate, 
 and having a coxcomb of pine and eucalyptus. 
 Broad vistas of city, forests, water, hills and 
 mountains present themselves at every point. 
 Gray, green, blue and lavender vistas come into 
 view through portal, colonnade, and arch. 
 THE PALACE OF FINE ARTS 
 
 This impressive unit faces the rising sun with 
 its colorful facade. The plan of this composite 
 structure suggests the Star and Crescent of 
 Mohammed. The architecture shows a free 
 interpretation of early Roman forms. It is, in 
 fact, a purely romantic conception by Architect 
 Maybeck, entirely free from traditional wor- 
 [7]
 
 The ARCHITECTURE and LANDSCAPE GARDENING 
 
 ship or obedience to scholastic precedent. Its 
 greatest charm has been established through 
 successful composition; the architectural ele- 
 ments have been arranged into a colossal theme 
 of exceptional harmony, into which the inter- 
 woven planting and the mirror lake have been 
 incorporated in a masterly way. The entire 
 composition bespeaks the mind of a romanticist, 
 whose productions are swayed more by nature's 
 glories than by scholastic tradition. 
 THE PALACE OF HORTICULTURE 
 
 The appearance of this building so clearly 
 expresses its purpose that a definition of style 
 promptly suggests the title of Horticultural 
 Architecture. Its decorative spire-like finials 
 resemble the cypress and poplar. The clusters 
 of floral ornaments and festoons reflect one of 
 the fundamental purposes of decorative glory to 
 which all plant life has been decreed. The bulb- 
 like glass dome is like an enormous dewdrop of 
 beautiful proportions and iridescent color. All 
 this beauty was conceived by Architects Bake- 
 well and Brown, who have given full evidence of 
 their appreciation of the purposes to which this 
 Palace was assigned. 
 FESTIVAL HALL 
 
 This structure counterbalances the Palace of 
 Horticulture at the east end of the South Gar- 
 dens. Mr. Farquhar's interpretation of Italian 
 Renaissance in this interesting building is replete 
 with charming detail ; it is truly expressive of its 
 festival purposes. It is seen to best advantage 
 when reflected in the South Garden Pool, from 
 the circle surrounding the Fountain of Energy, 
 and from the Court of Flowers.
 
 The ARCHITECTURE and LANDSCAPE GARDENING 
 THE PALACE OF MACHINERY 
 
 This colossal structure of Roman type was 
 designed by Architects Ward and Blohme. It 
 dignifies the east end of the main composition 
 in a most impressive manner. Its general char- 
 acter is similar to the Roman baths of Caracalla. 
 The vestibules are particularly impressive, when 
 viewed longitudinally. The interior Roman 
 vaulting, formed by myriad trusses, is similarly 
 impressive in form and scale to the interiors of 
 renowned existing Basilicas. The surrounding 
 tree, shrub and flower planting along the simple 
 outer walls is rhythmically consistent with the 
 Roman niches and entrances and lends added 
 charm to the dignity of this tremendous struc- 
 ture. The cornices are especially noteworthy in 
 their detail, scale and proportion. 
 OUTER WALLS OF THE GROUP 
 OF EIGHT PALACES 
 
 The impressive simplicity of the outer walls 
 is enhanced by a succession and variety of por- 
 tals, niches and arcades of Spanish and Italian 
 origin of great beauty. The simple dignity of 
 the plain travertine wall surfaces is heightened 
 by tile-covered cornices terminated by pavilions. 
 A rich foreground of rhythmic planting of trees, 
 shrubbery and flowers, emphasizes the unity of 
 the eight palaces, the corporate purposes of 
 which have been so successfully interpreted by 
 Architects Bliss and Faville. 
 
 The typical domes surmounting the eight 
 palaces also express the similarity of purpose 
 for which these palaces are intended. In depict- 
 ing the industrial arts, these domes lend an 
 Oriental expression to the entire composition, 
 
 [9]
 
 The ARCHITECTURE and LANDSCAPE GARDENING 
 
 consistent with the citadel character of the 
 general scheme. The banner poles, with their 
 Oriental streamers, and the illuminating stand- 
 ards, set in the foreground planting of the outer 
 walls, lend a consistent festive character to these 
 long facades. 
 THE TOWER OF JEWELS 
 
 The appellation "of jewels" became an addi- 
 tion to the original title, after the Tower was 
 thus gorgeously arrayed. The Tower was con- 
 templated in conjunction with the main group 
 of palaces, as a clue to the composition, and as 
 of vital importance to the general plan. Its 
 composite architecture can best be defined as of 
 White and Yellow Race derivation. It clearly 
 indicates a mingling of the architectural charac- 
 teristics of the people of the entire world, as the 
 architects, Carrere and Hastings, probably in- 
 tended. It gives definite expression to the 
 international purposes for which this Exposition 
 is designed. The jewel enrichments add effec- 
 tively to its Oriental regal display. The Tower 
 constitutes an indispensable integral in the unit 
 composition. It appears to best advantage 
 under the mysterious effects produced by Mr. 
 Ryan's night illumination. 
 THE COURT OF THE FOUR SEASONS 
 
 This dignified, restful court of Roman classic 
 character, designed by Architect Henry Bacon, 
 expresses the Season theme perfectly. The 
 alcoves, which symbolize the Four Seasons, are 
 admirably conceived in their relation to the 
 entire composition. The arched side approaches 
 of the colonnades and the colossal Roman niche 
 at the south end together, form a glorious compo- 
 [10]
 
 The ARCHITECTURE and LANDSCAPE GARDENING 
 
 sition which has been greatly enhanced by the 
 arrangement of planting by Mr. Bacon. 
 THE COURT OF THE UNIVERSE 
 
 This colossal court of oval form, including 
 the Avenue stretching to the Marina, is funda- 
 mentally Roman in architectural character, the 
 style being largely attributable to its splendid 
 Colonnade and Triumphal Arches. Its archi- 
 tectural style is also sympathetic to the Orient 
 of the Far East along the Mediterranean, owing 
 to its domed pavilions. The oval Sunken Gar- 
 den is thickly planted with Hydrangeas, which 
 constitute one of the most gorgeous displays at 
 the Exposition. The Tower of Jewels and the 
 Column of Progress at the North and South ends 
 of this wonderful Court serve as integrals. 
 McKim, Mead and White are the architects of 
 this most important of all the Courts. 
 THE COURTS OF FLOWERS AND PALMS 
 
 These two delightful courts, designed by 
 Architect George W. Kelham, are like great 
 alcoves in the south wall of the main group. 
 The Court of Flowers faces Festival Hall, 
 whereas the Court of Palms faces the Palace of 
 Horticulture. Each court is flanked at its outer 
 angles by towers, which form an indispensable 
 element in the south facade and in the courts 
 themselves. The general style is Italian Renais- 
 sance, suggestive, in the detail of its decoration 
 and planting, of the symbolic intent of these 
 courts. They are an important factor in the 
 south facade of the main group. 
 THE COURT OF AGES 
 
 This court is designed as an historical expres- 
 sion of the world's growth from infancy. It 
 
 [in
 
 The ARCHITECTURE and LANDSCAPE GARDENING 
 
 consists of a continuous arcade and vaulted 
 ambulatory along four sides, and an altar-tower 
 on its northern axis. 
 
 The decorative motives employed on the 
 surrounding arcade are of conventionalized forms 
 of prehistoric plant and animal life, expressive 
 of evolution. The altar-tower and fountain 
 symbolize the human and animal passions of 
 the theme. 
 
 The Gothic type of architecture of this court 
 has not been accredited to any preceding period. 
 Its general character supposedly resembles Span- 
 ish or Portuguese Gothic more closely than any 
 other known style. 
 
 The Court, including its avenue extending 
 to. the Marina, was designed and modeled by 
 the writer of this article, Louis Christian 
 Mullgardt. 
 
 Over six hundred acres are comprised in the 
 elongated site on which the Exposition stands. 
 Millions of people from all parts of the world 
 have made pilgrimage to this realm of phantasy, 
 and many thousands more are on their way, 
 determined to bask in the radiance of Good Will 
 toward All Mankind, which this Mecca of Peace, 
 Enlightenment, Beauty, and Inspiration for a 
 better and greater future gives forth. Its pur- 
 poseful influence is destined to serve perpetually 
 a beneficent cause in the furtherance of unified 
 international humanitarianism after the ephem- 
 eral vision of this Phantom Kingdom has van- 
 ished. 
 
 L. C. MULLGARDT. 
 
 [12
 
 ILLUSTRATIONS and DESCRIPTIVE 
 
 NOTES of the ARCHITECTURE 
 
 WLANDSCAPE GARDENING 
 
 of the EXPOSITION
 
 PANORAMA 
 EXPOSITION FROM PRESIDIO HEIGHTS 
 
 From the vantage point of Presidio Heights, 
 one may see this panorama of the Exposition 
 and catch the symmetry of arrangement in 
 the walls of the palaces, in the graceful lines 
 of the towers and in the impressive contour 
 of the domes. The effect is largely due to 
 the ground plan, distinguished for its balance 
 and poise, which was designed by Mr. Willis 
 Polk and Mr. Edward Bennett. 
 The main palaces, eight in number, are built 
 around three courts, producing an admirable 
 compactness and unity. To the west of this 
 central block of buildings, is the Palace of 
 Fine Arts, and to the east, Machinery Hall. 
 The Palace of Horticulture and Festival 
 Hall are located in the great South Gardens. 
 The Zone lies in the extreme eastern wing of 
 the grounds, and the corresponding section 
 to the west is devoted to the Pavilions of 
 the Foreign Nations and of the 
 States of the Union. 
 
 14]
 
 TOWER OF JEWELS 
 THE ILLUMINATION BY NIGHT 
 
 The Tower of Jewels, designed by Carrere 
 and Hastings of New York City, is the 
 centralizing and dominating feature of the 
 Exposition. In its colossal dimensions and 
 in the imposing dignity of its position and 
 conception, it seeks to embody, in one tri- 
 umphal memorial, the importance to the 
 entire world of the opening of the Pan- 
 ama Canal; while in architecture, sculpture, 
 mural painting, decorative ornament and 
 inscribed tablet, it celebrates, in varying 
 form, the glory of achievement. 
 Classic influences inspired the great, central 
 Roman arch, with its massive colonnades 
 on either side and the Corinthian and Doric 
 columns, repeated on successive tiers to the 
 globe, upborne by four giant Atlases, which 
 crowns the apex; but the spirit of conquest 
 and discovery, which vitalizes the sculptured 
 figures and mural paintings, is modern in its 
 expression and in its historical fidelity. 
 The Tower takes its name from the thou- 
 sands of many-colored jewels so cut, polished 
 and suspended that they reflect the sunshine 
 with dazzling brilliancy by day and at night, 
 under the white radiance of the searchlights, 
 clothe the whole structure with 
 shimmering splendor. 
 
 16]
 
 FOUNTAIN OF ENERGY 
 A VIEW IN THE SOUTH GARDENS 
 
 It was a great undertaking to transform the 
 waste acres of marsh and mudflats into a 
 garden which would be an appropriate set- 
 ting for the Exposition palaces. Its success 
 was due to Mr. John McLaren, whose reputa- 
 tion as a landscape gardener had long ago 
 been established by his work at Golden Gate 
 Park. 
 
 Passing through the Scott Street Entrance, 
 one sees first the South Gardens, the really 
 spectacular feature of which is the Fountain 
 of Energy, designed by A. Stirling Calder. 
 Flanking this main fountain are the two 
 smaller fountains crowned by the graceful 
 mermaids designed by Arthur Putnam. 
 With their lovely pools and the splendor of 
 gushing waters, these three serve as the 
 motif for the formal plotting of the South 
 Gardens. 
 
 Monterey pines and cypress, with acacia 
 and a variety of flowering shrubs, are 
 grouped with fine effect. Balustrades, orna- 
 mented with plant-filled urns, set off" the 
 great beds in which flora from widely sepa- 
 rated parts of the world have been used. 
 The successive plantings of flowers keep 
 the gardens in continuous bloom daffodils, 
 tulips, pansies, begonias, dahlias, 
 each in their turn. 
 
 [18]
 
 FESTIVAL HALL 
 SOUTH GARDENS AND MERMAID POOL 
 
 At the eastern end of the South Gardens, 
 south of the Avenue of Palms and directly 
 opposite the Court of Flowers which breaks 
 the facade of the main group of buildings 
 between the Palaces of Varied Industries 
 and of Manufactures, stands Festival Hall, 
 designed to furnish a center for the Exposi- 
 tion conventions and musical festivals. 
 From its character, the building takes not 
 only its name, but its architectural and 
 decorative treatment. It was designed by 
 Robert Farquhar of Los Angeles. 
 The building, in its charm of line and the 
 dignity and grace of its proportions, reflects 
 the best mood of the French Renaissance. 
 The great dome, with the smaller corner 
 domes, suggests the Theatre des Beaux Arts 
 in Paris. The graceful curve of the main 
 portal, the Ionic columns, the decorative 
 corridors and the fine entrances are har- 
 moniously and effectively developed. All 
 the sculpture, which is the work of Sherry 
 E. Fry of Iowa, is classic in conception and 
 happily sympathetic in its suggestion of 
 festivity or in its lyric quality. The floral 
 scheme, in its lavish massing of bloom and 
 rich color, enhances the attractive- 
 ness of the building. 
 
 [20]
 
 FESTIVAL HALL 
 THE TERRACE AND COLONNADE 
 
 The rounding sweep of portico and pillar re- 
 veals the architectural style of Festival Hall. 
 In the sculpture and decorative friezes, an 
 effect of airiness has been achieved. Through 
 the graceful arches, formed by Ionic col- 
 umns, one notes the impressive windows, 
 showing the French influence. The cupola, 
 topped by the slender figure of the "Torch- 
 Bearer," gives an inviting charm to the side 
 entrance, considered ornate but in accord 
 with the architectural design of the Palace. 
 The site of Festival Hall is somewhat raised 
 and the slopes that lead down to the Avenue 
 of Palms are in terraces of velvety lawn, 
 broken by wide flights of steps. On either 
 side of the main stairway are two sculptural 
 groups, the "Flower Girl," before which, on 
 one side, is placed an enticing "Pan" and on 
 the other, a shy, girlish figure partially 
 concealed in the shrubbery. 
 
 [22]
 
 FESTIVAL HALL 
 MERMAID POOL IN THE MIST 
 
 The skillful use of pools in which is secured 
 the charming reflection of palaces and archi- 
 tectural structures, with the softening ac- 
 companiment of trees and shrubbery, is one 
 of the pleasant features of the Exposition. 
 There is enchantment in a foggy day, for 
 one sees as in a dream, lovely vistas of courts, 
 glimpses through consecutive arches, and 
 always the charm of mirroring pools and 
 lagoons, where, should there be no wind, 
 the reflected image makes as perfect a 
 picture as the mist-enshrouded 
 original. 
 
 [24]
 
 PALACE OF HORTICULTURE 
 THE DOME AND EAST ENTRANCE 
 
 The huge dome, constructed almost entirely 
 of glass, upon a framework of steel, is the 
 prdminent feature of the Palace of Horti- 
 culture. It is French Renaissance, in- 
 fluenced by Byzantine, and its proportions 
 (it is one hundred and fifty-two feet in dia- 
 meter and one hundred and eighty-two feet 
 high) are almost perfect. The spires and 
 porticos, the colonnades and entrances are 
 replete with rococo decorations. There are 
 garlands of girls used in the friezes at the 
 base of the minarets, caryatides repeated in 
 the vestibules, and everywhere a wealth of 
 ornamentation suggestive of a bountiful 
 harvest. The brilliancy of design is height- 
 ened by the color scheme of green and ivory 
 used upon the lattice work and travertine 
 material. Messrs. Bakewell and Brown 
 of San Francisco are the architects. 
 
 [26]
 
 PALACE OF HORTICULTURE 
 DOME AND SPIRES BY NIGHT 
 
 At night, when the powerful searchlights 
 within the dome are played upon the trans- 
 lucent glass, the effect is magical, the re- 
 flections weirdly changing in color and shape. 
 The rich details of the decorations are 
 softened in the night light. The slender 
 shafts of the obelisks accentuate the vast 
 proportions of the dome. Even the rare 
 color combinations, which add so much to 
 the appearance of the Palace of Horticul- 
 ture by day, are scarcely dimmed beneath 
 the artificial lighting. Minarets and sculp- 
 tured friezes and the floral designs so abund- 
 antly used in the decoration are seen in 
 fairy-like grace. 
 
 Of this beautiful building Mr. Edwin Mark- 
 ham has written: "I looked at the dome of 
 the Palace of Horticulture and saw strange 
 colors at play within its dark green depths. 
 Circles and clefts of blue and red and green 
 shifted, faded and returned like hues within 
 a fiery and living opal. It was the workshop 
 of a maker of moons, who cast his 
 globes aloft in trial flights." 
 
 [28
 
 PALACE OF HORTICULTURE 
 THE COLONNADE ON THE EAST 
 
 The caryatides, which are placed in pairs 
 along the corridors of the Palace of Horti- 
 culture, were designed by John Bateman of 
 New York. The balustrades, together with 
 the ornamentations of garlands of fruits and 
 flowers, convey the joyous note of a carnival. 
 The ceiling of the porches is studded with 
 domes, grilled with green latticework. From 
 the center of these airy skylights are sus- 
 pended lamps which, by night, convert 
 the corridors into brilliantly 
 lighted promenades. 
 
 30]
 
 HORTICULTURAL GARDENS 
 FLORAL EXHIBIT IN THE OPEN 
 
 The Horticultural Gardens, lying south and 
 west of the Palace of Horticulture, are, in 
 reality, exhibit gardens, where much of the 
 display belonging to the Palace itself is 
 placed. While the decorative quality is 
 here less emphasized than the more educa- 
 tional and technical phases of horticulture, 
 the gardens are at all times lovely with 
 a luxuriance of bloom and with the effective 
 massing of trees and shrubs. 
 The display covers an area of eight acres, 
 and experienced gardeners have united to 
 develop the flora exhibited to a high degree 
 of perfection. The Netherlands Gardens, 
 the Rose Garden, with its International 
 Rose Contest, the California Garden and 
 others have contributed a perpetual rotation 
 of flowering plants and shrubs in great 
 variety and with a profusion of brilliant color. 
 In the Forestry Court adjoining, Bernard 
 Maybeck, the architect of the Palace of 
 Fine Arts, has built a lumbermen's lodge of 
 massive, rough-barked, redwood logs, but 
 of the same charm of design and harmonious 
 beauty of proportion which charac- 
 terize his greater work. 
 
 [32]
 
 AVENUE OF PALMS 
 VIEW FROM ADMINISTRATION AVENUE 
 
 Looking down the Avenue of Palms from 
 Administration Avenue, a delightful picture 
 is presented. Double rows of palms bor- 
 der either side of the Avenue, with ferns, 
 and blossoming nasturtiums and geraniums 
 planted directly in the interstices of the 
 roughened trunks. The walls of the palaces 
 are embowered in eucalyptus, acacia and 
 cypress trees. Add to this the effect of 
 gaily decorated flagpoles, with pennants and 
 banners afloat in the breeze, and the half- 
 mile boulevard is exhilarating to behold. 
 Many of the shrubs and trees are common 
 to all the palaces, but each building has been 
 alloted a different collection of flowers and 
 foliage-plants to add a distinctive color tone 
 to the facade. When one examines the 
 general sweep of the palace walls facing the 
 Avenue, certain architectural units are 
 noticed. Centering each building is a low 
 dome of Byzantine design, with green roof 
 and warm pink sides. On the corners 
 smaller domes break the monotony of 
 straight lines. The Tower of Jewels and the 
 four Italian Towers complete the 
 inspiring "walled-city" effect. 
 
 34
 
 PALACE OF EDUCATION 
 MAIN SOUTH PORTAL 
 
 The Palace of Education forms the south- 
 west unit of the main group of buildings and 
 fronts on the Avenue of Palms and Admin- 
 istration Avenue. To W. B. Faville of San 
 Francisco was entrusted the entire exterior 
 wall which unites in one immense rectangle 
 the eight palaces of the main group. A 
 plain cornice, edged with tiles, binds the 
 upper rim throughout. With great sim- 
 plicity and restraint, the wall spaces are 
 kept bare of ornament, depending for relief 
 on carefully spaced portals, niches and wall 
 fountains. 
 
 The south facade of the Palace of Education 
 is broken by three beautiful doorways, of 
 which the central is the largest and most 
 richly decorated. The distinctive feature 
 of the main portal is the tympanum in relief 
 by Gustav Gerlach of New York, which 
 pictures the various stages of education from 
 the mother in the home, through the adoles- 
 cent period, to maturity, when the student 
 is self-taught. Below is the book of knowl- 
 edge, the curtains of darkness drawn back 
 that the light may radiate from its open 
 pages. Above the portal's curve is a globe, 
 typifying the world-wide scope of 
 the exhibit within. 
 
 [36
 
 PALACE OF EDUCATION 
 ONE OF THE MINOR ENTRANCES 
 
 The main portal of the Palace of Education 
 is flanked on either side by a smaller entrance 
 partaking of the same beauty of design, 
 along slightly simpler lines, so that, while 
 preserving a distinct individuality, these 
 minor entrances enhance and enrich the 
 main doorway and the three form a unit in 
 their decorative treatment. The style is 
 Spanish Renaissance, inspired by ancient 
 models, and modified by Byzantine in- 
 fluences. All three show the twisted Byzan- 
 tine column, those of the main entrance 
 being more ornate. The flat, sculptured 
 panels in relief above the smaller portals, by 
 Charles Peters and Cesare Stea, respectively, 
 both deal with educational subjects. The 
 classic vases on either side of the entrances 
 add grace and dignity, while the latticed 
 doorways, used throughout the Exposition 
 architecture, here effectively emphasize the 
 Moorish note. The planting of trees and 
 shrubs is nowhere happier than about these 
 doorways, with the rose and mauve and 
 smoke tones of the fresh eucalyptus growth 
 against the ivory-tinted wall and the pro- 
 fusion of flowers and shrubs 
 massed below. 
 
 38
 

 
 COURT OF PALMS 
 THE SUNKEN POOL BY NIGHT 
 
 Of the five chief courts of the main archi- 
 tectural ensemble, the two minor courts, the 
 Court of Palms and the Court of Flowers, 
 while lacking the more imposing size, dignity 
 and symbolism of the three interior courts, 
 largely compensate by their sense of inti- 
 macy, warmth and quiet charm. With 
 their sheltered location and sunny atmos- 
 phere, due to southern exposure, and with 
 the enchantment of architecture, sculpture, 
 painting, color and landscape effects with 
 which they are richly endowed, they are 
 not only joyous and satisfying, but restful 
 in an unusual combination and degree. 
 Both courts were designed by George W. 
 Kelham of San Francisco. 
 The Court of Palms lies between the Palace 
 of Education and the Palace of Liberal Arts; 
 enclosed on the third or north side by the 
 Court of the Four Seasons, it is open on its 
 southern exposure to the Avenue of Palms 
 and the Palace of Horticulture which lies 
 directly opposite. It is a long oval in shape, 
 its proportions well balanced, and its effect 
 of dignity and quiet accented by the two 
 sunken pools and the effective planting 
 of palms from which the court 
 takes its name. 
 
 [40]
 
 <\
 
 COURT OF PALMS 
 PORTAL, PALACE OF EDUCATION 
 
 In architecture, the Court of Palms is Italian 
 Renaissance. The entire length of its oval 
 is encircled by a colonnade, pierced by three 
 deep portals which are identical in treat- 
 ment and which are especially fine examples 
 of the Roman arch. Their dignity is en- 
 hanced by the Italian cypresses which flank 
 them on either side. The portals open 
 respectively into the Palace of Education on 
 the west, the Palace of Liberal Arts on the 
 east and the Court of the Four Seasons on 
 the north. The colonnade is bordered by mas- 
 sive Ionic columns of smoked ivory, which 
 in the entrances deepen into Sienna marble. 
 The plain cornice which characterizes the 
 outer walls of the exhibit palaces here takes 
 on a richer ornamentation to conform to 
 the ornate treatment of the : ourt, while it 
 retains the parapet of red Spanish tiles 
 above. Between the cornice and the col- 
 umns is a wide and richly decorated attic 
 or frieze where much of the detail and color 
 which help to make the charm of the 
 Court are massed. 
 
 [42]

 
 COURT OF PALMS 
 PORTAL, PALACE OF LIBERAL ARTS 
 
 The sympathy between architect, sculptor 
 and colorist is nowhere shown to better 
 advantage than in the richly decorated 
 frieze surrounding the Court of Palms. 
 Panels of veined marble in browns and pinks, 
 deepening through rose tints to red, are 
 bordered by festoons and garlands of fruit 
 and flowers in varied shadings of blue and 
 pink. Separating the panels are caryatides, 
 flushed pink, with long, pointed, folded 
 wings. They were designed by A. Stirling 
 Calder and John Bateman, while the 
 spandrels over the curve of the portals are 
 the work of Albert Weinert, as are also the 
 graceful, classic vases on either side of the 
 entrances, the latter banded in low relief by 
 dancing bacchanalian figures, while grinning 
 satyr heads finish the curved handles. In 
 the arch of the doorways, are three fine 
 mural paintings, harmonizing in subject and 
 coloring with the spirit of the Court "Fruit 
 and Flowers," by Childe Hassam, on the 
 west, "The Pursuit of Pleasure," by Charles 
 Holloway, on the east and "The Victorious 
 Spirit," by Arthur F. Mathews, 
 on the north. 
 
 44
 
 COURT OF PALMS 
 ITALIAN TOWER FROM MAIN PORTAL 
 
 Terminating the colonnade at either side of 
 the entrance to the Court from the Avenue 
 of Palms stand the Italian Towers, dis- 
 tinguished by their grace of line and pro- 
 portion and their skill in the use of the 
 purest architectural forms of the Renais- 
 sance, no less than by the charming manipu- 
 lation of color and ornament. By their 
 slenderness and by simplicity of treatment 
 they produce an effect of great height. They 
 were inspired by the Geralda Tower of 
 Seville. The deep-toned columns of Sienna 
 marble used in the three Italian Portals also 
 enrich the entrance to the towers. The 
 prevailing pink and blue color tones which 
 dominate the court are delightfully accent- 
 uated in the diaper pattern decorating the 
 rectangular wall spaces of the main portion 
 of the towers. The upper design, repeated 
 in each of the four corners, is modeled after 
 the Choragic Monument of Lysicrates in 
 Athens. The winged figure, "The Fairy," 
 lightly and gracefully poised upon the top- 
 most pinnacle, is by Carl Gruppe. 
 
 [46]
 
 COURT OF PALMS 
 IN THE COLONNADE BY NIGHT 
 
 The illustration shows the colonnade which 
 encircles the entire oval of the Court. The 
 bordering columns are Roman Ionic in dull 
 smoked ivory. The general wall tone is the 
 same, with panels of soft pink between the 
 pilasters. The vaulted ceiling is blue. The 
 plants between the columns are acacias, 
 clipped to ball form. The swinging lamps 
 are from old Roman models in pink and 
 verde green. Classic figures are modeled 
 in low relief above the arched openings. 
 Looking north through the Court of the 
 Four Seasons, with its long north colonnade, 
 is a superb vista across the wide blue waters 
 of the bay to the sweeping hills beyond. At 
 the entrance to the court stands the only 
 piece of sculpture not identified with the 
 architectural treatment, "The End of the 
 Trail," by James Earl Fraser, one of the 
 strongest statues on the grounds and 
 perhaps the most popular. 
 
 [48
 
 COURT OF PALMS 
 A CURVE IN THE COLONNADE 
 
 The careful details of the palaces and 
 courts the minute finishing of cornice, 
 column, frieze and vault, the loving model- 
 ing of sculpture, the artistic planning of 
 vistas, the inspired brushing of murals are 
 marvelous beyond my telling. It is an out- 
 pouring of the arts before the altar of 
 humanity. It is a presage of what men can 
 do when they unite ,in common service. 
 The Exposition has taken a Titan stride 
 toward this unified action for a common 
 purpose. The artists have bent to one 
 perfect expression, like the strings and 
 brasses of an orchestra. Self was submerged 
 in a composite achievement, not obliterating 
 individuality but leaving it latitude to har- 
 monize with others. The result is not the 
 stenciling of a leader's mannerisms, but a 
 blend of diverse and varied characteristics, 
 an interweaving of sympathies, of sponta- 
 neous and ordered impressions. Here is an 
 object lesson in the cooperative idea that 
 will not be lost upon the world the idea of 
 a transcendent result obtained by a unity of 
 noble efforts, a result that no massing of 
 individual attempts could have achieved. 
 Edwin Mark ham 
 
 [50]
 
 PALACE OF LIBERAL ARTS 
 PORTAL, FROM THE SOUTH GARDENS 
 
 West of the Tower of Jewels is the Palace 
 of Liberal Arts, balancing in architectural 
 design and embellishment the Palace of 
 Manufactures, which lies directly east of the 
 tower. The niches, entrances and main 
 portals of the two buildings are identical. 
 Both were designed by W. B. Faville of 
 San Francisco. 
 
 Like all the buildings of the main group, the 
 decorative treatment is largely massed in 
 the great doorway, which is distinctly 
 Renaissance in architecture, Spanish in 
 general treatment, but Roman in the mas- 
 sive dignity of the square, deeply-arched 
 portal. Its style is adapted from ancient 
 models. The coloring within the arch and 
 in the overlaid ornament around and above 
 it is a warm pink, effectively combined with 
 turquoise blue and orange. The lace fan, 
 of Moorish workmanship, above the doors, 
 is especially beautiful in its delicate coloring 
 and fragile texture and in the touch of light- 
 ness that it gives. The pilasters on either 
 side of the entrance are Corinthian. The 
 long frieze above the doorway and the fig- 
 ures in the niches on either side are by 
 Mahonri Young of Salt Lake City. 
 
 [52]
 
 PALACE OF LIBERAL ARTS 
 THE TOWER OF JEWELS BY NIGHT 
 
 Either by day or by night, the Tower of 
 Jewels is the dominating center of the Expo- 
 sition, epitomizing not only its entire mean- 
 ing and message, but summarizing in detail 
 its architectural development. In the main 
 it follows the Italian Renaissance, with 
 emphasis upon the Greek and Roman ele- 
 ments, while in the ornament it employs 
 many Byzantine features. 
 The Tower is built in seven stages, rising 
 tier on tier, the base a magnificent Roman 
 arch, with colonnaded courts flanking it on 
 either side. The Corinthian columns of the 
 colonnades are ochre and on each side of the 
 archway, they are of Sienna marble. The 
 sculptured figures by John Flanagan, crown- 
 ing the columns above the arch, represent in 
 four successive types the men who made 
 Western America-the adventurer, the priest, 
 the philosopher, the soldier. They are repeat- 
 ed on each face of the Tower, the "Armored 
 Horseman" by Tonetti, on the terrace above, 
 being repeated four times on each side. The 
 forms used in the decorative sculpture the 
 eagle, the wreath, the ship's prow, the 
 various emblems of war all symbolize 
 victory and achievement. 
 
 54]
 
 PALACE OF LIBERAL ARTS 
 ELEPHANT FOUNTAIN NICHE BY NIGHT 
 
 The ornamental fountain alcoves placed at 
 intervals are important decorative features 
 of the south walls. The shrubbery has been 
 so grouped about the niches that the details 
 of the fountains are partially screened. 
 Upon closer investigation, one finds an 
 elephant's head as the central object in one 
 niche, alternating with a lion throughout 
 the series. They set snugly against the 
 pink panel just over the flaring basin of 
 travertine wherein the water trickles. 
 At night, these niches are flecked with 
 shadows cast by the surrounding trees. 
 Electric lights, concealed beneath the water, 
 shed a warm glow upon the head of the 
 elephant in its frame of sculptured half 
 columns. These fountain niches, designed 
 by W. B. Faville, are in the same Spanish 
 style of architecture which characterizes 
 the entire south facade of 
 the palaces. 
 
 [56
 
 THE TOWER OF JEWELS 
 THE GREAT ROMAN ARCHWAY 
 
 Midway on the south face of the Tower of 
 
 Jewels are inserted four commemorative 
 
 tablets. The inscription on the panel at 
 
 the left end of the colonnade reads as follows: 
 
 1501 Rodrigo de Bastides pursuing his 
 course beyond the West Indies dis- 
 covers Panama. 
 
 The Panel at the left of the central arch 
 
 reads: 
 
 /5/j Vasco Nunez de Balboa crosses the 
 Isthmus of Panama and discovers the 
 Pacific Ocean. 
 
 At the right of the central arch the panel 
 
 reads: 
 
 1904 The United States succeeding France 
 begins operations on the Panama Canal. 
 
 The Panel at the right end of the colonnade 
 
 is inscribed: 
 
 The Panama Canal is opened to the 
 commerce of the world. 
 
 [58
 
 THE TOWER OF JEWELS 
 COLONNADE, THE FOUNTAIN OF YOUTH 
 
 Beyond the colonnades and the great Roman 
 
 arch, on the north face of the Tower of 
 
 Jewels as it faces the Court of the Universe, 
 \ are four commemorative tablets similar to 
 
 those found on the south side. The panel 
 
 at the left end of the colonnade is inscribed: 
 
 1542 Juan Rodriguez Cabrillo discovers 
 California and lands on its shores. 
 
 The Panel at the left of the central arch 
 
 reads: 
 
 1776 Jose Joaquin Moraga founds the Mis- 
 sion of San Francisco de Asis. 
 
 At the right of the central arch the panel 
 
 reads: 
 
 184.6 The United States upon the outbreak of 
 war with Mexico takes possession of 
 California. 
 
 The Panel at the right end of the colonnade 
 
 is inscribed: 
 
 1850 California is admitted to the Union as 
 a sovereign State. 
 
 60
 
 PALACE OF MANUFACTURES 
 PORTAL, FROM THE SOUTH GARDENS 
 
 The Palace of Manufactures lies directly 
 east of the Tower of Jewels and fronts on 
 the Avenue of Palms. In architectural 
 design, it duplicates the Palace of Liberal 
 Arts, the repetition giving strength and 
 simplicity to the entire south facade. The 
 dignified main portal is flanked on either 
 side by two minor entrances, similarly con- 
 ceived and ornamented, the lattice work 
 within the archways relieving the solidity 
 of the design. 
 
 The composition of the Byzantine dome, 
 with its tier of latticed windows, the 
 "Victory"-tipped gable, the tiled slope above 
 the arch, the bare wall spaces and the richly 
 ornamented doorway, as seen from the 
 South Gardens, illustrates the general con- 
 struction of the main group of buildings. 
 The dome gives height and decorative effect, 
 the "Winged Victory" lightness and grace. 
 The latter figure, which is repeated on the 
 acroteria, as the gable platforms are called, 
 of all the palaces of the main group, is by 
 Louis Ulrich of New York. It bears, out- 
 stretched, a wreath which suggests the 
 crown bestowed for work well done. 
 
 [62
 
 COURT OF FLOWERS 
 FOUNTAIN, BEAUTY AND THE BEAST 
 
 Between the Palace of Mines and the Palace 
 of Varied Industries lies the Court of Flowers, 
 enclosed on the third or north side by the 
 Court of Ages and open on its southern expo- 
 sure to the Avenue of Palms and to Festi- 
 val Hall, which lies directly opposite. In 
 its shape, a long oval, and in its location it 
 is the eastern prototype of the Court of 
 Palms, which breaks the wall of the main 
 group of buildings toward its western end. 
 Like that, it was designed by George W. 
 Kelham of San Francisco. 
 Both Courts are rich examples of the Italian 
 Renaissance, with traces of Byzantine in- 
 fluence, and while a superficial view might 
 pronounce them almost identical, a further 
 study reveals marked individuality in con- 
 ception and development. In each, the note 
 of emphasis and the tempermental appeal 
 are entirely distinct. The Court of Palms 
 is simpler, more dignified, more conven- 
 tional. The Court of Flowers is richer in 
 ornament and suggestion, more softly bril- 
 liant in atmosphere. The prevailing color 
 is yellow relieved by pink. 
 
 64
 
 COURT OF FLOWERS 
 PORTAL OF VARIED INDUSTRIES 
 
 In the Court of Flowers, the colonnade 
 encircling the entire length of its oval is 
 bordered by Corinthian columns arranged in 
 pairs. The smoked-ivory tone is used 
 throughout, except in the portals, where 
 Sienna marble gives a deep note of color. 
 The highly ornamental floral light-standards 
 between the columns occur elsewhere 
 throughout the court. The cornice is edged 
 with red Spanish tiles and above the colon- 
 nade runs a richly decorated loggia that, 
 with its suggestion of southern influences, 
 enhances the warm, sunny atmosphere of 
 the court. The repeated figure of the 
 flower-decked and garlanded "Flower Girl" 
 is by A. Stirling Calder. A conventional- 
 ized frieze in delicately colored arabesque 
 runs between the balcony and the columns, 
 the prevailing motif of which is the griffin. 
 The colonnade is broken by three portals, 
 opening respectively into the Palace of 
 Manufactures on the west, the Palace of 
 Varied Industries on the east and the Court 
 of Ages on the north. These entrances, 
 while they do not interrupt the colonnade 
 below, as is the case in the Court of Palms, 
 are made the keystones of the ornament of 
 the upper balcony, where the triple arches, 
 with their decorative treatment, furnish 
 an effective break in the loggia. 
 
 [66]
 
 COURT OF FLOWERS 
 A VISTA IN THE COLONNADE 
 
 The coupled Corinthian columns are of 
 smoked ivory. The background of the wall- 
 spaces is the same, but between the pilasters, 
 occur panels of warm pink. The pilasters 
 are in pairs to harmonize with the pillars 
 bordering the colonnade. In the portals 
 swing Roman lamps in dull blue-green. The 
 heavy bronze lanterns, suspended from the 
 deep-toned cream ceiling of the corridors, 
 are Italian in design. At night, they are 
 illumined by a soft, red glow, while the light 
 from the standards between the columns and 
 through the latticed doors of the entrances 
 of the palaces is pale gold. There is no 
 direct lighting in the court, the only other 
 illumination being the deep red diffusive 
 glow which brightens the Italian towers 
 from within, so that the warm, bright 
 charm pervading the Court by day, gives 
 way at night to a sense of seclusion and 
 intimacy that makes a poetic 
 appeal equally strong. 
 
 68
 
 COURT OF FLOWERS 
 ITALIAN TOWER FROM COLONNADE 
 
 The four Italian Towers, equally distant 
 from the Tower of Jewels, two on either 
 side, furnish the chief elements in the fine 
 sense of balance and proportion of the south 
 facade of the main group of palaces. Occur- 
 ing in pairs at the entrances of the Court of 
 Palms and the Court of Flowers and em- 
 ploying the same architectural elements and 
 decoration, they show a pleasing variety in 
 detail. The towers of the Court of Flowers 
 have more of simplicity in design and give 
 an even greater impression of height by the 
 arrangement of columns. The same fairy 
 by Carl Gruppe crowns all four towers, and 
 helps to give the name of "the fairy courts" 
 by which they are sometimes called. By 
 the original design these two courts were to 
 embody the fairy lore of the Occident and 
 of the Orient, and the Court of Flowers, 
 with the magic of its golden blossoms and 
 its friendly beasts, enters far into the 
 conception. 
 
 70]
 
 COURT OF FLOWERS 
 THE FRIENDLY LION AT THE PORTAL 
 
 With all its loveliness of detail and witchery 
 of color, the prevailing charm of the Court 
 of Flowers, true to its name, lies in the 
 effective planting of flowers and shrubs. 
 The main path through the Court is bordered 
 on either side by spreading lophantha trees, 
 trimmed four feet from the ground and 
 branching to a diameter of five feet in 
 delicate, lacy foliage. Masses of flowers in 
 the pervading luxuriant color-tone carpet 
 the whole court with gold, while banks of 
 green fill the corners and outline the borders. 
 The six "Friendly Lions" with their con- 
 ventionalized garlands, by Albert Laessle of 
 Philadelphia, guard the three entrances, one 
 on either side. "Beauty and the Beast," 
 the central fountain which dominates the 
 Court, is by Edgar Walters of San Francisco. 
 The basin is upheld by four alternating 
 fauns and satyrs and about the base of the 
 fountain is a procession of beasts in low 
 relief. The statue of "The Pioneer" by Solon 
 Borglum, which stands at the entrance of 
 the Court, while it bears no relation to the 
 symbolism of the Court itself, is a companion 
 to "The End of the Trail" which occupies 
 the same position before the Court 
 of Palms. 
 
 [72]
 
 PALACE OF VARIED INDUSTRIES 
 MAIN PORTAL 
 
 The central portal on the south facade of 
 the Palace of Varied Industries is by many 
 considered the finest doorway at the Expo- 
 sition. It is a copy of the Hospital of Santa 
 Cruz at Toledo, done in the Spanish Renais- 
 sance, of a style known as the plateresque. 
 The rich appearance has the effect of being 
 exquisitely chiselled with scroll-like finish, 
 reminding one of the workmanship of a 
 silversmith. 
 
 The sculptured ornamentations of the portal 
 are the work of Ralph Stackpole. He is 
 most fortunate in his treatment of the in- 
 dustrial types. The relief panel in the 
 tympanum represents the industries of 
 Spinning, Building, Agriculture, Manual 
 Labor and Commerce. 
 
 "The Man with the Pick," seen on the side 
 
 brackets, is a freely modeled statue, also 
 
 appearing upon the portal of the Palace of 
 
 Manufactures. The keystone figure typifies 
 
 the Laborer, who is capable of relying on his 
 
 brain. The upper group represents Age 
 
 transferring his burden to Youth. 
 
 [74]
 
 AVENUE OF PALMS 
 THE SOUTH FACADE BY NIGHT 
 
 Facing the Avenue of Palms is the stupend- 
 ous wall formed by the Palaces of Varied 
 Industries, Manufactures, Liberal Arts and 
 Education. This long and imposing bul- 
 wark is over-topped by the great Tower of 
 Jewels and the two pair of Italian Towers. 
 The walls of the palaces, ivory-tinted and 
 shadowed by palms, eucalypti and myriad 
 shrubs, assume a new and more wonderful 
 aspect under the batteries of the search- 
 lights. The towers stand out against the 
 night sky, glowing with the hidden lights 
 like living coals, changing to pastel tints of 
 blue and green, most beautiful of all when 
 the reflectors convert them into shafts of 
 white. The lamps along the Avenue punctu- 
 ate the dark masses of foliage, and the con- 
 trasting high lights on towers and domes 
 make an artificial illumination that for 
 sheer beauty has never been equalled. 
 
 [76]
 
 AVENUE OF PROGRESS 
 THE FINE VISTA TO THE MARINA 
 
 Spaciousness characterizes the Avenue of 
 Progress, not only in its breadth but in its 
 sweeping length. From the Fillmore Street 
 entrance, which opens directly upon the 
 Avenue, it appears to extend across the bay 
 and on to the hills beyond. The Service 
 Building is upon the left and from the 
 opposite side comes the fanfare of the "Joy 
 Zone." The Palace of Machinery is on the 
 eastern side of the Avenue, and on the west 
 are the Palaces of Varied Industries and 
 Mines. 
 
 The landscape gardening is here most suc- 
 cessfully carried out. Dracena indivisa, a 
 species of palm, are planted at short inter- 
 vals throughout the length of the boulevard. 
 Against the dull buff of the palace walls 
 are banked Monterey cypress and Lawson 
 cypress, with a heavy under-growth of fir 
 and spruce. The attractive lawns add a 
 touch of formality to the impressive Avenue. 
 Whatever effect of newness might have 
 appeared in the walls of the great palaces is 
 mellowed by Guerin's colors and there is a 
 splendid atmosphere of enduring solidity, 
 softened by the picturesque gardens. 
 
 [78]

 
 MACHINERY HALL 
 THE CENTRAL ARCH IN THE PORTAL 
 
 The Palace of Machinery extends for nearly 
 one thousand feet along the Avenue of Prog- 
 ress. Its main entrance, facing the west, 
 is composed of three splendid arches, set off 
 by free-standing columns, which resemble 
 weather-stained shafts of Sienna marble and 
 are the pedestals for the sculptured figures 
 representing the powers of "Invention," 
 "Electricity," "Imagination" and "Steam." 
 On the inner facade of the arches are grills 
 of amber glass, forming a strong background 
 for the decorative friezes and sculptured 
 eagles, the latter being symbols which pre- 
 dominate throughout the Exposition. Dwarf 
 cedars serve to magnify, by comparison, the 
 gigantic dimensions of this entrance. Daniel 
 Chester French's commanding statue, "The 
 Genius of Creation," occupies a promi- 
 nent place before the central arch. 
 
 [80
 
 MACHINERY HALL 
 THE COLONNADE IN THE PORTAL 
 
 The dimensions of the main entrance to 
 Machinery Hall are in keeping with the size 
 of the building, which is the largest wooden 
 framed structure in the world. Architectur- 
 ally the style is after the ancient Roman, 
 the motif being supplied by studies of the 
 baths of Caracalla. The decorative designs 
 in the vestibule are sculptured figures and 
 accompanying insignia typifying the manu- 
 facture and use of machinery by man. The 
 relief figures of the spandrels are forcefully 
 executed. About the base of the pillars are 
 friezes, symbolic of mechanical invention. 
 These relief designs are the work of Haig 
 Patigian of San Francisco. 
 This great archway is one of the most inter- 
 esting achievements, from an architectural 
 standpoint, to be found at the Exposition. 
 The space covered is large, yet so cleverly 
 handled that no bareness is suggested. The 
 coloring within the vestibule is in shades of 
 blue, and the massive pillars supporting 
 the three arches are toned in 
 rich terra cotta. 
 
 [82]
 
 MACHINERY HALL 
 ONE OF THE MINOR ENTRANCES 
 
 Flanked by Corinthian columns which re- 
 flect, in smaller size, the great pillars of the 
 main entrance, four minor doorways break 
 the long western wall of the Palace of 
 Machinery on either side of the central 
 entrance, the architectural and sculptural 
 design in them being similar to that of the 
 main portal. The frieze in low relief, en- 
 circling the bases of the columns and repre- 
 senting the genii of mechanics, is repeated 
 from the larger entrance, as are also the 
 figures in the spandrels, typifying the 
 application of power to machinery. 
 The color treatment of these doorways is 
 especially brilliant. The Corinthian col- 
 umns simulate Sienna marble. The back- 
 ground in the spandrels is stained a rich 
 orange. The shell canopy, as in other 
 panels where it is used throughout the Expo- 
 sition, is in cerulean blue, the wall space 
 beneath it is a deep pink, while the door is 
 the customary green. 
 
 The landscape planting along the entire wall 
 is superb. Against the ivory-tinted back- 
 ground, various species of evergreens are 
 grouped with consummate skill. 
 
 [84]
 
 PALACE OF MINES 
 A LAMP NICHE IN THE COURT 
 
 The Court of Mines, opening directly across 
 from the main portal of Machinery Hall, is 
 the entrance to the inner courts from the 
 Avenue of Progress. The effective massing 
 of the shrubbery is enlivened by the gay 
 banners and streamers, designed by Jules 
 Guerin, which are one of the most stimulat- 
 ing decorative features of the Exposition. 
 The walls on either side are broken by the 
 entrance portals to the buildings, done in 
 Italian Renaissance style. Their distinc- 
 tive features are the niches on either side of 
 the entrances, in which are placed vigorous 
 figures, designed by Albert Weinert, and the 
 ornamental lamps below. The court is 
 illuminated at night by concealed light 
 thrown on the walls from reflectors in the 
 forms of interesting green shells resting 
 on shapely standards. 
 
 86]
 
 COURT OF AGES 
 THE TOWER BY NIGHT ILLUMINATION 
 
 The Court of Ages was designed by Louis 
 Christian Mullgardt of San Francisco. Of 
 all the Exposition courts it is the most 
 original and imaginative in conception, the 
 most complete in its organic, structural 
 unity, the richest in ornament, in poetic 
 suggestion, in the depth and dramatic appeal 
 of its symbolism. 
 
 The Court suggests many architectural 
 periods and types, yet eludes classification 
 under any one of them. The Gothic clearly 
 predominates, with traces of English, Span- 
 ish, and Portuguese elements. With further 
 hint of Romanesque, of Moorish and of 
 French influence, these varying elements 
 have been so fused in the imagination of the 
 architect that the resultant creation is inde- 
 pendent of all of them in its daring, yet 
 restrained, originality. In the magnificent 
 square tower at the center of its northern 
 end, all the beauty and spiritual import of 
 the Court culminate. Its aspiring length of 
 line, unbroken from base to summit, gives 
 poise and uplift, the broad, plain surfaces 
 give nobility and strength and the exquisite 
 richness and delicacy of the ornament give 
 lightness and grace, while the sculpture 
 blends and crowns the deep pervading 
 symbolism of the Court. 
 
 [88]
 
 COURT OF AGES 
 THE FOUNTAIN OF EARTH 
 
 While it is possible to find keen enjoyment 
 in the Court of Ages for its delicate beauty 
 and exquisite refinement alone, even the 
 slightest study of its architectural and 
 sculptural detail reveals a depth of under- 
 lying purpose and meaning that invites 
 further analysis. The architect calls it "an 
 historical expression of the successive ages 
 of the world's growth." He suggests four 
 stages: the nebulous world, symbolized by 
 the central fountain, in which Robert Aitken 
 of San Francisco has worked out a stupend- 
 ous study of primeval passions. Out of 
 chaos, come the elemental forces, Water, 
 Land and Light. The braziers and caul- 
 drons symbolize Fire. The two sentinel 
 columns, flanking the tower on either side, 
 are Earth and Air. The eight paintings by 
 Frank Brangwyn of London, in the corridors, 
 in great richness of color depict Earth, Air, 
 Fire and Water. Thus the first state is 
 indicated. 
 
 The second stage is symbolized by the 
 
 decorative motifs employed on the arcade 
 
 surrounding the court, where on piers, 
 
 arches, reeds and columns, in marvelously 
 
 wrought sculptural ornament, is shown the 
 
 transition from plant to animal life through 
 
 kelp, crab, lobster and other sea 
 
 animals and shell motifs. 
 
 [90]
 
 COURT OF AGES 
 THE GARDEN OF HYACINTHS 
 
 Following the symbolism of the Court of 
 Ages through the first nebulous period of 
 the world's growth, through the second, 
 which shows the transition in successive 
 forms of sea-plant life, the third period is 
 reached where are illustrated the earliest 
 forms of human, animal, reptile and bird 
 life prevailing in the stone age. This age is 
 indicated, in the court, by the prehistoric 
 figures surmounting the piers of the arcade 
 and by the first sculptured group over the 
 entrance to the tower. The repeated arcade 
 figures, which were designed by Albert 
 Weinert, represent alternately Primitive 
 Man and Primitive Woman. 
 The perfection of the landscape planting and 
 the skill with which it subtly accentuates 
 the meaning of architecture and sculpture 
 are worthy of study. In the background, 
 close against the piers of the arcade, tall, 
 slender Italian cypresses emphasize their 
 rhythmic length of line. Amid a growth of 
 tropical luxuriance stand glossy-leaved 
 orange trees laden with fragrant blossoms 
 and golden fruit. Balled acacias in formal 
 rows outline the paths, while a succession of 
 plantings has given a varying color scheme 
 and a new perfume to each season. 
 
 [92]
 
 COURT OF AGES 
 A GLIMPSE FROM THE COLONNADE 
 
 The Court of Ages is the only one of the 
 Exposition courts which is entirely inde- 
 pendent of outside influences. The other 
 courts derive breadth of appeal from the fine 
 vistas through arched gateways or along 
 dignified colonnades. The Court of Ages 
 is shut in upon itself by the arcaded and 
 vaulted ambulatory which extends continu- 
 ously around its four sides, and by this 
 cloistered effect, its individual impression 
 is deepened and intensified. 
 Through the lovely rounded arches of this 
 encircling colonnade, which is elevated a few 
 feet, one looks down into the beauty of the 
 court, or out across it to the richly fretted 
 walls. In the curve of each arch, hang 
 two delicately modeled lanterns. 
 
 [94]
 
 COURT OF AGES 
 A VISTA IN THE COLONNADE 
 
 The cloistered effect of the long colonnade 
 surrounding the four sides of the Court of 
 the Ages is deepened by the vaulted ceiling, 
 which, in its Roman simplicity of line, con- 
 trasts effectively with the filigreed exterior 
 of the arcade. 
 
 The only color in the court, aside from a 
 slight use in the tower and the massed luxuri- 
 ance of flowers, is found in the corridors 
 where, between the square pilasters, the 
 prevailing old ivory is stained pink of a 
 deeper tone than in the other courts. The 
 ivory pilasters are carried up into the ceiling 
 in curving, transverse arches, while the band 
 of blue, following their edges, leads to the 
 rich blue depths between them. At the far 
 end of every vista glows the riot of color in 
 the superb murals by Frank Brangwyn. 
 The play of sunlight through the succession 
 of rounded arches increases the sense 
 of bright charm. 
 
 [96
 
 COURT OF AGES 
 THE TOWER THROUGH NORTH AISLE 
 
 In the North Court of Ages, leading to 
 the Esplanade, the tower is identical with 
 the main court, and the entire architectural 
 treatment, while simpler, is in the same 
 spirit. Robbed of the complex symbolism 
 by which, in the larger court, the evolution 
 of the lower forms of life is depicted, the 
 higher spiritual lesson is here intensified. 
 The sculptured groups in the tower, by 
 Chester A. Beach of San Francisco, repre- 
 sent the rise of humanity through successive 
 ages of civilization. The conventionalized 
 lily petals decorating the summit of the 
 tower suggest the highest forms of plant life. 
 The delicate lace-like finials, rising from the 
 highest points of court and tower alike, 
 express aspiration. The chanticleers on the 
 finials surrounding the court symbolize the 
 dawn of Christianity. 
 
 The star-like clusters of lights, raised aloft, 
 two in the main court and four in the north 
 court, deepen the ecclesiastical atmosphere 
 by suggesting the golden monstrance em- 
 blematic of the rays of the sun and of the 
 radiating presence of God, and used in the 
 , Catholic Church as a receptacle for 
 the sacred host. 
 
 [98
 
 FLORENTINE COURT 
 PALACE OF TRANSPORTATION 
 
 The Florentine Court and the Venetian 
 Court lie east and west respectively of the 
 Court of the Universe. They are some- 
 times called the Aisles of the Rising and the 
 Setting Sun. While in reality only con- 
 necting avenues, the wealth of careful detail 
 lavished upon them makes of them charm- 
 ing interludes between the larger and more 
 imposing courts, and yet so skilfully do they 
 conform to the general plan that they blend 
 one larger court with another, without ex- 
 pressing a distinct individuality of their own. 
 They were planned by W. B. Faville of San 
 Francisco. While identical in design upon 
 three sides, their adaptation upon the fourth 
 side to the courts which they adjoin, east 
 and west, and the variety in landscape 
 effects, insure against exact duplication. 
 The Florentine Court lies between the Court 
 of Ages and the Court of the Universe, 
 with the Palace of Transportation bounding 
 it on the north and the Palace of Manu- 
 factures on the south. Its eastern wall re- 
 peats the rich decorative treatment of 
 the Court of Ages, which it joins. 
 
 [100
 
 COURT OF THE UNIVERSE 
 THROUGH THREE GREAT ARCHES 
 
 When one stands in the Court of the Four 
 Seasons, facing east, two splendid arches 
 are seen framed by the Eastern Gateway of 
 the Court. The first, across the Venetian 
 Court, is the Arch of the Setting Sun, sur- 
 mounted by its symbolic group of the 
 Nations of the West. Across the vast Court 
 of the Universe, beyond the Fountains of 
 the Rising and the Setting Sun, is the tri- 
 umphal Arch of the Rising Sun surmounted 
 by its symbolic group of the Nations of the 
 East. 
 
 These magnificent modern expressions of the 
 arches erected by the old Romans to com- 
 memorate their triumphs were designed by 
 McKim, Mead and White, the architects of 
 the Court of the Universe, and are richly 
 adorned with sculpture designed by various 
 artists. In the attics are carved appropriate 
 inscriptions selected by Porter Garnett, 
 which will be found on succeeding pages. 
 There is an atmosphere of bigness about the 
 Court of the Universe, created not only by 
 the architectural features, but by the sym- 
 bolism of the final meeting of the Nations of 
 the World, made possible by the com- 
 pletion of the Panama Canal. 
 
 [102]
 
 COURT OF THE UNIVERSE 
 TRIUMPHAL ARCH, THE SETTING SUN 
 
 The magnificent mass of the Western Arch 
 is heightened at night by the effective 
 illumination. Shafts of white light from 
 concealed projectors pick out the sculptured 
 group that surmounts it. The bulk of the 
 arch catches only the rays from minor lamps 
 within the court and upon this shadowy 
 pedestal, the group of the Nations of the 
 West stands out in strong relief. Below, 
 the ceilings of the arch and corridors are 
 brilliant from concealed lights 
 placed within them. 
 
 [104]
 
 COURT OF THE UNIVERSE 
 TRIUMPHAL ARCH, THE RISING SUN 
 
 The triumphal arches which by night gain 
 in majesty and mysterious power, by day 
 have the added beauty of the color manipu- 
 lation and decorative treatment, which is 
 exceedingly rich and varied. 
 The twisted columns of Sienna marble which 
 flank the arch, two on either side, are com- 
 posite, mingling Corinthian and Ionic ele- 
 ments. Each column is crowned with a 
 sculptured figure, representing the "Angel 
 of Peace" by Leo Lentelli. Between the 
 columns, set in a square of deep pink, is a 
 burnt orange medallion, the figures in relief, 
 suggesting Nature and Art, being designed 
 by A. Stirling Calder and B. Bufano. 
 On either side of the curve of the arch, 
 latticed windows in green give a Moorish 
 touch. The figures in the spandrels, repre- 
 senting Pegasus are by Frederick G. R. 
 Roth. A frieze in relief, bands the arch be- 
 neath the inscription, while Cleopatra's 
 needle, four times repeated, gives height and 
 classic emphasis to the crenellated parapet 
 out-lining the summit. The sculptured groups 
 "The Nations of the East" and "The 
 Nations of the West" are the joint work of 
 A. Stirling Calder, Frederick G. R. 
 Roth and Leo Lentelli. 
 
 [106
 
 iti 

 
 COURT OF THE UNIVERSE 
 FOUNTAIN OF THE RISING SUN 
 
 In the eastern portion of the sunken garden 
 is the Fountain of the Rising Sun. The tall, 
 slender shaft, a column of travertine by day 
 and a column of light by night, supports a 
 sphere upon which is poised a statue typify- 
 ing the dawn of day. Adolph A. Weinman 
 is the sculptor of this "Rising Sun" which is 
 so deservedly popular on account of the 
 irresistible appeal of the youthful figure. 
 Everything about the fountain is indicative 
 of the vigor of youth, the energy associated 
 with the rising of the sun. The frieze about 
 the base represents the triumph of light over 
 darkness, and the merry play of waters 
 suggests perpetual activity. The concrete 
 bowl is of goodly proportions and within the 
 pool are sculptured figures representing 
 mythical creatures of the ocean. 
 Bordering the fountain are gardens, at first 
 ablaze with rhododendrons, then massed 
 with the pink blooms of hydrangeas, and 
 later bright with the flowers of each 
 successive season. 
 
 [108]
 
 COURT OF THE UNIVERSE 
 FOUNTAIN OF THE SETTING SUN 
 
 Quite as lovely in every detail as the pre- 
 ceding is the Fountain of the Setting Sun. 
 It is in the opposite portion of the sunken 
 garden where, when the sun is in its descent, 
 it is shadowed by the Triumphal Arch of the 
 Nations of the West. 
 
 Crowning the pillar is the figure of a maid, 
 her drooping wings and languorous pose de- 
 noting relaxation, a suspension of the day's 
 toil. This statue was also modeled by 
 Adolph A. Weinman. The supporting shaft 
 conveys an impression of buoyancy and 
 there are friezes above and below the bowl 
 of the fountain similar to those of the Rising 
 Sun. At night the columns which support 
 these figures are aglow with concealed lights, 
 and the beauty of the fountain 
 is wonderfully enhanced. 
 
 [110]
 
 COURT OF THE UNIVERSE 
 THE FOUNTAIN POOL AND TOWER 
 
 The inscriptions on the two Triumphal 
 Arches in the Court of the Universe are 
 drawn respectively from Occidental and 
 Oriental literature. It was designed that 
 the large central panels possess a cosmical, 
 an epical, or an elemental quality, and that 
 the smaller panels on either side deal with 
 abstractions, such as truth, nature or beauty. 
 In accordance with this plan, the inscrip- 
 tions on the Arch of the Setting Sun facing 
 away from the court are as follows: 
 The panel at the left of the attic, represent- 
 ing Italy, reads 
 
 The world is in its most excellent state when 
 Justice is supreme. Dante. 
 The panel in the center of the attic, repre- 
 senting Germany, is inscribed 
 // is absolutely indispensable for the United 
 States to effect a passage from the Mexican 
 Gulf to the Pacific Ocean; and I am certain 
 that they will do it. Would that I might live 
 to see it but I shall not. Goethe. 
 The panel at the right of the attic, repre- 
 senting France, reads 
 
 The Universe, an infinite sphere, the center 
 everywhere, the circumference, nowhere. 
 Pascal. 
 
 112
 
 COURT OF THE UNIVERSE 
 CORINTHIAN COLONNADE W GARDENS 
 
 The inscriptions on the Arch of the Setting 
 Sun, facing the Court, are as follows : 
 The panel at the left of the attic, represent- 
 ing England, reads 
 
 In nature's infinite book of secrecy a little I 
 can read, Shakespeare. 
 The panel in the center of the attic, repre- 
 senting America, reads 
 Facing west from California's shores, 
 Inquiring, tireless, seeking what is yet unfound, 
 I, a child, very old, over waves 
 Towards the house of maternity, 
 The land of migrations, look afar, 
 Look off the shores of my western sea, 
 The circle almost circled. 
 
 Whitman. 
 
 The panel at the right of the attic, repre- 
 senting Spain, is inscribed 
 Truth, witness of the -past, councillor of the 
 present, guide of the future. Cervantes. 
 
 [114
 
 COURT OF THE UNIVERSE 
 IN THE PROMENADE BY NIGHT 
 
 The inscriptions on the Arch of the Rising 
 Sun, facing the Court, are as follows : 
 The panel at the left of the attic, represent- 
 ing China, is inscribed 
 
 They who know the truth are not equal to those 
 who love it. Confucius. 
 The panel in the center of the attic, repre- 
 senting India, reads 
 The moon sinks yonder in the west, 
 While, in the east, the glorious sun 
 Behind the herald dawn appears. 
 Thus rise and set in constant change those 
 
 shining orbs 
 
 And regulate the very life of this our world. 
 Kalidasa. 
 
 The panel at the right of the attic, repre- 
 senting Japan, reads 
 
 Our eyes and hearts uplifted, seem to gaze on 
 heaven s radiance. Hitomaro. 
 
 [116
 
 COURT OF THE UNIVERSE 
 A NICHE AND URN BY NIGHT 
 
 The inscriptions on the Arch of. the Rising 
 Sun, facing away from the Court, are as 
 follows : 
 
 The panel at the left of the attic, represent- 
 ing Arabia, reads 
 
 He that honors not himself lacks honor where- 
 soe'er he goes. Zuhayr. 
 The panel in the center of the attic, repre- 
 senting Persia, is inscribed 
 The balmy air diffuses health and fragrance, 
 So tempered is the genial glow that we know 
 
 neither heat nor cold. 
 Tulips and hyacinths abound. 
 Fostered by a delicious clime, the earth blooms 
 
 like a garden. Firdausi. 
 The panel at the right of the attic, repre- 
 senting Spain, reads 
 
 A wise man teaches, be not angry; from untrod- 
 den ways turn aside. Phra Ruang. 
 
 118]
 
 PALACE OF TRANSPORTATION 
 IN THE CORINTHIAN COLONNADE 
 
 This promenade, formed by the vast portico 
 of the Palace of Agriculture, is in harmony 
 with the architectural scheme of the Court 
 of the Universe. It is the eastern wall of 
 the aisle leading from the the main court to 
 the Column of Progress. 
 The shafts of the pillars are fluted and 
 capped after the Corinthian order. Terra 
 cotta, mellow in tone, is the color which has 
 been used upon the travertine material of the 
 columns, and the walls flanking the majestic 
 array of pillars are painted a warm pink. 
 The height of the ceiling is intensified by its 
 deep blue, which seems to blend with the 
 azure of the sky, as one glimpses it through 
 the far opening of the corridor. Masked 
 lanterns adorn the arched ceiling; on the col- 
 umns are shell-screened lamps and at night 
 the sweep of the promenade is magnified 
 by the indirect lighting effects. 
 
 [120]
 
 VENETIAN COURT 
 PALACE OF AGRICULTURE 
 
 The great triumphal arches of the Central 
 Court dominate the connecting aisles on 
 either side, the Arch of the Rising Sun form- 
 ing the west side of the Florentine Court and 
 the Arch of the Setting Sun the east side of 
 the Venetian Court. All the splendor and 
 dignity of architectural treatment and decor- 
 ative ornament that enrich the arches as 
 they face toward the Court of the Universe 
 are repeated on the reverse sides. 
 The treatment of the side walls in the Flor- 
 entine and Venetian Courts is identical, dis- 
 playing some of the most delightful features 
 of the Italian Renaissance, with marked 
 richness in the use of both color and orna- 
 ment. The walls are covered with a diaper 
 pattern in pink and warm ivory. Bright 
 blue and deep orange stain the overhanging 
 cornice. The great windows are latticed 
 and bound with green, the keystone of their 
 arches being a quaint figure with folded 
 wings. Between the arches are inset blue 
 Italian medallions. Between the windows 
 are coupled Corinthian columns, their shafts 
 richly overlaid with ornament after patterns 
 suggested by the churches and palaces of 
 southern Italy. The planting is profuse, 
 with masses of green against the walls and 
 a wealth of bloom, pink predominating 
 in the Florentine Court and yellow 
 in the Venetian. 
 
 [122]
 
 COURT OF THE FOUR SEASONS 
 THE NIGHT ILLUMINATION 
 
 The Court of the Four Seasons is the most 
 restful, the most intimate and the most 
 harmonious of the three main courts, an 
 effect produced by its classic simplicity and 
 the charm of its architecture, sculpture and 
 planting. 
 
 The long approach of the north court, which 
 is entered from the Esplanade, is bordered 
 by the stately colonnades of the Palace of 
 Agriculture on the east and the Palace of 
 Food Products on the west. The columns 
 are Ionic, the decorative treatment of their 
 capitals, and of the freize above, being in 
 fruits and grains, happily conventionalized. 
 The green sward of the avenue is set, here 
 and there, with fine yew trees, while tall, 
 slim eucalypti flank the entrance to the 
 Court. 
 
 The Fountain of Ceres designed by Evelyn 
 Beatrice Longman, by the poise of its crown- 
 ing figure and by the grace and dignity of 
 its entire outline, no less than by its classic 
 conception and fine architectural feeling, 
 enhances the chaste beauty of the long vista 
 whether seen by day outlined against the 
 misty bay and the sweep of hills beyond, or 
 by night, silhouetted against the white rays 
 of the scintillators which are placed on 
 the harbor's edge. 
 
 [124]
 
 COURT OF THE FOUR SEASONS 
 THE GREAT HALF DOME 
 
 The theme of the Court, the fruitfulness of 
 the changing seasons, is sympathetically 
 rendered by architecture, sculpture and 
 painting in happy combination. The decora- 
 tive forms all employ agricultural motives, 
 and the sculptured groups or figures and the 
 mural paintings are variations of the same 
 thought. 
 
 In architecture, the Court, which was de- 
 signed by Henry Bacon of New York, is 
 almost severely classic, enriched in its minor 
 details by touches of the Italian Renaissance. 
 The Half Dome, which lies directly opposite 
 the long northern approach, is modeled after 
 Hadrian's villa near Rome. The decoration 
 of the vault of the dome is influenced by the 
 richer coloring of the Court of Palms into 
 which it opens on its inner side, while the 
 archway softens into lighter tones in har- 
 mony with the more delicate coloring of the 
 Court of the Four Seasons. 
 The fine balance of line and proportion which 
 characterizes the Court is shown in the three 
 sculptured figures by Albert Jaegers, "Har- 
 vest," the seated figure which fitly crowns 
 the half-dome, blending finely with its 
 nobility and strength of outline, and "Rain" 
 and "Sunshine," which surmount the splen- 
 did columns of Sienna marble on either 
 side of the dome. 
 
 126
 
 COURT OF THE FOUR SEASONS 
 THE WESTERN ARCHWAY 
 
 The east and west entrances to the Court are 
 massive archways, most satisfying in their 
 purity and dignity of architectural form 
 and treatment, as well as in the superb out- 
 look which they give on either hand. The 
 arches are divided by Corinthian pilasters of 
 Sienna marble. Within, their vaulted ceil- 
 ings are delicately colored and modeled in 
 faint relief after ancient classic designs, sug- 
 gesting harvest scenes. The spandrels in 
 the triangles over the curve of the arch and 
 the four times repeated figures which serve 
 as pilasters in the paneled attic space above, 
 are by August Jaegers. All are gracefully 
 molded women's figures, and all alike are 
 emblematic of the richness of the harvest. 
 The signs of the zodiac letter the cornice 
 between the arches and the attic. The in- 
 scription above the eastern gateway is from 
 Spenser's "Faerie Queene," and that over 
 the western from "The Triumph of Bo- 
 hemia" by George Sterling. 
 The serenity and intimate seclusion of the 
 Court are due perhaps more than to any 
 other single feature, to the quiet, circular 
 pool in its center, shut in by banks of 
 shrubbery and bare of sculptured 
 ornament. 
 
 128]
 
 COURT OF THE FOUR SEASONS 
 ONE OF THE COLONNADE MURALS 
 
 The Court is octagonal in shape, by reason 
 of the fountains, screened by stately rows of 
 columns, which fill its corner recesses. These 
 corner fountains are distinctly Roman in 
 inspiration, the detail being suggested by 
 the baths of Caracalla. Between the double 
 rows of massive Ionic columns runs the 
 colonnade. The capitals of the columns are 
 enriched by pendant ears of corn, sur- 
 mounted by a single open flower. Above 
 the severely treated doorways, in each recess, 
 are two mural paintings by Milton Bancroft, 
 picturing alternately the seasonal pleasures 
 and pastimes and their activities or in- 
 dustries. The murals, with the two in the 
 half-dome, also by Milton Bancroft, are all 
 conventionally classic, in keeping with the 
 spirit and atmosphere of the Court. 
 Within the sheltered niches are the fountains 
 of the four seasons, where the water, rose- 
 tinted by day and a luminous green by night, 
 slips softly and musically over three broad- 
 ening semi-circular terraces to the cool, 
 green pool beneath. The sculptured groups, 
 surmounting the terraced fountains, are by 
 Furio Piccirilli of New York. The enclos- 
 ing walls are soft pink, the line where they 
 join the blue vault of the sky charmingly 
 broken by the living green of luxuriant, 
 trailing vines. 
 
 [130]
 
 COURT OF THE FOUR SEASONS 
 THE IONIC COLUMNS 
 
 Through the columns is a glimpse of the 
 Eastern Gateway where, carved in three 
 panels over the entrance, is the following 
 inscription : 
 
 So forth isseto'd the seasons of the ye are, 
 First lusty spring all dight in leaves and 
 flowres. 
 
 Then came the jolly sommer being dight 
 
 In a thin cassock coloured greene, 
 
 Then came the autumne all in yellow clad, 
 
 Lastly came winter, cloathed all in frize, 
 Chattering his teeth, for cold that did him chill. 
 
 Spenser. 
 
 The triple panel in the attic of the Western 
 Gateway reads: 
 For lasting happiness we turn our eyes to one 
 
 alone, 
 And she surrounds you now. 
 
 Great nature, refuge of the weary heart, and 
 only balm to breasts that have been bruised. 
 
 She hath cool hands for every fevered brow 
 And gentlest silence for the troubled soul. 
 
 Sterling. 
 
 132
 
 COURT OF THE FOUR SEASONS 
 THE COLONNADE AND LAWN 
 
 The harmonious impression of the Court of 
 the Four Seasons is due largely to the faith- 
 fulness with which classic influences have 
 controlled every detail, both in architecture 
 and in ornament. The bulls' heads between 
 festoons of flowers which decorate the base of 
 the entrances into the north court, the eagles 
 at the corners of the pylons above, and the 
 vases repeated on the balustrade about the 
 Court are all Roman in design. Thoroughly 
 classic also are the wreaths of fruits and 
 grains on the panel of the cornice and the 
 lions' heads above. While "The Feast of 
 Sacrifice," the superb groups by Albert 
 Jaegers, crowning the pylons at either side 
 of the entrance to the north court, recall the 
 ancient custom of celebrating the close of 
 harvest by the sacrifice of flower-garlanded 
 bulls. 
 
 The planting of the court is quiet and stately, 
 and notably carries out its spirit, with the 
 gray-green of foliage plants and eucalyptus 
 trees and the gnarled stems of gray old olive 
 trees. In its vistas from any angle or point 
 of view, the Court is peculiarly satisfy- 
 ing and beautiful. 
 
 134]
 
 COURT OF THE FOUR SEASONS 
 THE NORTH COLONNADE BY NIGHT 
 
 To stand in the midst of this curving oc- 
 tagonal court and hear, above the whisper 
 of the trees, the murmur of the four hidden 
 fountains that gush unseen from the base 
 of allegorical groups of statuary, glimpsed 
 through colonnades, is to stand in Hadrian's 
 villa of old, where we hear 
 
 "Fitly the fountains of silver leap, 
 Whose sound is as soft as the listless flow 
 Of streams that forever linger and go 
 Down delicate, dream-far valleys of sleep." 
 
 As in a dream, one looks down the last vista 
 to the open rotunda and crescent hemicycle 
 of the Palace of Fine Arts beyond a lagoon 
 that mirrors them on its surface. Rising 
 from the rich, green massing of shrubbery 
 and mossy banks, the rotunda lifts its proud 
 head, encircled with garlands of symbolical 
 figures, as above a grove of Academe. 
 Behind it the soft red walls of the palace 
 glow like the fading embers of sunset. These 
 courts, strung like a rope of pearls between 
 the two poles of man's achievement 
 mechanics and art are the heart of the 
 Exposition, and in them are treasures 
 of color and form untold. 
 
 Edwin Mark ham 
 
 136]
 
 PALACE OF FOOD PRODUCTS 
 THE PORTAL FROM THE GARDENS 
 
 The north facade of the Palaces which line 
 the Marina is bare almost to severity, ex- 
 cept for the rich adornment of the portals, 
 the same detail being repeated for each 
 palace. Spanish models served as the pat- 
 terns for these handsome doorways, the three 
 fine arches, with their supporting columns, 
 suggesting the earlier Spanish Gothic, while 
 the decorative features reflect the Moorish 
 influence of a later period. 
 The motif is appropriate for the waterfront, 
 reminiscent as it is of the epoch of the 
 Spanish Main. This hint is carried out in 
 the sculptured figures in the alcoves above 
 each arch. Allen Newman modeled them, 
 giving to his work the dash and daring of the 
 domineering conquistadors and piratical 
 deckhands of those stirring days. The 
 portal here pictured leads directly to the 
 Esplanade near the Gardens adjoining 
 the California Building. 
 
 [138
 
 PALACE OF FOOD PRODUCTS 
 A DETAIL OF THE MAIN PORTAL 
 
 It requires several visits to the Exposition 
 to become accustomed to the stupendous 
 scale which has been followed, not only in 
 the expansive landscape gardening, but in 
 the architectural plans. 
 In this illustration, a faint conception is 
 afforded of the proportions of the main en- 
 trance to the Palace of Food Products. 
 The doors themselves are of ample size, yet 
 are dwarfed to insignificance by the lofty 
 columns and vaulted ceiling of this delight- 
 ful portal, which is a reproduction from the 
 Spanish Cathedral of Salamanca. The great 
 arches are decorated after the plateresque 
 style, and the spandrels abound in garlands, 
 horns of plenty and other goodly tokens. 
 A Moorish note is detected in the lacy net- 
 work of the latticed windows. The domed 
 ceilings are painted blue and tints of pink 
 and dull orange are used on the walls and 
 columns of the portal. 
 
 [140
 
 1 
 
 ti 
 
 i m 
 
 w%.
 
 THE ESPLANADE 
 NORTH FACADE, COLUMN OF PROGRESS 
 
 The Esplanade is bounded on the north by 
 the Marina and the sparkling waters of the 
 Bay. The boundary line on the south is 
 the imposing frontage formed by the north 
 facade of the four palaces, broken by the 
 inviting entrances to the Court of Ages, 
 the Court of the Universe and the Court 
 of the Four Seasons. 
 
 The domes which mark these entrances loom 
 up in fine proportions, and the entrances to 
 the various palaces are particularly well 
 done. Against the old ivory of the massive 
 walls are clustering thickets of cedar, spruce, 
 eucalyptus and clumps of low-growing 
 shrubs. 
 
 It is a rare combination the view one has 
 
 from the Esplanade Across the Bay are 
 
 the inviting hills of Marin County and 
 
 equally enticing are the vistas stretching 
 
 through colonnades and arches formed by 
 
 the courts and palaces of the Exposition. 
 
 The Column of Progress, surmounted by the 
 
 "Adventurous Bowman", holds the most 
 
 noticeable position on the Esplanade. 
 
 142
 
 NORTH FACADE 
 A VIEW FROM THE BAY 
 
 The Esplanade extends westward from the 
 ferry slip, along the north facade of the main 
 group of buildings, past the massive walls of 
 the California building and through the 
 States' section to the Massachusetts build- 
 ing. 
 
 From the Bay, the dominating center of the 
 Esplanade is the splendid Column of Prog- 
 ress, on either side of which lies the Spanish 
 wall of the north facade broken only by the 
 four magnificent and identical sixteenth- 
 century Renaissance portals which open into 
 the Palaces of Mines, of Transportation, of 
 Agriculture and of Food Products. From 
 the base of the Column of Progress, the vista 
 stretches away, through the Forecourt of 
 the Stars and the Court of the Universe, to 
 the Tower of Jewels, which dominates the 
 southern approach to the grounds. Against 
 the sky-line are outlined the lesser spires of 
 the Italian towers, the heavy bulk of the 
 sculptured groups crowning the arches of 
 the Rising and the Setting Sun, the square 
 summit of the Tower of the Ages and 
 the round domes of the palaces. 
 
 [144
 
 PALACE OF FOOD PRODUCTS 
 A VIEW FROM THE FINE ARTS LACUNA 
 
 The impression of unity of design in the 
 main group of buildings is heightened by 
 certain distinctive features which charac- 
 terize all of them in common. On all, there 
 is the central dome, which, with the repeated 
 smaller domes on the corners, is the chief 
 source of charm in the pronounced Oriental 
 or Moorish effect when seen from a distance. 
 The long, unbroken lines and wall spaces 
 give a sense of repose and restraint and 
 emphasize the richness and beauty of the 
 entrances where the decoration is massed. 
 The Palace of Food Products occupies the 
 north-west corner of the main group of 
 buildings. Its western exposure is Roman in 
 design to harmonize with the Palace of Fine 
 Arts on the opposite side of the laguna. Its 
 dominant feature is the great half-dome, 
 officially called "The Half Dome of Physical 
 Vigor," which forms its west entrance. The 
 tall Corinthian columns on either side sup- 
 port Ralph Stackpole's figure of "Youth" 
 and crowning the smaller columns which line 
 the dome are the repeated statues by Earl 
 Cummings, portraying "Physical Vigor," 
 from which the dome takes its name. 
 
 146
 
 PALACE OF EDUCATION 
 A VIEW FROM THE FINE ARTS LACUNA 
 
 The western exposure of the Palace of Edu- 
 cation duplicates the same wall of the Palace 
 of Food Products and the entire facade along 
 the laguna is called the Roman wall, by 
 reason of the thoroughly classic spirit in 
 which it is conceived. 
 
 The half-dome here, as there, forms the 
 architectural keystone, and in both build- 
 ings, the three niches on either side hold the 
 same alternating figures. While the half- 
 dome, with its entire decorative treatment, 
 belongs more fittingly to the Palace of 
 Education, the sculptured figures in the 
 alcoves, by Charles R. Harley, representing 
 alternately "Abundance" and "The Tri- 
 umph of the Fields," are more in keeping 
 with the Palace of Food Products. 
 The north face of the Palace of Education, 
 which opens on the Court of the Sunset, 
 connecting Administration Avenue with the 
 Court of the Four Seasons, duplicates the 
 three Spanish doorways of its south facade; 
 and in harmony with these doorways, those 
 on the south wall of the Palace of Food Prod- 
 ucts, which look put upon the same 
 avenue, are similar in treatment. 
 
 [148]
 
 PALACE OF EDUCATION 
 THE HALF DOME OF PHILOSOPHY 
 
 The two magnificent Roman half-domes 
 which give character to the otherwise long 
 and bare wall space of the western facade 
 are called in the Palace of Food Products 
 "The Half Dome of Physical Vigor" and in 
 the Palace of Education "The Half Dome of 
 Philosophy." In dignity and nobility, due 
 to massive size and strength of treatment, 
 in beauty of modeling and restraint of decor- 
 ation, this effective use of the half-dome is 
 one of the finest architectural achievements 
 on the grounds. 
 
 The fine, strong figure by Ralph Stackpole, 
 which surmounts the giant Corinthian col- 
 umns on either side of the opening is used 
 also at the entrance of the Palace of Food 
 Products and here, as there, it is called 
 "Youth," the repeated figure evidently sig- 
 nifying in the mind of the artist the union 
 of intellectual and physical vigor which 
 exemplifies the finest type of manhood. The 
 dome takes its name from the eight times 
 repeated female figure, representing Educa- 
 tion, which crowns the Corinthian 
 columns lining its inner curve. 
 
 150]
 
 PALACE OF EDUCATION 
 THE FOUNTAIN IN THE PORTAL 
 
 The central decorative feature within the 
 half-domes which form the western portals 
 of the Palaces of Education and of Food 
 Products is, in each case, a fountain, archi- 
 tectural in character and of great dignity of 
 line and beauty of modeling. Both were 
 designed by W. B. Faville from old Italian 
 models found in Sienna and Ravenna. Both 
 are circular in form and built up in successive 
 tiers, the one at the entrance to the Palace 
 of Education being the simplest in con- 
 struction and gaining more in charm and 
 grace from the flow of the water. 
 The interior treatment of the domes fur- 
 nishes an effective background for the 
 fountains. The vault of the ceiling is a 
 richly colored conventionalized pattern in 
 orange, pompeiian red and blue. The re- 
 peated Corinthian columns lining the curve 
 are of Sienna marble. The doorways be- 
 tween them, with the Moorish grill above 
 the doors, are in green, while back of the 
 lattice work is set stained glass 
 in deep amber. 
 
 [152
 
 ADMINISTRATION AVENUE 
 THE FINE ARTS LACUNA 
 
 The Baker Street Entrance to the Exposition 
 leads directly into Administration Avenue. 
 The Horticultural Gardens first attract at- 
 tention by their kaleidoscopic patches of 
 blooming flowers. Then the eye travels on 
 past the Palace of Horticulture to the mas- 
 sive bulwark of the Palaces of Education and 
 Food Products in the walls of which two 
 great half-domed portals form the principal 
 points of interest. Across the way lies the 
 Lagunawith its reflected image of the Palace 
 of Fine Arts, perhaps the loveliest spot in the 
 Exposition grounds. Plants grow in the pool 
 and the shores are lined with iris, primroses, 
 periwinkles, pampas grass and, overtopping 
 these, weeping willows mingled with other 
 lovely trees and shrubs. 
 Towards the end of the Avenue is the small 
 but attractive Hawaiian pavilion. The 
 tower of the California building is silhouetted 
 against the background of the Marin hills. 
 Administration Avenue receives its name 
 from the fact that it leads directly to the 
 administrative headquarters of the Ex- 
 position, located in the California 
 building. 
 
 [154]
 
 PALACE OF FINE ARTS 
 THE ROTUNDA AND LACUNA 
 
 The Palace of Fine Arts has the finest natural 
 setting on the Exposition grounds. Con- 
 summate skill in planning the entire archi- 
 tectural ensemble gave it a commanding 
 position at the extreme west of the group 
 of exhibit palaces. The architect, Bernard 
 R. Maybeck of San Francisco, found as an 
 asset on beginning his work, a small natural 
 lake and a fine group of Monterey cypress. 
 With this foundation he has created a 
 temple of supreme loveliness, thoroughly 
 original in conception, yet classic in its 
 elemental simplicity and in its appeal to the 
 highest and noblest traditions of beauty and 
 art, revealing the imagination of a poet, the 
 fine sense of color and harmony of an artist, 
 and the sure hand of a master-architect in 
 his confident control of architectural forms, 
 of decorative detail and of the contributing 
 landscape elements. The conception of the 
 rotunda is said to have been suggested to 
 the architect by Bocklin's painting "The 
 Island of the Dead" and that of the peri- 
 style by Gerome's "Chariot Race." 
 Across the Laguna from the Palace of Fine 
 Arts runs Administration Avenue and the 
 magnificent Roman wall which forms the 
 western facade of the main 
 group of palaces. 
 
 [156]
 
 PALACE OF FINE ARTS 
 THE ROTUNDA AND PERISTYLE 
 
 The Palace of Fine Arts is, in reality, not 
 one complete building, but four separate 
 and distinct elements. The rotunda, an 
 octagonal structure, forms the center of the 
 composition. On either side is a detached 
 peristyle which follows the curve of the gal- 
 lery itself, as it describes an arc about the 
 western shore of the Laguna, yet so success- 
 fully are they all bound together by the 
 encircling green wall and by the other land- 
 scape elements, that an impression of satis- 
 fying unity results. 
 
 The architecture, as a whole, is early Roman, 
 with traces of the finer Greek influences. In 
 general treatment, there is a suggestion of 
 the Temple of the Sun at Athens, while much 
 of the detail was inspired by the Choragic 
 monument of Lysicrates, also at Athens. 
 The rotunda is Roman in conception, Greek 
 in decorative treatment. By its sheer 
 nobility of form and of proportion, and by 
 its enchantment of color and sculptured 
 ornament, it dominates the entire landscape. 
 The high spiritual quality of the architect's 
 conception culminates in the Shrine of In- 
 spiration, directly in front of the rotunda, as 
 seen from across the laguna, where kneels 
 Ralph Stackpple's lovely figure of "Art 
 Tending the Fires of Inspiration," exquisite 
 in its simplicity and deli- 
 cate charm. 
 
 [158
 
 PALACE OF FINE ARTS 
 THE PERISTYLE AND LACUNA 
 
 On either side of the central rotunda the 
 peristyle of the Palace of Fine Arts encircles 
 the shore of the laguna in a long semi-circle, 
 formed of a row of Corinthian columns their 
 pale green simulating age -stained marble. 
 At each extremity of the colonnade and at 
 intervals throughout its length are groups 
 of four larger columns, in ochre, each group 
 surmounted by a great box, designed to 
 hold flowers and vines. Panels simulating 
 pale green, veined marble are inset in these 
 receptacles and at their corners are drooping 
 women's figures by Ulric H. Ellerhusen rep- 
 resenting Contemplation. Between the col- 
 umns, at their bases, are also set receptacles 
 for growing plants. 
 
 In its pervading dignity, in the strength of 
 
 the columns, in the rich beauty of the capi- 
 
 itals and in the chaste refinement of the 
 
 cornice, the colonnade is essentially 
 
 Greek. 
 
 [160]
 
 PALACE OF FINE ARTS 
 IN THE PERISTYLE WALK 
 
 Between the Palace of Fine Arts itself and 
 its bordering colonnade of massive Corin- 
 thian columns runs a broad promenade 
 which, while binding the two toge ther, 
 receives a sense of freedom and serenity from 
 the open sky above. 
 
 The wall of the gallery is interrupted only 
 by the simple entrances at intervals. It is 
 low and intimate in comparison with the 
 great proportions of the other exhibit palaces 
 and its height is further broken by a terrace 
 midway, set with growing plants and shrubs. 
 The whole effect desired by the architect is 
 of an ancient ruin, overgrown through the 
 centuries with vegetation. Along the edge 
 of the roof runs a latticed Pompeiian pergola, 
 hung with trailing vines, and the wall of the 
 building is colored a deep pompeiian red. 
 The immense flower urns, banded with 
 classic figures in deep relief, bearing heavy 
 swinging garlands, are by Ulric H. Eller- 
 huesn. Alternating with the massed green 
 of shrubs and plants against the wall are 
 niches holding sculptured groups. The 
 Roman urns which crown the square pillars 
 marking the doors and which, in varying 
 size, are repeated here and there about 
 the building, are by William 
 G. Merchant. 
 
 162
 
 PALACE OF FINE ARTS 
 THE ROTUNDA FROM THE PERISTYLE 
 
 From any point in the peristyle of the 
 Palace of Fine Arts and under any atmos- 
 pheric conditions, either by day or by night, 
 the vistas are peculiarly satisfying and 
 charming. About the columns of the stately 
 colonnade are blooming plants in simple, 
 natural groups. And at intervals between 
 the columns under the rotunda or along 
 either end of the laguna, the outdoor gallery 
 of sculpture finds a sympathetic background 
 and setting. 
 
 The great dome of the rotunda which 
 crowns so many of the vistas, is stained a 
 velvety burnt orange, with a turquoise blue- 
 green border. Beneath, are eight panels in 
 low relief by Bruno L. Zimm, symbolizing 
 Greek culture and its desire for poetic and 
 artistic expression, conceived in a deeply 
 classic vein and executed with spirit and 
 grace. Below the panels is an attic of pale- 
 green marble. 
 
 Flanking each pier of the rotunda are two 
 
 Corinthian columns in Sienna marble, within 
 
 the arches are corresponding Corinthian 
 
 pilasters, and within the dome against each 
 
 pier is another massive Corinthian column 
 
 in marble, each one crowned with the serene 
 
 and noble "Priestess of Culture" by 
 
 Herbert Adams of New York. 
 
 164]
 
 PALACE OF FINE ARTS 
 THE PERISTYLE WALK BY NIGHT 
 
 Of all the wonderful night effects of the 
 Exposition grounds none are so full of haunt- 
 ing beauty as the vistas afforded by the 
 Palace of Fine Arts and its surroundings. 
 By the indirect system of illumination, an 
 effect as of strong moonlight is produced 
 and from concealed sources, under cornices 
 or behind columns, a soft reflected radiance 
 pervades peristyle and rotunda. The trees, 
 shrubs and columns cast long, intense 
 shadows. Through the columns may be 
 seen the long line of the Roman wall across 
 the laguna, its great, half-domes suffused 
 with a mellow, golden light and in the ever- 
 changing waters between, it gleams again. 
 From the other side of the laguna, the 
 rotunda and the long crescent of the col- 
 onnade are seen reflected as in a mirror, and 
 when flooded with the white radiance of the 
 searchlights, their majestic beauty 
 is indescribable. 
 
 166]
 
 PALACE OF FINE ARTS 
 A FOUNTAIN IN THE LACUNA 
 
 Beautiful as the Palace of Fine Arts is from 
 any viewpoint, its simplicity and noble 
 strength are at their best when seen with a 
 foreground of trees and water. The land- 
 scape, in its simple naturalness, is in feeling 
 an intimate part of the building itself and so 
 perfectly do they blend that they seem to 
 have grown together through quiet, serene 
 centuries. 
 
 Between the columns and along the wall of 
 the building are blooming plants and shrubs, 
 groups of Monterey cypress and eucalyptus 
 trees. The shores of the laguna are banked 
 with shrubs, loosely massed, and groups of 
 evergreens and weeping willows bend over 
 the lake. Outlining its irregular border, 
 broken by small promontories and inlets, 
 thousands of blooming plants creep down to 
 the water's edge and venture out into its 
 placid depths periwinkles, primroses, daffo- 
 dils, heliotrope, pampas grass, white and 
 yellow callas, Spanish and Japanese iris and 
 myriads of others whose names and gay, 
 nodding blossoms are more or less familiar. 
 Fountains play in the edge of the lake, the 
 charming spirited group here illustrated being 
 "Wind and Spray" by Anna 
 Coleman Ladd. 
 
 [168]
 
 

 
 PALACE OF FINE ARTS 
 A PICTURESQUE GARDEN FOUNTAIN 
 
 The graceful garden fountain shown is the 
 work of Anna Coleman Ladd. It is located 
 toward the north end of the building near 
 the entrance to the peristyle. Of the general 
 effect of the Palace of Fine Arts and of its 
 deeper meaning, the architect, Bernard R. 
 Maybeck, says: 
 
 "There is a succession of impressions pro- 
 duced as one walks through the different 
 parts of the grounds that play on the feeling 
 and the mind, each part having its own 
 peculiar influence on the sentiment. Along 
 the main axis, for example, the Machinery 
 Hall and neighborhood suggest a mixture of 
 the classic and romantic, as you understand 
 the terms in literature. 
 
 "The Court of Ages suggests the medieval 
 with all its rising power of idealism in con- 
 flict with the physical. The Court of the 
 Universe suggests Rome, inhabited by some 
 unknown placid people. The Court of the 
 Four Seasons suggests the grace, the beauty 
 and the peace in the land where the souls of 
 philosophers and poets dwell. 
 "The Fine Arts Palace suggests the romantic 
 of the period after the classic Renaissance, 
 and the keynote is one of sadness modified 
 by the feeling that beauty has a 
 soothing influence." 
 
 [170
 
 PALACE OF FINE ARTS 
 THE GARDEN AND FOUNTAIN OF TIME 
 
 In the foreground of this poetic garden scene 
 is the foremost figure of Lorado Taft's 
 "Fountain of Time." In sympathy with 
 the atmospheric influence of such a vista, 
 Bernard R. Maybeck, the architect, con- 
 tinues the thought of the preceding page: 
 "To make a Fine Arts composition that will 
 fit this modified melancholy, we must use 
 those forms in architecture and gardening 
 that will affect the emotions in such a way 
 as to produce on the individual the same 
 modified sadness as the galleries do. Sup- 
 pose you were to put a Greek temple in the 
 middle of a small mountain lake surrounded 
 by dark, deep rocky cliffs, with the white 
 foam dashing over the marble temple floor, 
 you would have a sense of mysterious fear 
 and even terror, as of something uncanny. 
 If the same temple, pure and beautiful in 
 lines and color, were placed on the face of a 
 placid lake, surrounded by high trees and 
 lit up by a glorious full moon, you would 
 recall the days when your mother pressed 
 you to her bosom and your final sob was 
 hushed by a protecting spirit hovering over 
 you, warm and large. You have there the 
 point of transition from sadness to content, 
 which comes pretty near to the total impres- 
 sion that galleries have and that the Fine 
 Arts Palace and Lake are 
 supposed to have." 
 
 [172
 
 CALIFORNIA BUILDING 
 BELL TOWER AND FORBIDDEN GARDEN 
 
 The California Building is the result of per- 
 haps the most interesting combination of 
 requirements that could be imagined to 
 provide a host building for the home State 
 of a great Exposition where welcome could 
 warmly and generously be extended to the 
 millions of visitors, where the officials could 
 have suitable quarters and where the fifty- 
 two counties of the State could have their 
 exhibits. The location set aside for the 
 concrete development of these requirements 
 was most stimulating. An edifice to termi- 
 nate the vista looking north over a laguna 
 of silent water flanked by the wonderful 
 Palace of Fine Arts, and just beyond, the 
 beautiful Bay of San Francisco with a back- 
 ground formed by distant Tamalpais. 
 No style of architecture could be more 
 appropriate to these needs than that which 
 exists in California an architecture roman- 
 tic, peaceful, subtle and charming in its 
 proportions. The task of adapting the Mis- 
 sion architecture to the requirements was 
 given Thomas H. F. Burditt. He entered 
 into the spirit of the old Padre builders 
 with rare intuition, and he designed a 
 building of impressive dignity 
 and hospitality. 
 
 [174
 
 CALIFORNIA BUILDING 
 THE ARCHES OF THE COLONNADE 
 
 The Mission Padres had built neither in 
 magnificence nor in magnitude, and as both 
 of these were requisite qualities in the con- 
 struction of the California Building, they 
 presented peculiar problems, and were 
 treated with the thought of what one of the 
 old Padres with a limited knowledge of 
 architecture would have done if presented 
 with the larger problem. So it seemed that 
 the entrance foyer should be quiet, and mas- 
 sive and should form a nucleus to all parts of 
 the building. The magnitude of the edifice 
 was so great that all the existing Missions of 
 California could be housed therein, and in 
 order to show the largeness of its proportions 
 and varied functions, each part was designed 
 as a motif in itself and closely related to that 
 part by which it stood. 
 From the forecourt in replica of the For- 
 bidden Garden of Santa Barbara, surrounded 
 by old cypress hedges, by driveways, and 
 walled in by cloistered arches, one can find 
 the principal entrances to all the main divi- 
 sions of the building, and also to the admin- 
 istrative portion which contains the executive 
 offices of the Exposition and the official 
 reception and banquet rooms. 
 
 [176]
 
 CALIFORNIA BUILDING 
 A VISTA IN THE COLONNADE 
 
 The cloistered colonnades so intimately 
 associated with Mission architecture have 
 been successfully handled in the Court of 
 the California Building. The molds for the 
 columns of the arches were made by the 
 architect himself, to give the semblance of 
 age and that each should differ from the 
 other. It was most necessary to avoid 
 mechanical regularity in any feature of the 
 building, and in consequence all the details 
 vary, so that no two that are exactly similar 
 are placed near each other. The arches are 
 made of slightly different radii, and the 
 bells vary both in size and design. There 
 are ten main groups of entrances, but no two 
 of them are in any way similar, and it was 
 through these means that the attempt was 
 made to obtain a varied change of inter- 
 est in plan, mass, silhouette and detail and 
 the lack of precision which must have 
 existed at the time when the old California 
 Missions grew into being. 
 
 [178]
 
 CALIFORNIA BUILDING 
 THE FORBIDDEN GARDEN 
 
 There had grown on this location for forty 
 odd years, a hedge of cypress, weary with 
 its age, and groups of trees forming wonder- 
 ful masses of foliage to charm the eye. This 
 happy circumstance was cleverly utilized by 
 the architect in designing the court of the 
 California Building. A replica of the en- 
 closed Garden of Mission Santa Barbara 
 was laid out within the boundary of this old 
 hedge and planted with old-fashioned flowers 
 such as would have delighted the Mission 
 Fathers. 
 
 In the center is a fountain similar to that 
 
 at Santa Barbara, and the quiet plash of 
 
 its water adds a touch of charm and romance. 
 
 The bell tower of the building throws an 
 
 afternoon shadow over the garden, and 
 
 within a niche in the tower stands the statue 
 
 of Padre Serra overlooking this 
 
 peaceful nook. 
 
 [180
 
 CALIFORNIA BUILDING 
 THE SEMI-TROPICAL GARDEN 
 
 To the south of the California Building, off 
 the Esplanade, lies an interesting garden 
 filled with various species of cacti and 
 unusual semi-tropical plants. Interspersed 
 among these are masses of brightly blossom- 
 ing dainty flowers baby blue eyes in the 
 spring and others, equally lovely, as the 
 seasons change. In a sheltered nook rise 
 the tall slender stalks of rare bamboo, sent 
 from a private garden in Bakersfield. 
 The massive walls of the building form a 
 rich background. Their appearance of sta- 
 bility, enhanced by a slight batter that is 
 a slight receding from the perpendicular 
 is shown by a least visible thickness of three 
 feet. These features are evident in every 
 wall throughout the exterior of the building. 
 Within the corridors, the floors appropri- 
 ately are paved with red brick, and the 
 ceilings are beamed and roughly finished. 
 
 [182]
 
 NETHERLANDS PAVILION 
 AS SEEN FROM THE LACUNA 
 
 The Pavilion of the Netherlands is located 
 sufficiently near the Laguna to be reflected 
 within the pool. The high dome is adorned 
 with four clock towers and a forest of 
 flagstaff's and spires. K. Kromhout, who de- 
 signed the building, followed the modern 
 ideas of the present-day school of architects 
 in Holland. The ultra style of the Pavilion 
 fails to recall the staunch and dignified brick 
 structures for which the Dutch are famous, 
 but it is a striking edifice. The tiled panels 
 are lovely and the warm colors used in the 
 exterior decorations most attractive. 
 When viewed from Administration Avenue, 
 the numerous towers, fluttering pennants 
 and harmonious colors are set off to best 
 advantage by the trees along the Laguna. 
 About the building, the Hollander's love of 
 flowers is strongly in evidence. Ten car- 
 loads of bulbs and shrubs were imported 
 for the horticultural display. 
 
 [184]
 
 ITALIAN PAVILION 
 THE PIAZZETTA VENETIA 
 
 The Italian Pavilion consists of a group of 
 eight buildings, combining architectural 
 styles of the fourteenth, fifteenth and six- 
 teenth centuries. The main entrance to the 
 pavilion is on the west, and a broad, low 
 flight of steps leads into the Piazza Grande, 
 
 ? raced by a fountain by Tacca and pieces of 
 talian sculpture. On the left is the 
 medieval palace, containing authentic works 
 of art of many ages. Facing this is the 
 Lombard palace, of the period of fourteen- 
 hundred, used by the Italian Commissioners 
 as a reception hall. The Royal Salon and 
 Casa Italiana form the east wall of the main 
 court. The inner courts are beautified with 
 fountains and statuary groups. Covered 
 passageways, supported by slender pillars, 
 extend around three sides of the piazzetta, 
 and add a delicate charm to the enclosure. 
 The Venetian Well in the center is a charac- 
 teristic note, and the stairways leading to 
 the upper verandas, and the niches about 
 this court, are delightful in design. The 
 outer elevation of the main building is of 
 the sixteenth century. Within the Casa 
 Italiana there is an exact reproduction of 
 the library of the S. Maria delle 
 Grazie, Milan. 
 
 [186
 
 ITALIAN PAVILION 
 IN THE COURT VERROCHIO 
 
 The arcade which connects the Etruscan 
 Tower with the Bargello Hall separates the 
 smaller court of the Italian Pavilion from 
 the Piazza Grande. The most attractive 
 feature in this ideal court is the staircase 
 and balcony, done in the period of the four- 
 teenth century, with a most interesting 
 composition of the flat walls, pierced by a 
 graceful double arch, attractively spotted 
 with plaques and brightened by the color of 
 the Delia Robias and the geraniums blos- 
 soming through the balustrade. A delicate 
 touch is given by the Fountain of the Winged 
 Boy with the Fish, by Verrocchio, which 
 occupies the center of the stone-flagged 
 court. To the left of the staircase is a mural 
 fresco depicting the "Return from the 
 Crusade." 
 
 Old iron-framed lanterns hang from the 
 gray-toned ceilings of the arcades. The 
 coloring of the walls and pillars is stone gray 
 blended with shades of brown and grayish- 
 blue. The vivid green of the sun-lit grass 
 within the Piazzetta Venetia relieves the 
 sober color scheme of this court. The 
 balconies are lined with blooming flowers, 
 and shrubs and plants in artistic recep- 
 tacles add to its attractiveness. 
 
 [188]
 
 AVENUE OF THE NATIONS 
 TOWER OF SWEDEN'S PAVILION 
 
 The Avenue of the Nations extends from 
 the Exposition group of Palaces in a diag- 
 onal direction westward to the Marina, and 
 is lined on either side with the pavilions of 
 the Foreign Nations. In the picture there 
 is a glimpse of the Canadian Building to the 
 left, and prominent in the view is the char- 
 acteristic Swedish tower, typically northern, 
 and interesting in detail. 
 Immediately beyond is Bolivia's Palace, to 
 an equal degree typical of the south, fol- 
 lowed by the pinkish-toned building erected 
 by Cuba. Denmark's Pavilion, on the left 
 of the Avenue adjoining the Palace of Fine 
 Arts, is distinctly individual, marked by its 
 towers which reproduce several historic 
 towers in Denmark, and the moat in which 
 frogs croak at night. The interior is 
 arranged to represent the rooms of a gentle- 
 man's country home. On the hillside to the 
 south are several avenues about which are 
 grouped others of the Foreign Pavilions 
 the picturesque gardens of Japan, the open 
 court of France, with its Rodin bronze, and 
 the dignified pavilions of Australia, Norway, 
 Greece and many other 
 
 190]
 
 THE ESPLANADE 
 A VIEW OF THE FOREIGN PAVILIONS 
 
 The pavilions of the Foreign Nations are 
 on the south side of the Esplanade, west- 
 ward from the group of Exposition Palaces. 
 In the foreground of this view is seen 
 Canada's stately building, guarded by the 
 massive British lions. The admirable and 
 comprehensive exhibit within has aroused 
 great admiration and established a standard 
 for such displays. Beyond is the pagoda of 
 the Chinese gardens, and the tea houses, 
 with their roofs colored in the wonderful 
 yellow which occurs so often in the old 
 Chinese rugs. 
 
 The slate-colored dome of Argentina's ornate 
 Palace precedes the pinkish-toned Nether- 
 lands building seen in the distance the 
 rather whimsical style of the latter adding 
 a distinct note to that section of the grounds. 
 The park to the south is distinguished by 
 two Oriental buildings erected respectively 
 by Siam and Turkey. The first is an exact 
 copy of a royal pavilion in the Garden of 
 the Maha Chakkri Palace, at Bangkok. The 
 latter is equally typical of the East, marked 
 with dome, minarets and spires, and includes 
 the main pavilion and a near-by mosque and 
 prayer tower, connected with it 
 by a corridor. 
 
 [192]
 
 THE ESPLANADE 
 A VIEW OF THE STATE BUILDINGS 
 
 The buildings erected by California's sister 
 Commonwealths occupy the district west of 
 the California Building, and the north line 
 of the Esplanade to the Marina. Designed 
 in various individual and dignified styles, 
 surrounded with handsome lawns and beau- 
 tiful gardens, they have formed a most 
 important and interesting feature of the 
 Exposition grounds. Many of the buildings 
 reproduce historic landmarks. The golden 
 dome of the Massachusetts State House is 
 as dominant a feature at the head of the 
 Esplanade as is the original on Beacon Street 
 in Boston. The loggia of Independence Hall 
 is familiar enough to bring a patriotic thrill 
 to the heart of the loyal American, even 
 were not the cherished Liberty Bell on view. 
 Another Colonial feature is the Trenton 
 Barracks, Washington's headquarters in 
 New Jersey; and "Homewood" takes one 
 back to Charles Carroll, of Carrollton, and 
 Baltimore in 1802. The massive log build- 
 ing from Oregon is fairly representative of 
 that state of virgin forests, notwithstanding 
 the mistaken attempt to reproduce the 
 classic Parthenon in such a crude medium. 
 In this view the magnificent building for 
 New York is in the foreground. Beyond, in 
 the order named, are the buildings for 
 Pennsylvania, New York City, Illinois, 
 Ohio, Utah and Massachusetts. 
 
 [194]
 
 THE ZONE 
 A HOLIDAY GATHERING 
 
 The Zone, while providing excellent enter- 
 tainment and relaxation, is above the 
 standard established by the amusement 
 sections of former expositions, many of its 
 concessions being of an educational nature. 
 This is notably true of the Panama Canal, 
 which appears on the left of this picture. 
 Because of its value as a faithful repro- 
 duction of the great work which the Expo- 
 sition commemorates, many consider it as 
 deserving a place in the main grounds. 
 Almost equal to this in educational interest 
 and quite ranking it in beauty are the 
 reproductions of the Grand Canyon with its 
 Hopi and Navajo Indians, and Yellowstone 
 Park. Old Faithful Inn in the latter is a 
 favorite place for social gatherings. 
 For pure fun and gaiety, Toyland Grown 
 Up, that whimsical conceit especially built 
 for youngsters, old and young, has provided 
 merriment for thousands. Of thrillers that 
 raise the hair and make the heart beat high 
 and without which no amusement section 
 would be complete, the Zone announces its 
 full quota with much rattling of machinery 
 and many shrieks of joy. 
 And the presence of strange peoples, one of 
 the recognized features of these places, is 
 also noticeable along the Zone. A Maori 
 tribe from New Zealand, Samoans, Hawaii- 
 ans, Aztecs from Old Tehauntepec, and 
 others bring their customs and costumes 
 from unfamiliar lands. 
 
 196
 
 THE ZONE 
 THE BIZARRE DECORATIONS 
 
 There is something naive about the Zone. 
 It presents its colossal grotesques its gar- 
 gantuan Uncle Sam, its monstrous elephants 
 rather with an air of acknowledging that 
 it cannot compete with the beauty one 
 leaves behind when one turns in under its 
 gay flags and lanterns. Here is frankly the 
 spirit of abandon. To the right and left 
 the bawling barkers shout their enticements, 
 begging one's patronage. Up and down the 
 street the endless patter of the feet of men 
 and women, the wheeze of the little electrics 
 and the blare of brassy music ebb and flow. 
 Here and there is the dominant note of the 
 Exposition, its pastel shades of burnt orange 
 and red, and its indefinable blue. They 
 flutter forth, hooped about the flagpoles 
 with Oriental effect. Those wonderful lan- 
 terns, that delightful medieval touch which 
 one finds through the grounds, are here 
 employed with great effect. 
 When one is tired of gigantic horses with 
 ever-impending hoofs, tired of large plaster 
 ladies whose complete poise does not 
 entirely atone for a rather excess of buxom- 
 ness, one can always turn to these reminders 
 of the beauty that is the essential char- 
 acteristic of the Exposition itself. 
 
 [198]
 
 THE FIREWORKS 
 STAR SHELLS AND STEAM BATTERY 
 
 Notwithstanding the excellence attained by 
 the Exposition in the beauty of its coloring, 
 the poetry in its courts and architecture, the 
 mystery and glamour of its illuminations, 
 the spectacular element could not be over- 
 looked. This finds expression in the fire- 
 works that are let loose on the Marina 
 several evenings each week. Here, however, 
 a distinct advance has been made upon the 
 familiar pyrotechnic display of former events. 
 The use of powerful scintillators with their 
 colored rays playing upon smoke clouds and 
 flying devices from exploded bombs high in 
 the air, or upon weird shapes of steam sent 
 out by the engine on the border of the yacht 
 harbor, lends infinite variety and beauty. 
 In several of the numbers the scintillators 
 secure the effects unaided, their lights 
 making strange figures in the heavens. 
 "Spooks' Parade," "Aurora Borealis," 
 " Devil's Fan," are some of the 
 ideas suggested. 
 
 [200
 
 ZONE SALVO 
 THE FINAL "BIG NOISE" 
 
 The Exposition Fireworks are under the 
 direction of William D'A. Ryan, Chief of 
 Illumination. On each occasion a set pro- 
 gram is followed consisting of twenty-four 
 numbers. At the opening, a salute of ten 
 detonating bombs and a large rocket . 
 announce the event. This is followed by 
 features of the scintillator lights, combi- 
 nations of these with "team, with smoke 
 bombs and with orange showers and Japanese 
 daylight shells, and by fancy star shells, 
 festoon rockets and candle fountains. The 
 climax is reached in the Zone Salvo when a 
 tremendous explosion of hundreds of deto- 
 nating devices occurs, with rockets and star 
 shells exploding in the air, the rays of the 
 scintillator coloring the smoke clouds in 
 brilliant hues; and amidst it all, high above, 
 suddenly appears a beautiful American flag 
 caught and followed by the ray of a 
 powerful white searchlight as it 
 floats away from sight. 
 
 [202
 
 HERE ENDS THE ARCHITECTURE AND 
 LANDSCAPE GARDENING OF THE EXPO- 
 SITION, WITH AN INTRODUCTION BY LOUIS 
 CHRISTIAN MULLGARDT. THE DESCRIP- 
 TIVE TITLES HAVE BEEN WRITTEN BY 
 MAUD WOTRING RAYMOND AND JOHN HAM- 
 LIN. EDITED BY PAUL ELDER. PUBLISHED 
 BY PAUL ELDER AND COMPANY AND SEEN 
 THROUGH THEIR TOMOYE PRESS UNDER 
 THE TYPOGRAPHICAL DIRECTION OF H. A. 
 FUNKE IN THE CITY OF SAN FRANCISCO 
 DURING THE MONTH OF SEPTEMBER, NINE- 
 TEEN HUNDRED AND FIFTEEN
 
 J77-/3

 
 000 742 210