■•■■l 
 
 N 
 
 f Art- LOVER'S 
 
 Cfp .2 
 
 GUIDE 
 
 TO THE 
 
 EXPOSITION 
 
 EXPLANATIONS OF THE ARCHITECTURE 
 
 SCULPTURE fe? MURAL PAINTINGS 
 
 WITH A GUIDE FOR STUDY 
 
 IN THE ART GALLERY 
 
 BY SHELDON CHENEY 
 
 PRICE 50 CENTS 
 
GIFT or 
 
 iKsss=i 
 
Digitized by the Internet Archive 
 
 in 2008 with funding from 
 
 IVIicrosoft Corporation 
 
 http://www.archive.org/details/artloversguidetoOOchenrich 
 

THE RISING SUN 
 Adolph A. Weinman, Sculptor 
 
AN ART-LOVER'S GUIDE 
 to the EXPOSITION 
 
 EXPLANATIONS OF THE ARCHITECTURE, SCULPTURE 
 
 AND MURAL PAINTINGS, WITH A GUIDE FOR 
 
 STUDY IN THE ART GALLERY 
 
 By SHELDON CHENEY 
 
 
 
 BERKELEY 
 
 AT THE SIGN OF THE BERKELEY OAK 
 
 1915 
 
or 
 
 Copyright 1915 
 
 / , '. . by 
 
 ^^ Sheldon Cheney 
 
 • •••/•» . 
 • • • •• • • « 
 
 * • • • • • 
 
 .•• _«^ ••* • 
 
 Printed and Engraved by 
 
 Sunset Publishing House 
 
 San Francisco 
 
 C^ofJ ^'♦^^.> 
 
CONTENTS 
 
 Foreword 6 
 
 The Architecture and Art as a Whole 7 
 
 Court of Abundance 13 
 
 Court of the Universe 23 
 
 Court of the Four Seasons 35 
 
 Court of Palms and Court of Flowers 43 
 
 Tower of Jewels, and Fountain of Energy 48 
 
 Palaces Facing the Avenue of Palms 55 
 
 Palaces Facing the Marina, and the Column of Progress 59 
 
 Palace of Machinery 62 
 
 South Gardens, Festival Hall, and Palace of Horticulture 66 
 
 Palace of Fine Arts 68 
 
 Outdoor Gallery of Sculpture 72 
 
 Fine Arts Galleries 77 
 
 State and Foreign Buildings, and Scattered Art Exhibits 97 
 
 Index 99 
 
 337585 
 
FOREWORD 
 
 This handbook is designed to furnish the information 
 necessary for intelUgent appreciation of the purely artistic 
 features of the Exposition. It is planned first to explain the 
 symbolism of the architecture, sculpture and painting; and 
 second, to point out the special qualities that give each artistic 
 unit its individual appeal. It is made for the intelligent observer 
 who, having enjoyed the purely aesthetic impression of the 
 various works of art, feels a legitimate curiosity about their 
 meaning. 
 
 Everything possible has been done to make the volume a 
 guide rather than merely a general treatise. The chapter group- 
 ings are the most obviously serviceable ones. Running heads 
 will be found at the tops of the pages, and the sub-headings and 
 catch-titles in each chapter are designed to make reference to 
 individual features as easy as possible. A complete index is 
 added at the end. 
 
 Purely destructive criticism and ridicule have been carefully 
 avoided. But if the writer did not pretend to a power of artistic 
 discrimination which is lacking in the average layman who has 
 not specialized in art and architecture, there would be little 
 excuse for preparing the guide. The praise and criticism alike 
 are such, it is hoped, as will aid the less practiced eye to see new 
 beauties or to establish sounder standards of judgment. 
 
 Acknowledgment is made to the official Exposition press 
 bureau for courtesies received, and to those artists who have 
 supplied information about their own work. For obvious 
 reasons no material has been accepted direct from articles and 
 books already published. If certain explanations of the sym- 
 bolism seem familiar, it is only because all wordings of the ideas 
 echo the artists* interpretations as given out by the press bureau. 
 
 Acknowledgment is due also to the Cardinell-Vincent Com- 
 pany, official photographers, since most of the illustrations are 
 from their prints. S. C. 
 
 6] 
 
THE ARCHITECTURE AND ART AS A WHOLE 
 
 In the art of the Exposition the great underlying theme is 
 that of achievement. The Exposition is being held to celebrate 
 the building of the Panama Canal, and to exhibit to the world 
 evidences of the progress of civilization in the decade since the 
 last great exposition-^a period among the richest in the history 
 of civilization. So the ideas of victory, achievement, progress 
 and aspiration are expressed again and again: in the architecture 
 with its triumphal arches and aspiring towers; in the sculpture 
 that brings East and West face to face, and that shows youth 
 rising with the morning sun, eager and unafraid; and in the 
 mural paintings that portray the march of civilization, and 
 that tell the story of the latest and greatest of mankind's tri- 
 umphs over nature. But perhaps the most significant thing of 
 all is the wonderfully harmonious and unified effect of the whole, 
 that testifies so splendidly to the perfect co-operation of Ameri- 
 can architects, sculptors and painters. 
 
 The dominant note artistically is harmony. At no other 
 exposition have the buildings seemed to **hold together" so 
 well; and at no other has there been the same perfect unity of 
 artistic impression. The Chicago Exposition of 1893 focused 
 the artistic expression of the nation at that time. It brought 
 about the first great awakening of the country in artistic 
 matters, and it practically revolutionized American architec- 
 ture. The St. Louis Exposition of 1904, while less unified in 
 plan, gave another great stimulus to architecture, and especially 
 to sculpture. But the Panama-Pacific Exposition should have 
 a more far-reaching effect than either of these, because its great 
 lesson is not in the field of any one art, but in showing forth 
 the immense value of co-ordination of all the arts in the achieve- 
 ment of a single glorious ideal. The great thing here is the 
 complete harmony of purpose, of design, and of color, in the 
 combined work of architects, sculptors, painters, and landscape 
 gardeners. The sensible plan that results in perfect convenience 
 in getting about, the clothing of this plan in noble and fitting 
 architectural forms, the use of sculpture and painting as an 
 integral part of the architectural scheme, the tying in of build- 
 
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THE ART AS A WHOLE 
 
 ings to site with appropriate planting, and the pulUng together 
 of the whole composition with harmonious color — these are 
 the things that will leave their impress on American art for all 
 time to come. If each student of the art of the Exposition 
 takes home with him an understanding of the value of this 
 synthesis, of this co-ordination of effort, he will have the key 
 to the Exposition's most valuable heritage to the American 
 people. 
 
 Physically there are three distinct parts to the Exposition: 
 the main group of exhibit palaces, the Zone, and the state and 
 foreign buildings. The art-lover will be concerned almost 
 entirely with the first of these ; for artistically the Zone expresses 
 anarchy, and the state and foreign pavilions are given over 
 almost entirely to social and commercial interests. 
 
 ARCHITECTURE 
 
 The architecture of the central group of palaces and courts 
 is a notable departure from that of most of the expositions of 
 the past. There are none of the overdecorated facades, none 
 of the bizarre experiments in radical styles, and little of the 
 riot of extraneous ornament, that have been characteristic of 
 typical "exposition architecture.** The whole spirit here is 
 one of seriousness, of dignity, of permanency. The effects are 
 obtained by the use of long unbroken lines, blank wall spaces, 
 perfect proportioning, and a restrained hand in decoration. 
 Color alone is relied upon to add the spirit of gayety without 
 which the architecture might be too somber for its joyous 
 purpose. 
 
 The ground plan is remarkable for its perfect symmetry. 
 On the main east and west axis are grouped eight palaces, about 
 three interior courts. At the east end the axis is terminated 
 by the Palace of Machinery, which cuts off the main group 
 from the Zone. On the west the axis is terminated by the Fine 
 Arts Palace, which separates the central group from the state 
 and foreign buildings. The main cross axis is terminated at 
 the south by the Tower of Jewels and the Fountain of Energy, 
 and at the north by the Column of Progress on the Marina. 
 The two minor cross axes end at the south in the Horticulture 
 Palace and Festival Hall — the two great domed structures that 
 naturally would separate themselves from the main plan — 
 
 [91 
 
THE ART AS A WHOLE 
 
 and at the north these axes open on the Marina and the beau- 
 tiful bay view. 
 
 This plan is admirably compact. It has the effect of a 
 walled city, giving a sense of oneness from without, and a sense 
 of shelter from within. The plan eliminated the usual great 
 distances between exhibit halls, at the same time providing 
 protection against the winds that occasionally sweep over the 
 Exposition area. More important still, the throwing of the 
 finer architectural effects into the inner courts allowed freedom 
 in individual expression. In the court system the architects 
 obtained unity with great variety of style, and harmony 
 without monotony. 
 
 The plan was worked out by a commission of architects. 
 But the greatest credit must be given to Edward H. Bennett, 
 who first conceived the walled-city idea, and who brought his 
 long experience in city-planning to serve in determining the 
 best method of utilizing the magnificent site. 
 
 The style of architecture cannot be summed up in any one 
 name. Practically every historic style has been drawn upon, 
 but there are very few direct copies from older buildings. The 
 old forms have been used with new freedom, and occasionally 
 with very marked originality. As one looks down on the whole 
 group of buildings, the Oriental feeling dominates, due to the 
 many Byzantine domes. In the courts and facades the Renais- 
 sance influence is strongest, usually Italian, occasionally Span- 
 ish. Even where the classic Greek and Roman elements are 
 used, there is generally a feeling of Renaissance freedom in the 
 decoration. One court is in a wonderful new sort of Spanish 
 Gothic, perfectly befitting California. In the styles of archi- 
 tecture, as in the symbolism of painting and sculpture and in 
 the exhibits, one feels that the East and West have met, with 
 a new fusion of national ideals and forms. 
 
 The material used in the buildings is a composition, par- 
 taking of the nature of both plaster and concrete, made in 
 imitation of Travertine, a much-prized building marble of 
 Italy. This composition has the warm ochre tone and porous 
 texture of the original stone, thus avoiding the unpleasant 
 smoothness and glare which characterize stucco, the usual 
 Exposition material. 
 
 [101 
 
THE ART AS A WHOLE 
 
 SCULPTURE 
 
 In one way more than any other, the sculpture here surpasses 
 that of other expositions: it is an integral part of the larger 
 artistic conception. It not only tells its individual stories 
 freely and beautifully, but it fits perfectly into the architectural 
 scheme, adding the decorative touch and the human element 
 without which the architecture would seem bare. 
 
 The late Karl Bitter was chief of the department of sculpture, 
 and although there is no single example of his work on the 
 grounds, it was he who, more than any other, insisted upon a 
 close relationship between the architecture and the sculpture. 
 A. Stirling Calder was acting chief, and he had charge of the 
 actual work of enlarging the models of the various groups and 
 placing each one properly. 
 
 The material of the sculptures is the same as that of the 
 buildings. Travertine, thus adding to the close relationship of 
 the two. 
 
 MURAL PAINTINGS 
 
 The mural paintings as a whole are not so fine as either the 
 architecture or the sculpture. The reason can be traced perhaps 
 to the fact that painting does not readily bow to architectural 
 limitations. In this case the artists, with the exception of 
 Frank Brangwyn, who painted the canvases for the Court of 
 Abundance, were limited to a palette of five colors, in order 
 that the panels should harmonize with the larger color scheme. 
 
 COLOR 
 
 Never before was there an exposition in which color played 
 such a part. Here for the first time a director of color was 
 placed above architect and sculptor and painter. Jules Guerin, 
 chief of color decoration, has said that he went to work just as 
 a painter starts to lay out a great picture, establishing the warm 
 buff of the building walls as a ground tone, and considering each 
 dome or tower or portal as a detail which should add its brilliant 
 or subdued note to the color harmony. Not only do the paint- 
 ings and sculpture take proper place in the tone scheme, but 
 every bit of planting, every strip of lawn and every bed of 
 flowers or shrubs, has its duty to perform as color accent or 
 foil. Even the gravel of the walks was especially chosen to 
 shade in with the general plan. 
 
 Ml] 
 
THE ART AS A WHOLE 
 
 As seen from the heights above the Exposition — and no 
 visitor should go away without seeing this view — the grounds 
 have the appearance of a great Oriental rug. The background 
 color is warm buff, with various shades of dull red against it, 
 accented by domes and columns of pale green, with occasional 
 touches of blue and pink to heighten the effect. 
 
 In the courts the columns and outer walls are in the buff, 
 or old ivory, tone, while the walls inside the colonnades have a 
 "lining color" of Pompeian red; the ceilings are generally ceru- 
 lean blue; the cornices are touched with orange, blue and gold; 
 and occasional columns of imitation Siena marble, and bronzed 
 statues, set off the whole. 
 
 In connection with the color scheme, great credit must be 
 given to John McLaren, chief of the department of landscape 
 gardening, who has worked so successfully in co-operation with 
 architects and color director. The Exposition is built almost 
 entirely on filled ground, just reclaimed from the bay; and it 
 was a colossal task to set out the hundreds of thousands of 
 flowers, shrubs and trees which now make the gardens seem 
 permanent, and which set off the architecture so perfectly. 
 
 LIGHTING 
 
 When one's soul has been drenched all day in the beauty 
 of courts and palaces and statues and paintings, dusk is likely 
 to bring welcome rest; but when the lights begin to appear there 
 comes a new experience — a world made over, and yet quite as 
 beautiful as the old. Walls are lost where least interesting, 
 bits of architecture are brought out in relief against the velvet 
 sky, and sculptures take on a new softness and loveliness of 
 form. Under the wonderfully developed system of indirect 
 illumination, no naked light is seen by the eye; only the soft 
 reflected glow, intense when desired, but never glaring. If this 
 lighting is not in itself an art, it is at least the informing spirit 
 that turns prose to poetry, or the instrumental accompaniment 
 without which the voice of the artist would be but half heard. 
 Too much credit cannot be given to the lighting wizard of the 
 Exposition, W. D'Arcy Ryan. 
 
 12] 
 
THE COURT OF ABUNDANCE 
 
 The Court of Abundance is the most original, and perhaps 
 the most consistently beautiful, of all the Exposition courts. 
 No other is so clearly complete in itself, without the intrusion 
 of features from surrounding buildings and courts. No other 
 has the same effect of cloistered seclusion — partly because 
 each of the others is open on one side. And certainly no other 
 indicates so clearly the touch of the artist, of the poet-architect, 
 from the organic structural plan to the finest bit of detail. Even 
 the massive central fountain, though conceived in such different 
 spirit, has no power to dispel the almost ethereal charm that 
 hovers over the place. 
 
 The distinctive note of the court is one of exquisite richness. 
 As one enters from any side the impression grows that this is 
 the most decorative of all the courts; and yet one is not conscious 
 of any individual bit of decoration as such. Everything fits 
 perfectly: arches, tower, cornices, finials, statues, planting — 
 it all goes to enrich the one impression. Someone has said that 
 the court is not architecture, but carving; and that suggests 
 perfectly the decorative wealth of the composition. 
 
 ARCHITECTURE 
 
 The style of architecture has been guessed at as everything 
 from Romanesque and Gothic to Flamboyant Renaissance and 
 Moorish. The truth is that the court is a thoroughly original 
 conception; and the architect has clothed his pre-conceived 
 design in forms that he has borrowed from all these styles as 
 they happened to suit his artistic purpose. The spirit of the 
 court is clearly Gothic, due to the accentuation of the vertical 
 lines — and one will note how the slender cypresses help the 
 architecture to convey this impression. The rounded arches, 
 modified in feeling by the decorative pendent lanterns, hint of 
 the awakening of the Renaissance period in Spain, during the 
 Fourteenth and Fifteenth Centuries, when the vertical lines, 
 and decorative leaf and other symbolic ornaments of the severer 
 Gothic, were so charmingly combined with classic motives. 
 
 The architecture here is inspiring as a symbol of the Ameri- 
 
 [13] 
 

 THE COURT OF ABUNDANCE 
 Louis Christian Mullgardt, Architect 
 
COURT OF ABUNDANCE 
 
 can * 'melting-pot.** It is a distinct and original evolution, 
 recalling the great arts of Europe, and yet eluding classification. 
 The court shows that the designer was master of the styles of 
 the past, but refused to be a slave to them; at the same time 
 he had an original conception but did not let it run into the 
 blatant and bizarre. 1 1 is from such fusions of individual genius 
 with the traditions of the past that a distinctive American 
 architecture is most likely to flower. 
 
 The tower is a magnificent bit of architectural design. It is 
 massive and yet delicate. It dominates the court, and yet it 
 fits perfectly into the cloister. The rich sculpture is so much a 
 part of the decorative scheme that there is no impression of the 
 structure having been **ornamented.** One must search long 
 in the histories of architecture to find a tower more satisfying. 
 
 The architect who designed the Court of Abundance is 
 Louis Christian Mullgardt, one of the two most original geniuses 
 among California's architects. 
 
 It is well to enjoy this court at first for its beauty alone, 
 without regard to its rich symbolism. One who has thus con- 
 sidered it, merely as a delight to the eye, usually is surprised 
 to find that it has a deeper underlying meaning than any of the 
 other courts. The present name, **Court of Abundance," is 
 not the original one. The architect conceived it as **The Court 
 of The Ages.*' It is said that the Exposition directors, for the 
 rather foolish reason that a Court of the Ages would not fit into 
 the scheme of a strictly contemporaneous exposition, re-chris- 
 tened it "The Court of Abundance." But it is the former name 
 that sums up the thought behind the decorative features. 
 
 The underlying idea is that of evolution. The tower sculp- 
 tures, which will be more fully explained in following paragraphs, 
 represent successive ages in the development of man — the Stone 
 Age, the Mediaeval Age, and the Present Age. The decoration 
 of the cloisters may be taken as symbolizing the evolution of 
 primitive man from the lower forms of life. Thus the orna- 
 mental garlands that run up the sides of the arches are of sea- 
 weed, while other parts of the decoration show crabs, lobsters 
 and other of the lower forms of sea life. Higher up the ornament 
 includes conventionalized lilies suggestive of higher plant life. 
 And surmounting the colonnade, one over each pier, are the 
 repeated figures of primitive man and primitive woman. It is 
 
 (15] 
 
COURT OF ABUNDANCE 
 
 at this height that the tower sculptures begin, carrying on the 
 story of man up to the present age. At a level between the 
 Stone Age group and the Mediaeval Age is a row of cocks, 
 symbols of the rise of Christianity. Perhaps the whole aspiring 
 feeling of the court is meant to further suggest the upward rise 
 of man — but after all, the purely sensuous beauty of the archi- 
 tecture is sufficient to warrant its being, without any straining 
 
 after symbolism. 
 
 SCULPTURE 
 
 Groups on the Tower. The three main groups typify 
 the rise of man, and especially the rise of man's civilization 
 through religion. The lowest group, over the main arch, is 
 called The Stone Age. Along the base are prehistoric monsters, 
 and above are figures representing various phases of primitive 
 life, as a man strangling an animal with his hands, and a figure 
 that may suggest the rude beginnings of art or industry. The 
 heads indicate a period of evolution when man was not very 
 different from the ape; but the central figures suggest the 
 development of family life, and a new outlook and a seeking 
 for something higher. 
 
 The middle group. The Mediaeval Age, shows an armored 
 figure with sword and shield, a crusader perhaps, with the force 
 of religion symbolized in the priest or monk at one side, and the 
 force of arms suggested by the archer at the other, these being 
 the two forces by which man was rising in that age. 
 
 The third and highest group represents The Spirit of the 
 Present Age enthroned. At one side a child holds the book 
 of learning, while at the other a child holds the wheel of industry. 
 The group also carries inevitably a suggestion of motherhood. 
 
 Flanking the middle group are two figures, in which the 
 whole idea of human evolution is suggested by a modern man 
 and woman outgrowing their old selves. On the east and west 
 faces of the tower are figures representing * 'Thought." 
 
 All the sculpture on the tower is by Chester Beach. 
 
 Figures Surmounting Colonnade. Two figures of "The 
 Primitive Man" and one of *The Primitive Woman" are re- 
 peated above the cloister all around the court. The woman 
 carries a child on her back, one man is feeding a pelican, and the 
 other is a hunter returning with a club in one hand and his 
 quarry in the other. These figures are remarkably well suited 
 
 [161 
 
COURT OF ABUNDANCE 
 
 to their purpose, balancing one another exactly; they are so 
 much a part of the decorative scheme, indeed, that the average 
 person is likely to overlook their merits as individual statues. 
 Albert Weinert was the sculptor. 
 
 The Water Sprites. At the tower side of the court, flanking 
 the stairway that leads to the archway under the tower, are two 
 free-standing monuments that were designed as fountains. The 
 original plan called for cascades from below the Stone Age group 
 on the tower to these monuments. Although the elimination 
 of this feature made the court more simple and satisfying as a 
 whole, the figures of the Water Sprites were left high and dry, 
 so that now there is a certain incongruity in their position. 
 Still one may admire the very spirited girl archers surmounting 
 the two columns, even if they are apparently launching arrows 
 at their sister sprites below, instead of into jets of water as was 
 intended. The figures at the bases of the columns, while lacking 
 the grace and the joyous verve of those above, still are very 
 decorative. All are the work of Leo Lentelli. 
 
 The Fountain of Earth. In the large basin in the center 
 of the Court of Abundance is Robert Aitken's **Fountain of 
 Earth." While plainly out of keeping with the spirit of the 
 court, this is in itself one of the most powerful and most inter- 
 esting sculptural compositions at the Exposition. It is deeply 
 intellectual, and more than any other group it requires an 
 explanation of the symbolism before one can appreciate it. 
 
 The fountain is really in two compositions. The larger, 
 and central, one is composed of a globe representing the earth, 
 with four panels of figures on the four sides, representing certain 
 of the incidents of life on earth, or certain riddles of existence. 
 The secondary composition lies to the south of the central one, 
 on the same pedestal; and this is divided into two groups by 
 a formalized wing through the center. The two scenes here 
 represent life before and after earthly existence. The two 
 huge arms and the wing are all that can be seen of 
 Destiny, the force with which the allegorical story begins and ends. 
 
 To "read" the fountain in proper sequence, one must start 
 with the west face of the secondary group. This represents 
 The Beginning of Things. The arm of Destiny is calling 
 forth life and points the way to the earth. The three women 
 figures next to the hand show the gradual awakening from 
 
 [17] 
 
COURT OF ABUNDANCE 
 
 Oblivion. The adjoining two figures represent the kiss of Hfe 
 or of love, and the woman is holding forth to the earth the 
 children created of that love. The entire group on this west 
 face, considered in relation to the main composition, may be 
 taken as representing the peopling of the earth. 
 
 There is now a gap which one must pass over, to reach the 
 South panel of the central composition. This gap represents 
 the lost period of time between the peopling of the earth and 
 the beginning of history. 
 
 The South panel of the main structure has as its central 
 figure Vanity with her hand-glass. Whether the artist intended 
 it as a pessimistic commentary on all human life, or not, his 
 series of episodes on earth begins and ends with the figure of 
 Vanity. Reading to the left on this same panel one sees a man 
 and a woman starting the journey of life on earth, apparently 
 with suffering but certainly with courage— perhaps for the sake 
 of the children they carry. 
 
 The West panel now shows the first of three incidents or 
 problems of life on earth. This is entitled Natural Selection. 
 Two women turn to one man who is clearly superior to the two 
 men they are leaving. The two who have been spurned as mates 
 cling to the hands of the women even while they are turning 
 away. 
 
 The North panel represents The Survival of the Fittest. 
 Two men are in combat, the woman at the left evidently to be 
 the prize of the victor. At the other side a woman tries to draw 
 away one of the combatants. The sculptor has given this group 
 a second title, **The Awakening of the War Spirit," which is 
 equally applicable. 
 
 The East panel is entitled The Lesson of Life. A young 
 man and a young woman turn to each other through natural 
 impulse, while an older woman with the experience of life 
 attempts to counsel them. On the other side an old man re- 
 strains an impetuous youth who evidently would fight for the 
 girl. 
 
 Turning the corner now to the South panel again, there are 
 two figures representing Lust trying to embrace a reluctant 
 woman. Then one comes to Vanity once more, and the story 
 of life on earth is done. Again there is a gap, and the scene 
 leaves the earth for the unknown world after physical death. 
 
 [18] 
 
COURT OF ABUNDANCE 
 
 The East face of the minor group first shows the figure 
 of Greed, with his worldly goods now turned literally to a ball 
 of clay in his hands, gazing back at earth in puzzlement. The 
 next two figures show Faith offering the hope of immortality 
 (as symbolized in the scarab) as consolation to a sorrowing 
 woman. Finally there are two figures sinking back into 
 Oblivion, drawn by the hand of Destiny. Thus the cycle from 
 Oblivion through life and back to Oblivion is completed. 
 
 In the same basin, at the far south end, is a figure of The 
 Setting Sun. This was part of the artist's conception of the 
 Fountain of Earth, the relation to the main group being found 
 in the supposition that the earth is a mass thrown off by the 
 sun. Thus is emphasized the idea that the earth and life on 
 earth are but a very small part of the wider unknown universe 
 and life. 
 
 At the four corners of the main composition of the fountain, 
 separating the four panels, are Hermae, terminal pillars such 
 as the Greeks and Romans were fond of, decorated with the 
 head of Hermes, god of boundaries. 
 
 Having worked out the story, it is well to go back to appre- 
 ciate the purely aesthetic qualities of the fountain. Note 
 especially the feeling of strength in the figures, the firm model- 
 ing, and the fine way in which the figures are grouped. The 
 composition of the west face of the minor monument is espe- 
 cially fine, and the very graceful lines here make an intimate 
 appeal that is not evident in some of the other groups. The 
 whole monument is austere and strongly compelling rather 
 than intimately charming. If it is the first duty of art to make 
 people think, this is the most successful bit of sculpture on the 
 grounds. 
 
 MURAL PAINTINGS 
 
 The mural paintings in the Court of Abundance consist of 
 eight panels by Frank Brangwyn, perhaps the greatest living 
 mural decorator, placed in the four corners of the cloister. 
 Though not entirely in key with the color scheme and not an 
 integral part of the court as a whole, these are distinctly the 
 works of a master. Ultra-learned critics will tell you that they 
 fail as decorations, since they are interesting as individual 
 pictures rather than as panels heightening the architectural 
 charm. But their placing shows clearly that there was no 
 
 f 19 1 
 
THE WINDMILL 
 By Frank Brangwyn 
 
COURT OF ABUNDANCE 
 
 i 
 
 intention that they should appear as part of the architectural 
 scheme. It is better to accept them as pictures, forgetting the 
 set standards by which one ordinarily judges mural painting. 
 
 The eight paintings represent the elements: two panels each 
 for Fire, Earth, Air and Water. There are no conventional 
 figures here personifying the elements, but scenes from the life 
 of intensely human people, typifying the uses to which man has 
 put the elements. 
 
 Fire. Beginning on the tower side of the court, at the 
 northeast corner, are the two panels representing Fire. The 
 one on the north wall is called '^Primitive Fire." A group of 
 figures surround a fire, some nursing it and some holding out 
 their hands to the heat, while a man at the back brings fagots. 
 Note the color accents in the robes of the three standing figures. 
 
 ** Industrial Fire," on the east wall, represents the bringing 
 of fire into the service of man. In some particulars this is among 
 the finest of the paintings, but the transverse cloud of smoke 
 seems to break it awkwardly. 
 
 Earth is represented in the two panels in the northwest 
 corner. The one on the north wall is entitled **The Fruit 
 Pickers," typifying the wealth of products that man obtains 
 from the earth. This is perhaps the richest of the panels, in 
 the profusion of color and of alluring form. 
 
 The panel on the west wall is **The Dancing of the Grapes," 
 a variation of the theme of **The Fruit Pickers." It tells the 
 story of the grape: above are the pickers and the harvesters 
 with baskets; at the right two figures dancing to crush the juices 
 from the grapes ; and in the foreground a group with the finished 
 wine. The confusion of figures at first is puzzling; but viewed 
 simply as a spotting of bright colors there is no finer panel 
 among them all. It is better to stand well back along the colon- 
 nade, and forgetting the subject, to delight in the purely 
 sensuous impression. 
 
 Air is represented in the two panels in the southwest corner. 
 The one on the south wall is called **The Hunters." The theme 
 is suggested in the idea of the arrows fleeing on the wings of the 
 air, and also by the flight of birds above. 
 
 The panel on the west wall is called **The Windmill." Note 
 how the feeling of moving air is suggested everywhere: in the 
 skies at the back, in the clouds and the kites, in the trees and 
 
 [21] 
 
COURT OF ABUNDANCE 
 
 the grain-field, in the draperies, and even in the figures them- 
 selves that are braced against the wind. The coloring is glorious, 
 and the composition fine. The disposition of masses of light 
 and dark is notable — the dark figures grouped against the 
 golden grain, and the gold-brown windmill against the dark 
 sky. No panel in the grounds will better repay intensive study. 
 
 Water is represented in the panels of the southwest corner 
 of the court. The one on the south wall is called **The Net," 
 and typifies the wealth that man draws from the water. A 
 group of fishermen are hauling in a net, and carriers bring 
 baskets at the back. 
 
 **The Fountain," the panel on the east wall, shows a group 
 of people who have come to fill their jars at a spring. The colors 
 here are softer, though quite as rich as elsewhere. The lower 
 half of the painting is, indeed, like a richly colored mosaic. 
 
 After examining **The Fountain" at close range it is well 
 to step back to the middle of this south corridor. Look first at 
 "The Windmill" and then turn to look again at "The Fountain." 
 Note, how, when the subjects are once understood, the great 
 distance increases rather than decreases the charm of the paint- 
 ings. Note especially how beautiful each one is when considered 
 merely as a pattern of color. These two panels, if not the finest 
 of all, at least must take rank among the best three or four. 
 
 THE NORTH COURT OF ABUNDANCE 
 
 Passing under the tower from the Court of Abundance one 
 comes out in the little north court that is conceived in the same 
 spirit, and which likewise is dominated by the Mullgardt tower. 
 The architecture here is like an echo of that of the main court, 
 the decorated spaces alternating with bare spaces. The tower 
 sculptures are all repeated on this side. The only sculpture 
 within the north court is Sherry Fry's personification of Aquatic 
 Life. The statue is of a heavy sort that should be anywhere 
 but in this place of ethereal mood and exquisite detailed work- 
 manship. Blot out the background and you can see that the 
 figure has a certain solid grace. But if designed for this court 
 it fails of its decorative purpose. 
 
 [22] 
 
COURT OF THE UNIVERSE 
 
 The Court of the Universe is the most magnificent of the 
 courts. Considering the many units — the noble arches, the 
 long colonnades with their corner pavilions, the sunken garden 
 with its fountains and decorative sculpture, and the vista to 
 the Column of Progress and the Marina — it is by far the richest 
 in artistic interest. But is it so imposing, so vast, that it neces- 
 sarily lacks the sense of quiet restfulness and intimacy of appeal 
 of the smaller courts. It is in a sense the Civic Center of the 
 great Exposition model city, and as such it offers many sug- 
 gestions of wise planning — and one or two of poor planning, 
 as in the case of the obtrusive band-stand. 
 
 The meaning of the court is to be found in the symbolism 
 of the groups surmounting the two triumphal arches — the 
 Nations of the East meeting the Nations of the West. With 
 the opening of the Panama Canal the peoples of the 
 universe have met at last; West faces East on this shore of 
 the Pacific. The idea is finely expressed in the lines by Walt 
 Whitman, inscribed on the west arch, in which the spirit of 
 the Aryan race, having traveled this far, is supposed to speak 
 as she gazes westward to Asia, **the house of maternity," 
 her original home: 
 
 Facing west from California's shores, 
 Inquiring, tireless, seeking what is yet unfound, 
 1, a child, very old, over waves, tow^ards the house 
 
 of maternity, the land of migrations, look afar, 
 Look off the shores of my Western Sea, 
 
 the circle almost circled. 
 
 Variations of this theme may be found in the murals under 
 the arches, and in those under the Tower of Jewels near by. 
 Other universal themes are treated in the Fountains of the 
 Rising Sun and of the Setting Sun, and in The Elements at the 
 edge of the sunken garden. The idea of achievement, of victory 
 in conquering the universe, is also suggested in the triumphal 
 
 ^"^""^^^ ARCHITECTURE 
 
 The style of architecture is in general Roman; though, as 
 is true almost throughout the Exposition buildings, there is an 
 
 [23] 
 
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 r 
 
 ARCH OF THE SETTING SUN 
 McKim, Mead and White, Architects 
 
COURT OF THE UNIVERSE 
 
 admixture of Renaissance motives. Even on the massive 
 Roman arches there is a trace of Moorish hghtness and color 
 in the green lattices; and the domes of the corner pavilions are 
 clearly Eastern in feeling. 
 
 The East and West arches are, of course, reminiscent of 
 the triumphal arches of the Roman Conquerors. A comparison 
 with pictures of the famous Arch of Constantine and the Arch 
 of Titus at Rome, will show how thoroughly the architects have 
 mastered the feeling of the classic examples, while largely 
 modifying the decorative features. To properly see either of 
 the arches in this court as a single unit, it is best to stand at the 
 side of the sunken garden, near one of the figures of "The 
 Elements," where the fountain columns do not obstruct the 
 view. 
 
 The long colonnade, with its fine Corinthian columns 
 and its surmounting row of "Star-girls," can best be appreciated 
 when one stands facing north, with back to the Tower of Jewels 
 — since the architecture of that was clearly conceived by another 
 mind and built in a different spirit. It is from the two corner 
 pavilions on the tower side, perhaps, that the best general views 
 of the court can be obtained. Unfortunately the attractive 
 view down the straight colonnades of the north extension of 
 the court is marred by a gaudy band pavilion, which is quite 
 out of keeping with the pervading mood of simple dignity. The 
 little corner pavilions are worthy of study alone, as a graceful 
 and unusual bit of architectural design. 
 
 The Court of the Universe was designed by McKim, Mead 
 and White. 
 
 SCULPTURE 
 
 The Court of the Universe has more than its share of the 
 best sculpture of the Exposition. In this court more than any- 
 where else one can obtain an idea of the remarkable scope of 
 the sculptured groups. It is a good place to linger in if one has 
 heretofore had pessimistic doubts about the ultimate flowering 
 of the art of sculpture in America. 
 
 The Fountain of the Rising Sun is at the east end of the 
 sunken garden. Its tall shaft is surmounted by the figure of a 
 youth typifying the Rising Sun — a figure of irresistible appeal. 
 The morning of day and the morning of life, the freshness 
 of the dawn and the aspiration of youth — these things are 
 
 [25 1 
 
DESCENDING NIGHT 
 Adolph A. Weinman 
 
COURT OF THE UNIVERSE 
 
 remarkably suggested in the figure. With head up and winged 
 arms outstretched, the youth is poised on tiptoe, the weight 
 thrown forward, as if just on the point of soaring. 
 
 The Fountain of the Setting Sun is just opposite, at the 
 west end of the sunken garden. The surmounting figure here, 
 though officially called **The Setting Sun,'* is more appropriately 
 named "Descending Night" — the title the artist has given to 
 the bronze replica in the Fine Arts gallery. The closing in of 
 night — that is what is so perfectly suggested in the relaxed 
 body, the folding-in wings, and the remarkable sense of droop- 
 ing that characterizes the whole statue. There is, too, an 
 enveloping sense of purity and sweetness about the figure. 
 
 These two statues which surmount the Fountains of the Rising 
 Sun and the Setting Sun are among the most charming sculp- 
 tures at the Exposition. They have not the strength of the 
 figures of the Elements, or the massive nobility and repose of 
 the Genius of Creation, or the purely modern native appeal 
 of the works of Stackpole and Young and Eraser. But for those 
 of us who are sculpture lovers without asking why, they come 
 closer to our hearts and dwell more intimately in our minds 
 than any of these. ''Descending Night** especially has a sen- 
 suous charm of graceful line, a maidenly loveliness, that appeals 
 irresistibly. Both figures are by Adolph A. Weinman. 
 
 Above the higher basin of each fountain the column drum 
 is decorated with figures in relief. While the two friezes are 
 meant to be decorative primarily, the artist has employed in 
 each case a symbolism in keeping with the crowning figure. 
 The frieze in the Fountain of the Rising Sun represents "Day 
 Triumphant.** The symbolic figures typify the awakening of 
 man's finer instincts and energies at the call of the morning, 
 and the shrinking of the vices when the darkness of night gives 
 place to the light of day. The relief -frieze of the "Fountain of 
 the Setting Sun** is entitled "The Gentle Powers of Night.** 
 It represents Descending Night bringing with her the Stars, the 
 Moon-goddess, Dreams, and similar beautiful things. The 
 lower basins of both fountains contain figures of centaurs (a 
 new sea-variety, with fins) holding sea-monsters. 
 
 Groups surmounting arches. The monumental groups 
 surmounting the two triumphal arches are "The Nations of 
 the East,** on the Arch of the Rising Sun, and "The Nations of 
 
 [27] 
 
NATIONS OF THE WEST (Above) 
 NATIONS OF THE EAST (Below) 
 A. Stirling Calder, Leo Lentelli, 
 and F. G. R. Roth. Sculptors 
 
COURT OF THE UNIVERSE 
 
 the West/* on the Arch of the Setting Sun. The symboHc idea 
 behind the two compositions thus placed facing each other, is 
 that of the nations of the Eastern and Western Hemispheres at 
 last meeting on this Pacific shore. 
 
 The Nations of the East is made up of five mounted and 
 four unmounted figures, all typical of the Orient. Reading from 
 the spectator's left to right, the mounted figures are: 1. an 
 Arab tribal chief on a horse; 2. a Mohammedan standard- 
 bearer on a camel; 3. the East Indian on his richly-caparisoned 
 elephant; 4. another Mohammedan standard-bearer on a camel; 
 5. a Mongolian horseman. Between the mounted figures are 
 the following on foot: 1 . a servant with a basket of fruits; 2. an 
 Arab falconer; 3. a Thibetan lama or priest; 4. another servant 
 with fruit. 
 
 The Nations of the West represents typical figures from 
 the European nations which have helped to develop America, 
 together with two American Indians and an Alaskan. A central 
 composition shows the Mother of Tomorrow and a surmounting 
 group typifying the Spirit of Enterprise which has led the Aryan 
 race to conquer the West. The figures, from left to right, are: 
 1. the French-Canadian (sometimes called "The Trapper*'), on 
 horseback; 2. the Alaskan, carrying totem poles, on foot; 3. the 
 Spanish-American conqueror, mounted; 4. the German-Ameri- 
 can, on foot; 5. the Mother of Tomorrow, on the tongue of the 
 ox-drawn prairie schooner; 6. the Italian- American, on foot; 
 7. the English-American, mounted; 8. an Indian squaw; 9. the 
 American Indian, mounted. On top of the prairie schooner 
 the Spirit of Enterprise is represented by a spirited winged 
 figure, with a boy at either hand. 
 
 The way in which the two groups balance each other at the 
 two ends of the court is worthy of study — the elephant of the 
 one offset by the prairie schooner of the other. Indeed each 
 feature of one is balanced in the other so that the two will mass 
 against the sky with the same general decorative effect. "The 
 Nations of the East," considered as a whole, seems the more 
 satisfying group — richer in feeling, more unified in design, and 
 more massive; in short, more monumental and therefore better 
 fitted to crown the noble arch. But if this fits its setting better, 
 and masses against the sky more satisfyingly, "The Nations of 
 the West" will be found on close examination to contain the 
 
 [29] 
 
COURT OF THE UNIVERSE 
 
 better individual figures. The Alaskan (unfortunately almost 
 lost to view in the present placing of the group), the Canadian 
 Trapper, and the mounted Indian are all worthy of prolonged 
 study; and the figure of the Mother of Tomorrow is one of the 
 finest bits of sculpture at the Exposition. In these figures, and 
 only slightly less so in the other figures of this and the opposite 
 group, there is ample evidence that the American sculptors 
 have outgrown the traditions of by-gone **schools** and have 
 developed a genuine native medium of expression. The two 
 groups are the work of A. Stirling Calder, Leo Lentelli, and 
 Frederick G. R. Roth in collaboration. 
 
 Figures at north and south of sunken garden. Flanking 
 the stairways to the sunken garden at north and south are four 
 large figures by Robert Aitken, typifying **The Elements." 
 
 Air is at the west end of the south stairway, and is repre- 
 sented as a huge winged female figure putting a star in her hair. 
 Two birds, old-time symbols of the air, complete the suggestion. 
 At the back a man has tied himself to the wings of the figure — 
 typifying man's effort to put to his own use the wings of the air. 
 
 Earth is placed at the east end of the south stairway. A 
 huge female figure rests on conventionalized rocks, and a form- 
 alized tree partially supports her. At the back two small 
 struggling figures are seen, typifying man's struggle with the 
 forces of earth. 
 
 Water is placed at the east end of the north stairway. The 
 sea-god, with his trident in one hand and sea-weed in the other, 
 rides on a wave, with a dolphin beside him. 
 
 Fire — at the west end of the north stairway — is typified by 
 the figure of a man in agony, with one hand grasping the flame, 
 and with jagged lightning in the other, symbolizing man's 
 terror of fire as well as his conquering of it. A salamander com- 
 pletes the main design, while at the back the phoenix, bird 
 fabled to rise from fire, helps support the figure. 
 
 These four figures are of the sort of art that is likely to turn 
 the unthinking person away, though a study of them will bring 
 out new beauties with riper acquaintance. Because people fail 
 to get far enough away from them to obtain the proper per- 
 spective, the statues seem too huge, too strong, too terrible, ever 
 to be attractive. They are, it is true, out of scale, and thus 
 mar the effect of the court to a certain extent. But there is in 
 
 [30] 
 
COURT OF THE UNIVERSE 
 
 them something of the noble and compelHng strength of the 
 statues of Michael Angelo — to whom the sculptor clearly owes 
 his inspiration. Stand between the columns at the corner of 
 the Transportation Palace, and you will see that the figure of 
 Fire not only is imaginatively conceived but is a fine line com- 
 position as well. Study of the other three from corresponding 
 viewpoints will well repay in increased understanding and 
 pleasure. 
 
 Figures at east and west of sunken gardens. Flanking 
 the east and west stairways are two groups by Paul Manship. 
 The one representing two girls dancing or running is called 
 sometimes "Festivity,'* sometimes **Motion.** Here the artist 
 has welded the figures into an ornamental design in a way 
 unparalleled in the work of other American sculptors. Note 
 the finely varied outline, the sense of rhythmic motion, and the 
 rich feeling that every part is decorative. The opposite group 
 is called **Music" or **Music and Poetry.** It lacks the flowing 
 grace and something of the richness of feeling of the other, 
 though it is more dignified. There is the same conventionaliza- 
 tion in treatment, again charming. These groups are not for 
 people who look for realism in art above all else; but for those 
 who care for the classic, who see in formalization a short-cut 
 to the expression of the spirit of a thing, there are few more 
 appealing groups in the grounds. The figures are repeated at 
 the east and west entrances to the garden. 
 
 Minor Sculptures. The slender * 'Stars'* along the top of 
 the colonnade are the work of A. Stirling Calder. When one 
 remembers that this is the Court of the Universe, they seem to 
 fit in with the meaning of the whole, and architecturally their 
 symmetry of form fits them well for repetition. The low relief 
 friezes on the corner pavilions represent **The Signs of the 
 Zodiac,** and are by Hermon A. MacNeil. A formalized Atlas 
 is represented in the center, and at each side are seven of his 
 daughters, the Pleiades and the Hyades. v ho»n the gods changed 
 into stars. Twelve of the maidens have piaques bearing the 
 symbols of the Zodiac. The frieze is well composed and beauti- 
 fully modeled, but the rough Travertine does not do it justice. 
 The minor sculptures on the triumphal arches consist of a re- 
 peated winged angel with sword down-turned, by Leo Lentelli; 
 spirited spandrels over the arches, representing **Pegasus,** by 
 
 131 1 
 
COURT OF THE UNIVERSE 
 
 Frederick G. R. Roth; and two well-adapted medallions by A. 
 Stirling Calder and B. Bufano. All of these decorative features 
 are repeated on both sides of both arches. 
 
 MURAL PAINTINGS 
 
 The four mural paintings of the Court of the Universe, two 
 under each of the triumphal arches, represent the progress of 
 civilization from the old world to the American far West. The 
 two under the Arch of the Rising Sun, at the east of the court, 
 represent the nations that crossed the Atlantic and their ideals, 
 while those under the western arch show the march of the pio- 
 neers from New England to California. To obtain the proper 
 sequence of thought the ones under the eastern arch should be 
 examined first. ' 
 
 Murals in Arch of the Rising Sun. On the south wall of 
 the arch is a panel representing the nations that have dared to 
 cross the Atlantic to bring their civilization to America. The 
 figure farthest to the spectator's right represents the spirit of 
 adventure or **The Call to Fortune." Then follow representa- 
 tives of the nations, in this order: 1 . the half-savage of the lost 
 Continent of Atlantis; 2. the Roman conqueror; 3. the Spanish 
 explorer, typified by a figure resembling Columbus; 4. the Eng- 
 lish explorer, resembling Raleigh; 5. a priest, typifying the 
 bringing of European religion to America; 6. the artist, bring- 
 ing the arts; and 7. the workman-immigrant of today. Then 
 follows an allegorical veiled figure, with hand to ear, listening 
 to the hopes and ideals of the men who are following the call to 
 fortune. 
 
 The opposite panel shows what the veiled figure has heard — 
 depicts the hopes and ideals that have led men to cross the 
 Atlantic. At the far left are figures symbolizing True Hope 
 and False Hope. Soap bubbles are being scattered by False 
 Hope, and the third figure, typifying Adventure, tries to pick 
 them up. Then follow the true ideals and hopes in this order: 
 1. Commerce 2. Imaginative Inspiration; 3. Truth and Beauty 
 (one figure); 4. Religion; 3. Wealth; and 6. Family Joys (a 
 woman with babes). In this panel the background contains 
 suggestions of Asiatic and American cities. In the other panel 
 the background shows a group of ships, ranging from those of 
 the earliest times to the modern liner. 
 
 [ 32 1 
 
COURT OF THE UNIVERSE 
 
 These two paintings are worthy of study for the historical 
 and symbolic interest. Artistically they are notable chiefly for 
 the remarkable freshness of coloring and rich mosaic effect. 
 Both are by Edward Simmons. 
 
 Murals in Arch of the Setting Sun, at the west side of the 
 court. The painting on the north wall should be viewed first. 
 This represents pioneers from a New England village starting 
 for California. There are four groups of figures, as follows: 
 l.two workmen, and a woman holding a child; 2. a symbolic 
 figure of the Call to Fortune; 3. a group showing the types of 
 those who crossed the continent — the driver first, and then 
 the Preacher, the Pioneer, the Judge, and the Schoolmistress 
 (there are four children also in this group, and at the back is a 
 wagon filled with household goods); and 4. a youth bidding 
 farewell to his parents as he starts to join the band of 
 emigrants. At the back of the last group is seen a typical 
 New England home, and in the distance a New England 
 meeting-house. 
 
 **The Arrival on the Pacific Coast** is the title of the painting 
 on the opposite wall, which represents the immigrants being 
 welcomed as they reach California. Here again there are four 
 groups of figures. The first shows two Spanish-American 
 soldiers and their captain, following a priest, typical of the days 
 of Spanish rule in California and of the Mission period. Second, 
 there is a symbolic figure, "The Spirit of Enlightenment.'* The 
 third and main group shows types of immigrants. The men 
 here are: 1. the scientist; 2. the architect; 3. the writer; 4. the 
 sculptor; 5. the painter; 6. the agriculturist; and 7. the miner 
 (or other manual worker). A woman and several children com- 
 plete the group, and at the back is a prairie schooner, from 
 which a girl waves a flag. The fourth group represents Cali- 
 fornia welcoming the immigrants, the state being symbolized 
 by tokens of the wealth it has to offer settlers: the orange tree, 
 sheaves of grain, and fruits — the figures including the miner, 
 the farmer, fruit pickers, and the California bear. This last 
 group is the most colorful, and in many ways the most appealing, 
 of all those in the two panels under the west arch. It is interest- 
 ing to compare the golden warmth here — and indeed through- 
 out the California panel — with the cold atmosphere of the New 
 England one. 
 
 133) 
 
COURT OF THE UNIVERSE 
 
 Those who are famiHar with the historical characters of the 
 West will be able to recognize in the California panel idealized 
 portraits of William Keith as the painter, Bret Harte as the 
 writer, and Junipero Serra as the priest. In the New England 
 panel may be found William Taylor, famous street preacher of 
 the early days in California, as the preacher, and "Grizzly** 
 Adams as the pioneer. 
 
 Both murals under the Arch of the Setting Sun are by Frank 
 Vincent Dumond. 
 
 THE SIDE COURTS 
 
 The two small connecting courts, or aisles, at the east and 
 west of the Court of the Universe are known as the Florentine 
 Court and the Venetian Court respectively. Both are in Italian 
 Renaissance architecture, and both are remarkably rich in color. 
 The patterns on the shafts of the columns, while doubtless 
 adding to the feeling of richness, are a little too pronounced, 
 tending to destroy that restfulness which is felt in the other 
 Italian courts, the Court of Flowers and the Court of Palms. 
 In both the Florentine Court and the Venetian Court the 
 planting schemes harmonize unusually well with the architecture. 
 
 SIZE OF THE COURT OF THE UNIVERSE 
 
 For the sake of those who find added interest in knowing on 
 what scale a work of art is built, the following facts are added: 
 
 The area of the Court of the Universe is about seven acres. 
 On its east and west axis, from arch to arch, it is six hundred 
 and fifty feet; on its north and south axis, from the Tower of 
 Jewels to the Column of Progress, it is nearly twelve hundred 
 feet. 
 
 The Arches of the Rising Sun and the Setting Sun have a 
 total height, to the top of the surmounting sculpture, of two 
 hundred and three feet. 
 
 The Tower of Jewels is 433 feet in height, while the main 
 archway beneath is 1 1 feet high. 
 
 1341 
 
COURT OF THE FOUR SEASONS 
 
 The Court of the Four Seasons, unUke the other main courts, 
 does not immediately call forth one*s exclamations of surprise 
 and delight. It is not so compellingly beautiful as either of the 
 others. Nevertheless it has a distinctive charm of its own — a 
 reposeful atmosphere and a simplicity of form that become 
 more and more appealing with riper acquaintance. It is a good 
 place to come to when one is satiated with the beauties of the 
 other courts, for restfulness is the keynote. The simple massive 
 style of the architecture and the simple planting scheme com- 
 bine to produce a spirit of calm. The ideas of energy, achieve- 
 ment, progress, effort — so insistently emphasized elsewhere- — 
 are left behind, and everything breathes a sense of peace and 
 orderliness, of things happening all in good season. 
 
 The primary idea underlying the decorative features of the 
 court is sufficiently indicated in the name, "The Four Seasons;'* 
 and this idea is symbolically expressed in the sculpture and 
 mural paintings in the four corners of the colonnade. But a 
 study of the other decorations shows that the idea of abundance, 
 or fruitfulness, was equally in the minds of architect and sculp- 
 tors. The purely architectural ornaments, such as the capitals 
 and the running borders, employ the symbols of agriculture 
 and fruitfulness, while no less than five of the main sculptural 
 groups or figures deal directly with harvest themes. 
 
 ARCHITECTURE 
 
 The style of architecture is in general Roman. The half- 
 dome and the colonnades are almost severely classic. The 
 column capitals are Ionic. But in the freedom of some of the 
 architectural forms, particularly in the archways at east and 
 west, there is a suggestion of Renaissance influence. The plan 
 with its four cut-corners with fountains, and its half-dome 
 facing down the long colonnade to the bay, is ingenious. The 
 half-dome itself, dominating feature of the court, is exception- 
 ally dignified and impressive. To obtain the best view of it as 
 a single unit, one should stand between two columns of the 
 colonnade near either the Fountain of Summer or the Fountain 
 
 [35] 
 
THE FEAST OF SACRIFICE 
 Albert Jaegers, Sculptor 
 
 (By courtesy of Paul Elder & Company) 
 
COURT OF FOUR SEASONS 
 
 of Autumn — as from these points the eye is not carried through 
 
 the doorway at the back of the dome, to the detriment of a 
 
 unified impression. 
 
 Henry Bacon is the architect who designed the Court of the 
 
 Four Seasons. 
 
 SCULPTURE 
 
 Bulls on pylons. The finest sculpture here is to be found 
 in the groups capping the pylons at the entrance to the minor 
 north court. Though called by the artist **The Feast of Sacri- 
 fice," these are commonly known as **The Bulls.** The group, 
 which is duplicated, shows a bull being led to sacrifice by a 
 youth and a maid, and is reminiscent of the harvest- time cele- 
 brations of ancient peoples. But it is just as well to forget the 
 subject, and to admire purely for the sensuous charm — for the 
 beauty of outline, the fine modeling, and the remarkable sense 
 of spirited action. Note the three figures individually: the 
 nobly animated bull, the magnificently set-up youth, and the 
 strong yet graceful maiden ; then note how the sacrificial garland 
 holds the whole group together and makes it richer. Note, too, 
 how the forward-moving lines of the bull are accentuated on one 
 side by the similar lines of the youth*s body, and on the other 
 by the contrasting lines of the girFs. Putting aside any question 
 of meaning, there is not in any of the courts a nobler bit of 
 decorative work than this. Albert Jaegers was the sculptor. 
 
 Figures surmounting columns. On the two columns 
 before the half-dome are Albert Jaegers* figures of **Rain" and 
 * 'Sunshine.*' At the right, as one faces the dome, Rain is typi- 
 fied by a woman shielding her head with her mantle and holding 
 out a shell to catch the water. At the left Sunshine is repre- 
 sented by a woman shielding her head from the sun's rays with 
 a palm-branch. Both figures are characterized by a sense of 
 richness, of fullness, that is perfectly in keeping with the spirit 
 of the court. In commenting on these statues, in one of his 
 lectures on the art of the Exposition, Eugen Neuhaus, the well- 
 known California painter, suggested very appropriately that 
 the court should have been named for them **The Court of the 
 Two Seasons" — since in California the only noticeable sea- 
 sonal change is from a sunny period to a rainy period. 
 
 Group surmounting half-dome. This shows a conven- 
 tional seated figure of Harvest, with an overflowing cornucopia. 
 
 1371 
 
"AUTUMN" NICHE IN COURT OF FOUR SEASONS 
 Henry Bacon. Architect Furio Piccirilli, Sculptor 
 
COURT OF FOUR SEASONS 
 
 At one side a child-figure bows under a load of fruit. This group 
 also is by Albert Jaegers. Here, as in **Rain" and * 'Sunshine," 
 there is a sense of fruitfulness, of profuseness, a maternal sug- 
 gestion that helps to carry out the symbolism of the court. In 
 all three of these statues, too, there is something of the nobility 
 and massiveness that distinguish the same artist's **buir' groups 
 across the court. All are eminently suited to the massive Roman 
 architecture; nowhere else have sculptor and architect worked 
 together more successfully. 
 
 Fountains of the Seasons. In the niches formed at the 
 corners of the court by the diagonal colonnades are novel 
 fountains, surmounted by groups representing the four seasons. 
 It is well to go first to the southwest corner, to the ** Fountain 
 of Spring"; then to the northwest corner, for **Summer"; and 
 so on around the court. If one is ever puzzled to understand 
 from the figures which season is represented, a glance at the 
 labeled murals up above in the corridor will give the proper 
 title — for statue and murals of each season are grouped together. 
 
 Spring. A young woman draws a floral garland over her 
 head, while at her right a love-lorn youth turns a pleading face 
 to her, and at her left a girl brings armfuls of flowers. 
 
 Summer. To a man a woman holds up a babe, symbol of 
 the summer of human life, while at one side a crouching figure 
 holds a sheaf of full-headed grain. 
 
 Autumn. The central figure is a woman of generous build 
 with a jar on her shoulder — quite the usual personification of 
 Autumn or fruitfulness. At one side a young woman holds a 
 garland of grapes, and at the other is a girl with a babe. This 
 last figure is perhaps the most graceful in all the four groups, 
 though the same sort of loveliness distinguishes to a certain 
 extent the two flower-girls of * 'Spring." Altogether, this * 'Au- 
 tumn" fountain is probably the finest of the four. 
 
 Winter. The central figure is Nature, in the nakedness of 
 winter, resting after the harvests of autumn and waiting for 
 the birth of spring. At one side a man with a spade rests, while 
 on the other a man with a seed-bag is already beginning to sow. 
 Although all the figures of "The Fountains of the Seasons" are 
 nude, there is about this group a sense of cold nakedness that 
 well accords with the season it portrays. 
 
 139] 
 
COURT OF FOUR SEASONS 
 
 These four groups are very properly alike in composition 
 and feeling — suggesting perhaps that the differences between 
 the seasons in California are but slight. There is throughout 
 a conventional touch, and all are in pastoral mood. The groups 
 are by Furio Piccirilli. 
 
 The Fountain of Ceres is in the north extension of the court, 
 between the Palace of Food Products and the Palace of Agriculture. 
 The surmounting figure is of Ceres, Greek goddess of the fields 
 and especially of corn. The bas-relief frieze represents a group 
 of dancers, suggestive of the seasonal festivals of the Greeks. 
 The main figure has been much criticized, but an unbiased 
 critic may find much in the fountain to praise. The pedestal 
 and the crowning figure are well thought out, and the propor- 
 tions of the whole are good; and there is a feeling of classic 
 simplicity throughout. The frieze of dancing girls, too, is 
 exceptionally graceful. If, then, one discovers that Ceres is 
 more mature than a goddess ever ought to be, or that her face 
 suggests that of an exasperated school-teacher, or if one finds 
 the cornstalk in her hand a realistic thing incompatible with any 
 poetic conception, it is well to step back until one gets only the 
 general effect. For there is much to admire in the poise of the 
 figure, in the decorative outline, and in the sculptor's lightness 
 of touch. The fountain was designed by Evelyn Beatrice 
 Longman. 
 
 Minor Sculptures. On the archways at east and west of 
 the court a high-relief figure by August Jaegers is repeated eight 
 times, and the spandrels over the arches are by the same artist. 
 In both cases the idea of abundance or fruitfulness again sup- 
 plies the motive. The boxes at the bases of the columns on 
 which **Rain** and * 'Sunshine" stand are decorated with agri- 
 cultural scenes in low relief. The capitals at the tops of these 
 columns are enriched with groups of agricultural figures. 
 Within the archways at east and west the ceilings are decorated 
 with delicate bas-relief designs, patterned after the famous ones 
 at Villa Maderna, Rome. 
 
 MURAL PAINTINGS 
 
 All the murals in the Court of the Four Seasons are by H. 
 Milton Bancroft. In general they are less interesting than those 
 of any other court. 
 
 [40] 
 
COURT OF FOUR SEASONS 
 
 The Seasons. In the four corners of the colonnade there 
 are eight panels, grouped by twos as follows: Spring and Seed 
 Time; Summer and Fruition; Autumn and Harvest; and 
 Winter and Festivity. There is little to hold the attention 
 either in richness of color or in unusual grace of composition. 
 Moreover, the artist has left nothing to the imagination in the 
 symbolism by which he expresses the several ideas. The devices 
 are so hackneyed, and the meaning so obvious, that any sort 
 of interpretation would be entirely superfluous. 
 
 Panels under half-dome. On the east wall under the 
 dome is the panel Art Crowned by Time. Father Time 
 crowns Art, while on one side stand figures representing Weav- 
 ing, Jewelry, and Glasswork, and on the other Printing, Pottery, 
 and Smithery. On the opposite wall is the panel Man Receiv- 
 ing Instruction in Nature's Laws. A woman holds before a 
 babe a tablet inscribed **Laws of Nature,'* while on one side are 
 figures of Fire, Earth and Water, and on the other figures of 
 Death, Love, and Life. These two larger panels are more pleas- 
 ing than the eight representing the Seasons, both in coloring 
 and in figure composition; and they make pleasing spots of 
 bright color in the dome. But again the artist is tediously 
 careful to make his meanings plain. Not only does each figure 
 hold its obvious symbol prominently in view, but there are 
 labels naming the figures. To the art student the painter's 
 stipple-and-line method, producing vibration of light and a 
 certain freshness of atmosphere, will be of interest, as being out 
 of the usual run of mural technique. 
 
 Before leaving the Court of the Four Seasons one should 
 stand under the central arch of the triple portal at the east, 
 and look first to the east through the Arch of the Setting Sun 
 to the group * 'Nations of the East;" and then to the west along 
 the vista that ends with the kneeling figure before the Fine 
 Arts temple. The arrangement of architectural and sculptural 
 units in both vistas is worthy of study. 
 
 [41 
 
THE END OF THE TRAIL 
 James Earl Eraser, Sculptor 
 
THE COURT OF PALMS AND THE 
 COURT OF FLOWERS 
 
 In these two courts, which pierce the walled city on the south, 
 opposite the Palace of Horticulture and opposite Festival Hall, 
 is to be found the purest expression of that spirit of the Italian 
 Renaissance which hovers over so much of the Exposition 
 architecture. Here, too, one finds Jules Guerin*s color scheme 
 at its richest. Both courts necessarily lack the cloistral charm 
 of the Court of Abundance, since they have the fourth sides 
 open. But what they lack in the sense of enclosure they make 
 up in sunniness and joyous color. They are restful and warm 
 and quiet — and artistically they are among the most perfect 
 and most harmonious units on the grounds. 
 
 THE COURT OF PALMS 
 
 The Court of Palms is directly opposite the Palace of Horti- 
 culture, between the Education and Liberal Arts Palaces, and 
 adjoins the Court of the Four Seasons. The charming sunken 
 garden and simple pool reflect the colored colonnade, arches 
 and towers with a sense of rest that is a relief and stimulant 
 after walking miles of exhibit halls. Although really nearly two 
 acres in area, the court seems small and intimate. The pro- 
 portions are good, and the planting particularly fortunate. 
 
 The architecture is Renaissance, and is suggestive of the 
 interior courts of the palaces of the Italian nobles. The colon- 
 nade columns are Ionic. The high attic story or frieze above the 
 colonnade is remarkably rich, with its orange brown panels 
 garlanded with green and red fruits, and decorated with Carya- 
 tid pilasters. It is worthy of study for the way in which archi- 
 tect, sculptor and color director have co-operated. The Italian 
 Towers, terminating the colonnades, are among the finest bits 
 of architectural design in the whole building group. Though 
 only a fraction of the height of the Tower of Jewels, they convey 
 much better the impression of reaching high into the heavens, 
 of aspiration and uplift. They are more satisfying, too, in their 
 combination of architectural forms, and they carry out notably 
 well the delicate but luxuriant color scheme of the court. The 
 
 [43] 
 
COURT OF PALMS 
 
 unusual repeated pattern which fills the large wall panels of 
 the towers is worthy of attention. 
 
 The architect of the court was George W. Kelham. 
 
 Sculpture. The only really important statue in the court 
 is that which stands at the opening on the Avenue of Palms — 
 called The End of the Trail. An Indian, bowed at last under 
 the storm, sits astride a dejected horse — utter weariness, dis- 
 couragement, lost hope, expressed in every line of man and 
 animal. Some see in the statue only the abject despair of a 
 horse and rider when the consciousness finally comes that the 
 trail is definitely lost in the wilderness; and it is notable enough 
 as an expression of this tragic theme. But others, remembering 
 the history of the Indian, see here an eloquent and pathetic 
 reminder of a race that has seemingly come to the end of its 
 trail. As a portrayal of this racial tragedy the group is even 
 more remarkable than as an expression of the hopelessness of a 
 lost man and horse. 
 
 The statue is hardly in key with its architectural surround- 
 ings; but its comparatively isolated position prevents it from 
 seeming an intrusive element in the court. Considered alone 
 it is more individual, more expressive of independent and deep- 
 moving thought, than any other sculpture in the grounds. 
 There is far more of real earnestness here than is usual in exposi- 
 tion sculpture. The thing is significant, too, for the native 
 note. It is worthy of serious study as indicating one of the most 
 important tendencies of American sculpture when not tied to 
 the purely decorative. The sculptor was James Earl Fraser. 
 
 The minor sculptures in this court consist of the Caryatides 
 by John Bateman and A. Stirling Calder; the spandrels, by 
 Albert Weinert; "The Fairy," by Carl Gruppe, which crowns 
 the Italian Towers; and the classic vases at the portals. 
 
 The mural paintings in this court are disappointing. 
 Two are surprisingly poor, considering the high reputation of 
 the artists, and the third is badly placed. The tympanum in 
 the portal at the east side of the court is filled by Charles W. 
 Holloway's panel. The Pursuit of Pleasure. This is a con- 
 ventional treatment of the subject, in which a number of youths 
 and maidens turn lackadaisically to a winged figure of Pleasure. 
 There is a pleasing lightness of touch, and the bright reds and 
 blues are in keeping with the spirit of the court — but the thing 
 
 [44 1 
 
COURT OF PALMS 
 
 is, somehow, insipid. This panel is more pleasing under illumi- 
 nation. In the opposite portal is Childe Hassam's painting, 
 Fruits and Flowers. This again is a conventional treatment, 
 showing very obviously vegetable and human fruits and flowers. 
 The arrangement is tediously symmetric, the coloring is rather 
 weak, and there is a wooden stiffness about the figures. The 
 panel makes a pleasant spot of color, but is by no means up to 
 the standard of the canvases in Hassam's room in the Palace 
 of Fine Arts. 
 
 The panel over the main doorway, at the north end of the 
 court, is by Arthur F. Mathews, and is far superior to the other 
 two, though unfortunately placed in a dark spot. It is called 
 by the artist A Victorious Spirit. The central figure, gor- 
 geously suggesting the Spirit of Enlightment, protects Youth 
 from the discordant elements of life — from materialism and 
 brute force, as represented by the rearing horse and militant 
 rider. Youth is attended by the peace-bringing elements of 
 life, by Religion, Philosophy or Education, and the Arts. The 
 symbolism here is sound, the composition and drawing unusually 
 good, and the coloring quite wonderful — especially in the orange- 
 yellow robe of the Spirit. The full deep colors are in sharp con- 
 trast with those of most of the Exposition murals. 
 
 No one should leave this court without first pausing to enjoy 
 the vista through the north doorway, showing Albert Jaeger's 
 spirited Sacrificial Bulls on the Agriculture and Food Products 
 Palaces, the long colonnade of the Court of the Four Seasons, 
 and the bit of bay and hills beyond. 
 
 THE COURT OF FLOWERS 
 
 The Court of Flowers is opposite to Festival Hall, between 
 the Mines and Varied Industries Palaces. The first impression, 
 as one comes to it, is that here is a replica of the colorful Court 
 of Palms. But many differences become evident after a few 
 moments' study. 
 
 The architecture is Italian Renaissance, but of a more 
 richly decorative sort than in the Court of Palms. There is 
 more overlaid ornament, and on the whole, less simplicity and 
 quietness and more varied interest. The columns here are Cor- 
 inthian, arranged in pairs. The gallery above the colonnade 
 adds to the suggestion of the sunny South. The Italian Towers, 
 
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 while similar in feeling to those of the other court, are different 
 in the arrangement of elements, though equally successful. 
 The color decoration is again notable. 
 
 It is hardly necessary to add that George W. Kelham 
 designed this court too. 
 
 Sculpture. The center of the court is dominated by Edgar 
 Walter's Beauty and the Beast Fountain. The surmount- 
 ing statue is a curious combination of graceful lines and gro- 
 tesque effects. The strange Beast is no less fantastic than the 
 young lady herself — she who has adorned her fair body with 
 nothing more than a Spring hat and a pair of sandals. It is 
 probably this near-nudeness, without pure nakedness, that 
 creates the jarring note of the group. Certainly there is a 
 bizarre touch that somewhat offsets the sinuous charm of the 
 figure. Under the upper basin are four piping Pans, not notable 
 individually, but adding to the decorative effect. The wall 
 around the lower pool carries a playful frieze of animals in low 
 relief. 
 
 The Pioneer is the title of the equestrian statue at the 
 south end of the court, on the Avenue of Palms. The man is 
 typically the Western pioneer, as every resident of the Pacific 
 Coast has known him — a patriarchal figure who foreran civili- 
 zation here in the West of America as he has in all other new 
 lands. Head up, axe and gun in hand, looking straight forward, 
 he is a fine visualization of the "Forty-niner." He is, too, 
 an interesting racial contrast to the Indian of "The End of the 
 Trail." One wonders, however, about the horse, with the 
 elaborate trappings that clearly belong to another era — to the 
 days of Spanish conquest, perhaps. Certainly horse and rider 
 do not seem to be conceived in the same spirit. The group 
 lacks, too, that vital intensity of feeling and that emotional 
 strength which distinguish "The End of the Trail," the 
 companion -statue in the Court of Palms. The "Pioneer" 
 is by Solon Borglum. 
 
 The minor sculpture here consists of A. Stirling Calder's 
 attractive "Flower Girl," repeated in the niches along the 
 loggia; dignified Lions, by Albert Laessle, flanking the three 
 portals; and again Carl Gruppe's "The Fairy," atop the 
 Italian Towers. 
 
 [47] 
 
THE TOWER OF JEWELS, AND 
 THE FOUNTAIN OF ENERGY 
 
 It was planned that the Tower of Jewels should be the great 
 dominating feature of the architectural scheme of the Exposi- 
 tion; that this unit more than any other should stand as a tri- 
 umphal monument to celebrate the opening of the Panama 
 Canal. The mural paintings, the sculpture and the inscriptions 
 all carry out this idea, but the tower, in its architectural aspect 
 alone, fails to live up fully to its purpose. It serves well to 
 **center** the whole scheme, and to afford an imposing pile at 
 the main entrance. Nevertheless it falls short of the high 
 architectural standard of the courts and palaces. 
 
 ARCHITECTURE 
 
 The architectural forms used in the design of the tower are 
 in general classic; but the architect has shown considerable 
 originality in their arrangement and massing. 
 
 The lower portion, embracing the imposing arch and flank- 
 ing colonnades, is very dignified and quite satisfying. Standing 
 close to the structure, on the south side, so that one is conscious 
 chiefly of this lower portion, there comes the proper sense of 
 nobility — the feeling that one obtains from a successful tri- 
 umphal arch. The chief fault of the tower above is that it 
 lacks the long lifting lines that would give a sense of aspiration. 
 It seems just a little squat and fat — as if it were too heavy on 
 top and splayed out at the sides and bottom. It is also some- 
 what **showy,** with too much hung-on ornament; and the 
 green columns against red walls are not satisfying — this being 
 one of the very few failures of the color scheme in the entire 
 group of buildings. 
 
 At night the tower takes on a new and unexpected beauty. 
 The outline softens under the illumination, and the feeling of 
 over-decoration and broken lines is lost. The whole structure 
 becomes a huge finger of light, reaching up into the dark heavens 
 — with softer indirect lighting below, and glowing brilliantly 
 above. Even the hundred thousand pendent jewels, which at 
 best are but flashy in the day time, add to the exquisite fairy- 
 
 (48] 
 
TOWER OF JEWELS 
 
 like effect at night. The illumination here is such, indeed, that 
 it must be one of the most impressive and lasting memories to 
 be carried away by the visitor. 
 
 The Tower of Jewels was designed by Thomas Hastings, of 
 the firm Carrere and Hastings of New York. 
 
 SCULPTURE 
 
 The sculpture, like the mural paintings, deals in general 
 with the winning of the Americas and the achievement of the 
 canal project. 
 
 Sculpture on the tower. As one stands in the South 
 Gardens facing the tower, one sees above the first cornice, 
 reading from left to right, four statues of The Adventurer, 
 The Priest, The Philosopher, and The Soldier. These 
 finely realized figures, which are by John Flanagan, represent 
 four types of the early conquerors of America. On the next 
 story is a repeated equestrian statue of the Spanish Conqueror, 
 called The Armored Horseman, by F. M. L. Tonetti. These 
 five statues are repeated on the other three faces of the tower. 
 There is much other sculpture of a purely decorative sort, the 
 motives used being those usually found in triumphal monu- 
 ments, such as eagles, wreaths, and the beaks of ships with which 
 the Romans ornamented the columns celebrating their naval 
 successes. 
 
 Equestrian statues at entrance. In front of the two 
 side colonnades are spirited equestrian statues. As one faces 
 the tower, the figure at the left is of Pizarro, who conquered 
 the richest portion of South America for Spain. This figure is 
 heroically decorative, and is by Charles Carey Rumsey. At 
 the other side of the main arch is Charles Niehaus* vigorous 
 statue of Cortez, who won Mexico for Spain. This figure, 
 carrying a flag and pennon on a lance, and perfectly seated on 
 the strong horse, has a live sense of movement, and the whole 
 group is informed with the spirit of the lordly conqueror. 
 
 Fountains under the tower. Within the colonnades to 
 east and west of the main archway are respectively the Fountain 
 of Youth and the Fountain of El Dorado. 
 
 The Fountain of Youth consists of a central figure on a 
 pedestal, and two rounded side panels with figures in relief. 
 Youth is symbolized as a girl, an immature figure, beautifully 
 
 [49] 
 
FIGURE FROM FOUNTAIN OF YOUTH 
 Edith Woodman Burroughs, Sculptor 
 
TOWER OF JEWELS 
 
 modeled. She stands, perfectly poised, among rising blossoms. 
 On the pedestal are more flowers in relief, and two dimly 
 indicated half -figures of a man and woman may be discovered. 
 
 . The side panels show old people being drawn away in ships 
 manned by cherubs — old people who gaze back wistfully at the 
 Youth they are leaving. Really the fountain is far more charm- 
 ing if one forgets all but the central figure. There is in that a 
 sweet tenderness, a maidenly loveliness, that makes it the per- 
 fect embodiment of Youth — an embodiment to be remembered 
 with delight again and again. 
 
 The fountain was designed by Edith Woodman Burroughs. 
 
 f. The Fountain of El Dorado is on the other side of the arch- 
 way, and is by Gertrude Vanderbilt Whitney. It represents, as 
 a whole, mankind's pursuit of the unattainable. The legend of 
 El Dorado is that there once lived in South America a prince, 
 "The Gilded One,'* who had so much gold that daily he had his 
 body covered with gold dust. Many Spanish explorers spent 
 fruitless years in search of the fabulously rich country of this 
 prince. The idea of the fountain is that the Gilded One, repre- 
 senting the unattainable, the advantages of wealth and power 
 which deluded men and women seek without value given to the 
 world in return, has just disappeared through the gateway, the 
 gates closing after him. On either side processions of seekers 
 who have glimpsed the Gilded One, strain toward the gateway. 
 Some loiter in love or play, some drop from fatigue, some fight 
 their way along; and the first two, finding that the pursuit is 
 fruitless after all, have dropped to their knees in anguish. 
 The two standing figures beside the gates are said by the sculptor 
 to have no significance beyond the fact that they are "just 
 guardians." 
 
 The fountain is notable for its symbolism and for the model- 
 ing of the many nude figures. The panel on the right is espe- 
 cially decorative, and has some notably fine individual figures 
 and groups. The spirit of the fountain, with its realism and 
 its note of hopelessness, is not in keeping with that pervading 
 most of the Exposition sculpture. After looking at the work 
 for a time, turn and look back through the two archways at 
 the central figure of Youth at the other side. Certainly no 
 figure in the Fountain of El Dorado has the appeal and 
 charm of that. 
 
 [311 
 
TOWER OF JEWELS 
 
 MURAL PAINTINGS 
 
 On the walls of the archway under the Tower of Jewels are 
 eight paintings celebrating the building of the Canal. All are 
 by William de Leftwich Dodge. 
 
 On the west wall the first panel is called Discovery. It 
 portrays the discovery of the Pacific Ocean by Balboa. 
 
 The second panel is called Atlantic and Pacific. A huge 
 figure of Labor, having brought together the oceans, is opening 
 a waterway from West to East. On the left an ox-drawn 
 prairie schooner has arrived at the shore, with types of Western 
 civilization. On the opposite shore types of the nations of 
 the East, in a colorful group, are straining forward to meet 
 the West. 
 
 The third panel is entitled The Purchase. A figure repre- 
 senting the United States is taking over the canal project from 
 France. The French laborers are throwing down their tools, 
 and Americans press forward to take them up. 
 
 In the group on the opposite wall the first panel is called 
 Labor Crowned. Victorious Labor is being crowned by the 
 angel of Success, while soldier and workers come to pay homage. 
 
 The second panel is entitled The Gateway of All Nations. 
 Figures symbolizing Progress call the world to pass through 
 the Canal. Neptune holds garlands by which he draws ships 
 of the various nations toward the waterway. Two laborers rest 
 on their machines and watch the procession which they have 
 made possible. 
 
 The last panel is called Achievement. A woman with the 
 symbols of knowledge, or wisdom, sits enthroned, while about 
 her are grouped figures representing the forces instrumental in 
 building the Canal. At the left are laborers; at the right figures 
 typifying Engineering, Medical Science (with the Caduceus, 
 the wand of Mercury, god of medicine), and Commerce or 
 Munificence. 
 
 These mural paintings are among the most interesting and 
 most imaginative of all those at the Exposition. Some of the 
 groups are particularly fine in coloring. Note the method of 
 obtaining the right effect of * 'flatness*' by employing a conven- 
 tional diaper pattern for the background throughout. The 
 panels here are much more effective under full illumination at 
 night than by daylight. 
 
 f52 1 
 
TOWER OF JEWELS 
 
 THE FOUNTAIN OF ENERGY 
 
 The Fountain of Energy in the South Gardens was designed 
 to be the crowning feature of the sculpture of the Exposition, 
 just as the Tower of Jewels was designed to dominate the 
 architectural scheme; and it fails of its high purpose in much 
 the same way. It is closely allied with the tower in symbolic 
 meaning, celebrating man's victory over the forces of nature in 
 the successful building of the canal. 
 
 In the pool at the base of the fountain are a number of grace- 
 ful groups of water sprites on dolphins, and four larger groups 
 representing the four great seas. The one to the east of the 
 main fountain represents The Atlantic Ocean as a woman 
 with sea-horses in one hand and coral-like hair, on the back of a 
 conventionalized dolphin. At the north The North Sea is 
 represented by a sort of sea-man, with occasional fins and with 
 a three-pronged spear in hand, riding on a walrus. At the west 
 The Pacific Ocean is typified by a woman on a remarkable 
 sea monster. And on the south a sea-man with negro-like 
 features, and with an octopus in one hand, rides on a sea- 
 elephant, representing The South Seas. 
 
 The main pedestal of the statue is a globe, representing the 
 earth. This is supported by a series of figures of mermaids and 
 mermen. The Eastern and Western Hemispheres are repre- 
 sented by figures reclining on the globe, the one to the east a 
 cat-headed woman, the one to the west a bull-headed man. The 
 band, decorated with aquatic figures, which encircles the globe, 
 suggests the final completion of a waterway about the earth. 
 
 Energy, the Victolr, the surmounting group, typifies the 
 indomitable spirit that has achieved the building of the Canal. 
 The nude figure of Energy with arms outstretched rides a horse 
 through the waves, while on his shoulders stand smaller figures 
 of Valor (with a wreath) and Fame (with a sword) heralding the 
 triumph. These small figures are unfortunate — they hardly 
 belong, and instinctively one is worried for their equilibrium. 
 
 The whole fountain is instinct with energy, and expresses 
 joyous achievement, as was meant. Moreover it is remarkable 
 in its breadth of conception, in imaginative interpretation of 
 the theme. But it lacks that sense of repose which would make 
 it intimately satisfying. 
 
 The fountain was designed by A. Stirling Calder. 
 
 [53] 
 
VARIED INDUSTRIES PORTAL 
 W. B. Faville, Architect 
 
PALACES FACING THE AVENUE OF PALMS 
 
 The adoption of the **walled-city'* plan for the Exposition 
 meant the grouping of the more imposing architectural effects 
 in the interior courts, the outer facades simply forming parts 
 of a practically continuous wall about the whole. Inspired by 
 Spanish architecture of the Renaissance, the intention was to 
 keep the wall spaces in general quite bare, concentrating the 
 decorative effects in rich "spots'* at carefully chosen intervals. 
 1 hus the outer facades of the central group of palaces combine a 
 simple general form with a series of richly ornamental portals. 
 The architect who was entrusted with the designing of the wall 
 and all the portals was W. B. Faville of Bliss and Faville. 
 
 Certain architectural and sculptural units are repeated 
 throughout the central group. Each building has a low central 
 dome, seldom seen when one is close to any of the main buildings, 
 but adding greatly to the decorative effect from a slight dis- 
 tance. These domes are of Byzantine style, and are colored in 
 harmonizing shades of green and pink. The small repeated 
 corner domes add another Eastern touch, and are especially 
 effective at night. The outer wall is edged all the way around 
 with a simple cornice and a few rows of dull red tiles, distinctly 
 Southern in feeling, and therefore harmonizing with both the 
 Spanish and the Italian Renaissance doorways. 
 
 The Winged Victory is the fine decorative figure that 
 crowns the gables of all the palaces of the walled-city. It is 
 broadly modelled, massive and yet refined, and from any view- 
 point stands out in beautiful silhouette against the sky. It is 
 by Louis Ulrich. 
 
 PALACE OF VARIED INDUSTRIES 
 
 Before turning to the more important south facade, it is well 
 to look at the east wall, with its dignified and colorful portal. 
 This is Roman in style of architecture, to harmonize with the 
 Palace of Machinery opposite. It is similar in general form 
 to the memorial arches and gateways of the Romans, but in the 
 use of architectural motives and in decoration it is of Italian 
 Renaissance style. The niches at each end of the gallery 
 contain figures of The Miner, by Albert Weinert. The facade is 
 
 [351 
 
PALACES ON AVENUE OF PALMS 
 
 ornamented with buttresses at regular intervals, carrying figures 
 of the California Bear holding a scutcheon with the state seal. 
 
 Returning to the Avenue of Palms and the south facade, 
 one sees the most important artistic feature of the building, the 
 central portaL This is a copy, except for the figures filling the 
 niches, of the famous doorway of the Hospital of Santa Cruz at 
 Toledo, Spain. It is in Spanish Renaissance style, of that 
 especially rich type known as **Plateresque," due to its likeness 
 to the work of the silversmiths of the time. For its grace of 
 composition, its exquisite detail, its total effect of richness and 
 depth, this portal is worthy of long study. 
 
 The sculpture of the portal is all by Ralph Stackpole. In 
 the lower niches are replicas of **The Man with a Pick," a figure 
 that has been justly admired as a sincere portrayal of a simple 
 laboring type. The relief panel in the tympanum represents 
 various types of industry. From left to right the figures typify 
 Spinning, Building, and Agriculture (or the clothing, sheltering 
 and feeding of mankind), and Manual Labor, and Commerce. 
 The group in the niche above the arch shows a young laborer 
 taking the load from the shoulders of an old man. The single 
 figure at the top of the arch shows the laborer thinking, and is 
 called * 'Power." Note how all these sculptures, while having 
 individual interest, fit unobtrusively into the lace-like portal. 
 
 PALACE OF MANUFACTURES 
 
 The wall of this building is broken by pilasters and inset 
 decorative panels, and by a series of niches with animal head 
 fountains. The central portal is pure Renaissance archi- 
 tecture, again suggestive of the Roman gateway in form. 
 
 The sculptures of the doorway, including the two figures of 
 male and female labor in the niches, and the long high-relief 
 panel, are by Mahonri Young, who is noted for his simple, 
 powerful treatment of modern themes. The panel represents 
 various branches of manufacture, including metal work, black- 
 smithing, pottery -making, spinning, and architectural sculpture 
 
 • 
 
 PALACE OF LIBERAL ARTS 
 
 The facade here exactly duplicates that just described, even 
 to the niche figures and panel in the portal. 
 
 [561 
 
PALACES ON AVENUE OF PALMS 
 
 PALACE OF EDUCATION 
 
 The Palace of Education has three Renaissance portals 
 on the south facade. These are more Spanish in feeling than 
 those of the two palaces just passed. The tympanum panel of 
 the central doorway may be taken to represent kindergarten 
 teaching, instruction of boys and girls, and self-education in 
 young manhood. It is by Gustave Gerlach. The two panels 
 in the walls over the minor doorways treat very obviously of 
 educational subjects. They are flat in more senses than one, 
 lacking the life of the central-tympanum group. They are by 
 students of two American art schools. 
 
 The west facade of the Palace of Education is dominated 
 by an immense half-dome, impressive in size and attractively 
 decorated. The style of architecture here is mainly Roman, to 
 harmonize with the Fine Arts Palace which it faces across the 
 lagoon. There are two splendid architectural fountains, under 
 the half-dome here and under that of the Palace of Food 
 Products. 
 
 Sculpture. Flanking the great arch are columns carrying 
 the nude figure of a man, with hands crossed, gazing fixedly in 
 thought. In the official list this is called ** Philosophy'* or 
 * 'Thought,'* and from it the immense portal is called **The 
 Half-dome of Philosophy." But the same figure occupies the 
 corresponding position before the Food Products Palace, and is 
 there called ** Physical Vigor." The truth is that the artist 
 designed the statue to suggest that finest of all unions of 
 strength, the physically powerful man thinking. Thus the 
 figure is appropriate to both a food products building and an 
 education building. The figure,is strong, but is not so convmc- 
 ing or appealing as the same artist's **Man with a Pick," in 
 the Varied Industries portal. Within the half -dome is a repeated 
 figure with a scroll inscribed **Libris,** by Albert Weinert. 
 
 The six niches in the west wall have two repeated statues by 
 Charles R. Harley, known as **The Triumph of the Field*' and 
 ** Abundance.** They are simply repeated from the Food Prod- 
 ucts Palace to the north, where they properly belong, and will 
 be treated in the next chapter in connection with that building. 
 
 On the north facade of the Palace of Education are dupli- 
 cates of the three south portals, with the same sculptured 
 panels. 
 
 1571 
 
THE COLUMN OF PROGRESS AT NIGHT 
 
PALACES FACING THE MARINA, AND 
 THE COLUMN OF PROGRESS 
 
 The walled-city idea, which throws most of the fine archi- 
 tecture into interior courts, is even more severely carried out 
 in the north facades than in the south. The palaces on the 
 Marina, indeed, present a wall unbroken except by the central 
 doorways and the slight corner projections. The small domes 
 at the corners give a Moorish touch, reminiscent of Southern 
 Spain, and the portals are direct adaptations from Spanish 
 masterpieces. 
 
 PALACE OF MINES 
 
 The north facade of the Palace of Mines is free from all 
 ornament except the richly decorative central portal. This 
 is worthy of prolonged study, being one of the finest bits of archi- 
 tectural ornament at the Exposition. It is designed very closely 
 after Spanish models, and is of that transitional period of 
 Spanish architecture that came between the Gothic and the 
 Renaissance, when Gothic had been enriched through the 
 influence of Moorish art, and was just beginning to feel the 
 impulse of the Italian Renaissance. Note how rich is every 
 part of the detail; then note how all detail is subordinated to 
 the mass effect of the whole. 
 
 The statues in the niches of the portal are by Allen Newman. 
 The central mantled figure is called the **Conquistador,'* or 
 conqueror. The artist has here portrayed in spirited fashion a 
 fine type of Spanish nobility. The figure in the side niches, 
 with an old-style pistol in his belt and a rope in his hand, is 
 "The Pirate.** 
 
 The east facade of the Palace of Mines duplicates that of 
 the Varied Industries Palace, and the west facade forms one 
 side of the north Court of Abundance. 
 
 PALACE OF TRANSPORTATION 
 
 Here the one notably artistic feature is the central portal 
 on the north side, which is an exact replica of the Spanish 
 doorway of the Palace of Mines. 
 
 [591 
 
PALACES ON THE MARINA 
 
 THE COLUMN OF PROGRESS 
 
 This monument symbolizes the energy, the unconquerable 
 spirit that is forever pressing forward to overcome new obstacles, 
 which has led to the building of the Canal. The idea of such a 
 monument was conceived by A. Stirling Calder, the architec- 
 tural design is from the hand of W. Symmes Richardson, the 
 reliefs at the base are by Isidore Konti, and the crowning statue 
 is by Hermon A. MacNeil. The Column of Progress as a whole 
 is among the finest artistic achievements of the Exposition, and 
 more than any other, perhaps, is worthy of perpetuation in per- 
 manent materials to commemorate for all time the opening of 
 the Panama Canal and the holding of the Exposition. 
 
 Reliefs at base. The high relief frieze on the square base 
 of the column represents mankind heeding the call to achieve- 
 ment. On the south face are allegoric figures calling mankind 
 to the struggle, the two women holding palm branches, 
 the insignia of victory. On the other three faces are shown 
 groups of figures striving forward at the call, pressing on to 
 achievement, some joyously, some laboriously, some stopped 
 altogether in thought. The whole frieze suggests the beginning 
 of progress. 
 
 In the spiral that winds about the column certain inter- 
 preters have found a symbol of the upward march of human 
 achievement; but as this spiral decoration is found on the 
 Column of Trajan and the Column of Marcus Aurelius, the 
 Roman prototypes of the Column of Progress, there probably is 
 no special significance in its use here. 
 
 Supporting the crowning group is a drum with crouching 
 figures of toilers in relief, entitled "The Burden Bearers." 
 
 The Adventurous Bowman is the title of the surmount- 
 ing statue. The heroic Bowman, facing the skies and the seas, 
 and launching his arrow into the unknown, is the symbol of 
 the impulse that leads men to dare all to achieve victory. At 
 the left of the central figure is a man of smaller stature, leaning 
 against the Bowman to give him support. On the other side 
 a woman crouches, looking up as the arrow speeds on its way. 
 The ring-like object in the woman's hand, which is so hard to 
 identify when one views the group from the ground, is a wreath. 
 
 There is about the Bowman a remarkable sense of move- 
 ment, of energy, of pressing forward, no matter what the view- 
 
 1601 
 
PALACES ON THE MARINA 
 
 point of the spectator. The monument should be seen from 
 as far north as possible, near the corner of the California 
 building, perhaps. From here, from the Esplanade as one ap- 
 proaches from either east or west, and from the Court of the 
 Universe at the rear, the group has the same inspirational 
 quality, the same sense of joyous effort, of courageous striving 
 toward achievement. The placing of the monument where it 
 closes three important vistas is commended for study to those 
 who have in charge the artistic destinies of our cities. 
 
 PALACE OF AGRICULTURE 
 
 The north facade of the Palace of Agriculture is bare except 
 for the central portal, which again duplicates that of the 
 Palace of Mines. 
 
 PALACE OF FOOD PRODUCTS 
 
 The north facade of this palace duplicates that of the 
 Palace of Agriculture. But when one turns the west corner 
 into Administration Avenue, one finds an entirely different 
 atmosphere, where the Spanish architecture has given way to 
 Italian. The dominating feature of the building's west facade 
 is an immense half-dome, officially called **The Half-dome of 
 Physical Vigor.** This is an exact replica of the **Half-dome 
 of Philosophy** on the Education Palace. 
 
 Sculpture. Before the half -dome here, on columns, are 
 replicas of Ralph Stackpole*s statue of the physically vigorous 
 man in thought. Inside the half-dome is a repeated figure of 
 a man with a wreath, by Earl Cummings. 
 
 In the niches along the walls are two alternating com- 
 positions, * 'Abundance** and **The Triumph of the Field,** by 
 Charles R. Harley. Abundance is typified by a seated woman, 
 with the conventional overflowing cornucopias beside her, as 
 well as a conglomeration of details suggestive of the riches of 
 land and sea. This group certainly belongs to the Food Pro- 
 ducts building, but it really ought to be inside, with the flowers 
 made of butter and the tower of raisins. The Triumph of 
 the Field shows a man seated, and around him a museum of 
 ancient symbols of agriculture, and of agricultural triumph, 
 such as were once carried in the annual harvest festivals. These 
 two groups are among the most amusing things at the Exposi- 
 tion; but artistically they can hardly be said to count at all. 
 
 [61 I 
 
THE PALACE OF MACHINERY 
 
 The Palace of Machinery, largest of all the structures at 
 the Exposition, terminates the main building axis at the East. 
 It is monumental in proportions, and is well suited to its pur- 
 pose of housing an immense display of machines. 
 
 ARCHITECTURE 
 
 The architecture was evidently inspired by the great baths 
 of ancient Rome, which were similar in style, size, and detail. 
 The scale is so great — this is said to be the largest wooden build- 
 ing in the world — that it is something of an achievement to 
 have made the structure anything but barn-like. By the rich- 
 ness of the cornices and the careful spacing of the openings the 
 architect has made it ornamental, and has given it a sort of 
 noble dignity — though one hesitates to Qompare it with the 
 palaces of the central group. 
 
 The most interesting architectural bit in connection with 
 the Palace of Machinery is the entrance vestibule under the 
 three central archways. Standing at either end of the portico 
 one obtains a remarkable impression of spaciousness combined 
 with decorative completeness. The coloring within the high 
 vestibule is particularly pleasing. 
 
 Within the building the unconcealed trussing, instead of 
 giving a sense of barrenness and lack of finish, resolves itself 
 into a sort of lace-like decorative scheme, the whole effect 
 being peculiarly ornamental. 
 
 The Palace of Machinery was designed by Clarence R. 
 Ward. 
 
 SCULPTURE 
 
 The sculpture here consists of the series of four nude male 
 figures on the column drums, and spandrels for the main and 
 minor doorways, and a widely different group, **The Genius 
 of Creation," before the main western portal. All but the 
 latter group represent **Types of Power." 
 
 The figures surnnounting columns, flanking the three 
 arches of the central doorway, represent **Steam Power," "In- 
 vention," "Electricity," and "Imagination.* 
 
 [62] 
 
PALACE OF MACHINERY 
 
 Steam is symbolized as a man holding a long lever. 
 
 Invention is represented as a man holding forth a miniature 
 winged figure at which he gazes steadily. 
 
 The figure of Electricity holds jagged lightning, conven- 
 tional symbol of electricity. 
 
 Imagination, primal power back of all machinery design, 
 is represented by a figure with arm thrown back of head, and 
 seemingly with eyes closed. 
 
 Considered simply as portrayals of power, these four virile 
 figures are very successful, and they serve well to carry out 
 the sense of immensity and strength that characterizes the 
 entire building. But they are not at all polished or subtle, 
 lacking the refinement that would make them interesting as 
 something besides vigorous types. All four figures are by 
 Haig Patigian. They are repeated in different order on columns 
 before the north and south portals of the building. 
 
 The bas-relief friezes about the bases of the vestibule 
 columns are also by Haig Patigian. The winged figure, typi- 
 fying ** Machinery,*' lends itself to decorative uses better than 
 the purely human type, and the artist has worked in various 
 mechanical symbols quite cleverly. The cardinal principle in 
 sculptural decoration of this sort is that the frieze, like the 
 whole column, must carry an impression of support. It will 
 be noticed that no room has been left above the head or below 
 the feet; and the disposition of the wings and arms further adds 
 to the feeling that the figures are a true structural unit rather 
 than mere ornament stuck on. 
 
 The spandrels over the minor arches in the vestibule, 
 again typifying "Machinery,** are equally successful in serving 
 an architectural purpose. Mural sculpture, like mural paint- 
 ing, must never be allowed to "make a hole'* in the wall. Notice 
 how fully the figures cover the given space, without any back- 
 ground to draw the eye beyond the surface. These spandrels 
 are also by Haig Patigian. The column reliefs and the spand- 
 rels are repeated at the minor doorways of the building. 
 
 The Genius of Creation, a magnificently conceived group 
 of sculpture, has been placed, rather unfortunately, in front of 
 the main west portal of the Palace of Machinery. It is by 
 Daniel Chester French, who is generally considered the dean 
 of American sculptors. The Genius of Creation is portrayed 
 
 [63] 
 
THE GENIUS OF CREATION 
 Daniel Chester French, Sculptor 
 
PALACE OF MACHINERY 
 
 as a huge winged figure, enthroned over the formless mass of 
 earth, with head bowed and arms outstretched, caUing human 
 hfe into being. At the two sides a man and a woman, fine 
 strong figures both, stand looking forth, the man courageously, 
 the woman a little more timidly. And at the back, as if to sig- 
 nify the mutual dependence of man and woman, the hands 
 seek to touch. A serpent encircles the base of the group, 
 symbolizing wisdom — or as some prefer to interpret it, ever- 
 lasting life. This serpent is probably not the one that had 
 so much to do with the life of the first couple on earth. 
 
 The statue expresses, of course, the orthodox idea of crea- 
 tion, and it is interesting to contrast it with the sculpture of 
 the Court of Abundance, which in general gives expression to 
 the doctrine of evolution. The strong, almost severe, motherly 
 figure is finely religious in feeling. The sculptor himself has 
 commented on the religious tone that runs through much of 
 the Exposition sculpture, remarking especially the prevalence 
 of winged angel-figures. The reader is left to decide how far 
 this has resulted from the fact that the winged form is essen- 
 tially decorative, and how far from reverence. 
 
 Viewed entirely from the aesthetic side, without regard to 
 the symbolism, the Genius of Creation is one of the most 
 satisfying works on the grounds. It is too bad that it was 
 placed before a background of broken spaces, and before a 
 colorful facade that makes it seem pale. But in it is that re- 
 poseful strength which characterizes so much of French's 
 work — a sense of completeness, of fullness, that is perhaps the 
 most soul-satisfying quality of great sculpture. 
 
 [65] 
 
THE SOUTH GARDENS, FESTIVAL HALL, 
 AND THE PALACE OF HORTICULTURE 
 
 If there is one portion of the Exposition building scheme 
 that does not seem to "belong" to the main group of palaces, 
 it is that which lies south of the Avenue of Palms, including 
 the South Gardens, Festival Hall, and the Palace of Horti- 
 culture. The relation of the two buildings to the main courts 
 and palaces is clear: Festival Hall terminating the cross axis 
 through the Court of Abundance and the Court of Flowers; 
 the Palace of Horticulture terminating the cross axis through 
 the Court of the Four Seasons and the Court of Palms. But 
 though the organic relationship is apparent, the least discrim- 
 inating of critics can see that these buildings are of an archi- 
 tectural style not in harmony with the central group of palaces. 
 Both structures lack that fine sense of proportion and that 
 simple and impressive dignity which characterize the archi- 
 tecture of the courts; and both are more or less pretentious 
 and ornate. 
 
 THE SOUTH GARDENS 
 
 The South Gardens, like the buildings, have a certain 
 magnificence but at the same time lack any distinctive appeal. 
 The three basins with their fountains are imposing, and the 
 individual beds of flowers are gorgeous in their profuse massing 
 of color; but the distances are so great, and the sense of enclo- 
 sure that means so much to gardens is so far lacking, that the 
 lover of formal gardening will be less satisfied here than at 
 several other places in the grounds. 
 
 Sculpture. The sculpture of the South Gardens is all on 
 the three fountains. The immense central group, the Foun- 
 tain of Energy, already has been described. In the other two 
 basins the Mermaid Fountain is repeated. This is an attrac- 
 tively ornate bit of decorative design, surmounted by the 
 figure of a mermaid with a dolphin. The figure was modeled 
 from designs by Arthur Putnam. It is typical of the fine 
 strength of his work, and at the same time appealing by the 
 grace of its sinuous lines. 
 
 [66] 
 
THE SOUTH GARDENS 
 
 FESTIVAL HALL 
 
 Festival Hall, designed for the many conventions and 
 musical festivals of the Exposition period, is of typically 
 French architecture of the modern school. The building is 
 not unpleasing, but there is little about it to hold the interest. 
 Robert Farquhar was the architect. 
 
 Sculpture. All the sculpture on Festival Hall is the work 
 of Sherry E. Fry. The figures are well suited to their purpose, 
 from the slender **Torch-Bearer," surmounting the minor 
 domes, to the heavy reclining figures on the pylons at the 
 main entrance. Most of the statues are too roughly finished 
 to have more than a decorative interest, but the two groups 
 flanking the main stairway are worthy of study. These two 
 ** Flower Girls," one on either side, have a beautiful flowing 
 grace. But quite the most appealing things here are the two 
 minor figures before the pedestals on which the Flower Girls 
 stand. Before the one at the north is a captivating boy Pan 
 with a lizard. Half hidden in the shrubbery at the other side 
 is the sitting figure of a girl, attractively immature and charm- 
 
 mg m Ime. p^^LACE OF HORTICULTURE 
 
 The Palace of Horticulture is characterized by that com- 
 bination of Eastern and Western architectural motives which 
 is so noticeable throughout the buildings. The dome is Byzan- 
 tine, while the rest of the building is of Renaissance, or modern, 
 French architecture. The dome considered alone is an almost 
 perfect bit of design, beautifully proportioned and finely simple. 
 The rest of the building is in general over-decorated, the portals 
 especially being heavily loaded down with meaningless orna- 
 ment. Apologists for the building say that the profuse ornate- 
 ness rightly suggests the richness of California's horticulture. 
 Perhaps the best view of the dome is from the east end of the 
 Avenue of the Nations, near the Denmark building, because 
 from there one can see it unobstructed, escaping the disturb- 
 ing effect of the portals and their spires. The Palace of Horti- 
 culture was designed by Bakewell and Brown of San Francisco. 
 
 Sculpture. All of the sculpture here is purely decorative. 
 The frieze at the base of each spire, consisting of heavy female 
 figures modeled in pairs, is by E. L. Boutier. The ornamental 
 Caryatides of the porches are by John Bateman. 
 
 (67 1 
 
THE PALACE OF FINE ARTS 
 Bernard R. Maybeck, Architect 
 
PALACE OF FINE ARTS 
 
 The Fine Arts Palace has been more admired, probably, 
 than any other architectural unit at the Exposition. The 
 reasons are not far to seek. The architect has used those classic 
 forms which for ages have been recognized as best suited to 
 monumental structures, and yet he has used them with origi- 
 nality. The building is classically noble, but without classic 
 austerity or coldness. It is at once beautiful in form, rich in 
 decorative detail, and satisfyingly warm in color. Moreover, 
 it has the finest setting of all the Exposition buildings. The 
 bigness of conception, the boldness with which the largest 
 architectural elements have been handled, the perfect arrange- 
 ment of architecture, planting, and reflecting waters — all these 
 combine to create the most compelling picture on the grounds. 
 
 The arrangement of the building is deceptive. As one 
 looks at it across the lagoon, it seems like a single unit, so 
 well does the planting tie it together, though there are really 
 four unconnected structures: the rotunda, two detached peri- 
 styles at the sides, and the art gallery proper at the back. 
 
 ARCHITECTURE 
 
 The style of architecture is Classic, freely treated. The 
 rotunda is Roman. The peristyle is more Greek in feeling, 
 in the simplicity of general form, with splendidly modeled 
 capitals, full strong columns, and dignified cornice. The 
 curved facade of the main building, facing the rotunda and 
 peristyle, is very original in its arrangement of classic archi- 
 tectural motives and masses of foliage, with a Pompeian per- 
 gola on top. 
 
 The color scheme of the whole building is worthy of study. 
 And although the structure when seen by day deserves all the 
 praise that has been bestowed upon it, by night its beauty is 
 beyond description. One should sit long at the edge of the 
 lagoon opposite the rotunda, and watch the illuminated build- 
 ing itself and its reflection in the waters below, to feel the full 
 spell of it. No one should miss, either, the walk between the 
 peristyle and the main building on one of those nights when 
 
 [691 
 
PALACE OF FINE ARTS 
 
 there is soft local illumination, for nowhere else on the grounds 
 has the poetry of lighting been so perfectly realized. 
 
 The architect of the Fine Arts Palace was Bernard R. 
 Maybeck, a Californian. 
 
 SCULPTURE 
 
 The sculpture about the lagoon, including that under the 
 peristyle and rotunda, is to be treated in the next chapter, 
 except that which is definitely a part of the building's integral 
 decorative scheme. 
 
 The reliefs outside the rotunda, on the attic above the 
 cornice, represent man's effort to gain the ideal of art. To 
 see these reliefs best, one should stand directly across the 
 lagoon from the rotunda. In the panel facing East one 
 sees the figure of Art personified. On either side is a group 
 showing the champions of art combating centaurs, that stand 
 for the commonplace, materialistic things of life. In the. next 
 panel to the left, facing Southeast, is represented the bridling 
 of the winged horse Pegasus, which to the G reeks ^^^ymbolized 
 the attainment of poetic inspiration. Here also are figures 
 representing the arts of literature, sculpture and music, by 
 the familiar symbols, a lamp, a statuette and a lute. The 
 panel to the right of the center one shows Apollo, sun-god 
 and patron-god of the arts, drawn in his chariot, with a pro- 
 cession of devotees. These panels are repeated on the other 
 five faces about the dome. They are among the finest reliefs 
 on the Exposition buildings, and are by Bruno Louis Zimm. 
 
 The figures within the rotunda, surmounting the eight 
 columns are **Priestesses of Culture," by Herbert Adams. 
 
 The flower-box sculptures are by Ulric H. Ellerhusen — 
 both those on the ground and those at the corners of the boxes 
 surmounting the peristyle. The ladies on the latter, looking / 
 so steadily into the boxes, do not represent "Curiosity." The 
 plan was to have masses of foliage overflowing, and half- 
 covering the figures; and when this was given up, the decora- 
 tive women gave the unexpected impression of being deeply 
 absorbed in something happening out of sight of the spectator 
 below. An explanation which has gained some currency is 
 that the figures represent "Introspection," which seems quite 
 apropos. ^ I 
 
 [ 70 ] 
 
PALACE OF FINE ARTS 
 
 The kneeling figure (unnamed) on the edge of the lagoon 
 before the rotunda is by Ralph Stackpole. It is one of the 
 most appealing bits of all the Exposition sculpture, well ex- 
 pressing devotion and reverence. It cannot be reached from 
 the rotunda side, this portion of the shore being closed to 
 the public. 
 
 The figure over the doorway of the gallery is Leo Len- 
 telli's * 'Aspiration." During the early months of the Exposi- 
 tion this statue was suspended from behind, the base on which 
 it now stands having been placed late in the Spring. As the 
 figure first appeared, hanging in air, it caused more comment 
 than any other sculpture on the grounds. The most appro- 
 priate explanation was that since the figure lacked any visible 
 means of support it probably was meant to represent "Cali- 
 fornia Art.** Even the recent alterations have failed to save 
 it from seeming graceless and out of place. 
 
 MURAL PAINTINGS 
 
 The eight panels in the dome of the rotunda are by Robert 
 Reid. There are two series of four paintings each, called 
 **The Birth and Influence of Art,** and **The Four Golds of 
 California.** They form perhaps the least interesting of the 
 several groups of murals, being vague in meaning, unpleas- 
 antly restless in composition, and only occasionally attractive 
 in coloring. 
 
 The easiest panel to identify is that called "The Birth of 
 Oriental Art,** which is on the west wall, closest to the door- 
 way of the main building. Starting with this and following 
 around the dome to the right, the pictures are in this order: 
 
 1. The Birth of Oriental Art. A man in armor on a 
 fanciful dragon is attacking an eagle, symbolizing man*s effort 
 to attain the inspiration of the heavens. Below, China can 
 be recognized in the man with a brilliant colored robe, and 
 Japan in the woman with the bright parasol. 
 
 2. Gold is symbolized by a woman with a wand, on a 
 cornucopia overflowing with gold. 
 
 3. The Ideals of All Art. The ideals which animate 
 artists are shown: Truth with her glass; Religion typified in 
 the Madonna and child; Beauty, with the peacock; and the 
 Militant Ideal with a flag. Above and below are figures 
 
 [71 1 
 
PALACE OF FINE ARTS 
 
 carrying the wreath and the palm, the artist's tokens of success 
 in attaining the ideal. 
 
 4. Poppies, the second **gold** of California. 
 
 5. The Birth of European Art. Four figures surround 
 an altar on which burns the sacred fire, three being merely 
 attendants preserving the flame, and the fourth the guardian 
 holding high a torch lit at the altar. A man from earth grasps 
 this torch as he leans from his flying chariot. A woman in 
 the lower corner holds a crystal gazing-globe, wherein the future 
 of art has been revealed, and she turns to gaze after the man 
 who is carrying the sacred fire to earth. 
 
 6. Citrus Fruits, the third **gold" of California. 
 
 7. The Inspiration of All Art. Two Angels of Inspira- 
 tion are at the top, while below to the left are Sculpture, with 
 a winged statuette, and Architecture, with the scroll and com- 
 pass; and to the right. Painting, with brush and palette, Music, 
 with a lyre, and Poetry, with a book. 
 
 8. Wheat, the fourth "gold" of California. 
 
 THE OUTDOOR GALLERY OF SCULPTURE 
 
 Many of the finest bronzes and marbles of the sculpture 
 section are given an adequate setting which would be impos- 
 sible within the gallery building, by being placed in the open, 
 along the two ends of the lagoon, through the peristyles, and 
 under the Fine Arts rotunda. 
 
 As this group of sculpture embraces all types from the 
 playful to the very serious, it is foolish to try to appreciate 
 the whole series at one time. Perhaps the best way is to start 
 first to familiarize oneself with the smaller bronzes of the 
 purely lyric type, the charming garden figures, sun-dials, and 
 miniature fountains, that make up such an attractive part 
 of the collection. Note how often the names of Edward Berge, 
 Janet Scudder and Anna Coleman Ladd recur in connection 
 with this graceful, intimately appealing sort of sculpture. On 
 another day, when life seems soberer, spend all your time in 
 study of the more serious works, such as Saint Gaudens' 
 "Seated Lincoln," and McKenzie's 'The Young Franklin," 
 
 [72 1 
 
OUTDOOR GALLERY OF SCULPTURE 
 
 noting how the dignity, sureness of touch, and sound purpose 
 of these make them more appeaUng with longer acquaintance. 
 On another day take the intermediate group, that is dignified 
 but less austere in theme — such works as Sherry Fry's * 'Peace,** 
 and Berge's **Muse Finding the Head of Orpheus.** Studied 
 systematically, there is in this series of statues a broad educa- 
 tion in the appreciation of sculpture. 
 
 For convenience in reference the whole series is listed here. 
 In regard to those works which the labels make self-explana- 
 tory, no comment is added, unless to call attention to some 
 special quality which the unpracticed eye might miss. Where 
 the symbolism or **story** is obscure, an explanation is given. 
 
 South of the lagoon are: 1 . Sea Lions by Frederick G. R. 
 Roth. 2. The Scout by Cyrus E. Dallin. Note the remark- 
 able clean-cut quality of this equestrian statue. 3. Wind and 
 Spray fountain, by Anna Coleman Ladd. 4. Diana by Haig 
 Patigian — a graceful statue of the Greek goddess of the hunt, 
 which is in marked contrast to the same artist*s strong figures 
 on the Palace of Machinery. 5. Peace by Sherry E. Fry. 
 This beautifully modeled figure has a classic simplicity that is 
 worthy of study. 6. American Bison by A. P. Proctor. 
 Beyond the second Bison, beside the roadway that runs 
 behind the Fine Arts Palace, is a model of the Kirkpatrick 
 Monument, at Syracuse, New York, by Gail Sherman Cor- 
 bett. The central figures represent an Indian discovering to 
 a Jesuit priest the waters of an historic salt spring at Syracuse. 
 
 In the circle at the south end of the peristyle are: 1. 
 Seated Lincoln by Augustus St. Gaudens — generally consid- 
 ered one of the noblest works of the greatest American sculptor. 
 Note especially the dignity of the whole, and the sympathetic 
 modeling of the face. 2. Bust of Halsey C. Ives by Victor S. 
 Holm. 3. Bust of William Howard Taft by Robert Aitken. 
 4. Henry Ward Beecher by John Quincy Adams Ward — a 
 dignified and well-known life-size statue. 
 
 Along the south peristyle are (at the right) 1. Piping 
 Pan by Louis St. Gaudens. 2. Flying Cupid by Janet Scud- 
 der. 3. Muse Finding the Head of Orpheus by Edward 
 Berge — a marble well expressive of gentle grief. Orpheus, 
 
 I 73 1 
 
OUTDOOR GALLERY OF SCULPTURE 
 
 sweetest musician of Greek mythology, after failing to recover 
 his beloved Eurydice from the underworld, in his sorrow scorned 
 ihe Thracian nymphs, who in their anger dismembered him. 
 His head was washed up by the sea and found by the sorrowing 
 Muses. 4. (At the left) Michael Angelo by Robert Aitken, 
 showing the master-sculpture at work on one of his famous 
 figures. 5. (At the right) Young Pan by Janet Scudder. 
 6. (At the left) Wood Nymph by Isidore Konti. 7. Young 
 Mother with Child by Furio Piccirilli. 8. (At the right) 
 Wild Flower by Edward Berge. 9. (At the left) Eurydice 
 by Furio Piccirilli. 10. (At the right) Boy and Frog by Ed- 
 ward Berge. 1 1 . (At the left) Dancing Nymphs by Olin L. 
 Warner. 12. Idyl by Olga Popoff Muller. 13. An Outcast 
 by Attilio Piccirilli. 14. (Beside the doorway) Youth by 
 Charles Carey Rumsey. Before the doorway is to be placed 
 The Pioneer Mother Monument by Charles Grafly. 
 
 About the rotunda are: 1. (Outside the southwest arch- 
 way) Thomas Jefferson by Karl Bitter. 2. (In center of 
 rotunda) Lafayette by Paul Wayland Bartlett — the statue 
 given by America to France. 3. Lincoln by Daniql Chester 
 French, a dignified portrayal that cannot be justly judged 
 from the plaster model here exhibited. 4. Relief by Richard 
 H. Recchia, representing "Architecture." 3. Commodore 
 Barry Memorial by John J. Boyle. 6. Relief by Richard H. 
 Recchia, representing * 'Architecture." 7. Princeton Student 
 Memorial by Daniel Chester French — a noble treatment of 
 a difficult theme. 8. The Young Franklin by Robert Tait 
 McKenzie. This is a fine conception, in which the sculptor 
 has escaped from the conventional path of monumental por- 
 traiture. 9. (On walls of west archway) Reliefs by Bela L. 
 Pratt, representing "Sculpture." 10. (Outside west archway) 
 Portrait of a Boy by Albin Polasek. 1 1 . The Awakening 
 by Lindsey Morris Sterling. 12. (Beside northwest archway) 
 William CuUen Bryant by Herbert Adams. 
 
 Along the north peristyle are: 1. (Beside main doorway 
 of gallery) Beyond by Chester Beach. 2. The Sower by 
 Albin Polasek. 3. The Centaur by Olga Popoff Muller. 
 4. Boy with Fish by Bela L. Pratt. 5. (At the right) Return- 
 ing from the Hunt by John J. Boyle. 6. (At the left) L* Amour 
 
 [74] 
 
OUTDOOR GALLERY OF SCULPTURE 
 
 by Evelyn Beatrice Longman — a marble wherein the woman's 
 figure is tenderly beautiful. 7. Garden Figure by Edith 
 Woodman Burroughs. 8. (At the right) Fighting Boys 
 Fountain by Janet Scudder. 9. Soldier of Marathon by 
 Paul Noquet. 10. (At the left) Youth by Victor D. Salva- 
 tore. 1 1 . (At the right) Primitive Man by Olga Popoff 
 Muller. 12. The Scalp by Edward Berge — an unpleasant bit 
 of realism. 13. (At the left) Apollo by Haig Patigian. 14. (At 
 the right) A Faun's Toilet by Attilio Piccirilli. 15. Duck 
 Baby Fountain by Edith Barretto Parsons. 16. Maiden of 
 the Roman Campagna by Albin Polasek — a figure instinct 
 with the spirit of the antique. 
 
 On the circle at the north end of the peristyle are: 1 . (At 
 the right) Young Diana by Janet Scudder — a young goddess 
 of the hunt, conceived in modern spirit, with remarkable 
 freedom and grace of movement. 2. Great Danes by Anna 
 Vaughan Hyatt. 3. (In walk) Sundial by Harriet W. Frish- 
 muth. 4. Bondage by Carl Augustus Heber. 5. Boy Pan 
 with Frog by Clement J. Barnhorn. 6. Sundial by Gail 
 Sherman Corbett. 7. Three fountain groups in one basin, 
 all by Anna Coleman Ladd. Of these the Sun God and 
 Python has been especially admired as a spirited and graceful 
 bit of work. 8. (On the lagoon side of the circle) Mother of 
 the Dead by C. S. Pietro — a sincere and powerfully realistic 
 work, and quite unlike anything else in the outdoor gallery. 
 
 9. (In walk) Chief Justice Marshall by Herbert Adams. 
 
 1 0. Destiny by C. Percival Dietsch. 1 1 . Sundial by Edward 
 Berge. 12. Daughter of Pan by R. Hinton Perry. 13. Head 
 of Lincoln by Adolph A. Weinman. 
 
 Along the roadway to the left, as one leaves the circle, 
 are two sculptures: Bird Fountain by Caroline Risque, and 
 Prima Mater by Victor S. Holm. 
 
 North of the lagoon are : 1 . Fragment of the Fountain 
 of Time by Lorado Taft. 2. Nymph by Edmond T. Quinn. 
 3. Dying Lion by Paul Wayland Bartlett. 4. Rock and 
 Flower Group by Anna Coleman Ladd. 5. Whale-man by 
 
 Bela L. Pratt. 
 
 On the island at the north end of the lagoon is a fountain 
 by Robert Paine. 
 
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THE FINE ARTS GALLERIES 
 
 Do not visit the Fine Arts exhibits bUndly, without know- 
 ing what they are aimed to show; and do not try to see the 
 whole exhibition in one day. First understand the scope and 
 arrangement of the displays, and then follow some definite 
 system by which you are sure to get the best out of each 
 individual section. It is better to see one part thoroughly 
 than to carry away a confused impression of the whole. 
 
 The scope of the exhibit is limited to painting, sculpture 
 and print-making, except in the Oriental sections. In painting 
 the primary aim has been to make a representative display of 
 contemporary work. Most of the galleries contain only 
 canvases painted within the last ten years. But in order to 
 correct the common misconception that American art is entirely 
 a thing of today, without historical background, a few rooms 
 are given up to historic works of the various early American 
 schools, and to works of the foreign schools that have influenced 
 the development of American art. 
 
 The arrangement of the galleries should be mastered 
 before one starts to study. In general there are three divisions 
 of exhibits. At each end is a group of foreign sections, and the 
 great middle space is given up to American art. The accom- 
 panying diagram is designed primarily to make clear the loca- 
 tion of the several divisions. The visitor will find it worth 
 while to remember that a main central corridor runs the whole 
 length of the United States Section. By continually referring 
 to this corridor, one can keep one's bearings fairly well. 
 
 The method of seeing the galleries that is suggested in 
 this guide is based on the official classification as far as possi- 
 ble: the foreign sections are taken in order, and the historical 
 section is treated in that chronological sequence which the 
 directors intended to show forth. But there is no system in 
 the arrangement of the twenty-eight general rooms of con- 
 temporary American work. In treating these the guide aims 
 to suggest tendencies and influences, rather than to point out 
 this or that canvas a^ a good or bad one. Nevertheless it is 
 believed that every really important picture or artist is in- 
 
 [ 77 1 
 
FINE ARTS GALLERIES 
 
 dividually mentioned — so that one who has used the manual 
 consistently may be sure of having enjoyed the cream of the 
 collection, at the same time gaining the wider knowledge of 
 the main currents of development. 
 
 It is necessary to use to a certain extent the arbitrary 
 subject-divisions, such as portrait, landscape, and figure paint- 
 ing; and to refer also to realistic painting, which tends to depict 
 things as they are, as opposed to the academic, which recognizes 
 the wisdom of conventionalization or idealization. But the 
 most important distinction, for the student of contemporary 
 tendencies, is that which concerns the term "Impressionism." 
 This name in its original and technical sense applied to the 
 works of the men who, instead of mixing shades, placed dif- 
 ferent colors side by side on their canvases to give the effect 
 of the right shade at a distance. As the experiments of these 
 artists were directed chiefly to the solution of problems of 
 light, the term naturally was widened to include that whole 
 division of painting which is concerned with atmospheric as- 
 pects and color harmonies rather than with subject-interest 
 and line composition. Terms which express the same idea in 
 general or in part, are **luminism" and "plein-air painting." 
 Impressionism has had more effect on the current of art than 
 has any other movement in history. Not only in the handling 
 of light and in freshness of coloring has the whole of painting 
 been profoundly changed, but there is a general tendency to 
 paint the impression rather than the actuality, the harmonious 
 effect rather than the literal fact — and these things are notably 
 illustrated in the Exposition galleries. 
 
 For the sake of the visitor who comes to the gallery with 
 practically no knowledge of art, a word may profitably be 
 said about critical standards. First remember that there are 
 many qualities which may make a painting worth while: pleas- 
 ing design, beautiful color, a compelling expression of emotion 
 or thought, or a poetic suggestion of a fleeting aspect or mood. 
 It is necessary to judge each particular work by the artist's 
 intention, and not by untrained personal tastes. Before pass- 
 ing judgment learn to know the picture well. You may find 
 that you have been attracted by something superficial. On 
 the other hand, you may find that the seemingly less attractive 
 picture, which has been recommended by people of trained 
 
 [78] 
 
FINE ARTS GALLERIES 
 
 judgment, grows more and more pleasing with riper acquaint- 
 ance. Go slowly, study thoroughly what you study, and keep 
 an open mind — for that way leads to the widest enjoyment. 
 
 UNITED STATES SECTION: PAINTING 
 
 The United States Section consists chiefly of contemporary 
 work, but includes a small historical section, which is to be 
 found to the left as one enters at the main doorway. It is in 
 this part of the exhibit that one should start. 
 
 The Historical Section consists of two well-defined parts. 
 The first contains examples of foreign schools of painting that 
 have influenced American art. The second contains the works 
 of American painters from the beginnings to the early Twen- 
 tieth Century. The Foreign Historical Section occupies 
 rooms 91-92 and 61-63. 
 
 ^ Gallery 91 — Early Schools. A gallery of old paintings, 
 chiefly of the Italian, Flemish and Dutch Schools, designed to 
 suggest the earliest roots of American art. Practically all the 
 canvases are mere echoes of the **old masters," and they may 
 well be passed over hastily by all but the most thorough his- 
 torical student. 
 
 Gallery 92 — French Influence. This gallery and the 
 next two are designed to show works of those schools, chiefly 
 French, that have had direct influence upon American art. 
 On wall A is a painting by Courbet, interesting in the light of 
 that artistes influence on Whistler's early work. But most 
 important here are the examples of the Barbizon School, roman- 
 tic landscape painters of the mid-Nineteenth Century, who 
 had much to do with the development of the Inness-Wyant 
 group in America. On wall B are two canvases by Corot, 
 both badly placed, one of which (1486) is typically poetic and 
 beautiful. The examples by Daubigny and Rousseau on wall 
 C are not satisfying. On wall D the two Monticellis suggest 
 the source of some of the rich qualities of the work of Keith 
 and similar American painters. 
 
 Gallery 62, adjoining 92, shows the best example of Bar- 
 bizon work, in Troyon's beautiful * 'Landscape and Cattle" on 
 wall C. On wall A is a small painting, interesting but not 
 characteristic, by Millet, who influenced the whole world of 
 
 [79] 
 
FINE ARTS GALLERIES 
 
 art toward sincerity. On wall B is Sir Laurens Alma-Tadema's 
 "Among the Ruins," sole representative here of the English 
 School of "polished" painters that strongly influenced a number 
 of American artists. On wall D are two very interesting por- 
 trait studies by Franz von Lenbach, intended to suggest the 
 influence of the Munich School on American art, before Ameri- 
 cans began to flock to Paris to study. 
 
 Gallery 61 — Recent French Influence. On wall A is 
 an uneven collection by Monet, the greatest apostle of Im- 
 pressionism. This group, with the exception perhaps of the 
 sea-shore scene, should be studied thoroughly, in regard to the 
 technique that juxtaposes colors to give the right resultant 
 tone at a distance; in regard to the general tendency to sub- 
 ordinate subject interest to the expression of fleeting aspects; 
 and in regard to the masterly handling of light. No other 
 group will be referred to so often in connection with the Ameri- 
 can galleries. On wall B is a typically joyous canvas by 
 Gaston La Touche, who carries Impressionism into figure 
 work. On walls C and D are other examples of the Impres- 
 sionist School, by Pissarro and Renoir and the English Sisley. 
 On wall C is a portrait by Eugene Carriere. On wall D is a 
 panel by Puvis de Chavannes, who has influenced modern 
 mural painting more than any other artist. This picture has 
 the typical union of the classic feeling with very modern tech- 
 nique, but it is representative of de Chavannes* manner rather 
 than of his whole art at its best. 
 
 Gallery 63 — English Influence. This is the richest of 
 the historical rooms. Although there is a scattered collection 
 including the names of Van Dyke, Guido Reni, Tiepolo, Ribera, 
 Velasquez, Goya, and Turner, on walls A and B, the important 
 thing is the fine collection of the English portraitists. Here 
 are examples, many of them among the finest, by Hogarth, 
 Reynolds, Gainsborough, Romney, Lawrence, and Hoppner. 
 It is hardly necessary to point out the close connection between 
 the work of this English group and early American painting, 
 since a visit to the adjoining gallery 60 will show how the 
 first important development in the States grew out of the art 
 of the mother country. 
 
 The American Historical Section covers the entire de- 
 velopment of American painting from the beginning to the 
 
 [801 
 
FINE ARTS GALLERIES 
 
 early years of the present century. To obtain the proper 
 sequence, one should start in room 60, working gradually down 
 to 57, then visiting 64 and 54. 
 
 Gallery 60 contains a profusion of fine examples of the 
 early portrait school, which was so closely connected with 
 English art of the time. Gilbert Stuart, the most important 
 figure, is represented by an extensive collection on wall A. 
 In this room, too, are canvases by West, Peale, Copley, and 
 their followers well into the Nineteenth Century. 
 
 Gallery 59 contains chiefly the work of that barren mid- 
 century period when portraiture and landscape painting alike be- 
 came hard and labored. Insofar as any foreign influences can be 
 detected here, they are of the ** tight" schools of England 
 and Germany. 
 
 Gallery 58 contains some interesting work of the latter 
 half of the Nineteenth Century — notably the paintings by 
 Eastman Johnson, an important figure of the time when Ameri- 
 can art was finding itself. Albert Bierstadt's two landscapes 
 are typical of the so-called Hudson River School, the mechanical 
 forerunner of the Inness-Wyant group. An interesting con- 
 trast is offered here by H. J. Breuer's **Santa Inez Mountains,** 
 a contemporary landscape that is full of the freshness and 
 light of present-day American painting. 
 
 Gallery 57 shows another great step in advance. A gen- 
 erous portion of the space is given to Edwin A. Abbey, an 
 American-born artist who really was more a part of English 
 art. The exhibit shows clearly that Abbey was greater as 
 illustrator than as painter, the finest things here being the 
 exquisite pen drawings. Wall D has five paintings by John 
 LaFarge, who by his work and by his theories greatly influenced 
 American art at the end of the century. Worthy of study, too, 
 are the more modern landscapes of Theodore Robinson. 
 
 From this room one should turn back into the central line 
 of galleries. 
 
 Gallery 64 contains historical American paintings that 
 range through the latter half of the last century and into this, 
 with such well-known names as Parrish, Gifford, Hunt, Wylie, 
 Martin, the Morans, Eakins, and even the more recent Fred- 
 eric Remington. Such pictures as F. E. Church's ''Niagara 
 
 [81] 
 
FINE ARTS GALLERIES 
 
 Falls'* (wall A), J. G. Brown's "The Detective Story'' (wall B), 
 and Thomas Hovenden's * 'Breaking Home Ties" (wall D), are 
 typical of what was accepted as the best work a generation 
 or two ago. 
 
 Passing through room 65, one should next go to 54. 
 
 Gallery 54 is the most important in the American Histori- 
 cal Section, for it shows the work of the men who really eman- 
 cipated American painting from the old hardness and tightness 
 of technique, and from the old sentimentalism. Wall A is 
 given up to the work of the late Winslow Homer, who has 
 been called "the most American of painters." The seashore 
 scenes alone of the things here are representative of this big 
 man at his best. Wall B has a varied assortment by lesser 
 painters, but ones of importance: Blakelock, Currier, William 
 Morris Hunt, and Fuller. On walls C and D the very im- 
 portant canvases are those by Inness and Wyant, men who 
 were deeply influenced by the French Barbizon School, but 
 whose individual achievement marked the first great stride 
 toward the bigness, freedom and lightness of present-day 
 American landscape painting. 
 
 Contemporary American Painting. Leaving aside the 
 one-man rooms for the present, it is just as well to turn from 
 the last historical room, 54, into 55, and progress in natural 
 order through 56, 65, 85, 66 (the central hall), and 80. The 
 contemporary rooms north of the central hall can be best visited 
 in three groups, each following the official room numbering: 
 first, 67 to 74 ; then 43 to 5 1 ; and finally the detached section 
 at the far north end of the building, II 7 to 1 20. 
 
 Gallery 55 has a well assorted collection of contemporary 
 canvases, but includes no outstanding features. 
 
 Gallery 56 is a typical moderr) American room, with good 
 landscapes in the work of Breuer, Borg, Davol, and Stokes. 
 
 Gallery 65 contains some of the best American figure paint- 
 ings in the building. The finest group is that by Cecilia Beaux 
 on wall D, which well displays that remarkable artist's bril- 
 liant technique and **flair." It is notable how many of the 
 really virile paintings here are by women — many of them of 
 the younger groups. From Marion Pooke's polished but free 
 **Silhouettes," and Alice Kent Stoddard's appealing "Sisters," 
 
 I 82 I 
 
FINE ARTS GALLERIES 
 
 to M. Jean McLane's joyously brilliant canvases on wall C, 
 there is a wide range of achievement and promise. 
 
 Gallery 85. On walls A and B are five canvases by Horatio 
 Walker that are worthy of attention. But finer are Charles W. 
 Hawthorne's four paintings on walls B and D. Their bigness 
 of conception, sincerity and soundness of technique mark a 
 coming master. Wall C is given up to a display by Charles 
 Walter Stetson, which shows, more strongly than any other 
 in the American section, that tendency to the decorative and 
 the idyllic which is to be noted as so strong in recent painting. 
 On wall D are three works of George deForest Brush, a man 
 who has been but little influenced by the more radical tenden- 
 cies. **The Potter** is interesting for the painstaking and minute 
 finish of varying surface textures. 
 
 Gallery 66 — Central Hall. Although the important 
 places here are given to sculpture, there are a few very inter- 
 esting paintings: some representative landscapes, and at the 
 ends decorative panels by Alexander Harrison and by Howard 
 Gushing. 
 
 Gallery 80 is notable for the work of painters who have 
 followed rather closely the old academic traditions: for the 
 smooth and polished canvases of W. M. Pax ton and Philip 
 Leslie Hale. There are also seven landscapes by Willard L. 
 Metcalf, fresh attractive work of the ''pl^iri-^ir** school. 
 
 Gallery 67 is rich in fine landscapes, and contains the best 
 of the exhibition's marines. Here are the only works of Charles 
 H. Davis, a notable follower of the poetic Inness School, and 
 of Leonard Ochtman and Ben Foster, who stand well to the 
 fore among the more vigorous landscapists. Also worthy of 
 attention are the landscapes of Braun, Borg, White, Wendt, 
 J. F. Carlson, Rosen and Browne. The marines represent well 
 a department of painting in which Americans have long ex- 
 celled; on wall A are four by Paul Dougherty, on B and C 
 three by Frederick J. Waugh, and on D one by Emil Carlsen. 
 Of the other paintings the most interesting is the idyllic bit 
 by Hugo Ballin on wall C, representative of the decorative 
 tendency. 
 
 Gallery 68 contains as its most important exhibit three 
 portraits by J. C. Johansen, on wall B, all typical of the 
 brilliant fluency of this remarkable painter. Among the 
 
 [83] 
 
THE PERISTYLE AT NIGHT 
 Bernard R. Maybeck, Architect 
 
FINE ARTS GALLERIES 
 
 landscapes here the most important are the two Schofields on 
 wall D, typical of the best and sanest phase of Impressionism 
 in America. Very important too are the canvases by Daniel 
 Garber on wall C. 
 
 Gallery 69 contains a mixed collection, with such different 
 good things as Lawton Parker's polished figure studies (wall B) 
 and J. Francis Murphy's poetic landscape (wall C). On wall C 
 is a painting by John W. Alexander, one of the leaders in 
 American art, which is typical of his method of subordinating 
 subject interest to line arrangement and color composition. 
 
 Gallery 70 — Portrait Room. On wall C are three portraits 
 by Irving R. Wiles, and on D two by Julian Story — both names 
 long well-known in American art. But the surprising thing is 
 that several of the canvases by less known men stand up with, 
 or even surpass, these. 
 
 Gallery 71 is notable chiefly for some good landscapes. 
 
 Gallery 72 contains little to hold the attention, unless it is 
 the group of canvases by Walter McEwen, who shows adherence 
 to the older traditions, not only in smoothness of technique, 
 but in sentimentalism and general prettiness. 
 
 Gallery 73 is given up chiefly to Alson Clark's over-sketchy 
 and intemperately colored Panama pictures. The most inter- 
 esting thing here is Ernest Lawson's ''Beginning of Winter," 
 on wall B, a representative work by one of the most successful 
 American followers of Impressionism. 
 
 Gallery 74 is a room of good landscapes, with a few out- 
 standing canvases like Will S. Robinson's * 'Group of White 
 Birches" on wall C. 
 
 A new start should be made here by passing through rooms 
 70 and 71 to 43, from which the numerical order can be followed 
 back to room 5 1 , adjoining the central hall. 
 
 Galleries 43 and 44 have a range from many mediocre to 
 a few really good things, lacking anything that demands special 
 attention. 
 
 Gallery 45 is a room rich in comparative values. Note the 
 delicacy of treatment and of color in William Sartain's three 
 landscapes, on wall A, and in Birge Harrison's atmospheric 
 paintings on wall D. Compare these with the heavily painted 
 and richly colored canvases by Walter Griffin on wall C, and 
 
 185 1 
 
FINE ARTS GALLERIES 
 
 then with the more straightforward, vigorous work of Charles 
 Morris Young on wall B. Harrison, Griffin and Young, at 
 least, are of the distinctly modern school; but note how individ- 
 ually each has utilized his inheritance of vibrating color and 
 light. On wall A are two fine figure studies by Robert Reid, 
 an innovator and a really great painter, though he did not show 
 it when he painted the panels for the Fine Arts rotunda. 
 
 Gallery 46. There is much poor material here; but on walls 
 B and C are some paintings by Frank Vincent Dumond that 
 are interesting for their fresh coloring and their solving of light 
 problems. 
 
 Gallery 47 contains evidences of progress in varied lines, 
 from E. L. Blumenschein's big Indian pictures, and Colin 
 Campbell Cooper's studies of American cities, to the experi- 
 ment in painting flesh against a richly varied background, by 
 Richard Miller, a gifted American who has long lived in Paris. 
 
 Gallery 48 contains much promising work of various ten- 
 dencies, but no outstanding features. 
 
 Gallery 49 contains, on wall A, a splendid collection of the 
 work of Dwight W. Tryon, one of the older school of land- 
 scapists, who helped to break the way for the moderns and has 
 kept up with them to a great extent. With the exception of 
 one canvas, the pictures on walls B and D are by J. Alden 
 Weir, another roadbreaker, and an experimenter with new 
 effects of light and atmosphere. In such canvases as **June'* 
 and * 'White Oak** one finds some of the best that American 
 art has built on the theories of Monet. 
 
 Gallery 50 contains some good landscapes, but nothing 
 that demands special attention aside from Sergeant Kendairs 
 refined figure studies. 
 
 Gallery 51 is given over in general to the independents and 
 extremists of American art. Here are canvases by Glackens, 
 Sloan, and Breckenridge, rather disappointing to one who has 
 watched hopefully the movement they represent. Certainly 
 their exhibits are suggestive of a rather undisciplined vigor 
 and freedom. On wall C the five canvases in the lower row 
 are by Robert Henri. They are the experiments of a master, 
 rather than his best works. The truly representative Henri 
 picture is the **Lady in Black Velvet,** on wall D. This has a 
 wonderful synthetic quality, a suppression of detail and a 
 
 [861 
 
FINE ARTS GALLERIES 
 
 spotting of interest at the important point. There is, too, a 
 spiritual quality that is lacking in the other canvases. On the 
 other side of the doorway is Gertrude Lambert's "Black and 
 Green,*' a notably fine canvas. 
 
 The only other general rooms of the contemporary American 
 section are those at the far north end of the building, beyond 
 the foreign sections, numbered from 1 1 7 to 1 20. 
 
 Gallery 117 is a sort of catch-all room, in which are many 
 things that never should have been admitted to the galleries. 
 The really interesting feature is the series of canvases by 
 Frieseke, full of light and freedom. Gallery 118 is less mediocre 
 on the whole, but lacks any features of special appeal. Gallery 
 119 includes a surprising conglomeration of paintings and draw- 
 ings in all mediums, wherein the extremists have their say. 
 There is a wealth of interest here, but one must have time to 
 separate the bad from the good. Gallery 120 is also marked 
 generously by the newer tendencies. The important feature 
 is the group of virile paintings by George Bellows, on wall C. 
 These mark the most successful American attempt to grasp 
 sanely the bigness and freedom of the post- Impressionist 
 movements. 
 
 One-man Rooms. As a part of the plan to show the various 
 influences on the course of American art, it was decided to give 
 up a number of rooms to individual displays by leaders of the 
 several well-marked tendencies. Galleries 75-79, 87-90, and 93, 
 at the east side of the building on either side of the center, 
 contain these **one-man shows." 
 
 Gallery 75 — Sargent. Here are shown a number of can- 
 vases by the man generally considered the greatest living Amer- 
 ican painter — certainly the greatest of the portraitists. Though 
 containing none of the really famous paintings, there are por- 
 traits which show the typical Sargent brilliancy — the swift 
 sureness and the perfect balance of restraint and freedom. The 
 James portrait is especially worthy of study. 
 
 Gallery 76 — Mathews. In this room are shown a number 
 of canvases by Arthur F. Mathews, most important of the 
 California painters, as well as a few by Francis MacComas, 
 another Californian. Mathews stands primarily for the decora- 
 tive tendency. His canvases have a noble sense of repose that 
 
 187] 
 
FINE ARTS GALLERIES 
 
 is too often lacking in contemporary work, and there is remark- 
 able color harmony here. 
 
 Gallery 77 — Melchers. Here are representative works by 
 Gari Melchers, a famous American who has long lived abroad. 
 Unmistakably these canvases are from a masterly brush; but 
 the coloring is not always good, and the room is somewhat 
 disappointing. 
 
 Gallery 78 — Hassam. By common consent Childe Hassam 
 is considered the greatest American follower of Impressionism. 
 He is an innovator who has carved a sure place for himself by 
 adding a new vigor to the methods of the original Impressionists. 
 Such decorative canvases as 2033 on wall B, and such delicate 
 ones as 2029 on wall D, should be compared with the Monets 
 in room 6 1 . 
 
 Gallery 79 — Chase. This room is designed to show the 
 work of an American who was greatly influenced by the Munich 
 School of painters. William M. Chase, both in his portraits 
 and in his remarkable still-life studies, shows the fine German 
 thoroughness rather than French brilliancy. The four can- 
 vases that hold the places of honor on all four walls show clearly 
 the influence of Whistler. 
 
 Gallery 87 — Duveneck. Here are works by Frank Duven- 
 eck, who like Chase studied at Munich. Sound in draughts- 
 manship, steady, and well-thought out, they maintain a 
 remarkable standard of excellence. It is instructive to step 
 from here into the adjoining large gallery, where the French 
 influence is predominant. 
 
 Gallery 88 — Redfield. In the winter scenes of E. W. 
 Redfield one finds the sure touch of a master of the new and 
 vigorous school of American landscapists. Redfield has 
 modified Impressionism, clinging to a certain reality, and yet 
 achieving the sparkling atmospheric effects of the luminists. 
 
 Gallery 89 — Tarbell. In contrast to Hassam and Redfield 
 and Twachtman is Edmund C. Tarbell, who has taken but 
 little from the Impressionist group. His most characteristic 
 and most appealing work can be seen in the canvases on wall 
 A, beautifully lighted interiors which show the academic ten- 
 dency, but in a new and delightful way. 
 
 Gallery 90— Keith. This collection of canvases, with its 
 sameness of subject and arrangement, is hardly typical of the 
 
 [88 1 
 
FINE ARTS GALLERIES 
 
 late William Keith at his best. He was the western representa- 
 tive of the Inness-Wyant school of the late Nineteenth Century, 
 though he leaned more to the romantic than did the others. 
 
 Gallery 93 — Twachtman. Here are the works of a painter 
 who is closer to Monet than to the more vigorous American 
 school of modified Impressionism. It is well to study one wall, 
 A perhaps, and then to go to the Redfield and Hassam rooms, 
 and then to the group of Monets, to see the various ways in 
 which Impressionism has spread. 
 
 Gallery 26 — Whistler. The Whistler room is quite appro- 
 priately placed with the foreign historical rooms, rather than 
 with the other one-man galleries — as if Whistler should be 
 grouped with the influences rather than the influenced. The 
 room contains none of the artist's finest paintings, but is well 
 representative of the several sides of his woik. Wall D shows 
 Whistler the portraitist, with* *his faces and figures that emerge 
 from a soft black background, very much as one sees a person 
 in the gathering twilight.** On walls A and B it is Whistler 
 the colorist, and on wall B especially. Whistler the rediscoverer 
 of Japanese color and figure composition. On wall D is the 
 **Study of Jo,** an uncharacteristic early work, which shows 
 the influence of Courbet. 
 
 AMERICAN SECTION: PRINTS 
 
 The American prints occupy rooms 29 to 34, along the west 
 wall of the building just south of the central vestibule. The 
 exhibit is very representative, and contains both historical and 
 contemporary sections. 
 
 Gallery 29 — Prints by Whistler. Here is a collection of 
 Whistler*s etchings and lithographs, with a few drawings. The 
 distinguishing quality is an exquisite delicacy. 
 
 Gallery 30 — Historical Prints. In this room one can 
 trace the development of American engraving and etching from 
 the beginnings to the present day. Starting on wall D one 
 finds steel engraving illustrated from the days of Paul Revere 
 to its decadence; then the history of wood-engraving to its 
 flowering in Cole and Wolf ; early and recent American etching ; 
 and a few modern copper engravings and lithographs. 
 
 Gallery 31 — Prints by Pennell. This room contains a 
 splendid collection of prints from all of Joseph PennelKs 
 
 (89 1 
 
FINE ARTS GALLERIES 
 
 t 
 
 important series, in etching, lithography and mezzotint — a 
 remarkable display by one of the world's greatest etchers. 
 
 Galleries 32 and 33 — Contemporary Etchers. These two 
 rooms contain a rich collection of contemporary American work 
 that should be studied print by print. Even a superficial look 
 will indicate that even without Pennell and Whistler the 
 American etchers are doing work universally worth while. 
 
 Gallery 34 — Color Prints. Here is an interesting collection 
 of color prints in both etching and wood engraving. It shows 
 the achievement of the younger artists in mediums that were 
 practically unknown in this country ten years ago. 
 
 AMERICAN SECTION: ILLUSTRATION 
 
 Galleries 41 and 42 are given up to drawings and paintings 
 by Howard Pyle, who has been called "the father of modern 
 American illustration." 
 
 Gallery 26, adjoining the Italian section, contains a small 
 but fairly interesting group of original drawings for illustration. 
 In the work of Wyeth, Schoonover, Elizabeth Shippen Green, 
 Jessie Wilcox Smith, and others, there is very strong evidence 
 of Howard Pyle's influence. On wall B of this room, and in the 
 adjoining gallery 27, there is a collection of photographs of 
 American sculpture and mural paintings. 
 
 Gallery 36, adjoining the main west vestibule, has a miscella- 
 neous collection of drawings and paintings in all mediums, 
 ranging from the most delicate and polished to caricature and 
 sketchiness run riot. There is a great deal of interest, but little 
 that is important in a big way. 
 
 AMERICAN SECTION: MINIATURES 
 
 Galleries 37 and 40 contain an excellent collection of min- 
 iatures, ranging from a work by Malbone, the first important 
 American in this field, to that of such notable contemporaries 
 as W. J. Baer, Laura C. Hills, and Lucia Fairchild Fuller. 
 
 In both miniature rooms there are a number of paintings 
 and drawings, in various mediums, including, in room 40, a few 
 oils by Jules Guerin, the color wizard of the Exposition. 
 
 AMERICAN SECTION: SCULPTURE 
 
 Of the monumental sculpture of the American Section most 
 of the finest examples are out-of-doors. The central hall of the 
 
 . (901 
 
FINE ARTS GALLERIES 
 
 gallery building contains a collection that is worth studying 
 piece by piece, including such notable things as Daniel Chester 
 French's * 'Alice Freeman Palmer Memorial," Karl Bitter's 
 * 'Signing the Louisiana Purchase Treaty" and "Tappan Mem- 
 orial," and Robert Aitken's "Mausoleum Door." 
 
 But by far the most notable thing about the sculpture 
 display is the extensive collection of charming small bronzes, 
 which is scattered through the many rooms. The visitor should 
 especially make sure of seeing certain individual group exhibits, 
 such as the very freely rendered figures by Paul Troubetzkoy 
 in the International Room (108), Paul Manship's groups, with 
 their touch of classic appeal, in gallery 93, and the cases of 
 statuettes by Abastenia St. Leger Eberle and Bessie Potter 
 Vonnoh, in gallery 65. Very rich in interest, too, is the 
 collection of medals and plaques, shown in galleries 38 and 39 
 
 FOREIGN SECTIONS 
 
 The foreign sections are in two groups, at the two ends of 
 the building. There is no system in their arrangement, and 
 they are treated here in the order in which they happen to be 
 placed, beginning at the far south end. 
 
 The Japanese Section occupies galleries 1 to 10. To 
 appreciate Japanese art it is necessary to become accustomed 
 to the conventionalization of treatment — to understand what 
 the artist was after, and to judge from that standpoint. It is 
 well to begin by studying works that are more like Western 
 art — such things as "Moving Clouds" (15) and "Evening: 
 Nawa Harbor" (12) in room 1 — and then to progress to the 
 works in which the conventions are more pronounced. Note, 
 throughout the paintings in rooms 1, 2 and 3, the delicacy of 
 tone, the color harmony, and the fine sense of composition and 
 pattern. 
 
 In galleries 8 and 10 are collections of Japanese sculpture 
 and painting, done in the Western manner. It is interesting 
 to see what the Oriental artist can accomplish in an alien 
 medium; but neither for the Japanese nor for the American 
 can these works have the same genuine appeal as those in 
 galleries 1 to 3. The other rooms contain a varied collection 
 of porcelain, embroidery, wood and ivory carving, and prints. 
 
 [911 
 
FINE ARTS GALLERIES 
 
 The French Section is one of the most interesting, but is 
 hardly representative of the best that country has achieved in 
 art. The general average is such that it upholds France's 
 traditional standing as the home of "good painting," but this 
 is by no means a collection of masterpieces. The most notice- 
 able tendency is that toward the decorative. The galleries 
 of the French section have been re-numbered, beginning with I . 
 
 Gallery 1 is a rather poor room on the whole, though it 
 contains two canvases on the north wall by Lucien Simon, 
 typical of that artist's masterly breadth of treatment. On the 
 west wall, beside the doorway, are two of Aman-Jean's portraits. 
 The little landscape (429) under one of these, by Marcel-Clement, 
 is notable, as are also Jean Domerque's decorative canvas on 
 the south wall and Maury's three nude girls on the north. 
 
 Gallery 2 is most interesting for the group on the north 
 wall, where the place of honor is given to Henri Martin's work. 
 Here is an artist who has carried Impressionism to its limit of 
 vibrating light and color. The large central canvas should be 
 seen from the Japanese room. The self-portrait (433) is even 
 more interesting. On this wall are pictures that offer a striking 
 comparison of methods of painting. 
 
 Gallery 3 is made especially interesting by the domination 
 of one man, Maurice Denis, who is the leader among the **ad- 
 vanced" decorators of France. There is much that is worthy 
 of study in the simplicity and in the color of his panels here. 
 The room contains also a number of examples of the new and 
 ultra-new schools, from Monet and Degas to Redon and Puy. 
 
 Gallery 4 contains few outstanding features, the more 
 conservative element predominating. There is charming color 
 in Caro-Delvaille's canvas on the East wall (279), and there is 
 a Lucien Simon on the south wall. Gallery 5 likewise is not 
 very important. 
 
 Gallery 6 especially illustrates the decorative tendency. On 
 the north wall are panels by Auburtin, a follower of deChavannes, 
 and by Devoux, which are pure decorations. On the south wall 
 is a large canvas by the celebrated Menard; but his little sea- 
 scape on the west wall (445) is more appealing, being one of the 
 most attractive things in the section. Note how the decorative 
 tendency characterizes not only these outdoor pictures, but 
 the neighboring portraits as well. On the east wall is a canvas 
 
 [92 1 
 
FINE ARTS GALLERIES 
 
 by le Sidaner, a leader of the plein-air school, which reminds 
 one that good French landscapes are few in this exhibit. 
 
 The Italian Section is the best arranged in the galleries. 
 There is a general feeling of orderliness and rest that is quite 
 welcome as one comes from the overcrowded American rooms. 
 The Italian paintings do not give the impression of an exhibition 
 of masterpieces — indeed there are very few canvases that de- 
 mand special notice — but they are well up to the average set 
 in the other sections. 
 
 Gallery 21 is the most interesting. On the wall facing the 
 main doorway are five pictures by Ettore Tito, perhaps the 
 greatest and certainly the most popular, of Italian painters. 
 AH are strong, and they are painted with a bigness and a sure- 
 ness of touch that are compelling. Very interesting too are the 
 canvases on the adjoining wall by Camillo Innocenti, who has 
 achieved the vibrating light and fresh coloring of the Impres- 
 sionist School in an individual way. 
 
 Gallery 22 contains a varied collection, ranging from the 
 academic to the radical. Here are two canvases by Arturo 
 Noci, one of the leaders of the Italian Secession. Gallery 23 
 is given up mainly to sculpture. The most compelling thing is 
 d'Orsi's realistic * 'Tired Peasant.'* With the exception of some 
 of the small bronzes, the rest of the sculpture of the section is 
 hardly notable. 
 
 Gallery 24 contains a very interesting canvas in Plinio 
 Nomellini's picture of a woman and child in a boat drawn up 
 under a tree. The thing is full of sunlight and sparkling color; 
 and it strikes a good medium between the old tight painting 
 and that which carries Impressionism too far — both of which 
 extremes can be seen in plenty in this room. Gallery 25 is an 
 average room, without special features. 
 
 The Cuban Section occupies gallery 20, next to the Italian 
 section. There is hardly a picture here that does not seem 
 labored in comparison with the freedom elsewhere. 
 
 The Uruguay Section, in the adjoining gallery 19, is just 
 the opposite — full of freshness and vigor, and brilliant in color. 
 But the gift of brilliancy is rather undisciplined, and while there 
 is unmistakable promise, one feels that the art of Uruguay has 
 not yet found itself. 
 
 [93] 
 
FINE ARTS GALLERIES 
 
 The Chinese Section occupies galleries 94 to 97, and is 
 notable for the paintings on silk and paper, the cloisonne, and 
 the lacquer. There is a wealth of interesting material in the 
 display, but it really requires a great amount of study for full 
 appreciation. The Chinese Commission has prepared a special 
 catalogue, which can be had in the rooms if one is specially 
 interested. 
 
 The Philippine Section, in the adjoining gallery 98, is 
 almost negligible in a building where there is so much really 
 worth seeing — though some of the paintings by Felix Hidalgo 
 have a dramatic interest. 
 
 The Swedish Section, in galleries 99 to 107, is one of the 
 most important in the building. One who likes a gentle, polished 
 sort of art will not be at home here; but for virile, fresh and 
 colorful painting there is no other section that achieves the same 
 high standard. Many of the pictures are so strong and big that 
 they never should have been put in these box-like little rooms, 
 where a proper perspective is impossible. In the paintings there 
 are traces of French and German training, and especially of 
 Impressionism; but the exhibit shows more true national feeling 
 and more individual independence than any other in the building. 
 
 The two featured groups are the remarkable paintings and 
 tapestries of Gustav Adolf Fjaestad in gallery 107 — well worthy 
 of long study — and the paintings and prints of Carl Larsson in 
 gallery 101. But there are many other things quite as important: 
 the brilliant and fresh canvases of Carlburg, the snow scenes 
 touched with late sunlight, by Schultzberg, and the compelling 
 autumn decorations by Osslund, all in gallery 102; the illus- 
 trations by Bauer in gallery 104; the big landscapes by Hessel- 
 bom in gallery 1 05 ; and the deep-toned studies by Anna Boberg, 
 and the virile portraits, in gallery 106. If you doubt that these 
 Swedish painters cefti do the polished, poetic thing, as well as 
 the big vigorous sort, go back to gallery 103, and look at Berg- 
 strom's atmospheric "Spring Day.*' 
 
 The Swedish sculpture is not so remarkable as the painting; 
 but the print section in gallery 99 contains a number of very 
 interesting etchings and wood engravings. 
 
 The Argentine Section, in gallery 1 12, shows much that 
 is fresh, strong, and brilliant in color. It is interesting to see 
 
 [94] 
 
FINE ARTS GALLERIES 
 
 how much closer these South American painters are to Spain 
 than to France and Germany. Here are many echoes, not only 
 of Velasquez and Goya, but of the vital modern Spaniards like 
 Zuloaga. The collection is very uneven; but in the work of 
 men like Jorge Bermudez and Hector Nava there is a mighty 
 promise if not any great achievement. The few sculptures are 
 unusually strong and interesting. 
 
 The Portuguese Section, in galleries 109 to 111, has the 
 appearance of belonging to an older period in the history of art 
 than the present. One feels that the artists who show pictures 
 here have not that mastery of light which marks the Nineteenth 
 Century's greatest advance in painting. Certainly there is 
 evidence of a general reliance on the older standards. Perhaps 
 the best works are those of Columbano, in the central gallery. 
 Here too, and in the next room, are some realistic works of 
 Malhoa that compel attention. 
 
 The International Room, gallery 108, contains all that 
 the Exposition has of German work. On wall C are such splendid 
 things as Leo Putz' "The Shore* and Heinrich von Zugel's "In 
 the Rhine Meadows;'* and on wall A is Franz Stuck's "Summer 
 Night" — by no means one of this decorator's best works, though 
 characteristically rich and deep-toned. But one feels the lack 
 of those others who have lately lifted Germany back among the 
 greatest nations artistically: von Uhde, Liebermann, von Geb- 
 hardt, Klinger, Erler, and von Hofmann. In the same way the 
 young and virile English group is not represented, though in 
 this room is a passable portrait by the great John Lavery. On 
 wall D are two Spanish works of Lopez-Mezquita, that are 
 worthy of attention — but nothing of Zuloaga or Sorolla, 
 
 The Holland Section, occupying galleries 113-116, con- 
 tains a display that is well balanced but without outstanding 
 features. There are echoes of many departed glories, of Rem- 
 brandt, of Hals, and even of the French Barbizon men, and a 
 few typical beautifully lighted Dutch interiors. But there is 
 none of the work of the men whom the art magazines have 
 taught us to consider the representative Dutch painters of today: 
 Israels, the Maris brothers, and Mauve. The print room is 
 likewise good rather than splendid, unless one excepts M. A. J. 
 Bauer's fine Rembrandtian etchings. Charles van Wyck's 
 small bronzes are notable among the sculptures. 
 
 f95 1 
 
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 THE THINKER by RODIN 
 
 In the Court of the French Building 
 
SCATTERED ART EXHIBITS 
 STATE AND FOREIGN BUILDINGS 
 
 The Palace of Fine Arts has been reserved exclusively for 
 painting, sculpture and prints, with the result that the material 
 of the usual **arts and crafts** exhibitions has been badly 
 scattered. Certain exhibits have been taken to the state and 
 foreign buildings, some of which are also of interest architec- 
 turally; but most of the craftswork is to be found in the four 
 exhibition palaces on the Avenue of Palms. 
 
 The Palace of Varied Industries contains, between 
 5th and 6th Streets, three important displays: at Avenue 
 A is Denmark's exhibition of porcelain and p)ottery, with a 
 small section devoted to the book arts; at Avenue B is an ex- 
 cellent display of German porcelain; and at Avenue D is the 
 Netherlands exhibit of porcelain and pottery. At 4th Street 
 and Avenue C is the exhibition of Chinese arts and crafts. 
 The American section of so-called **Domestic Arts and Crafts'* 
 is at 1st Street and Avenue C, and contains a very small but 
 select showing of all the usual handicrafts. Elsewhere in the 
 building there are minor displays of textiles, ceramics, tapes- 
 tries, silver work, and interior decoration, installed by com- 
 mercial firms. One can see looms working, jewelry being made, 
 and China being painted. 
 
 The Palace of Manufactures is notable for the extensive 
 arts and crafts exhibit of Japan, which covers almost one- 
 quarter of the building's floor space; for that of Italy, which 
 includes a large number of statuettes besides the usual depart- 
 ments; and for those of France, and Great Britain and Ireland. 
 One will find all of these displays by walking along Avenue C. 
 
 The Palace of Liberal Arts contains a few exhibits of the 
 book arts and architecture. The most important architectural 
 display is that in the United States Government Section, shown 
 by the National Fine Arts Commission. On Avenue D between 
 1st and 5 th Streets there are displays of fine photography. 
 
 The Palace of Education contains the exhibition of the 
 American art schools, at Avenue B and 6th Street. At Avenue 
 E and 3rd Street pottery is made. 
 
 [97] 
 
SCATTERED ART EXHIBITS 
 
 In the group of palaces on the Marina there is little to 
 interest in art matters. In the Mines Palace the Government's 
 exhibit of coins and medals is of some interest. In the Trans- 
 portation Palace the student of applied art can find much to 
 think about in the relation of art to automobile design. In the 
 Agriculture and Food Products Palaces there is little to attract 
 the art-lover except at meal-time. 
 
 The Italian Buildings contain an extensive museum of 
 national historic art and archaeology, which is well worth seeing. 
 The mural painting in the Royal Salon represents **The Glorifi- 
 cation of Italy." The buildings reproduce historic Italian styles 
 of architecture. The charming central court, the gardens, and 
 the buildings contain many replicas of masterpieces of sculpture. 
 
 The French Building was unfinished at the time this was 
 written (June first), but it is to contain an extensive art display. 
 There are to be a number of statues by Rodin, the greatest of 
 modern sculptors, which alone would make a visit imperative 
 for every art lover. 
 
 The Swedish Building is one of the most interesting 
 architecturally, suggesting the fine originality of recent Scan- 
 dinavian architecture. It is worthy of note too, that the Nor- 
 wegian and Danish buildings strike a note of freshness that is in 
 fine contrast with most of the foreign pavilions. In all three of 
 these buildings there are small exhibits of painting and handi- 
 work. 
 
 The Turkish Building contains an attractive exhibit of 
 rugs; and in the Philippine Building there is a display of 
 metal work and basketry. 
 
 The State Buildings are in general designed for social 
 purposes. That of Pennsylvania is an interesting bit of Colonial 
 architecture, and contains two virile and colorful decorations 
 by John Trumbull, representing **Penn's Treaty with the In- 
 dians** and **The Industries of Pennsylvania.** The Maryland 
 Building is also a simple, dignified bit of Colonial design. The 
 Massachusetts Building reproduces the famous **Bulflnch 
 front** of the Boston State House. The Mission style of archi- 
 tecture is pleasingly exemplified in the California Building. 
 
 [98] 
 
INDEX fv 
 
 Pag4 
 
 ** Abundance" 61 
 
 Adams, Herbert 70 
 
 **Adventurous Bowman" 60 
 
 Aitken, Robert 17. 30, 74 
 
 **Aquatic Life" 22 
 
 Architecture as a Whole 9 
 
 Argentine Fine Arts Section 94 
 
 ""Armored Horseman" 49 
 
 Arts and Crafts Exhibits 97 
 
 Bacon, Henry .*. . 37 
 
 Bakewell & Brown. 67 
 
 Bancroft. H. Milton 40 
 
 Bateman, John 44, 67 
 
 Beach, Chester 16 
 
 "'Beauty and the Beast" 47 
 
 Bennett, Edward H 10 
 
 Berge, Edward 72, 73 
 
 Bitter, Karl 11, 91 
 
 Borglum, Solon 47 
 
 Boutier, E. L 67 
 
 Brangwyn, Frank 19 
 
 Bufano, B 32 
 
 "Bulls, The".. 37 
 
 Burroughs, Edith Woodman. . . 5\ 
 
 Calder, A. Stirling 
 
 11,30.31,32,44,47,53, 60 
 
 Chase. William M 88 
 
 Chinese Fine Arts Section 94 
 
 Color Scheme 11 
 
 Column of Progress 60 
 
 Corbett, Gail Sherman 73 
 
 "'Cortez" 49 
 
 Court of Abundance 13 
 
 Court of Flowers 45 
 
 Court of Four Seasons 35 
 
 Court of Palms 43 
 
 Court of Universe 23 
 
 Crafts Exhibits 97 
 
 Cuban Fine Arts Secticm 93 
 
 Cummings, Earl 61 
 
 Dallin, Cyrus E 73 
 
 Diagram of Art Galleries 76 
 
 Diagram of Grounds 8 
 
 Dodge, W.deL 52 
 
 Dumond, F. V 34 
 
 Duveneck, Frank 88 
 
 "•Elements. The" 2U 30 
 
 EJlerhusen, Ulric H 70 
 
 "•End of the Trail" 44 
 
 Page 
 Far^tthii; Robert'. 1 .'>'. ! ,'?%. ... 67 
 
 FaviUe, W. B. . . . 55 
 
 "Feast of Sacrifice" 37 
 
 Festival Hall 67 
 
 "Festivity" 31 
 
 Fine Arts Galleries 77 
 
 Flanagan, John 49 
 
 Florentine Court 34 
 
 Foreign Buildings 98 
 
 Fountain of Ceres 40 
 
 Fountain of Earth 17 
 
 Fountain of El Dorado ........ 51 
 
 Fountain of Energy 53 
 
 Fountain of Rising Sun 25 
 
 Fountain of Setting Sun . 27 
 
 Fountain of Youth 49 
 
 Fountains of the Seasons 39 
 
 Eraser, James Earl 44 
 
 French, Daniel Chester 63. 74 
 
 French Building 98 
 
 French Fine Arts Section 92 
 
 Fry, Sherry E. ....... . 22, 67. 73 
 
 "Genius of Creation" 65 
 
 Gerlach, Gustave 57 
 
 Gruppe, Carl 44, 47 
 
 Half -dome of Philosophy 57 
 
 Half-dome of Physical Vigor. . . 61 
 
 Harley, Charles R 61 
 
 "Harvest".. 39 
 
 Hassam, Childe 45, 88 
 
 Hastings, Thomas 49 
 
 Historical Fine Arts 79 
 
 Holland Fine Arts Section 95 
 
 HoUoway, Charles W 44 
 
 Illustration Section 90 
 
 International Room 95 
 
 I talian Building 98 
 
 Italian Fine Arts Section 93 
 
 I talian Towers 43 
 
 Jaegers, Albert 37, 39 
 
 Jaegers, August 40 
 
 Japanese Fine Arts Section 91 
 
 Keith, William 88 
 
 Kelham, George W 44, 47 
 
 Konti, Isidore 60 
 
 Ladd, Anna Coleman 72, 75 
 
 Laessle, Albert 47 
 
 Lentelli, Leo 17, 30. 31. 71 
 
 Lighting 12 
 
 J99] 
 
INOB:^-^ Continued 
 
 Longmaii; EVfelyrf B . :! . .*. ! 40, 74 
 
 Manship, Paul 31, 91 
 
 Mathews, Arthur F. 45, 87 
 
 Maybeck, Bernard R 70 
 
 McKenzie, Robert T 72, 74 
 
 McKim, Mead & White 25 
 
 McLaren, John 12 
 
 MacNeil, Hermon A 31, 60 
 
 Medals 91 
 
 Melchers, Gari 88 
 
 Mermaid Fountain 66 
 
 Miniature Section 90 
 
 "Mother of Tomorrow" 30 
 
 "Motion". 31 
 
 Mullgardt, Louis C 15 
 
 Mullgardt Tower 15 
 
 Murals — In Arches 32 
 
 Murals — Court of Abundance . . 19 
 
 Murals- — Court of Four Seasons . 40 
 
 Murals — Court of Palms 44 
 
 Murals — Fine Arts Rotunda ... 71 
 
 Murals — Tower of Jewels 52 
 
 "Music".... 31 
 
 "Nations of the East" 29 
 
 "Nations of the West" 29 
 
 Newman, Allen 59 
 
 Niehaus, Charles 49 
 
 Outdoor Gallery of Sculpture. . . 72 
 
 Palace of Agriculture 61 
 
 Palace of Education 57, 97 
 
 Palace of Fine Arts 69 
 
 Palace of Food Products 69 
 
 Palace of Horticulture 67 
 
 Palace of Liberal Arts 56, 97 
 
 Palace of Machinery 62 
 
 Palace of Manufactures .... 56, 97 
 
 Palace of Mines 59 
 
 Palace of Transportation 59 
 
 Palace of Varied Industries . 55, 97 
 
 Patigian, Haig 63, 73 
 
 Pennell, Joseph 89 
 
 Philippine Fine Arts Section ... 94 
 
 Piccirilli, Furio 40 
 
 Pietro, C. S 75 
 
 "Pioneer, The" 47 
 
 "Pizarro" . . . 49 
 
 Portals of Varied Industries. ... 56 
 
 Portals North Facades 59 
 
 ', Page 
 
 ' Portuguese Fine Arts Section.. . 95 
 
 Print Section 89 
 
 Putnam, Arthur 66 
 
 Pyle, Howard 90 
 
 Redfield, E.W 88 
 
 Reid, Robert 71 
 
 Richardson, W. Symmes 60 
 
 Rodin 98 
 
 Roth, F. G. R 30. 32 
 
 Rumsey, Charles C 49 
 
 Ryan, W. D'Arcy 12 
 
 St. Gaudens 72, 73 
 
 Sargent, John Singer 87 
 
 Scudder, Janet . . . .• 62, 75 
 
 Sculpture Section 72, 90 
 
 "Signs of the Zodiac" 31 
 
 Simmons, Edward 33 
 
 South Gardens 66 
 
 Stackpole, Ralph 56, 57,61, 71 
 
 "Stars" 31 
 
 State Buildings 98 
 
 Swedish Building 98 
 
 Swedish Fine Arts Section 94 
 
 Tarbell, Edmund C 88 
 
 Tonetti, F. M. L 49 
 
 "Torch Bearer" 67 
 
 Tower of Jewels 48 
 
 Tower of Jewels — Height 34 
 
 "Triumph of the Field" 61 
 
 Troubetzkoy, Paul 91 
 
 Twachtman 89 
 
 "Types of Power" 62 
 
 Ulrich, Louis 55 
 
 U. S. Fine Arts Section 79 
 
 Uruguay Fine Arts Section 93 
 
 Venetian Court 34 
 
 "Victorious Spirit" 45 
 
 Walter, Edgar 47 
 
 Ward, Clarence R 62 
 
 Ward, J. Q. A.. ^ 73 
 
 "Water Sprites" 17 
 
 Weinert, Albert 17,44,56, 57 
 
 Whistler 89 
 
 Whitney, Gertrude V 51 
 
 "Winged Victory" 55 
 
 Young, Mahonri 56 
 
 Zimm, Bruno Louis 70 
 
 [100 1 
 
^ 
 
 v 
 
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