i 
 
 California 
 
 gional 
 
 )ility 
 
 ;J 
 
 i
 
 "the Pi^;-.tE.k MOTHER," BY CHARLES GRAFLY, BRONZE GROUP 
 IN FRONT OF THE MAIN ENTRANCE TO THE PALACE OF FINE 
 ARTS. IT WAS PRESENTED BY THE PIONEER MOTHER MONUMENT 
 ASSOCIATION, WHICH RAISED $25,000 BY POPULAR SUBSCRIP- 
 TION. ITS PERMANENT DESTINATION IS THE CIVIC CENTER OF 
 SAN FRANCISCO. THE INSCRIPTION ON THE PEDESTAL WAS 
 WRITTEN BY PRESIDENT BENJAMIN IDE WHEELER, OF THE 
 UNIVERSITY OF CALIFORNIA: "oVER RUDE PATHS BESET WITH 
 HUNGER AND RISK SHE PRESSED ONWARD TOWARD THE VISION 
 OF A BETTER COUNTRY. TO AN ASSEMBLAGE OF MEN BUSIED 
 WITH THE PERISHABLE REWARDS OF THE DAY SHE BROUGHT 
 THE THREE-FOLD LEAVEN OF ENDURING SOCIETY FAITH, GEN- 
 TLENESS, AND THE NURTURE OF CHILDREN."
 
 THE CITY OF DOMES 
 
 A WALK WITH AN ARCHITECT ABOUT THE 
 COURTS AND PALACES OF THE PANAMA- 
 PACIFIC INTERNATIONAL EXPOSITION WITH 
 A DISCUSSION OF ITS ARCHITECTURE • ITS 
 SCULPTURE • ITS MURAL DECORATIONS • ITS 
 COLORING • AND ITS LIGHTING • PRECEDED 
 BY A HISTORY OF ITS GROWTH 
 
 BY 
 
 JOHN D. BARRY 
 
 Author of "Intimations" 
 
 "In the Palace of Fine Arts and the French Pavilion' 
 
 "Outlines," "Reactions," 
 
 Etc. 
 
 SAN FRANCISCO 
 
 JOHN J. NEWBEGIN 
 
 1915
 
 Copyright, 191 5 
 by John D. Barry 
 
 San Francisco: 
 
 The Blair-Murdock Company 
 
 Printers
 
 'To the 
 
 architects i the artists and the artisans 
 
 and to the men of affairs who sustained them in the 
 
 cooperative work that created an exposition 
 
 of surpassing beauty ^unique among the 
 
 expositions of the world.
 
 CONTENTS 
 
 Chapter. Page. 
 
 Preface ix 
 
 Introduction i 
 
 I. The View from the Hill 29 
 
 II. The Approach 35 
 
 III. In the South Gardens 37 
 
 IV. Under the Tower of Jewels 42 
 
 V. The Court of the Universe 44 
 
 VI. On the Marina 51 
 
 VII. Toward the Court of the Four Seasons . . 54 
 
 VIII. The Court of the Four Seasons .... 57 
 IX. The Palace of Fine Arts from across the 
 
 Lagoon 61 
 
 X. The Palace of Fine Arts at Close Range . 68 
 
 XI. At the Palace of Horticulture .... 72 
 
 XII. The Half Courts 78 
 
 XIII. Near Festival Hall 81 
 
 XIV. The Palace of Machinery 83 
 
 XV. The Court of the Ages 86 
 
 XVI. The Brangwyns 92 
 
 XVII. Watching the Lights Change . . . .101 
 
 XVIII. The Illuminating and the Reflections . . 103 
 
 Features that Ought to be Noted by Day . 107 
 
 Features that Ought to be Noted by Night 131 
 
 Index 139 
 
 [V]
 
 ILLUSTRATIONS 
 
 Page 
 
 "The Pioneer Mother" Frontispiece 
 
 Design of the Exposition made in 1912 4 
 
 Site of the Exposition before Construction was Begun 6 
 
 Fountain of Youth 10 
 
 Fountain of El Dorado 12 
 
 Court of the Universe 16 
 
 "Air" and "Fire" 18 
 
 "Nations of the West" and "Nations of the East" .... 22 
 
 "The Setting Sun" and "The Rising Sun" 24 
 
 "Music" and "Dancing Girls" 28 
 
 "Hope and Her Attendants" 30 
 
 Star Figure; Medallion Representing "Art" 34 
 
 California Building 36 
 
 Spanish Plateresque Doorway, in Northern Wall .... 40 
 
 Eastern Entrance to Court of Four Seasons 42 
 
 Night View of Court of Four Seasons 46 
 
 Portal in Court of Four Seasons , 48 
 
 The Marina at Night 52 
 
 Rotunda of the Palace of Fine Arts 54 
 
 Ahar of Palace of Fine Arts 58 
 
 "The Power of the Arts" 60 
 
 Italian Fountain, Dome of Philosophy 64 
 
 "The Thinker" 66 
 
 "Aspiration" 70 
 
 "Michael Angelo" 72 
 
 Italian Renaissance Towers 76 
 
 "The End of the Trail" 78 
 
 Colonnade in Court of Palms 82 
 
 "Victorious Spirit" 84 
 
 Entrance to Palace of Horticulture 88 
 
 Night View of the Palace of Horticulture 90 
 
 Festival Hall at Night 94 
 
 "The Pioneer" 96 
 
 Fountain of Beauty and the Beast 100 
 
 Entrance to Palace of Varied Industries 102 
 
 Group above Doorway of Palace of Varied Industries . 104 
 
 Avenue of Palms at Night 108 
 
 [vii]
 
 ILLUSTRATIONS 
 
 Page 
 
 Avenue of Progress at Night no 
 
 Arcaded Vestibule in Entrance to Palace of Machinery . .114 
 
 "Genii of Machinery" 118 
 
 "The Genius of Creation" 120 
 
 Tower in Court of the Ages 122 
 
 Fountain of the Earth 126 
 
 "The Stone Age" 130 
 
 "Fruit Pickers" 132 
 
 Entrance to Court of the Ages, at Night I34 
 
 "The Triumph of Rome" 136 
 
 "The Thirteenth Labor of Hercules" 138 
 
 [ viii ]
 
 PREFACE 
 
 N THE main, this volume consists of 
 articles originally published in the 
 San Francisco Bulletin. It in- 
 cludes material gathered from many 
 visits to the Exposition grounds and 
 from many talks with men concemedin the organiza- 
 tion and the building and ornamentation. The brief 
 history that forms the IntroduBion gives an account 
 of the development. Forme, as, I presume, for most 
 people, the thing done, no matter how interesting it 
 may be, is never so interesting as the doifig of the 
 thing, the play of the forces behind. Even in the talk 
 with the architeB, where the finished Exposition it- 
 self is discussed, I have tried to keep in mind those 
 forces, and wherever I could to indicate tlieir play. 
 
 The dialogue for ?n I have used for several rea- 
 sons: it is easy to follow; it gives scope for tnore than 
 one kind of opinion; and it deals with the subjeB as 
 we all do, when with one friend or more than one we 
 visit the Exposition grounds. It has been my good for- 
 tune to be able to see the Exposition from points of view 
 very differe7it from my own and much better informed 
 and equipped. I am glad to pass on the advantage. 
 
 [ix]
 
 PREFACE 
 
 The Exposition is generally acknowledged to be 
 an achievemejit unprecedented. Merely to write about 
 it and to try to convey a sense of its quality is a priv- 
 ilege. I have valued it all the more because I know 
 that many people, not trained in ??iatters of architec- 
 ture and art, are striving to relate themselves to the 
 expression here, to understand it and to feel it in all 
 its bearings. If, at times, direBly orindireBly, I have 
 been critical, the reason is that I wished, in so far as 
 I could, to persuade visitors not to swallow the Ex- 
 position whole, but to think about it for themselves, 
 and to bear in mind that the 7nen behind it, those of 
 today and those of days remote, were human beings 
 exaBly like themselves, and to draw from it all they 
 could in the way of genuine benefit, 
 
 Though the volume is mainly devoted to the artis- 
 tic features associated with the courts and the main 
 palaces, I have i?icluded, among the illustrations, pic- 
 tures of the California Building, both because of its 
 close relation to California and because it is in itself 
 magnificent, and of two notable art features, the mu- 
 ral painting by Bia?ica in the Italian Building, and 
 " The Thinker," by Rodin, in the court of the French 
 Pavilion, 
 
 [x]
 
 INTRODUCTION 
 
 THE FIRST STEPS 
 
 N JANUARY, 1904, R. B. Hale of San 
 Francisco wrote to his fellow-directors of 
 the Merchants' Association, that, in 1915, 
 San Francisco ought to hold an exposition 
 to celebrate the opening of the Panama 
 Canal. In the financing of the St. Louis 
 Exposition, soon to begin, Mr. Hale found a model for 
 his plan. Five million dollars should be raised by pop- 
 ular subscription, five million dollars should be asked 
 from the State, and five million dollars should be provided 
 by city bonds. 
 
 The idea was promptly endorsed by the business as- 
 sociations. 
 
 From their chairmen was formed a board of governors. 
 It zvas decided that the exposition should be held, and 
 formal notification was given to the world by introducing 
 into Congress a bill that proinded for an appropriation of 
 five million dollars. The bill uns not acted on, and it zvas 
 alloived to die at the end of the session. 
 
 Soon after formulating the plan for the exposition Mr. 
 Hale changed the date from ipi§ to 1913, to make it coin- 
 cide unth the four hundredth anniversary of the discovery 
 by Balboa of the Pacific. 
 
 In igo6 came the earthquake and fire. The next few 
 years San Franciscans were busy clearing away the debris 
 and rebuilding. It was predicted that the city might re- 
 cover in ten years, and might not recover in less than 
 twenty-five years. 
 
 Nevertheless, in December, 1906, unthin nine months 
 of the disaster, a meeting n'as held in the shack that served 
 for the St. Francis Hotel, and the Pacific Ocean Exposi- 
 tion Company zvas incorporated. 
 
 In three years the city recovered sufficiently to hold a 
 week's festival, the Portola, and to mxike it a success. 
 
 [1]
 
 THE CITY OF DOMES 
 
 Two days afterward, in October, ipop, Mr. Hale gave 
 a dinner to a small group of business men, and told of 
 what had been done toward preparing for the Exposition. 
 They agreed to help. 
 
 Shortly aftericard a meeting ivas held at the Merchants' 
 Exchange. It was decided that an eifort should at once be 
 made to raise the money and to rouse the people of San 
 Francisco to the importance of the project of holding the 
 Panama-Pacific International Exposition in San Fran- 
 cisco in 19 1 5. 
 
 As many as twenty-five hundred letters ivere sent to 
 business men, asking if they favored the idea of hold- 
 ing an exposition. Out of about eight hundred replies 
 only seven were opposed. Presently there zvere signs of 
 enthusiasm, refiected in the nezwpapers. 
 
 A committee of six representative business men ii*as 
 appointed and the announcement zn'as made that the com- 
 mittee should be glad to hear from anyone in the city who 
 had suggestions or grievances. It zvas determined that 
 every San Franciscan should have his day in court. 
 
 Later the committee of six appointed a foundation com- 
 mittee of tivo hundred, representing a wide variety of in- 
 terests. 
 
 The committee of two hundred chose a committee of 
 three from outside their number. 
 
 The committee of three chose from among the two 
 hundred a directorate of thirty. The thirty became the 
 directorate of a new corporation, made in ipio, the Pana- 
 ma-Pacific International Exposition Company. 
 
 FINANCING 
 
 The Panama-Pacific Company two local millionaires, 
 IV. H. Crocker and W. B. Bourn, started financially with 
 twenty-five thousand dollars each. They established the 
 maximum individual subscription. They also secured forty 
 subscriptions of twenty-five thousand dollars each. Then 
 followed the call for a mass meeting. Before the meeting 
 was held the business men of the city ivere thoroughly 
 
 [2]
 
 INTRODUCTION 
 
 canvassed. The Southern Pacific and the Union Pacific 
 together subscribed tit'o hundred and fifty thousand dol- 
 lars. There ivere many other large subscriptions from 
 public-service organizations. 
 
 On the afternoon of the meeting there was a crowd in 
 the Merchants' Exchange Board Room. The announce- 
 ment of the subscriptions created enthusiasm. In two 
 hours the amount ran up to more than four million dol- 
 lars. During the next few years they luere increased to 
 about $6,^00,000. 
 
 Meanwhile, the State voted a tax levy of five million 
 dollars, and San Francisco voted a bond issue of the 
 same amount, and by an act of the Legislature, in special 
 session, the counties zvere authorized to levy a small tax 
 for county participation, amounting, in estimate, to about 
 three million dollars. 
 
 RECOGNITION FROM CONGRESS 
 
 Next came the task of securing from Congress official 
 recognition of San Francisco as the site of the Interna- 
 tional Exposition in celebration of the Panama Canal. 
 
 Headquarters zvere established in Washington. Pres- 
 ently serious opposition developed. Emissaries xvent from 
 San Francisco to Washifigton singly and in delegations. 
 Stress was laid on San Francisco's purpose not to ask 
 for an appropriation from the national government. There 
 were several cities in competition — Boston, Washington, 
 Baltimore and New Orleans. Nezv Orleans proved the 
 most formidable rival. It relied on the strength of a 
 united Democracy and of the solid South. 
 
 In the hearings before the Congressional Committee it 
 was made plain that the decision zvould go to the city 
 with the best financial shoziing. As soon as the decision 
 was announced New Orleans entered into generous co- 
 operation zvith San Francisco. 
 
 The Exposition was on the ziray. 
 
 [3]
 
 THE CITY OF DOMES 
 
 NAMING THE PRESIDENT. 
 
 The offer of the presidency of the Exposition Company 
 was made to a well-knozmi business man of San Francisco, 
 C. C. Moore. Besides being able and energetic, he zvas 
 agreeable to the factions created by the graft prosecution 
 of a half dozen years before. Like the board of directors, 
 he was to serve ivithout salary. He stipulated that in the 
 conduct of the ivork there should be no patronage. With 
 the directors he entered into an agreement that all ap- 
 pointments should be made for merit alone. 
 
 CHOOSING THE SITE 
 
 The choice of site was difficult. The sites most favored 
 7vere Lake Merced, Golden Gate Park and Harbor Vieiv. 
 Lake Merced zvas opposed as inaccessible for the trans- 
 portation both of building materials and of people, and, 
 through its inland position, as an umvise choice for an 
 Exposition on the Pacific Coast, in its nature supposed to 
 be maritime. The use of the park, it zvas argued, zvould 
 desecrate the people's recreation ground and entail a 
 heavy cost in leveling and in restoring. 
 
 Harbor Viezv and the Presidio had several advantages. 
 It zvas level. It zvas zvithin two miles or zvalking distance 
 of nearly half the city's inhabitants. It stood on the bay, 
 close to the Golden Gate, facing one of the most beauti- 
 ful harbors in the zvorld, looking across to Mount Tanial- 
 pais and backed by the highest San Francisco hills. Of all 
 the proposed sites, it zvas the most convenient for landing 
 material by zvater, for arranging the buildings and for 
 maintaining sanitary conditions. 
 
 After a somewhat bitter public controversy the Expo- 
 sition directors, in Jidy, Jpii, announced a decision. It 
 caused general surprise. There should be three sites: 
 Harbor Viezv and a strip of the adjoining Presidio, 
 Golden Gate Park and Lincoln Park, connected by a 
 boulevard, specially constructed to skirt the bay from the 
 ferry to the ocean. 
 
 [4]
 
 INTRODUCTION 
 
 That plan proved to be somewhat romantic. The boule- 
 vard alone, it was estimated, would cost eighteen million 
 dollars. 
 
 Harris D. H. Connick, the assistant city engineer, zvas 
 called on as a representative of the Board of Public 
 Works, and asked to make a preliminary survey of Har- 
 bor View. He shozv^d that, of the proposed sites. Harbor 
 View would be the most economical. The cost of trans- 
 porting lumber would be greatly reduced by having it all 
 come through the Golden Gate and deposited on the Har- 
 bor Viezv docks. The expense of filling in the small ponds 
 there would be slight in comparison zvith the expense of 
 leveling the ground at the park. 
 
 A few weeks later Harbor View and the Presidio zvas 
 definitely decided on as the site, and the only site. 
 
 For months agents had been at work securing options 
 on leases of property in Harbor View, covering a little 
 more than three hundred acres, the leases to run into De- 
 cember, 1915. Reasonable terms were offered and in one 
 instance only zvas there resort to condemnation. The suit 
 that follozved forced the property ozvner, zvho had refused 
 fifteen hundred dollars, to take nine hundred dollars. 
 President Moore zvas tempted to pay the fifteen hundred 
 dollars, but he decided that this course would only en- 
 courage other property ozvners to be extortionate. Some 
 trouble zvas experienced with the Vanderbilt properties, 
 part of which happened to be under zvater. After consid- 
 erable negotiating and appeals to the public spirit of the 
 ozmters, it zvas adjusted. About seven hundred thousand 
 dollars was paid for leases and about three hundred thou- 
 sand dollars for property bought outright. 
 
 THE DIRECTOR OF WORKS 
 
 While President Moore zvas looking for the man he 
 zvanted to appoint as head of the board of construction, 
 Harris D. H. Connick called to suggest and to reconu 
 mend another man. Later the president offered Connick 
 the position as director of works. 
 
 [5]
 
 THE CITY OF DOMES 
 
 Connick had exactly the qualifications needed: experi- 
 ence, youth, energy, skill and executizre ability. He hesi- 
 tated for the reason that he happened to be engaged in 
 public zvork that he unshed to finish. But he was made 
 to see that the new zvork zvas more important. He re- 
 moved all the buildings at Harbor Viezv, about i§o, and 
 he filled in the ponds, using tza^o million cubic yards of 
 mud and sand, and building an elaborate system of sezv^ 
 ers. The filling in took about six months. On the last day 
 mules zi'ere at zi'ork on the nezu land. And zuithin a year 
 the ground zvork and the underground zvork zvas finished. 
 
 THE ARCHITECTS 
 
 Meanzi»hile, President Moore asked for a meeting of 
 the San Francisco Chapter of the American Institute of 
 Architects, zinth more than 2^0 members. He explained 
 that his purpose zifas to have them select tzvelve repre- 
 sentatives from zi'hom he should himself appoint five to 
 act as an architectural board. When the board zvas 
 formed zvith Willis Polk at its head, it included John 
 Galen Hozvard, Albert Pissis, William Curlett, and Clar- 
 ence R. Ward. This board zvas dissolved and an executive 
 council composed of Polk, Ward and W. B. Faville zvas 
 put in charge. Later it gave zvay to a commission consist- 
 ing of W. B. Faznlle, Arthur Brozvn, George W. Kelhaui, 
 Louis Christian Midlgardt, and Clarence R. Ward, of San 
 Francisco; Robert Farquhar, of Los Angeles; Carrere & 
 Hastings, McKim, Mead & White, and Henry Bacon, of 
 Nezv York. When it had completed the preliminary plans 
 the board discontinued its meetings and G. IV. Kelham 
 zvas appointed Chief of Architecture. 
 
 THE BLOCK PLAN 
 
 At the first meeting President Moore explained that, 
 at the St. Loids Exposition, according to zmde-expressed 
 opinions, the buildings had been too far apart. He favored 
 maximum of space zvith minimum, of distance. The archi- 
 tects first considered the conditions they had to meet, 
 climate and physical surroundings. They zvere mainly in- 
 fluenced by zvind, cold and rain. 
 
 [6]
 
 THE SITE OF THE EXPOSITION AS IT 
 APPEARED BEFORE THE CONSTRUCTION WAS 
 BEGUN. THE PICTURE ABOVE SHOWS THE OLD 
 LIFE-SAVING STATION AT HIGH TIDE. THE 
 LOWER PICTURE SHOWS THE GROUND AFTER 
 BEING riLLED IN.
 
 INTRODUCTION 
 
 The result was that for the protection of visitors, they 
 agreed to follozv what zvas later to be generally knozvn as 
 the block plan, the buildings arranged in four blocks, 
 joined by covered corridors and surrounded by a wall, 
 with three central courts and Itvo half-courts in the south 
 wall.^ It had been developed in many talks among the 
 architects. Valuable suggestions came from Willis Polk 
 and from E. H. Bennett, of Chicago, active in the earlier 
 consultations. The plan finally accepted was the joint 
 zvork of the entire commission. 
 
 Twelve buildings zvere put under contract, each de- 
 signed to illustrate an epoch of architecture, ranging from 
 the severity of the early classic to the ornate French 
 renaissance of to-day. 
 
 THE ARCHITECTURE 
 
 From the start it was realised that, vast as the Exposi- 
 tion was to be, representing styles of architecture almost 
 sensationally different, it must nevertheless suggest that 
 it zifos all of a piece. The relation of San Francisco to the 
 Orient provided the clue. It zvas fitting that on the shores 
 of San Francisco Bay, zvhere ships to and from the Orient 
 were continually plying, there should rise an Oriental city. 
 The idea had a special appeal in providing a reason for 
 extensive color effects. The bay, in spite of the California 
 sunshine, somezvhat bleak, needed to be helped out ztnth 
 color. The use of color by the Orientals had abundantly 
 justified itself as an integral part of architecture. The 
 Greeks and the Romans had accepted it and applied it 
 even in their statuary. It zi'as, moreover, associated zvith 
 those Spanish and Mexican buildings characteristic of the 
 early days of California history. 
 
 THE GENERAL ARRANGEMENT 
 
 The general arrangement of the Exposition presented 
 no great difficulties. The lay of the land helped. Interest, 
 of course, had to center in the palaces and the Festival 
 Hall, zvith their opportunities for architectural display. 
 They naturally took the middle ground. And, of course, 
 
 [7]
 
 THE CITY OF DOMES 
 
 they had to be near the State buildings and the foreign 
 pavilions. The amusement concessions, it was felt, ought 
 to be in a district by themselves, at one end. Equal- 
 ly sequestered should be the livestock exhibit and the avia- 
 tion Held and the race track, which ivere properly placed 
 at the opposite end. There zuould undoubtedly be many 
 visitors concerned chieiiy, if not zvholly, imth the central 
 buildings. If they chose, they could visit this section with- 
 out going near the other sections, carrying away in their 
 minds memories of a city ideal in outline and in coloring. 
 
 CONSTRUCTION 
 
 As soon as the plans were decided on, the architects 
 divided the zvork and separated. Those ivho had come 
 from a distance ivent home and in a fezv months submitted 
 their designs in detail. A fezv months later they returned 
 to San Francisco and the meetings of the architectural 
 board zvere resumed. Soon the modiUcations were made 
 and the practical construction zvas ready to begin. Inci- 
 dentally there were compromises and heartburnings. But 
 limitations of funds had to be considered. Finally came 
 the question of the tozver, gizAng zvhat the architects called 
 "the big accent." There zvere those zvho favored the north 
 side for the location. Others favored the south side. After 
 considerable discussion the south side zvas chosen. At 
 one of the meetings, Thomas Hastings did quick zvork 
 zmth his pencil, outlining his idea of zvhat the tower 
 should be. Later, he submitted an elaborate plan. It zvas 
 rejected. A second plan zvas rejected, too. The third zvas 
 accepted. It cost iive hundred thousand dollars. 
 
 Designs for tzvo magnificent gateways, to be erected at 
 the approaches to the Court of the Ages and the Court of 
 the Four Seasons zvere considered. They had to be given 
 up to save expense. 
 
 CLEARING THE LAND 
 
 The task of clearing the land zvas finished in a fezv 
 months. In addition to the government reserve, the Expo- 
 sition had seventy-six city blocks. They represented two 
 
 [8]
 
 INTRODUCTION 
 
 hundred parcels of land, with ly^ owners, and contained 
 four hundred dzvellings, barns and improvements. Most of 
 the buildings zi'ere torn dozmi. A few were used else- 
 where. Precautions ivere taken to re-enforce with piles 
 the foundations of the buildings and of the heavy exhibits. 
 
 The director of works became responsible for the pur- 
 chase of all the lumber to be used in building. It was 
 bought wholesale, shipped from the sazunnills and delivered 
 to the sites. So there zvas a big saving here, through the 
 buying in bulk and through reduced cost in handling and 
 hauling. The first contracts given out were for the con- 
 struction of the palaces. An estimate was made of the ex- 
 act number of feet available for exhibits and charts zvere 
 prepared to keep a close record on the progress of the 
 zvork. Incidentally, other means of watching progress 
 consisted of the amounts paid out each month. During the 
 earlier months the expenditures zuent on at the rate of a 
 million a month. Every three zveeks a contract for a build- 
 ing would be given out. The same contractors -figured on 
 each building. From the start it zvas understood that the 
 zi'ork shoidd be done by union men. The chief exceptions 
 were the Chinese and the lapanese. The exhibitors had 
 the privilege of bringing their ozvn men. In all about five 
 thousand men were employed, working either eight or 
 nine hours a day. During the progress of the zi'ork there 
 zvere fezu labor troubles. 
 
 One zvise feature of the planning lay in the economy 
 of space. It succeeded in reaching a compactness that 
 made for convenience zvithout leading to overcrowding. 
 Great as this Exposition zvas to be, in its range zvorthy 
 to be included among the expositions of the first class, 
 it should not zveary the znsitors by making them zvalk 
 long distances from point to point. In spite of its mag- 
 nitude, it should have a kind of intimacy. 
 
 CHOICE OF MATERIAL 
 
 There zi'ere certain dangers that the builders of the Ex- 
 position had to face. One of the most serious zvas that 
 
 [9]
 
 THE CITY OF DOMES 
 
 buildings erected for temporary use only might look 
 tatvdry. It was, of course, impracticable to use stone. 
 The cost ivould have been prohibitive, and plaster might 
 have made the gorgeous palaces hardly more than cheap 
 mockeries. 
 
 Under- the circumstances it was felt that some new ma- 
 terial must be devised to meet the requirements. Already 
 Paid E. Denneville had been successfid in zvorking with 
 material made in imitation of Travertine marble, used in 
 many of the ancient buildings of Rome, very beautiful in 
 texture and peculiarly suited to the kind of building that 
 needed color. He it was zvho had used the material in the 
 Pennsylvania Station, New York, in the upper part of the 
 walls. After a good deal of experimenting Denneville had 
 found that for his purpose gypsum rock was most service- 
 able. On being ground and colored it could be used as a 
 plaster and made to seem in texture so close to Travertine 
 marble as to be almost indistinguishable. The results per- 
 fectly justified his faith. As the palaces rose from the 
 ground, making a magnificent zvalled city, they looked 
 solid and they looked old and they had distinct character. 
 Moreover, through having the color in the texture, they 
 would not shozt' broken and ragged surfaces. 
 
 THE COLOR SCHEME 
 
 For the color-effects it zvas felt that just the right man 
 must be found or the result zvould be disastrous. The 
 choice fell on Jules Guerin, long accepted as one of the 
 finest colorists among the painters of his time. He fol- 
 lowed the guidance of the natural conditions surrounding 
 the Exposition, the hues of the sky and the bay, of the 
 mountains, varying from deep green to tazvny yellow, 
 and of the morning and evening light. And he zvorked, 
 too, zvith an eye on those effects of illumination that 
 shoidd make the scene fairyland by night, utilising even 
 the tones of the fog. 
 
 [lO]
 
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 H O M ^ :«
 
 INTRODUCTION 
 
 THE PLANTING 
 
 There was no diMculty in finding a man best suited to 
 plan the garden that ivas to serve as the Ex-position's 
 setting. For many years John McLaren had been known 
 as one of the most distinguished horticulturists in this 
 part of the world. As superintendent of Golden Gate Park 
 he had given fine service. Moreover, he was familiar ivith 
 the conditions and understood the resources and the pos- 
 sibilities. Of course a California exposition had to main- 
 tain California's reputation for natural beauty. It must be 
 placed in an ideal garden, representing the marvelous en- 
 dotvntent of the State in trees and shrubs and plants and 
 fiozvers and showing zvhat the climate could do even with 
 alien grozvths. 
 
 The first step that McLaren took zvas to consult the 
 architects. They explained to him the court plan that they 
 had agreed on and they gave him the dimensions of their 
 buildings. Against zvalls sixty feet high he planned to 
 place trees that should reach nearly to the top. For his 
 purpose he found four kinds of trees most serviceable: 
 the eucalyptus, the cypress, the acacia and the spruce. In 
 his search for zvhat he wanted he did not confine himself 
 to California. A good many trees he brought dozvn from 
 Oregon. Some of his best specimens of Italian cypress 
 he secured in Santa Barbara, in Monterey and in San 
 Jose. He also drezv largely on Golden Gate Park and on 
 the Presidio. In all he used about thirty thousand trees, 
 more than two-thirds eucalyptus and acacia. 
 
 PREPARING THE LANDSCAPE 
 
 Two years before the Exposition zvas to open McLaren 
 built six greenhouses in the Presidio and a huge lath 
 house. There he assembled his shrubs, his plants, and his 
 bulbs. In all he must have used nearly a million bulbs. 
 From Holland he imported seventy thousand rhododen- 
 drons. From Japan he brought two thousand azaleas. In 
 Brazil he secured some zvonderful specimens of the cine- 
 raria. He even sent to Africa for the agrapanthus, that 
 
 [n]
 
 THE CITY OF DOMES 
 
 grezo close to the Nile. Among native Hozuers he collected 
 six thousand pansies, ten thousand veronicas and five 
 thousand junipers, to mention only a fezv among the multi- 
 tude of Hoii'ers that he intended to use for decoration. 
 The grounds he had carefully mapped and he studied the 
 landscape and the shape and color of the buildings sec- 
 tion by section. 
 
 The planting of trees consumed many months. The best 
 effects McLaren found he could get by massing. He zvas 
 particidarly successful zinth the magnificent Fine Arts 
 Palace, both in his groupings and in his use of individual 
 trees. About the lagoon he did some particularly attract- 
 ive planting, utilizing the zvater for reflection. There zvas 
 a tzvisted cypress that he placed alone against the colon- 
 nade zmth a skill that showed the insight and the feeling 
 of an artist. On the zvater side, the Marina, he used the 
 trees to break the bareness of the long esplanade. And 
 here and there on the grounds, for pure decoration, he 
 reached some of his finest effects zmth the eucalyptus, for 
 zvhich he evidently had a particular regard. As no Cali- 
 fornia Exposition zvotdd be complete zvithout palm trees, 
 proznsion zvas made for the decorative use of palms along 
 one of the main zvalks. 
 
 About tzuo zi'eeks before the opening the first planting 
 of the gardens zvas completed, the first of the three crops 
 to be displayed during the Exposition. The flozvers in- 
 cluded most of the spring flozvers grozvn here in Califor- 
 nia or capable of thriving in the California spring cli- 
 tnate. In June they zvere to be replaced zvith geraniums, 
 begonias, asters, gilly-Hozvers, foxglove, hollyhocks, lilies 
 and rhododendrons. The autumn display zvould include 
 cosmos and chrysanthemums and marguerites. 
 
 THE HEDGE 
 
 As the zvork proceeded, W. B. Faville, the architect, of 
 Bliss and Faville, made a suggestion for the building of a 
 fence that should look as if it zvere moss-covered ivith 
 age. The result zvas that developing the suggestion Mc- 
 
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 INTRODUCTION 
 
 Laren devised a new kind of hedge likely to be used the 
 world over. It ivas made of boxes, six feet long and tzvo 
 feet zinde, containing a tzm-inch layer of earth, held in 
 place by a zinre netting, and planted zcith South African 
 dezv plant, dense, green and hardy and thriznng in this 
 climate. Those boxes, zvhen piled to a height of several 
 feet, made a rustic zmll of great beauty, Moreover, they 
 could be continuously irrigated by a one-inch perforated 
 line of pipe. In certain lights the zcatcr trickling through 
 the leaves shimmered like gems. In summer the plant 
 zvoidd produce inasses of small purple Hozvers. 
 
 McLaren found his experiment so successful that he 
 decided to build a hedge twenty feet high, extending 
 more than a thousand feet. He also used the hedge ex- 
 tensively in the landscape design for the Palace of Fine 
 Arts. 
 
 THE SCULPTORS 
 
 The department of sculpture zvas placed under the di- 
 rection of one of the most distinguished sculptors in the 
 country, Karl Bitter, of Nezv York, zvhose death from an 
 automobile accident took place a few zvecks after the Ex- 
 position opened. He gathered around him an extraordi- 
 nary array of co-operators, including many of the most 
 brilliant names in the zvorld of art, zvith A. Stirling 
 Calder as the acting chief, the man on the ground. 
 Though he did not contribute any zi'ork of his own, he 
 z(.'as active in developing the zcork as a zvhole, taking 
 special pains to keep it in character and to see that, even 
 in its diversity, it gave the impression of harmony. 
 
 Calder zi'clcomed the chance to zvork on a big scale and 
 to carry out big ideas. With Bitter he zisited San Fran- 
 cisco in August, 1912, for a consultation zinth the archi- 
 tectural commission. Minutely they zvent over the site 
 and examined the architectural plans. Then they picked 
 the sculptors that they zvished to secure as co-operators. 
 
 In December, 1912, Bitter and Calder made another 
 visit to San Francisco for further conferring with the 
 
 [13]
 
 THE CITY OF DOMES 
 
 architectural commission, bearing sketches and scale mod- 
 els. Bitter explained his plans in detail and asked for an 
 appropriation. He ^vas iold that he should be granted six 
 hundred thousand dollars. The amount ivas gradually re- 
 duced till it finally reached three hundred and seventy-five 
 thousand dollars. 
 
 It zvas at this period that Calder submitted his plan for 
 the Column of Progress. He had worked it out in Nezv 
 York and had the scale models made by MacNeil and 
 Konti. It won the approval of McKim, Mead & White, 
 who declared that it made an ideal feature of the approach 
 from the bay side to their Court of the Universe, then 
 called the Court of the Sun and Stars. 
 
 The next few months of preparation in New York 
 meant getting the sculptors together and zvorking out the 
 designs. The first meeting of the sculptors took place in 
 January, 191 3, in Bitter's studio, zmth a remarkable array 
 of personages in attendance, including D. C. French, 
 Herbert Adams, Robert Aitken, James E. Fraser, H. A. 
 MacNeil, A. A. Weinman, Mahonri Young, Isidore Konti, 
 Mrs. Burroughs and several others. In detail Bitter ex- 
 plained the situation in San Francisco and outlined his 
 ideas of what ought to be done. Already Henry Bacon 
 had sent in his design for his Court of the Four Seasons 
 and sculptors were set to work on its ornamentation, 
 Albert Jaegers, Furio Piccirilli, Miss Evelyn Beatrice 
 Longman and August Jaegers, a time limit being made 
 for the turning in of their plans. 
 
 DEVELOPING THE SCULPTURE 
 
 * In June, 1913, Calder returned to San Francisco to stay 
 till the Exposition zvas zuell started. On the grounds he 
 established a huge zaorkshop. Then he began the practical 
 developing of the designs, a great mass, which had al- 
 ready been carefully sifted. Hitherto, in American expo- 
 sitions, the work had been done, for the most part, in New 
 York, and sent to its destination by freight, a method 
 
 [14]
 
 INTRODUCTION 
 
 costly in itself and all the more costly on account of the 
 inevitable breakage. San Francisco, by being so far from 
 Nezv York, ivould have been a particularly expensive des- 
 tination. From every point of vietv it seemed imperative 
 that the work should be done here. 
 
 In a few zveeks that shop was a hive of industry, with 
 sculptors, students of scidpture from the art schools, 
 pointers, and a multitude of other ivhite-clad workers 
 bending all their energies toward the completion on time 
 of their colossal task. A few of the sculptors and artisans 
 Calder had brought from Nezv York. But most of the 
 workers he secured in San Francisco, chiefly from the 
 foreign popidation, some of them able to speak little or no 
 English. 
 
 The modeling of the replicas of well-known art works 
 were, almost without exception, made in clay. Most of the 
 original work was directly modelled in plaster-staff used 
 so successfully throughout the Exposition. For the en- 
 larging of single pieces and groups the pointing machine 
 of Robert Paine zvas chosen by Calder. It zvas interesting 
 to see it at work, under the guidance of careful and pa- 
 tient operators, tracing mechanically the outlines and re- 
 producing them on a magnified scale. For the finishing 
 of the friezes the skill of the artist zvas needed, and there 
 Calder found able assistants in the two young sculptors, 
 Roth and Lentelli, who ivorked devotedly themselves and 
 directed groups of students. 
 
 In all the sculpture Calder strove to keep in mind the 
 significance of the Exposition and the spirit of the people 
 who were celebrating. With him styles of architecture 
 and schools were a minor consideration, to be left to the 
 academicians and the critics. He believed that sculpture, 
 like all other art-forms, zvas chiefly valuable and interest- 
 ing as human expression. 
 
 THE DECORATIVE FIGURES 
 
 Less successful on the whole than the blending of 
 sculpture and architecture zvere the individual figures de- 
 
 [iSl
 
 THE CITY OF DOMES 
 
 signed to be placed against the zcalls. Some of them zcere 
 extremely Zi'cll done. Others zvere obz'ions disappoint- 
 ments. The unsophisticated judgment, free from Conti- 
 nental bias, might haz'c objected to the almost gratuitous 
 use of nudity. For a popular exhibition, ez'en the zmdely- 
 travcled and broad-minded art lover might haz'e been per- 
 suaded that a concession to prejudice could haz'e been 
 made zcithout any great damage to art. 
 
 In the magnificent entrance to the grounds it zvas 
 deemed fitting that the meaning of the Exposition should 
 be symbolized by an elaborate fountain. So in the heart 
 of the South Gardens there ziHis placed the Fountain of 
 Energy, the design of A. Stirling C alder, the athletic 
 figure of a youth, mounted on a fiery horse, tearing across 
 the globe, zchich served for pedestal, the symbolic figures 
 of J^alor and Fame accompanying on either side. The 
 zi'ork as a zi'hole suggested the triumph of man in oz'cr- 
 coming the difficulties in the zvay of uniting the two 
 oceans. It made one of the most striking of all the many 
 fountains on the grounds, the dolphins in the great basin, 
 some of them carrying female figures on their backs, con- 
 tributing to an effect peculiarly French. 
 
 THE COLUMN OF PROGRESS 
 
 The Column of Progress, suggested by Calder and 
 planned in outline by Symmes Richardson, besides being 
 a beautiful symbol and remarkably successful in outline, 
 zi'as perhaps the most poetic and original of all the 
 achievements of the sculptors here. It represented some- 
 thing nezv in being the first great column erected to 
 express a purely imaginative and idealistic conception. 
 Most columns of its kind had celebrated some great figure 
 or historic feat, usually related to zvar. But this column 
 stood for those sturdy virtues that zvere developed, not 
 through the hazards and the excitements and the fevers 
 of conquest, but through the persistent and homely tests 
 of peace, through the cultivation of those qualities that 
 laid the foundations of civilised lizing. Isidore Konti 
 
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 °"a3
 
 INTRODUCTION 
 
 designed the frieze typifying the swarming generations, 
 by Matthew Arnold called "the teeming millions of men," 
 and to Hermon A. MacNeil fell the task of developing the 
 circidar frieze of toilers, sustaining the group at the top, 
 three strong figures, the dominating male, ready to shoot 
 his arrow straight to its mark, a male supporter, and the 
 devoted^woman, eager to follow in the path of advance. 
 
 THE AIM OF THE SCULPTORS 
 
 It zvas evidently the aim of the sculptors to express in 
 their zvork, in so far as they could, tfie character of the 
 Exposition. And the breadth of the plans gave them a 
 wide scope. They must have zcelcomed the chance to exer- 
 cise their art for the pleasure of the multitude, an art 
 essentially popular in its appeal and certain to be more 
 and more cidtivated in our every-day life. Though this 
 new city zvas to be for a year only, it zvould surely in- 
 iluence the interest and the taste in art of the multitudes 
 destined to become familiar zmth it and to carry azvay 
 more or less vivid impressions. 
 
 The scidpture, too, would have a special advantage. 
 Much of it, after the Exposition, could be transferred 
 elsewhere. It zvas safe to predict that the best pieces 
 zvoidd tdtimately serve for the permanent adornment of 
 San Francisco — by no means rich in monuments. 
 
 MURAL PAINTING 
 
 It was felt by the builders of the Exposition that mural 
 decorating must be a notable feature. 
 
 The Centennial Exposition of 'yd had been mainly an 
 expression of engineering. Sixteen years later architec- 
 ture had dominated the Exposition in Chicago. The Expo- 
 sition in San Francisco zvas to be essentially pictorial, 
 combining, in its exterior building, architecture, sculp- 
 ture and painting. 
 
 When Jules Guerin zvas selected to apply the color it 
 was decided that he should choose the mural decorators, 
 
 [17]
 
 THE CITY OF DOMES 
 
 subject to the approval of the architectural board. The 
 choice fell on men already distinguished, all of thon be- 
 longing to New York, zinth tzvo exceptions, Frank Brang- 
 ivyn, of London, and Arthur Mathews, of San Francisco, 
 They were informed by Guerin that they could take their 
 own subjects. He contented himself ivith saying that a 
 subject with meaning and life in it was an asset. 
 
 In Nezv York the painters had a conference with 
 Guerin. He explained the conditions their ivork was to 
 meet. Emphasis ivas laid on the importance of their paint- 
 ing w'ith reference to the tone of the Travertine. They 
 zi'ere instructed, moreover, to paint imthin certain colors, 
 in harmony with the general color-scheme, a restriction 
 that, in some cases, must have presented difficult problems. 
 
 The preliminary sketches were submitted to Guerin, 
 and from the sketches he fixed the scale of the figures. 
 In one instance the change of scale led to a change of 
 subject. The second sketches ivere made on a larger 
 scale. When they zvere accepted the decorators zvere told 
 that the final canvases zvere to be painted in San Fran- 
 cisco in order to make sure that they did not conflict zvith 
 one another and that they harmonised with the general 
 plan of the Exposition. Nearly all the murals were fin- 
 ished in Machinery Hall; but most of them had been 
 started before they arrived there. 
 
 PAINTING FOR OUT-DOORS 
 
 Some concern zvas felt by the painters on account of 
 their lack of experience in painting for out-of-doors. 
 There was no telling, ez/en by the most careful estimate, 
 hozu their canvases would look when in place. Color and 
 design impressive in a studio might, when placed beside 
 vigorous architecture, become zveak and pale. Besides, in 
 this instance, the murals zi'ould meet new conditions in 
 having to harmonise zvith architecture that zvas already 
 highly colored. Furthermore, no tzvo of the canvases 
 would meet exactly the same conditions and, as a result 
 
 [i8]
 
 "air" and "firk," two ok the four massivk croups of 
 sculpture in the court of the universe, by robert 
 aitken. in size and vigor like the work op michael 
 ancelo. the wings of the upper figure and the birds 
 symbolize the meaning. in the lower group the 
 spirit of fire is suggested by the salamander, in 
 front of the man, the line op whose figure is car- 
 ried into the gr>eco-roman helmet and whose pose, 
 in grace and power, suggests the pigure of theseus 
 in the pediment of the parthenon.
 
 INTRODUCTION 
 
 of the changes in light and atmospheric eifects, the con- 
 ditions would be subject to continual change. Finally, 
 they were obliged to work without precedent. It zvas true 
 that the early Italians had done murals for the open air, 
 but no examples had been preserved. 
 
 That the painters were able to do as zvell as they did 
 under the limitations reflected credit oti their adaptability 
 and good humor. The truth zcas they felt the tremendous 
 opportunity afforded their art by this Exposition. They 
 beliez'ed that in a peculiar sense it testified to the value of 
 color in design. It represented a tieza movement in art, 
 with far-reaching possibilities for the future. That some 
 of them suffered as a result of the limiting of initiative 
 and individuality, of subordination to the general scheme, 
 was unquestionable. Some of the canvases that looked 
 strong and fine when they were assembled for the last 
 touches in Machinery Hall became anaemic and insig- 
 nificant on the zi'alls. Those most successfully met the test 
 where the colors zvere in harmony zvith Guerin's coloring 
 and zvhere they zcere in themselves strong and where the 
 subjects zcere dramatic and vigorously handled. The alle- 
 gorical and the primitizfe subjects failed to carry, first be- 
 cause they had little or no real significance, and secondly 
 because the spirit behind them zcas lacking in appeal and, 
 occasionally, in sincerity. 
 
 In one regard Frank Brangzvyn zvas more fortunate 
 than the other painters. His murals, though intended to 
 be displayed in the open air, were to hang in sequestered 
 corners of the corridors running around the Court of the 
 Ages, the court, moreoz'er, that ziKis to have no color. 
 Besides, there zvcre no colors in the zvorld that could suc- 
 cessfully compete against his pozverful blues and reds. 
 
 THE LIGHTING 
 
 The lighting of the Exposition, it zikis determined, 
 should be given to the charge of the greatest expert in the 
 country. Several of the leading electric light companies 
 were consulted. They agreed that the best man zvas Wal- 
 
 [i9l
 
 THE CITY OF DOMES 
 
 ter D'Arcy Ryan, nfho had managed the lighting at the 
 Hudson-Fulton Celebration and at the Niagara Falls Ex- 
 position. Mr. Ryan e.vplained his system of veiled lighting, 
 zvith the source of the light hidden, and made plain its 
 suitability to an Exposition tvhere the artistic features 
 •were to be notable, and where they zvcre to be emphasized 
 at night, zinth the lighting so diffused as to avoid 
 shadows. After his appointment as director of illuminat- 
 ing he made several visits to San Francisco, and a year be- 
 fore the opening of the Exposition, he returned to stay 
 till the close. His plan of ornamenting the main tozuer 
 zmth large pieces of cut glass, of many colors, to shine 
 like jewels, created zmde-spread interest on account of its 
 novelty. It zvas generally regarded as a highly original 
 and sensational Exposition feature. 
 
 WATCHING THE GROWTH 
 
 As the building went on the San Franciscans gradually 
 became alive to the splendor. Each Sunday many thous- 
 ands zvould assemble on the grounds. About a year before 
 the date set for the opening an admission fee of twenty- 
 five cents brought several thousands of dollars each zveek. 
 On the Sundays zvhen Lincoln Be ache y made his sensa- 
 tional flights there zcould often be not less than fifty 
 thousand people looking on. 
 
 THE WALLED CITY 
 
 // there zvere any critics zvho feared that the zvalled 
 city might present a certain monotony of aspect they did 
 not take into account the Oriental luxuriance of the en- 
 trances, breaking the long lines and making splendid 
 contrast of design and of color. Those entrances alone 
 zifere zvorth minute study. Besides being beautiful, they 
 had historic significance. Furthermore, the long zmlls 
 zi*ere broken by artistically designed windozi's and by 
 groups of trees running along the edge. Within the zi'alls, 
 in the splendidly ztrought courts, utility zvas made an ex- 
 pression of beauty by means of the impressive colonnades. 
 
 [20]
 
 INTRODUCTION 
 
 solid rows of columns, delicately colored, suitable for 
 promenading and for protection against rain. 
 
 From the hills looking down on the bay the Exposition 
 began to seem somewhat huddled. But the nearer one 
 approached, the plainer it became that this effect ivas mis- 
 leading. On the grounds one felt that there was plenty of 
 room to move about in. And there was no sense of incon- 
 gruity. Very adroitly styles of architecture that might 
 have seemed to be alien to one another and hostile had 
 been harmoniously blended. Here the color was a great 
 help. It made the Exposition seem all of a piece. 
 
 THE WAR 
 
 In the summer of 1914 the Exposition received what, 
 for a brief time, looked like a crushing blow in the dec- 
 laration of zi'ar. How could the zcorld be interested in 
 such an enterprise zvhen the great nations of Europe were 
 engaged in what might prove to be the most deadly con- 
 flict in history? 
 
 The directors, in reviezving the situation, sazv that, far 
 from being a disadvantage in its effect on their plans, the 
 war might be an advantage. In the first place, it zuould 
 keep at home the great army of American travelers that 
 zvent to Europe each year. With their fondness for roam- 
 ing, they zvould be almost certain to be draum to this part 
 of the world. And besides, there zt'ere other travelers to be 
 considered, including those Europeans zvho ztfould be glad 
 to get azi'ay from the alarms of zvar and those South 
 Americans zvho zvere in the habit of going to Europe. 
 Furthermore, though the Exposition had been designed 
 to commemorate the serznces of the United States Army 
 in building the Panama Canal, it zms essentially dedi- 
 cated to the arts of peace. It zvould shozv zvhat the zvorld 
 could do zchen men and nations co-operated. 
 
 THE DEPARTMENT OF FINE ARTS 
 
 M eanzvhilc , the zvar zvas upsetting the plans for the 
 exhibits, notably the exhibit of painting and sculpture. 
 
 [21]
 
 THE CITY OF DOMES 
 
 When John E. D. Trask, for many years director of 
 the Pennsylvania Academy of Fine Arts, zcas appointed 
 Director of the Fine Arts Department at the Panama-Pa- 
 cific International Exposition, he had made a careful sur- 
 vey of the field he had to cover. It virtually consisted of 
 the zvhole civilized ivorld. After arranging for the forma- 
 tion of committees in the leading cities of the East and the 
 Middle West to secure American nvrk, he made a trip to 
 Europe, visiting England, France, Holland, Szvcden, Ger- 
 many, Hungary, Austria and Italy. With the exception 
 of England and Germany, the governments zvere sym- 
 pathetic. The indifference of those tzvo countries at the 
 time was not quite comprehensible. There might have 
 been several explanations, including the threat of zvar. 
 There zvere also those zvho said that England and Ger- 
 many had entered into a secret alliance against this 
 country for the purpose of minimizing the American in- 
 fiuence in commerce, soon to be strengthened by the 
 opening of the Panama Canal. Wherever the truth lay, 
 the fact remained that both countries maintained their 
 attitude of indifference. Individual English and German 
 artists and organizations of artists, hou'ever, shozved a 
 zvillingness to co-operate. 
 
 Through emissaries, mainly unofficial, Americans of in- 
 fluence, Trask drezif on the resources of all Europe. He 
 also entered into negotiations zmth China and Japan, both 
 of zvhich countries, zvith their devotion to art, as might 
 have been expected, co-operated zvith enthusiasm. The 
 display at the Fine Arts Palace promised to make one of 
 the greatest international exhibits in history, if not the 
 greatest. 
 
 At the outbreak of the zvar it looked as if the zvhole of 
 Europe might become involved and it might be impossible 
 to secure anything that could properly be called a Euro- 
 pean art exhibit. Meanzvhile, the space reserved for the 
 European exhibitors must be filled. It happened that, at 
 the time, Trask zvas in the East. He quickly put himself 
 
 [22]
 
 THE NATIONS OF THE WEST AND THE NATIONS OF THE EAST ON THE 
 TWO TRIUMPHAL ARCHES FACING THE COURT OF THE UNIVERSE, 
 DESIGNED BY A. STIRLING CALDER AND EXECUTED BY CALDER, FRED- 
 ERICK C. R. ROTH, AND LEO LENTELLI. IN THE WESTERN GROUP, 
 FROM LEFT TO RIGHT: FRENCH-CANADIAN TRAPPER; THE ALASKAN; 
 THE LATIN-AMERICAN; THE GERMAN; THE AMERICAN MOTHER OF 
 to-morrow; THE ITALIAN; THE ANGLO-AMERICAN; THE INDIAN 
 SQUAW AND THE INDIAN CHIEF. ABOVE THE WAGON KNEELS EN- 
 TERPRISE, WITH A WHITE BOY ON ONE SIDE AND A COLORED BOY 
 ON THE OTHER, "HEROES OF TOMORROW." IN THE EASTERN GROUP, 
 FROM LEFT TO RIGHT: THE ARAB SHEIK; A NEGRO SLAVE, CARRY- 
 ING fruits; the Egyptian; an arab falconer, bird on wrist; 
 
 INDIAN prince, ON ELEPHANT, IN FRONT OF THE HOWDAH ; 
 MOHAMMEDAN WITH CtlESCENT STANDARD; NEGRO SLAVE, AND 
 CHINESE WARRIOR.
 
 INTRODUCTION 
 
 into personal communication imth the Nezv York artists, 
 tvho had been ininted to send three or four zvorks, and he 
 asked them to increase the number. He also arranged unth 
 his committee for the securing of a much larger number 
 of American pictures. Under the circumstances he was 
 bound to rely on the discretion of his juries. The result 
 zvas that he had to take ivhat came. It included a large 
 number of e.vcellent works and others of doubtful merit. 
 
 AN EMISSARY TO FRANCE AND ITALY 
 
 Meanzt'hile, during the few months after the outbreak 
 of war, the art situation in Europe began to look more 
 hopeful. It seemed possible that some of the nations con- 
 cerned in the war woidd be persuaded to participate. 
 Captain Asher C. Baker, Director of the Division of Ex- 
 hibits, zvas sent on a special mission to France, sailing 
 from Nezv York early in November. The United States 
 collier "Jason" zvas then preparing to sail from New 
 York zinth Christmas presents for the children in the zvar 
 zone, and the secretary of the navy had arranged zmth 
 the Exposition authorities that, on the return trip, the 
 ship should be used to carry exhibits from Europe. The 
 first plan zvas that the exhibits shoidd come only from 
 the zvarring nations; it zvas later extended to include other 
 nations. 
 
 In Paris Captain Baker found the situation discourag- 
 ing. The first official he sazv told him that, under the cir- 
 cumstances, any participation of France zvhatsoever zvas 
 out of the question: France zvas in mourning, and did not 
 zvish to celebrate anything; if any Frenchman zvere to 
 suggest participation he zvould be criticised; furthermore, 
 Albert Tirman, at the head of the French committee that 
 had znsited San Francisco the year before to select the 
 site of the French Paznlion, had come back from the front 
 in the Vosges and zvas hard at zvork in the barracks of the 
 Invalides, acting as an intermediary betzveen the civil and 
 military authorities. 
 
 [23]
 
 THE CITY OF DOMES 
 
 Then Captain Baker appealed to Ambassador Myron 
 T. Herrick. Although the ambassador ivas enthusiastic 
 for the Exposition, he said that, in such a crisis, he could 
 not ask France to spend the four hundred thousand dollars 
 set apart for use in San Francisco. Captain Baker said: 
 "Don't you think if France came in at this time a zvonder- 
 fully symtpathetic effect zvould be created all over the 
 United States?" The ambassador replied, "I do." 
 "Wouldn't you like to see France participate?" The am- 
 bassador declared that he ufould. "Will you say so to Mr. 
 Tirman?" The ambassador said, "Willingly." 
 
 A week later Baker and Tirman zifere on their zvay to 
 Bordeaux to see Gaston Thomson, Minister of Com- 
 merce. They made these proposals: The exhibits should 
 be carried by the Jason through the canal to San Fran- 
 cisco; the building of the French Pavilion should be un- 
 dertaken by the Division of Works of the Exposition, on 
 specification to be cabled to San Francisco of the frame 
 work, the moulds for the columns and architectural orna- 
 ments to be prepared in France and shipped by express ; 
 the French committee of organization zvas to tvork in 
 France among possible exhibitors; a statement zvas to be 
 made to the miynstry of what each department of the gov- 
 ernment could do in sending exhibits and zvhat exhibits 
 were ready; a statement should come frofn the Minister of 
 ' Fine Arts as to how much space he could -occupy and hozv 
 many paintings could be secured for the Palace of Fine 
 Arts; a complete representation of the Department of His- 
 torical Furniture and Tapestries, knozvn as the Garde 
 Meuble, zvas to be made for the pavilion. 
 
 In the interview zmth the Minister of Commerce Baker 
 argued that, zvithout France, an Exposition could not be 
 international, and that the participation of France at this 
 time, zvith her Hag Hying in San Francisco, zvould be like 
 zmnning a battle before the zvorld. It zvould show the 
 people of the United States France's gratitude for the 
 money sent the wounded and the suffering, and zvould 
 warm the hearts of the American people. 
 
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 INTRODUCTION 
 
 Thomson responded ivith enthusiasm, and soon the 
 government became enthusiastic. Several thousand dol- 
 lars were spent in cabling; Henri Gnillanme, the dis- 
 tinguished French architect, experienced in many expo- 
 sitions, li'as sent out. IVhen the Jason stopped at Mar- 
 seilles it took on board one of the most remarkable col- 
 lections of art treasures ever shipped to a foreign country, 
 the finest things in one of the ivorld's great storehouses of 
 treasure, including ei'cn the priceless historical tapestries, 
 and a large collection of French paintings for the Fine 
 Arts Palace, gathered by the French committee after 
 great labor, due to the absence of many of the painters in 
 the iiHir. 
 
 When Captain Baker left France he had accomplished 
 far more for the Exposition than he ^realized himself. 
 Reports of his success in securing French participation 
 preceded him to Italy and helped to prepare the ivuy. 
 The Italians listened to his proposition, all the more will- 
 ingly because France had been zuon over. Besides, he had 
 a warm supporter in Ernesto Nathan, ex-Mayor of Rome, 
 who had paid an extended znsit to San Francisco and had 
 become an enthusiastic champion of the Exposition. In a 
 few days he had made arrangements that led to the col- 
 lecting of the splendid display of Italian art, shipped on 
 the Vega, together icith many commercial exhibits. Cap- 
 tain Baker's ivork in France and in Italy, accomplished 
 zvithin three weeks, zcas a triumph of diplomacy. 
 
 FOREIGN PARTICIPATION IN GENERAL 
 
 Germany was not to be completely over-shadozt'ed by 
 France notziithstanding previous indifference on the part 
 of the government. German manufacturers zvished to be 
 represented, and they actually received governmental en- 
 couragement. Austrians, not to be outdone by Italy, iinofH- 
 cially came in. In fact, despite the zcar, every country had 
 some representation, England and Scandinavia and Szints- 
 erland included, even if they did not have official 
 authority. 
 
 [25]
 
 THE CITY OF DOMES 
 
 There are those who maintain that, in spite of criticism, 
 the Fine Arts Department is noiu making a better shelv- 
 ing than it could have made if there had been no zvar. 
 American collectors, unth rare canvases, were persuaded 
 to help in the meeting of the emergency by lending ivork 
 that, otherzcnse, they would have kept at home. It zvas 
 thought that many of the Europeans luould be glad to 
 send their collections to this country for safe keeping dur- 
 ing zvar time. But such proved not to be the case. A 
 good deal of concern was felt about sending the treasures 
 on so long a journey, subject to the hazards of attack by 
 sea. Furthermore, from the European point of viezu,.San 
 Francisco seemed far azvay. 
 
 LOOKING FOR ART TREASURES 
 
 A short time "after Captain Baker sailed from Nezv 
 York another emissary zi'ent abroad for the Exposition, 
 J. N. Laurznk, the art critic. A fezv zveeks before Mr. 
 L'aurvik had returned from Europe, zvhere he had repre- 
 sented the Fine Arts Department, looking for the zvork of 
 the artists in those countries that zvere not to participate 
 officially. At the time of the outbreak he zvds in Nor- 
 zifay and he had already secured the promise of many 
 collections and the co-operation of artists of distinction. 
 His report of the situation as he left it persuaded the 
 authorities that, in spite of the difficulties, he might do 
 effective zvork. 
 
 When Laurznk arriz'ed in Rome he found that Captain 
 Baker had already prepared for his actiznties. Ernesto 
 Nathan zvas devoting himself heart and soul to the cause. 
 But the Italian authorities, for the most part, zvere ab- 
 sorbed in the questions that came up zvith the threat of 
 war. Working zvith the committee, and aided by Ambas- 
 sador Thomas Nelsoti Page, Laurvik quickly made prog- 
 ress. He secured magnificent canvases by the President of 
 the French Academy in Rome, Albert Besnard, painted, 
 for the most part, in Benares, zvith scenes on the Ganges, 
 and a collectiofi of pieces by the Norwegian sculptor, 
 Lerche. 
 
 [26 [
 
 INTRODUCTION 
 
 NOTABLE COLLECTIONS 
 
 From Rome Laurzrik went to Venice, where he was 
 greatly helped by the American consul, B. H. Carroll, Jr. 
 Though the International Exhibit held in Venice every 
 two years had closed several months before, many of the 
 works of art were still there, their owners, either afraid 
 or unable to take them azvay and yet concerned about 
 their being so close to the scene of war. It was the gen- 
 eral concern that enabled Laurvik to secure some of his 
 finest material. Together with the Italian zvork, he ar- 
 ranged to have shipped here on the Jason, Norwegian and 
 Hungarian paintings and fifty canvases by the man re- 
 garded as the greatest living painter in Finland, Axel 
 Gallen-Kallela. He also made a short journey from Ven- 
 ice to the home of Marinetti, the journalist, poet and 
 leader of the Italian Futurist painters, who, after much 
 persuading, promised to send fifty examples of the work 
 done by the ten leaders in his group. 
 
 On leaving Venice Laurvik started for Vienna. In 
 spite of the war, he was promised support by the Minister 
 of Art. Unfortunately, the art societies fell to quarreling, 
 and gave little or no help. Then Laurvik appealed to the 
 artists themselves. In Kakosha, one of the best knoivn 
 among the Austrian painters, he found an ally. The col- 
 lection he made in Vienna included several of Kakosha's 
 canvases, lent by their ozimers, and a large number of 
 etchings. 
 
 THE HUNGARIAN COLLECTION 
 
 In Hungary Laurvik had a powerful friend in Count 
 Julius Andrassy, a man of zvealth and influence, the 
 owner of one of the newspapers published in Budapest. 
 From his own collection of Hungarian art Andrassy made 
 a large contribution and he inspired other collectors to do 
 likeztnse. The getting together of the material zcas full of 
 difficulties. Much of it had been taken azi'ay for safe- 
 keeping. The museums were all closed and some of tlieir 
 treasures were buried in the ground. Already the Rus- 
 
 [27]
 
 THE CITY OF DOMES 
 
 siaiis, during their raid in the Carpathian Mountains, had 
 possessed themselves of rare art works, some of the best 
 canvases cut from the frames and carried oif by the offi- 
 cers. Among the sufferers ivas Count Andrassy himself, 
 zvho lost z'alnable heirlooms from one of his country 
 estates, including several Titians. In spite of that experi- 
 ence, Andrassy refused to hide his possessions. He pre- 
 ferred the risk of losing them to shoiving fear, perhaps 
 helping to start a panic. 
 
 The Hungarian collection came near missing the Jason. 
 It zi'as mysteriously held up in the train that carried it 
 through the Italian territory to Italy, arriznng in Genoa 
 three days after the Jason zi^as scheduled to sail front 
 there. But the Jason happened to be delayed three 
 days, too. 
 
 By the German steamer, the "Cro'xm Princess Cecilie,'' 
 it happened that an interesting collection of German 
 paintings, after being exhibited in the Carnegie Institute 
 of Pittsburgh, zvas started on the zi'ny to Germany; but 
 the zvar caused the ship to return to an American port. 
 After a good deal of negotiating the canz'ases zivre se- 
 cured for the Exposition and taken off the ship. 
 
 On the opening day of the Exposition it zi'as found that 
 the Palace of Pine Arts, far from hazing too little ma- 
 terial, had too much. Not only zi'ere China and Japan and 
 several of the European nations zcell represented, but on 
 the zvay zvere many art zn'orks that there zvoidd not be 
 room for. The consequence zvas that a nezv building had 
 to be erected. It zixis finished in July and it became knoziii 
 as the Fine Arts Annex. 
 
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 THE VIEW FROM THE HILL 
 
 HE best way to see the Exposition, in my 
 opinion," said the architect, "is to stand 
 on the top of the Fillmore Street hill and 
 look down. Then you will find out what 
 the architects were up to. The finest point 
 of observation would be at the corner of 
 Divisadero Street and Broadway." 
 
 The next day, as we stood at that point, the Exposi- 
 tion stretched out beneath us like a city of the Orient. 
 
 "When the architects first discussed the construction 
 they knew it was to be looked at from these hills. So 
 they had to have a scheme that should hide the skylight 
 and avoid showing lack of finish on top and that should 
 be pictorial and impressive from above. One of the 
 problems was to make the roof architectural. Now as 
 we look down, see how stunning the efifect is — like a 
 Persian rug." 
 "And the color helped there, too, didn't it?" 
 "Of course. And notice how skilfully the architecture 
 and the coloring harmonized. As the Exoosition was to 
 be built on low, flat ground, it had to be lifted up. One 
 way was by using the domes. The central portion of 
 each of those palaces was lifted above the main surface 
 of the roof to introduce a row of semi-circular windows 
 to light the interior like a church. And the domes, besides 
 being ornamental in themselves, gave spring to the 
 towers. The big tower provided scope for the splendid 
 archway that served as an approach and set the standard 
 for the other arches." 
 
 It was plain enough that the top of the Exposition had 
 not received the praise it deserved. "Think how crude 
 that scene would have been if it had presented a strag- 
 gling mass of roofs. And even as it is, with its graceful 
 lines, if it were lacking in color it would seem crude. 
 Perhaps it will help us to realize how unsightly most of 
 
 [29l
 
 THE CITY OF DOMES 
 
 the roofs of our houses are, and how unfinished. There's 
 no reason in the world why they should be. The Greeks 
 and the Romans had the right idea. They were very 
 sensitive to lack of finish. They felt the charm of dec- 
 orated roofs. See that angel down there that keeps re- 
 curring at the points of the gables. What a pretty bit 
 of ornamentation. The Greeks used it to suggest the 
 gifts of the gods coming down from heaven. 'Blessings 
 on this house.' I suppose the wreath in the hand used 
 here was meant to suggest the crowning of the work. 
 It explains why the figure is called "Victory." By the 
 way, it has an architectural value in giving lightness 
 and grace to the roofs." 
 
 The builders, we could see, had cleverly adapted their 
 plans to the conditions. "The eflfect might so easily have 
 been monotonous and cold, and it might have been flat 
 and dreary. It was a fine idea to lift the central portion 
 of each of those main palaces above the surfaces of the 
 roofs to introduce the semicircular windows in the domes. 
 It helped to infuse the scene with a kind of tenderness 
 and spirituality. And see how the two groups on top 
 of the triumphal arches, the Orientals and the Pioneers, 
 contribute to the soaring efifect and to the finish at the 
 same time. The Romans disliked bareness on the top 
 of their arches. They wanted life up there, the more 
 animated the better. So they put on some of their most 
 dramatic scenes, like their chariot races." 
 
 The expert proceeded to point out the architectural 
 balance of the buildings. The severe and mighty Palace 
 of Machinery, impressive in its long sweep of line, at 
 one side made a dramatic contrast with the delicately 
 imagined and poetic Palace of Fine Arts on the other. 
 In front of the walled city, between the long stretch of 
 garden, stood two harmonious buildings, the Palace of 
 Horticulture, with its glorious roof of glass, and the 
 Festival Hall, closely related in outline, and yet very 
 diflferent in detail. And the garden itself, with its dark. 
 
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 THE VIEW FROM THE HILL 
 
 pointed trees standing against the wall, and with its 
 simplicity of design, made an agreeable approach to the 
 great arched entrance under the Tower of Jewels. "Those 
 banners down there, shielding the lights, are a stroke 
 of genius, both in their orange color and their shape. 
 And those orange-colored streamers, how they add to 
 the spirit of gaiety. The trees have been placed against 
 the wall to keep it from seeming like a long and unin- 
 teresting stretch. And observe the grace in line of the 
 niches between the trees. Even from here you can feel the 
 warmth of the color in the paths. The pink effect is made 
 by burning the sand. Only a man like Guerin, a painter, 
 would have thought of that detail. I wonder how many 
 visitors down there know that the very sand they walk on 
 has been colored." 
 
 Around the Tower pigeons were flying, somehow re- 
 lieving the mechanical outlines. Was the disproportion 
 between the great arch, forming a kind of pedestal, and 
 the outlines above due to mathematical miscalculation 
 or to the interference of the ornamentation? We finally 
 decided that the proportions had probably been right in 
 the first place. But they had been changed by the Expo- 
 sition authorities' cutting the Tower down one hundred 
 feet, thereby saving $100,000. A matter of this kind 
 could be reduced almost to an exact science. Besides, 
 though the ornamentation interfered with the upward 
 sweep of line, the effect of flatness was made by those 
 horizontal blocks which seemed to be piled up to the 
 top. If the outline had been clean, it would have achieved 
 the soaring effect so essential to an inspiring tower, 
 creating the sense of reaching up to the sky, like an 
 invocation. 
 
 Thomas Hastings had a sound idea when he made that 
 design. He wanted to do something Expositional, ex- 
 actly as Guerin did when he applied the coloring. Now 
 there were critics who said that the coloring was too 
 pronounced. It reminded them of the theater. Well, 
 
 [3il
 
 THE CITY OF DOMES 
 
 that was just what it ought to remind them of. It had 
 Hfe, gaiety, abandon. The critic who said that the orange 
 domes provided just the right tone, and that this tone 
 ought to have been followed throughout, didn't make 
 sufficient allowance for public taste. He wanted the 
 Exposition to be an impressionistic picture in one key. 
 But one key was exactly what Guerin didn't want. His 
 purpose was to catch the excitement in variety of color 
 as well as the warmth, to stimulate the mind. He suc- 
 ceeded in adapting his color scheme to architecture that 
 had breadth and dignity. At first he expected to use 
 orange, blue, and gold, carefully avoiding white. He 
 did avoid white ; but he expanded his color scheme and 
 included brown and yellow and green. But, in that tower, 
 Hastings did something out of harmony with the archi- 
 tecture, something barbaric and crude. 
 
 Here and there the bits of Austrian cut glass were 
 sparkling on the tower like huge diamonds. "At times 
 the thing is wonderfully impressive. There's always some- 
 thing impressive about a mass if it has any kind of uni- 
 formity, and here you can detect an intention on the part 
 of the architect. There are certain lights that have a 
 way of dressing up the tower as a whole, giving it unity 
 and hiding its ugliness. And at all times it has a kind 
 of barbaric splendor. It might have come out of an 
 Aztec mind, rather childish in expression, and seeking" 
 for beauty in an elemental way. I can imagine Aztecs 
 living up there in a barbaric fashion, their houses piled, 
 one above another, like our uncivilized apartment 
 houses." 
 
 In studying the Tower of Jewels in detail, we decided 
 that it was not really so crude as it seemed on first sight. 
 Much might be done even now by a process of elimina- 
 tion. And the arch was magnificent. "In its present con- 
 dition the tower unquestionably provides a strong accent. 
 It has already become a dominating influence here. But 
 it's an influence that teaches people to feel and to think 
 
 [32]
 
 THE VIEW FROM THE HILL 
 
 in the wrong way. It encourages a liking for wiiat I call 
 messy art, instead of developing a taste for the simplicity 
 that always characterizes the best kind of beauty, the 
 kind that develops naturally out of a central idea." 
 
 From the Tower of Jewels we turned our attention 
 to those other towers, the four so charming in design 
 and in proportion. Renaissance in feeling, their sim- 
 plicity seeming all the more graceful on account of the 
 contrast with the other tower's over-ornamentation. "I 
 wonder what the world would have done without the 
 Giralda Tower in Seville? It has inspired many of the 
 most beautiful towers in the world. It helped to inspire 
 McKim, Mead and White when they built the Madison 
 Square Tower, and the Madison Square Tower might 
 be described as a relative of our own Ferry Tower, 
 which is decidedly one of the best pieces of architecture 
 in San Francisco. And it's plain enough that these four 
 towers arid the Ferry Tower are related. The top of the 
 four towers, by the way, has a history. It comes from 
 the Choragic Monument of Lysicrates, the little temple 
 in Athens that was built by one of the successful chorus- 
 leaders in the competitive choral dances of the Greeks, 
 who happened to be a man of wealth. Afterward, when 
 a chorus-leader won a prize, which consisted of a tripod, 
 it was shown to the people on that monument." 
 
 "Some critics," I said, "have complained of the color- 
 ing and the pattern on those towers." 
 
 "They can't justify themselves, however. Though this 
 plaster looks like Travertine, it nevertheless remains 
 plaster, and it lends itself to plastic decoration. The 
 Greeks and the Romans often used plaster, and they did 
 not hesitate to paint it whenever they chose. Kelham's 
 four towers have been criticised on account of their plas- 
 tic design, which has a good deal of pink in it. But that 
 design provides one of the strongest color notes in the 
 whole Exposition, a delightful note, too. It happens that 
 makers of wallpaper have had the good sense to use a 
 
 [33l
 
 THE CITY OF DOMES 
 
 design somewhat similar. But this fact does not make 
 the design any the less attractive or serviceable." 
 
 Between the houses on the hill we could catch glimpses 
 of the South Gardens between the glass dome of the Hor- 
 ticultural Palace and Festival Hall. The architects rightly 
 felt that in general appearance they had to be French to 
 harmonize with the French architecture on either side. 
 In the distance the Fountain of Energy stood out, like a 
 weird skeleton that did not wholly explain itself. Stirling 
 Calder, the sculptor, must have forgotten that the outline 
 of those little symbolic figures perched on the shoulder 
 of his horseman would not carry their meaning. 
 
 Now, before our eyes, the Exposition revealed itself 
 as a picture, with all the arts contributing. It suggested 
 the earlier periods of art, when the art- worker was archi- 
 tect, painter and sculptor all in one. 
 
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 THE APPROACH 
 
 OU see," said the architect as we started 
 down the hill, "when the Exposition 
 builders began their work they found the 
 setting of the Mediterranean here. It justi- 
 fied them in reproducing the art of the 
 Orient and of Greece and Rome which was 
 associated with it, modified of course to meet the special 
 requirements. Besides, they didn't want to be tied down 
 to the severe type of architecture in vogue in this 
 country." 
 
 Inrst of all, he went on to explain, they had created a 
 playground. There they appealed to the color sense, 
 strong in the Italians and the Orientals, and weak among 
 the people in this country, decidedly in need of fostering, 
 and the appeal was not merely to the intellect, but to the 
 emotions as well. Color was as much a part of architec- 
 ture as of painting. So, in applying the color, Guerin 
 worked with the architects. He never made a plan with- 
 out taking them into consultation. Then, too, Calder, 
 acting head of the Department of Sculpture, and Denne- 
 ville, the inventor of the particular kind of imitation 
 Travertine marble used on the grounds, were active in 
 all the planning. In fact, very little was done without 
 the co-operation of Guerin, Calder, Denneville and Kel- 
 ham, chief of the Architectural Board. In getting the 
 Exposition from paper to reality, they had succeeded in 
 making it seem to be the expression of one mind. Even 
 in the development of the planting the architects had 
 their say. Here landscape gardening was actually a part 
 of the architecture. Faville's wall, for example, was built 
 with the understanding that its bareness was to be re- 
 lieved with masses of foliage, creating shadows. 
 
 Before the Scott Street entrance we paused to admire 
 the high hedge of John McLaren. We went close to 
 examine the texture. The leaves of the African dew 
 
 [351
 
 THE CITY OF DOMES 
 
 plant were so thick that they were beginning to hide the 
 lines between the boxes, 
 
 "Faville realized the importance of separating the city 
 from the rest of the world, making it sequestered. He 
 knew that a fence wouldn't be the right sort of thing. 
 So he conceived the idea of having a high, thick wall, 
 modeled after an old English wall, overgrown with moss 
 and ivy. As those walls were generations in growing, 
 he saw that to produce one in a few months or even a 
 few years required some ingenuity. He set to work on 
 the problem and he devised a scheme for making an imi- 
 tation hedge by planting ivy in deep boxes and piling the 
 boxes on one another. When he submitted it to McLaren 
 he was told that it was good except for the use of the ivy. 
 It would be better to use African dew plant. Later Mc- 
 Laren improved on the scheme by using shallow boxes. 
 
 "Faville designed a magnificent entrance here," the 
 architect went on, glancing up at the three modest 
 arches that McLaren had tried to make as attractive as 
 possible with his hedge. "It would have been very ap- 
 propriate. But the need of keeping down expenses caused 
 the idea to be sacrificed. However, the loss was not 
 serious. As a matter of fact, in spite of the efforts of 
 the Exposition to persuade visitors to come in here, a 
 great many preferred to enter by the Fillmore Street 
 gate. During the day this approach is decidedly the more 
 attractive on account of leading directly into the gardens 
 and into the approach to the court. The Fillmore Street 
 entrance, with the Zone shrieking at you at one side, 
 hardly puts you in the mood for the beauty in the courts. 
 At night the situation is somewhat different. The flaring 
 lights of the Zone make the dimness of the court all the 
 more attractive." 
 
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 Ill 
 
 IN THE SOUTH GARDENS 
 
 HOUGH the arrangement of the landscape 
 might be French, these flowers were un- 
 mistakably Californian. The two pools, 
 ornamented with the Arthur Putnam foun- 
 tain of the mermaid, in duplicate, decidedly 
 French in feeling, were brilliant with the 
 
 reflected coloring from both the flowers and the buildings. 
 
 The intention at first had been to make a sunken garden 
 here ; but the underground construction had interfered. 
 Now one might catch a suggestion of Versailles, except 
 for those lamp posts. "Joseph Pennell, the American 
 etcher, who has traveled all over Europe making draw- 
 ings, finds a suggestion of two great Spanish gardens 
 here, one connected with the royal palace of La Granga, 
 near Madrid, and the other with the royal palace of 
 Aranjuez, near Toledo. They've allowed the flowers to be 
 the most conspicuous feature, the dominating note, which 
 is as it should be. Masses of flowers are always beautiful 
 and they are never more beautiful than when they are of 
 one color." 
 
 "And masses of shrubbery are always beautiful, too." 
 I said, nodding in the direction of the Palace of Horticul- 
 ture, where McLaren had done some of his best work. 
 
 "There's no color in the world like green, particularly 
 dark green, for richness and poetry and mystery. It's 
 intimately related to shadow, which does so much for 
 beauty in the world." 
 
 "The Fountain of Energy almost hits you in the face, 
 doesn't it?" I said. 
 
 "Of course. That's exactly what Calder meant to do. 
 In a way he was right. He wanted to express in sculpture 
 the idea of tremendous force. Now his work is an ideal 
 example of what is expositional. It has a sensational ap- 
 peal. One objection to it is that it suggests too much 
 energy, too much eflfort on the part, not only of the sub- 
 
 [37]
 
 THE CITY OF DOMES 
 
 ject, but of the sculptor. The artist ought never to seem to 
 try. His work ought to make you feel that it was easy 
 for him to do. But here you feel that the sculptor 
 clenched his teeth and worked with might and main. 
 As a matter of fact, he did this piece when he must 
 have been tired out from managing all the sculpture on 
 the grounds. He made two designs. The first one, which 
 was not used, seemed to me better because it was simpler 
 in the treatment of the base. Even the figures at the 
 base here are over-energized, the human figures I mean. 
 Still, in their sportiveness and in the sportiveness of 
 Roth's animals, they have a certain charm. And with the 
 streams spouting, the work as a whole makes an impres- 
 sion of liveliness. But it's a nervous liveliness, charac- 
 teristically American, not altogether healthy." 
 
 The Fountain of Energy and the Tower of Jewels, we 
 decided, both expressed the same kind of imagination. 
 Like the fountain, the tower gave the sense of overstrain. 
 "It's pretty hard to see any architectural relation between 
 those figures up there on the tower and the tower itself. 
 See how the mass tries to dominate Kelham's four Italian 
 towers, but without showing any real superiority." 
 
 The heraldic shields on the lamp posts near by at- 
 tracted us both by their color and by the variety and grace 
 of their designs. How many visitors stopped to consider 
 their historic character? They went back to the early 
 history of the Pacific Coast. For this contribution alone 
 Walter D'Arcy Ryan deserved the highest recognition. 
 Only an artist could have worked out this scheme in 
 just this sensitive and appropriate way. 
 
 We stopped at the vigorous equestrian statue of Cortez 
 by Charles Niehaus at our right, close to the tower. "I 
 always liked Cortez for his nerve. He didn't get much 
 gratitude from his Emperor for conquering Mexico and 
 annexing it to Spain. And what he got in glory and in 
 money probably did not compensate him for his disap- 
 
 [38]
 
 IN THE SOUTH GARDENS 
 
 pointment at the end. When he couldn't reach Charles V 
 in any other way, he jumped up on the royal carriage. 
 Charles didn't recognize him and asked who he was. 
 'I'm the man,' said Cortez, 'that gave you more provinces 
 than your forebears left you cities.' Naturally Charles 
 was annoyed. We don't like to be reminded of ingrati- 
 tude, do we, especially by the people who think we ought 
 to be grateful to them? So Cortez quit the court and 
 spent the rest of his life in the country." 
 
 At our right we met another of the many Spanish 
 adventurers drawn to the Americas by the discovery of 
 Columbus, Pizarro, who presented his country with the 
 rich land of Peru. It was doubtless placed here on ac- 
 count of the relation between Spain and California. 
 "Civilization is a development through blood and spolia- 
 tion," the architect remarked. "If Pizarro hadn't been 
 lured by the gold of the Incas we might not be here at 
 this moment." 
 
 The figures on the tower, insignificant when viewed 
 from a distance, at close range took on vigor : the philoso- 
 pher in his robes, the bearer of European culture of the 
 sixteenth century to these shores; the Spanish priest, 
 typical of the early friars; the adventurer, so closely re- 
 lated to Columbus ; and the Spanish soldier. The armored 
 horseman, by Tonetti, in a row all by himself, suffering 
 from being rather absurdly out of place, might have won 
 applause if he had been brought on a pedestal close to 
 the ground. His being repeated so often up there made 
 an effect almost comic. The vases and the triremes, the 
 pieces of armor, with the battle-axe designs on either 
 side, the Cleopatra's needles, and the richly-girdled globe 
 on top, sustained on the shoulders of three figures, were 
 all well done. The only trouble was that they had not 
 been made to blend into one lightly soaring mass. 
 
 "It's curious that Hastings should have gone astray 
 in the treatment of the tower. He must have known the 
 psychological effect of parallel horizontal lines. When 
 
 [391
 
 THE CITY OF DOMES 
 
 skyscrapers were first built in New York a few years ago 
 they were considered unsightly on account of their great 
 height. So the architects were careful to use parallel 
 horizontal lines in order to diminish the apparent height 
 as far as possible. Then people began to say that there 
 was beauty in the sky-scrapers, and the architects changed 
 their policy. They built in straight parallel lines that 
 shot up to the sky. In this way they increased the ap- 
 parent height." 
 
 The inscriptions on the south side of the tower's base 
 reminded us of the Exposition's meaning, conspicuously 
 and properly emphasized here. The pagan note in the 
 architecture was indicated in the ornamentation by the 
 use in the design of the head of the sacred bull. And 
 Triumphant America was celebrated in the group of 
 eagles. 
 
 The dark stains on the yellow columns made us see 
 how clever Guerin had been in his application of the 
 coloring. In most places he had applied one coat only, 
 trusting to nature to do the rest. Most of all, he wished 
 to avoid the appearance of newness and to secure a 
 look of age. On these columns the smoke from the steam 
 rollers had helped out. One might imagine that they 
 had been here for generations. 
 
 Here the builders had used the Corinthian column, with 
 the acanthus leaves varied with fruit-designs and with 
 the human figure. "It was a lucky day for architecture 
 when the column came into use. It doubtless got its 
 start from a single beam used for support. Then the 
 notion developed of making it ornamental by fluting it 
 and decorating the top. In this Exposition three kinds 
 of columns are used, the Doric, which the Greeks favored, 
 with the very simple top or capital ; the Ionic, with the 
 spiral scroll for the capital, and the Corinthian, with the 
 acanthus flowing over the top, and the Composite which 
 uses features from all the other three." 
 
 "Do you happen to know how the acanthus design was 
 
 [40]
 
 SPANISH PLATERESQUE DOORWAY, UNDER 
 ILLUMINATION, DUPLICATED IN THE 
 NORTHERN WALL, WITH FIGURES BY ALLEN 
 NEWMAN. THE CENTRAL FIGURE IS THE 
 SPANISH CONQUEROR. ON EITHER SIDE IS 
 ONE OF THE FEW HUMOROUS FIGURES ON 
 THE GROUNDS, THE BOW-LEGGED PIRATE WHO 
 USED TO SAIL THE PACIFIC. BOTH ARK 
 MABKEO BY CHARACTER AND SPIRIT.
 
 IN THE SOUTH GARDENS 
 
 made ? Well, Vitruvius tells the story. Anyone that wants 
 to get a line on this Exposition ought to read that book, 
 or, at any rate, to glance through it and to read parts 
 of it pretty thoroughly. It is called 'The Architecture of 
 Marcus Vitruvius Pollio.' There's a good translation 
 from the Latin by Joseph Gwilt. It has become the 
 architect's bible. According to Vitruvius, the nurse of 
 a Corinthian girl who had died carried to the girl's tomb 
 a basket filled with the things that the girl had particu- 
 larly liked. She left the basket on the ground near the 
 tomb and covered it with a tile. It happened that it 
 stood over the root of an acanthus plant. As the plant 
 grew its foliage pressed up around the basket and when 
 it reached the tile the leaves were forced to hang back 
 in graceful curves. Callimachus, a Corinthian architect, 
 noticed the effect and put it into use." 
 
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 IV 
 UNDER THE TOWER OF JEWELS 
 
 HEN we entered the arch we looked up at 
 the magnificent ceiHng used by McKim, 
 Mead & White, in panels, with a pictorial 
 design beautifully colored by Guerin. "The 
 blue up there blends into the deeper blue 
 of the Dodge murals just beneath. Those 
 murals are in exactly the right tone. They give strength 
 to the arch. But they are weakened by being in the midst 
 of so much heavy architecture. Their subjects, however, 
 are in harmony with the meaning of the tower. Guerin 
 was right when he told the mural decorators that a 
 good subject was an asset. By studying these murals you 
 can get a glimpse of all the history associated with 
 California and with the Panama Canal. Dodge has made 
 drama out of Balboa's discovery of Panama and out of 
 the union of the two oceans, a theme worthy of a great 
 poet. And Dodge is one of the few men represented in 
 the art on the grounds who have made pictorial use of 
 machinery. There's the discovery by Balboa, the pur- 
 chase by the United States, the presentation of the prob- 
 lem of uniting the two oceans, very imaginative and 
 pictorial, the completion of the Canal, and the crowning 
 of labor, with the symbolic representation of the resulting 
 feats of commerce suggested by the want of the winged 
 Mercury. Dodge is dramatic without being too individual. 
 His murals don't call the attention away from their sur- 
 roundings to themselves. They are a part of the architec- 
 ture, as murals always should be." 
 
 On either side we found the columned niches designed 
 by McKim, Mead and White, each ornamented with a 
 fountain. The back wall made a splendid effect as it 
 reached up toward the tower. 
 
 To the right we turned to view Mrs. Edith Wood- 
 man Burroughs' "Fountain of Youth," lovely in the girl- 
 ish beauty of the central figure, and in the simplicity 
 
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 and the sincerity of the design as a whole. In some ways 
 the figure reminded us of the celebrated painting by 
 Ingres in the Louvre, "The Source," the nude girl bear- 
 ing a jug on her shoulder, sending out a stream of 
 water. There was no suggestion of imitation, however. 
 "The symbolism in the design," said the architect, "does 
 not thrust itself on you, and yet it is plain enough. That 
 woman and man pushing up flowers at the feet of the 
 girl make a beautiful conception. The whole fountain 
 has an ingenuousness that is in key with the subject. 
 Across the way," he went on, turning to view the Foun- 
 tain of El Dorado, by Mrs. Gertrude Yanderbilt Whitney, 
 "there's a piece of work much more sophisticated and 
 dramatic, fine in its conception and strong in handling. 
 No one would say offhand that it was the work of a 
 woman ; and yet it shows none of the overstrain that 
 sometimes characterizes a woman artist when she wishes 
 her work to seem masculine." 
 
 In approaching the "El Dorado" we noted the skill 
 shown in the details of the conception. "This fountain 
 might have been called 'The Land of Gold,' in plain 
 English, or 'The Struggle for Happiness,' or by any 
 other name that suggested competition for what people 
 valued as the prizes of life. When Mrs. Whitney was 
 asked to explain whether those trees in the background 
 represented the tree of life, she said she didn't have any 
 such idea in her mind. What she probably wanted to do 
 was to present an imaginative scene that each observer 
 could interpret for himself. These two Egyptian-looking 
 guardians at the doors, with the figures kneeling by them, 
 suggest plainly enough the futility that goes with so much 
 of our struggling in the world. So often people reach 
 the edge of their goal without really getting what they 
 want." 
 
 [43]
 
 V 
 THE COURT OF THE UNIVERSE 
 
 HROUGH the arch we passed into the 
 neck of the Court of the Universe, which 
 charmed us by the warmth of its coloring, 
 by McLaren's treatment of the sunken gar- 
 den, by its shape, by the use of the dark 
 pointed cypress trees against the walls, and 
 by the sweep of view across the great court to the 
 Marina, broken, however, by the picturesque and in- 
 harmonious Arabic bandstand. We glanced at the in- 
 scriptions at the base of the tower, carrying on the history 
 of the Canal to its completion. Then we stopped before 
 those graceful little elephants bearing Guerin's tall poles 
 with their streamers. "That little fellow is a gem in his 
 way. He comes from Rome. But the heavy pole on his 
 back is almost too much for him. He's used pretty often 
 on the grounds, but not too often. After the Exposition 
 is over we ought to keep these figures for the Civic Center. 
 They would be very ornamental in the heart of the city." 
 
 As we walked toward the main court, the architect 
 called my attention to the view between the columns on 
 the other side of the Tower of Jewels, with the houses 
 of the city running down the hills. "San Francisco archi- 
 tecture may not be beautiful when you study individual 
 houses. But in mass it is fine. And, of a late afternoon, 
 it is particularly good in coloring. It seems to be en- 
 veloped in a rich purple haze. That color might have 
 given the mural decorators a hint. It would have been 
 effective in the midst of all this high-keyed architecture. 
 It's easy here to imagine that you're in one of those 
 ancient Hindu towns where the gates are closed at night. 
 You almost expect to see camels and elephants." 
 
 What was most striking in the Court was its immensity. 
 "Though it comes from Bernini's entrance court to St. 
 Peter's in Rome, it is much bigger. There are those who 
 
 [44]
 
 THE COURT OF THE UNIVERSE 
 
 think it's too big. But it justifies itself by its splendor. 
 The use of the double row of columns is particularly 
 happy. The double columns were greatly favored by the 
 Romans. In St. Peter's Bernini used four in a row. And 
 what could be finer than those two triumphal arches on 
 either side, the Arch of the Rising Sun and the Arch 
 of the Setting Sun, with their double use of symbolism, 
 in suggesting the close relation between California and 
 the Orient, as well as their geographical meaning? They 
 are, of course, importations from Rome, the Arch of 
 Constantine and the Arch of Titus all over again, with a 
 rather daring use of windows with colored lattices tp 
 give them lightness and with colossal groups of almost 
 startling proportions used in place of the Roman chariot 
 or quadriga." 
 
 Originally, the intention had been to use here the name 
 of the Court of Sun and Stars. Then it was changed to 
 the Court of Honor, and finally to its present name, to 
 suggest the international character of the Exposition. 
 
 Those two groups represented by far the most am- 
 bitious work done by the sculpture department. From 
 designs by Calder, they were made by three sculptors, 
 Calder, Roth and Lentelli. They presented problems that 
 must have been both difficult and interesting to work out. 
 First, they had to balance each other. What figure in 
 the Pioneer group could balance the elephant that typified 
 the Orient? Calder had the idea of using the prairie 
 schooner, associated with the coming of the pioneers to 
 California, drawn by great oxen. 
 
 The Oriental group doubtless shaped itself in pic- 
 turesque outlines much more quickly than the sturdy, 
 but more homely Americans of the earlier period. The 
 Orientals displayed an Indian prince on the ornamented 
 seat, and the Spirit of the East in the howdah, of his 
 elephant, an Arab shiek on his Arabian horse, a negro 
 slave bearing fruit on his head, an Egyptian on a camel 
 carrying a Mohammedan standard, an Arab falconer with 
 a bird, a Buddhist priest, or Lama, from Thibet, bearing 
 
 [45]
 
 THE CITY OF DOMES 
 
 his symbol of authority, a Mohammedan with his crescent, 
 a second negro slave and a Mongolian on horseback. 
 
 The Nations of the West were grouped around that 
 prairie wagon, drawn by two oxen. In the center stood 
 the Mother of Tomorrow a typical American girl, roughly 
 dressed, but with character as well as beauty in her face 
 and figure. On top of the wagon knelt the symbolic figure 
 of "Enterprise," with a white boy on one side and a col- 
 ored boy on the other, "Heroes of Tomorrow." On the 
 other side of the wagon stood typical figures, the French- 
 Canadian trapper, the Alaska woman, bearing totem poles 
 on her back, the American of Latin descent on his horse, 
 bearing a standard, a German, an Italian, an American 
 of English descent, a squaw with a papoose, and an 
 Indian chief on his pony. The wagon was modelled on 
 top of the arch. It was too large and bulky to be easily 
 raised to that great height. 
 
 The architect was impressed by the boldness of the 
 designs and to the spirit that had been put into them. 
 "It's very seldom in the history of art that sculptors have 
 had a chance to do decorative work on so big a scale. 
 It must have been a hard job, getting the figures up, 
 there in pieces and putting them together. Some of the 
 workers came near being blown off. Some of them lost 
 their nerve and quit. I wonder, by the way, if that angel 
 on top of the prairie wagon would be there if Saint 
 Gaudens hadn't put an angel in his Sherman statue, and if 
 he hadn't made an angel float over the negro soldiers 
 in his Robert Gould Shaw monument in Boston. He liked 
 that kind of symbolism. He must have got it from the 
 mediaeval sculptors who worked under the inspiration of 
 the Catholic Church." 
 
 Varying notes we found around the American group. 
 Qeopatra's needle, used for ornamentation, suggested 
 Egypt and the Nile. That crenellated parapet once be- 
 longed to military architecture : between those pieces that 
 stood up, the merlons, in the embrasure, the Greek and 
 
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 THE COURT OF THE UNIVERSE 
 
 Roman archers shot their arrows at the enemy and darted 
 back behind the merlons for protection. In spite of its 
 being purely ornamental it told its story just the same, 
 and it expressed the spirit that still persisted in mankind. 
 Nowadays it was even used on churches. But religion 
 and war had always been associated. Besides, in an In- 
 ternational Exposition it was to be expected that the art 
 should be international. How many people, when they 
 looked at Cleopatra's needle, knew how closely it was 
 related to the newspapers and historical records of today ? 
 The Egyptians used to write on these monuments news 
 and opinions of public affairs. The Romans had a similar 
 custom in connection with their columns. On the column 
 of Trajan they not only wrote of their victories, but they 
 pictured victorious scenes in stone. 
 
 The little sprite that ran along the upper edge of the 
 court in a row, the star-figure, impressed me as making 
 an unfortunate contrast with the stern angel, repeated 
 in front of each of the two arches. My criticism brought 
 out the reply that it was beautiful in itself and had its 
 place up there. "These accidental effects of association 
 are sometimes good and sometimes they're not. Here I 
 can't see that they make a jarring effect. In the first place, 
 a Court of the Universe ought to express something of 
 the incongruity in our life. Ideally, of course, it isn't 
 good in art to represent a figure in a position that it's 
 hard to maintain without discomfort. But here the out- 
 lines are purely decorative and don't suggest strain. In 
 my judgment that figure is one of the greatest ornaments 
 in the court. It gives just the right note." 
 
 The two fountains in the center of the sunken garden 
 were gaily throwing their spray into the air. The boldness 
 of the Tritons at the base represented a very different 
 kind of handling from the delicacy of the figure at the 
 top of each, the Evening Sun and the Rising Sun, both 
 executed with poetic feeling. In the Rising Sun, Wein- 
 mann had succeeded in putting into the figure of the 
 youth life, motion and joy. Looking at that figure, just 
 
 [47]
 
 THE CITY OF DOMES 
 
 ready to spread its wings, one felt as if it were really 
 about to sweep into the air. Though the Evening Sun 
 might be less dramatic, it was just as fine. "It isn't often 
 that you see sculpture of such imaginative quality," said 
 the architect. 
 
 Those great symbolic figures by Robert Aitken, at once 
 giving a reminder of Michael Angelo, impressed me as 
 being perfectly adapted to the Court, and to their subjects, 
 Earth, Air, Fire, and Water. But my companion thought 
 they were too big. He agreed, however, that they were 
 both original and strong. There was cleverness in making 
 the salamander, with his fiery breath and his sting, ready 
 to attack a Greek warrior, symbolize fire. Under the 
 winged girl representing air there was a humorous refer- 
 ence to man's early efforts to fly in the use of the quaint 
 little figure of Icarus. Water and earth were more conven- 
 tional, but worked out with splendid vigor, the two fig- 
 ures under earth suggesting the competitive struggle of 
 men. "I remember Aitken in his beginning here in San 
 Francisco. Though he often did poor stuff, everything of 
 his showed artistic courage and initiative. Even then any- 
 one could see there was something in him. Now it's com- 
 ing out in the work he has contributed to this Exposition. 
 The qualities in these four statues we shall see again when 
 we reach the fountain that Aitken made for the Court of 
 Abundance. They are individual without being eccentric. 
 Compare these four figures with the groups in front of the 
 two arches, by Paul Manship, another American sculptor 
 of ability, but different from Aitken in his devotion to the 
 early Greek. When Manship began his work a few years 
 ago he was influenced by Rodin. Then he went to Rome 
 and became charmed with the antique. Now he follows 
 the antique method altogether. He 'deliberately conven- 
 tionalizes. And yet his work is not at all conventional. He 
 manages to put distinct life into it. These two groups, the 
 'Dancing Girls' and 'Music,' would have delighted the 
 sculptors of the classic period." 
 
 [48]
 
 PORTAL IN THE COURT OF THE FOUR 
 SEASONS, LEADING FROM THE NICHE OF 
 CERES TO THE COURT OF PALMS. IT SHOWS 
 THE REFINEMENT OF THE DECORATION ON 
 THE ROMAN DOORWAY AND THE RICH EFFECT 
 OF THE GROUPED IONIC COLUMNS. IN THE 
 
 BACKGROUND ONE OF THE ITALIAN 
 
 RENAISSANCE TOWERS.
 
 THE COURT OF THE UNIVERSE 
 
 Under the Arch of the Rising- Sun two deUcate murals 
 by Edward Simmons charmed us by their grace, their 
 lovely coloring, by the richness of their fancy and by the 
 extraordinary fineness of their workmanship. "There's a 
 big difference of opinion about those canvases as murals. 
 But there's no difference of opinion in regard to their 
 artistic merit. They are unquestionably masterpieces. 
 Kelham and Guerin, who had a good deal to do with 
 putting them up there, believe they are in exactly the 
 right place. But a good many others think they are almost 
 lost in all this heavy architecture. You see, Simmons 
 didn't take Guerin's advice as to a subject. Each of his 
 two murals has a meaning, or rather a good many mean- 
 ings, but no central theme, no story that binds the figures 
 into a distinct unity. So, from the point of view of the 
 public, they are somewhat puzzling. People look up there 
 and wonder what those figures are doing. But to the 
 artist they find their justification merely in being what 
 they are, beautiful in outline and in posture and coloring. 
 You don't often get such atmosphere in mural work, or 
 such subtlety and richness of feeling." 
 
 Both murals unmistakably showed the same hand. 
 "There's not another man in the country who could do 
 work of just that kind. That group in the center of the 
 mural to the north could be cut out and made into a 
 picture just as it stands. It doesn't help much to know 
 that the middle figure, with the upraised arm, is Inspira- 
 tion with Commerce at her right and Truth at her left. 
 They might express almost any symbols that were related 
 to beauty. And the symbolism of the groups at either 
 end seems rather gratuitous. They might be many other 
 things besides true hope and false hope and abundance 
 standing beside the family. But the girl chasing the 
 bubble blown out by false hope makes a quaint conceit 
 to express adventure, though perhaps only one out of a 
 million would see the point if it weren't explained." 
 
 The opposite mural we found a little more definite in 
 its symbolism, if not so pictorial or charming. The figures 
 
 [49]
 
 THE CITY OF DOMES 
 
 consisted of the imaginary type of the figure from the 
 lost Atlantis ; the Roman fighter ; the Spanish adventurer, 
 suggesting Columbus ; the English type of sea-faring ex- 
 plorer, Sir Walter Raleigh; the priest who followed in 
 the wake of the discoverer, the bearer of the cross to the 
 new land ; the artist, spreading civilization, and the 
 laborer, modem in type, universal in significance, interest- 
 ing here as standing for the industrial enterprise of today. 
 
 "Those murals suggest what a big chance our decora- 
 tors have in the themes that come out of our industrial 
 life. They've only made a start. As mural decoration ad- 
 vances in this country, we ought to produce men able to 
 deal in a vigorous and imaginative way with the big 
 spiritual and economic conceptions that are associated 
 with our new ideals of industry." 
 
 One feature of this court made a special appeal to the 
 architect, the use of the large green vases under the 
 arches. "They're so good they're likely to be overlooked. 
 They blend perfectly in the general scheme. Their color- 
 ing could not have been better chosen and their design is 
 particularly happy." 
 
 [SO]
 
 VI 
 
 ON THE MARINA 
 
 LONG one of the corridors we passed, en- 
 joying the richness of the coloring and the 
 beauty of the great lamps in a long row, 
 then out into the wide entrance of the 
 court to the Column of Progress. 
 "I wonder if that column would be there 
 now," said the architect, "if Trajan had not built his col- 
 umn in Rome nearly two thousand years ago. The Chris- 
 tianizing of the column, by placing St. Peter on top in- 
 stead of Trajan, is symbolic of a good deal that has gone 
 on here. But we owe a big debt to the pagans, much more 
 than we acknowledge." 
 
 When I expressed enthusiasm over the column the 
 architect ran his eye past the frieze to the top. "In the 
 first place, that dominating group up there ought at once 
 to express the character of the column. But it doesn't. You 
 have to look twice and you have to look hard. One figure 
 would have been more effective. But there is a prejudice 
 among some sculptors against placing a single figure 
 at the head of a column, though the Romans often did it. 
 But if a group had to be used it could have been made 
 much clearer. Now in that design MacNeil celebrated the 
 Adventurous Archer in a way that was distinctly old- 
 fashioned. He made the archer a superman, pushing his 
 way forward by force, and by the dominance of person- 
 ality. And see how comparatively insignificant he made 
 the supporting figures. The relation of those three people 
 implies an acceptation of the old ideals of the social or- 
 ganization. MacNeil had a chance here to express the new 
 spirit of today, the spirit that honors the common man 
 and that makes an ideal of social co-operation on terms 
 of equality." 
 
 At the base we studied the figures celebrating labor. 
 "Konti is a man of broad social understanding and sym- 
 pathy," said my companion. "But picturesque as those 
 
 [51]
 
 THE CITY OF DOMES 
 
 figures are, they're not much more. They give no intima- 
 tion of the mighty stirring among the laborers of the 
 world, a theme that might well inspire the sculpture of 
 today, one of the greatest of all human themes." 
 
 From the Column of Progress the Marina drew us 
 over to the seawall. "The builders were wise to leave this 
 space open and to keep it simple. It's as if they said : 
 'Ladies and gentlemen, we have done our best. But here's 
 Mother Nature. She can do better.' " 
 
 To our right stood Alcatraz, shaped like a battleship, 
 with the Berkeley hills in the distant background. To the 
 left rose Tamalpais in a majestic peak. 
 
 When I mentioned that there ought to be more boats 
 out there on the bay, a whole fleet, and some of them 
 with colored sails, to give more brightness, the architect 
 shook his head. 
 
 "The scene is typically Californian. It suggests great 
 stretches of vacant country here in this State, waiting 
 for the people to come from the overcrowded East and 
 Middle West and thrive on the land." 
 
 Our point of view on the Esplanade enabled us to take 
 in the sweep of the northern wall, with its straight hori- 
 zontal lines, broken by the entrances to the courts and 
 by the splendidly ornate doors in duplicate. Of the design 
 above the doorway the architect said: "It's a perfect ex- 
 ample of the silver-platter style of Spain, generally called 
 'plateresque,' adapted to the Exposition. Allen Newman's 
 figure of the Conquistador is full of spirit, and the bow- 
 legged pirate is a triumph of humorous characterization. 
 Can't you see him walking the deck, with the rope in his 
 hand? It isn't so many generations since he used to 
 infest the Pacific. By the way, that rope, which the 
 sculptor has made so realistic and picturesque at the 
 same time, reminds me that a good many people are 
 bothered because the bow up here, on the Column of 
 Progress, has no string. The artistic folk, of course, 
 think that the string ought to be left to the imagination." 
 
 [52]
 
 THE MARINA AT NIGHT. FROM THE 
 LOCOMOTIVE PAINTED TO RESEMBLE THE 
 TRAVERTINE, NEAR THE ENTRANCE TO THE 
 COURT OF THE FOUR SEASONS, THERE IS 
 RISING THE STEAM THAT RYAN COLORS 
 WITH HIS SCINTILLATORS. IN THE BACK- 
 GROUND IS A GLIMPSE or THE TOWER OF 
 JEWELS UNDER THE WHITE ILLUMINATION 
 AND OF ONE OF THE SIX PAVILIONS IN THE 
 COLONNADE IN THE COURT OF THE 
 UNIVERSE.
 
 ON THE MARINA 
 
 In the distance, to the west, we commented on the noble 
 outlines of the California Building, an idealized type of 
 Mission architecture, a little too severe, perhaps, lacking 
 in variety and warmth, but of an impressive dignity. The 
 old friars, for all their asceticism, liked gaiety and color 
 in their building. 
 
 As we were about to start back to the Court of the 
 Universe the architect reminded me of the two magnifi- 
 cent towers, dedicated to Balboa and Columbus, that had 
 been planned for the approach to the Court of Four Seas- 
 ons and the Court of Ages from the bay side, but had 
 been omitted to save expense. They would have given 
 the Marina a far greater splendor; but they would have 
 detracted from its present simplicity. 
 
 [53 1
 
 VII 
 
 TOWARD THE COURT OF FOUR 
 SEASONS 
 
 HERE are critics," I remarked, as we 
 walked back to the Court of the Universe, 
 on the way to the Court of Four Seasons, 
 "who say that the entrance courts ought 
 to have been placed on the other side, that 
 the Exposition ought to have been turned 
 round." 
 
 "They don't understand the conditions that the archi- 
 tects had to meet. That plan was considered ; but when 
 it was pointed out that the strongest winds here blow 
 from the south and southwest, it was seen that it would 
 not be feasible. Besides, the present arrangement has 
 the advantage of leading the people directly to one of the 
 most beautiful bays in the world. The only bays at all 
 like it that I know anything about are the Bay of Pa- 
 lermo and the Bay of Naples. The view of the Expo- 
 sition from the water is wonderfully fine. It brings out 
 the charm of the straight lines. All things considered, 
 the architects did an uncommonly fine job in making 
 the courts run from the Esplanade." 
 
 Under the star figures, among the sculptured flowers 
 surrounding the head of the sacred bull, birds were nest- 
 ling. We wondered if those birds were really fooled by 
 those flowers or whether, in these niches, they merely 
 found a comfortable place to rest. "There's an intimate 
 relation, by the way, between birds and architecture. 
 It's said that the first architectural work done in the 
 world consisted in the making of a bird's nest. Some 
 critics think that architecture had its start in the making 
 of a bird's nest. Have you ever watched birds at work on 
 their nests? If you have, you must know that they go 
 about the job like artists. In our profession we like to 
 insist, you know, that there's a big difference between 
 architecture and mere building. In its truest sense archi- 
 
 [54]
 
 ROTUNDA OF THE PALACE OF FINE ARTS, 
 BY BERNARD R. MAYBECK, WITH A SECTION 
 OF THE COLONNADE REFLECTED BY DAY IN 
 THE LAGOON. IT WAS ORIGINALLY INTENDED 
 THAT THE HEDGE, MADE OF AFRICAN DEW- 
 PLANT, BY JOHN m'LAREN, SHOULD BE COV- 
 ERED WITH WILLOW TREES, EXTENDING 
 NEARLY TO THE TOP OF THE COLUMNS. THE 
 WHOLE CONCEPTION IS DESIGNED TO SUG- 
 GEST AN ABANDONED RUIN.
 
 TOWARD THE COURT OF THE FOUR SEASONS 
 
 tecture is building with a fine motive. It's the artistic 
 printing press of all ages, the noblest of the fine arts 
 and the finest of the useful arts. I know, of course," the 
 architect went on, "that there's another tradition not quite 
 so flattering. It makes the architect merely the worker in 
 the rough, with the artistic finish left to the sculptors. 
 But the outline is nevertheless the architect's, the struc- 
 ture, which is the basis of beauty. Even now a good many 
 of the great French buildings are roughed out in this 
 way, and finished by the sculptors and the decorators." 
 
 Under the western arch, leading to the inner court 
 that united the Court of the Universe with the Court of 
 the Four Seasons, we found the two panels by Frank 
 Vincent Du Mond. Their simple story they told plainly 
 enough, the departure of the pioneers from the Atlantic 
 border for the Far West on the Pacific. In the panel to 
 the right we saw the older generation saying farewell to 
 the younger, and on the other side we saw the travelers 
 arriving in California and finding a royal welcome from 
 the Westerners in a scene of typical abundance, even the 
 California bear showing himself in amiable mood. "That 
 bear bothered Du Mond a good deal. He wasn't used 
 to painting bears. It isn't nearly as life-like as those 
 human figures." 
 
 What I liked best about the murals was their splendor 
 of coloring, and their pictorial suggestiveness and vigor 
 of characterization. Perhaps there was a little too much 
 eflFort on the part of the painter to suggest animation. 
 But why, I asked, had Du Mond made most of the faces 
 so distinctively Jewish? 
 
 My question was received with an exclamation of sur- 
 prise. Yes, the strong Jewish types of features were cer- 
 tainly repeated again and again. Perhaps Du Mond hap- 
 pened to use Jewish models. It hardly seemed possible 
 that the eflfect could have been intentional. 
 
 When I pointed to one of the figures, a youth holding 
 out a long bare arm, and remarked that I had never seen 
 
 155 1
 
 THE CITY OF DOMES 
 
 an arm of such length, my criticism brought out an un- 
 suspected principle of art. "The Cubists would say that 
 you were altogether too literal. They are making us all 
 understand that what art ought to do is to express not 
 what we merely see with our eyes, but what we feel. If 
 by lengthening that arm, the painter gets an effect that 
 he wants, he's justified in refusing to be bound by the 
 mathematical facts of nature. Art is not a matter of strict 
 calculation, that is, art at its best and its purest. It's a 
 matter of spiritual perception. All the resources of the 
 artist ought to be bent toward expressing a spiritual idea 
 and making it alive and beautiful through outline and 
 color." 
 
 "But how about the mixture of allegory and realism 
 that we see in these murals and in so much of the art 
 here? Don't you find it disturbing?" 
 
 "Not at all. There's no reason in the world why the 
 allegorical and the real should not go together, provided, 
 of course, they don't grossly conflict and become absurd. 
 What the artist is always working for is the effect of 
 beauty. If a picture is beautiful, no matter how the beauty 
 is achieved, it deserves recognition as a work of art. In 
 these murals Du Mond has tried to reach as closely as 
 he could to nature without being too literal and without 
 sacrificing artistic effect. He has even introduced among 
 his figures some well-known Californians, a Bret Harte, 
 in the gown of the scholar, and William Keith, carrying a 
 portfolio to suggest his painting." 
 
 In that inner court we noticed how cleverly Faville 
 had subordinated the architecture so that it should mod- 
 estly connect the great central courts. McLaren was 
 keeping it glowing on either side with the most brilliant 
 California flowers. The ornamental columns, the Span- 
 ish doorways, and the great windows of simple and yet 
 graceful design were all harmonious, and Guerin and 
 Ryan had helped out with the coloring. 
 
 [56]
 
 VIII 
 
 THE COURT OF THE FOUR 
 SEASONS 
 
 S WE entered the Court of the Four Sea- 
 sons the architect said : "If I were to send 
 a student of architecture to this Exposition, 
 I should advise him to spend most of his 
 time here. Of all the courts, it expresses 
 for me the best architectural traditions. 
 Henry Bacon frankly took Hadrian's Villa for his model, 
 and he succeeded in keeping every feature classic. That 
 half dome is an excellent example of a style cultivated by 
 the Romans. The four niches with the groups of the 
 seasons, by Piccirilli, screened behind the double columns, 
 come from a detail in the baths of Caracalla. The Romans 
 liked to glimpse scenes or statuary through columns. 
 Guerin has applied a rich coloring, his favorite pink, and 
 McLaren has added a poetic touch by letting garlands of 
 the African dew plant, that he made his hedge of, flow 
 over from the top. See how Bacon has used the bull's head 
 between the flowers in the ornamentation, one of the 
 most popular of the Renaissance motives. And he has in- 
 troduced an original detail by letting ears of corn hang 
 from the top of the columns. Those bulls up there, with 
 the two figures, carry the mind back to the days when 
 the Romans made a sacrifice of the sacred bull in the har- 
 vest festivals. This Thanksgiving of theirs they called 
 The Feast of the Sacrifice.' " 
 
 Crowning the half dome sat the lovely figure of Nature, 
 laden with fruits, by Albert Jaegers. On the columns at 
 either side stood two other figures by Jaegers, "Rain," 
 holding out a shell to catch the drops, and "Sunshine," 
 with a palm branch close to her eyes. At each base the 
 figures of the harvesters carried out the agricultural idea 
 with elemental simplicity in friezes that recalled the 
 friezes on the Parthenon. Here, on each side of the half- 
 dome, we have a good example of the composite column, 
 
 [57]
 
 THE CITY OF DOMES 
 
 a combination of the Corinthian and the Ionic, with the 
 Ionic scrolls and the acanthus underneath, and with little 
 human figures between the two. 
 
 What we liked best about this court was its feeling of 
 intimacy. One could find refreshment here and rest. 
 Much was due to the graceful planting by John McLaren. 
 His masses of deep green around the emerald pool in 
 the center were particularly successful. He had used 
 many kinds of trees, including the olive, the acacia, the 
 eucalyptus, the cypress, and the English laurel. 
 
 We lingered in front of these fountains, admiring the 
 classic grace of the groups and the play of water over 
 the steps. We thought that Piccirilli had been most suc- 
 cessful with his "Spring." "Of course, it's very conven- 
 tional work," said the architect, "but the conventional 
 has its place here. It explains just why Milton Ban- 
 croft worked out those murals of his in this particular 
 way. He wanted to express the elemental attitude of 
 mind toward nature, the artistic childhood of the race." 
 
 When we examined the figures of the Piccirilli groups 
 in detail, we found that they possessed excellent qualities. 
 They carried on the traditions of the wall-fountains so 
 popular in Rome and often associated with water running 
 over steps. The figures were well put together and the 
 lines were good. All of the groups had the surface as 
 carefully worked out. In "Spring" the line of festooning 
 helped to carry on the line leading to the top of the group. 
 There was tender feeling and fine workmanship in "Sum- 
 mer," with the feminine and masculine hands clearly 
 differentiated. "The men of today have a chance to learn 
 a good lesson from Rodin," said the painter. "He is 
 teaching them what he himself may have learned from 
 the work of Donatello and Michael Angelo, the import- 
 ance of surface accentuation, the securing of the light and 
 shade that are just as necessary in modelling as in paint- 
 ing. In these groups there is definite accentuation of the 
 
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 THE COURT OF TPIE FOUR SEASONS 
 
 muscles. It makes the figures seem life-like. The work 
 reminds me of the figure of The Outcast, by the sculptor's 
 brother, Attilio PiccirilH, that we shall see in the colon- 
 nade of the Fine Arts Palace. So many sculptors like to 
 secure these smooth, meaningless surfaces that excite ad- 
 miration among those people who care for mere pretti- 
 ness. It is just about as admirable as the smoothing out 
 of character lines from a photograph. But the Piccirillis 
 go at their work like genuine artists." 
 
 Those murals we were inclined to regard as somewhat 
 too simple and formal. "After all," said the architect, "it's 
 a question whether this kind of effort is in the right 
 direction. So often it leads to what seems like acting in 
 art, regarded by some people as insincerity. At any rate, 
 the best that can be said of it is that it's clever imitation. 
 But here it blends in with the feeling of the court and 
 it gives bright spots of color. Guerin has gone as close 
 to white as he dared. So he felt the need of strong color 
 contrasts, and he got Bancroft to supply them. And the 
 colors are repeated in the other decorations of the court. 
 It's as if the painter had been given a definite number of 
 colors to work with. In this matter of color, by the way, 
 Bancroft had a big advantage over the old Roman paint- 
 ers. Their colors were very restricted. In this court they 
 might have allowed more space for the murals. They're 
 not only limited in size, but in shape as well. Bancroft 
 used to call them his postage-stamps." 
 
 In the entrance court we found Evelyn Beatrice Long- 
 man's "Fountain of Ceres," the last of the three foun- 
 tains done on the grounds by women, and decidedly the 
 most feminine. "Mrs. Longman hasn't quite caught the 
 true note," the architect remarked. "The base of the foun- 
 tain is interesting, though I don't care for the shape. But 
 the figure itself is too prim and modish. Somehow I can't 
 think of Ceres as a very proper old maid, dressed with 
 modern frills. The execution, however, shows a good 
 deal of skill. The frieze might be improved by the soften- 
 
 rsQi
 
 THE CITY OF DOMES 
 
 ing of those sharp lines that cut out the figures like paste- 
 board. And these women haven't as much vitality as that 
 grotesque head down near the base, spouting out water," 
 The architect glanced up and noticed the figure of 
 "Victory" on one of the gables, so often to be seen dur- 
 ing a walk over the grounds. "There's more swing to 
 that figure than to the one here, and yet there's a certain 
 resemblance between them. They both show the same in- 
 fluence, the Winged Victory of Samothrace. Of course. 
 Miss Longman has purposely softened the effect on ac- 
 count of the mildness of her subject. But she might have 
 been more successful with her draperies if she had fol- 
 lowed the suggestions in the Winged Victory more 
 closely. There the treatment of the draperies is magnifi- 
 cent. Both the Greeks and the Romans were very fond of 
 this type of figure. And it's often found among the ruins 
 of Pompeii, which kept so close to Rome in its artistic 
 enterprise." 
 
 The need of separating the entrance to the Court of the 
 Four Seasons from Ryan's display of scintillators on the 
 imitation of Morro Castle at the edge of the bay, had 
 given John McLaren a chance to create another of these 
 deep green masses that surrounded the pool. It shut the 
 court off from the rest of the world and deepened the 
 intimacy, leaving, however, glimpses of the bay and the 
 hills beyond. 
 
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 THE PALACE OF FINE ARTS FROM 
 ACROSS THE LAGOON 
 
 N RETURNING to the Court of the Four 
 Seasons, we started along another of those 
 inner courts, made charming by those 
 Spanish doorways and by the twisted col- 
 umns, a favorite of the Romans, evidently 
 borrowed from the Orientals. "All through 
 the Exposition," the architect remarked, "we are reminded 
 of the Oriental fondness for the serpent. Some people like 
 to say that it betrays the subtlety and slyness of the Ori- 
 ental people. But they admired the serpent chiefly because, 
 in their minds, it represented wisdom, the quiet and easy 
 way of doing things, a little roundabout perhaps, but often 
 better than the method of opposition and attack." 
 
 Before us, looking down as if from an eminence, stood 
 the Palace of Fine Arts. The architect reminded me of the 
 clever planning that had placed this magnificent concep- 
 tion in so commanding a position, looking down into the 
 courts, on what he called "the main axis." 
 
 "It's the vision of a painter who is also a poet, worked 
 out in terms of architecture. Maybeck planned it all, even 
 to the details. He wanted to suggest a splendid ruin, 
 suddenly come upon by travelers, after a long journey in 
 a desert. He has invested the whole place with an at- 
 mosphere of tragedy. It's Roman in feeling and Greek 
 in the refinement of its ornamentation. That rotunda re- 
 minds one of the Pantheon in Rome. Those Corinthian 
 columns, with the melancholy drooping of the acanthus 
 and the fretwork and the frieze, by Zimm, are suggestive 
 of Greece. Maybeck says that his mind was started on 
 the conception, 'The Island of Death,' by Boecklin, the 
 painting that the German people know so well as the 
 'Todteninsel,' and by 'The Chariot Race,' of Gerome." 
 
 [6i]
 
 THE CITY OF DOMES 
 
 The architect went on to say that the resemblance was 
 remote and chiefly interesting as showing how a great 
 artist could carry a suggestion into an entirely new realm. 
 The Boecklin painting merely suggested the general scope 
 of the Work, and the chariot race gave the hint for that 
 colonnade, which Maybeck had made so original and 
 graceful by the use of the urns on top of groups of col- 
 umns with the figure of a woman at each corner. He had 
 used that somewhat eccentric scheme on account of its 
 pictorial charm. All through the construction Maybeck 
 had defied the architectural conventions ; but he had been 
 justified by his success. 
 
 My attention was directed to a group of columns at the 
 end of the colonnade. "There's just a hint of the Roman 
 Forum over there. Perhaps it's accidental. Perhaps it's 
 developed from a picture way down in Maybeck's con- 
 sciousness. However, the idea of putting two columns to- 
 gether in just that way comes from the French Renais- 
 sance. The great French architect, Perrault, used it in 
 the Louvre. In the competition he won out over Bernini, 
 who is living again in the Court of the Universe. It gives 
 great architectural richness." 
 
 People had wondered what McLaren had meant to in- 
 dicate by the high hedges he had made over there with 
 his dew plant. He had merely carried out the designs 
 put into his hands. Maybeck had intended the hedge to 
 be used as a background for willow trees that were to 
 run up as high as the frieze, in this way gaining depth. 
 Through those trees the rotunda was to be glimpsed. 
 Willow trees, with overhanging boughs, were also to be 
 planted along the edge of the lagoon, the water running 
 under the leaves and disappearing. 
 
 In the lagoon swans were swimming and arching their 
 long necks. "The old Greeks and Romans would have 
 loved this scene, though they would, of course, have 
 found alien influences here," said the architect. "They 
 
 [62]
 
 THE PALACE OF FINE ARTS FROM ACROSS THE LAGOON 
 
 would have enjoyed the sequestration of the Palace, its 
 being set apart, giving the impression of loneliness. The 
 architects were shrewd in making the approach long and 
 circuitous." 
 
 "They might have done more with the water that was 
 here before they filled in," I said. "It offered fine 
 chances." 
 
 "Yes, and they thought of them and some ambitious 
 plans were discussed. But the expense was found to be 
 prohibitive." 
 
 At that moment a guard, in his yellow uniform with 
 brass buttons, came forward with a questioning lady at 
 his side. They stood so close to us that we could not help 
 hearing their talk. 
 
 "What are those women doing up there ?" 
 
 The guard looked at the urns, surmounting the col- 
 umns. "They're supposed to be crying," he said. 
 
 "What are they crying about?" 
 
 The guard looked a little embarrassed. "They are cry- 
 ing over the sadness of art," he said. Then he added some- 
 what apologetically, "Anyway, that's what the lecturer 
 told us to say," 
 
 The lady appealed to us for information. "What this 
 gentleman says is true," remarked the authority at my 
 side. "The architect intended that those figures should ex- 
 press something of the sadness of life as reflected in art." 
 
 "Oh," said the lady, as if she only half understood. 
 
 Then she and the guard drifted away. 
 
 "Those people have unconsciously given us a bit of art 
 criticism, haven't they? One of the most pictorial notes in 
 this composition of Maybeck's is the use of these figures. 
 But it's also eccentric and it puzzles the average looker-on 
 who is always searching after meanings, according to the 
 literary habit of the day, the result of universal reading. 
 Perhaps the effect would have been less bewildering if 
 those urns were filled with flowers as Maybeck intended 
 they should be. Then the women would have seemed to 
 be bending over the flowers. The little doors were put into 
 
 [63]
 
 THE CITY OF DOMES 
 
 the urns so that the man in charge of the flowers could 
 reach up to them. But this item of expense was included 
 among the sacrifices." 
 
 The coloring of the columns had been a subject of some 
 criticism. The ochre columns were generally admired ; but 
 the green columns were considered too atmospheric to 
 give the sense of support. And that imitation of green 
 marble directly under the Pegasus frieze of Zimm's, near 
 the top, had been found to bear a certain resemblance to 
 linoleum. But in applying the colors Guerin had worked 
 with deliberate purpose. The green under the frieze was 
 really a good imitation of marble, and the shade used on 
 the column suggested the weather-beaten effect associated 
 with age. 
 
 "There are columns that, in my opinion, have more 
 beauty than those Maybeck used. But that's a matter 
 of taste. In themselves those columns are fine and thev 
 blend into impressive masses. That altar under the 
 dome, with the kneeling figure, only a great artist 
 could have conceived in just that way. Ralph Stack- 
 pole, the sculptor of the figure, worked it out in perfect 
 harmony with Maybeck's idea. To appreciate his skill 
 one ought to get close and see how roughly it has been 
 modeled in order that the lines should be clear and 
 yet give an effect of delicacy across the lagoon. And 
 those trees along the edge of the lagoon, how grace- 
 fully they are planted, in the true Greek spirit. The 
 lines in front of the rotunda are all good, as they run 
 down to the water's edge. And how richly McLaren 
 has planted the lagoon. He has given just the luxuriance 
 that Maybeck wanted." 
 
 THE WESTERN WALL 
 
 We turned to get the effect of the western wall 
 looking out on this magnificence. "Faville has done 
 some of his finest work there. All over the Exposition 
 he has expressed himself; but as his name is not con- 
 nected with one of the great courts we don't hear it 
 
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 THE PALACE OF FINE ARTS FROM ACROSS THE LAGOON 
 
 very much. When he tackled the Western Wall he had 
 one of the hardest of his problems. There was a big 
 expanse to be made interesting- and impressive, without 
 the aid of towers or courts. It was a brilliant idea to 
 break the monotony with those two splendid Roman 
 half-domes." 
 
 The figure of "Thought" on the columns in front of 
 the Dome of Plenty and repeated on the Dome of 
 Philosophy started the architect talking on the subject 
 of character and art. "Only a sculptor with a very 
 fine nature could have done that fellow up there. In 
 that design Stackpole shows the qualities that he 
 shows in the kneeling girl at the altar in the rotunda 
 across the lagoon and in his figure of the common 
 laborer and the little group of artisans and artists that 
 we shall see on the doorway of the Varied Industries. 
 They include fineness and cleanness of feeling, rever- 
 ence and tenderness. This particular figure is one of 
 three figures on the grounds that stand for virtually 
 the same subject, Rodin's "Thinker," in the courtyard 
 of the French Building, and Chester Beach's "Think- 
 er," in the niches to the west and east of the tower in 
 the Court of the Ages. They are all different in char- 
 acter. Stackpole's gives the feeling of gentle contem- 
 plation. That man might be a poet or a philosopher or 
 an inventor; but a man of the kind of thought that 
 leads to action or great achievement in the world — 
 never. You can't think of him as competing with his 
 whole heart and soul in order to get ahead of other 
 men. However, it would be an achievement just to be 
 that type and it's a good type to be held up to us for our 
 admiration, better than the conventional ideal of suc- 
 cess embodied in the Adventurous Bowman, for ex- 
 ample." 
 
 The proportions of the domes we could see at a 
 glance had been well worked out. Earl Cummings' figure 
 of the Youth had a really youthful quality; but there 
 
 [6sl
 
 THE CITY OF DOMES 
 
 was some question in our minds as to the wisdom of 
 repeating the figure in a semi-circle. "After all," the 
 architect remarked, "in this country art owes some 
 concession to habit of mind. We are not trained to frank- 
 ness in regard to nudity. On the contrary, all our con- 
 ventions are against it. But our artists, through their 
 special professional training, learn to despise many of 
 our conventions and they like to ignore them or frank- 
 ly show their contempt for them." 
 
 That elaborate Sienna fountain was well adapted to 
 the Dome of Plenty, though it was by no means a fine 
 example of Italian work, with its design built up tier 
 on tier. "It's the natural expression of a single idea 
 that leads to beauty, isn't it? The instant there's a be- 
 trayal of effort, the charm begins to fade." 
 
 There was no criticism to be made, however, of the 
 Italian fountain in the Dome of Philosophy, the sim- 
 plest of all the fountains, and one of the most beautiful, 
 the water flowing over the circular bowl from all sides. 
 "It makes water the chief feature," said the architect 
 approvingly, "which is the best any fountain can do. 
 Is there anything in art that can compare for beauty 
 with running water? This fountain comes from Italy 
 and these female figures, above the doorway, with 
 books in their arms, are by one of the most interesting of 
 the sculptors represented here, Albert Weinert. We'll see 
 more work of his when we get to the Court of Abun- 
 dance." 
 
 At sight of the curious groups in the niches I ex- 
 pressed a certain disappointment. It seemed to me 
 that, in the midst of" so much real beauty, they were 
 out of key. But the architect had another point of 
 view. "They are worth while because they're different," 
 he said. "They ought not to be considered merely as 
 ornaments. They have an archaeological interest. They 
 are related to those interesting studies that Albert 
 Durer used to make, and they are full of symbolism. 
 
 [66]
 
 "the thinker," by AUGUSTS RODIN, GENERALLY ACCEPTED 
 AS THE GREATEST OF LIVING SCULPTORS, IN THE COURT OF 
 THE FRENCH BUILDING. IT WAS DESIGNED TO SURMOUNT 
 RODIN'S "gates op hell" and to LOOK DOWN ON THE 
 riCURES BENEATH. SOME OBSERVERS FIND A CONTRADIC- 
 TION BETWEEN THE GREAT PHYSICAL STRENGTH, SUG- 
 GESTING THE ELEMENTAL MAN, AND THE EXPRESSION OF 
 PHILOSOPHICAL CONTEMPLATION, SUGGESTING THE MAN 
 OF INTELLECT. OTHERS DISCOVER A SYMBOL OF THE MASS 
 OF MANKIND BROODING ON THE MEANING OF LIFE. FROM 
 THE POINT OF VIEW OF SCULPTURE WHAT IS MOST SIG- 
 NIFICANT ABOUT THE FIGURE IS THE ROBUSTNESS OF THE 
 MODELLING, CHARACTERISTIC OF RODIN.
 
 THE PALACE OF FINE ARTS FROM ACROSS THE LAGOON 
 
 When Charles Harley made them he knew just what 
 he was doing'. The male figure in 'The Triumph of the 
 Fields' takes us back to the time when harvesting was 
 associated with pagan rites. The Celtic cross and the 
 standard with the bull on top used to be carried 
 through the field in harvest time. The bull celebrates 
 the animal that has aided man in gathering the crops. 
 The wain represents the old harvest wagon. That 
 head down there typifies the seed of the earth, symbol 
 of the life that comes up in the barley that is in- 
 dicated there, bringing food to mankind. The woman's 
 figure, unfortunately, is too small for the niche, 
 'Abundance.' The horn of plenty on either side indi- 
 cates her character. She's reaching out her hands to 
 suggest her prodigality. The head of the eagle on the 
 prow of the ship where she is sitting, gives the idea 
 an American application, suggesting our natural pros- 
 perity and our reason for keeping ahead in the march 
 of progress. In one sense, those figures represent a 
 reactionary kind of sculpture. Nowadays the sculptors, 
 like the painters, are trying to get away from literal 
 interpretations. They don't want to appeal to the mind 
 so much as to the emotions." 
 
 [671
 
 § 
 
 ^3 
 
 X 
 
 THE PALACE OF FINE ARTS 
 AT CLOSE RANGE 
 
 HE path leading to the northern end of the 
 colonnade attracted us. It brought us to the 
 beautiful little grove of Monterey cypress 
 that McLaren had saved from the old Har- 
 bor View restaurant, for so many years 
 one of the most curious and picturesque of 
 the San Francisco resorts, one of the few on the bay-side. 
 Though the architect frankly admired Paul Bartlett's real- 
 istic "Wounded Lion," the pieces of sculpture set out on 
 the grass bothered him somewhat. He couldn't find any 
 justification for their being there. He wanted them, as he 
 said, in a setting. "I think I can see what the purpose 
 was in putting them here, to provide decoration that 
 would be unobtrusive. But some of these pieces, like 
 Bartlett's, stand out conspicuously and deserve to be 
 treated with more consideration. Besides, there's always 
 danger of weakening a glorious conception like May- 
 beck's by putting too many things into it, creating an 
 artistic confusion." 
 
 We began to see how the colonnade in Gerome's 
 painting had worked its influence. It was easy to imagine 
 two chariots tearing along here, between the columns, 
 after the ancient fashion. And those bushes, to the right, 
 rising on the lower wall, between the vases, surely had 
 the character of over-growth. They carried out May- 
 beck's idea of an abandoned ruin. 
 
 The architect pointed to the top of the wall : "The 
 little roof-garden on the edge of the upper wall gives the 
 Egyptian note in the architecture that many people have 
 felt and it is emphasized by the deep red that Guerin has 
 applied, the shade that's often found in Egyptian ruins." 
 
 [68]
 
 THE PALACE OF FINE ARTS AT CLOSE RANGE 
 
 Above the main entrance of the palace we saw Lentelh's 
 "Aspiration," that had been the cause of so much criticism 
 and humorous comment during the first few weeks of the 
 Exposition. "LentelH had a hard time with that figure. 
 It drove him almost to distraction. Perhaps a genius 
 might have solved the problem of making the figure seem 
 to float ; but I doubt if it could have been solved by any- 
 one. The foot-rest they finally decided to put under it 
 didn't help the situation much." 
 
 Directly in front of "Aspiration," on its high pedestal, 
 stood Charles Grafly's monumental statue of "The Pio- 
 neer Mother." "I suppose the obvious in sculpture has its 
 place," the architect remarked, "and this group will ap- 
 peal to popular sentiment. Its chief value lies in its 
 celebrating a type of woman that deserves much more 
 recognition than she has received in the past. Most of 
 the glory of the pioneer days has gone to the men. The 
 women, however, in the background, had to share in the 
 hardships and often did a large part of the work. It's a 
 question in my mind whether this woman quite repre- 
 sents the vigorous type that came over the plains in the 
 prairie schooner. However, just as she is, she is fine, and 
 she has a strong hand that looks as if it had been made 
 for spanking. I wonder why the sculptor gave her that 
 kind of head-covering. She might have appeared to better 
 advantage bare-headed. The children are excellent. Ob- 
 serve the bright outlook of the boy and the timid attitude 
 of the girl. There's a fine tenderness in the care the girl 
 is getting from her mother and from the boy, too, sug- 
 gesting dawning manhood. Altogether, the group has 
 nobility and it's worthy of being a permanent monument 
 for San Francisco. By the way, there's the old Roman 
 idea of the decorative use of the bull's head again, at the 
 base of the group. It has a very happy application here. 
 It reminds us of the oxen that helped to get the Eastern- 
 ers out to California in the old days before the railroads. 
 A good many of them must have dropped in their tracks 
 and left their skulls to bleach in the sun." 
 
 1691
 
 THE CITY OF DOMES 
 
 The Other ornamental design we found very appropri- 
 ate and direct, as we studied the pedestal. There was the 
 ship that used to go round the horn, with the torches that 
 suggested civilization, and, at the back of the pedestal, 
 the flaming sun that celebrated the Golden Gate. 
 
 In the rotunda we found Paul Bartlett, represented 
 again by the equestrian statue of Lafayette, in full uni- 
 form, advancing sword in the air. It unquestionably had a 
 magnificent setting, though it suffered by being surround- 
 ed by so many disturbing interests. "The director of the 
 Fine Arts Department cared enough about this figure to 
 have it duplicated for the Exposition. It's a good example 
 of the old-fashioned heroic sculpture, where the subjects 
 take conventional dramatic attitudes." 
 
 The ceiling of the rotunda displayed those much- 
 discussed murals by Robert Reid. Up there they seemed 
 like pale reflections. "You should have seen them when 
 they were in Machinery Hall. Then they were magnifi- 
 cent. But the instant they were put in place it was plain 
 that the effect had been miscalculated. At night, under 
 the lighting, they show up better. Judged by themselves, 
 apart from their surroundings, they are full of inspiration 
 and poetry. Only a man of genuine feeling and with a fine 
 color-sense could have done them. But in all this splendor 
 of architecture they are lost." 
 
 On examining them in detail we found that they cov- 
 ered an extraordinarily wide range of fancy, graceful and 
 dramatic, even while, save in one panel, they showed an 
 indifference to story-telling. One group celebrated "The 
 Birth of European Art." with the altar and the sacred 
 flame, tended by a female guardian and three helpers, and 
 with a messenger reaching from his chariot to seize the 
 torch of inspiration and to bear it in triumph through the 
 world, the future intimated by the crystal held in the 
 hands of the woman at the left. Another, "The Birth of 
 Oriental Art," told the ancient legend of a Chinese war- 
 
 170]
 
 LEO LENTELLI S ASPIRATION, ABOVE THE 
 ENTRANCE TO THE PALACE OF FINE ARTS. 
 IT WAS AT FIRST INTENDED THAT IT 
 SHOULD SUGGEST A FLOATING FIGURE, BUT 
 AS IT SEEMED TO BE CAUGHT UNDER THE 
 HORIZONTAL LINE BEHIND THE HEAD, A 
 PEDESTAL WAS DEVISED TO GIVE IT APPAK- 
 ENT SUPPORT.
 
 THE PALACE OF FINE ARTS AT CLOSE RANGE 
 
 rior who, seated on the back of a dragon, gave battle to 
 an eagle, the symbol relating to man's seeking inspiration 
 from the air. "Ideals in Art" brought forward more or 
 less familiar types : the Madonna and the Child, Joan of 
 Arc, Youth and Beauty, in- the figure of a girl, Vanity in 
 the Peacock, with more shadowy intimations in two mys- 
 tical figures in the background, the tender of the sacred 
 flame and the bearer of the palm for the dead, and the 
 laurel-bearer ready to crown victory. "The Inspiration in 
 All Art" revealed the figures of Music, Architecture, 
 Painting, Poetry and Sculpture. Four other panels glori- 
 fied the four golds of California, gold, wheat, poppies and 
 oranges, a happy idea, providing opportunities for the 
 splendid use of color. 
 
 "It's a pity those murals couldn't have been tried out up 
 there and then taken down and done over," said the archi- 
 tect. "But sometime they will find the place where they 
 belong, perhaps in one of our San Francisco public build- 
 ings. They're too good not to have the right kind of 
 display." 
 
 "The Priestess of Culture," by Herbert Adams, one of 
 the best-known of American sculptors, eight times repeat- 
 ed, we felt, had its rightful place up there and blended 
 into the general architectural scheme. But some of the 
 other pieces of statuary might have been left out with 
 advantage. 
 
 Through the columns we caught many beautiful vistas. 
 And those groups of columns themselves made pictures. 
 "What is most surprising about this palace is the way 
 it grows on you. The more familiar you are with it 
 the more you feel the charm. Maybeck advises his friends 
 to come here by moonlight when they can get just the 
 eflfect he intended. In all the Exposition there's no other 
 spot quite so romantic. It might have been built for 
 lovers." 
 
 [71I
 
 XI 
 AT THE PALACE OF HORTICULTURE 
 
 T THE Palace of Horticulture the archi- 
 tect said: "Here is the Mosque of Ahmed 
 the First, taken from Constantinople and 
 adapted to horticulture and to the Expo- 
 sition. It has a distinct character of its 
 own. It even has temperament. So many 
 buildings that are well proportioned give the impression 
 of being stodgy and dull. They are like the people that 
 make goodness seem uninteresting. But here is use that 
 expresses itself in beauty and adorns itself with appro- 
 priate decoration." 
 
 When I mentioned that some people found this building 
 too ornate, the architect replied : 
 
 "There's an intimate and appropriate relation between 
 the ornament and the architecture. Personally I shouldn't 
 care to see just this kind of building in the heart of the 
 city, where you'd have it before your eyes every day. 
 But for the Exposition it's just right. And how fitting 
 it is that the splendid dome should be the chief feature 
 of a building that is really an indoor garden and that the 
 most prominent note of the coloring should be green, 
 nature's favorite and most joyous color. Some joker," 
 he went on, "says that this Exposition is domicidal. He 
 expresses a feeling a good many people have here, that 
 there are too many domes. But I don't agree. The domes 
 make a charming pictorial effect, and they harmonize 
 with the general spirit of the architecture. And as for 
 this dome, it is one of the greatest in the world. See how 
 cleverly the architects, following the spirit of the French 
 Renaissance, have used those ornamental shafts. The 
 only criticism that can be made on them is that they serve 
 no architectural purpose, which ought, of course, always 
 to be intimately associated with use. Instead of growing 
 from the nature of the building, they are put on from 
 outside. Now, in the mosque they were very important 
 in their service. They were the minarets where the Muez- 
 
 [72] .
 
 AT THE PALACE OF HORTICULTURE 
 
 zins used to stand in order to call the faithful to prayer. 
 Those minarets up there, carrying on the dome motive, on 
 the corners of the walls of the main palaces are much 
 closer to the old idea." 
 
 Our talk turned to the subject of domes in general. 
 The idea had come from the bees, from the shape of 
 their hives. Prehistoric man used for a dwelling-place 
 a hut shaped like a hive, as well as an imitation of 
 a bird's nest. In formal architecture, the dome showed 
 itself early. The Greeks knew it; but they didn't use it 
 much. The greatest users of the dome were the Byzan- 
 tines. It was all dome with them. The first important 
 dome was built in Rome in the second century, to crown 
 the Pantheon. Of all the domes in the world the most 
 interesting historically was St. Peter's, the work of sev- 
 eral architects. It was the inspiration of the dome of St. 
 Paul's in London, built by the English architect. Sir 
 Christopher Wren. Architecturally the most interesting 
 of the domes was Brunelleschi's, built for the Florence 
 Cathedral in the fifteenth century, known throughout the 
 world by the Italian name for Cathedral, the Duomo. 
 
 It was in connection with the Duomo that the architect 
 reminded me of the celebrated story about Brunelleschi. 
 When the Florentine church authorities decided to build 
 the Duomo they were puzzled as to how so mighty a 
 dome should be developed. So they invited the architects 
 to appear before them in competition, and to present their 
 ideas. One architect, Donatello, explained that, if he 
 secured the commission, he should first build a mound of 
 earth, and over it he would construct his dome. But the 
 authorities replied that there would be great labor and 
 expense in taking the earth out. He said that he would 
 put coins into the earth and, by this means, he would very 
 quickly have the earth removed by the people. When 
 Brunelleschi was asked how he would build his dome he 
 said: "How would you make an egg stand on end?" 
 They didn't know how, and he showed them, by taking a 
 
 [731
 
 THE CITY OF DOMES 
 
 hard-boiled egg and pressing it down at one end, an idea 
 like the one that occurred to Christopher Columbus about 
 fifty years later. 
 
 The Palace of Horticulture as an illustration of French 
 Renaissance architecture fascinated this observer, in spite 
 of its overelaborateness. "It's marvelous to think of what 
 the Renaissance meant throughout Europe," he said, 
 "and how it showed itself in art through the national 
 characteristics. French Renaissance and Italian Renais- 
 sance, though they have qualities in common, are very 
 different. And you'll find marked differences even in the 
 Renaissance art of the Italian cities, such as Rome and 
 Florence and Venice. But the Renaissance showed that 
 no matter how far apart the people of Europe might 
 have been they were all stirred by a great intellectual 
 and spiritual movement. It was like a vast moral earth- 
 quake. It meant the rediscovery and the joyous recog- 
 nition of the relation of the past to the present and the 
 meaning of the relation for mankind. It led to a new 
 kind of self-emancipation and individualism. It created 
 art-forms that have stamped themselves on the work all 
 over these grounds. In a sense it was a declaration of 
 artistic independence." 
 
 "Is there really such a thing as independence in art?" 
 I ventured to ask. 
 
 The architect began to smile. "I'm afraid there isn't 
 much independence. If there were this Exposition would 
 not be quite so intimately related to Europe and the 
 Orient. But wait till we get into Mullgardt's Court of 
 the Ages. Then you'll find an answer to your question." 
 
 At this palace the architect found much to speculate 
 on. "Here is one of the few buildings in the whole Ex- 
 position done in what might be called the conventional 
 exposition spirit. I like it immensely as an exposition 
 building, but I should hate it as a public building that I 
 had to see every day. It's too fantastic. In this place it 
 serves its purpose. But it might fit into a setting like the 
 
 [74]
 
 AT THE PALACE OF HORTICULTURE 
 
 Golden Gate Park, where it would be close to nature. 
 Now this Exposition is very different from most of the 
 enterprises of the kind that have taken place in Europe. 
 It is probably the most serious exposition ever known, 
 with the possible exception of the one in Chicago. If it 
 were in a great European capital, for example, it would 
 mainly express the spirit of gaiety. But the builders here, 
 though they have been gay in their use of color, have 
 been tremendously serious in purpose. They have worked 
 largely for the sake of education." 
 
 The use of green on the building was unquestionably 
 one of the most successful features of the coloring, par- 
 ticularly when it suggested, as it so often did, old copper. 
 "To me the deeper green that Guerin uses is the more 
 charming shade, far more charming, for instance, than 
 the light green applied to Festival Hall. And the sug- 
 gestion of green in the dome is altogether delightful. 
 But it's a pity they didn't use another kind of glass. 
 When people criticise Ryan for not doing more with his 
 lighting effects in this dome they evidently don't know 
 that a mistake was made when the glass was sent and 
 Ryan could do very little with it. In order to carry out 
 his original plans Ryan would have to apply a coat of 
 varnish to the interior of the dome, a rather expensive 
 process. However, it may be done later." 
 
 RETURNING TO THE SOUTH GARDENS 
 
 From where we stood we could get a good view of those 
 green columns in the Tower of Jewels, occasionally criti- 
 cised as being too atmospheric to give the sense of 
 support. "Those columns were colored by Guerin to get 
 an effect of contrast. That shade was one of the first of 
 the shades he experimented with. He tried it out on the 
 sashes in Machinery Hall. The French landscape paint- 
 ers used it a good deal in outdoor scenes, on trellises, for 
 example. It made a pleasing effect against the deeper 
 tones of the grass and foliage. The notion that it isn't 
 suited to columns seems to me unwarranted. As a matter 
 
 [75]
 
 THE CITY OF DOMES 
 
 of fact, there are several kinds of green stone that have 
 often been successfully used for columns in architecture, 
 like malachite and Connemara marble. The Bank of 
 Montreal has some magnificent Connemara columns. Of 
 course, the use up there is theatrical, exactly as Guerin 
 intended it to be. People seem to forget that Guerin got 
 his earlier training as a scene painter. He was recog- 
 nized as one of the greatest scene painters of his time. 
 He deliberately undertook to make this Exposition a 
 great spectacle, and he ought to be judged according to 
 what he tried to do. It seems to me that his success was 
 astonishing. He created a picture that was spectacular 
 without being garish or cheap and that harmonized with 
 the dignity and the splendor of the architecture. One 
 explanation of his success lies in his being so fond of the 
 Orient, where the architects have worked in color as far 
 back as we can go. Every chance he makes a trip to the 
 Orient and he comes back with a lot of Oriental canvases 
 that he has painted there. Only a lover of the Orient 
 would have dared to put that orange color on the domes. 
 See what a velvety look he got, almost wax-like. He was 
 careful not to apply, in most instances, more than one 
 coat of paint. He wanted it to sink in and to become 
 weathered. He knew that nature was the greatest of all 
 artists, always trying to remove the shiny appearance of 
 newness and to give seasoning." 
 
 As we looked up toward the center of the South Gar- 
 den the white globes on the French lamp posts caught 
 the architect's eye, "Don't you remember how cheap they 
 looked on the first days ?" he said. "The trouble was that 
 they were too white. They seemed cold and raw. So 
 they were sprayed with a liquid celluloid to soften them 
 into their present ivory hue. The change shows how im- 
 portant detail is, and how carefully Guerin's department 
 has worked. While the construction was going on there 
 was one remark that often used to be heard, Tt will 
 never be noticed,' and a most foolish remark it was. It 
 showed that the people who made it were lacking in 
 
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 AT THE PALACE OF HORTICULTURE 
 
 imagination. Millions of eyes have been watching the 
 details of this Exposition and very little has escaped 
 notice." 
 
 A great crowd was pouring out of the afternoon con- 
 cert in Festival Hall. The architect, as he looked on, 
 remarked: "It's like being in Paris, isn't it? Or, perhaps, 
 it's more like being in a lovely old French provincial city, 
 where the theater is the chief architectural monument. 
 It's hard for me to understand why the French have 
 encouraged that kind of architecture for their theaters 
 and opera houses. It seems so unrelated to sound, which 
 ought to give the clue to the building. The use of the 
 word festival here is a little old-fashioned and mislead- 
 ing. It doesn't mean what we usually consider festivity. 
 It is essentially a concert hall, and the architecture ought 
 to suggest concentration of sound by being built in a 
 way that shall make such concentration inevitable. But 
 this kind of building is obviously related to dissipation of 
 sound. No wonder the acoustics turned out bad and the 
 interior had to be remodeled." 
 
 [771
 
 XII 
 THE HALF COURTS 
 
 N FRONT of the Court of Palms we 
 stopped to admire James Earl Eraser's 
 "End of the Trail," the most popular group 
 of sculpture in the Exposition. "It deserves 
 all its popularity, doesn't it? It's finely 
 imagined and splendidly worked out.- The 
 pony is excellent in its modeling and the Indian is won- 
 derfully life-like." 
 
 At our side a man and a woman were standing, the man 
 more than six feet tall, with broad shoulders and a face 
 that had evidently seen a good deal of weather. "I've 
 known fellers just like that Indian," we heard him say, 
 "up in Minnesota. He might be a Blackfoot after a couple 
 of days' tusselling with the wind and the rain in the 
 mountains. I've seen 'em come into town all beat out. 
 The man that made that statue knew his business. An' I 
 guess he knew what he was doing when he called it 'The 
 End of the Trail.' " 
 
 When the visitor had passed, the architect said: "The 
 symbolism gets them all, doesn't it, and the realism, too? 
 But Eraser couldn't have expressed so much if he hadn't 
 put a lot of heart into his work. He really felt all that the 
 Indian represented, as a human being and as a representa- 
 tive of a dying race." 
 
 "The Court of Palms" captured us both, by its shape, 
 by the splendor of the Ionic columns, by the loveliness of 
 its detail, by its coloring and by that charm of its sunken 
 garden. "You can feel here the mind that developed those 
 four Italian towers. It shows the same balanced judg- 
 ment, and skill and taste. The two towers here, though 
 they stand at either end of the court, and make a beautiful 
 ornamentation, are really a part of the wall. They help to 
 give it dignity and variety. And how artistically the palms 
 have been used here. They can be among the least grace- 
 ful of plants; but here they are really decorative. And 
 
 [78]
 
 
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 _">!20o'«z»«°Ca
 
 THE HALF COURTS 
 
 those laurel trees at the side of the main doorway make 
 fine ornamental notes. The sculptured vases, too, are won- 
 derfully graceful." 
 
 Above the doorways we found the three murals that 
 gave further distinction to this court and enriched the col- 
 oring. In "Fruits and Flowers" Childe Hassam had done 
 one of his purely decorative pictures, without a story, con- 
 tenting himself with graceful pictures and delicate color 
 scheme, Charles Holloway made "The Pursuit of Pleas- 
 ure" frankly allegorical, the floating figure of the woman 
 pursued by admiring youths. Over the main doorway 
 Arthur Mathews had also painted an allegory, "Victorious 
 Spirit," the Angel of Light, with wide-spread wings of 
 gold, standing in the center and keeping back the spirit 
 of materialism, represented by a fiery horse driven by his 
 rider with brutal energy. "Observe how successfully 
 Mathews has chosen his colors. These deep purples 
 help to bring out the splendor of those golden tones. 
 This canvas is unquestionably one of the best of all the 
 murals. It shows that in Mathews San Francisco has a 
 man of remarkable talent, one of the great mural painters 
 of the country." 
 
 On the way to the second half-court we had a chance 
 to see the South Wall at close range, with its rich orna- 
 mented doorways, its little niches and fountains devised 
 to make it varied and gay. Those little elephant heads 
 were another sign of Faville's careful attention to or- 
 namental detail. And the coloring gave warmth to the 
 background, contrasting with the deep green of the 
 planting. 
 
 At the Court of Flowers we met Solon Borglum's 
 "Pioneer," too old to be typical, different from the man 
 in lusty middle age or in youth who came to California 
 in the early days. But it justified itself by suggesting 
 perhaps the greatest of the pioneers in old age, one who 
 had grown with the community, the poet, Joaquin Miller. 
 "It's Miller sure enough," said the architect, "even if 
 
 [79]
 
 THE CITY OF DOMES 
 
 the likeness isn't close. But why those military trappings 
 on the horse? Like the rest of the pioneers, Joaquin was 
 a man of peace." 
 
 The Court of Flowers we thought well named, both 
 for its planting, McLaren at his best, and for its Italian 
 Renaissance decoration, with that pretty pergola opening 
 out on the scene, Calder's Oriental "Flower Girl" decorat- 
 ing the spaces between the arches. And those lions by 
 Albert Laessle were a fine decorative feature. The foun- 
 tain, "Beauty and the Beast," by Edgar Walter, of San 
 Francisco, was one of the most original and decorative 
 pieces of sculpture we had seen. The figure of the girl 
 standing on the coils of the beast was remarkably well 
 done and the water flowing over the bowl, with the pipes 
 of Pan glimpsed underneath, made a charming picture. 
 There was a whimsical and a peculiarly French suggestion 
 in the use of the decorative hat and sandals on the nude 
 figure. In detail those two towers at the end were slightly 
 different from the other two. Like the others they served 
 as a decoration of the wall, breaking the long lines." 
 
 [So]
 
 XIII 
 NEAR FESTIVAL HALL 
 
 T CLOSE view we found the Festival Hall 
 more interesting than it had seemed at a 
 distance. It unquestionably had something 
 of the elegance associated with the best 
 French architecture. But, unhke most of 
 the buildings here, it did not develop out 
 of a central idea. Much of its ornamentation seemed put 
 on from the outside. 
 
 Of all the domes this dome impressed us as being the 
 least interesting. It did not even justify itself as being 
 a means of giving abundant light. "This kind of archi- 
 tecture doesn't really belong in this country ; but it seems 
 to be making its way. Observe the waste of space involved. 
 However, the curving arches on either side are rather 
 charming. And the architect has succeeded in putting 
 into the whole structure a certain amount of sentiment. 
 In fact, throughout the whole Exposition you feel that 
 the architects haven't worked merely for money or for 
 glory. They have appreciated the chance of doing some- 
 thing out of the commonplace." 
 
 The sculpture by Sherry Fry was evidently executed 
 with the idea of festivity in mind, the "Bacchus" and 
 "The Reclining Woman" and two "Floras" decorated 
 with flowers, and "Little Pan," and "The Torch-bearer" 
 reproduced above each of the smaller domes. But, some- 
 how, those figures did not quite indicate the real character 
 of the building, intended for concerts and lectures and 
 conventions, rather serious business. The coloring, too, 
 of the statues, was disappointing, the dull brown being 
 out of key with the light green of the domes. 
 
 "In the smaller concert room upstairs. Recital Hall," 
 said the architect, "there is some very fine stained glass ; 
 two windows, and on the landing of the north stairway 
 there's a third window, all done by the man who has been 
 called the Burne-Jones of America, Charles J. Connick, of 
 Boston. Instead of being hidden away there, they ought 
 
 [8il
 
 THE CITY OF DOMES 
 
 to have been put in the Fine Arts Building. They repre- 
 sent something new in the way of stained glass, and they 
 have a wonderful depth and brilliancy." 
 
 As we drew near the Avenue of Progress we saw the 
 magnificent doorway of the Varied Industries, overladen 
 with ornamentation. "It was clever of Faville to put that 
 doorway just in this spot where it would be seen by the 
 crowds that entered by Fillmore Street. It comes from 
 the Santa Cruz Hospital, in Toledo, Spain, built by 
 the Spanish architect, De Egas, for Cardinal Mendoza, 
 one of the most famous portals in Europe. The adaptation 
 has been wonderfully done by Ralph Stackpole, with 
 those figures of the American workman carrying a pick 
 at either side and the semicircular panel just above the 
 door and the group on top. That panel is one of the 
 finest pieces of sculpture in the Exposition. It has tender- 
 ness and reverence. It's the kind of thing the mediaeval 
 sculptors who worked on religious themes would have 
 been enthusiastic over. See how simple it is, just a group 
 of workers,, with the emblems of their work, the women 
 spinning with the lamb close by, the artist and the artisan, 
 and the woman with the design of a vessel's prow in her 
 hands, suggesting commerce. The single figure in the 
 center is the intelligent workman who works with his 
 hands and knows how to work, too. The group on top 
 is a very pretty conception, the Old World Handing Its 
 Burden to the Younger World, with its suggestions of the 
 European people coming over here and raising American 
 children." 
 
 [82]
 
 COLONNADE IN THE COURT OF PALMS, 
 LOOKING TOWARD THE PALACE OF HORTI- 
 CULTURE. THE COLUMNS ARE ROMAN 
 IONIC. THE PILASTERS AGAINST THE 
 WALL, THE ROMAN LAMPS, AND THE 
 ACACIAS TRIMMED IN ROUNDED FORM, 
 MAKE AN IMPRESSIVE VISTA TO THE ARCHED 
 PORTAL.
 
 XIV 
 
 THE PALACE OF MACHINERY 
 
 N REACHING the Avenue of Progress we 
 found ourselves at the gayest corner of the 
 Exposition, with two fine vistas of the two 
 avenues. To our right stood the massive 
 Palace of Machinery, one of the largest 
 buildings in the world, so successfully 
 treated by the architect that it did not give the faintest 
 suggestion of being cumbersome or monotonous. "It's 
 the Baths of Caracalla in Rome," said the architect, 
 "adapted by a master. Those three gables above the 
 main entrance are taken directly from the baths. See 
 how simple the ornamentation is and yet how satisfying. 
 The building as a whole is a perfect example of old 
 Roman architecture, feeling its way toward the big archi- 
 tectural principles that are in vogue today, among others 
 the economical principle involved in the counteracting of 
 thrusts. If the Roman Emperor who was nicknamed 
 Caracalla on account of the hooded military tunic that 
 he made fashionable in his day hadn't built those baths 
 we should probably not have the glorious Pennsylvania 
 station in New York, that some of the architectural au- 
 thorities consider the most important building of its kind 
 built in this country. Although the work here is all con- 
 crete, Clarence Ward, the architect, says that with care, 
 it could last hundreds of years." 
 
 Now we were struck by those vigorous-looking figures, 
 by Haig Patigian, that stood on top of the Sienna col- 
 umns all evidently designed to express the power of ma- 
 chinery. At the entrance the reliefs of the columns were 
 in the same spirit and, as one might have surmised, by the 
 same sculptor working out the meaning of the buildings in 
 designs that kept the contour of the columns, strong and 
 well-modeled. 
 
 "There's distinctive character in this building," said 
 the architect. "It actually conveys the sense of tremendous 
 
 [83 1
 
 THE CITY OF DOMES 
 
 energy, and by the simplest means. And inside, Ward 
 has done something- new and interesting." 
 
 When we entered we found the supports of the roof 
 left bare. Instead of being unsightly, they had a kind 
 of beauty and impressiveness. "Observe the magnificence 
 of the spaces here on the floor and up to the ceiling. 
 Some one asked Ward if all this height were necessary. 
 He said it wasn't; but he wanted it for pictorial effect, 
 to carry out the feeling of massiveness and splendor." 
 
 In the great figures that stood on the columns in front 
 of the Palace of Machinery the architect found a theme 
 for a discourse on the human figure as the chief inspira- 
 tion of art. "It is possible that we shall change our minds 
 on that subject," he remarked. "Already the world is 
 showing a tendency to get away from the worship of the 
 body. Ever since the Christian era, of course, the physical 
 has been deprecated. We may come to see that the body 
 is useful as it develops and serves the spiritual, that is, 
 as it subordinates itself. The marvel is that the pagan tra- 
 dition has persisted so long in spite of the Christian influ- 
 ence. This Exposition shows how strong it remains." 
 
 "But what would you have in place of the human 
 figure as the inspiration of art?" I asked. 
 
 "Oh, there are plenty of things that might take its 
 place. Flower themes are just as beautiful in decoration 
 as the shapes of men and women. I can conceive of the 
 time when it will be considered uninteresting and com- 
 monplace to have human bodies used as a means of 
 aesthetic display. The self-glorification in it alone be- 
 comes wearying. We are gradually learning that the best 
 we can do in life is to forget about ourselves and our 
 old bodies. There are even those who go so far as to 
 look forward to the time when we shall escape from our 
 bodies altogether. It would be interesting, by the way, to 
 get the point of view of a very spiritual Christian Scient- 
 ist on the display here. I suppose that it would see good 
 in the tendency to reach finer and nobler conceptions of 
 art according to our present understanding." 
 
 [84]
 
 THE PALACE OF MACHINERY 
 
 Then the architect proceeded to discuss the artistic su- 
 periority of the Japanese. Though they used the human 
 figure in their art, they did not play it up, after the habit 
 of the Western world. They did not make it seem to be of 
 supreme importance. They conventionalized and subordi- 
 nated it to outline and color. The use of the nude they 
 never cultivated. Their attitude toward the body was 
 characterized by discretion and modesty, qualities that 
 they showed in their dress. You would never see a Japan- 
 ese woman, for example, wearing a dress that conspicu- 
 ously brought out the lines of her figure. 
 
 "On the other hand," the architect went on, "there's 
 no doubt we've become absurdly prudish in this country. 
 We're afflicted with shame of the body which, in itself, 
 is unhealthy. If art can help us to get back to a more 
 normal attitude it will do a big service. All the more 
 reason then why it should keep within reasonable 
 bounds." 
 
 [851
 
 XV 
 
 THE COURT OF THE AGES 
 
 S WE turned from the Avenue of Prog- 
 ress toward the Court of the Ages the 
 architect said: "The workmen about here 
 call this inner court 'Pink Alley,' not a 
 bad name for it, though its real name is 
 the Court of Mines. Throughout the Ex- 
 position Guerin shows that he is very fond of pink, 
 probably on account of its warmth. He has been criti- 
 cised for using it so much on the imitation Travertine 
 for the reason that there is no stone of exactly this 
 color. And yet there is pink marble. But even if there 
 weren't any pink stone in the world, Guerin would be 
 justified in his use of the color for purely decorative pur- 
 poses, just as he was justified in using it on his four 
 towers." 
 
 Inside the Court of the Ages the architect drew a long 
 breath. 
 
 "In this court we architects feel puzzled. We think 
 we can read new architectural forms like a book, and 
 find that they are saying things repeated down the ages. 
 But we can't read rnuch here. In that lovely round arch 
 there are hints of Gothic, and yet it is not a Gothic arch. 
 Throughout the treatment there are echoes of the Span- 
 ish, and yet the treatment is not Spanish. The more one 
 studies the conception and the workmanship the more 
 striking it grows in originality and daring. Mullgardt 
 has succeeded in putting into architecture the spirit that 
 inspired Langdon Smith's poem 'Evolution,' beginning 
 'When you were a tadpole and I was a fish.' In the chaotic 
 feeling that the court gives there is a subtle suggestive- 
 ness. The whole evolution of man is intimated here from 
 the time when he lived among the seaweed and the fish 
 and the lobsters and the turtles and the crabs. Even the 
 straight vertical Hnes used in the design suggest the drip- 
 ping of water. When you study the meaning of the con- 
 ception you find an excuse for Aitken in flinging his 
 
 [86]
 
 THE COURT OF THE AGES 
 
 mighty fountain into the center of all this architectural 
 iridescence. He caught the philosophy of Mullgardt with- 
 out catching the lightness and gaiety of the execution. 
 In that fountain he has brought out the pagan conception 
 of the sun, and he has used the notion that the sun threw 
 off the earth in a molten mass to steam and cool down 
 here and to bring forth those competitions between hu- 
 man beings that reveal the working of the elemental 
 passions. Aitken is material and hard, where Mullgardt 
 is delicate and fine. How subtly Mullgardt has inter- 
 woven the feeling of spirituality with all the animal 
 forces in man. That tower alone is a masterpiece. I know 
 of no tower just like it in the world. From every side it 
 is interesting. And at night it is particularly impressive 
 from the Marina." 
 
 The architect went on to explain something of the 
 court's history. "When Mullgardt started to work out 
 his plans he must have had in mind the transitional 
 character of an exposition. He knew that he could afford 
 to try an experiment that might have been impracticable 
 if the court had been intended for permanency. He evi- 
 dently was determined to cast tradition to the winds and 
 to strike out for himself." 
 
 "I should think most architects would like to work 
 in that way." 
 
 "The usual process is very different. As soon as an 
 architect decides to design a building he first chooses a 
 certain type of architecture; then he saturates his mind 
 with designs that have already been done along that 
 line. Out of the mass of suggestions that he receives he 
 is lucky if he evolves something more or less new. Often 
 he merely re-echoes or he actually reproduces something 
 that he is fond of or that has happened to catch his 
 fancy. The chances are that Mullgardt will go down into 
 history for his daring here. It isn't often that a man 
 takes a big biological conception and works it out in 
 architecture with such picturesqueness. It's never intru- 
 sive and yet it's there, plain enough for anyone to see 
 
 [87]
 
 THE CITY OF DOMES 
 
 who looks close. It represented a magnificent oppor- 
 tunity and MuUgardt was big enough to get away 
 with it." 
 
 Then the architect told me the human story behind 
 all this beauty as we wandered back into the center of 
 the court and stood there. "Notice the incline," he said, 
 "from the entrances? It reminds me that Mullgardt had 
 originally intended to have the floor of the court like 
 a sunken garden. And remember that the name expresses 
 the original idea. The Court of Abundance, that it is 
 wrongly called, would have applied much better to the 
 Court of Four Seasons. Well, after the notion came to 
 Mullgardt to suggest in the court the development of 
 man from the life of the sea to his present state as 
 a thinking being, less physical than spiritual, he planned 
 to build a court that should be the center of the 
 pageants for the Exposition, where art should have its 
 living representation in the form of processions and of 
 plays, some of them written for the purpose. In the 
 sunken garden there should be plenty of room for the 
 actors to move about, using it as a stage. There should 
 also be room for the sculptured caldron that was to be 
 an architectural feature and that later developed into 
 Aitken's massive evolutionary fountain. For the base of 
 the tower there was designed a gorgeous semi-circular 
 staircase, which was to serve as an entrance for the 
 actors. Around the court there was to run an orna- 
 mental balcony, covered with a great canopy in red and 
 gold, making an effect of Oriental magnificence. The 
 people were to watch the spectacles from the balcony and 
 from between the arches. In addition to the main tower, 
 very like the present tower, but to contain a great pipe 
 organ, there were to be two others, in the corner at right 
 angles, to be called echo towers. The music of the organ 
 was to be transmitted to the echo towers by wires and the 
 echoes were to serve as a sort of accompaniment. The 
 effect, if it had been managed right, would have been 
 stunning." 
 
 [88]
 
 ONE OF THE ENTRANCES TO THE PALACE OK 
 HORTICULTURE, THE LATTICE WORK IN THE 
 SHAPE OF A DOME, THE WHOLE BUILDING 
 CONSISTING OF DOMES. THE RICH ORNAMEN- 
 TATION AND THE FIGURES OF WOMEN USED 
 AS COLUMNS, THE CARYATIDES, ARE BY JOHN 
 BATEMAN. THE DETAILS CARRY OUT THE 
 MEANING OF THE BUILDING: THE GLASS 
 DOME, THE BASKET ON TOP OF THE MAIN 
 DOME, THE LATTICE WORK, THE SCULPTURED 
 VASES, THE PLANTS AND THE FLOWERS.
 
 THE COURT OF THE AGES 
 
 "Mullgardt has kept the spirit of the pageant in his 
 court," I said. "J^st as it is it would make an ideal set- 
 ting, particularly for pageant with music, opera, for 
 example." % 
 
 "Of course," said the architect. "But the music ought 
 not to come as it does now, from a band. It ought to 
 come from the orchestra. Violins belong there. But brass 
 — never !" 
 
 "Well, what happened to the pageant scheme?" 
 
 "Oh, when Mullgardt showed the preliminary sketches 
 it was ruled out as too expensive. Then he removed the 
 balcony and the staircase and, in place of the staircase, 
 he introduced a cascade, keeping the rest of the court 
 as it had been before. His idea was to use the water in 
 the cascade only in a suggestive way. It was to be almost 
 completely hidden by vines, after the manner of Shasta 
 Falls, and to symbolize the mysterious appearance and 
 disappearance of water that came from — one didn't know 
 where. But that scheme was rejected, too, as too ex- 
 pensive. However, Mullgardt accepted the situation. He 
 was so interested that he worked out himself many of 
 the details that most architects would have left to sub- 
 ordinates. He really cared enough to make the whole 
 effect as close to perfection as he could. Everything he 
 did he has a reason for doing. Not one thing here did 
 he use gratuitously. He evidently doesn't agree with the 
 idea that, in architecture, beauty is its own excuse for 
 being ; he wants to make it useful, too." 
 
 Then I was initiated into the details of the workman- 
 ship. "Observe how the ideas in the structure of the 
 walls of the court are carried on in the ornamental de- 
 tails and in the tower." The primitive man and primitive 
 woman repeated in a row along the upper edge had been 
 finely conceived and executed by Albert Weinert. And 
 the nobility of outline in the tower was sustained by the 
 three pieces of sculpture in front made by Chester Beach. 
 That top figure some people believed to be Buddhistic in 
 feeling. But it belonged to no particular religion. It 
 
 [891
 
 THE CITY OF DOMES 
 
 Stood for the Spirit of Intelligence. The ornamentation 
 on the head was not an aureole, as had been reported, 
 but a wreath of laurel, symbolic of success. The group 
 beneath was mediaeval, depicting mankind struggling for 
 the light, expressed in the torches, through those con- 
 flicts that so pitifully came out of the aspirations of the 
 soul, expressed in religion. The lowest group showed 
 humanity in its elemental condition, related to the animal, 
 close to the beasts. So, to be followed in sequence, the 
 groups ought to be studied from the lowest to the high- 
 est, and then the eyes should be able to catch the meaning 
 of the lovely ornamentation, crowning the tower, the 
 petals of the lily, emblem of spirituality, the arrow-like 
 spires above expressing the aspirations of the soul. 
 
 On the sides of the tower the symbolism was consist- 
 ently maintained, war and religion marking the progress 
 of man toward the state indicated by the single figure of 
 The Thinker. 
 
 "And, speaking of the soul," the architect went on, 
 "observe these great clusters of lights that illuminate this 
 court and the approach on the other side of the tower. 
 They look like stars, don't they? And the intention evi- 
 dently is to use them for their star-like character. But 
 there is history behind them. They are like the mon- 
 strance used in the Catholic Church, to hold the sacred 
 host, the wafer that is accepted by the faithful as the 
 body and blood of Jesus Christ. Since the sixteenth cen- 
 tury it has been used by the church, a beautiful emblem, 
 made of gold, and designed to suggest the prayer of the 
 sun, the Spirit of God in radiance. Its use here helps to 
 give the court its ecclesiastical character." 
 
 As we made our way toward the Marina we noted how 
 much the court gained by its general freedom from color. 
 In the colonnade, to be sure, Guerin had been particularly 
 successful with the shade of blue. But he would have 
 done better if he had omitted the color, in fact all color, 
 from the niches in the tower. 
 
 [90]
 
 NIGHT VIEW OF THE PALACE OF HORTICUL- 
 TURE, WITH ARTHUR PUTNAM's "MER- 
 MAID FOUNTAIN." THE MOTIVE IN THE 
 GREAT DOME OF CLASS IS MANY TIMES 
 REPEATED IN SMALLER DOMES OF GLASS AND 
 LATTICE WORK. THE ARCHITECTURE, RICH 
 IN ORNAMENTATION, IS FRENCH, THOUGH 
 THE DOME COMES FROM THE MOSQUE OF 
 AHMED, THE FIRST, IN CONSTANTINOPLE,
 
 THE COURT OK THE AGES 
 
 Viewed from the Marina, the entrance to the court 
 proved to be a vision of loveliness. There was only one 
 intrusive note to jar the harmony, the coarse sea figure 
 by Sherry Fry, presumably Neptune's Daughter, stand- 
 ing in the center, with a great fish at her feet, plainly out 
 of place here, in spite of the court's celebration of the 
 sea as the source of human life. 
 
 [91]
 
 XVI 
 THE BRANGWYNS 
 
 E LINGERED in the colonnade to view 
 the eight mural decorations by Frank 
 Brangwyn, of London. In front of The 
 Bowmen we found a friend, a gifted 
 woman painter, fairly bursting with en- 
 thusiasm. "What delights me in Brang- 
 wyn," she said, "is his artistic courage. He dares to put 
 down just what he feels. This sturdy figure in the fore- 
 ground, for example, peering through the trees, how 
 many other painters would have allowed him to turn his 
 back on the spectator ? And yet how interesting he is and 
 how alive." 
 
 "Some of those heads strike me as curious," I re- 
 marked. "That fellow closest to the center, just about to 
 let his arrow fly, seems to have no head to speak of." 
 
 "Sometimes he's careless with his drawing. And yet 
 he can draw magnificently, too. He evidently had a pur- 
 pose in making so many of the heads in these murals 
 almost deformed. He wanted to suggest that these types 
 were in no way mental. They were wholly physical. No- 
 tice the care he has lavished on their muscular bodies, 
 their great shoulders and legs." 
 
 "It doesn't seem like English work, does it?" said the 
 architect. 
 
 "No, there's something almost Oriental about it both 
 in the feeling and the coloring. And there's the Pagan 
 love of the elemental life." 
 
 "But what a chance Brangwyn had to do something 
 new with this magnificent subject," the architect went on. 
 "At last, after centuries of effort, men are actually con- 
 quering the air. They've learned to fly. They've become 
 birds. Now why didn't Brangwyn give us a pictorial 
 expression of that miracle ? Why didn't the artist have as 
 much sense as the man of affairs who pays Art Smith to 
 come out here and fly before the multitude?" 
 
 [92]
 
 THE BRANGWYNS 
 
 I argued that Brangwyn preferred to deal with antique 
 themes — they were so much more pictorial. 
 
 The architect interrupted with some impatience. "But 
 that's exactly what they're not. In my opinion Whistler 
 was perfectly right when he said that if a mural decorator 
 couldn't make modern life pictorial he didn't know his 
 business. Flying through the air is only one of many 
 wonders in the life of today that cry out for expression 
 in art ; but you scarcely catch a note of them here." 
 
 "For example?" said the painter. 
 
 "Industry — our great machines, the new power they 
 bring into the world, the change in industrial relations 
 and social and moral ideals. Now in these murals, Brang- 
 wyn has simply repeated himself and he hasn't by any 
 means done his best work. And I question whether his 
 observation is so accurate as you admirers of his try to 
 make it appear. Look at the way those fellows are hold- 
 ing their bows — with the left hand, presumably for the 
 pictorial effect of the composition. Well, let that point 
 pass. One fellow has shot his arrow. The other is hold- 
 ing his arrow between the fore finger and the middle 
 finger. Well, it won't go very far. The Indians know 
 better. They let the arrow rest on the thumb to give it 
 plenty of freedom to fly. One of those bows, by the 
 way, has no string. Brangwyn probably thought it 
 wouldn't be missed." 
 
 As we looked at the other panels the architect conceded 
 that the points the painter raised for Brangwyn, the bril- 
 liant use of color, the dramatic grouping and the fineness 
 of characterization, were true enough. "But he's too 
 monotonous. Though his groups are of different periods, 
 some of them ages apart, they're all essentially alike and 
 the figures are even dressed alike. I'm perfectly willing 
 to make allowance for artistic convention. But why 
 should an artist limit himself unnecessarily when he has 
 all the ages to draw on? Why should he neglect the 
 present, the greatest of all the ages?" 
 
 [931
 
 THE CITY OF DOMES 
 
 "Ah, I'm afraid you're too literal," said the painter. 
 "You want to limit a genius to rules." 
 
 We turned from The Bowmen to study in detail the 
 second illustration of Air, much more modern and yet 
 charmingly old-fashioned, the windmill and the little mill 
 high in the background, the group of naked boys flying 
 kites, the toilers and their children, going home as fast 
 as they could, fighting the wind, their picturesque dra- 
 peries flying around them. 
 
 The architect was impressed. "He's caught the feel- 
 ing of the thunderstorm, hasn't he ?" he said. 
 
 "And he's brought out all the picturesqueness and the 
 color and the majesty and even the humor," said the 
 painter. "See how wonderfully he has composed the pic- 
 ture, what pictorial use he has made of every detail. The 
 background of the clouds and the rain, the dark blues 
 and the green and the pink ; and the kites catching some 
 of the color, and the lovely color of the mill and of the 
 grass dried by the sun. And see that figure up there on 
 the steps, all windblown and rushing under cover. It's 
 all beautiful and yet there's not one face or figure there 
 that would be considered beautiful by the painter who 
 works for prettiness. He has no interest whatever in 
 what the average mural decorator considers beautiful. 
 And yet he sees beauty everywhere and he makes it felt. 
 How pictorially he has used those purple flowers in the 
 foreground at the base of the composition. And observe 
 their relation to the purple clouds on top. And then what 
 character he has put into those active figures, particu- 
 larly in this queer little boy, naked except for the purple 
 drapery flying from his waist. He has caught something 
 of the fantastic spirit that you often see in children." 
 
 In nearing the two panels illustrating Water we had 
 a chance to see how dexterously Brangwyn could manage 
 his design without perspective, which would have made 
 a hole in the wall. Those women with jars on their 
 heads stood against a sky none the less lovely because 
 it was flat. It was exquisite in its varieties of blue and 
 
 [94]
 
 FESTIVAL HALL, BY ROBERT FARQUHAR, OF 
 LOS ANGELES, SEEN FROM ACROSS THE POOL, 
 FACING THE MAIN ENTRANCE, WITH THE 
 SILHOUETTE OF ARTHUR PUTNAM'S 
 "mermaid fountain" in THE CENTER. 
 THE BUILDING IS TYPICAL OF THE BEAUX 
 ARTS TYPE OF FRENCH ARCHITECTURE OFTEN 
 SEEN IN THE THEATRES OF FRANCE. 
 DETAILS FRENCH RENAISSANCE. IN THIS 
 COUNTRY THE STYLE IS MAKING ITS WAY, 
 THOUGH IT IS NOT A NATURAL GROWTH. 
 THE BEST FEATURE HERE IS THE SEMI- 
 CIRCULAR COLONNADE THAT FORMS 
 THE ENTRANCE.
 
 THE BRANGWYNS 
 
 white and green. That sturdy fellow lifting a heavy jar 
 was actually working and working hard. "And how 
 splendidly Brangwyn has modeled the figure with his 
 back turned to us," the painter exclaimed. "What a 
 stroke of genius it was that a yellow handkerchief of 
 just that shade should hang from his neck. And the fig- 
 ures in the companion panel drawing their nets, they are 
 putting their heart and soul into their work and they 
 are having a good time, too. And this man here in the 
 corner, with the purple shadows on his bare back, lifting 
 his net, he's evidently had a big catch. He's holding the 
 net in a way that shows it's heavy. And how decorative 
 those men in the background are, with the baskets on 
 their heads. Brangwyn loves to use figures in this atti- 
 tude. They are interesting and picturesque and dramatic 
 at the same time." 
 
 "But they're too conscious," the architect insisted, "too 
 posed." 
 
 "Remember, they're not paintings," the painter in- 
 sisted. "They're formal decorations." 
 
 In the panel representing the elementary use of Fire 
 we were all struck by Brangwyn's daring and fine treat- 
 ment of the ugly. Nearly every face was almost gro- 
 tesque. And yet every face was appealing for the simple 
 reason that it expressed attractive human qualities. Two, 
 a man and a woman, had noses ridiculously large. The 
 group of men in the center of the background, at the 
 base, around the fire, had apparently started the fire by 
 rubbing sticks together. One was intently leaning for- 
 ward, as if in the act of blowing. Among the figures 
 behind the group stood a man with an infant in his arms, 
 vividly characterized by the unseeing eyes. 
 
 That infant was instantly singled out by the painter. 
 
 "Brangwyn is very wonderful in his observation of 
 children. He has a quality that is almost maternal. Ob- 
 serve the difference between the expression in the face 
 of that baby and the expression in the face of that little 
 boy to the left of the fire-makers. How intently he is 
 
 [95]
 
 THE CITY OF DOMES 
 
 looking on as he leans against the brown jar. He shows 
 all the interest of a boy just learning how to do things." 
 
 The kiln charmed us, too, though we regretted that it 
 did not explain itself quite so spontaneously as most of 
 the other panels. "But symbolism ought not to be too 
 obvious, you know," the painter argued. "There's a cer- 
 tain charm in vagueness. It makes you feel your way 
 toward a work of art. The more you think about this 
 panel the more you find there. To me it suggests the 
 relation between fire and the abundance of the earth. See 
 how cleverly, in each case of these two panels, Brangwyn 
 has used smoke, first as a thin line, breaking into two 
 lines as it goes up and interweaving, and then as a great 
 flowing wreath, dividing the panel in two parts without 
 weakening the unity." 
 
 For composition we decided that the two Earth panels 
 were among the most remarkable of all. With satisfac- 
 tion I heard Brangwyn compared by the painter to a 
 great stage manager. "When I look at these groupings, 
 I am reminded of Forbes-Robertson's productions of 
 plays." Now we could see how brilliantly the decorator 
 had planned in securing, his effects of height by starting 
 his group of figures close to the top of the canvas. And 
 with what skill he had used trees and vines and veg- 
 etables and fruits, both for design and for coloring. "He 
 has always been mad about apples and squashes," said 
 that feminine voice. "In nearly every picture here you 
 will find not one squash only, but several squashes. He 
 loves them for their color and their shape. And how 
 wonderful he makes the color of the grape. He suggests 
 the miracle of its deep purple." 
 
 We admired the painter's pictorial use of shadow on 
 those powerful and scantily draped figures and the ani- 
 mation he put into the bodies of the wine-pressers. And 
 down there in a corner he had perfectly reproduced the 
 attitude and facial expression of the worker at rest, hold- 
 
 [96]
 
 THE PIONEER, BY SOLON BORGLUM, ON THE 
 AVENUE OF PALMS, IN FRONT OF THE COURT 
 OF FLOWERS. THE TYPE OF HORSE IS 
 IDEALIZED. THE TRAPPINGS ARE 
 MILITARY. THE FIGURE CARRYING THE 
 AXE AND GUN IS TOO OLD TO BE TYPICAL. IT 
 IS THOUGHT THAT THE SCULPTOR HAD 
 JOAQUIN MILLER IN MIND.
 
 THE BRANGWYNS 
 
 ing out his cup for a drink. "There's another of those 
 queer and interesting children. But oh, most wonderful 
 of all is the opposite panel that ought to be called Abund- 
 ance. See that mother, holding her lusty baby. The face is 
 commonplace enough, but it has all motherhood in it. 
 And the woman behind, she looks as if she might be a 
 mother bereft or one of those women cheated out of 
 motherhood." 
 
 The architect, though he still had his reservations on 
 the subject of the Brangwyns, conceded that they were 
 distinctly architectural. They blended into the spirit of 
 the court. 
 
 The painter at once supported the opinion. "In these 
 colonnades Guerin has done some of his finest coloring. 
 The blue and the red are in absolute harmony with 
 Brangwyn's rich tones. They must have been applied to 
 fit the canvases. But the marvel is that the murals should 
 show up so magnificently. Brangwyn painted them in 
 London and he must have had second sight to divine 
 just the right scheme. Do you realize," she went on en- 
 thusiastically, fairly losing herself in her enjoyment, "the 
 immense difficulties he had to contend with? In the first 
 place, see how huge those canvases are. Their size cre- 
 ated all kinds of problems. To view them right, to get a 
 line on the detail, so to speak, would have meant, for the 
 average painter, walking, long distances. But, in his 
 studio, Brangwyn could not have taken anything like ac- 
 curate measurements." 
 
 "Perhaps he painted them out of doors," the architect 
 suggested. 
 
 "I believe the explanation is that he thought them all 
 out and he saw them in their places. From Mr. MuU- 
 gardt he had probably received a complete account, with 
 drawings, of just what the court was going to be like. 
 Then it lived before him and he made the murals live. 
 His work shows that he begins in the right place, unlike 
 so many people who paint from outside. He feels the 
 qualities of the people he is going to paint. He really 
 loves them. He loves their surroundings. He must be 
 
 [97]
 
 THE CITY OF DOMES 
 
 very elemental in his nature. They say he is a great, 
 uncouth sort of a fellow. When he first went to London 
 he was very contemptuous of the work done by the 
 academicians. It must have seemed to him, a good deal 
 of it, eflfeminate and trifling. Can't you see how those 
 murals show that he is a man clear through? They are 
 masculine in every detail." 
 
 "And yet they have a good deal of delicacy, too, haven't 
 they?" said the architect. "See how atmospheric those 
 backgrounds are. They actually suggest nature." 
 
 "Because they are unconventional and because they 
 are true. And yet they are purely decorative. You 
 wouldn't like to think of them as standing apart in a 
 great frame. When you go close you will see that the 
 colors are laid on flat. And they don't shine. For this 
 reason they have great carrying power. Observe The 
 Bowmen down there in the distance. Even from this 
 remote end of the court it expresses itself as lovely in 
 color and composition. Let us walk down and see how 
 it grows on us as we approach." 
 
 Slowly we moved along the colonnade, the figures 
 seeming to grow more and more lifelike as the painter 
 indicated their technical merits. "They are of the earth, 
 those men, aren't they? They are the antithesis of the 
 highly civilized types used by so many of the painters 
 today. They suggest red blood and strength of limb and 
 joy in the natural things of life, eating, drinking, the 
 open air, and simple comradeship. They make us see the 
 wonder of out-door living, the kind of living that most 
 of us have missed. What a pleasure it is to find a worker 
 in any kind of work trying to do a thing and actually 
 doing it and doing it with splendid abandon. Now if 
 Brangwyn hadn't entered into the feelings of those bow- 
 men in the foreground, he couldn't have made the figure 
 live. And the life, remember, isn't merely brought out by 
 the happy use of the flesh tints or by the play of the 
 muscles. It's in the animating spirit. As Brangwyn 
 painted those fellows, he felt like a bowman. So he suc- 
 
 [98]
 
 THE BRANGWYNS 
 
 • 
 
 ceeded in putting into his canvas the strength that each 
 bowman put into his bow. He isn't pretending to shoot, 
 that sturdy fellow in front. He is shooting, and he's 
 going to get what he is after." 
 
 Before each of the four pairs of murals, the painter 
 indicated to us the happy way in which, by the deft use 
 of the coloring, each blended into the other, and she called 
 my attention to the clearness of the symbohsm. So often, 
 she remarked, the mural decorators used compositions 
 that seemed like efforts to hide secrets, a childish way of 
 working, sure to defeat itself. Brangwyn had no secrets. 
 He was sincere and direct. He was happy over this work. 
 He said that he had enjoyed doing it more than anything 
 else he had ever done before. If these canvases had 
 been found in the heart of Africa they would have been 
 identified as coming from Brangwyn. No one else used 
 color just as he did, with his kind of courage. His colors 
 were arbitrary, too. He didn't follow nature and yet he 
 always conveyed the spirit of natural things. Throughout 
 his work he showed that he was a close and subtle ob- 
 server. The sweep of rain through the air, the move- 
 ment of figures and of draperies in the wind, the expres- 
 sion of human effort, how wonderfully he managed to 
 suggest them all and to make them pictorial. But he 
 wasn't interested in merely an activity. He loved repose. 
 In nearly all of these eight canvases, so brimming with 
 life, there were figures looking on serenely, calmly, con- 
 veying the impression of being absolutely at rest. 
 
 In every particular, according to the searching ob- 
 server, Brangwyn was successful, with the exception of 
 one, his treatment of birds. He evidently didn't know 
 birds. If he had known them he would have loved them, 
 and if he had loved them he would have entered into their 
 spirit and he would have flown with them and he would 
 have made them fly in his painting. Now they merely 
 flopped. They were just about as much alive as the clay 
 figures used in a shooting match. Even his highly decora- 
 
 [99]
 
 THE CITY OF DOMES 
 
 • 
 
 tive flamingoes weren't right. They did not stand firmly 
 on the ground. They weren't alive. And the necks of the 
 two flamingoes never could have met in the curves that 
 Brangwyn gave them. This very failure, amusing as it 
 was and hardly detracting from the effect of his work 
 as a whole, was another proof that he was an instinctive 
 painter, who relied for his guidance on feeling. But it 
 was plain enough that he had chosen those flamingoes 
 for their color, and a right choice it was. 
 
 We could not decide which of the eight murals we 
 liked best. Perhaps, after all, they could not be consid- 
 ered apart. Though each was in itself a unity, the eight 
 completely expressed a big conception. And in detail each 
 canvas was full of delightful bits. If you closed your 
 hand and peered between your thumb and your fingers, 
 you could see how beautifully the color had been applied 
 and how, throughout the whole surface, the workman- 
 ship sustained itself. Never was there the sense of fal- 
 tering or of petering out. And everywhere there were 
 expressions of fine understanding and sympathy, in the 
 study of a peasant mother holding her babe, nude boys 
 flying kites, a happy face with the lips blowing a pipe, a 
 muscular figure lifting a jar, all conveying abundant life 
 and rich coloring. 
 
 The painter finally ran away from us, apologizing for 
 her enthusiasm. 
 
 In discussing her opinions, the architect said: "Well, 
 I don't altogether agree. But she may be right. She sees 
 from the inside, which is very different from seeing from 
 the outside. There is a great deal of artistic appreciation 
 that can be felt only by the artist, by the fellow-crafts- 
 man. No wonder we go so far astray when we criticise 
 aspects of art that we're only related to indirectly or not 
 related at all." 
 
 We walked to the Marina. From there we saw the 
 sun, a great red ball, sinking behind the Golden Gate. 
 
 [lOO]
 
 XVII 
 WATCHING THE LIGHTS CHANGE 
 
 FIERE probably never was an Exposition 
 in a more magnificent setting," said the 
 architect. "The stretch from here to the 
 Golden Gate makes one of the most splen- 
 did bits of scenery in the whole world. It 
 was a good idea on the part of the Exposi- 
 tion people to build the little railway here so that visitors 
 should get a glimpse of all the beauty. But, ideally, the 
 view ought to be seen from a height. The curve from 
 here to the Cliff House makes our foreign visitors gasp. 
 It also makes them wonder why our boasting over San 
 Francisco doesn't include some of the things we have the 
 best excuse to boast about." 
 
 We stopped at one of the open-air restaurants, where 
 we could eat and watch the fading light at the same time. 
 Then we went to the lagoon, which the architect declared 
 to be particularly interesting at this time of day. 
 
 The rotunda and the colonnade began to take on a 
 deeper mystery. Across the surface of the water ran a 
 faint ripple. In the background, over the Golden Gate, 
 the sky was turning to flame. Delicate, gray cobwebs 
 seemed to float in the air like veils, dusk and fog inter- 
 mingled. 
 
 The light grew dim as we sauntered along the colon- 
 nade of the Palace. Through the columns we could see 
 the Tower of Jewels, suddenly illuminated from inside, 
 all in red, obscuring the sculptured figures and giving 
 the lines greater unity and reach. 
 
 In the red glow the Italian towers fairly leaped into the 
 air. "It's curious how the light makes them taller," said 
 the architect. 
 
 Now the grounds were twinkling with a multitude of 
 bulbs. 
 
 Presently the red light in the tower softened into white. 
 
 [lOl]
 
 WATCHING THE LIGHTS CHANGE 
 
 Two of the Italian towers grew paler, the other two re- 
 taining their brilliancy. Ryan was putting on his colors 
 like a painter, one over another. 
 
 We made our way back to the Marina, where the scin- 
 tillators were soon to blaze. Before we arrived they in- 
 formed us of their presence by the great feathered fan, 
 of many colors, that rose into the sky. 
 
 "There was some opposition to the decorating of the 
 Tower with jewels. The architects with conservative ideas 
 very naturally felt that architecture which depended on 
 its lines for beauty didn't need that kind of ornament. 
 But Ryan has unquestionably justified himself. The feat- 
 ure has been talked about throughout the country more 
 than any other. See how the light falls on the tower like 
 a great shimmering robe. It gains by the contrast it 
 makes with the subdued lighting beneath." 
 
 The group on the Column of Progress stood out 
 against the sky. 
 
 The doorways were taking on the color of gold, becom- 
 ing even more beautiful than they had been by day. 
 
 "What Ryan tried hardest to get," said the architect, 
 "was evenness of lighting. He wanted to bring out clearly 
 the details of the architecture and he succeeded." 
 
 [102]
 
 ENTRANCE TO THE VARIED INDUSTRIES PALACE, 
 SPANISH RENAISSANCE, ADAPTED PROM THE SANTA 
 CRUZ HOSPITAL, OP TOLEDO, SPAIN, THE SCULPTURED 
 FIGURES BV RALPH STACKPOLE. AT EITHER SIDE OF 
 THE DOORWAY STANDS THE AMERICAN LABORER IN 
 DUPLICATE. THE CROUP IN THE HALF-CIRCLE 
 CELEBRATES THE WORKERS IN THE VARIED INDUS- 
 TRIES. THE FIGURE ABOVE IS INDUSTRY. THE 
 GROUP IN THE NICHE IS CALLED, "THE OLD WORLD 
 HANDING ITS BURDEN TO THE YOUNGER WORLD." 
 ORNAMENTAL LIGHTING STANDARD BY RYAN AND 
 DENNEVILLB.
 
 XVIII 
 
 THE ILLUMINATING AND THE 
 
 REFLECTIONS 
 
 HAT motionless steam engine, all in gray, 
 harmonizing with the Travertine, was 
 furiously at work. Into the air it sent 
 clouds of steam that turned to red and blue 
 and green under Ryan's magic. And up 
 there, at the top of the Column of Progress, 
 we saw the Adventurous Bowman and his companions in 
 two groups, one reflected on the illuminated fog. 
 
 Through the smoke and the fog the bombs were shoot- 
 ing and breaking into great masses of liquid fire, golden 
 and green and pink and yellow. "Someone says we're all 
 children at heart," the architect remarked. "These fire- 
 works get more attention than all the architecture and the 
 art put together. But, after all, they're just about as beau- 
 tiful as anything man can make and, in the way of color, 
 they put the artists to shame." 
 
 We were part of the crowd that swept to the Court of 
 the Universe, never so splendid as at night, with the col- 
 umns reflected in the pool and Calder's star figures shining 
 from the concealed electric bulbs. On reaching the court 
 itself we stood at the end of one of the corridors and 
 looked down. Great drops of light hung on the columns 
 like molten gold. "Ryan has done something very artistic 
 and unusual there," the architect remarked. "So far as I 
 know nothing just like it has ever been done before. It 
 suggests the tongues of fire mentioned in the Scripture 
 that descended from Heaven." 
 
 In the sunken garden those two shafts, rising from the 
 fountains, looking like stone by day, had become great 
 candles, glowing from the base to the glass globe on top. 
 "They're practically the sole means of illuminating this 
 court. The other lights are merely ornamental. So far 
 
 [ 103 ]
 
 THE CITY OF DOMES 
 
 as I'm aware nothing just like these shafts has ever been 
 tried in an Exposition or anywhere else. It's a novel Ex- 
 positional effect. Some people don't like it; but most 
 people admire it immensely. It symbolizes the gold that 
 first drew the multitude to this part of the world. If the 
 golden color had been used more extensively throughout 
 the Exposition it would have helped a lot. Guerin gets it 
 at night by means of the light that shines through the 
 windows and Faville gets it in the light behind those won- 
 derful doorways of his that haven't been praised half as 
 much as they ought to be." 
 
 The Court of the Ages lured us along the dimly lighted 
 inner court, the arches taking on an even more delicate 
 beauty in the night light. Once within the court we found 
 ourselves under the spell of Mullgardt's genius. The 
 architecture, the cauldrons sending out pink steam, the 
 flaming serpents, the torches on the tower, the warm 
 lights from within the tower, the great ecclesiastical stars, 
 brilliant with electricity, all carried out the idea of the 
 earth, cast off by the sun. 
 
 In the entrance court we found the effects less mag- 
 nificent but, in their way, just as beautiful. The lighting 
 emphasized the refinement of the court, the rich delicacy 
 of the ornamentation. "Mullgardt ought to go down into 
 history for this contribution to the Exposition," said the 
 architect. "He has shown that originality is still possible 
 in architecture." 
 
 In the Court of the Four Seasons we watched the Em- 
 erald Pool turning the architecture into a mermaids' 
 palace. The water flowing under the four groups of the 
 seasons shone from an invisible light beneath, coloring it 
 a rich green. "When Ryan promised to illuminate the 
 water here without letting the source of the light be seen, 
 it was thought by the people it couldn't be done." For 
 a long time we sat in front of the lagoon where the 
 swans were silently floating and, and the Palace of Fine 
 Arts was reproduced with a deeper mystery. Now we 
 
 [ 104 ]
 
 
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 THE ILLUMINATING AND THE REFLECTIONS 
 
 could feel the relation between the colonnade and Ger- 
 ome's chariot race. "It would please Gerome if he could 
 know that he had helped to inspire so magnificent a con- 
 ception," said the architect. "And if Boecklin could see this 
 vision and hear that his Island of the Dead had started 
 Maybeck's mind thinking of it he would probably be 
 astonished and delighted at the same time. With his fine 
 understanding of the influences operating in art he would 
 see that his contribution did not in any way detract from 
 Maybeck's originality. Down the centuries minds have 
 been influencing one another and, in this way, adding to 
 the sum of wisdom and beauty in the world. Now and 
 then, as in this instance, we can plainly see the influences 
 at work. Behind Boecklin and Gerome there were doubt- 
 less influences that led to their making those two pictures, 
 inspirations from nature or from other artists, or both 
 together. And this palace will doubtless inspire many 
 another noble conception." 
 
 "When we apply that thought to the Exposition as a 
 whole," I said, "we can see what a big influence it is 
 likely to have on the art of the country." 
 
 "It has undoubtedly had a big influence already, even 
 though we may not be able, as yet, to see it working. The 
 very interest the Exposition has aroused in the people 
 that come here, whether they are artists or not, can't help 
 being productive." 
 
 SEEING THE LIGHTS FADE 
 
 We went over to the South Gardens to see the lights 
 change on the Tower of Jewels, passing the half-dome of 
 Philosophy, the stained glass of the windows enveiling 
 the background. They were still robing the tower in pure 
 white, and the hundred thousand pieces of Austrian cut 
 glass were shimmering. "They must have had a hard time 
 getting those jewels fastened on the ornamentation of the 
 upper tiers. The wind up there is very strong. Some of 
 the men came near being blown oflf. It took pretty expert 
 acrobatic work to hang the jewels out on the extreme 
 edges." 
 
 [losl
 
 THE CITY OF DOMES 
 
 Suddenly the lights on the tower glowed into red. The 
 tower itself seemed to become thinner and finer in outline. 
 
 "There are people who don't like this color," said the 
 architect. "It's fashionable nowadays to feel a prejudice 
 against red. But it is one of the most beautiful colors in 
 nature and one of nature's greatest favorites, associated 
 with fire and with flowers. To me the tower is never so 
 beautiful as it is when the red light seemed to burn from 
 a fire inside. See how it tends to eliminate the superfluous 
 ornamentation. It brings out the grace of line in the 
 upper tiers, like folded wings. With just a few elimina- 
 tions the improvement in that tower would be aston- 
 ishing." 
 
 Presently the lights in the tower went out altogether. 
 The four Italian towers also grew dim. It was getting 
 late. People were hurrying out. But we lingered. We 
 wished to see this city of domes at it appeared without 
 any lights at all, except for those that were kept burning 
 to meet the requirements of the law. 
 
 For an hour we roamed about the deserted place. Here 
 and there we would meet a belated visitor or a group of 
 people from some indoor festivity. 
 
 The material had taken on a finer quality. It looked 
 like stone. Wonderful as the Exposition was by day and 
 in the evening, it was far more wonderful at this hour. 
 
 Now it was easy to imagine the scene as a city, with 
 the inhabitants asleep in their beds. But just what kind 
 of city it was I could not make up my mind. When I 
 expressed this thought to the architect, he said: 
 
 "Have you ever seen David Roberts' big illustrated 
 volumes, 'Travels in the Holy Land'? If you haven't, 
 look them up. Then you will see what kind of a city this 
 city is. It's a city of Palestine. It's Jerusalem and Jaffa 
 and Akka all over again." 
 
 [io6]
 
 FEATURES THAT OUGHT TO BE 
 NOTED BY DAY 
 
 THE SOUTH GARDENS 
 
 Hedge. Idea suggested by W. B. Faville, of Bliss & Faville, 
 architects, of San Francisco, and developed by John McLaren, 
 landscape gardener and superintendent of the Golden Gate Park, 
 San Francisco, to give impression of old English wall. African 
 dew plant grown in shallow boxes, two inches deep, covered with 
 wire netting. 
 
 Design of entrance at Scott Street, by Joseph J. Rankin. 
 
 South Gardens, French in character, with suggestions of Span- 
 ish. Planting by John McLaren. 
 
 In center, "Fountain of Energy," by A. Stirling Calder, acting 
 chief of sculpture; French influence. Expresses triumph of energy 
 that built the canal. Youth on horseback, standing in stirrups, 
 "Energy." Figures on shoulders, "Fame" and "Valor." Figures on 
 globe, two hemispheres ; Western, bull-man ; Eastern, lioness- 
 woman. Figures on base, sea-spirits. Upright figure on globe, Pan- 
 ama. Large figures in pool, the oceans : The Atlantic, a woman 
 with coral in her hair, riding on back of armored fish ; North 
 Sea, an Eskimo hunting on back of walrus; Pacific, a woman on 
 back of large sea lion; and South Sea, a negro on back of 
 trumpeting sea-elephant. Sea-maidens on dolphins' backs, in pool. 
 
 To right and left, in front of Festival Hall, and Horticultural 
 Palace, at ends of long pools, French fountain of "The Mermaid," 
 figure, by Arthur Putnam, of San Francisco. 
 
 To right, large building. Festival Hall, by Robert Farquhar, of 
 
 Los Angeles ; French theatre architecture. Studied from the 
 theatres of the Beaux Arts style of French architecture. Details, 
 French Renaissance developed from the Italian influence. 
 
 To right, Press Building, designed and built by the Exposition ; 
 Harris H. D. Connick, Director of Works. 
 
 To left, large building, Palace of Horticulture, Bakewell & 
 Brown, architects. 
 
 To left. Young Women's Christian Association. 
 
 French light standards, by Walter D'Arcy Ryan and P. E. 
 Denneville. 
 
 French ornamental vases, filled with flowers, by E. F. Champ- 
 ney. 
 
 The wall, by Faville, with ornamental Spanish entrances, runs 
 around main courts and palaces, making the walled city. Tiled 
 roofs suggesting mission architecture, associated with early Cali- 
 fornia missions, a style developed from the Spanish. 
 
 Four smaller towers, two on either side of large tower, by 
 George W. Kelham, of San Francisco, Italian Renaissance. 
 
 Sand on walks, selected by Jules Guerin for its pink color to 
 harmonize with color scheme. Binds together buildings, its pink 
 
 [1071
 
 THE CITY OF DOMES 
 
 harmonizing with pink of walls. Grains of sand in walks trans- 
 lucent. 
 
 Flag poles, ornamented with gilt star, by Faville. Orange- 
 colored streamers by Guerin. 
 
 Heraldic designs related to history of Pacific Coast, by Ryan. 
 
 Thoroughfare running along wall and lined with palms. Avenue 
 of Palms. 
 
 Equestrian statue, to right of Tower of Jewels, by Charles Nie- 
 haus, "Cortez," conquerer of Mexico. 
 
 Equestrian statue, to left, by Charles Gary Rumsey, "Pizar- 
 ro," conqueror of Peru. Fine in action and spirit. 
 
 TOWER OF JEWELS 
 
 Main tower breaking southern wall, facing South Gardens, the 
 Tower of Jewels, by Thomas Hastings, of Carrere & Hastings, 
 New York. Developed from Italian Renaissance architecture, with 
 Byzantine modifications, and designed to suggest an Aztec tower; 
 433 feet high; original intention to make it lOO feet higher. 
 
 Inscriptions on wall at base of tower chosen by Porter Garnett 
 of Berkeley, explain steps that led to building of Panama Canal, 
 celebrated by Exposition. On both sides of inscriptions Roman 
 fasces denoting public authority. From left to right: "1501 Rod- 
 rigo de Bastides pursuing his course beyond the West Indies dis- 
 covers Panama"; "1513 Vasco Nunes de Balboa crosses the 
 Isthmus of Panama and discovers the Pacific Ocean"; "1904 the 
 United States, succeeding France, begins operations on the Pana- 
 ma Canal"; "1915 the Panama Canal is opened to the commerce 
 of the world." 
 
 Large Composite columns on base. Arched capitals with acan- 
 thus, ornamented with the American eagle, the nude figure of 
 child, and ornamental design suggesting California fruits. Col- 
 ored to resemble Sienna marble. 
 
 Corinthian columns at either side, eagles at corners of capital, 
 human head above. 
 
 Figures by John Flanagan, of New York, represent types in 
 early California history: Spanish adventurer of sixteenth cen- 
 tury, who came to California and started Spanish influence; 
 priest, who brought the Catholic religion to California Indians ; 
 philosopher, or scholar and teacher ; and the Spanish warrior, the 
 soldier of sixteenth century, who came to win territory for Span- 
 ish king. Above cornice of tower stand four figures on each of 
 the four sides, twice life-size. 
 
 Between statues by Flanagan, square decorative panels ; youth- 
 ful figures with wreath, repeated on north of tower. Designed by 
 Hastings, modelled by Newman and Evans, New York. 
 
 Armored horsemen on terrace, by F. M. L. Tonetti, type of 
 Spanish soldier. Repeated four times on each side. Well modeled, 
 but damaged in eflfect by being placed in row. 
 
 [108]
 
 FEATURES THAT OUGHT TO BE NOTED BY DAY 
 
 Rows of eagles on niches of tower, symbol of American in- 
 itiative. 
 
 Decorative vase on wings of tower, Italian. Use of ram's head 
 below bowl. 
 
 Wreaths of laurel under eagles, rewards of courage, suggest- 
 ing triumph of building canal. 
 
 Prows of triremes, at corners on third lift, denoting world- 
 wide commerce. 
 
 Ornamental use of niches, columns, vases, head-piece, breast- 
 plates, shields, the pagan bull, Cleopatra's Needle. 
 
 Human figures supporting globe, encircled with girdle, point of 
 tower ; suggest Atlas ; ancient idea ; somewhat like the group 
 of the four quarters of the world by Jean Baptiste Carbeaux in 
 the gardens of the Luxembourg. 
 
 Tower broken into seven stages. Horizontal lines have flatten- 
 ing effect ; tower does not appear so high as it really is. 
 
 One hundred and thirty-five thousand jewels on tower, sus- 
 pended to vibrate. Ruby, emerald, aquamarine, white, yellow. 
 Made in Austria, of Sumatra stone. 
 
 Arch of Tower of Jewels, no feet high, 60 feet broad; fine 
 example of Roman arch, like Arch of Constantine and Arch of 
 Titus. 
 
 Figure of Minerva on centerpiece of arch, north and south. 
 
 Recessed or coffered panels in ceiling, richly colored, blue har- 
 monizing with murals on east and west walls. 
 
 Murals by William de Leftwich Dodge, of New York. To 
 west, "Atlantic and the Pacific," with the "Purchase" to right, 
 and the "Discovery" to left. Opposite, "Gateway of All Nations," 
 with "Labor Crowned" and the "Achievement" on sides. Tone 
 of murals strengthens arch. Subjects related to history of Cali- 
 fornia and the Panama Canal. 
 
 Fountains, one in each of the colonnades. To right. "Fountain of 
 Youth," by Mrs. Edith Woodman Burroughs, of Flushing, New 
 York. Figure of girl, simple and well-modeled ; panels at either 
 side show boats, youth rowing the older people ; eagle and laurel 
 wreath at back, suggest that central figure is United States. 
 One figure shows a woman with hand at ear, her attention 
 turned toward the beauty and happiness of lost youth. To left, 
 "Fountain of El Dorado," by Gertrude Vanderbilt Whitney (Mrs. 
 Harry Payne Whitney), of New York. Panels at either side show 
 human struggle for "land of gold," or "happiness," or "success." 
 Portals ajar, but Egyptian guardians bar the way. Dramatic sub- 
 ject, vigorous handling. 
 
 View of San Francisco hills between the columns, one of the 
 most beautiful views on the grounds. 
 
 Inscriptions on north of tower, by Garnett, discovery of Cali- 
 fornia and union with United States. From left to right: "1542 
 Juan Rodriguez Cabrillo discovers California and lands on its 
 
 [ 109]
 
 THE CITY OF DOMES 
 
 shores." "1776 Jose Joaquin Moraga founds the Mission of San 
 Francisco de Asis"; "1846 the United States upon the outbreak 
 of war with Mexico takes possession of California"; "1850 Cali- 
 fornia is admitted to the Union as a sovereign State." 
 
 Forecourt of Court of Universe; coloring good, graceful plant- 
 ing of cypress. 
 
 Trees in niches under tower; contrast of colors, dark green, 
 blue and pink. 
 
 COURT OF THE UNIVERSE 
 
 Elephant poles, Roman, by McKim, Mead & White; streamers 
 by Guerin. 
 
 Bear fountains, in walls of Palaces of Liberal Arts and Manu- 
 factures, north of Tower of Jewels. Three on each wall. Colors, 
 pink, dark blue, light green. 
 
 Largest court in Exposition. By McKim, Mead & White, archi- 
 tects, of New York. Inspired by Bernini's entrance to St. Peter's, 
 in Rome. 
 
 Area of court, seven acres ; 650 feet wide from arch to arch ; 
 1200 feet from Tower of Jewels to Column of Progress. 
 
 Palaces around court : northeast. Transportation ; northwest, 
 Agriculture; southwest, Liberal Arts; southeast. Manufactures. 
 
 Sunken Garden, planted by John McLaren. 
 
 Height of Arches of Rising Sun and Setting Sun, 203 feet 
 from base to tip of sculpture. 
 
 East, Arch of Rising Sun; Arch of Setting Sun, in west. 
 Suggested by arches of Constantine and Titus in Rome ; modified 
 by use of green lattices, Oriental, and by colossal sculptural 
 groups, the East and the West, in place of Roman chariot or 
 quadriga. 
 
 Columns in front of arches; composite, mingling of Ionic and 
 Corinthian; female figure used as decoration. 
 
 "Angel of Peace," by Leo Lentelli, on each side of arches on 
 Sienna columns, repeated four times. Sword is turned down, but 
 not sheathed, a commentary on modern peace. 
 
 "Pegasus," in triangular spaces above arch, by Frederick G. R. 
 Roth, repeated on the other side. 
 
 Medallions, right and left sides of arches. Female figures sug- 
 gesting Nature, by Calder ; male figures suggesting Art, by B. 
 Bufano, of New York. 
 
 Above medallions on frieze, decorative griffons. 
 
 Quotations on Arch of Rising Sun, west side, facing court, 
 chosen by Garnett. Panels from left to right : "They who know 
 the truth are not equal to those who love it," from Confucius, the 
 Chinese philosopher; "The moon sinks yonder in the west while 
 in the east the glorious sun behind the herald dawn appears ; 
 thus rise and set in constant change those shining orbs and regu- 
 late the very life of this, our world," from "Shakuntala" by Kali- 
 
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 FEATURES THAT OUGHT TO BE NOTED BY DAY 
 
 dasa, the Indian poet ; "Our eyes and hearts uplifted seem to gaze 
 on heaven's radiance," from Hitomaro, the Japanese poet. 
 
 Quotations on Arch of Rising Sun, east side, facing Florentine 
 Court. Panels from left to right : "He that honors not himself 
 lacks honor wheresoe'er he goes," from Zuhayr, the Arabian poet ; 
 "The balmy air diffuses health and fragrance ; so tempered is the 
 genial glow that we know neither heat nor cold ; tulips and hya- 
 cinths abound ; fostered by a delicious cHme the earth blooms 
 like a garden," from Firdausi, the Persian poet; "A wise man 
 teaches, be not angry. From untrodden ways turn aside," from 
 Phra Ruang, the Siamese poet. 
 
 Crenellated parapet on arches, note from military architecture. 
 Archers used to shoot from behind. 
 
 Cleopatra's Needle repeated on edge of arches. Used by the 
 Egyptians as historical records and public bulletins. Merely deco- 
 rative. 
 
 Green jars, beautifully designed, in niches at base of Arches 
 of Rising and Setting Sun, McKim, Mead & White. Eight in each 
 arch. 
 
 Arch of the Rising Sun, surmounted by group representing 
 types of Oriental civilization. "Nations of the East," designed by 
 Calder, and executed in collaboration with Lentelli and Roth. 
 From left to right : Arab sheik on horse, negro slave, Egyptian 
 on camel, Arab falconer, Indian prince, Buddhist priest or lama 
 from Thibet, Mohammedan with crescent, negro slave, and Mon- 
 golian on horseback. 
 
 Murals in arch by Edward Simmons, of New York. On north 
 wall, from left to right. True Hope and False Hope, Commerce, 
 Inspiration, Truth, Religion, Wealth, Family; in background 
 Asiatic and American cities. On south wall : historical types, 
 nations that have crossed the Atlantic ; from left to right, "Call 
 to Fortune," listening to the past, the workman, the artist, the 
 priest, Raleigh the adventurer, Columbus the discoverer, the sav- 
 age of lost Atlantis, the Graeco-Roman, and the Spirit of Adven- 
 ture sounding the call to fortune. In background, ancient and 
 modern ships. 
 
 Arch of Setting Sun. Statues, frieze, spandrels, parapet, 
 identical with Arch of Rising Sun. Group on top, "The Nations 
 of the West," designed by Calder, executed in collaboration with 
 Lentelli and Roth. American figures grouped around prairie 
 wagon, drawn by two oxen. Above wagon, "Enterprise"; in 
 front, "The Mother of Tomorrow," white boy on one side, colored 
 boy on other ; south, a French-Canadian, an Alaskan woman, a 
 Spanish-American, a German ; north, an Italian, British- Ameri- 
 can, squaw, American Indian. 
 
 Quotations on Arch of Setting Sun, chosen by Garnett. Panels 
 from left to right, facing court : "In Nature's infinite book of 
 secrecy a little I can read," from "Antony and Cleopatra," by 
 Shakespeare, the English poet ; 
 
 [III]
 
 THE CITY OF DOMES 
 
 "Facing west from California's shores, 
 Inquiring, tireless, seeking what is yet unfound, 
 I, a child, very old, over waves, toward the house of maternity, 
 
 the land of migrations, look afar. 
 Look off the shores of my Western sea, the circle almost circled." 
 from ''Leaves of Grass," by Walt Whitman, the American poet; 
 "Truth, witness of the past, councillor of the present, guide of 
 the future," from "Don Quixote," by Cervantes, the Spanish 
 novelist. 
 
 Murals in Arch of the Setting Sun, by Frank Vincent Du Mond, 
 of New York. "Westward March of Civilization," beginning on 
 north and continuing on south wall. Four groups in north panel, 
 from left to right. Emigrants setting out for the west ; two work- 
 men and a woman holding child ; symbolic figure of the Call to 
 Fortune ; types of those who crossed the continent, the driver, the 
 Preacher, the Pioneer, the Judge, the Schoolmistress, the chil- 
 dren ; youth bidding farewell to parents ; in background. New 
 England home and meeting place. South wall : four groups in 
 panel, from left to right ; two Spanish-American soldiers and 
 captain with a Spanish priest, suggesting Mission period ; sym- 
 bolical figure "Spirit of Enlightenment" ; types of immigrants, the 
 Scientist, the Architect, the Writer Bret Harte, the Sculptor, the 
 Painter William Keith, the Agriculturist, the Laborer, women 
 and children ; California welcoming the easterners, figures of Cali- 
 fornia bear, farmer, miner, fruit pickers ; orange tree, grain and 
 fruit, symbols of state. 
 
 Classic groups at head of steps in front of arches leading 
 down into gardens by Paul Manship, of New York. North side, 
 "The Dancing Girls" ; south, "Music and Art." 
 
 Star-figure, along upper edge of court, by Calder. Repeated 
 ninety times. Contrast with angel in front of arches. 
 
 Lion's head, on cornice below star-figure, repeated around court. 
 
 Gilt balls on the domes of all six pavilions. Represent an orna- 
 mental motive borrowed from the Byzantines and often used on 
 synagogues. A feature of St. Mark's. Dr. Jacob Nieto, rabbi of 
 the Temple Israel, of San Francisco, has an interesting theory as 
 to their origin. "The ancients always had the greatest regard for 
 the central star of each of the constellations that made up the 
 zodiacal signs. No doubt in their method of representation they 
 would symbolize the central stars by a globe, as they also did the 
 sun and the moon, looking upon them all as servants of the 
 earth, and having, possibly, no idea that these other constellations 
 might be separate solar systems." 
 
 Frieze on pavilions at corners of court, "Signs of the Zodiac," 
 Atlas and fourteen daughters, seven Pleiades and seven Hyades, 
 twelve bearing plaques, by Herman A. MacNeil, of New York. 
 On four sides of each of the six dome-covered pavilions. The 
 third figure from the end on either side represents Electra. 
 Sculptor, in modelling the form, put it on one side and then re- 
 
 [112]
 
 FEATURES THAT OUGHT TO BE NOTED BY DAY 
 
 versed it on the other side. The daughters of Atlas: only those 
 representing signs of the Zodiac, have shields. On each shield is 
 one of the signs of the Zodiac. What the sculptor has designed 
 on the right is reversed on the left, securing absolute symmetry. 
 The figures are finely done and merit special attention. 
 
 Lamps around sunken garden. Women; the Canephori, priest- 
 esses who carried baskets in ancient Greek religious festivals ; 
 men, suggestive of Hermes, used by Romans at ends of roads. 
 Instead of baskets, they all carry jars. 
 
 "Fountain of the Rising Sun." Ninety-foot column crowned 
 by figure of Rising Sun, by Adolph A. Weinman, of New York. 
 Reliefs at base of column, "Day Triumphant" ; Time, Light, 
 Truth, Energy, conquering Falsehood, Vice, and Darkness. Orna- 
 mental figures under upper bowl, looking down into water, sug- 
 gest Neptune, but are winged, "Spirit of the Waters." 
 
 "Fountain of Setting Sun." Column with figure of Setting 
 Sun, a woman; called also "Descending Night." Reliefs at base 
 of fountain, "Gentle Powers of Night," with Dusk covering 
 Labor, Love, and Peace, followed by the Stars, Luna, Illusions, 
 and Evening Mists. 
 
 Tritons in pools of Fountains of Rising and Setting Sun, by 
 Weinman. Two statues; one, triton struggles with snake; in the 
 other, with fish. Two duplicated in each pool. 
 
 Sheetlike appearance of water when full force of water is on; 
 streams from figures in pool, overflowing from bowl, spouting 
 from lion heads above frieze. 
 
 "The Elements," reclining figures at head of main stairs lead- 
 ing down to sunken gardens, by Robert Aitken, of New York. 
 In size and treatment, suggestive of" Michael Angelo. North- 
 east, "Water," riding a wave, with his trident in one hand, 
 sea weed in the other. Northwest, "Fire," a Greek warrior lies 
 in agony, grasping fire and lightning, with Phoenix, bird of 
 flame, at back, and the salamander, reptile of fire, under his right 
 leg. Southeast, "Earth,'' a woman leaning against a tree, apparently 
 sleeping; at back two human figures struggle to uproot tree, 
 symbol of man's war with nature. Southwest, "Air," woman 
 holding star to ear; birds, symbol of air; Icarus, mythological 
 aviator who fell into sea, tied to wings of woman, typifying 
 man's effort to conquer the air. 
 
 Small lion fountains below "The Elements," by McKim, Mead 
 & White. 
 
 Bandstand, Arabic ; picturesque, but inharmonious ; obstructs 
 view through entrance court. 
 
 Four tigers at base of bandstand, facing pool ; decorative. 
 
 Court leading from gardens to Column of Progress. Designs 
 repeated in frieze and in jeweled lamps of shell design, McKim, 
 Mead & White ; fine detail. 
 
 Colonnades on either side of court leading to Marina. Large 
 
 [1131
 
 THE CITY OF DOMES 
 
 Roman hanging lamps. Stars in ceilings. Beauty in design, color- 
 ing and sweep of corridor. 
 
 Frieze around main doorway in colonnades, bird and conven- 
 tionalized foliage; skilfully designed. 
 
 ON THE MARINA 
 
 View from Marina : Extreme right, Berkeley and Oakland ; in 
 center of bay, Alcatraz Island, like a white citadel ; left of Al- 
 catraz, Angel Island ; left of Angel Island, Belvedere ; left, Marin 
 County, including Sausalito and Mount Tamalpais, with military 
 reservation facing the Golden Gate and looking across to the 
 large military reservation, Presidio. 
 
 Column of Progress, celebrating the Progress of Man. Pre- 
 liminary sketch by Calder. W. Symmes Richardson, architect. 
 Reliefs at base, by Isidore Konti, of New York. Surmounting 
 statue, by Hermon A. MacNeil, of New York. 
 
 Tablets on four sides of base, in commemoration of aerial ad- 
 vancement. To the west, the scientific phase, a tribute to Lang- 
 ley, who first solved the problem of flying. To the north, aerial 
 achievement. To the east, aerial organization. To the south, his- 
 tory of flying. 
 
 Frieze at base on four sides celebrates beginning of progress. 
 On south front, two women holding palm branches, symbol of 
 victory, call mankind to achievement. 
 
 Wreath at base of column, reward of achievement. 
 
 Top of pedestal, ornamental garland, with figure of Sphinx at 
 corners. 
 
 Spiral, winding around column, with ships in full sail, sug- 
 gestive of upward progress of world. Similar spiral on Column 
 of Trajan and Column of Marcus Aurelius, in Rome. 
 
 Circular frieze sustaining main group at top, "The Burden 
 Bearers," by MacNeil. 
 
 Group on top, "The Adventurous Bowman," the Superman, 
 representing moment of attainment. Thtee figures, the domi- 
 nating male, with the male supporter steadying his arm, and the 
 devoted woman ready to crown him with laurel. 
 
 First use of this kind of column for an idealistic conception. 
 Prototypes of this column, Hke Trajan's Column, but to celebrate 
 some warlike figure or feat. 
 
 Best place to view column, from north, near California Build- 
 ing. 
 
 Esplanade, straight northern wall, broken by Court of Four 
 Seasons, Court of the Universe, and Court of the Ages. North- 
 ern facades of all four buildings, ornate doors in dupHcate of 
 Spanish plateresque doorways. 
 
 Main doorways, rich detail. Statues in niches, by Allen New- 
 man, of New York. Center, "Conquistador," sixteenth century 
 Spanish adventurer. Figure on either side in dupHcate, Newman's 
 
 [114]
 
 ARCADED VESTIBULE, THE ENTRANCE TO THE 
 PALACE OP MACHINERY. THE SCULPTURED 
 RELIEFS AT THE BASE OF THE COLUMNS AND 
 THE SPANDRELS DIRECTLY ABOVE THE 
 ARCHES, BY HAIG PATIGIAN, SUGGESTING 
 THE POWER OF MODERN INVENTIONS, 
 CONTRIBUTE TO THE GENERAL EFFECT OF 
 STRENGTH AND SPLENDOR.
 
 FEATURES THAT OUGHT TO BE NOTED BY DAY 
 
 "Pirate," who preyed on shore commerce of South America. 
 Humorous touch in bowlegs. 
 
 Magnificent view from Marina of San Francisco back of the 
 Tower of Jewels. Like a painting by Cezanne. 
 
 APPROACHING THE COURT OF FOUR SEASONS 
 FROM THE COURT OF THE UNIVERSE 
 
 Venetian Court. 
 
 Palaces on sides of court ; to the north, Agriculture ; to the 
 south, Liberal Arts. 
 
 Quotation on Arch of Setting Sun, facing Venetian Court, 
 chosen by Garnett. Panels from left to right: "The world is in 
 its most excellent state when justice is supreme," from Dante, 
 the Italian poet; "It is absolutely indispensable for the United 
 States to effect a passage from the Mexican Gulf to the Pacific 
 Ocean, and I am certain that they will do it. Would that I might 
 live to see it. But I shall not," from Goethe, the German poet; 
 "The Universe, an infinite sphere, the center everywhere, the cir- 
 cumference no where," from Pascal, the French philosopher. 
 
 Italian Renaissance architecture. 
 
 Colors rich and well harmonized ; pink and green. 
 
 Picturesque lattice work in small doorways. 
 
 Lighting standards, by Faville. 
 
 Goats' head^ at top of standards, just below the globe. 
 
 Arches on sides, coupled Corinthian columns. Endeavor to 
 make them more interesting than formal type of fluted columns. 
 Four designs. They add to richness of court. 
 
 Winged figures over arches, by Faville. 
 
 Blue medallions above arches, Faville. Italiari adaptation of 
 Byzantine. Ship of State, the Bison, the Twins holding garlands 
 representing abundance, the horn of plenty and cadeucus, and 
 tree. 
 
 Coloring under eaves, bright shades, blue and orange. 
 
 Planting, by McLaren, well-massed, in great profusion. 
 
 COURT OF FOUR SEASONS 
 
 Court of Four Seasons, Henry Bacon, of New York, architect. 
 Hadrian's Villa used as model for half-dome and columns in 
 front of fountain. Italian Renaissance in feeling. Every detail in 
 classic spirit. Gives impression of seclusion and peace. 
 
 Quotations on gateways chosen by Garnett. On the eastern 
 gateway, "So forth issew'd the seasons of .the yeare — first, lusty 
 spring all dight in leaves and flowres — then came the jolly sommer 
 being dight in a thin cassock coloured grecne, then came the 
 autumne all in yellow clad — lastly came winter cloathed all in 
 frize, chattering his teeth for cold that did him chill," from "The 
 Faerie Queene," by Edmund Spenser. On the western gateway, 
 "For lasting happiness we turn our eyes to one alone, and she 
 
 [1151
 
 THE CITY OF DOMES 
 
 surrounds you now, great nature, refuge of the weary heart and 
 only balm to breasts that have been bruised. She hath cool hands 
 for every fevered brow and gentlest silence for the troubled 
 soul," from "The Triumph of Bohemia," by George Sterling. 
 
 Palaces around court : northeast. Agriculture ; northwest, Food 
 Products ; southwest, Education ; southeast. Liberal Arts. 
 
 Emerald pool. Surrounded by shrubbery. No sculpture. Archi- 
 tectural term, a "black mirror." Fine reflections. 
 
 Planting, by McLaren, simple and effective. Trees, olive, 
 acacia, eucalyptus, cypress, laurel. All foliage, grey-green ; banner 
 poles same color. 
 
 Banners, by Ryan ; no heraldic designs. 
 
 Best view of court from between columns of Fountains of 
 Spring or Autumn. 
 
 Bulls at sides, above entrance to north court, "Feast of the 
 Sacrifice," by Albert Jaegers, of New York. Youth and maiden 
 leading bulls to harvest festival, suggested by great garlands. 
 
 Roman eagles below bulls on four corners of north court. 
 
 Bull's head with festoons, skull motive, at base of corner 
 pavilions at four corners of north court, Roman. 
 
 Lion's head around cornice, designed by the architect, modelled 
 by artisans of Exposition. 
 
 Bulls' heads above cornices between festoons of flowers around 
 court. Roman motive. 
 
 Statue above south dome, "Harvest," by Albert Jaegers. Seat- 
 ed figure with horn of plenty. Fruits and grains on either side. 
 
 "Abundance," statue repeated four times over each gateway, 
 by August Jaegers. 
 
 Vases repeated twenty-four times on balustrade around court ; 
 simple design, in harmony with classic plan of court. 
 
 Wreaths above cornice around court, harvest motive, wheat 
 and grape. 
 
 P'igures in triangular spaces over three arches of each gate- 
 way, repeated. By August Jaegers. Harvest motive. 
 
 In ceiling of east and west arches, faint relief, terra-cotta effect, 
 Greek designs ; coloring, orange, faint greens, and browns. 
 
 Signs of zodiac on gateways, Aries, Taurus, Gemini, Can- 
 cer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricornus, Aqua- 
 rius, Pisces. 
 
 Half-dome to south, "Niche of Ceres." Rich coloring in vault, 
 contrasted with light tones in arched section. 
 
 Figures on composite columns at right and left of half-dome, 
 "Rain" and "Sunshine," Albert Jaegers. "Rain," a woman shield- 
 ing head with mantle and holding shell ; "Sunshine," woman 
 shading head from sun with palm branch. 
 
 Capitals of columns of "Rain" and "Sunshine," agricultural 
 figures, small harvesters. Modelled by Donnelly and Ricci after 
 designs of the architect. 
 
 [ii6]
 
 FEATURES JHAT OUGHT TO BE NOTED BY DAY 
 
 Pedestals at base of columns, agricultural scenes in low relief, 
 modelled by Donnelly and Ricci after designs of the architect. 
 Farmers going to work with women and children and dog. 
 
 In niches at corners of court, "Fountains of the Seasons," sur- 
 mounted by statue groups representing seasons, Furio Piccirilli, 
 of New York. 
 
 Delicate pink tinting of walls in niches, by Guerin, in imitation 
 of pink marble. 
 
 Columns of colonnades, Ionic, with harvest suggestion in ears 
 of corn hanging from capitals, flower at top. 
 
 Flower boxes, in walls of niches near top and at top ; 
 African dew plant hanging over edge ; give note of age and break 
 sharp outline of wall against sky, and contrast with color of back- 
 ground. 
 
 Southwest corner, "Spring," by Piccirilli. Young woman with 
 floral garland, man adoring, Flora bringing flowers. 
 
 Northwest corner, "Summer," by Piccirilli. Group expresses 
 fruition. Woman brings child to husband. Laborer with first 
 sheaf from field. 
 
 Northeast corner, "Autumn," by Piccirilli. Young woman car- 
 rying wine jar, suggests fruitfulness. Harvest of fields and 
 human race ; one girl offers grapes, other a child. 
 
 Southeast corner, "Winter," by Piccirilli. Bare tree at back; 
 laborer rests after tilling; one begins to sow, preparing for 
 spring. 
 
 Murals in colonnades with fountains, by H. Milton Bancroft. 
 Simple and obvious, in the pagan spirit. 
 
 Above doorway in southwest corner. Spring. "Spring" and 
 "Seedtime." 
 
 Northwest corner. Summer. "Summer" and "Fruition." 
 
 Northeast corner. Autumn. "Autumn" and "Harvest." 
 
 Southeast corner. Winter. "Festivity" and "Winter." 
 
 Murals in half-dome to south, Bancroft. Coloring and ar- 
 rangement of figures finer than in smaller panels. 
 
 On east wall under dome, "Art Crowned bv Time." Father 
 Time crowns Art ; on one side, figures of Weaving, Jewelry 
 Making, Glassmaking; on other Printing, Pottery, and Smithery. 
 
 "Man Receiving Instruction in Nature's Laws." Woman holds 
 before a child a tablet inscribed "Laws of Nature." Nature's 
 laws applied to Earth, Water, Fire, Love, Life, and Death. 
 
 North court, entrance to Court of Four Seasons. Wreaths, 
 lion heads, bulls' heads, harvest design on capitals of columns, 
 repeated. 
 
 "Ceres," by Miss Beatrice Evelyn Longman, goddess of agri- 
 culture, wreath of cereals and corn scepter. Figure conventional, 
 prim and modish ; flowing skirt. 
 
 Figures below "Ceres" on drum represent carefree nature. 
 In deep relief, cameo-like. Figures of women, gracefully mod- 
 eled, with garlands and tambourines. 
 
 rii7i
 
 THE CITY OF DOMES 
 
 Satyrs spout water into bowl of fountain. 
 
 Trees, yews in couples, on either side of walks and center of 
 lawn ; redwoods and eucalypti at sides of entrance to court. 
 
 Shiny-leaved dark green shrub, on borders in court, coprosma. 
 
 Mass of green, placed at end of court to hide Morro Castle. 
 Deepens intimate note of court. 
 
 French lighting standards at north end of court, by Ryan and 
 Denneville. 
 
 AISLE OF SUNSET 
 
 Aisle approaching the Palace of Fine Arts, leading from Court 
 of Four Seasons, west to Administration Avenue, by Faville. 
 
 Central portal, Spanish Renaissance, with twisted Byzantine 
 columns. 
 
 Globe above, symbolical of universal education. 
 
 Main sculptural group: "Education," by Gustave Gerlach, 
 Weehawken, New Jersey. Tree of knowledge in background. 
 Left, kindergarten stage. Center, half-grown children. Right, man 
 working out problems for himself. 
 
 Below, open book of knowledge radiating light in all direc- 
 tions. Small figures draw aside curtains of darkness and ignor- 
 ance. Hour-glass, "Time Flies." Crown, for seekers of knowl- 
 edge. 
 
 Educational panels inlaid in wall over smaller entrances, by 
 pupils of School of Sculpture of Beaux Arts Architects, and Na- 
 tional Sculpture Society. 
 
 Woman teacher, by W. H. Peters. 
 
 Man teacher, by Cesare Stea. 
 
 "Victory," on gables of buildings, by Louis Ulrich, of New 
 York ; "Acroterium" ; like "Victory of Samothrace." 
 
 Charm of green lattice-work in small doorways of palace. 
 
 Main doorway. Palace of Food Products, by Faville. Terra 
 cotta effect on sides of door. Eagles above door, inspiration. 
 Green lattice-work in doors. 
 
 ADMINISTRATION AVENUE 
 
 West wall, magnificent; facing Palace of Fine Arts, broken 
 by Aisle of Spring, and two large Roman half-domes in Palace 
 of Food Products and Palace of Education. 
 
 Palaces facing avenue : from north to south. Food Products 
 and Education ; across lagoon, Fine Arts. 
 
 Greenery and niches in pink and blue prevent wall from being 
 monotonous. 
 
 "Dome of Plenty," in Palace of Food Products, harmonizes 
 with half-dome in Court of Four Seasons. 
 
 Fountain in dome ; elaborate ; Sienna design. 
 
 Man with oak wreath, repeated eight times above columns in 
 portal representing strength, by Earl Cummings. 
 
 [ii8]
 
 ONE OF THE BAS-RELIEFS BY HAIC PATIGIAN ON THE COL- 
 UMNS IN THE ENTRANCE TO THE PALACE OF MACHINERY. 
 THEY REPRESENT THE GENII OF MACHINERY. THE CLOSED 
 EYES SUGGEST BLIND FORCE, THE POWER THAT COMES FROM 
 WITHIN AND THAT IS DIRECTED BY INTELLIGENCE. THE 
 FIGURES AND THE SPREADING WINGS ARE DECORATIVELY 
 USED TO INDICATE POWERFUL SUPPORT. THEIR MODELLING 
 FOLLOWS THE CURVATURE OF THE COLUMNS AND IS WELL 
 DONE. BETWEEN THE FIGURES STAND SYMBOLS OF 
 MACHINERY.
 
 FEATURES THAT OUGHT TO BE NOTED BY DAY 
 
 Great columns of imitation Sienna on either side of portal, sur- 
 mounted by "Physical Vigor," by Ralph Stackpole. 
 
 Niches along wall, archaeological figures, by Charles Harley, 
 of Philadelphia. "Triumph of the Field," man with harvest sym- 
 bols, alternating with "Abundance," woman with horn of plenty. 
 
 Half-dome of Palace of Education, "Dome of Philosophy." 
 Architecture as in "Dome of Plenty." Charm of background, 
 ornamented ceiling, Corinthian columns with acanthus leaves. 
 
 Over doorways, beautiful use of stained glass. 
 
 Female figure repeated eight times above inner columns, by 
 Albert Weinert ; carries books ; "Ex Libris," representing educa- 
 tion. 
 
 Statue by Stackpole surmounting Sienna columns, reversed 
 duplicate of figure before "Dome of Plenty," with different name, 
 "Thought." Really represents vigorous man thinking. 
 
 Figures in niches repeated. 
 
 Roman fountain, "Dome of Philosophy," by Faville; simplest 
 and one of the most beautiful of the fountains on grounds. Sug- 
 gested by fountains in Sienna and Ravenna. 
 
 PALACE OF FINE ARTS 
 
 Palace of Fine Arts, Bernard R. Maybeck, of San Fran- 
 cisco. Conception inspired by Boecklin's painting, "The Island 
 of the Dead." Rotunda like Pantheon in Rome. Colonnade sug- 
 gested by Gerome's "Chariot Race." Columns at end of colon- 
 nade, hint of Forum. Greek suggestion in Corinthian columns 
 and fretwork and frieze around rotunda. Roof garden or pergola 
 around edge of roof and the Egyptian red of wall gives Egyptian 
 note. Suggestion of overgrown ruin ; atmosphere of melancholy 
 beauty. Originality of architectural design and treatment. 
 
 Curved hedge, obscuring view of floor of rotunda from op- 
 posite side of lagoon, by John McLaren. African dew plant, as 
 in south hedge. Laurels and willows were originally planned to 
 cover hedge and to reach to top of columns. Monterey cypress at 
 north end of colonnade. 
 
 Kneeling figure on altar directlv in front of rotunda, "Rever- 
 ence," by Ralph Stackpole. Can be seen from across pool only. 
 
 Altar rock, planting grown down over edge gives effect of 
 draped altar cloth. 
 
 Frieze on altar rock, below kneeling figure, by Bruno Louis 
 Zimm, of New York. Represents "Source of Genius." In center, 
 Genius; to left and right, mortals seeking to approach genius; 
 lions guard the youth. Seen from across lagoon only. 
 
 Panels on exterior of rotunda just below dome, by Zimm, rep- 
 resenting progress and influence of art. 
 
 Eastern panel, "Struggle for the Beautiful"; in center. Truth; 
 at sides, Persistence and Strength, struggling with centaurs, sym- 
 bols of materialism. 
 
 [I'Q]
 
 THE CITY OF DOMES 
 
 Panel to left, "Power of the Arts"; Genius taming Pegasus, 
 inspiration in art; Wisdom inspiring Youth; Music with lyre; 
 figures of Literature and Sculpture. , 
 
 Panel to right, "Triumph of the Arts" ; Apollo, patron of 
 arts, in chariot ; Fame, with olive branches ; Ictinius, builder of 
 Parthenon, leads procession of devotees. 
 
 Three panels, repeated on five sides of rotunda. 
 
 Decorative figure, man and woman alternating, between panels, 
 repeated around rotunda. 
 
 Corinthian columns, ochre grouped with pale green ones ; cap- 
 itals of burnt orange. 
 
 Flower boxes by Ulric H. Ellerhusen; women at corners. 
 Original plan was to have vines from boxes droop over shoulders 
 of women. Architect's purpose in attitude of women to suggest 
 sadness of art. 
 
 Roman vases, eight or ten feet high around colonnade. Mas- 
 sive and graceful detail. 
 
 SCULPTURE OUTSIDE FINE ARTS PALACE 
 BEGINNING AT NORTHEAST CORNER OF LAGOON 
 
 NORTH OF LAGOON 
 
 The Illustrious Obscure, by Robert Paine. (Fountain on island 
 at north end of lagoon.) 
 
 Whaleman, by Bela L. Pratt. 
 
 Garden Group, by Anna Coleman Ladd. 
 
 Dying Lion, by Paul Wayland Bartlett. 
 
 Garden Figure, Nymph, by Edmond T. Quinn. 
 
 Fragment of "Fountain of Time," by Lorado Taft. Repre- 
 senting the troubled generations. 
 
 ROADWAY TO RIGHT BEFORE ENTERING CIRCLE 
 Bird Fountain, by Caroline Risque. 
 The First Mother, by Victor S. Holm. 
 
 CIRCLE AT NORTH END OF PERISTYLE 
 
 Mother of the Dead, by C. S. Pietro. (Lagoon side of circle.) 
 
 Chief Justice Marshall, by Herbert Adams. (In walk.) 
 
 Destiny, by C. P. Dietsch. 
 
 Sundial, by Edward Berge. 
 
 Head of Lincoln, by A. A. Weinman. 
 
 Fountain Groups, by Anna Coleman Ladd. Sun-God and 
 Python, Water Sprites, and Triton Babies. (To right.) 
 
 Sundial, by Gail Sherman Corbett. 
 
 Daughter of Pan, by R. Hinton Perry. 
 
 Boy Pan with Frog, by Clement J. Barnhorn. 
 
 Bondage, by Carl Augustus Heber. (Only feminist note in the 
 grounds.) 
 
 [120]
 
 THE GENIUS OF CREATION, BY DANIEL CHESTER 
 FRENCH, IN FRONT OF THE MAIN DOORWAY 
 OF MACHINERY PALACE. IT WAS ORIGIN- 
 ALLY INTENDED THAT THE GROUP SHOULD 
 BE PLACED IN THE COURT OF THE UNI- 
 VERSE. THE FIGURE OF INSPIRATION, WITH 
 ARMS EXTENDED IN A COMMANDING GES- 
 TURE, IS SEATED ON A RUGGED MASS OF 
 ROCK AND IS LOOKING DOWN ON WOMAN 
 AND MAN. THE WOMAN IS TIMIDLY REACH- 
 ING OUT AND TOUCHING THE HAND OF THE 
 MAN, WHO IS READY TO BATTLE WITH LIFE. 
 THE SERPENT AT BASE SYMBOLIZES WISDOM.
 
 FEATURES THAT OUGHT TO BE NOTED BY DAY 
 
 Saki, Sundial, by Harriet W. Frishmuth. (In walk.) 
 
 Great Danes, by Anna Vaughan Hyatt. 
 
 Young Diana, by Janet Scudder. 
 
 Flower Urns, base of building along colonnade ; Greek figures 
 with garlands. Ulric H. Ellerhusen. 
 
 Wall of building facing colonnade, seventeen feet high. Acacia 
 blooming there, suggesting over-growth, reHeves severe lines of 
 architecture. Broken by small doors, at corners decorated with 
 spears. Doors suggest Greek design. 
 
 Corinthian columns and pilasters ; harmony of color, smoked 
 ivory and ochre, with shades of green in foliage. 
 
 Urns, on the wall on either side of the doorways and in the 
 rotunda, designed by William G. Merchant. Suggested by urns in 
 the Vatican, Rome. 
 
 NORTH PERISTYLE (curved part colonnade north of rotunda). 
 Maiden of the Roman Campagna, by Albin Polasek. (To left.) 
 Fountain : Duck baby, by Edith Barretto Parsons. 
 A Fawn's Toilet, by Attilio Piccirilli. 
 Apollo, by Haig Patigian. (To right.) 
 The Scalp, by Edward Berge. (To left.) 
 Primitive Man, by Olga Popoff Muller. 
 Youth, by Victor D. Salvatore. (To right.) 
 Soldier of Marathon, by Paul Noquet. (To left.) 
 Fountain : Fighting Boys, by Janet Scudder. 
 Garden. Figfu re, by Edith Woodman Burroughs. (To right.) 
 L'Amour, by Evelyn Beatrice Longman. (To right.) 
 Returning from the Hunt, by John J. Boyle. (To left.) 
 Boy with Fish, by Bela L. Pratt. (To right.) 
 The Centaur, by Olga Popoff Muller. 
 The Sower, by Albin Polasek. 
 Beyond, by Chester Beach. (By main doorway.) 
 Aspiration, by Leo Lentelli. (Over main doorway.) 
 Pioneer Mother Monument, by Charles Grafly. (Before main 
 
 doorway.) 
 
 Portrait of a Boy, by Albin Polasek. (Outside west archway.) 
 The Awakening, by Lindsey Morris Sterling. (Outside west 
 
 archway.) 
 
 "Sculpture," relief on walls of west archway. Bela L. Pratt. 
 
 ROTUNDA, ENTRANCE THROUGH NORTH ARCHWAY 
 
 William Cullen Bryant, by Herbert Adams. (At northwest 
 archway.) 
 
 Lafayette, by Paul Weyland Bartlett. (Center of rotunda.) 
 The Young Franklin, by Robert Tait. 
 Princeton Student Memorial, by Daniel Chester French. 
 "Architecture," relief by Richard H. Recchia. 
 Commodore John Barry, by John J. Boyle. 
 
 [121]
 
 THE CITY OF DOMES 
 
 "Architecture," relief by Richard H. Recchia. 
 
 Lincoln, by Daniel Chester French. 
 
 Thomas Jefferson, by Karl Bitter. (Outside southwest arch- 
 way.) 
 
 Murals in dome of rotunda, Robert Reid. Two series of 
 paintings, four in each, "Birth and Influence of Art," alternating 
 with "The Four Golds of California." 
 
 "Birth of Oriental Art," panel on west wall, toward main 
 doorway. Man on dragon attacking eagle, heavenly bird of in- 
 spiration. China, man in bright robe. Japan, woman with parasol. 
 
 "Gold," panel to right, woman with wand ; sits on horn of 
 plenty pouring gold. 
 
 "Ideals of Art," panel to right. Greek ideal, nude. Religion, 
 Madonna and child. Heroism, Joan of Arc. Material youthful 
 beauty, woman at left. Nature without inspiration or ideal, pea- 
 cock. Figures with wreath and palm, rewards of art. 
 
 "Poppies," panel to right, second gold of California. 
 
 "Birth of European Art," panel to right. Altar with divine 
 fire, guardian with torch. Mortal in chariot grasps torch of in- 
 spiration. Woman in lower corner with crystal globe, predicting 
 future of art. 
 
 "Oranges," panel to right, third gold of California. 
 
 "Inspiration of Art," panel to right. Angels of inspiration 
 above. Figures of Sculpture, Architecture, Painting, Music, and 
 Poetry. 
 
 "Wheat," panel to right, fourth gold of California. 
 
 "Priestess, of Culture," Herbert Adams, of New York ; female 
 figure surmounting columns within rotunda. 
 
 Coloring of dome, burnt orange, turquoise green, Sienna col- 
 umns. 
 
 SOUTH PERISTYLE (curved colonnade). 
 
 Youth, by Charles Carey Rumsey. (To south of doorway.) 
 
 An Outcast, by Attilio Piccirilli. (To right.) 
 
 Idyl, by Olga Popoff Muller. 
 
 Dancing Nymph, by Olin L. Warner. 
 
 Boy and Frog, by Edward Berge. (To left.) 
 
 Eurydice, by Furio Piccirilli. (To right.) 
 
 Wild Flower, by Edward Berge. 
 
 Young Mother with Child, by Furio Piccirilli. (To right.) 
 
 Wood Nymph, by Isidore Konti. 
 
 Young Pan, by Janet Scudder, (To left.) 
 
 Michael Angelo, by Robert Aitken. (To right.) 
 
 Muse Finding the Head of Orpheus, by Edward Berge. (To 
 left.) 
 
 Flying Cupid, by Janet Scudder. 
 
 Piping Pan, by Louis St. Gaudens. 
 
 [ 122]
 
 TOWER IN THE COURT OF THE AGES, FINE EFFECT OF PLAIN SURFACE 
 CONTRASTED WITH RICH SURFACE. THE THREE GROUPS REPRESENT 
 THE ASCENT OF MAN FROM THE STONE AGE, CLOSE TO THE BEASTS, 
 TO THE CRUSADING PERIOD WHEN HE FOUGHT FOR A SPIRITUAL 
 IDEAL, AND TO THE PRESENT CIVILIZATION, EMBODIED BY THE 
 FIGURE OF A WOMAN, INTELLIGENCE, THE TORCHES SIGNIFYING 
 THE LIGHT OF UNDERSTANDING. THE DESIGN USED IN THE UPPER 
 PART OF THE TOWER COMES FROM THE PETAL OF THE LILY, EM- 
 BLEMATIC OF PURITY. IN FRONT OF THE TOWER STAND LEO 
 LENTELLI'S TWO SHAFTS, "AQUATIC MAIDS." THE ORNAMENTA- 
 TION OF THE CLOISTER CONSISTS OF SEA MOTIVES, WEAVING IN 
 KELP, CRABS, TURTLES, LOBSTERS, AND PISH.
 
 FEATURES THAT OUGHT TO BE NOTED BY DAY 
 
 CIRCLE AT SOUTH END OF PERISTYLE 
 
 Bust of William Howard Taft, by Robert Aitken. (To right.) 
 Henry Ward Beecher, by John Quincy Adams Ward. 
 Bust of Halsey C. Ives, by Victor S. Holm. (To left.) 
 Seated Lincoln, by Augustus St. Gaudens. 
 
 SOUTH OF LAGOON 
 
 Kirkpatrick Monument, by Gail Sherman Corbett, Indian point- 
 ing out spring to Jesuit priest. (To right on roadway running 
 back of palace.) 
 
 American Bisons, by A. P. Proctor. (Sides of roadway.) 
 
 Peace, by Sherry E. Fry. (To left.) 
 
 Diana, by Haig Patigian. 
 
 Fountain : Wind and Spray, by Anna Coleman Ladd. (In 
 lagoon, south end.) 
 
 The Scout, by Cyrus E. Dallin. 
 
 Sea Lions, by Frederick G. R. Roth. 
 
 COURT OF PALMS 
 
 Court of Palms, by Kelham ; opposite Palace of Horticulture, 
 between Palaces of Education and Liberal Arts. ItaHan Renais- 
 sance. Sunken garden. 
 
 Palaces at sides of court : to the west. Education ; to the east, 
 Liberal Arts. 
 
 "The End of the Trail," equestrian statue at entrance, by 
 James Earl Fraser. Exhausted Indian, suggests destiny of the 
 American Indian race. 
 
 Italian Towers, Byzantine influence, by Kelham. Both sides 
 of entrance to court; identical. Simpler than towers at Court 
 of Flowers, to east. 
 
 Coloring of towers, by Jules Guerin. Walls, frankly treated, 
 not as stone, but as plaster, after Italian method. Blue checkered 
 border, pink and blue diaper design ; turquoise columns on little 
 towers above, in harmony with domes and columns of Tower of 
 Jewels. 
 
 Design on top, repeated four times at corners, from choragic 
 monument of Lysicrates, in Venice. 
 
 Sienna columns at entrances of towers. Effective contrast. 
 
 Reclining women, purely decorative, in triangular spaces above 
 entrances to towers, by Albert Weinert. 
 
 Figures on side of shield over all portals, very graceful. Pink 
 and turquoise. 
 
 "The Fairy," crowning Italian Towers, Carl Grnppe. 
 
 Female figures, the caryatides, on wide frieze, above columns, 
 by Calder and John Bateman, of New York. Flushed pink, against 
 pink and blue background of imitation marble and terra cotta. 
 
 Festoons of fruit in panels, blues and reds. 
 
 Coupled Ionic columns, smoked. Effective against pink walls. 
 
 [123]
 
 THE CITY OF DOMES 
 
 Vases, before entrances, by Weinert. Bacchanalian revels, low 
 relief. Satyr handles. 
 
 Lighting standards on balustrade, designed by Ryan, modeled 
 by Denneville. 
 
 "Pool of Reflections," no sculpture. 
 
 Italian cypresses, on sides of portals. 
 
 Balled acacias between columns on corridors. 
 
 Palms, in garden. 
 
 Corridors, pink walls, blue ceiling. 
 
 Lamp standards, smoked ivory globes. Designed by Kelham, 
 modeled by Denneville. 
 
 Lamps in corridors, Roman, hanging. Light pink, green, and 
 cream ; effective. By Kelham. 
 
 Murals, in corridors, at east, north, and west portals. 
 
 "Pursuit of Pleasure," east arch, Charles W. Hollowa}'. Light 
 touch, bright reds and blues in keeping with court ; difficult use 
 of floating figure. 
 
 "Victorious Spirit," north arch, Arthur F. Mathews. Spirit 
 of Enlightenment protecting Youth from Materialism, symbolized 
 by rampant horse, and the rider. Brute Force. Arrangement 
 good, coloring deep and beautiful. 
 
 "Fruits and Flowers," west arch, Childe Hassam. Early Italian. 
 Symbolism, obvious. Warmth of color. 
 
 Vista from south, graceful curve of court, view through north 
 portal through Court of the Four Seasons, long colonnade, to 
 purple hills and bay beyond. 
 
 PALACE OF HORTICULTURE 
 
 Palace of Horticulture, Bakewell & Brown, architects, San 
 Francisco. 
 
 Architecture, dome and spires Byzantine, suggest mosque of 
 Ahmed the First, in Constantinople. Ornamentation Renaissance, 
 popular with modern French architects. 
 
 Basket on top of dome, 33 feet in diameter. 
 
 Dome, 186 feet in height, 152 feet in diameter, steel construc- 
 tion. St. Peter's, 137 feet, concrete. Pantheon, 142 feet, concrete. 
 
 Ornamental shafts, suggestive of minarets, in French style. 
 
 Semi-circular colonnade forming entrances, French lattice-work. 
 
 Hanging lamp, in entrances, flower basket design ; elaborate. 
 
 Lamps, hanging along porches, simple design. 
 
 Female figures at base of spires, by Eugene Louis Boutier; 
 purely ornamental. 
 
 Lavish decorations on building suggest variety and abvmdance 
 of California horticulture. Floral designs ; green wreaths with 
 fruit motives and leaves ; lamps ; flowered shields over doorway ; 
 decorated columns; entrance under green lattice-work; great 
 ornamental vases on sides. 
 
 [124]
 
 FEATURES THAT OUGHT TO BE NOTED BY DAY 
 
 Female figures used as columns supporting roof of porch, the 
 caryatides, by John Bateman. 
 
 Building suggests festivity, done in exposition spirit. 
 Coloring, green, old copper. Green lattice-work in domes. 
 
 ALONG THE SOUTH WALL, 
 
 WEST OF THE TOWER OF JEWELS 
 
 South Wall, by Faville. Spanish Renaissance. Domes, Byzan- 
 tine. 
 
 Palaces facing Avenue of Palms, from west to east : Education, 
 Liberal Arts, Manufactures, and Varied Industries. 
 
 Vases beside doorways of Palace of Education, finely designed ; 
 pedestal of one, a Corinthian capital; of the other, an Ionic 
 capital. 
 
 . Main portals, Faville. Suggest Roman gateway. Coloring, pink, 
 turquoise blue, and burnt orange; accentuates sculpture. Dupli- 
 cated on Palaces of Manufactures and Liberal Arts. 
 
 Panel over doorway, by Mahonri Young, Ogden, Utah ; figures 
 of domestic life and industries, making of glass, metal work, 
 statuary, textiles. Figures at side, to left, woman with spindle ; to 
 right, man with sledge-hammer. 
 
 Flat columns at side of portals, pilasters. Corinthian. 
 
 Lion, over centerpiece of arch. 
 
 "Victory," on gables, by Louis Ulrich, like the winged figure 
 used by the Greeks, "Blessings on this house." 
 
 Niches in wall, colored pink and blue. Heads of lions and ele- 
 phants, used as fountains, alternately, by Faville. 
 
 Panel over niches, figures with garland, by Faville. 
 
 FESTIVAL HALL 
 
 Festival Hall, Robert Farquhar. of Los Angeles, architect. 
 Modern French architecture, of the Beaux Arts style. Paris. 
 Used in many Frenrh theatres ; not a natural growth in this 
 country, but growing in favor ; building arrangement fine. Details 
 from Le Petit ajid Le Grand Trianon. Coloring, light greon, not 
 so effective as on Horticultural Palace, popular with French 
 architects. 
 
 Figure on corner domes, "The Torch Bearer," Sherry E. Fry, 
 of New York. 
 
 Figures on sides of shield over big central arch, by Fry. Dec- 
 orative. West entrance. 
 
 Reclining figures, above, on sides of entrance, by Fry. To right, 
 Bacchus with grapes and wine-skin. To left, a woman listening. 
 
 Groups in front of hall, on sides of stairway, by Fry. "Flora," 
 flower girl on pedestal, repeated. On left below pedestal. "Young 
 Pan," seated on Ionic capital covered with fawn skin, his music 
 arrested by sight of lizard. On right, young girl seated. 
 
 r 125 1
 
 THE CITY OF DOMES 
 
 Greek drinking horns, rhytons, repeated around entrance, on 
 cornice, suggest festivity. 
 
 Symbol of Music, the lyre, above entrance. 
 
 Recital Hall, on the second floor of Festival Hall, eastern end, 
 contains fine stained glass windows. Designer and executor, 
 Charles J. Connick, of Boston. Three windows, a small one on 
 the landing of the north stairway, and two larger ones on the 
 west wall of the hall itself. 
 
 On the stairway. Figure of a young monk bearing a scroll 
 inscribed with "Venite exultamus domin" ("Come, let us exalt 
 the Lord"). 
 
 In the hall, window to the left. In the large upper section, a 
 figure of St. Martha of Bethany. Below, Christ and three women, 
 one kneeling. 
 
 In the hall, window to the right. In the large upper section, 
 figures of two men, the wise men, one watching the star, one 
 seated reading; an owl and a lantern in the window also. In the 
 small section below, a ship with a cross on the main sail; the 
 cross is of the design used in the Crusades. 
 
 COURT OF FLOWERS 
 
 Court of Flowers, by Kelham. Italian Renaissance, Byzantine 
 touches. Opposite Festival Hall, between Palaces of Varied In- 
 dustries and Mines. Details different from Court of Palms ; orna- 
 ment richer. 
 
 Figure on tower, "The Fairy," by Carl Gruppe. 
 
 Palaces at sides of court: to the west. Manufactures; to the 
 east, Varied Industries. 
 
 Italian towers, by Kelham, same feeling. Outlines on top differ- 
 ent from those in Court of Palms. 
 
 "The American Pioneer," equestrian statue at entrance, by 
 Solon Borglum, of New York. Patriarchal. Suggests Joaquin 
 Miller. Warlike trappings of horse picturesque, but sixteenth cen- 
 tury Spanish, out of place. 
 
 Spanish loggia around second story of court, southern in feel- 
 ing, implying warm cHmate. 
 
 "Oriental Flower Girl," female figure in niches along loggia, by 
 Calder. 
 
 Griffons around frieze on top of columns. 
 
 Corridors, pink walls, smoked olive columns with orange 
 capitals. 
 
 Against wall, Corinthian coupled pilasters. 
 
 Roman hanging lamps, by Kelham, suggest bronze, great weight. 
 Bronze, pink, green, and cream. Italian bronze lanterns suggest 
 bhie eucalyptus. 
 
 Lamp standards between columns, globe half concealed, by Kel- 
 ham. Charm of effect, improvement on those with globe wholly 
 visible. 
 
 [126]
 
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 FEATURES THAT OUGHT TO BE NOTED BY DAY 
 
 Conventionalized lions in pairs at portals, by Albert Laessle, of 
 Philadelphia. 
 
 Fountain, "Beauty and the Beast," by Edgar Walter, of San 
 Francisco. Sandals and hat on woman. Beast at her feet. Fauns 
 and satyrs, piping, under circular bowl. Frieze outside edge of 
 howl, lion, bear, ape, and tiger repeated ; playful. Designed for 
 Court of Palms to be seen from above. 
 
 Lophantha trees, trimmed four feet from ground, branching out 
 six feet across, along walks. 
 
 Vista through fairy-like Court of the Ages to Florentine Tower 
 and blue sky beyond, from south entrance of Court of Flowers. 
 
 ALONG THE SOUTH WALL. 
 EAST OF TOWER OF JEWELS 
 
 Palaces facing Avenue of Palms, from east to west : Varied 
 Industries, Manufactures, Liberal Arts, Education. 
 
 South fagade of Palace of Varied Industries, by Faville. High 
 walls, seventy feet iti height, suggest eighteenth century California 
 missions. 
 
 Green domes on corners, Byzantine, inspired by mosques of 
 Constantinople. 
 
 Coloring of flags, cerulean blue, pastel red. and burnt orange. 
 
 Windows in corners, mosque design. Little hexagonal kiosks at 
 corners below domes, Moorish. 
 
 Central portal, after portal of Santa Cruz Hosoital, in Toledo, 
 Spain. Sixteenth century Spanish Renaissance, plateresque. Lat- 
 tice-work effect in doorway in harmony with lace-like silver- 
 platter stvle. Niche walls pink, with ultramarine blue. 
 
 Pope Calixtus ITT sent for a Spanish goldsmith, Diaz, to do 
 work for him in Rome. Diaz returned to Spain, carrying the 
 influence of the Italian Renaissance. He met the son of the archi- 
 tect of the cathedral at Toledo. De Egas. To the son he imparted 
 his knowledge and the son annlied it to architecture, creating the 
 plateresque style. Till then all Spanish cathedrals had shown the 
 Gothic influence from the north. 
 
 Figures on large door by Stackpole. Upper figures, "Age 
 Transferring His Burden to Youth," America. Figure in center 
 niece of arch. "Power of Industry," the American workman. 
 Figures in half circle above door, "Varied Industries." from left to 
 right. Spinning, Building. Agriculture. Manual Labor, and Com- 
 merce. Figure repeated four times in lower niches, "Man with 
 the Pick." 
 
 "California Bear" and "California Shield" on buttresses, or 
 square columns supporting wall. Used in old mission buildings. 
 
 AVENUE OF PROGRESS 
 
 Planting, some of the best landscape effects in Exposition. 
 Against buildings, Monterey cypress ; banked by Lawson cypress ; 
 in front and between these, spruces and Spanish fir. 
 
 [127]
 
 THE CITY OF DO.MKS 
 
 Machinery Palace. Ward & Blohme, of Sail Francisco, archi- 
 tects. Italian Renaissance, inspired by Roman baths. Like Baths 
 of Caracalla. Largest building of its kind in world ; three blocks 
 long, seven acres in area. 
 
 Banners, by Ryan, heraldic designs of early Spanish explorers 
 and soldiers. 
 
 Lophantha lawn, designed by John McLaren, trees trimmed off 
 four feet above ground, and trained to grow flat alongside Palace 
 of Varied Industries. 
 
 East fagade of Varied Industries, made Italian to harmonize 
 with Italian Machinery Palace. 
 
 Main portal, like gateways of old Roman walled cities. 
 
 "The Miner," in niches of gateway, by Albert Weinert of New 
 York. 
 
 Small portals, Italian, fine color effect ; lattice-work, orange, 
 blue, light green. 
 
 Sculpture on Machinery Palace, by Haig Patigian, of San Fran- 
 cisco. 
 
 Large columns in front and in vestibule of half dome, imitation 
 Sienna marble. 
 
 Small portals, orange columns at sides, pink niche, blue dome, 
 orange above dome ; pleasing tone. 
 
 Corinthian columns at sides of portals ; eagles at corners of 
 capitals, at top, symbolize inspiration. 
 
 Frieze around drums at base of columns, "Genii of Machinery," 
 by Haig Patigian ; eyes closed, signifying power of the spirit, or 
 blind fate. 
 
 Figures in triangular spaces on either side above doorways, 
 "Application of Power to Machinery," by Haig Patigian. 
 
 Figures on tall Sienna marble columns, "Power," by Haig Pa- 
 tigian. "Steam Power," with lever. "Invention," carrying figure 
 with flying wings, suggesting quickness of mind. "Imagination," 
 eyes closed. Eagle, bird of inspiration, about to fly. "Electricity," 
 foot on earth, carrying symbol. 
 
 ' Eagles repeated on bar, the entablature, across front of domes ; 
 symbol of inspiration. 
 
 Coloring in vestibule of Machinery Palace : Finely harmonized ; 
 brown and brick-colored walls ; orange and blue ceilings ; green 
 lattice work. 
 
 "Genius of Creation," group before court leading to Court of 
 .^ges, Daniel Chester French. Spirit above, a woman, creating 
 life from shapeless mass of earth below. Man at left, courageous 
 and enterprising; woman at right, timid, hesitating. Serpent, sym- 
 bol of wisdom, coiled about mass. 
 
 COURT OF MINES, LEADING TO COURT OF AGES 
 
 Coloring, pink walls, pink streamers, by Guertn. Green shell 
 lamp posts, by McKim, Mead & White, architects. Called "Pink 
 Alley" by workmen during construction. 
 
 [ 128 1
 
 FEATURES THAT OUGHT TO BE NOTED BY DAY 
 
 Palaces on sides of court : to the north, Mines ; to the south, 
 Varied Industries. 
 
 Lamp standards against walls, dark bronze, smoked ivory 
 globes, by Faville. 
 
 Flat Ionic columns, called pilasters, against walls, by Faville. 
 
 Figure in niches, "The Miner," by Albert Weinert. 
 
 COURT OF THE AGES 
 
 Court of Ages, Louis Christian Mullgardt, of San Francisco, 
 architect. Most original of the courts. Faint influence of Spanish 
 Gothic, Romanesque, French, Moorish. Richness and profusion. 
 Suggests evolution of man. 
 
 Palaces around court : northeast. Mines ; northwest. Transpor- 
 tation; southwest. Manufactures; southeast, Varied Industries. 
 
 Decorations on columns of archways around court, kelp, crabs, 
 lobsters, and other sea animals. Vertical lines in columns suggest 
 falling water. 
 
 Fairy lamps, two in each archway, delicately designed. 
 
 "Primitive Man and Woman," by Albert Weinert, repeated al- 
 ternately above corridors around court. Man, a hunter, feeding 
 pelican. Woman, the child-bearer. 
 
 Tower at north entrance, suggestive of French cathedral archi- 
 tecture, massive, but gives appearance of lightness. One of the 
 great successes of the Exposition. 
 
 "The Rise of Civilization," groups of sculpture on tower, by 
 Chester Beach. Central idea, evolution. Stone Age, Mediaeval Age, 
 and Present Age. "Primitive Man," lowest group, just above 
 great reptiles in foreground. Man is holding child and protecting 
 mate. "Medi.'eval Age" directly above, Crusader in center. Priest 
 and Warrior on sides. The candlesticks on sides of crusader, 
 used in mediaeval churches, the light of understanding. On sides 
 of altar, "Modern Man and Woman," struggling for freedom from 
 the physical to the spiritual. "Spirit of Intelligence" enthroned 
 above ; on one side, child with book ; on the other side, child with 
 wheel of industry. 
 
 Chanticleer, repeated on highest pinnacles of court, at level 
 with altar. Signifying dawn of Christianity. 
 
 "Thought," figure on east and west sides of tower. Candlesticks 
 at sides. 
 
 Design on upper part of tower, suggested by the lily, emblem 
 of purity. 
 
 Star clusters, at south end of court and in north court, by Ryan, 
 modeled from snow crystal, and deepening the ecclesiastical char- 
 acter of the court by suggesting the golden monstrance, shaped 
 like the rays of the sun, used in the Catholic church and, in the 
 small glass-covered circle at the center, holding the sacred host. 
 
 "Water Sprites," by Leo Lentclli. Girl archers on top of col- 
 umns at four corners of central court, launching arrow at sprites 
 on base of columns. Originally designed as fountains. 
 
 [129]
 
 THE CITY OF DOMES 
 
 Serpent cauldrons, around pool, designed by Mullgardt. 
 
 "Fountain of the Earth," by Robert Aitken, in center of court. 
 Two parts to fountain ; large central one with globe representing 
 earth, surrounded by panels showing life on earth ; and on same 
 pedestal to south, groups representing life before and after death. 
 
 "Setting Sun," group at extreme south of pool, by Aitken. Man 
 holding golden ball, Helios; serpent, heat of sun. 
 
 Figures on west side of southern group, "The Dawn of Life." 
 Hand of Destiny giving life, pointing toward earth ; Sleep of 
 Woman before Birth; the Awakening; Joy of Life; Kiss of Life; 
 Birth. Gap to central group represents time between peopling and 
 history. 
 
 Panels around earth ; South Panel ; Vanity in center with hand- 
 glass ; man and woman with children, representing Fecundity, 
 starting on earthly journey. 
 
 West Panel : "Natural Selection ;" women turn to fittest male ; 
 one rejected suitor angry, other despairing. 
 
 North Panel : "Physical Courage" or "Awakening of War 
 Spirit." Two men fight for possession of woman on left. Woman 
 on right attempts to draw one aside. 
 
 East Panel: "Lesson of Life." Old woman gives counsel to 
 young man and woman. Old man restrains an angry, jealous 
 youth. 
 
 Right of south panel, "Lust." 
 
 East side of southern group : Greed, looking back on earth. 
 Faith offering Immortality, symbolized by scarab, to Woman. 
 Figures of man and woman sinking back into oblivion, "Sorrow" 
 and "Sleep." Hand of Destiny drawing mortality to itself. 
 
 Hermae, pillars with head of Hermes, god of boundaries, sep- 
 arating panels around earth. 
 
 Reptilian and fishy forms above panels of central mass of 
 fountain. 
 
 Corridors, walls red. blue vault above, arches of smoked ivory, 
 lines of blue on wall. Illumination by half-globes in cups on inner 
 side of columns. 
 
 Murals, by Frank Brangwyn, of London, representing Elements. 
 Best placed of all murals. At corners of court in corridors. 
 
 Northeast corner, "Fire." "Primitive Fire," figures around fire 
 nursing it, or feeding it. "Industrial Fire," use of fire in service 
 of man. 
 
 Southeast corner. "Water" : Fishermen dragging in net, carriers 
 with baskets on backs, "The Net." Women and men filling jars at 
 a spring, flamingoes in water, luxuriant growth, clouds, "The 
 Fountain." 
 
 Southwest corner, "Air" : Men shooting arrows through trees, 
 birds in flight. "The Hunters." Huge mill, children flying kites, 
 clouds, grain blown by wind. "The Windmill." 
 
 Northwest corner. "Earth": Men high in trees and on ground, 
 "The Fruit Pickers." Figures crushing juice out with feet, group 
 in front with wine, "The Dancing of the Grapes." 
 
 [130]
 
 
 
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 FEATURES THAT OUGHT TO BE NOTED RY NIGHT 
 
 Planting in court : Tall Italian cypress before arches ; orange 
 trees ; balled acacia ; denseness of growth along colonnades ; 
 heavy and rank, suggesting tropical flora. 
 
 Large cauldrons, at side of steps leading down to sunken gar- 
 dens, designed by Mullgardt. 
 
 NORTH ENTRANCE TO COURT OF AGES 
 "Daughter of Neptune" or "Aquatic Life," large female figure 
 
 in north Court of Ages, by Sherry E. Fry. 
 Planting: eucalyptus, acacia, laurel. 
 
 FEATURES THAT OUGHT TO BE 
 NOTED BY NIGHT 
 
 ILLUMINATION 
 
 Three kinds of light used; white arc lamps, extensively behind 
 banners and shields to flood fagades of outer walls and Court of 
 Four Seasons ; warmer light of Mazda lamps in clear and colored 
 globes; and searchlights concealed on tops of buildings trained 
 on towers and on high groups of sculpture. 
 
 Lighting scheme and scope completed long before buildings 
 were up; made possible by advance in illuminating engineering, 
 developed under name of science of lighting and art of illumina- 
 tion. 
 
 Chief of Department of Illumination, Walter D'Arcy Ryan, of 
 the General Electric Company, Schenectady, New York ; field 
 assistant, A. F. Dickerson. 
 
 Ornamental details of lighting standards and fixtures, designed 
 by J. W. Gosling; designs made at Illuminating Engineering 
 Laboratories, Schenectady. 
 
 Keynote of lighting scheme — life and gaiety, without garishness. 
 
 Lighting kept subordinate to architecture ; walks shaded to 
 throw emphasis on brilliantly lighted facades and to bring out 
 architecture, landscape and flowers. Same lighting principle u.sed 
 throughout; but effect in difi^ercnt courts radically different. 
 
 Area of surface illuminated, 8,000,000 .square feet ; 2,000,000 of 
 wall surface, and 6,000,000 of ground surface. 
 
 Number of searchlights used : 373 arc searchlights, in diameter 
 from 13 to 36 inches; 450 small searchlights, called the "Mos- 
 quito Fleet"; 250 incandescent projectors for flag lighting. 
 
 FILLMORE STREET ENTRANCE 
 
 South facade of entrance, outline illumination, with bare electric 
 lights following outlines of architecture ; used elsewhere only in 
 Zone. 
 
 Inside Fillmore Street entrance, Zone to right ; brilliant light- 
 ing, outline illumination, more or less refined ; exaggerated effects 
 prohibited. 
 
 r 131 1
 
 THE CITY OF DOMES 
 
 Zone, element of festivity in arches crossing street at short 
 intervals, ribbons of turkey red suspended from each lamp give 
 warmth and action. 
 
 Contrast of Zone lights with illumination in other parts of 
 Exposition. 
 
 To left, Service Building, administration offices; coloring, pinks 
 and blue; ceiling of porch, intense blue, deepest used on grounds. 
 
 Corner of Avenue of Palms and Avenue of Progress : lights, 
 banners, towers, fagades of buildings, walks, flood lights, spots of 
 light and color. 
 
 Fairy-like effect of Avenue of Palms : towers look luminous ; 
 in early evening Italian Towers red hot, throbbing; glow stronger 
 than Tower of Jewels; later, Tower of Jewels most brilliant 
 spot on avenue. 
 
 Tower illumination, floods of light from searchlights ; white 
 light creates shadows, in turn illuminated by concealed colored 
 light on various stages, on Tower of Jewels and Italian Towers. 
 
 Single light standards along Avenue of Palms, light yellow, 
 dull points of light ; contrast with white pearly light on tops of 
 booths. 
 
 AVENUE OF PROGRESS 
 
 Along Avenue of Progress: fine flag display; no direct sources 
 of hght; banners; beautiful scenes made by planting against 
 walls and quality of green on lawn ; daylight effect from luminous 
 arcs which produce whitest artificial light in use. 
 
 Gas lights on tops of booths, emergency lights if electricity 
 fails. 
 
 Banners and heraldic shields, designed by Ryan; banners, of 
 early explorers and pioneers, heraldic shields related to history 
 of California, Mexico, Central America, and Pacific Ocean. 
 
 Purpose of banners : to form beautiful lines of color, to screen 
 eyes from direct light source, to reflect light toward buildings, 
 and to suggest history of court. 
 
 Banners suspended, swung by wind, form moving spots of color. 
 
 Roman gateway, Palace of Varied Industries : faint light 
 through small arches above doorway; delicate green lattice or 
 grill work in door. 
 
 Light in doorways : appearance of life within, produced by 
 reflectors inside palaces throwing light through glass of doors ; 
 new idea; contrast with dark windows of other expositions. 
 
 Arches of Machinery Palace : warm red glow in domes above ; 
 strong yellow through doors below. 
 
 [ 132]
 
 "the fruit pickers," one of the two "earth" 
 murals by frank brangwyn, in the cloister of 
 the court of the ages. the composition is re- 
 markably fine, with the sweep of the figures 
 from the upper part of the canvas at the left 
 to the group at the base. the fose of the figures 
 is skilfully indicated, though the outline op 
 
 THE boy's FIGURE TO THE RIGHT IS EXAGGERATED FOR 
 DECORATIVE EFFECT. THE TWO WOMEN, ONE HOLDING 
 THE BABE AND THE OTHER LOOKING ON, ARE PARTICU- 
 LARLY INTERESTING.
 
 FEATURES THAT OUGHT TO BE NOTED BY NIGHT 
 
 INNER COURT OF MINES LEADING FROM 
 PALACE OF MACHINERY TO COURT OF AGES 
 
 Illumination strongest on upper sections of wall ; it becomes 
 more subdued as it approaches flowers and lawns, and reaches 
 lowest point on center of avenue ; plan used on all avenues. 
 
 Green lattice work, filling entire main doorway, in harmony 
 with lawns. 
 
 Single globe lamps placed against walls ; only court with lights 
 in this position. 
 
 Shell lamps, flooding walls with light, advanced method of 
 wall illumination. 
 
 View of central fountain in Court of Ages : glow of red lights, 
 faint shimmer in pools, steam rising to suggest the earth cooling 
 after being thrown off by the sun. 
 
 COURT OF THE AGES 
 
 Court of the Ages : mystery in blending of illumination from 
 searchlights above; lack of direct illumination on court itself; 
 steam cauldrons, with illumination, incandescent lights, gas 
 torches in small serpent cauldrons, lanterns in arches of the 
 arcade that burn around cloister. 
 
 Fountain of Earth in center of pool, carrying mind down the 
 ages to correspond with architect's conception of court. 
 
 Steam rising from base of fountain ; figures silhouetted in 
 warm red glow ; lighter tone of red at upper portion of ball ; 
 shimmering reflection of panels, with red background in pool 
 at sides of fountain. 
 
 Serpent cauldrons, around edge of pool, to heighten weird 
 effect, by the flickering of the gas lamps. 
 
 Large cauldrons at east and west entrances ; effect of sim- 
 mering molten liquid. 
 
 Steam used in court, obtained from twenty horse-power boiler 
 under tower. 
 
 Main tower, only tower without direct light thrown on ex- 
 terior ; religious feeling, increased by candlesticks, two on each 
 side ; steam to suggest smoke drifting upward. 
 
 Reflection of tower in pool, to be seen from south. 
 
 Cathedral appearance of windows at sides of court, by illumina- 
 tion in warm orange tone from within. 
 
 Sunburst standards modelled in imitation of snow crystal, and 
 resembling monstrance used in Catholic church ; two at south of 
 court; only large light sources in court; contrast with other 
 illumination. 
 
 Two fairy lanterns in each arch around court. 
 
 Brangwyn murals lighted without glare by indirect diffusion 
 from four corners. 
 
 Play of lights along colonnade ; lighting on murals adds to 
 apparent distance. 
 
 [ 133]
 
 THE CITY OF DOMES 
 
 NORTH ENTRANCE TO COURT OF THE AGES 
 
 Similar treatment of lights, brighter than in central court; 
 four star clusters, sixteen serpent cauldrons; eflfect heightened. 
 
 Tower, more beautiful from Marina side ; note of refinement ; 
 illumination in altar, shadow in two colors, created by red light 
 illuminated by pale amber lights. 
 
 Star clusters convey to mind religious feeling in keeping with 
 design ; cathedral effect. 
 
 View of Italian Towers at sides of Court of Flowers, from 
 north court, red glow and green columns of towers on either 
 side of Mullgardt tower, vivid contrast. 
 
 To Court of the Universe, through Florentine Court. 
 
 FLORENTINE COURT 
 
 Florentine Court; only illumination, single lamp standards; 
 contrast with intense light in Court of Universe, beyond. 
 
 Fine shadow effects against walls ; vertical shadows of columns 
 in arches contrasted with shadows of trees and shrubbery. 
 
 COURT OF THE UNIVERSE 
 
 Arch of Rising Sun; light through latticed windows in arch to 
 give faint spots of luminous color. 
 
 Illumination of main and side arches; curvature preserved 
 and details thrown into relief by lights of different strengths and 
 colors ; concealed red light on one side and pale lemon light 
 on other side thrown on arch. All main arches similarl}' accent- 
 uated. 
 
 Urns in side arches, effect heightened by lights thrown from 
 sides, bring out lines ; red on one side, on the other pale green. 
 
 Colonnade, illuminated by three translucent shell cups sunk into 
 central groove of each column at rear ; spear of light from each 
 shell up the grooves or fluting ; pleasant glow through shells from 
 below. Effect of melted gold, suggesting the tongues of fire men- 
 tioned in the Scriptures. 
 
 Sculptural groups on Arches of Rising and Setting Sun, flooded 
 with light from searchlights, creating black shadows, in turn il- 
 luminated by purple lights on top of arch. Figures thrown into 
 relief. 
 
 Tower of Jewels, gradual illumination ; early evening, faintly 
 lighted ; later, when searchlights are turned on, tower dominates 
 southern wall; blaze of white light; jewels sparkle like diamonds; 
 turquoise columns, faintly colored in bright light; statues, orange 
 color. 
 
 Star figures around court above colonnades, jewelled; each has 
 forty-two stones, illuminated by small searchlights on opposite 
 side of court. Early evening, pretty effect; little jets of light from 
 figures shoot across the court in clearly defined rays. Later, flood 
 of lights from columns in court above the small rays. 
 
 [134]
 
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 FEATURES THAT OUGHT TO BE NOTED BY NIGHT 
 
 Fountains of Rising and Setting Sun ; columns, said to be 
 strongest light sources ever created ; aggregate 500,000 candle- 
 power, sufficient to illuminate 500,000 square feet of surface; 
 fluting of columns glazed with special diffusion glass. For ehm- 
 ination of shadows caused by structure, there is difTusive glass 
 inside. The glare from the light source is not excessive ; brill- 
 iancy low; daring illumination of entire court. 
 
 Lights under water in pools of fountains; source and reflection 
 concealed; yellow iight diffused over surface. 
 
 Figures on pedestals of balustrades mark boundary of Sunken 
 Garden ; not for illumination, but for ornament merely. 
 
 Domes of corner pavilions, north of Tower of Jewels, fine con- 
 trasts in interior; delicate blue ceiling; orange at sides. 
 
 Bear fountains at sides of Palaces of Manufactures and Liberal 
 Arts, north of Tower of Jewels ; three on each wall in flat niches ; 
 coloring, pink wall, turquoise blue, green ; lights concealed under 
 water ; when water is flowing, wavering light like heat waves ; 
 niches hardly noticeable when water is not flowing. 
 
 Tower of Jewels, interior of main arch, accentuated by lights at 
 sides above columns; no illumination on murals. 
 
 In niches at either side, Fountains of Youth and El Dorado, 
 flood-lighted from above ; no colored lights ; two single lamp 
 standards in each court; reflection of fountain figures in pools. 
 
 ON THE WAY TO THE MARINA 
 
 Lighting of colonnades, vivid pinks and blues. Illumination in 
 colonnade from lamps concealed in cups in one of the inner flutes 
 of each column. Notice reflections of colonnade in pool. 
 
 Column of Progress ; flood light on figures on top of column 
 by searchlights. 
 
 ON THE MARINA 
 
 North fagade of buildings, tall dark-green planting against walls, 
 black vertical shadows ; shading of lawn ; flood Hght standards, 
 spots of dull orange light through translucent rigid shields. Spots 
 of light from single globes along avenue, on water front, white 
 lights on booths ; glow from lamps at entrance to Court of Four 
 Seasons. 
 
 Spanish doorway of Palaces of F'ood Products, Agriculture, 
 Transportation and Mines, among most successfully illuminated 
 portals on grounds ; light pink walls in two shades, light blue 
 vaulted ceiling, green edges; three arches; light green lattice 
 work; dark shadows in niches of "Conquistador" and "Pirate." 
 
 "Adventurous Bowman," profile view of group from entrance to 
 Court of I'our Seasons ; outlined against blue-black sky ; stars, in 
 sky about it, mere points of light. Group sometimes reproduced 
 in the fog. 
 
 [135I
 
 THE CITY OF DOMES 
 
 VENETIAN COURT 
 
 Inner Court, between Court of the Universe and Court of Four 
 Seasons. 
 
 Only illumination, single globe standards. Contrast of bright 
 illumination in Court of Universe with more subdued light in 
 Court of Four Seasons. 
 
 Coloring, pink walls in harmony with walls of corridors in 
 courts at either end. 
 
 Planting, low shrubbery, with tall trees massed in corners. 
 
 COURT OF THE FOUR SEASONS 
 
 Court of Four Seasons; flood illumination on the bulls at sides, 
 glowing half-dome at south, figure of "Harvest" above dome, and 
 twin Italian towers at sides. 
 
 Illumination of court in harmony with architecture, very quiet. 
 
 Charm of lighting in colonnades against Pompeian red walls ; 
 three half globes in cups at rear of plain columns. 
 
 Fountains of Four Seasons, illumination of red walls against 
 intense blue of sky, in early evening like color in paintings by 
 Maxfield Parrish. Concealed lights, red, orange, yellow and 
 lemon, fall on walls and create interesting luminous shadows on 
 fountain figures. 
 
 Water falling from cascades, a luminous green ; not only are 
 lights concealed, but also reflection of sources, an effect that, 
 it was predicted, could not be achieved. 
 
 Figures on fountains reflected in green water. 
 
 Reflections in pool in center of court; from north, half dome 
 and figure of "Harvest" above dome ; from south, the bulls on 
 the pylons. 
 
 View through north court toward bay, from half-dome, very 
 interesting; intense white light of scintillator directly opposite 
 court; statute of "Ceres," silhouetted against rays. 
 
 Banners in court, no heraldic designs. 
 
 Half dome in Court of Four Seasons ; even distribution of light, 
 ceiling lighted from base of dome, lights difi'used through dome 
 and softly graded down to floor by ten shell lamps up wall, back 
 of vertical projection on each side. 
 
 Through Aisle of Spring to Administration Avenue, facing 
 Palace of Fine Arts. 
 
 ALONG THE WESTERN WALL 
 
 Illumination : Yellow glow from single lamp standards along 
 Administration Avenue. Searchlights on top of wall, flooding 
 Palace of Fine Arts. Wall, lighted by reflection from shields ; 
 orange light through translucent portion of shields. 
 
 High wall flooded with light, in strong contrast with dark rip- 
 pling surface of lagoon across the avenue. 
 
 [136]
 
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 FEATURES THAT OUGHT TO BE NOTED BY NIGHT 
 
 Half-domes; warm golden glow; light from interior through 
 stained glass windows in domes. 
 
 Planting, trees cast tall vertical shadows against wall ; heavier 
 shadows at base, from massed shrubbery. 
 
 PALACE OF FINE ARTS 
 
 Illumination, "triple moonlight," three times the strength of 
 the moon's rays. Searchlights flood the building ; concealed 
 yellow lights on cornices in rear of columns. Three effects ; flood 
 lighting, relief lighting, and combination of both. One night, 
 flood light ; next, combination. 
 
 View from Administration Avenue across lagoon ; finest re- 
 flections on grounds ; changing views ; small sections of lagoon, 
 mirror-like; others, rippled or wavering; entire colonnade and 
 rotunda reflected. 
 
 Suggestion of ancient ruin, intended by architect, brought out 
 by lighting. Great shadows, deepening toward base of columns. 
 
 Contrasted colors in colonnade, from across lagoon ; pink walls, 
 dark green doors, columns silhouetted against walls. 
 
 IN THE COLONNADE, ENTERING FROM NORTH 
 
 "Triple moonlight," bright rays across colonnade through col- 
 umns, making intense shadows ; when moon is shining the fainter 
 rays cut weirdly through shadows ; suggestion of moonlight 
 coming from two directions. 
 
 Reflections in lagoon, from along colonnade, north of rotunda ; 
 west facade of walled city, with half domes of Palaces of Educa- 
 tion and Food Products, and dim reflections of Italian towers. 
 Changing reflections all along colonnade, and from rotunda. 
 
 Rotunda, on nights when relief illumination is used, lights on 
 capitals of Corinthian columns ; deep color effects in murals on 
 dome. 
 
 View of palace from south across lagoon, with flood lights on 
 rotunda and colonnade. 
 
 AVENUE OF PALMS 
 
 Quality of light brings out color detail ; fine display of flowers ; 
 massing of shrulibery at base of wall, and tall trees casting 
 vertical shadows. 
 
 Elephant and lion fountains along south wall ; colors, pink and 
 blue ; rippling of water causes light to wave. 
 
 Central doorway of Palace of Liberal Arts, ro.sctta or rose- 
 window effect in semi-circular space above door; orange light 
 through lattice work of door. 
 
 COURT OF PALMS 
 
 Court of Palms, illumination of towers from searchlights. Only 
 direct light, from single white globes painted to imitate Traver- 
 
 ri37i
 
 THE CITY OF DOMES 
 
 tine, and Roman hanging lamps around in corridors; faint red 
 shines through from below. 
 
 Reflections in circular and rectangular pools ; north, east, and 
 west portals ; the columns, the colonnades at sides of entrances, 
 the murals above doorways ; pinks, blues, reds, orange. 
 
 Murals above east, west, and north doorways, best effect at 
 night. Illumination at base of arches throws light on upper 
 part of mural, shading softly and gradually down to base. 
 
 PALACE OF HORTICULTURE 
 
 Dome of Palace of Horticulture ; beams of light from concealed 
 searchlights play through revolving lenses and color screens of 
 green, orange, and red, fading slowly into each other in moving 
 designs on glass dome. 
 
 Floral hanging lamps in east and north entrances ; deep green 
 of lattice work in domes above ; hanging lamps along porches, 
 pearl-white light. 
 
 SOUTH GARDENS 
 
 French lighting standards, pale yellow light, hundreds of Tra- 
 vertined globes, soft light, unique ivory color. 
 
 Clusters of lights, look like bunches of grapes. 
 
 Reflections in pools north of Young Women's Christian Asso- 
 ciation Building and Press Building. 
 
 Flood lights on equestrian figure in Fountain of Energy. 
 
 COURT OF FLOWERS 
 
 No searchlights, no direct illumination ; suggestion of dimness 
 and seclusion. 
 
 Italian towers, glow of light through small doors above en- 
 trances; appearance of life inside; strong red shadows on first 
 lift; turquoise columns on next lift, pink background. 
 
 Lamps in corridors, Italian and Roman ; translucent, dull red 
 light. 
 
 Floral lamp standards between columns in corridors, pale 
 yellow light. 
 
 Flood light shields at south entrance to court ; too bright neces- 
 sarily. 
 
 FESTIVAL HALL 
 
 Reflection of Festival Hall in pool ; Fountain of the Mermaid 
 silhouetted against entrance window of hall; golden light through 
 colored glass. 
 
 Warm pink illumination inside towers at corners of large dome ; 
 green coloring of dome, more effective than by day. 
 
 Blending of lines of building with planting against walls. 
 
 ri38i
 
 "THE THIRTEENTH LABOR OF HERCULES, 
 THE OFFICIAL EXPOSITION POSTER, BY 
 PERHAM W. NAHL, AN INSTRUCTOR IN THE 
 CALIFORNIA SCHOOL OF ARTS AND CRAFTS, 
 AT BERKELEY. A GRAPHIC REPRESENTATION 
 OP THE IRRESISTIBLE POWER OF MODERN 
 SCIENTIFIC ENGINEERING, TEARING APART 
 THE LAND BETWEEN THE ATLANTIC AND 
 PACIFIC OCEANS ON THE ISTHMUS OF 
 PANAMA. ONE OF THE MOST IMAGINATIVE 
 AND ORIGINAL OF ALL THE ARTISTIC CON- 
 CEPTIONS INSPIRED BY THE BUILDING OF 
 THE CANAL.
 
 INDEX 
 
 "Abundance," by Jaegers, ii6. 
 "Abundance," by Harley, 67, 119. 
 Acanthus design, origin of, 40-41. 
 Adams, Herbert, 14, 71, 120, 122. 
 Administration Avenue, 118, 136. 
 "Adventurous Bowman," 51, 65, 
 
 103, 114, 135. 
 "Age Transferring His Burden to 
 
 Youth," 127. 
 Aitken, Robert, 14, 48, 87, 88, 113, 
 
 122, 123, 130. 
 Andrassy, Julius, 27. 
 ■'Angel of Peace," 110. 
 "Application of Power to Machin- 
 ery," 128. 
 Arch of Rising Sun, 45, 49, no, 
 
 134- 
 Arch of Setting Sun, 45, 55, no, 
 
 134- 
 Arch of Tower of Jewels, 109, 135. 
 Architects of Exposition, 6. 
 Architecture of the Exposition, 6-10, 
 
 20-22. 
 "Architecture of Marcus Vitruvius 
 
 Pollis," 41. 
 Architecture, origin of, 54. 
 "Aspiration," 69, 121. 
 Avenue of Palms, 108, 132, 137. 
 Avenue of Progress, 82-83, 86, 127, 
 
 132- 
 
 "Bacchus," 81, 125. 
 Bacon, Henry, 6, 14, 57-60, 115. 
 Baker, Asher C, 23-26. 
 Bakewell & Brown, 107, 124. 
 Balboa, \'asco Nunez de, i, 
 
 42, S3, 108. 
 Bancroft, Milton, S9. it 7. 
 Banners, 132. 
 I'arnhorn. Clement J., 120. 
 Bartlett, Paul, 68, 70, 120, 121. 
 Bastides, Rodrigo de, 108. 
 Batcman, John, 123, 125. 
 Baths of Caracalla, adaptation of, 
 
 57. 83. 
 Ueach, ( hester, 65, 89, 121, 129. 
 "Bear" Fountains, no. 
 Bennett. E. H., 7. 
 Berge, Edward, 121, 122. 
 Bernini, 44. 
 Besnard, Albert, 26. 
 "Birth of European Art," 70, 122. 
 "Birth of Oriental Art," 70, 122. 
 Bitter, Karl, 13, 172. 
 Bliss & Faville, 12, 107. 
 Boccklin, 61, 105, 119. 
 Borglum, Solon, 79, 126. 
 Bourne, W. B., 2. 
 Boutier. E. L., 124. 
 Boyle, John J., I2J. 
 Brangwyn, Frank, 18-19, 92-100, 
 
 130, 133- 
 
 Brown, iVrthur, 6. 
 
 Brunelleschi, architect, 73 . 
 
 Bufano, B., no. 
 
 Bullsbead, use of, in Exposition, 40, 
 
 54. 57. 69, 109, n6. 
 Burroughs, Edith Woodman, 14, 42, 
 
 109, 121. 
 "Burden Bearers, The," 114. 
 
 Cabrillo, Juan Rodriguez, 109. 
 Calder, A. Stirling, 13-16, 34, 35, 37, 
 
 44, 45, 79, 103, 107, no, ni, 112, 
 
 123. 
 California Building, 53, 114. 
 "California Bear," 127. 
 Calixtus, III, Pope, 127. 
 Callimachus, originator of acanthus 
 
 design, 41. 
 Canephori, 113, 135. 
 Carrere & Hastings, 6, 108. 
 Carroll, B. H., 27. 
 Catholic church, monstrance of, 
 
 used, 90, 129. 
 Cauldrons, 131, 133. 
 Centennial Exposition, plan of, 17. 
 "Ceres," 59, 117, 136. 
 Cervantes, 112. 
 Champney, E. F., 107. 
 Chicago Exposition, plan of, 17. 
 China, participation in Exposition, 
 
 22, 28. 
 "Cleopatra's Needle," 39, 46, 47, 
 
 109, in. 
 Columbus, Tower of, planned, 53. 
 Column of Progress, 14, 16, 17, 51, 
 
 52, n4, 135. 
 Columns, kinds used, 40, 57, 58. 
 Confucius, no. 
 Congressional Committee, decision 
 
 of, 3. 
 Connick, C. J., 81. 82, 126. 
 Connick. H. D., 5, 6, 107. 
 "Conijuistador," 52, n4. 
 Corbett, G. S., 120, 123. 
 Cortez, equestrian statue of, 39, 108. 
 Court of Abundance. 88. 
 Court of the Ages, 53, 74, 86-91, 
 
 104, 129. 133, 134. 
 Court of Flowers, 79, 80, 138. 
 Court of the Four Seasons, 53, 54, 
 
 S7-6o, 88, 104, 136. 
 Court of Honor, 45. 
 Court of Mines, 86, 128, 129. 
 Court of Palms, 78, 79, 123, 124, 
 
 1 37- 138. 
 Court of Sun and Stars, 14, 45. 
 Court of the Universe, 14, 45, 103, 
 
 134, 135. 
 Crocker, W. H., 2. 
 Cummings, Earl, 65, 118. 
 Curlett, William, 6. 
 
 [ 139]
 
 INDEX 
 
 "Dancing Girls" and "Music," 
 
 48, 112. 
 Dante, 115. 
 Dallin, Cyrus E., 123. 
 De Egas, Spanish architect, 82. 
 Denneville, P. E., 10, 35, 107, 124. 
 Dickerson, A. F., 131. 
 Dietsch, C. P., 120. 
 Dodge, W. DeL., 42, 109. 
 Dome, origin of, 73. 
 Dome of Philosophy, 65-66, 119. 136. 
 Dome of Plenty, 65-66, 118, 136. 
 Donatello. 58, 73. 
 Donnelly & Ricci, 116, 117. 
 Du Mond, F. V., 55-56, 112. 
 Duomo, anecdote relating to, 73. 
 
 Eagles, use of in Exposition, 40, 
 loi, 116, 128. 
 
 "Education," 118. 
 
 Esryptian art, influence of, 68. 
 
 "Elements," 48, 113. 
 
 "Electricity," 128. 
 
 Elephants, use of in Exposition, 
 4i, 110, 125. 137. 
 
 F.llerhusen. Ulric H., 121. 
 
 "End of the Trail," 78. 123. 
 
 Eneland. indifference of, toward 
 Exposition, 22. 
 
 Europe, attitude of, toward Exposi- 
 tion. 22-23, 25. 
 
 Expenditures, 3, 4, s, 14. 
 
 Farauhar. Robert, 6, 107, T25. 
 "Fairy. The." 123. 
 "Fame" and "Valor," 16, 107. 
 Faville, W. B.. 6, 12, 36. 56, 64, 82. 
 
 104, 107. io8, 115. 118, 119, 125, 
 
 127. 
 "Feast of the Sacrifice," 57, 116. 
 Festival Hall, 33, 77, 81, 107, 138. 
 Fillmore Street entrance. 36, 131. 
 Firdausi, iii. 
 Flanagan. Tohn, 108. 
 "T^lora." 81. 125. 
 T^lorentine Court. 134. 
 Flower boxes 120. 
 "Flower Girl " 80. 126. 
 Fountain of Beauty and the Beast, 
 
 80. 127. 
 Fountain of Ceres, "lo, 117, 136. 
 Fountain of Farth. 86, 87, 130, i33- 
 Fountain of El Dorado, 43, 109. ^^''■■ 
 Fountain of Energy, 16, 34. 37. 38, 
 
 107, 138. 
 Fountain of the Mermaid, 37, 107, 
 
 138. 
 Fountain of Rising Sun, 47, 113. 
 
 '35- „ . 
 
 Fountain of Setting Sun, 47. 113, 
 
 135- 
 Fountain of Youth. 12. 43. 100, 135. 
 Fountains of the Seasons, 58, 117. 
 
 136. 
 France, attitude of, regarding 
 
 Exposition, 23-25. 
 
 [ 
 
 Eraser, J. E., 14, 78, 123. 
 French, D. C, 14, 121, 128. 
 Frishmuth, Harriet W., 121. 
 "Fruits and Flowers," 79, 124. 
 Fry, Sherry E., 81, 91, 123, 125, 
 131. 
 
 Gallen-Kallela, Axel, 27. 
 
 Garnett, Porter, 108, 109, iio, iii. 
 
 "S- 
 Gerlach, Gustave, 118. 
 Germany, indifference of, toward 
 
 Exposition, 22, 28. 
 Gerome, 61, 105, 119. 
 Goethe, 115. 
 Golden Gate Park, objections to as 
 
 Exposition site, 4. 
 "Golds of California," 122. 
 Gosling, J. W., 131. 
 Grafly, Charles, 69, 121. 
 Gruppe, Carl, 123, 126. 
 Guerin, Jules, 10, 18, 31, 35. 40, 42, 
 
 56, 57, 64, 68, 76, 86, 90, 97, 104 
 
 107, 108, 123, 128. 
 Guillaume, Henri, 25. 
 Gwilt, Joseph, 41. 
 
 Hadrian's Villa, ■57. 
 
 Hale, R. B., 1-2. 
 
 Half Courts, 78. 
 
 Harbor View, advantages of for 
 
 Exposition site, 4-5. 
 Harley, Charles, 67, 119. 
 "Harvest," 116, 136. 
 Hassam, Childe, 79, 124. 
 Hastings, Thomas, 6. 8, 31. 39. !"8. 
 Heber, C. A., 120. 
 "Helios," 130. 
 Herrick. Myron T.. 24. 
 Hitomaro, iii. 
 Holloway, Charles, 79, 124. 
 Holm, V. S., 120, 123. 
 Howard, John Galen, 6. 
 Hungary, exhibit secured from, 
 
 27, 28. 
 Hyatt, Anna V., 121. 
 
 "Ideals in Art," 70, 71, 122. 
 
 Illumination, 19-20, 101-106, 131-138. 
 
 "Imagination," 128. 
 
 Inscriptions, 108, 109, no. 
 
 "Inspiration of Art," 71, 122. 
 
 "Invention," 128. 
 
 Italian Towers. 35, 38, 78, loi, 106 
 
 107, 123, 126, 138. 
 [talv, attitude of, toward Exposition, 
 
 26, 27. 
 
 Jaegers, Albert, 14, 57, 116. 
 Jaegers. August, 14. 116. 
 "Jason," U. S. Collier, 23. 25, 
 
 27, 28. 
 
 Japan, participation in Exposition, 
 
 22, 28. 
 Japanese art, superiority of, 85. 
 
 140]
 
 INDEX 
 
 Kakosha, 27. 
 
 Kalidasa, 110. 
 
 Kelham, G. W., 6, 33. 35, 38. 107, 
 
 123, 124, 126. 
 Konti, Isidore, 14, 16, 17, 51, 114, 
 
 122. 
 
 Ladd, Anna C, 120, 123. 
 Laessle, Albert, 80, 127. 
 Lafayette, esquestrian statue of, 
 
 70, 121. 
 Lake Merced, objections to as site 
 
 for Exposition, 4. 
 Laurvik, J. N., 26, 27. 
 Lentelli, Leo, 15, 45, 6q, iro, 121, 
 
 129. 
 'Little Pan," 81, 125. 
 Longman, Evelyn B., 14, 59, 60, 
 
 117, 121. 
 Lysicrates, Choragic monument 
 
 design, 33. 
 
 McKim, Mead & White, 6, 33, 42, 
 
 no, II I, 113. 
 McLaren, John, 11-13, 35-36, 44, 56, 
 
 57, 58, 60, 62, 64, 68, 80, 107, no, 
 
 115, 117, 119, 127, 128. 
 MacNeil, Hermon A., 14, 17, 51, 
 
 112, 114. 
 Manship, Paul, 48, 112. 
 Marina, 51-53, 90, 91, loi, 102, 114, 
 
 13 s; view from, 114, 1x5. 
 Marinetti, 27. 
 
 Mathews, A. F., 18. 79, 124. 
 Maybcck, Bernard R., 61-64, 68, 
 
 105, 119. 
 Medallions, no, 115. 
 Merchant. W. G., 121. 
 "Mermaid, The," 37, 107, 138. 
 Miller, Joaquin, 79, 126. 
 "Miner, The," 128. 
 "Minerva," 109. 
 Monstrances, 90, 129, 133. 
 Moore, C. C, 4, 5, 6. 
 Moraga, Jose Joaquin, no. 
 Muller, Olga P., 121, 122. 
 Mullgardt. L. €., 86, 88, 89, 97, 104, 
 
 129, 130. 
 Murals, 17-19, 49, 50, 51, 55, 56, 59. 
 
 70, 71, 79, 92-100, 109, in, 112, 
 
 ii7_, 122, 123. 124; 130, 138. 
 "Music" and "Dancing Girls," 
 
 48, 112. * 
 
 "Nations of the East," 45, in, 134. 
 "Nations of the West," 46, in, 134. 
 Neptune's Daughter," 91, 131. 
 New Orleans, chief competitor for 
 
 Exposition, 3. 
 Newman, Allen, 52, 114. 
 Newman & Evans, 108. 
 Niehaus, Charles, 38, 108. 
 Nieto, Dr. Jacob, 112. 
 Niche of Ceres, ij6. 
 Noquct, Paul, 121. 
 Nudity, use of in sculpture, 16, 84. 
 
 "Old World Handing Its Burden to 
 
 the Younger World," 82. 
 Oriental art, influence of, 76. 
 "Oriental Flower Girl," 80, 126. 
 Oriental group, 45. 
 Oriental symbolism, use of, 61. 
 
 Pacific Ocean Exposition Company, 
 
 Page, Thomas Nelson, 26. 
 
 Paine, Robert, 15, 120. 
 
 Palace of Agriculture, no, 115, 116. 
 
 Palace of Education, 116, 118, 123, 
 
 125. 127. 
 
 Palace of Fine Arts, 61-64, 68-71, 
 
 119-123, 137. 
 Palace of Food Products, 116, 118. 
 Palace of Horticulture, 34, 72, 76, 
 
 107, 124, 125, 138. 
 Palace of Liberal Arts, no, 115, 
 
 116, 123, 125, 127; 
 
 central doorway of, 137. 
 Palace of Machinery, 83-85, 128, 
 
 132- 
 Palace of Manufactures, no, 125, 
 
 126, 127, 129. 
 Palace of Mines, 129. 
 
 Palace of Transportation, no, 139. 
 Palace of Varied Industries, 82, 125, 
 
 126, 127, 129, 132. 
 Panama-Pacific International Expo- 
 sition. 
 
 Architects of, 6. 
 
 Attendance at, 20. 
 
 Block plan of architecture of, 6, 7. 
 
 Clearing land, 8, 9. 
 
 Color scheme of, 10, 17, 18. 
 
 Committee on Organization. of, 2. 
 
 Company formed, 2. 
 
 Construction of buildings, 8. 
 
 Correspondence of, 2. 
 
 Expenditures of, for properties, 5. 
 
 Financing of, 1-3. 
 
 Fine Arts Department of, 21-28. 
 
 Hedge of, device used, 12, 13, 
 36. 36- 
 
 History of, 1-28. 
 
 Illumination of, 19, 20, 101-106. 
 131-138. 
 
 Landscape gardening of, n-13. 
 
 Materials used in construction of. 
 9, 10. 
 
 Negotiations with foreign coun- 
 tries, 23-28. 
 
 Oflicials of, 4, 5. 
 
 Organization of, 1-6. 
 
 Origin of, 1. 
 
 Sculpture of, 14-17, 84. 
 
 Site, selection of, 4. 
 
 View of, 29-34. 
 Parsons, Edith B., 121. 
 Pascal, 115. 
 
 Patigian, Haig, 83, 121, 123, 128. 
 "Pegasus," no. 
 Perrault, 62. 
 Perry, R. H., 120. 
 
 ri4ii
 
 INDEX 
 
 Peters, W. H., ii8. 
 Phra Ruang, iii. 
 "Physical Vigor," 119. 
 Piccirilli, Attilio, 59, 121, 122. 
 Piccirilli, Furio, 14, 58, 117, 122. 
 Pietro, C. S., 120. 
 "Pink Alley," 86, 128. 
 "Pioneer, The," 79, 126. 
 "Pioneers," murals, 55, 56. 
 Pissis, Albert, 6. 
 "Pirate, The," 52, 115. 
 Pizarro, equestrian statue of, 
 
 39, 108. 
 Polasek, Albin, 121. 
 Polk, Willis. 6, 7. 
 Pratt, Bela L., 120. 
 "Priestess of Culture," 71, 122. 
 "Primitive Man and Woman," 129. 
 Proctor, A. P., 123. 
 "Pursuit of Pleasure," 79, 124. 
 Putnam, Arthur, 37, 139. 
 
 Quotations on arches and gateways, 
 
 no, I II, 112, 115. 
 Quinn, E. T., 120. 
 
 "Rain," 57, 116. 
 Rankin, J. J., 107. 
 Recchia, Richard H., 121, 122. 
 Recital Hall, 81, 126. 
 "Reclining Woman," 81, 125. 
 Reid, Robert, 70, 71, 122. 
 Richardson, Symmes, 16, 114. 
 "Rise of Civilization," 129. 
 Risque, Caroline, 120. 
 Roberts, David, 106. 
 Rodin, A., 58, 65, 
 
 influence on Manship, 48. 
 Roth, F. G. R., 15, 38, 45, III, 123. 
 Rumsey, C. C, 108, 122. 
 Ryan, W. D'A., 19, 20, 38, 56, 75, 
 
 102, 103, 104, 107, 118, 124, 128, 
 
 131. 132- 
 
 Saint Gaudens, Augustus, 46, 123. 
 
 Saint Gaudens, Louis, 122. 
 
 Salvatore, V. D., 121. 
 
 Scott Street entrance, 35, 36. 
 
 Scudder, Janet, 121, 122. 
 
 Sculptors, 13, 14, 15. 
 
 Sculpture, 13-17. 
 
 Searchlights, number of, 131. 
 
 Serpent, symbolism of, 61, 130. 
 
 "Setting Sun," 130. 
 
 Shakespeare, in. 
 
 "Signs of the Zodiac," 112, 113, 116. 
 
 Simmons, Edward, 49, in. 
 
 "Source of Genius," 119. 
 
 South Gardens, 37-41, 76, 107, 138. 
 
 South Wall, 79, 125, 127. 
 
 Southern Pacific Railroad Company, 
 
 subscription, 3. 
 Spenser, 115. 
 
 "Spirit of Intelligence," 90, 129. 
 "Spirit of the Waters," 113. 
 
 "Spring," 58, 117. 
 
 Stackpole, Ralph, 54, 65, 82, 119. 
 
 127. 
 Star-figure, 47, 112, 134. 
 Stea, Cesar, 118. 
 "Steam Power," 128. 
 Sterling, George, 116. 
 Sterling, L. M., 121. 
 "Summer," 58, 117. 
 "Sunshine," 57, 116. 
 
 Taft, Lorado, 120. 
 Tait, Robert, 121. 
 "Thinker, The," 65, 90. 
 "Thought," 65. 
 Tirman, Albert, 23, 24. 
 "Toilers, The," see "ISurden 
 
 Bearers." 
 Tonetti, F. M. L., 39, 108. 
 "Torch Bearer, The," 81. 
 Tower of Jewels, 20, 31-33, 42, 43. 
 
 75, 102, 105, 106, 107, 108, 109, 
 
 132, 134. 135- 
 Trask, J. E. D., 22, 23. 
 "Travels in the Holy Land," 106. 
 Travertine, 10, 33, 86. 
 Tritons, 47, 113. 
 "Triumph of the Fields," 67, 119. 
 
 Ulrich, Louis, 118, 125. 
 Union Pacific Railroad Company, 
 subscription, 3. 
 
 "Valor" and "Fame," 16, 107. 
 Venetian Court, 115, 136. 
 "Victorious Spirit," 79, 124. 
 "Victory," 60, 118, 125. 
 Vitruvius, architecture of, 41. 
 
 Walter, Edgar, 80, 127. 
 War, effects of, on Exposition, 
 
 21, 23, 25. 
 Ward, Clarence, 6, 83, 84. 
 Ward, J. O. A., 123. 
 Ward & Blohme, 128. 
 Warner, O. L., 122. 
 "Water Sprites," 129. 
 Weinman, A. A., 14, 47, 48, 113. 
 Western Wall, 64, 136. 
 Whitman, Walt, 112. 
 Whitney, Gertrude V., 43, 109. 
 Weinert, Albert, 66, 89, 124, 128, 
 
 129. 
 "Wounded Lion," 68. 
 "Winged Victory of Samothrace," 
 
 60, 118. 
 
 Young, Mahonri, 14, 125. 
 
 "Youth," 6s, 109. 
 
 Y. W. C. A. Building, 107. 
 
 Zimm, B. L., 61, 64, 119. 
 Zone, 36, 131, 132. 
 Zuhayr, in. 
 
 [142]
 
 BY THE SAME AUTHOR 
 
 IN THE 
 
 PALACE OF FINE ARTS AND 
 
 THE FRENCH PAVILION 
 
 For the benefit of those visitors to the Exposition who have not 
 made a study of painting and sculpture and who feel bewildered 
 in the presence of so much that is to be seen, Mr. Barry has pre- 
 pared this small and easily read hand-book, free from bewilder- 
 ing language and technical terms, it at once relates the reader to 
 the most important pictures and statues and serves as a guide, 
 telling where to begin and how to go on. The list of artists whose 
 work ought to be seen is accompanied by a brief account of each, 
 a most helpful feature. Here, for example, is what Mr. Barry has 
 to say about the American painter, John Singer Sargent : 
 
 "One of the greatest portrait-painters of his time. At twenty-one 
 he painted a portrait of his teacher, Carolus Duran, that made a 
 sensation. From Velasquez he learned much in the way of tech- 
 nique. He excels in the vigorous presentation of character. Some- 
 times he shows that he is a rather stern observer. His portraits 
 here are all remarkable. The Madame Gautreau is generally ac- 
 cepted as a masterpiece of painting. The left arm and the neck 
 are notably well done. The make-up on the face is adroitly sug- 
 gested. The portrait of Henry James, the American novelist, 
 achieved notoriety through being slashed by a militant suffrag- 
 ette when it was first exhibited in London a few years ago. The 
 portrait-sketch of Joseph Jefferson, the actor, was evidently exe- 
 cuted with great sympathy. As Jefferson was a painter of ability, 
 Sargent must have known that he had a sitter with a full appre- 
 ciation of his work. Of late he has given up portrait-painting and 
 devoted himself to landscape."
 
 BY THE SAME AUTHOR 
 
 REACTIONS 
 
 AND OTHER ESSAYS, DISCUSSING 
 
 THOSE STATES OF FEELING AND ATTITUDES 
 
 OF MIND THAT FIND EXPRESSION IN 
 
 OUR INDIVIDUAL QUALITIES 
 
 In this new collection Mr. Barry presents some of his most 
 mature and representative work. It covers a wide range of theme, 
 varying from a discussion of "Aspects of War" to those human 
 problems of daily hfe that the author has treated so suggestively 
 in his previous volumes. 
 
 Throughout the book is packed with keen observation and 
 stimulating comment. In "Getting on with People" there is this 
 striking bit of philosophy: 
 
 "Every one of us is like a mesh of string. And among all the 
 many strings in that mesh there is somewhere hidden a yellow 
 piece. It may be a long piece or a short piece. But it is there. 
 And every one of us is likely to know it is there. And every one 
 of us is likely to hide it from those we love and whose love we 
 prize. 
 
 "Now and then some one comes along and sees in the mesh 
 that yellow streak. And in seeing it he is likely to identify the 
 whole mesh, that is, the whole character, with yellow. 
 
 "And if he lets us know that he believes we are all yellow, we 
 are likely to become yellow, at any rate, so far as that particular 
 observer is concerned. We are likely to act toward him as if we 
 really were yellow. 
 
 "So it behooves us to be careful in seeing. If we must be sharp. 
 if we must see that yellow streak, let us be careful not to let it 
 blind us to the other colors." 
 
 Among the more serious of the studies is the one that those 
 who have suffered bereavement will be likely to find the most 
 comforting, "The Dead." 
 
 Other subjects include "Keeping One's Pleasures," "Expecting 
 the Impossible," "Prisoners of Prejudice," "The Imaginary 
 People," "The Perfect Mother," "The Hope of the Future," "The 
 Stumblers," "Silence," "Fate is Character," "The Looks of Pris- 
 oners," "Love," "God's Poor," "The Decline of Arrogance," "The 
 Lies of Literature," "Multiplying Our Troubles," and "Creating 
 a World."
 
 BY THE SAME AUTHOR 
 
 OUTLINES 
 
 BRIEF STUDIES IN FICTION 
 
 REPRESENTING AN EFFORT TO GIVE AN 
 
 IMAGINATIVE INTERPRETATION TO FAMILIAR 
 
 HUMAN EXPERIENCES 
 
 The essays are charming in conception and treatment, alle- 
 gorical and dainty, and yet instinct with manly virility. They de- 
 serve nothing but commendation. — Los Angeles Tribune. 
 
 Mr. John D. Barry's "Outlines" are social studies in allegory. 
 Originally written for the San Francisco Bulletin, their wisdom 
 and laconic vigor constitute good reason for collection. — Boston 
 Daily Adi'ertiser. 
 
 The author, in each case, has a moral idea to express and puts 
 it into narrative form with a good deal of literary skill. The 
 stories are very brief and stop short when the author has made 
 his point. — New York Sun. 
 
 Here is rather a remarkable literary form. It is fiction, or rather 
 allegory, each short piece interpreting some thought or ethic. 
 Force, directness, simplicity and boldness commend it to the 
 reader. — Duluth Herald. 
 
 The contents of the book are as rich and attractive as are the 
 binding and typography. . . . Each article in the book is in reality 
 a short story — a very brief, short story, but withal a very nearly 
 perfect one. — Hartford Post. 
 
 Indeed they are "Outlines," these sketches of various phases 
 of human experience ; but outlines drawn by so sure a hand that 
 each stroke tells. Nor could any elaboration of detail, however 
 .skilfully made, more vividly depict their subjects. — Boston Tran- 
 script. 
 
 Just as the dress of this volume is suggestive in its simplicity, 
 so are the studies within. They are in the manner of fables, 
 delicately conceived and expertly fashioned. There is a haunting 
 beauty in the music of the prose and often a penetrating force in 
 the ideas set forth. . . . There are nearly fifty stories in the book 
 and there are few which will not jar you mentally. And mental 
 upheavals are healthy things. — Detroit Tribune. 
 
 Here are half a hundred little parables of every day. Each is 
 addressed to all the world. Each enwraps one or another of the 
 multitudinous selves and attitudes in which the soul looks out in 
 humanwise upon the mystery of life. All work together to give 
 us lightning flashes of our real but elusive selves as these exist 
 under their overlayings of convention and custom. ... It is writ- 
 ing of great beauty and distinction, little dramas of life set in a 
 golden imagination. As a book, a thing for the hand and the eye, 
 it is also one of Paul Elder's artistic productions. — Washington 
 Evening Star.
 
 BY THE SAME AUTHOR 
 
 INTIMATIONS 
 
 A COLLECTION OF BRIEF ESSAYS 
 
 DEALING MAINLY WITH ASPECTS OF 
 
 EVERYDAY LIVING 
 
 A very readable book is Mr. Barry's "Intimations,"' tbe kind of 
 book that one takes pleasure in possessing because its interest is 
 so human, its earnestness so convincing, its quiet humor so sym- 
 pathetic and its comments upon life and peoples so keen. — The 
 Craftsman. 
 
 Get his volume, "Intimations," and read his essays. Ponder 
 over them. They will soon rank in your mind w\t\\ the work of 
 the younger brother of Marcus Aurelius, Thomas a Kempis, and 
 Emerson, and become of your daily bread for mind and spirit. — 
 George Wharton James. 
 
 The wide variety of subjects touched on, the dramatic power 
 displayed in the general plan and writing of the essays, the insight 
 and originality, all mark the book as one of unusual dignity, 
 power and excellence. — Salt Lake Tribune. 
 
 Read this book carefully in odd half hours, and it will add much 
 to 3'our knowledge of life ; it will make your heart tender to 
 those who are bearing heavy burdens; it will help you to endure 
 the frequent ingratitude which is the portion of the warm-hearted. 
 And when you have got all there is in it, send the book to a 
 friend, and thus spread the gospel of helpfulness. — George Hanili'i 
 Fitch, in the San Francisco Chronicle. 
 
 From the press of Paul Elder comes a new book of consequence. 
 It is called "Intimations," and is from the pen of John D. Barry, 
 by profession a critic, by nature constructive and by cultivation a 
 writer of rare charm. In the past he has written several bool>s of 
 merit, but this last has in it a note of golden maturity, which O'lt- 
 strips the rest. It is mellow and beautiful and we doubt if America 
 has produced anything in an essay since the days of Emerson that 
 is more choice. — The Los Angeles Times. 
 
 John D. Barry has been writing for the San Francisco B'llletin 
 a series of essays so delicate yet so strong as to suggest the French 
 press rather than the American. These are now nublished in so 
 beautiful a book as to astonish those "provincial" Easterners who 
 imagine that no books are made except in New York, occasionally 
 Boston, and that far fringe of Western civilization — Chicago. 
 Here is a San Francisco book to amaze them, even on the outside. 
 Inside is much to arrest the reader ; thoughts penetrating, illumi- 
 nating, uplifting; suggestions which do not antagonize or irritate, 
 but leave a live idea, like the gift of a growing plant. The title is 
 well chosen — "Intimations," — gentle in the extreme, yet perfectly 
 defining the subject matter. — Charlotte Perkins Gilman, in The 
 Forerunner,
 
 63 
 
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