MC-NRLF 
 
 c 
 
GIFT OF 
 

Copyright 1915 
 KATHERINE DELMAR BURKE 
 
STORIED WALLS 
 
 OF THE 
 
 EXPOSITION 
 
 By 
 KATHERINE DELMAR BURKE 
 
6? 
 
 
TO MY MOTHER, 
 
 WHOSE SMILE HAS BEEN THE SUN OF 
 MY LIFE; WHOSE COURAGE, INSPIRA- 
 TION. AND WISE COUNSEL. HAVE 
 BEEN THE SUM OF ALL MY STRENGTH. 
 
 THIS BOOK IS DEDICATED 
 
 325712 
 
s. N. Doo little 
 
 FOUNTAIN OF THE MERMAID 
 
STORIED WALLS OF THE 
 EXPOSITION 
 
FOREWORD 
 
 This is the story of the Exposition as it speaks to 
 me through its walls and towers, its arcades and 
 columns, its murals, its friezes, its foliage, and the 
 symbols and symbolism that on every hand the archi- 
 tects and sculptors and painters have lavished upon 
 their work. A thousand forms have been wrought 
 into the decoration of wall and window and colonnade 
 and doorway, and each in its own language tells of 
 romance, of achievement, of tragedy, of fame, of 
 victory and of decay. 
 
 Within the palaces there are many marvels, but to 
 me the great beauty of the Exposition lies in the 
 genius of its builders. Like Aladdin's palace it has 
 risen almost in a night. For a day in its flags and 
 banners and brilliant colors, it flutters in the sunlight 
 like a gorgeous butterfly; and tomorrow it will be 
 gone. 
 
 Like all beautiful things, it will take its place in 
 memory, and live long after its walls have been razed ; 
 when the smoke of factories obscures the sky where 
 now its gleaming lights vie with the stars, and the 
 quickening life of the city breaks the silence of the 
 lagoon and dispels the solemn grandeur of the Palace 
 on its shore. It can never be wholly recalled even 
 in memory, but to those who seek to understand it the 
 romance of the Exposition will yield itself bit by bit 
 and page by page in one endless web of fascinating 
 study. 
 
 The Persian Hafiz has said : "Who sees with the 
 eyes of the body sees the little things that lie close 
 to the earth and the things that the hands of man 
 have made. Who sees with the eyes of the soul sees 
 the great things that rise above the earth and the 
 things that the hands of man have made to the honor 
 
and glory of God/' And the Japanese Hokousai has 
 said : "It is not what we see but what we think when 
 we see, that is important." 
 
 This then is the Exposition as I see it. It is not a 
 catalogue nor a criticism. It is merely a transmission 
 to my friends and companions of a small part of the 
 pleasure and inspiration this wonder-place has been 
 to me. To some it may tell a different story; to 
 others none at all ; but to all who come within the 
 spell of its transcendent art and beauty it brings a 
 message plain, direct and unforgettable. 
 
THE FORBIDDEN GARDEN 
 
CHAPTER I 
 
 GENERAL PLAN 
 
 Lying as it does along the shores of the bay at the 
 base of the city's hills, the Exposition seems a bit of the 
 Orient set down beside this Western sea. Byzantine, 
 Saracenic, Moresco its softly rounded azure and bis- 
 muth domes, topped here and there by delicate floating 
 balls, its tapering terraced towers, its red tiled roofs, 
 all breathe a note of strange and distant lands. The 
 cloistered courts ; the separated buildings linked into 
 a whole by pillared arcades; the masses of flat blank 
 wall ; the ornate portals ; the delicate pointing fingers 
 of the minarets all are notes of Spain. 
 
 In the colors too is seen the spirit of the Eastern 
 land. The blues, the browns, the rose, the gray, the 
 soft dull tint of travertine, the splendid bursts of gold, 
 have nothing in common with this new land. They 
 are all of Spain and of the East. 
 
 In a marvelous unity with this atmosphere, the 
 architects have introduced touches of decoration from 
 other times and other lands. The arches of the Court 
 of the Universe are Roman ; their ornamentation 
 largely Saracenic ; the lines of stately columns are 
 Greek ; the banding friezes Greek too ; and that sense 
 of the open out-of-doors is Greek, for in the early days 
 of their glory the Greeks prayed to their gods under 
 the open sky and fenced their places of worship with 
 the slender trunks of the trees. 
 
 Machinery Palace is Roman in its impressive leap- 
 ing arches and its heavy cornices, but the note of Spain 
 is in its tiled roof and the treatment of the architec- 
 tural decoration. The doorways of this mighty palace 
 are superbly Roman. 
 
'' STO'RIKD WALLS 
 
 In ,-thc igiqiro of pulares all. the doorways have the 
 ornate ' note " of ' Spain, varying from the typically 
 Spanish door leading into the Palace of Varied In- 
 dustries through the colder and more classic doorways 
 of the other palaces to the Marina where, in the en- 
 trances on the northern front, is the elaborate plater- 
 esque, the silversmith filigree work of that first period 
 in Spanish Renaissance architecture the days of 
 Ferdinand and Isabella and to Philip II. 
 
 To the west the Palace of Fine Arts rises in majesty. 
 In the early morning light, at mid-day, at twilight, and 
 in the shadows of the fading evening light, it is still 
 dream-like haunting in its beauty. Its curving wings 
 and colonnades of Corinthian columns are like the 
 Greek peristyles of old ; its dome fantastic Byzantine 
 in the heavy arched effect, and there is a powerful 
 Roman note in the majesty and might of it all. It 
 belongs wholly to no clime, no race, no school. It is 
 a dream of all the beautiful things in the builders' art 
 brought into concrete form. The lagoon before it, 
 mirroring its beauty, is the final touch to this most 
 perfect whole. 
 
 To the south of the block of main buildings there is 
 the wide-spread approach of the main entrance with its 
 fountains and pools, flanked by two buildings so differ- 
 ent and still in such harmonious balance : the Palace of 
 Horticulture and Festival Hall. 
 
 To the east rises Festival Hall, with the touch of 
 the florid French Renaissance in the days of the 
 Louis', the note of the Orient struck in the outline of 
 the dome. To the west, lifting its opalescent dome in 
 splendid height, Horticultural Hall gives the finest 
 blend of Byzantine, Saracenic and French Renaissance 
 architecture. The domes are of the Orient ; the mina- 
 rets are Saracenic ; and the banded garlands, the 
 flowered plaques and the fanciful caryatides are of the 
 French Renaissance, bordering closely upon the 
 characteristics of the Rococo period of this most florid 
 and fanciful time in the arts of France, 
 
GENERAL PLAN 
 
 Throughout the buildings the red tiled roof is in 
 evidence ; everywhere, the travertine wall ; everywhere 
 the windowless front again all notes of Spain. 
 
 The long blank wall on the south front has been 
 finely treated, broken in the center as it is by the superb 
 lift of the Tower of Jewels, raising its head over 
 four hundred feet. The eye runs up from terrace to 
 terrace, following the pale jade columns, to the glitter- 
 ing apex topped with a globe. Through the arch, out 
 to the hills and bay beyond, the view is broken by the 
 shaft of the great Roman column the Column of 
 Progress, topped by the Adventurous Bowman. 
 
 Half way down on either side on the south front, 
 opening into smaller courts, are delicate towers, their 
 slender forms in airy contrast with the bulk of the 
 massive Tower of Jewels at the center of the wall. 
 These smaller towers are daintily colored in Spanish 
 patine design. In form they are very Italian. 
 
 To the east, a massive square tower, altar-like in 
 its solemn lines, closes the Court of Ages to the bay. 
 
 Beyond on the Marina, a fitting close to this gamut 
 of the builders' art in Spain, the last cry in the Spanish 
 architecture of the old day the California Building 
 lifts its heavy beams and bastions to its own familiar 
 sky. The adventurers in the new world, in their wish 
 to plant a new Spain upon its soil, tried with the 
 material at hand to rear anew the cathedrals of the 
 older home, and this solemn pile, devoid of ornament, 
 with its heavy doors, its loopholes and its bells, is 
 typical of what they wrought the Spanish note of the 
 new Spain ; the Spain that Columbus brought home to 
 his queen. 
 
 To the west the wall of these mighty palaces is 
 broken by the tree-bordered allee leading into the 
 Court of the Four Seasons, by the two magnificent 
 half domes similar to that in the Court of the Four 
 Seasons, and the small niches in which sit, throned in 
 solitary splendor, the odd figures typical of the plenti- 
 ful gifts of the earth's harvest and the triumph of 
 
STORIED WALLS 
 
 agriculture. The wall swells majestically into the 
 two great half domes one set about with the Figures 
 of Culture, the other with the Lover of Books. Above 
 these the arches of the domes rise beautifully tinted 
 in delicate rose and blue and bossed with the rose of 
 Jericho. Below in each a Spanish poso fountain sends 
 out a shimmering iridescent veil of falling water. 
 
 Along the eastern wall the view is less romantic, 
 less classic, less reposeful. Iberian bears perch upon 
 the tops of the pilasters, and the finely arched door- 
 ways and the foreground of foliage here make up a 
 fine harmony ; the floating banners and wonderful 
 lamps a gorgeous color note. 
 
 Aladdin of the days of old must live again in the 
 lamps of the Exposition. The subterranean garden in 
 which he found his magic lamp, was lighted with fairy- 
 like lanterns shining in soft radiance amid the foliage 
 of many trees. The banners richly wrought with 
 heraldic designs and bearing the names renowned in 
 the annals of Spain, form spots of fine color by day at 
 night, softly glowing, their radiance brings in the 
 thought of Orient lands and their enchantments. 
 
 The plan of the Exposition and the arrangement of 
 its buildings were dictated by its location. The winds 
 and fogs made shelter imperative. The plan of con- 
 nected buildings surrounding and forming inner courts, 
 sheltered from the elements, suggested itself. This led 
 to a plan wherein the exterior was plain almost to 
 severity and the decorations were lavished upon the 
 inner courts. This too suggests the Spanish idea, for 
 the barest front, the plainest doorway, may conceal 
 from sight the most beautiful patio gemmed by placid 
 pools and surrounded by fairy-like galleries. 
 
 In conception and in the carrying out of the color 
 scheme, the plan of decoration, and the general design, 
 the Exposition is true to the Spanish type as it has 
 been brought down from the Saracenic and Moorish 
 builders' art through the Spain of the Renaissance. 
 

 TOWER AND FOUNTAIN OF EVOLUTION IN THE COURT OF THE AGES 
 
CHAPTER II 
 
 THE RENAISSANCE 
 
 The Renaissance is generally presumed to have been 
 a revolution or a revival of art ; but it was more than 
 this. It was an uplift of the entire mental attitude of 
 the world. 
 
 It was a vital change in the relation of man to his 
 neighbor, to himself, to his country, and to his God. 
 It had its roots in man's sense of personal power and 
 independence. He began to consider himself a free 
 agent. He thought ; he acted ; he dared ; he did for 
 himself and by himself. His ideals raised in character ; 
 his religion became broader; and politically he began 
 to free himself from the shackles of serfdom and the 
 domination of clan and family. He turned to the 
 classics for inspiration, and on the splendid form thus 
 set he branched out into new ways in literature, in 
 science, in music, in art, in architecture and generally 
 in the expression of all forms of this new personality. 
 
 The Renaissance was an awakening. For years the 
 world had slept. It had lain in the lethargy brought 
 about by over three centuries of Roman domination 
 with its attendant splendor, pomp, power and decay. 
 It had passed through the period of the most cruel of 
 all persecutions, and the light of Christianity burned 
 feebly. The world rested, as the tired child rests. 
 From the fifth to the eleventh century, in that strange 
 sleep known as the Dark Ages, the world apparently 
 relapsed into what seemed barbarism but was in reality 
 a great germinating period. 
 
 In the eighth century began that superstition, widely 
 spread and generally accepted, that the world would 
 come to an end in the year 1000 the Millennium. 
 
STORIED WALLS 
 
 Pestilence, war, disaster, floods, fire, comets in the 
 skies, and earthquakes seemed to give color and to 
 justify this belief in approaching dissolution. 
 
 The year 1000 came and passed and the world 
 still lived on. 
 
 Following the dawning of the fateful year 1000 
 was a mild beneficent period. No storms, no pesti- 
 lence, not even a comet crossed the sky. Sunshine and 
 plentiful rain, rich harvests and peace blessed the 
 earth. The people slowly began to realize that the God 
 they had worshiped in fear was in fact tender and 
 merciful. The whole scheme of the practice of religion 
 changed. From a system of fear worship became a 
 wild enthusiasm, and in the midst of this atmosphere 
 the Crusades were born. That the tomb of the "Son 
 of God should remain in the hands of unbelievers 
 became a thought intolerable that the Holy of Holies 
 where He had lain in the manger was used again as 
 a stable, inflamed all Europe. 
 
 The world had experienced a tremendous revulsion 
 of gratitude and relief. The people had turned with 
 new ardor to the churches, and when the message of 
 the Crusaders came to them they blazoned the Cross 
 on their shoulders and streamed forth against the 
 Moslems in a religious frenzy that knew no restraint, 
 raising the cry, "It is the Will of God." Even the 
 children took up the call to arms and followed the 
 standard of the Cross into the plains of Palestine. 
 
 Thousands of the Crusaders perished in the desert 
 sands, but many more returned; and these brought 
 with them new thought, new creeds, new science. It 
 was thus that into the life of mankind swept that over- 
 whelming power, that irresistible force, the greatest 
 educational uplift the world has ever known, the spirit 
 of the Crusades. 
 
 Men awoke to the joy of exploration and expansion. 
 A broader, kindlier spirit arose in this new brother- 
 hood. Nations forgot their petty quarrels in the issue 
 that stirred the souls of the people, and in this mar- 
 
THE; RENAISSANCE; 
 
 velous outpouring of the inner, finer self, this awaken- 
 ing of the soul, the Renaissance had its being. Italy 
 first, and then later the other romance nations 
 France and Spain, then distant England and Ger- 
 many seized this spirit with new vigor and new 
 power. From dreamers and drifters the people became 
 creators. In Italy they turned to art, painting and 
 sculpture; in Spain to architecture; in England to 
 literature, and in Germany to building and to music; 
 and they gave to their work in those early days of 
 this great awakening a subtle beauty, an idealistic 
 strength that seems in this later time to have died out 
 of the world. 
 
 The Renaissance did not come suddenly. It was 
 born in the long sleep of the Dark Ages. But its 
 splendid gifts matured and blossomed within a few 
 centuries. We, the inheritors of this time, do best 
 when we imitate and emulate that marvelous spirit. 
 
 To the Renaissance Spain gave one dominant 
 note a lavish profusion in architectural decoration, 
 Oriental in form and barbaric in its splendor. Spain 
 was then the richest country in Europe and the taste 
 for display and a certain ornateness in beauty, in- 
 herited from the Moors, was given free indulgence 
 and expression. In the arts of Spain there must 
 always be considered this deep impress that the Sara- 
 cenic influence made upon them. After throwing off 
 the yoke of the Romans, the Spaniards fell a prey to 
 onrushing hoards of the infidels, and even in the days 
 of her greatest glory Spain has never freed herself 
 from this Saracenic impression. Under Ferdinand 
 and Isabella, down through Philip and Charles and 
 Philip again, even beyond the days of degradation and 
 demoralization that followed the destruction of the 
 Armada, Spain has been more Oriental in her archi- 
 tecture and in her art than any other European nation. 
 
 In the marriage of Ferdinand and Isabella a certain 
 compact was sealed that the last of the unbelievers 
 should be driven from Spain and this was done. 
 
 9 
 
STORIED WALLS 
 
 With the ebbing tide of Saracenic power however, 
 passed much of the romance and glamour and beauty 
 in Spain. Rich, ambitious and daring, the young king 
 and queen sought to build upon the ruins of this earlier 
 time a splendid empire. The proposition of Columbus 
 was in direct line with their soaring ambitions ; his 
 gift of the Western world to his queen, a fitting tribute 
 to her adventurous spirit. In the long line of Spanish 
 explorers who poured the gold of the New World into 
 the coffers of the Spanish kings is seen the spirit of 
 Aragon and Castile living on. It came to full height 
 under the haughty Philip, husband of Mary Tudor. 
 It fell into the throes of death in the defeat of the 
 Armada, and passed splendidly into slow and sure 
 decay. But through it all there lived the strange, fan- 
 tastic touch of the Orient in form, in color, in dec- 
 oration, in conception of design, that stamped the art 
 and the architecture of Spain with an individuality that 
 cannot be mistaken nor concealed. 
 
 It is fitting, therefore, that in this land where the 
 Spanish romance and influence are woven into the fiber 
 of its history, the greatest expression of its artistic 
 feeling, the Panama-Pacific Exposition, should draw 
 for its inspiration upon the splendor and beauty of 
 old Spain. 
 
 10 
 
CHAPTER III 
 
 SYMBOLISM 
 
 Because of the lavish freedom of its decoration, 
 Spanish architecture yields broad opportunity to archi- 
 tect and artist for the use of symbolism the expres- 
 sion of a thought by conventional figures or conven- 
 tionalized forms. In this freedom the builders of the 
 Exposition have reveled. 
 
 In their use of symbolic emblems at the Exposition 
 the architects have chosen many that have a direct and 
 definite meaning. These they have combined with 
 decorative motives of their own in producing a most 
 original and charming and beautiful effect. For some 
 of the symbols used they have drawn upon the archi- 
 tectural history of the ages. In many cases these have 
 been adapted almost in their primitive form. In 
 others they have been much conventionalized, but 
 under either the original or the conventional use of 
 these old forms, their meaning will be revealed to those 
 "who see with the eyes of the soul." Some of these 
 emblems are most complicated ; some are very simple ; 
 some drawn from pagan sources ; some from the 
 Christian. Some have evidently been used without 
 thought of their meaning, and for decoration only ; 
 others have been carefully chosen to give form to the 
 thought that underlay the architect's work. But 
 around them all hangs the mystic charm of the cipher 
 and the secret, the story that is revealed only to him 
 whose eyes have been opened by a love of the beautiful 
 and whose mind is enriched with the lore of buried 
 years. 
 
 Symbolism may be best and most simply defined as 
 a sign for the thing signified ; a suggestion for the 
 
 ii 
 
JAPANESE 
 
 PHOENICIAN 
 
 SWEDISH 
 
 PERSIAN 
 
 ARABIAN 
 
 CHINESE 
 
 SWASTIKA FORMS 
 
 12 
 
SYMBOLISM 
 
 idea. It has had its forms in every phase of human 
 nature and intelligence. In art and architectural 
 decoration it has two distinct trends one religious, 
 the other intellectual and in the Orient and in the 
 Occident its expression has differed widely in purpose. 
 In the Orient it became involved in the thought of 
 mystery, reserve, aloofness ; its purpose mainly re- 
 ligious ; its meaning veiled to all but the initiate ; its 
 tendency to conceal. In the Occident it appealed more 
 to the growing intelligence, seeking freer and larger 
 modes of expression, and its purpose was to reveal. 
 At first it was an effort at a direct message, generally 
 religious in intent. Later it became a beautiful and 
 varied scheme of decorative effect. As time went on 
 the desire to impart deeper meanings led to such com- 
 plexity that symbolism rose above the comprehension 
 of the masses. Its messages became as a sealed book, 
 especially in the Orient. 
 
 Primitive man, essentially a social animal, desired 
 communication with his fellows. At first by signs 
 was the gulf bridged. Then came the crude sound 
 ripening into the spoken word ; later the picture, often 
 merely an outline, first drawn in the dust or on the 
 sands of the shore, and later chiseled into the cliff, 
 bearing its message of warning or of vengeance. Then 
 a spot of crimson, the feather of a bird or an autumn- 
 colored leaf was laid near by, that the eye might be 
 caught by the glow of color, and so decoration entered 
 into the kingdom of art and went hand in hand with it 
 down through the ages. Thus had symbolism its 
 beginning in these two great phases of decorative or 
 didactic purpose. 
 
 Last of all came man's supreme intellectual achieve- 
 ment the use of a symbol for each vocal sound the 
 alphabet. Then the signs of weights, measures, and 
 values came, and with these at hand to communicate 
 thought, symbolism as a spiritual or religious mode of 
 expression fell into decay. It was revived again in the 
 early days of Christian art, but once more, inspired by 
 
 13 
 
STORIED WALLS 
 
 religious purpose, it took on the old mystic phase 
 which shut it eventually from the understanding of the 
 illiterate for whose information it had been revived. 
 Thus defeating itself it perished for a time from the 
 world of art, to be revived again in new splendor and 
 beauty and power through the Renaissance, coming 
 into its kingdom again as a beautiful decorative motive, 
 employed not only in painting but in architecture and 
 sculpture. It is in this last phase of its use that it 
 finds expression today. 
 
 The earliest known or most primitive of symbolic 
 characters is perhaps the swastika, found in some form 
 in every land. The Japanese swastika is composed 
 of curves ; the Chinese has a series of squares centering 
 around a common point ; the Hindu radiates from a 
 center. The form appears in the Greek and Roman 
 fret and is seen in the mystic Egyptian sign of death 
 across the wings of the scarab, This is a symbol 
 of eternity, line returning upon line. 
 
 From the Egyptians the Greeks drew many inspira- 
 tions in their art, and from the earliest times they em- 
 ployed symbols, some acquired from other lands and 
 some evolved by themselves. From the Greeks come 
 most of the flower symbols, the symbols of the seasons 
 and of the heavenly bodies. There was nothing mys- 
 terious or threatening in their thought. The more 
 mystic power which the Egyptian symbolism possessed 
 seemed to the Greeks to threaten rather than to invite, 
 and in adapting these forms the Greeks stripped them 
 of much of this sinister suggestion. The Greeks had 
 not many animal symbols, leaving these to the Hindus, 
 the Chinese, the Japanese and the Romans. Symbols 
 of the forces of nature the Egyptians shared with the 
 Greeks, but it remained for the latter to develop these 
 into motives of singular beauty and definite meaning. 
 While the Egyptians preceded the Greeks in the use 
 of these nature symbols, with them these forms were 
 crude and never very highly developed. 
 
SYMBOLISM 
 
 In China, Japan and India symbolism grew so com- 
 plicated that it became exaggerated into the grotesque, 
 and the temples and tombs of these lands were peopled 
 with strange monsters of terrifying aspect. As animal 
 life to these races was intensely sacred, their symbolism 
 principally tended towards the exploitation of animal 
 forms, but varied by the adaptation of nature forms 
 the curves of a river to suggest overflow ; the triangu- 
 lar sign of the mountain to denote a barrier; or the 
 zigzag line suggesting a man-made road. 
 
 Undoubtedly from the Orient and the Egyptians 
 the Romans took their early modes of symbolic ex- 
 pression. They gave to animal forms in a more 
 material way, the symbolic meaning of the various 
 powers that they themselves held in high esteem- 
 strength to the lion, speed to the eagle, craft to the fox. 
 
 The Persians, worshipers of the sun and of fire, and 
 perhaps deriving from their Assyrian and Babylonian 
 ancestors the underlying thought of some great and 
 all-powerful controlling force, used the theme of light 
 as opposed to darkness. To them the sun was most 
 sacred and the things made by man but of little pur- 
 pose. It was not right in their philosophy of life that 
 the works of God should be copied by man, and so 
 their symbolism has a strange fantastic trend. Their 
 animal, their tree, their mountain and their river signs 
 were deliberately distorted. The only one easily read 
 and easily understood is the beautiful sun-ray cipher 
 beams of light radiating from a central force. 
 
 It is a strange fact that in their employment of 
 nature signs and in their reverential attitude toward 
 the great forces of nature, the Aztec Indians and the 
 American Indians employed their symbolic expressions 
 in the same general way as the Egyptians and the 
 Persians. 
 
 At the beginning of the Christian era the world 
 found itself with an intellectual capacity superior to 
 its ability for expression and the transmission of 
 knowledge. The story of the birth, life and death of 
 
 15 
 
STORIED WALLS 
 
 Christ spread rapidly from man to man, its pathos and 
 dramatic power making a direct appeal. When persecu- 
 tion began it became necessary to practise the new 
 faith in secret. Its story could not be written as few 
 among its followers dared carry the scroll, and the 
 masses moreover knew not how to read, therefore it 
 was told symbolically, secretly. The life of Christ 
 lends itself marvelously to pictorial expression, and 
 in the early days of Christianity artists had recourse 
 to the ancient method of giving their message through 
 visible signs. Because of its peculiar personal appeal, 
 the human being was first used as a medium of ex- 
 pression. Well-known figures became associated with 
 definite thoughts and meanings. Later, in place of a 
 definite personality, it became expedient to identify the 
 figure by some conventional sign or symbol, as Saint 
 Mark with a lion, Saint Sebastian with arrows. Still 
 later, in the days of persecution, and the necessity for 
 greater secrecy, merely the sign the lion or the 
 arrow was used. 
 
 That the full meaning might be given, the words 
 necessary to an interpretation of a picture were often 
 printed on scrolls held in the hands, or issuing from 
 the mouths of the figures. As persecutions grew more 
 violent these also were abandoned and the cross, the 
 crown, the palm, the heart of flames or the fish stood 
 alone, and "to the eyes of the soul" full of a deep and 
 definite meaning. 
 
 When Christianity was established as a national 
 creed and an open avowal of belief was safe, the 
 beautiful story entered into pictorial art and gave to 
 us the best of the high Renaissance in Italy a period 
 of classic perfection, unapproachable, unsurpassed. 
 
 Art at this teeming period drew upon the resources 
 of all ages, all races, all times. It drew for its motives 
 in decoration or in expression upon the pagan as well 
 as the Christian, the Orient as well as the Occident, 
 upon the material as well as upon the spiritual, and it 
 
 16 
 
SYMBOLISM 
 
 wrought into one harmonious whole the intellectual 
 thought that had run beside the outward sign through- 
 out the centuries. 
 
 In the same cosmopolitan spirit has symbolism been 
 given to us here today not on canvas, not in marble, 
 but upon the roofs, the domes, the doors, the cornices, 
 the friezes, arches and portals in this Dream City. 
 
 Symbolism of today while sacrificing nothing of the 
 sentiment or mysticism of the earlier symbolism, has 
 added to them a note of materialism peculiar to 
 modern times. 
 
 In its materialistic form modern symbolism has lost 
 none of its decorative splendor or importance, and the 
 builders of the Exposition have made lavish use of 
 this peculiar value. There are definite examples of 
 this in the Miner with his pick at the door of the 
 Varied Industries Palace, contrasted as it is with the 
 Rose of Old Spain, the Cross of the Crusader, the 
 Angel with the Key, the Flaming Torch and the Shell, 
 all belonging to the earlier days of symbolistic usage. 
 In the End of the Trail the realistic story of desolation, 
 defeat and despair is in contrast with the old Renais- 
 sance decorations in the Court of Palms behind it. 
 Realism appears again in the splendid figures of Power, 
 Electricity, Steam and Invention, and in the sphinx- 
 like figures of Machinery bound in the chains of its own 
 making, as they are found at the great Roman door- 
 way of the Machinery Palace. Again it is on the Marina 
 where the Bowman gives the definite symbol Energy, 
 Ambition, Success. And he stands in the midst of the 
 most complex symbolism of all, the symbolism of old 
 Spain with its mysticism and its background of classic 
 and Oriental lore, shown in the four main doorways 
 fronting the bay. 
 
 It is this constant contrast that makes the symbolism 
 of the Exposition so fascinating and so well worth 
 study. 
 
CHAPTER IV 
 
 The use of symbolism throughout the Exposition 
 is essentially Spanish. It is not religious in purpose ; 
 it is purely an architectural decoration. In Spain, 
 symbolism in the days of the Renaissance was 
 wrought out mainly in the hands of the architects. 
 It did not appear in the early Spanish paintings to 
 any degree, but about the doorways, on the fagades 
 of the buildings and upon the friezes and cornices 
 the Spaniards lavished a veritable lacework of heraldic 
 and symbolic decoration. 
 
 Some of the most characteristic of these Spanish 
 motifs have been drawn upon throughout the archi- 
 tectural schemes of decoration at the Exposition, 
 notably the use of the rose and the shell. The stories 
 of the origin of these two motifs in Spanish archi- 
 tecture show in what beautiful and romantic thought 
 the Spaniards employed symbolism. 
 
 The rose as used throughout the Exposition is 
 what is known as the Rose of the Renaissance the 
 Rose of Jericho. 
 
 A Spanish crusader of the House of Castile, answer- 
 ing the mystic call that summoned men forth to 
 unknown lands and unwonted hardships, fell ex- 
 hausted upon the desert sands in the land of Jericho, 
 and at his earnest entreaty was left to perish by his 
 companions. As he lay alone and dying a Saracen 
 chief rode by with his daughter. She besought her 
 father to bear the helpless stranger to their home, and 
 in accordance with the desert laws of hospitality to 
 give him shelter and assistance. In the home of the 
 
STORIED WALLS 
 
 Saracen the Christian knight was brought back to 
 life and health, and in the garden surrounded by the 
 white roses that seemed the emblem of her youth and 
 beauty, he wooed and won the maid, and took her 
 as his bride to Spain. 
 
 In the new land she drooped and faded, and he 
 learned with anguish of her longing for her own 
 land and her own people. She pined for the scenes 
 of her girlhood, and particularly for the great white 
 roses that had bloomed with such profusion in the 
 garden of her home. . \ 
 
 The knight sent across the seas and the d \"& and 
 had brought to Spain slips from the whit rose of 
 Jericho. These were planted and 
 tenderly cared for, but like their 
 princess they drooped and faded in 
 the strange land all save one. That 
 grew and blossomed into splendid 
 beauty, but, as is true of the rose 
 today, in its new home it had 
 changed color. Its blosso... was 
 blood red. He brought her o-" * ntir1 
 as she held it in her slSnd- 
 she said : "Oh, my beloved, the white rose v 
 soul that I have left in my own land among r- 
 people. And the red rose is as the blood of n- 
 that I have given unto you." 
 
 She died, and the Crusader planted i ^ 
 
 above her tomb. He had the flower form c. ,,-veU in 
 stone upon her memorial in the church of his fathers, 
 and the Spanish builders, seizing upon the beauty of 
 the design and the pathos of the story, wrought it 
 about the doorways and the arches and the friezes 
 throughout all Spain. 
 
 This is perhaps the most widely used of the Sp' 
 architectural symbols at the Exposition. Abotu 
 doorways, below the cornices, supporting the ga^la 
 of the friezes in the coffered vaults of the arches, every- 
 where the Rose of Jericho the Rose of Spain is set. 
 
 20 
 
EMBLEMS 
 
 In art generally the rose signifies glory, and the 
 thought of Spain. Among the Romans and Greeks 
 and in Christian art the rose stands for opulence, for 
 festivity, for abundance and for pleasure. 
 
 The story of the shell has more of a religious note. 
 
 Saint James of Compostella turned from the thoughts 
 and pleasures of this life to meditation on the suffer- 
 ings, humiliation and death of Christ. He vowed that 
 alone, barefoot, and in humility he would travel to the 
 Holy Land and stand by the tomb of the Saviour in 
 Palestine. The first of the palmers or pilgrims, he 
 l~^ ,vow. On his eastward journey he bound 
 
 upon nki hat a little black cockle-shell, the sign of the 
 sea and the suggestion of water in the desert. On his 
 return from the tomb he wore a white cockle-shell, a 
 symbol of purification. Since that time the shell has 
 been the pilgrim's sign, the sign 
 of the wanderer, the traveler from 
 the far lands, the seeker after the 
 unknown. When a pilgrim re- 
 turi;-^! fiorn Palestine with the 
 \vhik- shell' upon his hat, kings made way, for the 
 -. j>jn had stood on sacred ground. So this sign 
 ->, seized upon by the builders and became a 
 Tit form in their decoration. 
 
 vping most of the light posts, gracing the cor- 
 
 " banding the columns, and in many places inter- 
 
 , r fyith-the rose about the portals at the Exposi- 
 
 ti^ A . ^tn be found the cockle-shell of Saint James, the 
 
 other great Spanish sign. 
 
 Another beautiful story is found in the adaptation 
 of the acanthus leaf into Greek symbolism, the motif 
 of the Corinthian capital. The plant grew in the 
 gardens of the Greek Elysium, hence its meaning is 
 
 "'yenly life; the resurrection. It springs up afresh 
 h year and therefore typifies the new life. In 
 
 m holism it is very Roman, very Greek and very 
 Pagan. It recalls this tender story of death and love, 
 and the triumph of love over death : 
 
 21 
 
STORIED WALLS 
 
 Death robbed a young Greek sculptor of his bride 
 within the marriage month. He had entered a great 
 contest for an architectural design for the cap of a 
 column to adorn the Temple of Diana. Broken- 
 hearted, he followed his bride to her tomb and placed 
 upon the stone a basket of acanthus leaves as the 
 sign of life and love imperishable. The wind blew 
 the leaves about and the unhappy youth placed a tile 
 to hold the leaves in the basket. Returning within the 
 week he found them drooped and curled beneath the 
 weight of the tile, but still fresh and vigorous. He 
 sketched them thus, submitted the design, and gave 
 to the world the capital of the Corinthian column, 
 perhaps the most favored among 
 architects. 
 
 Among the Greeks this column 
 always stood before the shrines 
 of the virgin goddess Diana, be- 
 fore the portals of Minerva's 
 temples, and upheld the roof 
 above the shrines of Juno. 
 
 Hundreds of other forms have 
 in this manner, through romance, 
 through tragedy, through sentiment or through pathos, 
 found their way into the forms of decoration that 
 artists, sculptors and architects have lavished upon 
 their work. Some other of the most frequently used 
 and easily recognized emblems that may be seen in 
 the friezes, on the walls and cornices, on the columns 
 and arcades and arches, around the doorways and 
 topping the domes and towers of the Exposition, are 
 these : 
 
 The olive leaf and branch ; among the Greeks, 
 sacred for its healing qualities ; for peace and rest. 
 Among the Christians the olive means peace, recon- 
 ciliation. It is a very Spanish symbol, especially 
 when combined with the dove. 
 
 The pineapple the emblem of power and resistance 
 to the elements ; also of preservation. 
 
 22 
 

 EMBLEMS 
 
 The swastika the symbol of 
 eternity; forces returning upon 
 their basic point ; best seen on the 
 double Greek fret or in the curv- 
 ing Roman form. The Greek 
 rose is here shown with the Greek fret. 
 
 The Egyptian rain sign par- 
 allel lines waving in a vertical di- 
 rection, suggesting the falling 
 rain. 
 
 The fleur-de-lis fecundity. It comes from ancient 
 Egypt, Syria and Persia, and entered into the art of 
 the west by way of Byzantium. Ornamenting the 
 scepter and crowns of the early Christian kings, it 
 expresses majesty, royalty and loyalty. 
 
 The crocus the first flower that 
 comes above the snow ; adopted by 
 the Greeks as their emblem of 
 spring. The crocus is shown 
 bossed on the Ionic column. 
 
 The pomegranate a Roman 
 symbol of fecundity, fruitfulness, 
 unity and power. The thought is 
 found in the countless seeds shut 
 within a single shell. Dante speaks of the pome- 
 granate as the emblem of life on the other side of 
 death. Mrs. Jamison says it is the symbol of immor- 
 tality ; the seeds of hope in eternity typified by the 
 unexpected sweetness of the seeds in the bitter rind. 
 The early Roman Christians took it as the symbol of 
 unity of thought ; hence, a vast congregation within a 
 single church. 
 
 The palm a Roman sign for victory over death. 
 The honeysuckle the first vine to put forth its buds 
 in the spring. The young Greek maidens bound it 
 about their temples on festal 
 days. It was, therefore, among 
 the Greeks an emblem of re- 
 joicing and of purity. 
 
 23 
 
STORIED WALLS 
 
 The primrose the Greek em- 
 blem of childhood. It was the 
 flower sacred to little girls. 
 
 The apple the emblem of the 
 knowledge of good and evil. 
 
 Corn and wheat the lavish gifts 
 of the earth. Corn was indigenous 
 in Egypt, and wheat in the valley 
 of the Tigres. These two grains 
 were used on the temples of 
 Greece and Rome as emblems of man's appreciation of 
 the generosity and bounty of the gods. They were 
 peculiarly sacred to Jupiter and to Ceres. 
 
 The lotus an Egyptian sign of 
 the resurrection. The ram's head 
 is shown below with the lotus on 
 the under side of the bowl. 
 
 The oak emblem of the passing 
 of long years; hence, disuse; hung 
 with ivy it typifies decay. These 
 two symbols are of Norse or 
 Druidical origin. 
 
 The cock a widely known and 
 very beautiful emblem. Among 
 the Italians it symbolizes the 
 clarion call of the Renaissance the awakening. It is 
 a very Italian sign. It is found at the crossroads and 
 on the pinnacles of the churches to remind the people 
 of the resurrection and that when the cock calls the 
 day begins anew. Also the cock is the emblem of 
 faith, bringing back the old story of Saint Peter who 
 thrice denied Christ before the cock crew, and then 
 at the sound proclaimed his fealty. Through all ages 
 the cock has been the emblem of the break of day and 
 the passing of the darkness. This gives him a peculiar 
 fitness as a Renaissance emblem. Probably in the 
 "Chanticleer" Rostand took this idea of the cock's 
 crowing at daybreak from the old legends among the 
 Romans. Cocks were sacrificed to Apollo by the 
 
 24 
 
EMBLEMS 
 
 Greeks and Romans at a very early date. 
 They were not known in northern mythol- 
 ogy until after the Gallic conquests except 
 among the Huns, who brought them from 
 their original home in Siberia, northern 
 India and the far Orient. The Romans 
 knew of the cock and the hen from Persia. 
 The dragon perhaps derived from the 
 dinosaur of ancient times. It typifies the 
 power of demoniacal fury ; hence, power, 
 might. This is a Norse symbol. It was 
 adopted by the Chinese to typify sover- 
 eignty; also the awful power of pestilence 
 to bring death upon high and low. 
 
 The salamander the symbol of undying 
 faith, because it can live in fire and cold. In heraldry 
 it signifies the brave and generous courage that 
 affliction and defeat cannot subdue. 
 
 The four elements are often 
 typified : 
 
 Fire by the salamander ; air 
 by the eagle, unconquered am- 
 bition suggested by its soaring 
 flights; earth by the lion, domi- 
 nant, powerful, the king of 
 
 beasts ; water by the dolphin. 
 
 The pelican symbol of piety and of self-sacrifice. 
 The old legends told that in time of famine the 
 pelican pierced her own breast and fed her young 
 upon her blood. The grapevine is shown 
 here with the pelican. 
 
 The lion is used by the Romans as the 
 symbol of the midsummer month of the 
 year ; the month of the summer solstice. 
 
 The dolphin, king of fish, ruler of the 
 denizens of the sea, in the old French super- 
 stition was believed to be the shrewdest fish 
 that swam. In the province of Dauphine, 
 
 25 
 
STORIED WALLS 
 
 even to this day, the peasants have a festival in which 
 they pass in procession through the streets, carrying 
 as a votive offering to their patron saint a huge fish 
 of pastry from which paper streamers in the form of 
 fish depend. Because at one time the fish from this 
 province saved the people of France in time of famine 
 the King of France named his heir the Dauphin. 
 Among the Greeks the dolphin was sacred to Apollo, 
 because he once took this form. The dolphin signifies 
 the conquest of the sea, and is a favorite emblem for 
 many seaports. 
 
 The gorgon Medusa's head 
 signifies sagacious ferocity; im- 
 placability ; hate. 
 
 The basilisk, king of serpents, 
 whose eyes were so terrible that a 
 glance killed, is the emblem of 
 deadly sin ; depravity ; evil ; and 
 fear begotten of evil. 
 
 The serpent, universal object of 
 primitive worship, symbol of wis- 
 dom and treachery. Among the 
 Greeks it was the seeing creature, 
 the sign of healing; among the 
 Romans, the strangler; the destroyer. On the cadu- 
 ceus of Mercury it means sleep and craft ; among the 
 Christians, the sign of the fall ; of subtlety. Shown in 
 a circle with its tail in its mouth is the sign 
 of eternity. The Viscomti family of Italy use it 
 springing from the helmet the sign of relentless 
 enmity. 
 
 The double-headed eagle used 
 by several countries to show au- 
 thority over two lands, and used 
 by Spain to show she had posses- 
 sions in two hemispheres. It was 
 first used in Spain in the arms of 
 Charles I. 
 
 The scorpion emblem of deadly hate ; death to a 
 26 
 
foe. It was included in the arms 
 of the House of Gonzaga. Rodo- 
 monte of Gonzaga, favorite of 
 Philip V. of Spain, had it as his 
 personal device, emblazoned : "Who 
 living wounds, in death is healed." 
 Pegasus, the beautiful winged 
 horse in classic allusion sym- 
 bolizes fame, eloquence, poetic 
 study, contemplation, swiftness of thought, ambition, 
 and creative power. 
 
 The signs of the zodiac these 
 are Arabic and probably run back 
 through the Persian to a Chal- 
 dean origin. They are twelve in 
 number : the ram, the bull, the 
 twins, the crab, the lion, the vir- 
 gin, the scales, the scorpion, the 
 archer, the goat, the water carrier 
 and the fish. 
 
 The griffin or gryphon a creature with the head, 
 neck, wings and talons of an eagle; the hinder parts 
 of a lion ; the powers of the cloud-cleaving eagle com- 
 bined with the strength of the lion ; the projecting 
 ears indicating acute sense of hearing. Among the 
 Greeks and throughout all heraldic and symbolic use 
 this is the emblem of violent heroism, strength and 
 vigilance. In later Byzantine symbolism it means 
 the spirit of watchful courage, perseverance, and 
 rapidity of execution. The idea of this most popular 
 symbol probably came originally from the Orient. In 
 India the griffin is used as the symbolic guardian of 
 earthly treasures. Small griffins 
 have been found in ruins in 
 Greece and in India. In Greece 
 the griffin was sacred to Apollo 
 and was one of the very few 
 animal symbols the Greeks used. 
 In Christian symbolism, according 
 27 
 
STORIED WALLS 
 
 to Dante, it has a mysterious shape, and joins two 
 natures in one form the eagle in its spiritual power 
 as king of the air ; the lion in his strength symbolizing 
 the temporal power on earth. On Gothic churches it 
 might be the union of the divine and human nature. 
 
 The obelisk gnomon of the sundial of 
 the ancient Egyptians. Set with discs it 
 symbolizes the planets known in the days of 
 Ptolemy. 
 
 The centaur or Sagittarius a sign of 
 the zodiac half man, half horse. He is 
 holding an arrow on a bended bow. Among 
 the Romans the centaur was sacred to those 
 slain in battle. Among the Greeks it was 
 the emblem of the old Thessalians over- 
 whelmed by Athens ; therefore barbarism overcome by 
 civilization. Stephen, husband of Matilda of England, 
 used it as an heraldic blazon after the success of his 
 bowmen in the battle of the Standard. 
 
 The phoenix an imaginary bird ; in form like an 
 eagle and of beautiful plumage. It was the bird 
 sacred to the sun. Every five hundred years it built 
 its nest of spices in the heart of the desert of Arabia. 
 This pyre, heated by the sun and fanned by the wings 
 of the phoenix, took fire and con- 
 sumed the bird. From the ashes 
 a new phoenix soared, to live 
 again five hundred years, ever 
 new, ever beautiful. Therefore, 
 to the Greeks and Romans and 
 to the early Christians it typified 
 resurrection and immortality. The 
 Chinese and Japanese held it 
 sacred and believed that it ascended into heaven with 
 the dragon and that great events would call it to 
 earth again. In heraldry it is always shown rising 
 from flames with its wings expanded. It is a favored 
 emblem among chemists and apothecaries, as it shows 
 the power of rejuvenation. The family of William of 
 
 28 
 
Nassau placed it upon their coat of arms to symbolize 
 the sacrifice of his life for his people, for even from 
 his death The Netherlands arose in new strength. The 
 phoenix is the official emblem of the city of San 
 Francisco twice risen to new power from her ashes. 
 A group of golden balls whirling 
 about a central point used by the 
 Saracens to typify the months of their 
 year, calculated by the phases of the 
 moon. These were thirteen in number. 
 
 The gourd - - resurrection ; turning 
 brown and withering away in autumn, 
 its seeds spring to vivid new life in the 
 spring rains. 
 
 The laurel leaf crowned the victor in the games and 
 contests of. Greece and Rome ; hence, means victory. 
 The lily of Aragon a Spanish symbol of purity. 
 They are also called Annunciation lilies. 
 
 The ram an Egyptian symbol denoting silence and 
 strength. Jupiter Ammon often 
 took the form of a ram. In the 
 temples of the Jews, in times of 
 festivity, the worshippers were 
 summoned to prayer by blasts on a ram's horn. The 
 acanthus leaf is shown on each side of the ram's head. 
 The fasces of the Roman lictors bundles 
 of rods in the center of which was bound 
 an axe to show that the minions of the em- 
 pire had power to scourge and slay those 
 who did not obey the law ; also the rods 
 bound together denote strength to be found 
 in unity. 
 
 The grapevine used among the early 
 Christians to symbolize the lavish gift of 
 Christ ; hence, redemption, sacrifice. 
 The scarab an Egyptian sign. The outstretched 
 wings that spring from beneath the carapace are 
 the sign of death and the indestructible carapace of 
 eternity. Among the priests in Egypt death meant 
 
 29 
 
STORIED WALLS 
 
 not oblivion, but the after-life. 
 This the ignorant were not 
 allowed to know. 
 
 The baton carried by the con- 
 suls and generals of the Caesars; 
 the sign of the pomp and power 
 of military achievement: later, 
 the sign of conquest. The batons 
 are shown here on each side of 
 a Roman shield. 
 
 The seahorse a mythical crea- 
 ture whose best counterpart is 
 found in the tiny pipe-fish of today. Seahorses were 
 creatures of Neptune, and symbolize the waves as 
 they pursue each other to the shore. The great trading 
 cities used the seahorse as the emblem of the speed of 
 their ships. Cromwell bore it on his arms with the 
 lion to show that he guarded both sea and land. 
 
 Pan, the Greek symbol of Nature ; not in her destruc- 
 tive, lavish mood ; but the all-controlling power of 
 life without its soul. 
 
 The bulls' heads or bucrania are emblematic of the 
 gifts of the fields. Among the Greeks the ox drew 
 the plow and after death his bones returned to the 
 dust in the fields his labors had helped to make pro- 
 ductive. The bulls at the feast of the harvest, gar- 
 landed by flowers, were led by the maidens into the 
 temple, and their blood was poured into the festal 
 urns with oil and wheat and wine. In the height of 
 the glory of Greece the bull was not sacrificed. 
 
 The Persian sun cipher the 
 rays radiating from a central 
 point on a field of blue. 
 
 The sphinx a creature with 
 the head and bust of a woman, the 
 paws of a lion, the body of a dog 
 and the tail of a dragon. Among 
 the Egyptians the sphinx repre- 
 sented physical and mental power. 
 
 30 
 
EMBLEMS 
 
 It was the symbol of royal dignity, wisdom and 
 strength ; of profound theological mystery. Sphinxes 
 are black, in allusion to the obscure nature of the Deity. 
 The white head-dress may suggest the linen tiara of the 
 priests. The belief is growing that the sphinx was 
 symbolical of the bountiful overflow of the Nile 
 which happened when the sun was in the signs of 
 Leo and Virgo, the beast and the woman suggested 
 in its body, and that it had its name from this circum- 
 stance, for in the language of the Chaldeans the name 
 "sphinx" means overflow. Among the Greeks, who 
 undoubtedly took the idea from the Egyptians, the 
 sphinx was changed. Wings were 
 added and the face lost its Nu- 
 bian character and assumed its 
 more classic and sharply chiselled 
 features. The real Egyptian 
 sphinx is never winged. 
 
 The egg and dart emblems of 
 fertility. This is shown surround- 
 ing the arms of the seaport of 
 Barcelona. 
 
 The chimera was an imaginary fire-breathing 
 monster of great swiftness and strength. It had the 
 head of a lion,, the body of a goat, the tail of a dog, 
 and the feet of a dragon. It was used by Philip II. 
 of Spain after his marriage with Mary Tudor to 
 symbolize the heresy of England which he purposed 
 to destroy. 
 
 These signs have been used by the architects mostly 
 in their conventional sense and purely as matters of 
 decoration, they all however, have a definite origin and 
 were originally used as symbols for the expression of 
 definite thought and meaning. 
 
POOL AND HALF DOME, COURT OF THE FOUR SEASONS 
 
CHAPTER V 
 
 COURTS 
 
 The system of inner courts which is a feature of the 
 plan of this Exposition, is unique in the architecture of 
 expositions. From the great central Court of the 
 Universe radiate allees to the Marina on the north and 
 on either side to the Court of the Four Seasons on the 
 west and the Court of the Ages on the East. Opening 
 to the south from the Court of the Four Seasons is the 
 Court of Palms ; opening to the south from the Court 
 of the Ages is the Court of Flowers. In all these 
 courts the decorative fancies of the builders have run 
 unrestrained. 
 
 TOWER OF 
 
 A fitting gateway to the Court of the Universe, the 
 heart of the great Exposition, is through the arch of the 
 Tower of Jewels. Over four hundred feet the tower 
 rises into the blue, sparkling in a riot of iridescent light, 
 alike in sun and mist. At night it is most beautiful 
 when it stands pearl white against the velvet blackness 
 of the sky. 
 
 On either side the fagade from which it springs is 
 lavishly decorated with the emblems that stand for 
 Triumph and for Glory. The sacrificial altars of the 
 Egyptians with the rams' heads at the corners, top the 
 wall. The obelisks, record of the departed glory of 
 Egypt, here bearing the disks of the planets, rise be- 
 side the altar stone. Below on the balustrade is the 
 Persian cipher of the sun and the Hindu signs of the 
 sun and the rain. The Roman eagle poises for flight 
 along the rail and the lion's head is bossed below. 
 Festal wreaths are hung between the Corinthian col- 
 umns, and the fasces of the lictors are set below the 
 
 33 
 
STORIED WALLS 
 
 Rose of the Renaissance, while the Shell of Saint 
 James is set upon the light posts near by. 
 
 As the basic thought of this celebration is the 
 triumph of the mind of man, it is fitting that the figure 
 of Minerva dominant, victorious should stand upon 
 the keystone of the mighty arch leading into the Court 
 of the Universe. 
 
 COURT OF THE UNIVERSE) 
 
 In contrast to the peace and the sense of solitude in 
 the classic Court of the Four Seasons, and the solemn 
 sacrificial atmosphere of the Court of the Ages, is the 
 splendid inspiring note that sounds from the Court 
 of the Universe, as one steps beneath the arch of the 
 Tower of Jewels into the glorious amphitheater. The 
 great leap of the arches of the East and the West, and 
 the long lines of columns from the northern side of the 
 court down the allee to the Bowman at the end, lend a 
 dignity most impressive. There is one note in this 
 court, unfortunate, impossible the gingerbread band- 
 stand. All else is splendid. In this great uplift of 
 man's power and thought, in this assembling of the 
 architecture of all nations and all times, the mighty 
 chords of music should sound, checked by the blue 
 vault of the sky alone. 
 
 The arches are classically Roman in their lift from 
 the ground to the turn of the arch, but they are ramped 
 in Saracenic fashion and backed on either side by 
 towers with Moorish domes. These domes, softly 
 colored in amber or brown or in a blue that seems to 
 blend into the sky above, are topped by groups of 
 golden balls, symbolic of the Saracenic months of the 
 year, counted by the phases of the moon. The obelisks 
 that corner the arches are the Egyptian sun-dials. The 
 center of the arch above the keystone bears the Persian 
 sun cipher. It was at first the idea to have this the 
 Court of the Sun and the Moon and the Stars. At 
 the corners of the arches Roman shields bear the round 
 face of the Roman sun. 
 
 34 
 
COURTS 
 
 Above on the balustrade over the Persian cipher of 
 the sun all about the court, the Star Maidens poise 
 with arms upraised as though in greeting to the sun, 
 their jeweled crowns sparkling in the noonday splendor 
 and shining in paler glory beneath the softer light of 
 the moon. When the mist and fog sweep over them 
 they seem to swim in the swirling clouds. Once, in a 
 violent April storm, they stood in prismatic radiance 
 in the falling rain. 
 
 The frieze in this court is most lavishly and intri- 
 cately decorated. There is the honeysuckle, the first 
 vine to put forth its buds in Greece, used by the vestals 
 who bound it upon their brows in the Greek festivals 
 when they entered the temples; the banded garland, 
 emblematic of fertility, into which is worked the rose 
 of Castile and the crocus of Greece; the grapevine 
 and the grapes, emblematic among the Romans of the 
 lavish gifts of the earth; the skull of the oxen, the 
 Greek emblem of the fertility of the earth and its gifts 
 to man ; and the lion's head, emblematic of the summer 
 solstice, the midsummer month of the year among the 
 Romans, and their sign of might and power. 
 
 On the front of the arch, so Roman in its leap, so 
 Saracenic in its rampart, are the Moorish windows 
 typical of Granada and Seville in Spain, bossed above 
 by the Spanish rose and latticed by the jalousie, painted 
 the same hue of green as those whose shutters screened 
 off the harems in the palaces of the Moorish days in 
 Spain. Below them the great archangel, Michael, the 
 Angel of Peace through war, stands guard, his sword 
 unsheathed but pointing to the ground. Above the 
 band of the frieze, on either side of the arch, rise the 
 griffins, half eagle, half lion, typical of dual power over 
 the mind, over the body, over the air, over the earth ; 
 the flight of the imagination, quickness of thought ; 
 the power of physical strength and control. On the 
 spandrel of the arch is shown Pegasus, the winged 
 horse, emblem of inspiration and creative power, and 
 typical of imagination and poetry. 
 
 35 
 
STORIED WALLS 
 
 Separating the division of the frieze, on the front 
 of the arch, are batons like those held by the generals 
 of the Caesars when leading their armies to victory and 
 hence symbolic of military power and achievement. 
 
 The columns throughout the court are Corinthian 
 the delicate acanthus leaf rising about the garland of 
 fruit and flowers at the top, and this capped by the 
 pineapple, the Italian Renaissance sign of the fertility 
 of the earth. The dark-brown columns that front the 
 arch are a powerful note of color against the soft buff 
 travertine and the delicate touches of blue and rose in 
 the background of the frieze decorations. 
 
 Aloft on the arch to either side rise groups of 
 statuary which give these their final triumphant note, 
 the sharp silhouettes of the sculptured figures against 
 the sky on either end recalling the Brandenburger Thor 
 and the Arc de Triomphe in Paris. These groups are 
 known as the Nations of the East and the Nations of 
 the West. 
 
 The huge elephant in whose howdah rides the Spirit 
 of the Power of the East is flanked by a Mohammedan 
 chief mounted on a dromedary and bearing the 
 standard of his tribe ; by an Arab sheik on his fiery 
 steed; and by a Tartar chieftain on his rugged pony. 
 On foot between are two negro servitors bearing 
 baskets of fruit, an Arab huntsman with his falcon on 
 his wrist, and a Thibetan llama with the great sword 
 of faith. 
 
 Across the court is the group from the West. In 
 the center the great prairie wagon lumbers heavily 
 along. Above it the Spirit of Enterprise with wings 
 outspread urges it forward. To the front, gazing wist- 
 fully at the unknown world before her, stands the 
 Mother of Tomorrow. Grouped about the wagon are 
 the voyageur whose feet knew the trackless wastes of 
 the far Northwest ; the Alaskan squaw bending piti- 
 fully beneath the weight of her burden ; the conquista- 
 dor ; the different types of the naturalized American ; 
 the settlers of the early days ; the American Indian 
 
 36 
 
COURTS 
 
 mounted, and beside him, on foot, his squaw. Children- 
 at either end of the group typify the promise of the 
 youth of this young land. The figures in this Western 
 group, individually, are stronger than those in the 
 Nations of the East. The Mother of Tomorrow, En- 
 terprise, the Alaskan Indian and the American Indian 
 mounted are especially fine. 
 
 Around the arches, flitting out softly in ever-widen- 
 ing circles, the pigeons sweep to and fro in the shadows 
 and sunlight, down to the pools in the sunken garden 
 above which the lovely Rising Sun and Descending 
 Night seem floating in the air. The blaze of brilliant 
 flowers change with the changing of the seasons, form- 
 ing a gorgeous spot of color when seen through the 
 shifting spray of these two fountains. 
 
 On four sides flights of steps lead down into the 
 sunken garden. At the head of the steps to the south 
 are the great figures of Air and Earth ; to the north, 
 those of Water and Fire. Above the figure of Air 
 sweeps the eagle, and man crouches below, bound on 
 the wings of Air, ready to spring upward in flight. 
 The dreaming Earth lies asleep and about her start 
 the growing things, and the last of her children, man, 
 comes slowly to life. Fire, malicious and crafty, teases 
 the salamander wriggling at his feet, and Water in 
 the presence of old Neptune seems to shout aloud the 
 hollow call of the seas. Beside him lies a sea monster 
 and strands of kelp enmesh him and sweep over the 
 trident at his side. These figures give a splendid sense 
 of solidity and are a wonderful note in the harmony 
 of line, sweeping away in the curves of the friezes and 
 the rounding tops of the domes. 
 
 At the head of the stairway, to the east and west, are 
 the graceful groups of Dance and Song, Poetry and 
 Music. 
 
 Beneath the domes, under the ramparts and repeated 
 about the court is a beautiful classic frieze, cameo-like 
 in its exquisite play of line, showing Atlas, posed like 
 the Moses of Sargent's Prophets, in the center, and the 
 
 37 
 
STORIED WALLS 
 
 figures of his daughters, the signs of the zodiac. With 
 each figure there is a medallion graven with the special 
 sign of a month, and the groups are separated by 
 two figures, veiled in floating drapery representing 
 the clouds. This is one of the most beautiful bits of 
 bas-relief decoration at the Exposition. 
 
 On the face of the great arch below there are two 
 medallions in bas-relief, bearing queer, sketchy, twist- 
 ing figures, garlanded apparently in strands of kelp, 
 the meaning of which it seems all too impossible to tell. 
 They seem to have little relevance to the other decora- 
 tions of the court, but are not inharmonious. Hindu 
 elephants form the stands for the flagpoles here, and 
 from the poles flutter banners of rose, blue and gold. 
 
 The colonnades leading out of this court toward the 
 north front a long pool. They give a very beautiful 
 effect of height and distance, and the vista from under 
 the arch of the Tower of Jewels would be a wonderful 
 one were it not for the bandstand. 
 
 About the sunken gardens there is another daring 
 architectural innovation the lighting posts are alter- 
 nate figures of men and women used as caryatides. 
 Their effect is most harmonious. 
 
 COURT OF THE: FOUR SEASONS 
 
 The peaceful Court of the Four Seasons is as a haven 
 of rest to the weary and the oppressed. The repetition 
 in classic proportion, the noble arches, the splendid rise 
 of the half dome, the graceful sweep from cornice down 
 to soft green foliage and to the emerald pool in the cen- 
 ter, satisfies the eye in flowing line and unobtrusive 
 color. There is a note of peace in this court that seems 
 to sound nowhere else in so strong a degree. Look 
 down the long allee, past the graceful statue of Ceres 
 with her flowing garments blown back seemingly by the 
 north wind from the bay, and across the blue water 
 to the hills beyond ; the world will seem very peaceful, 
 and strife and care things of another sphere and 
 another day. 
 
 38 
 
COURTS 
 
 Above the half dome to the south of the court rises 
 the figure of Harvest, her overflowing horn of plenty 
 pouring forth the fruits and grains of the generous 
 earth. Below her, poised on columns, are the figures 
 of Rain and Sunshine Rain catching the water in her 
 shell, Sunshine shielding her head with a branch of 
 palm. The capitals on these columns show one of the 
 many daring bits of decoration so quietly introduced 
 into the general scheme throughout the Exposition as 
 to be hardly noticeable. The capitals are composed of 
 dancing figures. 
 
 Aloft on the balustrade which surrounds the court 
 are set the sacrificial urns of the old Greek time ; the 
 urns that held the oil, the wheat, the wine and the 
 blood of the sacred bulls in the days of the Greek fes- 
 tivals of the harvest. At the corner of the plinth on 
 either side stand the sacrificial bulls, garlanded in roses 
 and being led by a youth and a maiden to the place of 
 sacrifice. Below the bulls are eagles, the Roman em- 
 blem of ambition and the dominating power of the mind 
 over the temporal power of earth, the earth being typi- 
 fied in the lions' heads bossed just above. The columns 
 are Ionic, the little fern crozier capital typical of 
 reviving life. These columns in the old days of Greece 
 were set about the temples of Ceres and of Vesta and 
 in front of the halls of learning, medicine and law. 
 The addition of the ears of corn below is another one 
 of those decorative innovations very successful in the 
 Exposition. Above the tassels of the ears of corn is 
 set the crocus, the first flower above the snow and the 
 Greek sign of Spring. 
 
 Above the arches stand the maidens who followed 
 in the train of Ceres to greet her daughter Proserpine 
 when she came from Hades to visit the earth. Their 
 brows are banded with wheat and they carry fruited 
 trees in their hands. In the spandrels of the arches 
 figures most gracefully outlined bear also the fruits and 
 flowers and grains of the earth. The names of the 
 signs of the zodiac are carved above and the fountains 
 
 39 
 
STORIED WALLS 
 
 in the arches tell their own story of the four seasons 
 of the year, their waters flowing softly in a shining 
 veil over the steps that lead down to the pools below. 
 
 In the vaults of the arches are exquisite little bas- 
 relief Greek medallions typifying the festival seasons 
 of the Greek year. These are among the loveliest bits 
 of bas-relief in the Exposition but they are lost to the 
 sight of the many who pass through the arches beneath 
 them without realizing the dainty beauty hidden in 
 the blue and rose colored vaults overhead. 
 
 At night when the central pool takes on opal tints 
 and the bulls and the figure of Harvest are mirrored 
 white in its placid surface, stand at its edge and look 
 out to the west toward the shadowy outline of the 
 Palace of Fine Arts rising in pale splendor, or down the 
 colonnades to the velvety blackness of the sky sown 
 with twinkling stars ; and there will come a vision of 
 peace and restfulness that will linger long in memory. 
 Or on a late summer afternoon, with the fog drifting 
 through the court, torn as it swirls about the balus- 
 trades and drifting in ragged veil-like mists through 
 the trees and among the columns, the central pool 
 takes on a misty loveliness that seems unearthly each 
 vision wonderful ; each view of it a thing apart. 
 
 COURT OF THE AGES 
 
 See the Court of the Ages at night, by moonlight first 
 if possible; if not, on a night when the mists are float- 
 ing heavily about it and the smoke from the braziers on 
 the great altar at the entrance and about the pool seems 
 to rise and mingle with the mists above. In this court 
 Mullgardt has given a strange weird picture, complete 
 and perfect, though many things were denied to him 
 in the making of it. 
 
 The plan of the court was to show the evolution of 
 life from the lower forms of the sea-creatures up to 
 man ; and this is done by a system of symbolic decora- 
 tion commencing at the ground and rising to the 
 figures on the rim of the court and still higher to the 
 
 40 
 
COURTS 
 
 crest of the tower. Close to the ground entangled in 
 the seaweed that envelopes the lower forms of the 
 growing things of the sea are first, in formless fashion, 
 suggested, the crab, the lobster and the crawfish. The 
 slender shafts bearing these figures go wavering up 
 almost like tongues of flame, shifting into delicate 
 Gothic-like spindles and ending in little spires like the 
 finials on Gothic churches. At night or in the mists 
 they seem to waver and leap upward in obedience to 
 the purpose of the court that tells of the upward rise 
 of life through the ages to man. 
 
 Topping these flame-like columns are Primitive 
 Man and Woman, the man crude and brutish, feeding 
 a pelican or bearing home the spoils of the chase ; the 
 woman sodden and heavy, bearing her children in her 
 arms. Back of them, the cock, the clarion call of the 
 Renaissance the sign of the awakened conscience of 
 the world. 
 
 The garden in the Court of the Ages is a dream of 
 beauty. First it glowed in the blush of pink hyacinths ; 
 then in tulips red and yellow ; in pansies deep blue and 
 violet, and later to shine in all the splendor of autumn 
 color. Slender Italian cypress trees lead the eye up 
 along the wavering lines of the walls. Orange trees 
 weight the air with their heavy perfume and the glance 
 is drawn upward past the silly little water nymphs that 
 top the pillars on either side of the court to the solemn 
 majesty of the altar-like tower to the north. 
 
 On the first lift of this tower are Primitive Man 
 and Primitive Woman, struggling from the mire of the 
 earth and fettered by Ignorance and Superstition 
 in their struggles upward into the light of a freer life. 
 Between them shapeless figures rise from the mud 
 above the reptilian forms to which they seem almost 
 akin. On the next lift stands the Crusader, gazing afar 
 toward the land of Palestine and the promise that his 
 efforts shall bring. On one side the Archer who won 
 by the sword ; on the other, the Preacher who won 
 through the heart, both teaching the lesson of progress 
 
STORIED WALLS 
 
 and life. Enthroned beneath the vault of the tower sits 
 Modern Civilization, Reason Triumphant. Beside her 
 the Lamps of Learning are alight, and braziers burn 
 their incense to this great, all-powerful spirit. Serene 
 and calm she looks down upon the Fountain of the 
 Earth with its tragic story; down to the end of the 
 pool to the group of the Sinking Sun drawn down into 
 the darkness of oblivion. Beside her sit the children of 
 men, one with the book of learning just opened; the 
 other, with a wheel, some say of industry, in his hands. 
 Perhaps it is a prayer wheel which he is about to cast 
 aside to prove that man is done with superstition and 
 fear. Serene and confident that man has bettered him- 
 self and has come to his kingdom, this great figure of 
 Reason and light looks out across the Court of the Ages. 
 
 In the center of the allee leading to the Marina rises 
 a heavy incongruous figure, badly placed, called The 
 Story of the Sea. At the end of this allee and repeated 
 within the court rise the great Renaissance sun 
 ciphers, their blazing brightness at night the only touch 
 of direct lighting of its kind throughout the Exposition 
 courts or palaces. They form a brilliant note and are 
 in harmony with the beautiful Spanish lamps that hang 
 from the Gothic arches encircling this wonderful place. 
 
 While the Court of the Ages is a thing of beauty in 
 the daytime, the scheme of illumination at night lends 
 a mystic sacrificial atmosphere to it that is most im- 
 pressive. With the air heavy with the scent of orange 
 and hyacinth or the jasmine fragrance of the bell- 
 like datura, this court takes on the aspect of a place 
 where holy rites might be held. Great clouds of smoke 
 colored with a rosy glow rise from the altar and from 
 the braziers by the fountain. Flames shoot from the 
 mouths of serpents that seem to writhe alive about the 
 urns beside the pool, and from the solemn group in 
 the center of the fountain great clouds drift slowly 
 upward. The whole air seems impregnated with a 
 spirit of sacrifice and prayer. About the walls the tall 
 cypresses rise like pointing figures toward the upper 
 
 42 
 
COURTS 
 
 tier of figures that float in the smoke-wreaths swirling 
 about, and beyond the cock rises sharp and alert. The 
 figure of Reason at the top of the altar takes on new 
 majesty and power, silhouetted against the sky, and 
 from her benign presence down through the rosy light 
 comes her message of assurance and triumph. 
 
 The Court of the Ages has less of the peace and rest 
 of the Court of the Four Seasons, but by day or by 
 night is a beautiful, solemn place. It is perhaps there 
 in the evening, in the midst of all the spirit of sacrifice, 
 one can best feel that the work of man is truly in- 
 spired by a great and powerful, all-knowing, all-seeing 
 One. In giving to us this court, its creator, Mullgardt, 
 has done a service to our better selves; has given to 
 us an artistic ideal and a vision so beautiful that his 
 name should live always in our grateful memories of 
 this Exposition with those of Maybeck, Weinmann, 
 McNeil, and last and best beloved, McLaren. 
 
 The allees leading to the east and west of the Court 
 of the Ages are largely Florentine in character, their 
 cloistered effect enhanced by the severity of ver- 
 tical and horizontal line. Between the doorways, set 
 in a molding of the egg and dart and carrying out 
 the patine effect of the walls are little medallions repre- 
 senting the arms of the seaboard cities of Spain and 
 Italy Barcelona, Cadiz, Palos, Gibraltar, the Jebel- 
 Tara of the Moors, Genoa and Venice. 
 
 COURT OF FLOWERS 
 
 The Court of Flowers is an exquisite feast of color, 
 of light and of graceful line effect. It opens to the 
 south from the Court of the Ages. A loggia, set with 
 the dainty figure of the Flower Girl, runs around its 
 three sides. The travertine here is a fine deep buff, 
 and the color scheme a lavish use of rose and blue. 
 The lamps that hang before its three doorways are 
 reproductions of Greek temple lamps. 
 
 The arrangement of this court is in the style of the 
 best of the Florentine Renaissance effect and in 
 
 43 
 
STORIED WALLS 
 
 consequence the griffin is lavishly used on the frieze, for 
 the griffin was very dear to the house of Medici, mean- 
 ing as it did the power of the mind. The pillars are 
 in harmony with the lavish decorative effect here ; 
 they are a composite of the Corinthian and Ionic 
 the acanthus leaf curling below a basket effect of fruits 
 and flowers. The light posts are very ornate, being 
 fashioned of baskets of fruits and flowers from whose 
 top the soft indirect light glows. 
 
 The columns are garlanded below with a laurel 
 band and the swinging lamps in the corridors are 
 ornamented with caryatides of flower girls. The door- 
 ways are banded with garlands of flowers and the egg 
 and dart motif. The great Florentine lion the 
 Maroccio in festal guise and bearing a flower wreath, 
 the bringer of good luck and power to the House of 
 the Medici, stands on either side of the steps leading 
 out of this most charming court. 
 
 The story of the Maroccio lion is interesting. It is 
 said that Giovanni de Medici in his days of poverty 
 and oblivion while walking along the seashore found 
 a crude carving of a tiny lion. Faintly outlined on its 
 base was the fleur-de-lis, and it is said that this deter- 
 mined him to seek his fortunes in Florence, for the 
 fleur-de-lis was the sign of that city. So, say the 
 Florentines, the Maroccio stands guard always over 
 the treasures, palaces and tombs of the Medici. 
 
 Beneath the cornice about this court is the rose of the 
 Renaissance. 
 
 COURT OF PALMS 
 
 The beautiful little Court of Palms leading out of 
 the Court of the Four Seasons to the south, offers many 
 charms to the careful view. The false loggia or 
 gallery faced with travertine blocks, grained in the rich 
 tint of brown-veined marble, hung about with gar- 
 lands of fruit in the brown, orange, gold and green of 
 autumn, catches the eye with its fine color notes. The 
 quaint caryatides, their faces rarely lovely beneath the 
 
 44 
 
COURTS 
 
 little wings that grace their heads, gaze down into the 
 quiet pools in the sunken garden below. The door- 
 ways are banded with the shell and in the inner vault 
 is the rose. They are fronted by two dancing nymphs 
 bearing an unscarred shield. In the tympana of the 
 side doors the murals Pursuit of Pleasure and Fruits 
 and Flowers of the Earth are good color notes, but 
 not otherwise satisfying. The one at the end is 
 splendid. The glorious gold in the robe of the Vic- 
 torious Spirit of Truth triumphing over Ignorance and 
 Superstition makes a wonderful burst of color to hold 
 the eye ere it drops to the soft blue sky seen through 
 the court beyond. 
 
 The engaged pillars are Ionic, their flat shafts giving 
 a peculiar air of spaciousness. Steps lead down to the 
 pools past the palm garden with its beds of yellow 
 flowers, first in the glory of tulips, then in the riot of 
 golden pansies, and then in the soft tints of the little 
 lady's-slipper. 
 
 Here again is found that strange and daring blend 
 of times and themes. This court, so happy in its 
 gorgeous tints ; so gay with flowers ; its palm trees 
 breathing of warm sunshine and tropic splendor, holds 
 in its outer entrance the tragic compelling End of 
 the Trail. And to the thinker it seems fitting there, 
 for what in life is free from some shadow, some 
 serious thought ! 
 
 ROMAN WINDOWS, MOORISH JALOUSIE AND THE SPANISH ROSE 
 WINDOWS IN THE ARCHES OF THE EAST AND WEST 
 
 45 
 
CREATION 
 
CHAPTER VI 
 
 SCULPTURE 
 
 Unique in all respects, the sculpture at the Exposi- 
 tion is new in type, for it forms for the first time in 
 exposition history simply a note in the architecture 
 as a whole. This has been tried elsewhere in single 
 features but never before on so complete a scale. 
 The use of travertine as a building material has made 
 this possible and the sculpture throughout on frieze, 
 decorative niche figure, and detached and fountain 
 groups, all seems a part of the architectural scheme; 
 a unit in the building plan. 
 
 There are many classes of figures, varying widely 
 in purpose and intention. There are the composite 
 groups upon the arches of the East and West ; the 
 equestrian figures, the Pioneer, the wonderful End of 
 the Trail, the Scout; the joyous rioters in the basin 
 of the Fountain of Energy ; niche figures of the fairies 
 in the Court of Flowers ; the graceful star torches in 
 the Court of the Universe ; the conquistador and the 
 pirate on the Marina; the great winged archangel, 
 Saint Michael, on the arches of the East and West ; 
 the allegorical group of Creation ; the figures of 
 Fire, Earth, Air and Water in the Court of the 
 Universe ; the Vestal guarding the flame in front of 
 the dome of the Art Palace ; the hopeless Pioneer 
 Mother ; the portrait figures of Lafayette, George 
 Washington and Benjamin Franklin ; the superb 
 Lincoln by St. Gaudens ; William Cullen Bryant ; the 
 unimpressive Henry Ward Beecher, and the unknown 
 Barry, all to be found in front of the Palace of Fine 
 Arts. On the Tower of Jewels are the Crusader 
 Horseman, the Philosopher, the Adventurer, the 
 Soldier and the Priest. In the Court of the Ages are 
 
 47 
 
STORIED WALLS 
 
 the groups on the tower indicating the upward rise of 
 man, the figures grouped about the Fountain of the 
 Earth and the great figure of Civilization. In many 
 of these the nude has been emphasized and in fact 
 has been exploited to the point of criticism. 
 
 Beneath the dome of the Palace of Fine Arts, in place 
 of beautiful unbroken vistas, the space is crowded by 
 statues in very little harmony with the classic beauty 
 of the dome. Our debt to Lafayette is undeniable, 
 but even he, being a Frenchman and of good taste, 
 would not be happy to find himself in Continental 
 regimentals bestride his war horse under a Byzantine 
 dome so far away in tone and atmosphere from the 
 thought of martial things. Benjamin Franklin too is 
 there with his little bundle of bread and clothes and 
 his three-cornered hat ; and a college athlete in gown 
 and sweater, his books upon his arm ; and a memorial 
 to a man named Barry that nobody seems to know 
 anything about. There is a statue too of William 
 Cullen Bryant in pensive mood. None of these are 
 particularly striking, neither good nor bad, perhaps 
 because they are placed in contrast with the prosaic 
 figure of the Pioneer Mother. There are no words 
 to describe the Pioneer Mother. She must be seen 
 as the final note that goes far to spoil the noble sim- 
 plicity of those arches giving out on the lagoon. 
 
 Along the colonnade in front of the Art Palace 
 are many very lovely little statues. Perhaps the 
 setting against the wall of green to the west or the 
 glint of the lagoon beyond to the east lends them an 
 added fascination. There is the baby with the fish 
 and the baby with the ducks; the baby with the wild 
 flower on her head ; and two piping babies and the 
 dancing baby, and a sun-dial baby with a doll ; 
 archers shooting their arrows upward into the sky 
 and downward into the mouths of serpents ; small 
 fountain boys blowing spray in clouds and a lovely 
 little Diana poised above a globe, her slender fingers 
 having just released an arrow from her bow. 
 
 48 
 
SCULPTURE 
 
 In contrast to these dainty fairy children there is 
 the powerful figure of the Indian waving a scalp, 
 Primitive Man, the Return from the Chase, the 
 Runner from Marathon, the solemn heavy marble 
 figure of the Outcast, the tragic story plainly told; 
 the exquisite and poetic L' Amour The First Kiss. 
 
 Raised on an altar and backed by the dainty green 
 of the walls that surround the dome, kneels Stack- 
 pole's figure of the Vestal, guarding the flame of 
 Inspiration which must burn forever on the Altar of 
 Art, an exquisite, solitary figure, most beautifully 
 placed, and one of the very satisfying bits throughout 
 all this wonderland. Below her is a classic frieze on 
 the face of the altar, representing all sciences, all labor, 
 bringing their tribute to Inspiration. 
 
 At the turn of the corridor leading out of the Art 
 Palace and beautifully placed under a tree fronting 
 the lake, is a marble figure of Meditation. At the 
 south end of this same colonnade of the Art Palace 
 is the splendid St. Gaudens' Lincoln. The great 
 statesman sits pensive, the weight of all his country's 
 future on his shoulders and calm confidence in his 
 eyes. Across from him is Henry Ward Beecher. It 
 is hard to think of Beecher, eloquent, fiery, magnetic, 
 superb, in this squat figure that faces Lincoln. 
 
 About the lake are many beautiful groups a Diana, 
 a water nymph, a circle of exquisite dancing figures 
 the Wind and Spray instinct with life ; they seem to 
 laugh aloud as they riot about in the tumbling water. 
 
 Half screened by trees and doubly fine because of 
 perfect placing, is the figure of an Indian scout, alert, 
 on guard, he and his horse ready for what may come. 
 This is one of the best bits of realistic sculpture. 
 
 At the end of the Court of Palms stands the finest 
 touch of realism in the grounds The End of the 
 Trail. Wind-blown, despairing, desperate, lost per- 
 haps, the little cayuse has reached the end of his 
 strength. Upon his back, the rider, blinded, fainting, 
 sits loosely, head down, beaten, at "the end of the 
 
 49 
 
STORIED WALLS 
 
 trail." This wonderfully realistic figure from our 
 own pioneer life should be made the gift to San 
 Francisco from her children at the close of the Expo- 
 sition. It should stand in Lincoln Park in enduring 
 bronze, facing the ocean, there at the very end of 
 the trail! 
 
 At the opening into the Court of Flowers stands the 
 joyous, triumphant figure of the fine old Pioneer, old 
 only in the sum of his years. Courageous and confi- 
 dent, he starts forth to conquer the new land, armed 
 with his axe and his rifle, to hew out his home and to 
 hold it against all comers. This is the real pioneer. 
 
 Well placed in front of the Tower of Jewels are 
 two of the great Spanish conquerors Pizarro who 
 gave South America to Spain, and Cortez, the tyrant 
 of Mexico. This latter figure, with lance and banner, 
 is well modeled and typical of the daring Spanish 
 adventurer. Pizarro, in full armor, is perhaps the 
 more picturesque. 
 
 On the Tower of Jewels are four figures regularly 
 repeated the Soldier of Fortune, the Philosopher or 
 Student, the Priest, and the Adventurer or Colonizer. 
 These figures are of heroic size and splendidly placed 
 on the first lift of the tower. Next is a fine group 
 the Crusader Horsemen, with bannered lances, topped 
 with the cross, similarly repeated. 
 
 Badly placed in front of Machinery Palace, stands 
 Creation, the group that should have been beneath 
 the dome of the Art Palace. The face of Creation is 
 grave and full of wistful tenderness. She shelters be- 
 neath her drooping wings the figures of Adam and Eve. 
 About their feet circles the snake, through which came 
 to them the knowledge of sorrow and sin and despair. 
 Though parted, beneath the sheltering wings of the 
 All-Mother their hands are about to clasp to show that 
 those who truly love are never really apart. How 
 beautiful it would have been to have placed the First 
 Kiss opposite the doors of the Art Palace and Creation 
 beneath the dome, that we might think again of Adam 
 
 50 
 
SCULPTURE 
 
 and Eve in "Paradise Lost" when cast forth into the 
 outer vast, strong in love and hope 
 
 "The world was all before them where to choose 
 Their place of rest, and Providence their guide, 
 They hand in hand, with wandering steps and slow, 
 Through Eden took their solitary way." 
 
 Without proper background, poorly placed, this 
 Creation is still the strongest, the most poetically 
 beautiful group on the grounds. 
 
 Fronting the Marina, at the end of the colonnade 
 leading out of the Court of the Universe, superbly 
 placed, rises the classic column crowned by the 
 Adventurous Bowman. The arrow of Progress has 
 sped from his hand out into the west. Youth beside 
 him confident and exultant, marks it in its flight, 
 while at his feet crouches Victory with her wreath 
 ready to crown him when it falls. The Bowman, 
 Youth and Victory stand above the toilers whose bent 
 backs support their weight, for some must toil that 
 others may climb. The superb column rises above a 
 square pedestal, garlanded with laurel wreaths 
 the sign of victory; the eagle for ambition, at each 
 corner. 
 
 About the base are four fine panels in bas-relief. 
 To the south, Patience and Achievement open the 
 gates and summon their trumpeters to sound the 
 paean of victory for those who have striven and shall 
 arrive to enter the portals of fame. To the east the 
 Scholar, the Scientist, whose failing strength is sup- 
 ported by the tender woman at his side ; Thought 
 with arms outstretched beneath the eagle the emblem 
 of ambition and soaring flight; then the General and 
 the Statesmen march on toward the goal of achieve- 
 ment. To the north, in the center, is shown Energy; 
 to one side of this a man, faltering and failing, 
 cheered by the woman's all-protecting love. To the 
 other side a man struggling forward, held firmly up 
 by a woman joined to him in the shackles of love ; 
 
STORIED WALLS 
 
 and the aged priest praying for strength that he may 
 go on until his work is done. To the west the toilers 
 with their hands, the men bearing heavy sheaves of 
 wheat ; the boy who pauses, weary but undefeated ; 
 the man spent with toil, still led on 
 by the woman, helpful, cheering, 
 unafraid, and behind another toiler 
 who catches her bright spirit and 
 hurries on. In this frieze Konti 
 has paid a beautiful tribute to the 
 helpful companionship of woman. 
 
 From its base the great Column 
 rises majestically, circled by a spiral 
 band up which sail the galleons of 
 old Spain. At the top beneath the 
 
 SACRIFICIAL URN , . , , , ., l . - ^ , 
 
 frieze of the toilers is the Greek 
 egg and dart, symbolic of the rich gifts of the earth 
 to those who toil for them. McNeil at the top and 
 Konti at the base have here wrought a harmony as 
 wonderful as any that characterizes the building 
 group and decorations throughout the Exposition. 
 
 At night in white radiance, the base in deep shadow, 
 the Bowman seems to soar above this earth, some- 
 times mirrored on the fog banks the mighty figure 
 becomes a series of shifting shadows, 
 weird and compelling. 
 
 The urns that adorn the walls, the 
 niches and the colonnades are of particu- 
 lar interest. These are of two general 
 classes the sacrificial urns used at sacri- 
 fices and religious ceremonies, and the 
 festal urns, used on occasions of rejoic- 
 ing. The two types shown are Greek 
 
 in form. FESTAL URN 
 
CHAPTER VII 
 
 FOUNTAINS 
 
 The fountains form a most important element of the 
 decoration of the courts and provide the motif for 
 some of the finest symbolic sculpture in the Exposi- 
 tion. Most of the work is of a very high order of 
 conception and execution. Some of it is common- 
 place. 
 
 FOUNTAIN OF ENERGY 
 
 As the triumph of energy and the victory of the 
 mind of man over the difficulties of nature are the key- 
 notes of the Exposition, so it is fitting that the great 
 Fountain of Energy should rise in the open square at 
 the main entrance to the grounds. 
 
 In the basin of the fountain riot dolphins and sea 
 nymphs in fantastic form. The four oceans are 
 there the gay Atlantic, a mermaid on a dolphin ; the 
 Southern Ocean, a South Sea Islander on a manatee ; 
 the Pacific Ocean, a siren mounted on a fantastic 
 seal ; and the Northern Seas, an Aleut astride a wal- 
 rus. From the center of the basin rises the globe of 
 the earth encircled by the ocean currents. With locked 
 arms they riot about the globe. Up and down on 
 either side on the face of the globe rush the winds. 
 Here and there are little sea-horses, symbolic of the 
 speed and energy of the unchecked sea. Homer 
 speaks of the waves as horses of the sea. 
 
 On the globe, mounted on a huge charger striding 
 irresistibly forward, is the virile figure of a man, the 
 very essence of directed strength. Upon his shoulders 
 perch two utterly irrelevant and unnecessary figures. 
 They are not even needed as a matter of balance. 
 
 53 
 
STORIED WALLS 
 
 Were that thought necessary in the artist's mind, a 
 cloak or scarf would better have carried out the idea, 
 whirling its folds about the rider's head and stream- 
 ing out behind. 
 
 In contrast to this fountain which is glorious in 
 the late afternoon when all jets are spouting and the 
 sinking sun turns into rainbow splendor its fleecy, 
 misty veils, two smaller fountains, similar in design, 
 rise on either side from the ends of the pools in this 
 same splendid open square. One of these fountains 
 is in front of the Palace of Horticulture and one in 
 front of Festival Hall. They are the last touch of 
 the French Renaissance, the late French Renais- 
 sance the time of the Louis'. Above a shell-like 
 bowl, supported by dol- 
 phins, rises a graceful shaft, 
 richly garlanded. This in 
 turn supports another shell 
 bowl and out of this rises 
 the exquisite figure of a 
 mermaid who riots amid 
 the spray which she her- 
 self has dashed about. 
 These are the work of 
 Putnam, the only work of 
 this genius to be seen at the 
 Exposition. Failing health 
 has robbed the world of 
 further gifts from his mas- 
 ter hands. These lovely 
 fountains should be kept 
 playing always that the mermaids might be veiled 
 in flying spray. Classically considered, according 
 to time and setting, these are in many respects the 
 most nearly perfect fountains at the Exposition. 
 
 In comparison with these mermaids the group of 
 Beauty and the Beast in the Court of Flowers suffers 
 by an almost direct contrast. 
 
 54 
 
 RISING SUN 
 
FOUNTAINS 
 
 THE RISING SUN 
 
 Go to the Court of the Universe early in the morn- 
 ing. Enter it from the west and stand to the side 
 on the south of the steps leading into the sunken 
 gardens, and there soaring aloft with the new day is 
 the figure of the Rising Sun, so instinct with life and 
 beauty that it is difficult to speak of it in any way but 
 as a living thing. 
 
 The poet Shelley, who so loved this beautiful world 
 of ours and of whose beauties he could so well tell, 
 sings to the skylark : 
 
 Hail to thee, blithe Spirit ! 
 
 Bird thou never wert 
 That from Heaven, or near it, 
 
 Pourest thy full heart 
 In profuse strains of unpremeditated art. 
 
 Higher still and higher 
 
 From the earth thou springest; 
 Like a cloud of fire 
 
 The blue deep thou wingest, 
 And singing still dost soar, and soaring ever singest. 
 
 In the golden lightning 
 
 Of the sunken sun, 
 O'er which clouds are bright'ning, 
 
 Thou dost float and run 
 Like an unbodied joy whose race is just begun. 
 
 Teach me half the gladness 
 
 That thy brain must know, 
 Such harmonious madness 
 
 From my lips would flow, 
 The world should listen then as I am listening now ! 
 
 These lines to the lark live again in the 
 Rising Sun. 
 
 55 
 
STORIED WALLS 
 DESCENDING NIGHT 
 
 In the late afternoon when the golden light steals 
 through the arch below and the long shadows of the 
 West encompass her, stand and watch Descending 
 Night drop softly down with pinions folded; and 
 Longfellow's tender lines come to mind : 
 
 The day is done, and the darkness 
 Falls from the wings of Night, 
 As a feather is wafted downward 
 From an eagle in his flight. 
 
 And the night shall be filled with music 
 And the cares that infest the day 
 Shall fold their tents like the Arabs, 
 And as silently steal away. 
 
 Poised aloft on columns 
 these two beautiful figures 
 seem to float in airy loveli- 
 ness in front of the heavy 
 triumphal arches that back 
 them. They breathe the 
 purity and sweetness of 
 the new-born day and the 
 day departing. In bas- 
 relief on the drums below 
 Weinmann carries out the 
 thought of the figures 
 above. Beneath the Rising 
 Sun the sign of Apollo, 
 the sun god, calls upon 
 all the earth to awaken and 
 to rejoice. Sloth and 
 
 crime, toil and ignorance, turn their scowling faces 
 toward him, and the lost woman veils her face in 
 her hair that the sun may not shine upon her sin 
 and her sorrow and her shame. On the other gentle 
 Night and Dreams brood over the weary world. 
 
 56 
 
 DESCENDING NIGHT 
 
FOUNTAINS 
 
 The mother cradles her child, lulling it into dreamless 
 sleep. The man and the woman look sorrowfully 
 upon the last departing beams of the day so bright 
 and dear to them, and for us Celia Thaxter sings : 
 
 I have so loved thee but cannot, cannot hold thee. 
 Fading like a dream the shadows fold thee ; 
 Dear were thy golden hours of tranquil splendor, 
 Sadly thou yieldest to the evening tender ; 
 Thou wert so fair in thy first morning ray, 
 Slowly thy perfect beauty fades away ; 
 Good-bye, sweet day ; goodbye, sweet day. 
 
 Thy glow and charm ; thy smiles and tones and 
 
 glances 
 
 Vanish at last, and night advances. 
 All thy rich gifts my grateful heart remembers, 
 The while I watch thy sunset's glowing embers 
 Die in the west, beneath the twilight gray. 
 Oh, could'st thou yet a little longer stay. 
 Good-bye, sweet day; good-bye, sweet day. 
 
 About the lagoon facing the Art Palace there are 
 several smaller fountains one notably interesting, it 
 is so instinct with life and motion the Wind and 
 Spray. The dancing figures circle about in a frenzy 
 of joy and freedom. 
 
 Within the Art Gallery there are several small 
 fountains, none of them especially strong either in 
 modeling or in original conception. The group of 
 Titans by Gertrude Vanderbilt Whitney in the entrance 
 hall of the Art Palace is unworthy her best efforts, for 
 where in the Fountain of El Dorado she has secured 
 loveliness and power, here is only cumbersome 
 strength. 
 
 FOUNTAIN OF CERES 
 
 At the end of the colonnade leading from the 
 Court of the Four Seasons is the dignified Fountain 
 of Ceres. The north winds from the bay seem to 
 
 57 
 
STORIED WALLS 
 
 blow back her airy robe. In one hand she holds a 
 stalk of corn and in the other a laurel wreath. About 
 the base riot in gay dance a beautiful group of 
 nymphs. It is fitting that this Fountain of Ceres 
 should stand in the Court of the Four Seasons, as it 
 was to her that the Greeks attributed the six months 
 of their beautiful weather, their flowers, their blue 
 skies and their rich harvests; and the six months of 
 winter darkness, autumn decay and early spring frost. 
 In four niches set about, the Court of the Four Sea- 
 sons are fountains by Piccirilli, representing Spring, 
 Summer, Autumn and Winter. The repetition of 
 these figures in each group is restful and dignified. 
 The groups themselves are neither original nor par- 
 ticularly interesting. The central figure in each is 
 finely posed and in the Autumn group, most graceful ; 
 but all seem to lack 'spirit. They are beautifully set 
 in their niches above steps down which slips a silver 
 veil of water. Above them long pendent streamers 
 of green swing softly in the breezes. These groups 
 add a beautiful note to this court. 
 
 FOUNTAIN OF EVOLUTION 
 
 In the Court of the Ages Robert Aitken has set a 
 fountain that tells in tragic fashion of the rise and 
 downfall of man. It is in strange contrast to the 
 airy lightness and grace of this most beautiful court, 
 bearing as it does its stern lesson of man's slow 
 development. It is the story of man's mental and 
 physical rise. Above the wings of Destiny, whose 
 mighty head is hidden beneath the waters, lie groups 
 Of figures on either side. On the west side the great 
 pointing finger gives life, at first dimly suggested in 
 the limp figures of two women. A third one is rous- 
 ing herself from oblivion. The next two have known 
 love, and the woman lifts her child out toward the 
 earth. Then comes the gap to symbolize the time, 
 after the creation of man, for which there is no history 
 of his life or development. 
 
 58 
 
FOUNTAINS 
 
 The group to the south of the fountain centers on 
 the figure of a woman with a mirror in her hand. 
 Through the vanity and pride of woman came sorrow 
 and toil into life, say the Scriptures. Through the 
 vanity and ambition of woman came much that has 
 been great and splendid. Next to this woman who 
 perhaps strikes the first note in the upward march of 
 human life, are two figures, toil-worn and weary but 
 tender of each other, bearing in their arms their 
 children. 
 
 It is in harmony that all these various groups about 
 the fountain should be divided by the old Greek 
 boundary-post the terminus topped by the head of 
 Hermes, for each group marks a certain era in the 
 progress of the upward rise of man. 
 
 The group to the west has been called most aptly 
 Natural Selection. In the center stands the man 
 dowered with might of mind, the wings of swift 
 thought sprouting from his head. On either side the 
 two women leave their baser mates to follow this 
 master mind. One man turns helplessly away ; the 
 other, a creature of brute strength, will fight for his 
 own. 
 
 Then another boundary-post ; and to the north, 
 again man's upward rise the contest between intelli- 
 gence and brute strength. Reason has cast behind 
 him the woman of his choice and the other woman, 
 she who has been scorned, seizes in the unequal con- 
 test the man of brute strength, that the man of reason 
 may win. The third man gazes on the contest with 
 sorrowful eyes ; he seeks not to claim his lost mate, 
 hopeless of regaining favor in her eyes. 
 
 Again a boundary-post, and to the east two men, 
 one a warrior who would win by the sword and the 
 other a son of toil, both with faces keenly intelligent, 
 struggle for the love of a woman. To the north the 
 aged father would dissuade the ambitious son from 
 the years of his experience knowing that the woman 
 is unworthy. The mother pleads in vain to the son, 
 
 59 
 
STORIED WALLS 
 
 who turns away unheeding toward the woman of his - 
 choice ; then unlawful love on the south panel and the 
 gap of oblivion through which all must pass before 
 going down on the wings of Destiny unto death. Back 
 on the wings of Destiny, on the east side, is seen first 
 the miser, with the bulk of his worldly goods still 
 clutched in his hands, and then the man of faith giv- 
 ing to the woman who is passing quietly out, the 
 scarab, the Egyptian symbol of immortal life. And 
 then two who have passed into unconsciousness and 
 slip down into the waters of oblivion. 
 
 The Greeks believed that at the close of the day 
 Helios, the spirit of the sun, blind and deaf, reached 
 slowly up his mighty, unrelenting arms and drew 
 the sun below the sea, hiding its glory and splendor 
 beneath the dark waters. There the slimy, crawling 
 things came and devoured its brightness, and night 
 cloaked all the land. This figure of Helios drawing 
 down the sun lies at the south end of the pool in the 
 Court of the Ages. 
 
 THE: FOUNTAIN OF YOUTH 
 
 In the eastern niche of the Tower of Jewels is the 
 Fountain of Youth. Above the primroses, symbolic 
 of young Greek girlhood, the figure of Youth stands 
 gazing with frank, innocent eyes. Below, her aged 
 parents gaze up through the mist of their tears at this 
 vision of their lost childhood. Behind her the Phoenix 
 has spread its extended wings, for Youth is always 
 young, always vigorous and always beautiful. On 
 either side stretch two friezes, most pathetic in their 
 meaning the aged, the forsaken, the deaf, the blind, 
 the crippled, sailing toward this radiant vision, their 
 boats guided by the spirits of their own vanished 
 childhood. 
 
 FOUNTAIN OF EL DORADO 
 
 To the west in the other niche of the tower the 
 fountain is almost forbidding in the stern lesson of 
 
 60 
 
FOUNTAINS 
 
 life that it reveals. It is the Fountain of El Dorado ; 
 of the land of gold ; of the dream of hearts' desire. 
 The heavy doors behind which sits the Judge of all 
 things, are all but closed. A great oak tree, suggest- 
 ing disuse, has grown across the portals, and the 
 servants of the unknown, Ignorance and Superstition, 
 stand guard. On either side the man and woman of 
 the world of strife and endeavor rush on to the land 
 of hearts' desire. Two arrive at its gates and kneel 
 humbly before the servants of the Judge. 
 
 Stretching out on either side is a wonderful frieze. 
 To the north side the first in the race is the unsexed 
 woman who has thrown aside the garment of feminine 
 charm. Swifter in intuition, her lithe form out- 
 distances the men who run with her. Should she 
 fall they will trample over her as she over them in 
 the mad race for gold. 
 
 Next comes the pathetic figure of the woman who 
 is content in her present happiness. She dreads the 
 glitter and dazzle of the brighter day. Tenderly, 
 beseechingly, her companion prays that she go with 
 him into the promised land. How many stories, how 
 many tragedies center on this problem the lure of 
 wealth coming to those who have but little and were 
 content therewith. Next strides the man of might and 
 power. Across his arm a woman rests. She slips 
 from his grasp to be caught in the arms of a man of 
 lesser mind and greater heart who, gazing upon her 
 helplessness and beauty, forgets the El Dorado. Next 
 a group of three a woman who turns away from her 
 helpless sister fallen by the wayside, her hand loosen- 
 ing its clasp on the limp arm. Behind the prone 
 figure stands a man who will follow the stronger soul, 
 come what may ; and again, the toil-worn plodder on 
 the road of life lifts the burden from the dust. Then 
 there is the woman who has been deceived. Wrapt in 
 the garment of. distrust she gazes with frowning eyes, 
 deaf to the pleadings of the preacher, the teacher, the 
 guide beside her. With his arm about her as a 
 
 61 
 
STORIED WALLS 
 
 brother might, the preacher pleads that he might' 
 lead her into the light of a better day. Then follows 
 the man soul-torn; his heart set upon the land of 
 promise far beyond his duties here. Then the two 
 who in the act of parting for the time forget in the 
 anguish of coming separation the glory of the land 
 of hearts' desire. 
 
 To the south the lesson is much the same. The 
 first to come run in frantic fashion, crowding, 
 shuffling, to the goal. After them comes a woman, 
 wild, demented with joy at the sight of the opening 
 gate. Behind her the unconscious child dances in 
 imitation of her frenzied joy. With slow and stately 
 step next comes the man of dominant mind, his hand 
 outstretched in calm confidence towards the light. 
 Behind him, unseeing, plods the woman to whom his 
 life is linked, her heavy eyes cast on the ground. She 
 cannot see with him that promise of a brighter day. 
 Following her and gazing earnestly at the woman who 
 hesitates, is a man of weaker mould. He longs to 
 follow the stronger soul, but the woman who hesi- 
 tates keeps him irresolute too. Then the beautiful 
 group of self-sacrifice ; the beloved one has fallen 
 exhausted on the road of life and the man and the 
 sister spirit, forgetting all else, turn away from the 
 land of fair promise to minister unto her. Next, 
 the sordid group who quarrel for place and for the 
 gold they already possess. Some of it has fallen and 
 one who has crawled along in the dust has grasped it 
 in his greedy hands. His back is turned to the 
 El Dorado and he sees it not in the sordid joy of 
 present possession. Then there is the man to whom 
 the El Dorado will bring sight and life renewed; his 
 face is transfigured with emotion ; his sightless eyes 
 turned toward the gate. Then the lost woman lead- 
 ing with her the son of toil, and beyond them the 
 eager searching spirit, far removed from the land of 
 promise, but gazing with steady eyes, setting her 
 face toward the land with energy untiring. 
 
 62 
 
FOUNTAINS 
 
 In these figures in this race of life Gertrude Vander- 
 bilt Whitney reads a terrible lesson of the sordidness 
 and littleness in the heart and soul of man. 
 
 THE; FORBIDDEN FOUNTAIN 
 
 Next to the lovely mermaids in the main entrance 
 court, the fountain most beautifully set is that which 
 leaps and plays in the sunlight or in the soft shadows 
 of night in the center of the raised pool in the Cali- 
 fornia garden. Set about with beds of radiant flowers 
 in every color that these children of the soil can shed, 
 this little leaping, dancing, gurgling jet of water is a 
 wonderfully lovely thing. Most beautiful is it on a 
 still moonlight night or on one of those nights when 
 the fog drifts over the cypress hedges and the little 
 fountain jet seems a part of the mists that steal softly 
 over it. The tinkle of the water, coupled with the 
 hum of the bees and the call of the birds, brings one 
 closer to the heart of the spirit of those old romantic 
 California days than any other thing in all this great 
 Exposition. It were well if this perfect note could 
 be preserved to give a place to rest and a proof that 
 this beautiful dream has not all passed forever; that 
 at least this bit of it, real, tangible, and sweet, shall 
 be a part of our daily lives. 
 
 It is perhaps in the gardens that circle this beautiful 
 pool that the genius of John McLaren has spread 
 into fullest flower. 
 
 Beneath the half domes in the Palace of Food 
 Products and the Palace of Education are two 
 beautiful, very Spanish fountains each an upraised 
 bowl spilling a silver sheet of water into a bowl below. 
 There are Spanish galleons and shells and heads about 
 these fountains and the mist blows the spray about so 
 as to make the old ships seems to move and the queer, 
 grotesque heads to chatter. They make a very 
 dignified center to the great half domes above. 
 
CHAPTER VIII 
 
 MURALS 
 
 For the first time in the history of architecture since 
 the days of the Greek supremacy, both painting and 
 sculpture have been made subsidiary to the greatest 
 of the arts architecture. Famous men have wrought 
 statues and painted pictures that are but a detail to 
 round out the wonderful unity suggested in the build- 
 ings. In most places the painters have been hampered 
 by the color restrictions imposed upon them by 
 Guerin. In two cases where the artists have taken 
 the liberty of following their own devices the murals 
 riot in splendid hues, notably in the Brangwyn murals 
 in the Court of the Ages, and Mathews' magnificent 
 Victorious Spirit in the Court of Palms. 
 
 The Victorious Spirit is the most powerful color note 
 of its kind, and though hung in a dark niche, is well 
 worthy of the sincerest admiration. It symbolizes the 
 power of the spirit of man over-riding difficulties, de- 
 feats and despair, and shedding over the darkened 
 landscape and the figures sheltered beneath its wings 
 the glory of its own light. The whole picture is 
 filled with the golden glow emanating from a great 
 winged angel. This mural has the rare quality of 
 seeming to light up the dark space in which it is set. 
 California may well be proud of this picture, for it 
 stands alone in its peculiar glory. 
 
 It is flanked on either side by two pictures, in com- 
 parison poor in design and pale in color. The one to 
 the left Holloway's Pursuit of Pleasure is thin and 
 colorless, the central figure, Pleasure, strangely con- 
 torted. On the other side is Childe Hassam's Fruits 
 and Flowers of the Earth. Childe Hassam is an easel 
 
 65 
 
STORIED WALLS 
 
 TRIBUTE OF EAST TO WEST 
 
 painter, famous for his brilliant color and line effects. 
 He has given us none of these in the cold and vacant 
 canvas which represents him here. 
 
 Beneath the arch of the Tower of Jewels there 
 hang perhaps the largest canvases painted since the 
 days of the great Venetians, and it seems as if William 
 de Leftwich Dodge has caught the highest note of 
 triumph and joy, for these murals glow with life and 
 spirit. In the patine background the painter has so 
 faithfully followed the surface effect of the travertine 
 that these paintings more than all the rest seem actu- 
 ally to be part and parcel of the great arch. He has fit- 
 tingly chosen as his subject the story of the back- 
 ground leading up to the history and the completion 
 of the Panama Canal, closing the sequence with the 
 Crowning of Labor and the Victory of Achievement. 
 
 To the west in the center The Meeting of the 
 Waters stands a gigantic figure, joining the hands 
 of two graceful forms the Pacific and the Atlantic 
 oceans. On the left the stolid oxen draw the prairie 
 wagon, surrounded by the miner, the prospector, the 
 engineer, and the farmer ; and sinking down before 
 them into the blue waters of the Pacific the Indian 
 slips into that oblivion to which the coming of the 
 white race will drive him. On the right the Hindu 
 mother reaches out to this promise of a better, freer 
 Hfe, her little child she, the type of the Indian that 
 Columbus expected to see. Behind her ranged as 
 they have appeared upon the stage of our history, is 
 a group of the nations that have helped to make us 
 
 66 
 
MURALS 
 
 MEETING OF THE WATERS 
 
 what we are. There is the Negro, the Chinese, the 
 Greek, the Persian, the Syrian, the Arab, the Tartar 
 arid the Hun. All those from the Oriental lands have 
 entered at some time or other into our national life. 
 This comprises the central panel. 
 
 In the panel to the left of the center Discovery 
 stands Balboa on the rock in Darien ; behind him his 
 followers, awed and silent. Ambition shelters 
 Balboa with her wings and points to the shadowy dis- 
 tance. Below him the waters of the Pacific leap 
 against the crag, and a galleon, bearing the banner 
 of Spain, sweeps into view. Across from Balboa an 
 Aztec Indian backed by the prairie schooner, sits 
 mourning upon the ruins of his home, for death and 
 desolation come to him with the coming of the adven- 
 turers from Spain. 
 
 In the panel to the right Dodge has raised to 
 fine allegorical power a rather prosaic incident. 
 He calls it The Purchase. To the left the men of 
 France, disheartened, throw down their rusty tools. 
 Behind them rises the ruin of their abandoned ma- 
 chinery, and France mournfully passes the deed to 
 the Canal to the blithe young figure in whose out- 
 stretched hand is a full purse. Behind America who 
 has grasped the deed stands Ambition, urging on the 
 transaction ; and to the right a group of eager work- 
 men reaching for their tools with joyous anticipation. 
 Behind them are two dusky servitors carrying fruit 
 and grain for the toilers. 
 
STORIED WALLS 
 
 On the east wall of the arch in the center is the 
 Gateway of the Nations. Through the Canal come 
 rioting the figures of Progress and Fame. Mounted 
 upon the white horse of Ambition and urged on by 
 the promptings of Achievement they hurry toward 
 the West. Beneath them in the Canal disport the 
 spirits of the sea, drawing after them a shadowy gal- 
 leon and a great warship. At the side rises the 
 sand shovel which made the Canal possible. Beside 
 it the master-workman whose brain has dominated all 
 this, stern, alert, untiring. At his feet, his labor done, 
 crouches the man who has worked merely with his 
 hands and who now sits inert with fatigue. 
 
 In the left panel on the east wall Achievement sits 
 enthroned, and Labor, and Skill, and Progress, and 
 the Arts and Sciences come and lay their tributes at 
 his feet. In the right panel Labor is crowned by 
 Toil, Industry, Patience and all the forces that lead 
 to the success of those who strive. 
 
 These pictures, colored as they are in shades of 
 rose and yellow, touches of deep blue and a very little 
 green, keep to the color note set by Guerin and rely 
 for their virile beauty on their peculiar strength and 
 arrangement. The Meeting of the Waters is like a 
 garland swung downward ; the Gateway of the Na- 
 tions is like a garland swung upward. 
 
 Beneath the arches of the East and West that 
 flank the Court of the Universe there are four 
 murals. Those of the East are rather pale and 
 delicate in color ; those of the West much more vivid. 
 One of these, because of its delicate coloring, has 
 been perhaps too little appreciated Edward Simmons' 
 beautiful group of the Tribute of the East to the West 
 on the north wall of the Arch of the East. True Hope 
 in rose color and False Hope in gray lead Adventure 
 to the West. False Hope casts behind her the rainbow 
 bubbles of promise, and Adventure, ever hopeful, clad 
 in radiant green, the symbol of reviving and unquench- 
 able energy, stops to pick them up. Behind her come, 
 
 68 
 
MURALS 
 
 Commerce with her ships ; beautiful Inspiration in 
 her flowered gown ; Truth, naked and unafraid ; 
 Religion, humbly kneeling, her hand upon the cross 
 upon her breast. Behind them, forth from the domes 
 and minarets of the Oriental city, come Wealth with 
 her lap full of treasures, and the Mother and Child of 
 the Old World, all following the bubbles of promise 
 into the new land of the West. 
 
 On the south wall of the Arch of the East, urged 
 on by the impish spirit Ambition blowing the trumpet 
 of fame, the Toiler plods westward. Above his head 
 little elves whisper of the founding of a great race 
 and of power and place. The war galleon lies at 
 anchor ready to sail, and the Warrior sharpens his 
 sword. The Explorer, the Preacher, the Artist, and 
 the Toiler last of all, again urged on by Ambition, 
 all turn with eager eyes toward the West. These two 
 murals are paler than all the others. The figures of 
 the one on the north are exquisitely drawn ; the faces 
 rarely beautiful. 
 
 Under the Arch of the West Dumond has taken 
 for his theme the departure of the travelers to the land 
 of the West. There is little of allegorical meaning 
 here, in sharp contrast to those beneath the Eastern 
 Arch. Beneath the shade trees of the old farmyard 
 the youth bids his aged father farewell. In the dis- 
 tance the tiny church lifts its spire. The old prairie 
 wagon loaded with the impracticable things that our 
 forefathers brought to the West, rolls on before him, 
 and the group about it is made up of types of those 
 travelers who drifted westward with it in those 
 pioneer days the poet, the toreador, the college pro- 
 fessor, the pioneer woman who with her shawl about 
 her head went out to do her works of mercy in her 
 neighbor's house as well as in her own. These and 
 others of that sturdy type and day surround the 
 wagon drawn by the heavy horses. In front Ambi- 
 tion blows the horn to lead them on, and in front of 
 
STORIED WALLS 
 
 Ambition, needing no invitation, spurred by the 
 memory of their wrongs and privations, the immi- 
 grants from lands far across the Atlantic fare for- 
 ward to the land of promise with their few posses- 
 sions in bundles in their hands. 
 
 On the other side of the arch is the arrival of the 
 travelers in the West. In the vanguard are the soldiers 
 of Captain Anza in red and white. They should have 
 been clothed in blue and buff, but Dumond needed 
 the more brilliant red for his color scheme and took 
 the painter's license to clothe them thus. Fame sends 
 them on and there follows a group said to be por- 
 traits of historic figures notable in the days of our 
 development here. Painters, poets, writers, miners, 
 prospectors, all these follow the ox team and march 
 to the feet of radiant California. Slie sits crowned in 
 gold, blazoned with mellow light among her fruits 
 and flowers, the bear quiescent at her hand ; behind 
 her the bright spirits of this promised land shower 
 gifts upon the travelers. These two pictures are as 
 strong and bright in color as those beneath the other 
 arch are pale and delicate. 
 
 In the Court of the Four Seasons the murals are 
 arranged two and two about the fountains. There is 
 a singular repetition about them. It seems as if Mr. 
 Bancroft has carried almost into exaggeration the 
 note of reiteration which helps to give to this court 
 its peculiar quality of restful peace. Beneath the 
 half dome are perhaps the best two of these ten 
 murals, all by Bancroft. Art Crowned is very rich 
 and decorative in effect. Time holds the laurel wreath 
 above her head and all the decorative arts glass- 
 making, jewelry, painting, weaving come to do her 
 honor. On the other notable mural Man comes to 
 receive instruction from the Arts. The Mother of the 
 Arts holds him lovingly, and Life and Love and Skill 
 and Ambition come to teach him to create. About the 
 court are such groups as Seedtime, Harvest, Festivity, 
 Winter, and Autumn, all in groups of three seated or 
 
 70 
 
MURALS 
 
 standing, the figure in the middle balanced by two 
 figures crouching or a little remote. The best groups 
 are the richly colored Fruition, the dainty vivacious 
 group of Autumn, and the one of Seedtime. The 
 standing figure in Seedtime is full of dignity and 
 power. Autumn is most virile ; Fruition, a great com- 
 manding figure accepting the wine and fruits of the 
 earth, has a simple reposeful dignity that is very 
 impressive. 
 
 These murals too are in conformity with the regu- 
 lations that Guerin has set down and are loveliest 
 therefore at night when the soft light intensifies their 
 thick dull color. The indirect lighting seems to give 
 the life that the color in the daytime lacks. 
 
 Beneath the dome of the Palace of Fine Arts are 
 the murals by Robert Reid. To do them justice they 
 should be veiled in the daytime and shown only at 
 night. Placed as they are against the vault of our 
 blue sky and backed by intenser blues in the painting 
 of the dome, their veiled mists of yellow and orange 
 do not lend the color they should. Against the indigo 
 velvety coloring of the night skies, in the indirect 
 lighting, they take on a splendid lustre. The idea of 
 the Four Golds of California is beautifully carried 
 out the poppy, the orange, the metal and the grain. 
 Each in a characteristic richness of color tells its 
 own story; the floating nymph in each bearing the 
 flower, the fruit, the grain or the metal in her hand. 
 They are rather fantastically placed, with little cupids 
 peeping here and there through the folds of rather 
 irrelevant trailing, scarf-like drapery. 
 
 The other panels are more interesting and tell the 
 story of the inspirations that have led to art ; in one 
 what the Orient has given ; the Chinese and Jap- 
 anese the dragon and the eagle. In another, what 
 pomp and pride and victory and ambition and religion 
 and piety have given ; and in the others, what the 
 sciences, discovery, study and exploration have 
 brought to art. 
 
STORIED WALLS 
 
 To do justice to the great Brangwyn murals in the 
 Court of the Ages one should stand under the central 
 arch, first to the south and look eastward at the feast 
 of color in the Primitive Water picture. Then face 
 westward ; go no nearer, and look upon the vivid 
 wonderful line work and the master-hand in the pic- 
 ture Air Controlled. Then down half way to the 
 east center of the colonnade and look toward Fire 
 Controlled and Water Controlled ; then down the 
 north side and see Primitive Fire and the Fruits of 
 the Earth. There is a feast of color at each turn ; 
 long distances, shadowy lights and shifting clouds and 
 figures instinct with life. 
 
 In passing close to the pictures look away, because 
 on near view they take on in some respects an air, 
 almost grotesque, so heavy is the line, so high the 
 color, so intense the shadows. It is a pity that it is 
 possible for any one to be within less than twenty 
 feet of these wonderful pictures. The most beautiful- 
 Primitive Water and Air Controlled should be placed 
 for all time with us, but up high on some wall, well 
 lighted, when nothing but their splendor and majesty 
 will appeal. They are by far the strongest pictures 
 among the murals at the Exposition, but they are 
 placed too low to do them proper justice. 
 
 72 
 
PALACE OF FINE ARTS WITH THE LAGOON AND 
 FOUNTAIN OF THE WIND AND SPRAY 
 
CHAPTER IX 
 
 DOORWAYS 
 
 In contrast to the severe plainness of the walls a 
 most lavish scheme of detailed decoration has been 
 put into execution in fashioning the doorways of the 
 Exposition. On the south wall of the main block 
 of buildings-, the doorways are, with the exception 
 of the towers, the only decoration. To the extreme 
 east on the Palace of Varied Industries, and to the 
 extreme west on the Palace of Education, the door- 
 ways are individual in design. To the west of the 
 center in the Palace of Liberal Arts, and to the east 
 of the center in the Palace of Manufactures, the two 
 doorways are the same. Smaller doorways break the 
 plain line of the wall at intervals between these more 
 pretentious elements. These smaller doorways differ 
 on the end buildings and are similar in the two build- 
 ings in the center. 
 
 The four doorways in the north wall on the Marina 
 in the Palaces of Food Products, Agriculture, Trans- 
 portation and Mines are similar. They are the most 
 lavishly decorated and fanciful of the doorways of the 
 Exposition. 
 
 VARIED INDUSTRIES 
 
 The most characteristic touch of Spanish decoration 
 to be found in the Exposition as a combination of 
 detail is the doorway of the Palace of Varied In- 
 dustries. This is the most easterly of the doors on 
 the south front of the main system of buildings. It 
 is copied from a doorway in Toledo, in Spain. 
 
 On the gable of the building rides the graceful 
 winged figure of Victory and Good Fortune, by 
 
 75 
 
STORIED WALLS 
 
 Ulrich, a beautiful silhouette against the sky. On 
 either side the door is flanked by pilasters each topped 
 by the Iberian bear holding a shield on which is dimly 
 suggested the arms of Castile and Aragon. The door 
 itself is richly colored in a soft golden brown shaded 
 into rose and blue, with here and there a touch of 
 green in the jalousie and in the panels of the entrance 
 below. On either side of this entrance is a very ornate 
 band set here and there with the rose of Spain and 
 the cross of Malta. Outside of this rise on either 
 side figures of a workman with his hammer, and then a 
 beautiful Spanish Renaissance pillar with a Corinthian 
 floriated capital. These two elements support an 
 ornate lintel topped with an arch. On the front of 
 this lintel is an escutcheon quartered with the lizard 
 and the amphora and held in place by a spread eagle. 
 Resting on this lintel and forming the center of the 
 arch are the groups of the earth receiving the tributes 
 of the workers in wool, in stone, and on the fields, and 
 the figure of Labor, all giving homage to Ceres who 
 represents the earth. 
 
 Forming the spans of the arch are first, a band of 
 characteristic Spanish decoration ; then a band of 
 angel figures each bearing a key and set beneath a 
 Moorish dome, the figures symbolizing that Labor 
 unlocks the door to all that man may know ; that the 
 salvation of man lies in the labor of his hands. On 
 the keystone of the arch sits the pensive workman, a 
 figure powerful and aloof in its loneliness. Rising on 
 either side are Spanish candelabra. Resting on the 
 arch and rising from it is a bit of decoration peculiarly 
 Spanish ; the apparently finished arch is topped by a 
 complete element, in this case a second lintel upon 
 which rests a group of figures flanked on either side 
 with columns and candelabra. The figures are those 
 of the aged workman passing his heritage of toil to 
 his son, who willingly and with confidence accepts the 
 burden. Resting on the frieze above the columns on 
 either side and flanking the vault of the niche, is the 
 
DOORWAYS 
 
 figure of an angel. Between this group and the angels 
 on either side are two bands supported by a third band 
 bearing the Spanish rose. Topping the whole is a 
 decorative frieze and scroll work and from it all rises 
 the shell of Saint James of Compostella, flanked by 
 Spanish candelabra. 
 
 LIBERAL ARTS AND MANUFACTURES 
 
 The doors of the Liberal Arts and Manufactures 
 palaces are the same. These doors show less of 
 Spanish influence than the others. They are more 
 Roman in their severity of line. Within the arch 
 the doorway rises to a good height and is topped by 
 an exquisite fan-grille of floriated design. About the 
 doorway is a beautiful band decorated with the rose. 
 On the keystone formed of the acanthus leaf stands 
 the lion, emblematic of the power of the earth 
 temporal power. 
 
 Down the outer band of the portal is the acanthus 
 and on the right side, two bears supporting pine cones ; 
 on the left, the winged horse Pegasus and cupids. 
 Below is the Greek winged sphinx supporting a stand 
 on which is the dolphin. 
 
 There is a beautiful frieze above these doors in 
 which the arts and manufactures are displayed the 
 potter, the molder, the spinner, the blacksmith and 
 on either side in niches the woman with her spindle 
 and the man with his hammer. Aloft are the Greek 
 dentates beneath the cornice ; the eaves above are of 
 Moorish tiling, and the gable is topped as elsewhere 
 by the virile figure of Victory. 
 
 EDUCATION 
 
 Opposing the Spanish doorway of the Palace of 
 Varied Industries to the extreme west on the south 
 wall is the main doorway of the Palace of Education. 
 It is distinctive in that it is flanked by the twisted 
 columns of the cedars of Lebanon that the Bible tells 
 upheld the roof of the Temple of Solomon in Palestine. 
 
 77 
 
STORIED WALLS 
 
 They have been conventionalized through Italian- 
 architecture to the form in which they appear in this 
 doorway to the Educational Palace, and also in some 
 other minor doors within the interior courts. This 
 doorway is Roman in its high unbroken semi-circular 
 arch. Its detail of decoration is made up of fanciful 
 forms, evidently Florentine, or at least Italian. The 
 opening of the doorway is banded by an element in 
 which the Spanish rose predominates. The capitals 
 of the twisted columns are Corinthian. 
 
 Topping the arch is a figure of the world banded 
 by knowledge, upheld by two scrolls in which the 
 Spanish rose is the dominant note. Within the tym- 
 panum of the arch is a group of figures which is a 
 standing argument for the nude in art. In front of 
 the tree of knowledge sits a classic figure teaching a 
 boy and a girl in ill-fitting modern dress. On either 
 side are graceful classic figures of the youth with the 
 child of his brain, showing the power of creative 
 thought, and on the other side instinctive thought, the 
 mother's teaching, which is after all the best there 
 is. If the figures of the children in the center were 
 stripped of their modern clothing and idealized as 
 any one of a hundred nudes in the Exposition are 
 idealized, this group in the doorway of the Palace 
 of Education would be inspiring. In the support of 
 the globe itself are worked Egyptian rams' heads, the 
 sign of the mystery and power of Egyptian law. Just 
 over the doorway is an escutcheon supported by two 
 beautiful cherubs bearing the tables of the law, from 
 which spread rays of light, and below is the hour- 
 glass and above the crown signifying that knowledge 
 crowns and brightens and controls time. Topping the 
 pillars on either side are the usual candelabra, much 
 conventionalized here. This is an intensely Spanish 
 touch, grafted on a system of very Italian decoration. 
 
 The small doors on the south wall are in three 
 groups. Those on the Palaces of Liberal Arts and of 
 Manufactures are Roman in their tendency; those on 
 
 78 
 
DOORWAYS 
 
 the Palace of Varied Industries intensely Spanish ; 
 those on the Palace of Education, Grecian. 
 
 Over the small doors on either side of the main 
 portal of the Varied Industries Building the arch is 
 surmounted by a basket of fruit. Beneath the tym- 
 panum is a shell with a rich blue background banded 
 about with the rose. There are candelabra set on 
 either side. On the face of the shell is the very 
 Spanish escutcheon containing the shell or escallop 
 and the vair or checker effect on a blue ground. 
 Below is a little crowned shield with the pine-cone or 
 pineapple, for in heraldry this is often the same, and 
 the lizard ; farther below is a band of the egg and 
 dart. Griffins set upon rams' heads top the pillars on 
 either side, and set in a square boss on the pillar are 
 the Spanish lion and the griffin. Within the door is 
 a jalousie of wheel-work grille. 
 
 The small doors on the Palace of Education take 
 their dominant Grecian note from the gabled plinth 
 and the supporting columns with their composite capi- 
 tals and the suggestion of Solomon's columns in the 
 spiral groining. A band of the Spanish rose sur- 
 rounds the opening of the doorway with a finish of 
 the egg and dart. On the doorway is an escutcheon 
 supported by two griffins. The escutcheon is blank. 
 Over the doorway set in the masonry of the wall is 
 a frieze containing a group suggesting Learning 
 Listening to the Arts. 
 
 The four doorways of the center buildings the 
 Palaces of Manufactures and of Liberal Arts have 
 the usual band of the Spanish rose surrounding the 
 opening of the doorway. Two conventional columns 
 support the lintel. The escutcheon bears the fleur- 
 de-lis, an Italian Renaissance or French Renaissance 
 sign. On the archway topping the lintel is seen the 
 shell, conventionalized and forming the tympanum of 
 the arch. On either side of this arch stands the 
 Roman eagle. Topping the whole is a convention- 
 alized ornament suggesting the 'rose and the shell. 
 
 79 
 
STORIED WALLS 
 
 The Palace of Food Products has a very dignified 
 doorway opening into the allee leading into the Court 
 of the Four Seasons. The lintel of the door is topped 
 with a shell above which there is the pine-cone ; be- 
 low is an escutcheon banded with the fleur-de-lis, and 
 the door is banded with the rose. The small doors of 
 this building have a shell over the triangular top and 
 below an escutcheon supported by clusters of fruit. 
 
 The main door leading from the Agricultural 
 Building to the allee on its south front is interesting 
 in that it is banded with the grapevine, leaf and 
 fruit, emblematic of plenty ; and the pelican, em- 
 blematic of self-sacrifice and the profusion of food. 
 
 Fronting the lagoon are the two beautiful half 
 domes and imposing entrances into the Food Products 
 and Educational palaces. In both the semi-circular 
 opening is supported by fine Corinthian columns, those 
 in the Educational Building topped with the Spirit 
 of Thought, the open book in her hand; in the Palace 
 of Food Products, the man bears the wreath of 
 Victory, symbolic perhaps of the food that man has 
 wrested from the earth. Outside of each of these 
 doors stands the splendid pensive nude figure by 
 Stackpole, the man in deep thought, his hands lightly 
 clasped in an attitude of receptive attention. 
 
 Across the lagoon the door to the Art Palace is 
 simply, severely Greek, with its plain lintel and plain 
 sides. Above it rises the odd detached fragment, some 
 say the Spirit of Inspiration, inviting the world to 
 enter and witness success. The plainness of this door 
 is a fine artistic touch in the beautiful dignity of the 
 building. 
 
 MACHINERY PALACE 
 
 Most Roman in conception is the treatment of the 
 doorways of Machinery Palace. Each portal is in 
 itself an artistic triumph. The main doorway is 
 superbly Roman in its three arches. The supporting 
 columns are Corinthian and rise from beautiful drums 
 
 80 
 
DOORWAYS 
 
 on which in bas-relief appear the mighty figures of 
 Machinery, sphinx-like forms whose eyes are closed, 
 because the power of machinery is blind in its 
 obedience to a master controlling hand. 
 
 Across the top of the columns runs a broad lintel, 
 breaking the leap of the arches, and from this soar 
 two eagles in each archway, typical of unconquered 
 ambition. The vault above is beautifully coffered and 
 tinted a delicate rose, banded with blue and starred 
 with the rose of Spain. On the spandrels of the 
 inner portal are the allegorical figures of Labor, most 
 graceful, and holding the hammer or lever. Outside 
 of the arch rise the four great columns on which are 
 set the types of power by Haig Patigian Electricity, 
 Controlling the Lightning ; Invention, Creative Power, 
 holding the winged figure of Thought in his hand ; 
 Imagination, the power of the mind, his arms up- 
 lifted and clasping the winch, his eyes closed, for the 
 secrets of the mind are veiled as the power of ma- 
 chinery is hidden ; and Steam, bearing a lever, sym- 
 bolic of his might. 
 
 The great height of this doorway does not impress 
 the beholder as it should, because of the break in the 
 lintel and the placing. of the statue of Creation just 
 in front of it. 
 
 MARINA DOORWAYS 
 
 The four portals leading out of the north wall on 
 to the Marina are all alike, probably because of the 
 unusual and delightful ornateness of the design. They 
 are in the best style of the Spanish plateresque or 
 silversmith work and represent the elaborate lavish- 
 ness of decoration that came into vogue with the 
 wealth and splendor that began in the days of Ferdi- 
 nand and Isabella. These doorways are more Spanish 
 than any of the other doors except that on the south 
 wall of the Varied Industries Palace. 
 
 There are three beautiful Roman arches below, 
 banded on either side by the basilisk, king of serpents, 
 
 81 
 
STORIED WALLS 
 
 device of the Duke of Alva, of terrible fame, who 
 won the name of the Spanish Fury. Above the basilisk 
 set in banded wreaths are the emblems of the crab 
 and the scorpion, or viper, the arms of the House 
 of Gonzaga, favorite of Charles V ; and the crab, the 
 arms of the House of Rodomonte, one of the creatures 
 of Philip. The Gonzagas were known as the vipers 
 of Milan, and the Rodomontes, too, were of most 
 unenviable fame. 
 
 Farther up on a small square boss is the chimera, 
 another heraldic device, placed upon the coat of arms 
 by Philip when he married Mary Tudor to denote 
 the heretics of England whom he was going to de- 
 stroy. All this is set on a lace-like background. 
 Above the boss of the chimera is a shield carrying, 
 faintly limned, the suggestion of the arms of Ferdi- 
 nand and Isabella. Above, the great head of Nep- 
 tune, to denote the power of Spain upon the sea. 
 This device was one of the signet signs of the city 
 of Barcelona, Spain's great seaport in the days of 
 her glory. There is also the double-headed eagle of 
 Charles V. to denote his power in two worlds ; and 
 over that the shell and Spanish candelabra, em- 
 blematic of the ever-burning flame of religious zeal. 
 
 Set in niches, purely Moorish in their delicate carv- 
 ings, are the figures of the Conquistador and his aides, 
 the pirates. These pirates were the creatures of the 
 leaders whom they adored. Sodden, dull and vicious, 
 in blind devotion they carried out their master's will. 
 It is fitting that the figure of the Conquistador should 
 gaze in splendid isolation upon the waters of the bay 
 which perhaps his forbears won for his queen. Dar- 
 ing, dashing, relentless men these were, winning by 
 the sword what they could not win by peace ; bringing 
 the message of their civilization to the conquered and 
 thrusting upon them their creeds and their rule. This 
 fine bit of the lavishness and splendor of Spain before 
 her decadence is the final touch upon these buildings 
 fronting the bay. 
 
 82 
 
CONCLUSION 
 
 And now from the hill tops on a bright morning 
 when the sun first touches the tops of the domes, see 
 the city glow in rose and gray. See it in its noonday 
 splendor, the travertine rich buff and the domes 
 amber and bronze against the clear blue sky. See it 
 at sunset when the sun, with lingering fingers, touches 
 the golden balls and the slender spires and seems 
 to leave it reluctantly to steal away into the shadows. 
 
 It is most lovely in the fading light when Tamalpais 
 across the bay takes on the rich purple tone we love 
 so well and the hues on the hills blend into the velvet 
 skies above ; and our beloved bay changes into the inky 
 blue that is the forerunner of the night. 
 
 See this Dream City of ours when the fog rolls 
 over it, trailing its long wraith-like tendrils over the 
 
STOKItfD WALLS 
 
 walls arid through ihe foliage that rims the buildings. 
 See the domes rise above it, to be again submerged. 
 Perhaps we who live here love it best this way. See 
 it again at night with all its glories mirrored in the 
 silent waters. Go stand before the Art Palace and see 
 its mighty walls and fairy-like columns and the lonely 
 little Vestal by the altar. See all this reflected : 
 waters of the lagoon and pray that all this visk . A x 
 beauty may not pass from your minds as these radiant 
 shadows from the pool. 
 
 
 
 Books not returned on time are subject* ,. fine, ox 
 
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 expiration of loan 
 
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