,ver4#ab4ab4jj99;,,end99 ,this etext was produced by ,david ,a4 ,schwan davidschearthlink4net ,the ,city of ,domes ,a ,walk with an ,architect ,about the ,courts and ,palaces of the ,panama ,pacific ,international ,expos,ition with a ,discussion of ,its ,architecture - ,its ,sculpture - ,its ,mural ,decorations ,its ,coloring - ,and ,its ,lighting - ,preceded by a ,history of ,its ,growth by ,john ,d4 ,barry ,to the architects1 the artists and the artisans and to the men of affairs who sustained them in the cooperative work that created an exposition of surpassing beauty1 unique among the expositions of the world4 ,contents ,chapter ,preface ,introduction ,i4 ,the ,view from the ,hill ,,ii4 ,the ,approach ,,iii4 ,in the ,south ,gardens ,,iv4 ,under the ,tower of ,jewels ,v4 ,the ,court of the ,universe ,,vi4 ,on the ,marina ,,vii4 ,toward the ,court of the ,four ,seasons ,,viii4 ,the ,court of the ,four ,seasons ,,ix4 ,the ,palace of ,fine ,arts from across the ,lagoon ,x4 ,the ,palace of ,fine ,arts at ,close ,range ,,xi4 ,at the ,palace of ,horticulture ,,xii4 ,the ,half ,courts ,,xiii4 ,near ,festival ,hall ,,xiv4 ,the ,palace of ,machinery ,,xv4 ,the ,court of the ,ages ,,xvi4 ,the ,brangwyns ,,xvii4 ,watching the ,lights ,change ,,xviii4 ,the ,illuminating and the ,reflections ,features that ,ought to he ,noted by ,day ,features that ,ought to be ,noted by ,night ,index ,illustrations ,the ,pioneer ,mother ,design of the ,exposition made in #aiab ,site of the ,exposition before ,construction was ,begun ,fountain of ,youth ,fountain of ,el ,dorado ,court of the ,universe ,air and ,fire ,nations of the ,west and ,nations of the ,fast ,the ,setting ,sun and ,the ,rising ,sun ,music and ,dancing ,girls ,hope and ,her ,attendants ,star ,figure2 ,medallion ,representing ,art ,california ,building ,spanish ,plateresque ,doorway1 in ,northern ,wall ,eastern ,entrance to ,court of ,four ,seasons ,night ,view of ,court of ,four ,seasons ,portal in ,court of ,four ,seasons ,the ,marina at ,night ,rotunda of the ,palace of ,fine ,arts ,altar of ,palace of ,fine ,arts ,the ,power of the ,arts ,italian ,fountain1 ,dome of ,philosophy ,the ,thinker ,aspiration ,michael ,angelo ,italian ,renaissance ,towers ,the ,end of the ,trail ,colonnade in ,court of ,palms ,victorious ,spirit ,entrance to ,palace of ,horticulture ,night ,view of the ,palace of ,horticulture ,festival ,hall at ,night ,the ,pioneer ,fountain of ,beauty and the ,beast ,entrance to ,palace of ,varied ,industries ,group above ,doorway of ,palace of ,varied ,industries ,avenue of ,palms at ,night ,avenue of ,progress at ,night ,arcaded ,vestibule in ,entrance to ,palace of ,machinery ,genii of ,machinery ,the ,genius of ,creation ,tower in ,court of the ,ages ,fountain of the ,earth ,the ,stone ,age ,fruit ,pickers ,entrance to ,court of the ,ages1 at ,night ,the ,triumph of ,rome ,the ,thirteenth ,labor of ,hercules ,preface ,in the main1 this volume consists of articles originally published in the ,san ,francisco ,,bulletin4 ,it includes material gathered from many visits to the ,exposition grounds and from many talks with men concerned in the organization and the building and ornamentation4 ,the brief history that forms the ,introduction gives an account of the development4 ,for me1 as1 ,i presume1 for most people1 the thing done1 no matter how interesting it may he1 is never so interesting as the doing of the thing1 the play of the forces behind4 ,even in the talk with the architect1 where the finished ,exposition itself is discussed1 ,i have tried to keep in mind those forces1 and wherever ,i could to indicate their play4 ,the dialogue form ,i have used for several reasons3 it is easy to follow2 it gives scope for more than one kind of opinion2 and it deals with the subject as we all do1 when with one friend or more than one we visit the ,exposition grounds4 ,it has been my good fortune to he able to see the ,exposition from points of view very different from my own and much better informed and equipped4 ,i am glad to pass on the advantage4 ,the ,exposition is generally acknowledged to be an achievement unprecedented4 ,merely to write about it and to try to convey a sense of its quality is a privilege4 ,i have valued it all the more because ,i know that many people1 not trained in matters of architecture and art1 are striving to relate themselves to the expression here1 to understand it and to feel it in all its hearings4 ,if1 at times1 directly or in indirectly1 ,i have been critical1 the reason is that ,i wished1 in so far as ,i could1 to persuade visitors not to swallow the ,exposition whole1 but to think about it for themselves1 and to bear in mind that the men behind it1 those of today and those of days remote1 were human beings exactly like themselves1 and to draw from it all they could in the way of genuine benefit4 ,though the volume is mainly devoted to the artistic features associated with the courts and the main palaces1 ,i have included1 among the illustrations1 pictures of the ,california ,building1 both because of its close relation to ,california and because it is in itself magnificent1 and of two notable art features1 the mural painting by ,bianca in the ,italian ,building1 and ,the ,thinker1 by ,rodin1 in the court of the ,french ,pavilion4 ,introduction ,the ,first ,steps ,in ,january1 #aijd1 ,r4 ,b4 ,hale of ,san ,francisco wrote to his fellow-directors of the ,merchants' ,association1 that1 in #aiae1 ,san ,francisco ought to hold an exposition to celebrate the opening of the ,panama ,canal4 ,in the financing of the ,st4 ,louis ,exposition1 soon to begin1 ,mr4 ,hale found a model for his plan4 ,five million dollars should be raised by popular subscription1 five million dollars should be asked from the ,state1 and five million dollars should be provided by city bonds4 ,the idea was promptly endorsed by the business associations4 ,from their chairmen was formed a board of governors4 ,it was decided that the exposition should be held1 and formal notification was given to the world by introducing into ,congress a bill that provided for an appropriation of five million dollars4 ,the bill was not acted on1 and it was allowed to die at the end of the session4 ,soon after formulating the plan for the exposition ,mr4 ,hale changed the date from1 #aiae to #aiac1 to make it coincide with the four hundredth anniversary of the discovery by ,balboa of the ,pacific4 ,in #aijf came the earthquake and fire4 ,the next few years ,san ,franciscans were busy clearing away the debris and rebuilding4 ,it was predicted that the city might recover in ten years1 and might not recover in less than twenty-five years4 ,nevertheless1 in ,december1 #aijf1 within nine months of the disaster1 a meeting was held in the shack that served for the ,st4 ,francis ,hotel1 and the ,pacific ,ocean ,exposition ,company was incorporated4 ,in three years the city recovered sufficiently to hold a week's festival1 the ,portola1 and to make it a success4 ,two days afterward1 in ,october1 #aiji1 ,mr4 ,hale gave a dinner to a small group of business men1 and told of what had been done toward preparing for the ,exposition4 ,they agreed to help4 ,shortly afterward a meeting was held at the ,merchants' ,exchange4 ,it was decided that an effort should at once be made to raise the money and to rouse the people of ,san ,francisco to the importance of the project of holding the ,panama-,pacific ,international ,exposition in ,san ,francisco in #aiae4 ,as many as twenty-five hundred letters were sent to business men1 asking if they favored the idea of holding an exposition4 ,out of about eight hundred replies only seven were opposed4 ,presently there were signs of enthusiasm1 reflected in the newspapers4 ,a committee of six representative business men was appointed and the announcement was made that the committee should be glad to hear from anyone in the city who had suggestions or grievances4 ,it was determined that every ,san ,franciscan should have his day in court4 ,later the committee of six appointed a foundation committee of two hundred1 representing a wide variety of interests4 ,the committee of two hundred chose a committee of three from outside their number4 ,the committee of three chose from among the two hundred a directorate of thirty4 ,the thirty became the directorate of a new corporation1 made in #aiaj1 the ,panama-,pacific ,international ,exposition ,company4 ,financing ,the ,panama-,pacific ,company two local millionaires1 ,w4 ,h4 ,crocker and ,w4 ,b4 ,bourn1 started financially with twenty-five thousand dollars each4 ,they established the maximum individual subscription4 ,they also secured forty subscriptions of twenty-five thousand dollars each4 ,then followed the call for a mass meeting4 ,before the meeting was held the business men of the city were thoroughly canvassed4 ,the ,southern ,pacific and the ,union ,pacific together subscribed two hundred and fifty thousand dollars4 ,there were many other large subscriptions from public-service organizations4 ,on the afternoon of the meeting there was a crowd in the ,merchants' ,exchange ,board ,room4 ,the announcement of the subscriptions created enthusiasm4 ,in two hours the amount ran up to more than four million dollars4 ,during the next few years they were increased to about #f1ejj1jjj4 ,meanwhile1 the ,state voted a tax levy of five million dollars1 and ,san ,francisco voted a bond and issue of the same amount1 and by an act of the ,legislature1 in special session1 the counties were authorized to levy a small tax for county ,participation1 amounting1 in estimate1 to about three million dollars4 ,recognition ,from ,congress ,next came the task of securing from ,congress official recognition of ,san ,francisco as the site of the ,international ,exposition in celebration of the ,panama ,canal4 ,headquarters were established in ,washington4 ,presently serious opposition developed4 ,emissaries went from ,san ,francisco to ,washington singly and in delegations4 ,stress was laid on ,san ,francisco's purpose not to ask for an appropriation from the national government4 ,there were several cities in competition - ,boston1 ,washington1 ,baltimore and ,new ,orleans4 ,new ,orleans proved the most formidable rival4 ,it relied on the strength of of a united ,democracy and of the solid ,south4 ,in the hearings before the ,congressional ,committee it was made plain that the decision would go to the city with the best financial showing4 ,as soon as the decision was announced ,new ,orleans entered into generous cooperation with ,san ,francisco4 ,the ,exposition was on the way4 ,naming the ,president4 ,the offer of the presidency of the ,exposition ,company was made to a well-known business man of ,san ,francisco1 ,c4 ,c4 ,moore4 ,besides being able and energetic1 he was agreeable to the factions created by the graft prosecution of a half dozen years before4 ,like the board of directors1 he was to serve without salary4 ,he stipulated that in the conduct of the work there should be no patronage4 ,with the directors he entered into an a agreement that all appointments should be made for merit alone4 ,choosing the ,site ,the choice of site was difficult4 ,the sites most favored were ,lake ,merced1 ,golden ,gate ,park and ,harbor ,view4 ,lake ,merced was opposed as inaccessible for the transportation both of building materials and of people1 and1 through its inland position1 as an unwise choice for an ,exposition on the ,pacific ,coast1 in its nature supposed to be maritime4 ,the use of the park1 it was argued1 would desecrate the peoples recreation ground and entail a heavy cost in leveling and in restoring4 ,harbor ,view and the ,presidio had several advantages4 ,it was level4 ,it was within two miles or walking distance of nearly half the city's inhabitants4 ,it stood on the bay1 close to the ,golden ,gate1 facing one of the most beautiful harbors in the world1 looking across to ,mount ,tamalpias and backed by the highest ,san ,francisco hills4 ,of all the proposed sites1 it was the most convenient for landing material by water1 for arranging the buildings and for maintaining sanitary conditions4 ,after a somewhat bitter public controversy the ,exposition directors1 in ,july1 #aiaa1 announced a decision4 ,it caused general surprise4 ,there should be three sites3 ,harbor ,view and a strip of the adjoining ,presidio1 ,golden ,gate ,park and ,lincoln ,park1 connected by a boulevard1 specially constructed to skirt the bay from the ferry to the ocean4 ,that plan proved to be somewhat romantic4 ,the boulevard alone1 it was estimated1 would cost eighteen million dollars4 ,harris ,d4 ,h4 ,connick1 the assistant city engineer was called on as a representative of the ,board of ,public ,works1 and asked to make a preliminary survey of ,harbor ,view4 ,he showed that1 of the proposed sites1 ,harbor ,view would be the most economical4 ,the cost of transporting lumber would be greatly reduced by having it all come through the ,golden ,gate and deposited on the ,harbor ,view docks4 ,the expense of filling in the small ponds there would be slight in comparison with the expense of leveling the ground at the park4 ,a few weeks later ,harbor ,view and the ,presidia was definitely decided on as the site1 and the only site4 ,for months agents had been at work securing options on leases of property in ,harbor ,view1 covering a little more than three hundred acres1 the leases to run into ,december #aiae4 ,reasonable terms were offered and in one instance only was there resort to condemnation4 ,the suit that followed forced the property owner1 who had refused fifteen hundred dollars1 to take nine hundred dollars4 ,president ,moore was tempted to pay the fifteen hundred dollars1 but he decided that this course would only encourage other property owners to be extortionate4 ,some trouble was experienced with the ,vanderbilt properties1 part of which happened to be under water4 ,after considerable negotiating and appeals to the public spirit of the owners1 it was adjusted4 ,about seven hundred thousand dollars was paid for leases and about three hundred thousand dollars for property bought outright4 ,the ,director of ,works ,while ,president ,moore was looking for the man he wanted to appoint as head of the board of construction1 ,harris ,d4 ,h4 ,connick called to suggest and to recommend another man4 ,later the president offered ,connick the position as director of works4 ,connick had exactly the qualifications needed3 experience1 youth1 energy1 skill and executive ability4 ,he hesitated for the reason that he happened to be engaged in public work that he wished to finish4 ,but he was made to see that the new work was more important4 ,he removed all the buildings at ,harbor ,view1 about #aej1 and he filled in the ponds1 using two million cubic yards of mud and sand1 and building an elaborate system of sewers4 ,the filling in took about six months4 ,on the last day mules were at work on the new land4 ,and within a year the ground work and the underground work was finished4 ,the ,architects ,meanwhile1 ,president ,moore asked for a meeting of the ,san ,francisco ,chapter of the ,american ,institute of ,architects1 with more than #bej members4 ,he explained that his purpose was to have them1 select twelve representatives from whom he should himself appoint five to act as an architectural board4 ,when the board was formed with ,willis ,polk at its head1 it included ,john ,galen ,howard1 ,albert ,pissis1 ,william ,curlett1 and ,clarence ,r4 ,ward4 ,this board was dissolved and an executive council composed of ,polk1 ,ward and ,w4 ,b4 ,faville was put in charge4 ,later it gave way to a commission consisting of ,w4 ,b4 ,faville1 ,arthur ,brown1 ,george ,w4 ,kelham1 ,louis ,christian ,mullgardt1 and ,clarence ,r4 ,ward1 of ,san ,francisco2 ,robert ,farquhar1 of ,los ,angeles2 ,carrere ,hastings1 ,mc,kim1 ,mead ,white1 and ,henry ,bacon1 of ,new ,york1 ,when it had completed the preliminary plans the board discontinued its meetings and ,g4 ,w4 ,kelham was appointed ,chief of ,architecture4 ,the ,block ,plan ,at the first meeting ,president ,moore explained that1 at the ,st4 ,louis ,exposition1 according to wide-expressed opinions1 the buildings had been too far apart4 ,he favored maximum of space with minimum of distance4 ,the architects first considered the conditions they had to meet1 climate and physical surroundings4 ,they were mainly influenced by wind1 cold and rain4 ,the result was that for the ,protection of visitors1 they agreed to follow what was later to be generally known1 as the block plan1 the buildings arranged in1 four blocks1 joined by covered corridors and surrounded by a wall1 with three central courts and two half-courts in the south wall4 ,it had been developed in many talks among the architects4 ,valuable suggestions came from ,willis ,polk and from ,e4 ,h4 ,bennett1 of ,chicago1 active in the earlier consultations4 ,the plan finally accepted was the joint work of the entire commission4 ,twelve buildings were put under contract1 each designed to illustrate an epoch of architecture1 ranging from the severity of the early classic to the ornate ,french renaissance of to-day4 ,the ,architecture ,from the start it was realized that1 vast as the ,exposition was to be1 representing styles of architecture almost sensationally different1 it must nevertheless suggest that it was all of a piece4 ,the relation of ,san ,francisco to the ,orient provided the clue4 ,it was fitting that on the shores of ,san ,francisco ,bay1 where ships to and from the ,orient were continually plying1 there should rise an ,oriental city4 ,the idea had a special appeal in providing a reason for extensive color effects4 ,the bay1 in spite of the ,california sunshine1 somewhat bleak1 needed to be helped out with color4 ,the use of color by the ,orientals had abundantly justified itself as an integral part of architecture4 ,the ,greeks and the ,romans had accepted it and applied it even in their statuary4 ,it was1 moreover1 associated with those ,spanish and ,mexican buildings characteristic of the early days of ,california history4 ,the ,general ,arrangement ,the general arrangement of the ,exposition presented no great difficulties4 ,the lay of the land helped4 ,interest1 of course1 had to center in the palaces and the ,festival ,hall1 with their opportunities for architectural display4 ,they naturally took the middle ground4 ,and1 of course1 they had to be near the ,state buildings and the foreign pavilions4 ,the amusement concessions1 it was felt1 ought to be in a district by themselves1 at one end4 ,equally sequestered should be the livestock exhibit and the aviation field and the race track1 which were properly placed at the opposite end4 ,there would undoubtedly be many visitors concerned chiefly1 if not wholly1 with the central buildings4 ,if they chose1 they could visit this section without going near the other sections1 carrying away in their minds memories of a city ideal in outline and in coloring4 ,construction ,as soon as the plans were decided on1 the architects divided the work and separated4 ,those who had come from a distance went home and in a few months submitted their designs in detail4 ,a few months later they returned to ,san ,francisco and the meetings of the architectural board were resumed4 ,soon the modifications were made and the practical construction was ready to begin4 ,incidentally there were compromises and heartburnings4 ,but limitations of funds had to be considered4 ,finally came the question of the tower1 giving what the architects called the big accent4 ,there were those who favored the north side for the location4 ,others favored the south side4 ,after considerable discussion the south side was chosen4 ,at one of the meetings1 ,thomas ,hastings did quick work with his pencil1 outlining his idea of what the tower should be4 ,later1 he submitted an elaborate plan4 ,it was rejected4 ,a second plan was rejected1 too4 ,the third was accepted4 ,it cost five hundred thousand dollars4 ,designs for two magnificent gateways1 to be erected at the approaches to the ,court of the ,ages and the ,court of the ,four ,seasons were considered4 ,they had to be given up to save expense4 ,clearing ,the ,land ,the task of clearing the land was finished in a few months4 ,in addition to the government reserve1 the ,exposition had seventy-six city blocks4 ,they represented two hundred parcels of land1 with #age owners1 and contained four hundred dwellings1 barns and improvements4 ,most of the buildings were torn down4 ,a few were used elsewhere4 ,precautions were taken to re-enforce with piles the foundations of the buildings and of the heavy exhibits4 ,the director of works became responsible for the purchase of all the lumber to be used in building4 ,it was bought wholesale1 shipped from the sawmills and delivered to the sites4 ,so there was a big saving here1 through the buying in bulk and through reduced cost in handling and hauling4 ,the first contracts given out were for the construction of the palaces4 ,an estimate was made of the exact number of feet available for exhibits and charts were prepared to keep a close record on the progress of the work4 ,incidentally1 other means of watching progress consisted of the amounts paid out each month4 ,during the earlier months the expenditures went on at the rate of a million a month4 ,every three weeks a contract for a building would be given out4 ,the same contractors figured on each building4 ,from the start it was understood that the work should be done by union men4 ,the chief exceptions were the ,chinese and the ,japanese4 ,the exhibitors had the privilege of bringing their own men4 ,in all about five thousand men were employed1 working either eight or nine hours a day4 ,during the progress of the work there were few labor troubles4 ,one wise feature of the planning lay in the economy of space4 ,it succeeded in reaching a compactness that made for convenience without leading to overcrowding4 ,great as this ,exposition was to be1 in its range worthy to be included among the expositions of the first class1 it should not weary the visitors by making them walk long distances from point to point4 ,in spite of its magnitude1 it should have a kind of intimacy4 ,choice of ,material ,there were certain dangers that the builders of the ,exposition had to face4 ,one of the most serious was that buildings erected for temporary use only might look tawdry4 ,it was1 of course1 impracticable to use stone4 ,the cost would have been prohibitive1 and plaster might have made the gorgeous palaces hardly more than cheap mockeries4 ,under the circumstances it was felt that some new material must be devised to meet the requirements4 ,already ,paul ,e4 ,denneville had been successful in working with material made in imitation of ,travertine marble1 used in many of the ancient buildings of ,rome1 very beautiful in texture and peculiarly suited to the kind of building that needed color4 ,he it was who had used the material in the ,pennsylvania ,station1 ,new ,york1 in the upper part of the walls4 ,after a good deal of experimenting ,denneville had found that for his purpose gypsum rock was most serviceable4 ,on being ground and colored it could be used as a plaster and made to seem in texture so close to ,travertine marble as to be almost indistinguishable4 ,the results perfectly justified his faith4 ,as the palaces rose from the ground1 making a magnificent walled city1 they looked solid and they looked old and they had distinct character4 ,moreover1 through having the color in the texture1 they would not show broken and ragged surfaces4 ,the ,color ,scheme ,for the color-effects it was felt that just the right man must be found or the result would be disastrous4 ,the choice fell on ,jules ,guerin1 long accepted as one of the finest colorists among the painters of his time4 ,he followed the guidance of the natural conditions surrounding the ,exposition1 the hues of the sky and the bay1 of the mountains1 varying from deep green to tawny yellow1 and of the morning and evening light4 ,and he worked1 too1 with an eye on those effects of illumination that should make the scene fairyland by night1 utilizing even the tones of the fog4 ,the ,planting ,there was no difficulty in finding a man best suited to plan the garden that was to serve as the ,exposition's setting4 ,for many years ,john ,mc,laren had been known as one of the most distinguished horticulturists in this part of the world4 ,as superintendent of ,golden ,gate ,park he had given fine service4 ,moreover1 he was familiar with the conditions and understood the resources and the possibilities4 ,of course a ,california exposition had to maintain ,california's reputation for natural beauty4 ,it must be placed in on ideal garden1 representing the marvelous endowment of the ,state in trees and shrubs and plants and flowers and showing what the climate could do even with alien growths4 ,the first step that ,mc,laren took was to consult the architects4 ,they explained to him the court plan that they had agreed on and they gave him the dimensions of their buildings4 ,against walls sixty feet high he planned to place trees that should reach nearly to the top4 ,for his purpose he found four kinds of trees most serviceable3 the eucalyptus1 the cypress1 the acacia and the spruce4 ,in his search for what he wanted he did not confine himself to ,california4 ,a good many trees he brought down from ,oregon4 ,some of his best specimens of ,italian cypress he secured in ,santa ,barbara1 in ,monterey and in ,san ,jose4 ,he also drew largely on ,golden ,gate ,park and on the ,presidio4 ,in all he used about thirty thousand trees1 more than two-thirds eucalyptus and acacia4 ,preparing the ,landscape ,two years before the ,exposition was to open ,mc,laren built six greenhouses in the ,presidia and a huge lath house4 ,there he assembled his shrubs1 his plants1 and his bulbs4 ,in all he must have used nearly a million bulbs4 ,from ,holland he imported seventy thousand rhododendrons4 ,from ,japan he brought two thousand azaleas4 ,in ,brazil he secured some wonderful specimens of the cineraria4 ,he even sent to ,africa for the agrapanthus1 that grew close to the ,nile4 ,among native flowers he collected six thousand pansies1 ten thousand veronicas and five thousand junipers1 to mention only1 a few among the multitude a flowers that he intended to use for decoration4 ,the grounds he had carefully mapped and he studied the landscape and the shape and color of the buildings section1 by section4 ,the planting of trees consumed many months4 ,the best effects ,mc,laren found he could get by massing4 ,he was particularly successful with the magnificent ,fine ,arts ,palace1 both in his groupings and in his use of individual trees4 ,about the lagoon he did some particularly attractive planting1 utilizing the water for reflection4 ,there was a twisted cypress that he placed alone against the colonnade with a skill that showed the insight and the feeling of an1 artist4 ,on1 the water side1 the ,marina1 he used the trees to break the bareness of the long esplanade4 ,and here and there on the grounds1 for pure decoration1 he reached some of his finest effects with the eucalyptus1 for which he evidently had a particular regard4 ,as no ,california ,exposition would be complete without palm trees1 provision was made for the decorative use of palms along of the main walks4 ,about two weeks before the opening1 the first planting of the gardens was completed1 the first of the three crops to be displayed during the ,exposition4 ,the flowers included most of the spring flowers grown here in ,california or capable of thriving in the ,california spring climate4 ,in ,june they were to be re-placed with geraniums1 begonias1 asters1 gilly-flowers1 foxglove1 hollyhocks1 lilies and rhododendrons4 ,the autumn display1 would include cosmos and chrysanthemums and marguerites4 ,the ,hedge ,as the work proceeded1 ,w4 ,b4 ,faville1 the architect1 of ,bliss and ,faville1 made a suggestion for the building of a fence that should look as if it were moss-covered with age4 ,the result was that developing the suggestion ,mc,laren devised a new kind of hedge likely to be used the world over4 ,it was made of boxes1 six feet long and two feet wide1 containing1 a two-inch layer of earth1 held in place by a wire netting1 and planted with ,south ,african dew plant1 dense1 green and hardy and thriving in this climate4 ,those boxes1 when piled to a height of several feet1 made a rustic wall of great beauty1 ,moreover1 they could be continuously irrigated by a one-inch perforated line of pipe4 ,in certain lights the water trickling through the leaves shimmered like gems4 ,in summer the plant would produce masses of small purple flowers4 ,mc,laren found his experiment so successful that he decided to build a hedge twenty feet high1 extending more than a thousand feet4 ,he also used the hedge extensively in the landscape design for the ,palace of ,fine ,arts4 ,the ,sculptors ,the department of sculpture was placed under the direction of one of the most distinguished sculptors in the country4 ,karl ,bitter1 of ,new ,york1 whose death from an automobile accident took place a few weeks after the ,exposition opened4 ,he gathered around him an extraordinary array of co-operators1 including many of the most brilliant names in the world of art1 with ,a4 ,stirling ,calder as the acting chief1 the man on the ground4 ,though he did not contribute any work of his own1 he was active in developing the work as a whole1 taking special pains to keep it in character and to see that1 even in it its diversity1 it gave the impression1 of harmony4 ,calder welcomed the chance to work on a big scale and to carry out big ideas4 ,with ,bitter he visited ,san ,francisco in ,august1 #aiab1 for a consultation with the architectural commission4 ,minutely they went over the site and examined the architectural plans4 ,then they picked the sculptors that they wished to secure as co-operators4 ,in ,december1 #aiab1 ,bitter and ,calder made another visit to ,san ,francisco for further conferring with the architectural commission1 bearing sketches and scale models4 ,bitter explained his plans in detail and asked for an appropriation4 ,he was told that he should be granted six hundred thousand dollars4 ,the amount was gradually reduced till it finally reached three hundred and seventy-five thousand dollars4 ,it was at this period that ,calder submitted his plan for the ,column of ,progress4 ,he had worked it out in ,new ,york and had the scale models made by ,mac,neil and ,konti4 ,it won the approval of ,mc,kim1 ,mead ,white1 who declared that it made an ideal feature of the approach from the bay side to their ,court of the ,universe1 then called the ,court of the ,sun and ,stars4 ,the next few months of preparation in ,new ,york meant getting the sculptors together and working out the designs4 ,the first meeting of the sculptors took place in ,january1 #aiac1 in ,bitter's studio1 with a remarkable array of personages in attendance1 including ,d4 ,c4 ,french1 ,herbert ,adams1 ,robert ,aitken1 ,james ,e4 ,fraser1 ,h4 ,a4 ,mac,neil1 ,a4 ,a4 ,weinman1 ,mahonri ,young1 ,isidore ,konti1 ,mrs4 ,burroughs and several others4 ,in detail ,bitter explained the situation in ,san ,francisco and outlined his ideas of what ought to be done4 ,already ,henry ,bacon had sent in his design for his ,court of the ,four ,seasons and sculptors were set to work on its ornamentation1 ,albert ,jaegers1 ,furio ,piccirilli1 ,miss ,evelyn ,beatrice ,longman and ,august ,jaegers1 a time limit being made for the turning in of their plans4 ,developing the ,sculpture ,in ,june1 #aiac1 ,calder returned to ,san ,francisco to stay till the ,exposition was well started4 ,on the grounds he established a huge workshop4 ,then he began the practical developing of the designs1 a great mass1 which had already been carefully sifted4 ,hitherto1 in ,american expositions the work had been done1 for the most part1 in ,new ,york1 and sent to its destination by freight1 a method costly in itself and all the more costly on account of the inevitable breakage4 ,san ,francisco1 by being so far from ,new ,york1 would have been a particularly expensive destination4 ,from every point of view it seemed imperative that the work should be done here4 ,in a few weeks that shop was a hive of industry1 with sculptors1 students of sculpture front the art schools1 pointers1 and a multitude of other white-clad workers bending all their energies toward the completion on time of their colossal task4 ,a few of the sculptors and artisans ,calder had brought from ,new ,york4 ,but most of the workers he secured in ,san ,francisco1 chiefly from the foreign population1 some of them able to speak little or no ,english4 ,the modeling of the replicas of well-known art works were1 almost without exception1 made in clay4 ,most of the original work was directly modelled in plaster-staff used so successfully throughout the ,exposition4 ,for the enlarging of single pieces and groups the pointing machine of ,robert ,paine was chosen by ,calder4 ,it was interesting to see it at work1 under the guidance of careful and patient operators1 tracing mechanically the outlines and reproducing them on a magnified scale4 ,for the finishing of the friezes the skill of the artist was needed1 and there ,calder found able assistants in the two young sculptors1 ,roth and ,lentelli1 who worked devotedly themselves and directed groups of students4 ,in all the sculpture ,calder strove to keep in mind the significance of the ,exposition and the spirit of the people who were celebrating4 ,with him styles of architecture and schools were a minor consideration1 to be left to the academicians and the critics4 ,he believed that sculpture1 like all other art-forms1 was chiefly valuable and interesting as human expression4 ,the ,decorative ,figures ,less successful on the whole than the blending of sculpture and architecture were the individual figures designed to be placed against the walls4 ,some of them were extremely well done4 ,others were obvious disappointments4 ,the unsophisticated judgment1 free from ,continental bias1 might have objected to the almost gratuitous use of nudity4 ,for a popular exhibition1 even the widely-traveled and broad-minded art lover might have been persuaded that a concession to prejudice could have been made without any great damage to art4 ,in the magnificent entrance to the grounds it was deemed fitting that the meaning of the ,exposition should be symbolized by an elaborate fountain4 ,so in the heart of the ,south ,gardens there was placed the ,fountain of ,energy1 the design of ,a4 ,stirling ,calder1 the athletic figure of a youth1 mounted on a fiery horse1 tearing across the globe1 which served for pedestal1 the symbolic figures of ,valor and ,fame accompanying on either side4 ,the work1 as a whole suggested the triumph of man in overcoming the difficulties in the way1 of uniting the two oceans4 ,it made one of the most striking of all the many fountains on the grounds1 the dolphins in the great basin1 some of them carrying female figures on their backs1 contributing to an effect peculiarly ,french4 ,the ,column of ,progress ,the ,column of ,progress1 suggested by ,calder and planned in outline by ,symmes ,richardson1 besides being beautiful symbol and remarkably successful in outline1 was perhaps the most poetic and original of all the achievements of the sculptors here4 ,it represented something new in being the first great column erected to express a purely imaginative and idealistic conception4 ,most columns of its kind had celebrated some great figure or historic feat1 usually related to war4 ,but this column stood for those sturdy virtues that were developed1 not through the hazards and the excitements and the fevers of conquest1 but through the persistent and homely tests of peace1 through the cultivation of those qualities that laid the foundations of civilized living4 ,isidore ,konti designed the frieze typifying the swarming generations1 by ,matthew ,arnold called the teeming millions of men1 and to ,hermon ,a4 ,mac,neil fell the task of developing the circular frieze of toilers1 sustaining the group at the top1 three strong figures1 the dominating male1 ready to shoot his arrow straight alit to its mark1 a male supporter1 and the devoted woman1 eager to follow in the path of advance4 ,the ,aim of the ,sculptors ,it was evidently the aim of the sculptors to express in their work1 in so far as they could1 the character of the ,exposition4 ,and the breadth of the plans gave them1 a wide scope4 ,they must have welcomed the chance to exercise their art for the pleasure of the multitude1 an art essentially popular in its appeal and certain to be more and more cultivated in our every-day life4 ,though this new city was to be for a year only1 it would surely influence the interest and the taste in art of the multitudes destined to become familiar with it and to carry away more or less vivid impressions4 ,the sculpture1 too1 would have a special advantage4 ,much of it1 after the ,exposition1 could be transferred elsewhere4 ,it was safe to predict that the best pieces would ultimately serve for the permanent adornment of ,san ,francisco - by no means rich in monuments4 ,mural ,painting ,it was felt by the builders of the ,exposition that mural decorating must be a notable feature4 ,the ,centennial ,exposition of '#gf had been mainly an expression of engineering4 ,sixteen years later architecture had dominated the ,exposition in ,chicago4 ,the ,exposition in ,san ,francisco was to be essentially pictorial1 combining1 in its exterior building1 architecture1 sculpture and painting4 ,when ,jules ,guerin was selected to apply the color it was decided that he should choose the mural decorators1 subject to the approval of the architectural board4 ,the choice fell on men already distinguished4 all of them belonging to ,new ,york1 with two exceptions1 ,frank ,brangwyn of ,london1 and ,arthur ,mathews1 of ,san ,francisco4 ,they were informed by ,guerin that they could take their own subjects4 ,he contented himself with saying that a subject with meaning and life in it was an asset4 ,in ,new ,york the painters had a conference with ,guerin4 ,he explained the conditions their work was to meet4 ,emphasis was laid on the importance of their painting with reference to the tone of the ,travertine4 ,they were instructed1 moreover1 to paint within certain colors1 in harmony with the general color-scheme1 a restriction that1 in some cases1 must have presented difficult problems4 ,the preliminary sketches were submitted to ,guerin1 and from the sketches he fixed the scale of the figures4 ,in one instance the change of scale led to a change of subject4 ,the second sketches were made on a larger scale4 ,when they were accepted the decorators were told that the final canvases were to be painted in ,san ,francisco in order to make sure that they did not conflict with one another and that they harmonized with the general plan of the ,exposition4 ,nearly all the murals were finished in ,machinery ,hall2 but most of them had been started before they arrived there4 ,painting ,for ,out-,doors ,some concern was felt by the painters on account of their lack of experience in painting for out-of-doors4 ,there was no telling1 even by the most careful estimate1 how their canvases would look when in place4 ,color and design impressive in a studio might1 when placed beside vigorous architecture1 become weak and pale4 ,besides1 in this instance1 the murals would meet new conditions in having to harmonize with architecture that was already highly colored4 ,furthermore1 no two of the canvases would meet exactly the same conditions and1 as a result of the changes in light and atmospheric effects1 the conditions would be subject to continual change4 ,finally1 they were obliged to work without precedent4 ,it was true that the early ,italians had done murals for the open air1 but no examples had been preserved4 ,that the painters were able to do as well as they did under the limitations reflected credit on their adaptability and good humor4 ,the truth was they felt the tremendous opportunity afforded their art by this ,exposition4 ,they believed that in a peculiar sense it testified to the value of color in design4 ,it represented a new movement in art1 with far-reaching possibilities for the future4 ,that some of them suffered as a result of the limiting of initiative and individuality1 of subordination to the general scheme1 was unquestionable4 ,some of the canvases that looked strong and fine when they were assembled for the last touches in ,machinery ,hall became anaemic and insignificant on the walls4 ,those most successfully met the test where the colors were in harmony with ,guerin's coloring and where they were in themselves strong and where the subjects were dramatic and vigorously handled4 ,the allegorical and the primitive subjects failed to carry1 first because they had little or no real significance1 and secondly because the spirit behind them was lacking in appeal and1 occasionally1 in sincerity4 ,in one regard ,frank ,brangwyn was more fortunate than the other painters4 ,his murals1 though intended to be displayed in the open air1 were to hang in sequestered corners of the corridors running around the ,court of the ,ages1 the court1 moreover1 that was to have no color4 ,besides1 there were no colors in the world that could successfully compete against his powerful blues and reds4 ,the ,lighting ,the lighting of the ,exposition1 it was determined1 should be given to the charge of the greatest expert in the country4 ,several of the leading electric light companies were consulted4 ,they agreed that the best man was ,walter ,d',arcy ,ryan1 who had managed the lighting at the ,hudson-,fulton ,celebration and at the ,niagara ,falls ,exposition4 ,mr4 ,ryan explained his system of veiled lighting1 with the source of the light hidden1 and made plain its suitability to an ,exposition where the artistic features were to be notable1 and where they were to be emphasized at night1 with the lighting so diffused as to avoid shadows4 ,after his appointment as director of illuminating he made several visits to ,san ,francisco1 and a year before the opening of the ,exposition1 he returned to stay till the close4 ,his plan of ornamenting the main tower with large pieces of cut glass1 of many colors1 to shine like jewels1 created wide-spread interest on account of its novelty4 ,it was generally regarded as a highly original and sensational ,exposition feature4 ,watching the ,growth ,as the building went on the ,san ,franciscans gradually became alive to the splendor4 ,each ,sunday many thousands would assemble on the grounds4 ,about a year before the date set for the opening an admission fee of twenty-five cents brought several thousands of dollars each week4 ,on the ,sundays when ,lincoln ,beachey made his sensational flights there would often be not less than fifty thousand people looking on4 ,the ,walled ,city ,if there were any critics who feared that the walled city might present a certain monotony of aspect they did not take into account the ,oriental luxuriance of the entrances1 breaking the long lines and making splendid contrast of design and of color4 ,those entrances alone were worth minute study4 ,besides being beautiful1 they had historic significance4 ,furthermore1 the long walls were broken by artistically designed windows and by groups of trees running along the edge4 ,within the walls1 in the splendidly wrought courts1 utility was made an expression1 of beauty by means of the impressive colonnades1 solid rows of columns1 delicately colored1 suitable for promenading and for protection against rain4 ,from the hills looking down on the bay the ,exposition began to seem somewhat huddled4 ,but the nearer one approached1 the plainer it became that this effect was misleading4 ,on the grounds one felt that there was plenty of room to move about in4 ,and there was no sense of incongruity4 ,very adroitly styles of architecture that might have seemed to be alien to one another and hostile had been harmoniously blended4 ,here the color was a great help4 ,it made the ,exposition seem all of a piece4 ,the ,war ,in the summer of #aiad the ,exposition received what for a brief time1 looked like a crushing blow in the declaration of war4 ,how could the world be interested in such an enterprise when the great nations of ,europe were engaged in what might prove to be the most deadly conflict history8 ,the directors1 in reviewing the situation1 saw that1 far from being a disadvantage in its effect on their plans1 the war might be an advantage4 ,in the first place1 it would keep at home the great army of ,american travelers that went to ,europe each year4 ,with their fondness for roaming1 they would be almost certain to be drawn to this part of the world4 ,and besides1 there were other travelers to be considered1 including those ,europeans who would be glad to get away from the alarms of war and those ,south ,americans who were in the habit of going to ,europe4 ,furthermore1 though the ,exposition had been designed to commemorate the services of the ,united ,states ,army in building the ,panama ,canal1 it was essentially dedicated to the arts of peace4 ,it would show what the world could do when men and nations co-operated4 ,the ,department of ,fine ,arts ,meanwhile1 the war was upsetting the plans for the exhibits1 notably the exhibit of painting and sculpture4 ,when ,john ,e4 ,d4 ,trask1 for many years director of the ,pennsylvania ,academy of ,fine ,arts1 was appointed ,director of the ,fine ,arts ,department at the ,panama-,pacific ,international ,exposition1 he had made a careful survey of the field he had to cover4 ,it virtually consisted of the whole civilized world4 ,after arranging for the formulation of committees in the leading cities of the ,east and the ,middle ,west to secure ,american work1 he made a trip to ,europe1 visiting ,england1 ,france1 ,holland1 ,sweden1 ,germany1 ,hungary1 ,austria and ,italy4 ,with the exception of ,england and ,germany1 the governments were sympathetic4 ,the indifference of those two countries was at the time was not quite comprehensible4 ,there might have been several explanations1 including the threat of war4 ,there were also those who said that ,england and ,germany had entered into a secret alliance against this country for the purpose of minimizing the ,american influence in commerce1 soon to be strengthened by the opening of the ,panama ,canal4 ,wherever the truth lay1 the fact remained that both countries maintained their attitude of indifference4 ,individual ,english and ,german artists and organizations of artists1 however1 showed a willingness to co-operate4 ,through emissaries1 mainly unofficial1 ,americans of influence1 ,trask drew on the resources of all ,europe4 ,he also entered into negotiations with ,china and ,japan1 both of which countries1 with their devotion to art1 as might have been expected1 co-operated with enthusiasm4 ,the display at the ,fine ,arts ,palace promised to make one of the greatest international exhibits in history1 if not the greatest4 ,at the outbreak of the war it looked as if the whole of ,europe might become involved and it might be impossible to secure anything that could properly be called a ,european art exhibit4 ,meanwhile1 the space reserved for the ,european exhibitors must he filled4 ,it happened that1 at the time1 ,trask was in the ,east4 ,he quickly put himself into personal communication with the ,new ,york artists1 who had been invited to send three or four works1 and he asked them to increase the number4 ,he also arranged with his committee for the securing of a much larger number of ,american pictures4 ,under the circumstances he was bound to rely on the discretion of his juries4 ,the result was that he had to take what came4 ,it included a large number of excellent works and others of doubtful merit4 ,an ,emissary to ,france and ,italy ,meanwhile1 during the few months after the outbreak of war1 the art situation in ,europe began to look more hopeful4 ,it seemed possible that some of the nations concerned in the war would be persuaded to participate4 ,captain ,asher ,c4 ,baker1 ,director of the ,division of ,exhibits1 was sent on a special mission to ,france1 sailing from ,new ,york early in ,november4 ,the ,united ,states collier ,jason was then preparing to sail from ,new ,york with ,christmas presents for the children in the war zone1 and the secretary of the navy had arranged with the ,exposition authorities that1 on the return trip1 the ship should be used to carry exhibits from ,europe4 ,the first plan was that the exhibits should come only from the warring nations2 it was later extended to include other nations4 ,in ,paris ,captain ,baker found the situation discouraging4 ,the first official he saw told him that1 under the circumstances1 any participation of ,france whatsoever was out of the question3 ,france was in mourning1 and did not wish to celebrate anything2 if any ,frenchman were to suggest participation he would be criticised2 furthermore1 ,albert ,tirman1 at the head of the ,french committee that had visited ,san ,francisco the year before to select the site of the ,french ,pavilion1 had come back from the front in the ,vosges and was hard at work in the barracks of the ,invalides1 acting as an intermediary between the civil and military authorities4 ,then ,captain ,baker appealed to ,ambassador ,myron ,t4 ,herrick4 ,although the ambassador was enthusiastic for the ,exposition1 he said that1 in such a crisis1 he could not ask ,france to spend the four hundred thousand dollars set apart for use in ,san ,francisco4 ,captain ,baker said3 ,don't you think if ,france came in at this time a wonderfully sympathetic effect would be created all over the ,united ,states8 ,the ambassador replied1 ,i do4 ,wouldn't you like to see ,france participate8 ,the ambassador declared that he would4 ,will you say so to ,mr4 ,tirman8 ,the ambassador said1 ,willingly4 ,a week later ,baker and ,tirman were on their way to ,bordeaux to see ,gaston ,thomson1 ,minister of ,commerce4 ,they made these proposals3 ,the exhibits should be carried by the ,jason through the canal to ,san ,francisco2 the building of the ,french ,pavilion should be undertaken by the ,division of ,works of the ,exposition1 on specification to be cabled to ,san ,francisco of the frame work1 the moulds for the columns and architectural ornaments to be prepared in ,france and shipped by express2 the ,french committee of organization was to work in ,france among possible exhibitors2 a statement was to be made to the ministry of what each department of the government could do in sending exhibits and what exhibits were ready2 a statement should come from the ,minister of ,fine ,arts as to how much space he could occupy and how many paintings could be secured for the ,palace of ,fine ,arts2 a complete representation of the ,department of ,historical ,furniture and ,tapestries1 known as the ,garde ,meuble1 was to be made for the pavilion4 ,in the interview with the ,minister of ,commerce ,baker argued that1 without ,france1 an ,exposition could not be international1 and that the participation of ,france at this time1 with her flag flying in ,san ,francisco1 would be like winning a battle before the world4 ,it would show the people of the ,united ,states ,france's gratitude for the money sent the wounded and the suffering1 and would warm the hearts of the ,american people4 ,thomson responded with enthusiasm1 and soon the government became enthusiastic4 ,several thousand dollars were spent in cabling2 ,henri ,guillaume1 the distinguished ,french architect1 experienced in many expositions1 was sent out4 ,when the ,jason stopped at ,marseilles it took1 on board one of the most remarkable collections of art treasures ever shipped to a foreign country1 the finest things in one of the world's great storehouses of treasure1 including even the priceless historical tapestries1 and a large collection of ,french paintings for the ,fine ,arts ,palace1 gathered by the ,french committee after great labor1 due to the absence of many of the painters in the war4 ,when ,captain ,baker left ,france he had accomplished far more for the ,exposition than he realized himself4 ,reports of his success in securing ,french participation preceded him to ,italy and helped to prepare the way4 ,the ,italians listened to his proposition1 all the more willingly because ,france had been won over4 ,besides1 he had a warm supporter in ,ernesto ,nathan1 ex-,mayor of ,rome1 who had paid an extended visit to ,san ,francisco and had become an enthusiastic champion of the ,exposition4 ,in a few days he had made arrangements that led to the collection of the splendid display of ,italian art1 shipped on the ,vega1 together with many commercial exhibits4 ,captain ,bakers work in ,france and in ,italy1 accomplished within three weeks1 was a triumph of diplomacy4 ,foreign ,participation in ,general ,germany was not to be completely over-shadowed by ,france notwithstanding previous indifference on the part of the government4 ,german manufacturers wished to be represented1 and they actually received governmental encouragement4 ,austrians1 not to be outdone by ,italy1 unofficially came in4 ,in fact1 despite the war1 every country had some representation1 ,england and ,scandinavia and ,switzerland included1 even if they did not have official authority4 ,there are those who maintain that1 in spite of criticism1 the ,fine ,arts ,department is now making a better showing than it could have made if there had been no war4 ,american collectors1 with rare canvases1 were persuaded to help in the meeting of the emergency by lending work that1 otherwise1 they would have kept at home4 ,it was thought that many of the ,europeans would be glad to send their collections to this country for safe keeping during war time4 ,but such proved not to be the case4 ,a good deal of concern was felt about sending the treasures on so long a journey1 subject to the hazards of attack by sea4 ,furthermore1 from the ,european point of view1 ,san ,francisco seemed far away4 ,looking for ,art ,treasures ,a short time after ,captain ,baker sailed from ,new ,york another emissary went abroad for the ,exposition1 ,j4 ,n4 ,laurvik1 the art critic4 ,a few weeks before ,mr4 ,laurvik had returned from ,europe1 where he had represented the ,fine ,arts ,department1 looking for the work of the artists in those countries that were not to participate officially4 ,at the time of the outbreak he was in ,norway and he had already secured the promise of many collections and the co-operation of artists of distinction4 ,his report of the situation as he left it persuaded the authorities that1 in spite of the difficulties1 he might do effective work4 ,when ,laurvik arrived in ,rome he found that ,captain ,baker had already prepared for his activities4 ,ernesto ,nathan was devoting himself heart and soul to the cause4 ,but the ,italian authorities1 for the most part1 were absorbed in the questions that came up with the threat of war4 ,working with the committee1 and aided by ,ambassador ,thomas ,nelson ,page1 ,laurvik quickly made progress4 ,he secured magnificent canvases by the ,president of the ,french ,academy in ,rome1 ,albert ,besnard1 painted1 for the most part1 in ,benares1 with scenes on the ,ganges1 and a collection of pieces by the ,norwegian sculptor1 ,lerche4 ,notable ,collections ,from ,rome ,laurvik went to ,venice1 where he was greatly helped by the ,american consul1 ,b4 ,h4 ,carroll1 ,jr4 ,though the ,international ,exhibit held in ,venice every two years had closed several months before1 many of the works of art were still there1 their owners1 either afraid or unable to take them away and yet concerned about their being so close to the scene of war4 ,it was the general concern that enabled ,laurvik to secure some of his finest material4 ,together with the ,italian work1 he arranged to have shipped here on the ,jason1 ,norwegian and ,hungarian paintings and fifty canvases by the man regarded as the greatest living painter in ,finland1 ,axel ,gallen-,kallela4 ,he also made a short journey from ,venice to the home of ,marinetti1 the journalist1 poet and leader of the4 ,italian ,futurist painters1 who1 after much persuading1 promised to send fifty examples of the work done by the ten leaders in his group4 ,on leaving ,venice ,laurvik started for ,vienna4 ,in spite of the war1 he was promised support by the ,minister of ,art4 ,unfortunately1 the art societies fell to quarreling1 and gave little or no help4 ,then ,laurvik appealed to the artists themselves4 ,in ,kakosha1 one of the best known among the ,austrian painters1 he found an ally4 ,the collection he made in ,vienna included several of ,kakosha's canvases1 lent by their owners1 and a large number of etchings4 ,the ,hungarian ,collection ,in ,hungary ,laurvik had a powerful friend in ,count ,julius ,andrassy1 a man1 of wealth and influence1 the owner of one of the newspapers published in ,budapest4 ,from1 his own collection of ,hungarian art ,andrassy made a large contribution and he inspired other collectors to do likewise4 ,the getting together of the material was full of difficulties4 ,much of it had been taken away for safekeeping4 ,the museums were all closed and some of their treasures were buried in the ground4 ,already the ,russians1 during their raid on the ,carpathian ,mountains1 had possessed themselves of rare art works1 some of the best canvases cut from the frames and carried off by the officials4 ,among the sufferers was ,count ,andrassy himself1 who lost valuable heirlooms from one of his country estates1 including several ,titians4 ,in spite of that experience1 ,andrassy1 refused to hide his possessions4 ,he preferred the risk of losing them to showing fear1 perhaps helping to start a panic4 ,the ,hungarian collection came near missing the ,jason4 ,it was mysteriously held up in the train that carried it through the ,italian territory to ,italy1 arriving in ,genoa three days after the ,jason was scheduled to so sail from there4 ,but the ,jason happened to be delayed three days1 too4 ,by the ,german steamer1 the ,crown ,princess ,cecilie1 it happened that an interesting collection of ,german ,paintings1 after being exhibited in the ,carnegie ,institute of ,pittsburgh1 was started on the way to ,germany2 but the war caused the ship to return to an ,american port4 ,after a good deal of negotiating the canvases were secured for the ,exposition and taken off the ship4 ,on the opening day of the ,exposition it was found that the ,palace of ,fine ,arts1 far from having too little material1 had too much4 ,not only were ,china and ,japan and several of the ,european nations well represented1 but on the way were many art works that there would not be room for4 ,the consequence was that a new building had to be erected4 ,it was finished in ,july and it became known as the ,fine ,arts ,annex4 ,i ,the ,view ,from the ,hill ,the best way to see the ,exposition1 in my opinion1 said the architect1 is to stand on the top of the ,fillmore ,street hill and look down4 ,then you will find out what the architects were up to4 ,the finest point of observation would be at the corner of ,divisadero ,street and ,broadway4 ,the next day1 as we stood at that point1 the ,exposition stretched out beneath us like a city of the ,orient4 ,when the architects first discussed the construction they knew it was to be looked at from these hills4 ,so they had to have a scheme that should hide the skylight and avoid showing lack of finish on top and that should be pictorial and impressive from above4 ,one of the problems was to make the roof architectural4 ,now as we look down1 see how stunning the effect is - like a ,persian rug4 ,and the color helped there1 too1 didn't it8 ,of course4 ,and notice how skilfully the architecture and the coloring harmonized4 ,as the ,exposition was to be built on low1 flat ground1 it had to be lifted up4 ,one way was by using the domes4 ,the central portion of each of those palaces was lifted above the main surface of the roof to introduce a row of semi-circular windows to light the interior like a church4 ,and the domes1 besides being ornamental in themselves1 gave spring to the towers4 ,the big tower provided scope for the splendid archway that served as an approach and set the standard for the other arches4 ,it was plain enough that the top of the ,exposition had not received the praise it deserved4 ,think how crude that scene would have been if it had presented a straggling mass of roofs4 ,and even as it is1 with its graceful lines1 if it were lacking in color it would seem crude4 ,perhaps it will help us to realize how unsightly most of the roofs of our houses are1 and how unfinished4 ,there's no reason in the world why they should be4 ,the ,greeks and the ,romans had the right idea4 ,they were very sensitive to lack of finish4 ,they felt the charm of decorated roofs4 ,see that angel down there that keeps recurring at the points of the gables4 ,what a pretty bit of ornamentation4 ,the ,greeks used it to suggest the gifts of the gods coming down from heaven4 ',blessings on this house4' ,i suppose the wreath in the hand used here was meant to suggest the crowning of the work4 ,it explains why the figure is called ,victory4 ,by the way1 it has an architectural value in giving lightness and grace to the roofs4 ,the builders1 we could see1 had cleverly adapted their plans to the conditions4 ,the effect might so easily have been monotonous and cold1 and it might have been flat and dreary4 ,it was a fine idea to lift the central portion of each of those main palaces above the surfaces of the roofs to introduce the semicircular windows in the domes4 ,it helped to infuse the scene with a kind of tenderness and spirituality4 ,and see how the two groups on top of the triumphal arches1 the ,orientals and the ,pioneers1 contribute to the soaring effect and to the finish at the same time4 ,the ,romans disliked bareness on the top of their arches4 ,they wanted life up there1 the more animated the better4 ,so they put on some of their most dramatic scenes1 like their chariot races4 ,the expert proceeded to point out the architectural balance of the buildings4 ,the severe and mighty ,palace of ,machinery1 impressive in its long sweep of line1 at one side made a dramatic contrast with the delicately imagined and poetic ,palace of ,fine ,arts on the other4 ,in front of the walled city1 between the long stretch of garden1 stood two harmonious buildings1 the ,palace of ,horticulture1 with its glorious roof of glass1 and the ,festival ,hall1 closely related in outline1 and yet very different in detail4 ,and the garden itself1 with its dark1 pointed trees standing against the wall1 and with its simplicity of design1 made an agreeable approach to the great arched entrance under the ,tower of ,jewels4 ,those banners down there1 shielding the lights1 are a stroke of genius1 both in their orange color and their shape4 ,and those orange-colored streamers1 how they add to the spirit of gaiety4 ,the trees have been placed against the wall to keep it from seeming like a long and uninteresting stretch4 ,and observe the grace in line of the niches between the trees4 ,even from here you can feel the warmth of the color in the paths4 ,the pink effect is made by burning the sand4 ,only a man like ,guerin1 a painter1 would have thought of that detail4 ,i wonder how many visitors down there know that the very sand they walk on has been colored4 ,around the ,tower pigeons were flying1 somehow relieving the mechanical outlines4 ,was the disproportion between the great arch1 forming a kind of pedestal1 and the outlines above due to mathematical miscalculation or to the interference of the ornamentation8 ,we finally decided that the proportions had probably been right in the first place4 ,but they had been changed by the ,exposition authorities' cutting the ,tower down one hundred feet1 thereby saving #ajj1jjj4 ,a matter of this kind could be reduced almost to an exact science4 ,besides1 though the ornamentation interfered with the upward sweep of line1 the effect of flatness was made by those horizontal blocks which seemed to be piled up to the top4 ,if the outline had been clean1 it would have achieved the soaring effect so essential to an inspiring tower1 creating the sense of reaching up to the sky1 like an invocation4 ,thomas ,hastings had a sound idea when he made that design4 ,he wanted to do something ,expositional1 exactly as ,guerin did when he applied the coloring4 ,now there were critics who said that the coloring was too pronounced4 ,it reminded them of the theater4 ,well1 that was just what it ought to remind them of4 ,it had life1 gaiety1 abandon4 ,the critic who said that the orange domes provided just the right tone1 and that this tone ought to have been followed throughout1 didn't make sufficient allowance for public taste4 ,he wanted the ,exposition to be an impressionistic picture in one key4 ,but one key was exactly what ,guerin didn't want4 ,his purpose was to catch the excitement in variety of color as well as the warmth1 to stimulate the mind4 ,he succeeded in adapting his color scheme to architecture that had breadth and dignity4 ,at first he expected to use orange1 blue1 and gold1 carefully avoiding white4 ,he did avoid white2 but he expanded his color scheme and included brown and yellow and green4 ,but1 in that tower1 ,hastings did something out of harmony with the architecture1 something barbaric and crude4 ,here and there the bits of ,austrian cut glass were sparkling on the tower like huge diamonds4 ,at times the thing is wonderfully impressive4 ,there's always something impressive about a mass if it has any kind of uniformity1 and here you can detect an intention on the part of the architect4 ,there are certain lights that have a way of dressing up the tower as a whole1 giving it unity and hiding its ugliness4 ,and at all times it has a kind of barbaric splendor4 ,it might have come out of an ,aztec mind1 rather childish in expression1 and seeking for beauty in an elemental way4 ,i can imagine ,aztecs living up there in a barbaric fashion1 their houses piled1 one above another1 like our uncivilized apartment houses4 ,in studying the ,tower of ,jewels in detail1 we decided that it was not really so crude as it seemed on first sight4 ,much might be done even now by a process of elimination4 ,and the arch was magnificent4 ,in its present condition the tower unquestionably provides a strong accent4 ,it has already become a dominating influence here4 ,but it's an influence that teaches people to feel and to think in the wrong way4 ,it encourages a liking for what ,i call messy art1 instead of developing a taste for the simplicity that always characterizes the best kind of beauty1 the kind that develops naturally out of a central idea4 ,from the ,tower of ,jewels we turned our attention to those other towers1 the four so charming in design and in proportion1 ,renaissance in feeling1 their simplicity seeming all the more graceful on account of the contrast with the other tower's over-ornamentation4 ,i wonder what the world would have done without the ,giralda ,tower in ,seville8 ,it has inspired many of the most beautiful towers in the world4 ,it helped to inspire ,mc,kim1 ,mead and ,white when they built the ,madison ,square ,tower1 and the ,madison ,square ,tower might be described as a relative of our own ,ferry ,tower1 which is decidedly one of the best pieces of architecture in ,san ,francisco4 ,and it's plain enough that these four towers and the ,ferry ,tower are related4 ,the top of the four towers1 by the way1 has a history4 ,it comes from the ,choragic ,monument of ,lysicrates1 the little temple in ,athens that was built by one of the successful chorus-leaders in the competitive choral dances of the ,greeks1 who happened to be a man of wealth4 ,afterward1 when a chorus-leader won a prize1 which consisted of a tripod1 it was shown to the people on that monument4 ,some critics1 ,i said1 have complained of the coloring and the pattern on those towers4 ,they can't justify themselves1 however4 ,though this plaster looks like ,travertine1 it nevertheless remains plaster1 and it lends itself to plastic decoration4 ,the ,greeks and the ,romans often used plaster1 and they did not hesitate to paint it whenever they chose4 ,kelham's four towers have been criticised on account of their plastic design1 which has a good deal of pink in it4 ,but that design provides one of the strongest color notes in the whole ,exposition1 a delightful note1 too4 ,it happens that makers of wallpaper have had the good sense to use a design somewhat similar4 ,but this fact does not make the design any the less attractive or serviceable4 ,between the houses on the hill we could catch glimpses of the ,south ,gardens between the glass dome of the ,horticultural ,palace and ,festival ,hall4 ,the architects rightly felt that in general appearance they had to be ,french to harmonize with the ,french architecture on either side4 ,in the distance the ,fountain of ,energy stood out1 like a weird skeleton that did not wholly explain itself4 ,stirling ,calder1 the sculptor1 must have forgotten that the outline of those little symbolic figures perched on the shoulder of his horseman would not carry their meaning4 ,now1 before our eyes1 the ,exposition revealed itself as a picture1 with all the arts contributing4 ,it suggested the earlier periods of art1 when the art-worker was architect1 painter and sculptor all in one4 ,,ii ,the ,approach ,you see1 said the architect as we started down the hill1 when the ,exposition builders began their work they found the setting of the ,mediterranean here4 ,it justified them in reproducing the art of the ,orient and of ,greece and ,rome which was associated with it1 modified of course to meet the special requirements4 ,besides1 they didn't want to be tied down to the severe type of architecture in vogue in this country4 ,first of all1 he went on to explain1 they had created a playground4 ,there they appealed to the color sense1 strong in the ,italians and the ,orientals1 and weak among the people in this country1 decidedly in need of fostering1 and the appeal was not merely to the intellect1 but to the emotions as well4 ,color was as much a part of architecture as of painting4 ,so1 in applying the color1 ,guerin worked with the architects4 ,he never made a plan without taking them into consultation4 ,then1 too1 ,calder1 acting head of the ,department of ,sculpture1 and ,denneville1 the inventor of the particular kind of imitation ,travertine marble used on the grounds1 were active in all the planning4 ,in fact1 very little was done without the co-operation of ,guerin1 ,calder1 ,denneville and ,kelham1 chief of the ,architectural ,board4 ,in getting the ,exposition from paper to reality1 they had succeeded in making it seem to be the expression of one mind4 ,even in the development of the planting the architects had their say4 ,here landscape gardening was actually a part of the architecture4 ,faville's wall1 for example1 was built with the understanding that its bareness was to be relieved with masses of foliage1 creating shadows4 ,before the ,scott ,street entrance we paused to admire the high hedge of ,john ,mc,laren4 ,we went close to examine the texture4 ,the leaves of the ,african dewplant were so thick that they were beginning to hide the lines between the boxes4 ,faville realized the importance of separating the city from the rest of the world1 making it sequestered4 ,he knew that a fence wouldn't be the right sort of thing4 ,so he conceived the idea of having a high1 thick wall1 modeled after an old ,english wall1 overgrown with moss and ivy4 ,as those walls were generations in growing1 he saw that to produce one in a few months or even a few years required some ingenuity4 ,he set to work on the problem and he devised a scheme for making an imitation hedge by planting ivy in deep boxes and piling the boxes on one another4 ,when he submitted it to ,mc,laren he was told that it was good except for the use of the ivy4 ,it would be better to use ,african dew plant4 ,later ,mc,laren improved on the scheme by using shallow boxes4 ,faville designed a magnificent entrance here1 the architect went on1 glancing up at the three modest arches that ,mc,laren had tried to make as attractive as possible with his hedge4 ,it would have been very appropriate4 ,but the need of keeping down expenses caused the idea to be sacrificed4 ,however1 the loss was not serious4 ,as a matter of fact1 in spite of the efforts of the ,exposition to persuade visitors to come in here1 a great many preferred to enter by the ,fillmore ,street gate4 ,during the day this approach is decidedly the more attractive on account of leading directly into the gardens and into the approach to the court4 ,the ,fillmore ,street entrance1 with the ,zone shrieking at you at one side1 hardly puts you in the mood for the beauty in the courts4 ,at night the situation is somewhat different4 ,the flaring lights of the ,zone make the dimness of the court all the more attractive4 ,,iii ,in the ,south ,gardens ,though the arrangement of the landscape might be ,french1 these flowers were unmistakably ,californian4 ,the two pools1 ornamented with the ,arthur ,putnam fountain of the mermaid1 in duplicate1 decidedly ,french in feeling1 were brilliant with the reflected coloring from both the flowers and the buildings4 ,the intention at first had been to make a sunken garden here2 but the underground construction had interfered4 ,now one might catch a suggestion of ,versailles1 except for those lamp posts4 ,joseph ,pennell1 the ,american etcher1 who has traveled all over ,europe making drawings1 finds a suggestion of two great ,spanish gardens here1 one connected with the royal palace of ,la ,granga1 near ,madrid1 and the other with the royal palace of ,aranjuez1 near ,toledo4 ,they've allowed the flowers to be the most conspicuous feature1 the dominating note1 which is as it should be4 ,masses of flowers are always beautiful and they are never more beautiful than when they are of one color4 ,and masses of shrubbery are always beautiful1 too11 ,i said1 nodding in the direction of the ,palace of ,horticulture1 where ,mc,laren had done some of his best work4 ,there's no color in the world like green1 particularly dark green1 for richness and poetry and mystery4 ,it's intimately related to shadow1 which does so much for beauty in the world4 ,the ,fountain of ,energy almost hits you in the face1 doesn't it8 ,i said4 ,of course4 ,that's exactly what ,calder meant to do4 ,in a way he was right4 ,he wanted to express in sculpture the idea of tremendous force4 ,now his work is an ideal example of what is expositional4 ,it has a sensational appeal4 ,one objection to it is that it suggests too much energy1 too much effort on the part1 not only of the subject1 but of the sculptor4 ,the artist ought never to seem to try4 ,his work ought to make you feel that it was easy for him to do4 ,but here you feel that the sculptor clenched his teeth and worked with might and main4 ,as a matter of fact1 he did this piece when he must have been tired out from managing all the sculpture on the grounds4 ,he made two designs4 ,the first one1 which was not used1 seemed to me better because it was simpler in the treatment of the base4 ,even the figures at the base here are over-energized1 the human figures ,i mean4 ,still1 in their sportiveness and in the sportiveness of ,roth's animals1 they have a certain charm4 ,and with the streams spouting1 the work as a whole makes an impression of liveliness4 ,but it's a nervous liveliness1 characteristically ,american1 not altogether healthy4 ,the ,fountain of ,energy and the ,tower of ,jewels1 we decided1 both expressed the same kind of imagination4 ,like the fountain1 the tower gave the sense of overstrain4 ,it's pretty hard to see any architectural relation between those figures up there on the tower and the tower itself4 ,see how the mass tries to dominate ,kelham's four ,italian towers1 but without showing any real superiority4 ,the heraldic shields on the lamp posts near by attracted us both by their color and by the variety and grace of their designs4 ,how many visitors stopped to consider their historic character8 ,they went back to the early history of the ,pacific ,coast4 ,for this contribution alone ,walter ,d',arcy ,ryan deserved the highest recognition4 ,only an artist could have worked out this scheme in just this sensitive and appropriate way4 ,we stopped at the vigorous equestrian statue of ,cortez by ,charles ,niehaus at our right1 close to the tower4 ,i always liked ,cortez for his nerve4 ,he didn't get much gratitude from his ,emperor for conquering ,mexico and annexing it to ,spain4 ,and what he got in glory and in money probably did not compensate him for his disappointment at the end4 ,when he couldn't reach ,charles ,v in any other way1 he jumped up on the royal carriage4 ,charles didn't recognize him and asked who he was4 ',i'm the man1' said ,cortez1 'that gave you more provinces than your forebears left you cities4' ,naturally ,charles was annoyed4 ,we don't like to be reminded of ingratitude1 do we1 especially by the people who think we ought to be grateful to them8 ,so ,cortez quit the court and spent the rest of his life in the country4 ,at our right we met another of the many ,spanish adventurers drawn to the ,americas by the discovery of ,columbus1 ,pizarro1 who presented his country with the rich land of ,peru4 ,it was doubtless placed here on account of the relation between ,spain and ,california4 ,civilization is a development through blood and spoilation1 the architect remarked4 ,if ,pizarro hadn't been lured by the gold of the ,incas we might not be here at this moment4 ,the figures on the tower1 insignificant when viewed from a distance1 at close range took on vigor3 the philosopher in his robes1 the bearer of ,european culture of the sixteenth century to these shores2 the ,spanish priest1 typical of the early friars2 the adventurer1 so closely related to ,columbus2 and the ,spanish soldier4 ,the armored horseman1 by ,tonetti1 in a row all by himself1 suffering from being rather absurdly out of place1 might have won applause if he had been brought on a pedestal close to the ground4 ,his being repeated so often up there made an effect almost comic4 ,the vases and the triremes1 the pieces of armor1 with the battle-axe designs on either side1 the ,cleopatra's needles1 and the richly-girdled globe on top1 sustained on the shoulders of three figures1 were all well done4 ,the only trouble was that they had not been made to blend into one lightly soaring mass4 ,it's curious that ,hastings should have gone astray in the treatment of the tower4 ,he must have known the psychological effect of parallel horizontal lines4 ,when skyscrapers were first built in ,new ,york a few years ago they were considered unsightly on account of their great height4 ,so the architects were careful to use parallel horizontal lines in order to diminish the apparent height as far as possible4 ,then people began to say that there was beauty in the sky-scrapers1 and the architects changed their policy4 ,they built in straight parallel lines that shot up to the sky4 ,in this way they increased the apparent height4 ,the inscriptions on the south side of the tower's base reminded us of the ,exposition's meaning1 ,conspicuously and properly emphasized here4 ,the pagan note in the architecture was indicated in the ornamentation by the use in the design of the head of the sacred bull4 ,and ,triumphant ,america was celebrated in the group of eagles4 ,the dark stains on the yellow columns made us see how clever ,guerin had been in his application of the coloring4 ,in most places he had applied one coat only1 trusting to nature to do the rest4 ,most of all1 he wished to avoid the appearance of newness and to secure a look of age4 ,on these columns the smoke from the steam rollers had helped out4 ,one might imagine that they had been here for generations4 ,here the builders had used the ,corinthian column1 with the acanthus leaves varied with fruit-designs and with the human figure4 ,it was a lucky day for architecture when the column came into use4 ,it doubtless got its start from a single beam used for support4 ,then the notion developed of making it ornamental by fluting it and decorating the top4 ,in this ,exposition three kinds of columns are used1 the ,doric1 which the ,greeks favored1 with the very simple top or capital2 the ,ionic1 with the spiral scroll for the capital1 and the ,corinthian1 with the acanthus flowing over the top1 and the ,composite which uses features from all the other three4 ,do you happen to know how the acanthus design was made8 ,well1 ,vitruvius tells the story4 ,anyone that wants to get a line on this ,exposition ought to read that book1 or1 at any rate1 to glance through it and to read parts of it pretty thoroughly4 ,it is called ',the ,architecture of ,marcus ,vitruvius ,pollio4' ,there's a good translation from the ,latin by ,joseph ,gwilt4 ,it has become the architect's bible4 ,according to ,vitruvius1 the nurse of ,corinthian girl who had died carried to the girl's tomb basket filled with the things that the girl had particularly liked4 ,she left the basket on the ground near the tomb and covered it with a tile4 ,it happened that it stood over the root of an acanthus plant4 ,as the plant grew its foliage pressed up around the basket and when it reached the tile the leaves were forced to bang back in graceful curves4 ,callimachus1 a ,corinthian architect1 noticed the effect and put it into use4 ,,iv ,under the ,tower of ,jewels ,when we entered the arch we looked up at the magnificent ceiling used by ,mc,kim1 ,mead ,white1 in panels1 with a pictorial design beautifully colored by ,guerin4 ,the blue up there blends into the deeper blue of the ,dodge murals just beneath4 ,those murals are in exactly the right tone4 ,they give strength to the arch4 ,but they are weakened by being in the midst of so much heavy architecture4 ,their subjects1 however1 are in harmony with the meaning of the tower4 ,guerin was right when he told the mural decorators that a good subject was an asset4 ,by studying these murals you can get a glimpse of all the history associated with ,california and with the ,panama ,canal4 ,dodge has made drama out of ,balboa's discovery of ,panama and out of the union of the two oceans1 a theme worthy of a great poet4 ,and ,dodge is one of the few men represented in the art on the grounds who have made pictorial use of machinery4 ,there's the discovery by ,balboa1 the purchase by the ,united ,states1 the presentation of the problem of uniting the two oceans1 very imaginative and pictorial1 the completion of the ,canal1 and the crowning of labor1 with the symbolic representation of the resulting feats of commerce suggested by the want of the winged ,mercury4 ,dodge is dramatic without being too individual4 ,his murals don't call the attention away from their surroundings to themselves4 ,they are a part of the architecture1 as murals always should be4 ,on either side we found the columned niches designed by ,mc,kim1 ,mead and ,white1 each ornamented with a fountain4 ,the back wall made a splendid effect as it reached up toward the tower4 ,to the right we turned to view ,mrs4 ,edith ,woodman ,burroughs' ,fountain of ,youth1 lovely in the girlish beauty of the central figure1 and in the simplicity and the sincerity of the design as a whole4 ,in some ways the figure reminded us of the celebrated painting by ,ingres in the ,louvre1 ,the ,source1 the nude girl bearing a jug on her shoulder1 sending out a stream of water4 ,there was no suggestion of imitation1 however4 ,the symbolism in the design1 said the architect1 does not thrust itself on you1 and yet it is plain enough4 ,that woman and man pushing up flowers at the feet of the girl make a beautiful conception4 ,the whole fountain has an ingenuousness that is in key with the subject4 ,across the way1 he went on1 turning to view the ,fountain of ,el ,dorado1 by ,mrs4 ,gertrude ,vanderbilt ,whitney1 there's a piece of work much more sophisticated and dramatic1 fine in its conception and strong in handling4 ,no one would say offhand that it was the work of a woman2 and yet it shows none of the overstrain that sometimes characterizes a woman artist when she wishes her work to seem masculine4 ,in approaching the ,el ,dorado we noted the skill shown in the details of the conception4 ,this fountain might have been called ',the ,land of ,gold1' in plain ,english1 or ',the ,struggle for ,happiness1' or by any other name that suggested competition for what people valued as the prizes of life4 ,when ,mrs4 ,whitney was asked to explain whether those trees in the background represented the tree of life1 she said she didn't have any such idea in her mind4 ,what she probably wanted to do was to present an imaginative scene that each observer could interpret for himself4 ,these two ,egyptian-looking guardians at the doors1 with the figures kneeling by them1 suggest plainly enough the futility that goes with so much of our struggling in the world4 ,so often people reach the edge of their goal without really getting what they want4 ,v ,the ,court of the ,universe ,through the arch we passed into the neck of the ,court of the ,universe1 which charmed us by the warmth of its coloring1 by ,mc,laren's treatment of the sunken garden1 by its shape1 by the use of the dark pointed cypress trees against the walls1 and by the sweep of view across the great court to the ,marina1 broken1 however1 by the picturesque and inharmonious ,arabic bandstand4 ,we glanced at the inscriptions at the base of the tower carrying on the history of the ,canal to its completion4 ,then we stopped before those graceful little elephants bearing ,guerin's tall poles with their streamers4 ,that little fellow is a gem in his way4 ,he comes from ,rome4 ,but the heavy pole on his back is almost too much for him4 ,he's used pretty often on the grounds1 but not too often4 ,after the ,exposition is over we ought to keep these figures for the ,civic ,center4 ,they would be very ornamental in the heart of the city4 ,as we walked toward the main court1 the architect called my attention to the view between the columns on the other side of the ,tower of ,jewels1 with the houses of the city running down the hills4 ,san ,francisco architecture may not be beautiful when you study individual houses4 ,but in mass it is fine4 ,and1 of a late afternoon1 it is particularly good in coloring4 ,it seems to be enveloped in a rich purple haze4 ,that color might have given the mural decorators a hint4 ,it would have been effective in the midst of all this high-keyed architecture4 ,it's easy here to imagine that you're in one of those ancient ,hindu towns where the gates are closed at night4 ,you almost expect to see camels and elephants4 ,what was most striking in the ,court was its immensity4 ,though it comes from ,bernini's entrance court to ,st4 ,peter's in ,rome1 it is much bigger4 ,there are those who think it's too big4 ,but it justifies itself by its splendor4 ,the use of the double row of columns is particularly happy4 ,the double columns were greatly favored by the ,romans4 ,in ,st4 ,peter's ,bernini used four in a row4 ,and what could be finer than those two triumphal arches on either side1 the ,arch of the ,rising ,sun and the ,arch of the ,setting ,sun1 with their double use of symbolism1 in suggesting the close relation between ,california and the ,orient1 as well as their geographical meaning8 ,they are1 of course1 importations from ,rome1 the ,arch of ,constantine and the ,arch of ,titus all over again1 with a rather daring use of windows with colored lattices to give them lightness and with colossal groups of almost startling proportions used in place of the ,roman chariot or quadriga4 ,originally1 the intention had been to use here the name of the ,court of ,sun and ,stars4 ,then it was changed to the ,court of ,honor1 and finally to its present name1 to suggest the international character of the ,exposition4 ,those two groups represented by far the most ambitious work done by the sculpture department4 ,from designs by ,calder1 they were made by three sculptors1 ,calder1 ,roth and ,lentelli4 ,they presented problems that must have been both difficult and interesting to work out4 ,first1 they had to balance each other4 ,what figure in the ,pioneer group could balance the elephant that typified the ,orient8 ,calder had the idea of using the prairie schooner1 associated with the coming of the pioneers to ,california1 drawn by great oxen4 ,the ,oriental group doubtless shaped itself in picturesque outlines much more quickly than the sturdy1 but more homely ,americans of the earlier period4 ,the ,orientals displayed an ,indian prince on the ornamented seat1 and the ,spirit of the ,east in the howdah1 of his elephant1 an ,arab shiek on his ,arabian horse1 a negro slave bearing fruit on his head1 an ,egyptian on a camel carrying a ,mohammedan standard1 an ,arab falconer with a bird1 a ,buddhist priest1 or ,lama1 from ,thibet1 bearing his symbol of authority1 a ,mohammedan with his crescent1 a second negro slave and a ,mongolian on horseback4 ,the ,nations of the ,west were grouped around that prairie wagon1 drawn by two oxen4 ,in the center stood the ,mother of ,tomorrow a typical ,american girl1 roughly dressed1 but with character as well as beauty in her face and figure4 ,on top of the wagon knelt the symbolic figure of ,enterprise1 with a white boy on one side and a colored boy on the other1 ,heroes of ,tomorrow4 ,on the other side of the wagon stood typical figures1 the ,french-,canadian trapper1 the ,alaska woman1 bearing totem poles on her back1 the ,american of ,latin descent on his horse1 bearing a standard1 a ,german1 an ,italian1 an ,american of ,english descent1 a squaw with a papoose1 and an ,indian chief on his pony4 ,the wagon was modelled on top of the arch4 ,it was too large and bulky to be easily raised to that great height4 ,the architect was impressed by the boldness of the designs and to the spirit that had been put into them4 ,it's very seldom in the history of art that sculptors have had a chance to do decorative work on so big a scale4 ,it must have been a hard job1 getting the figures up there in pieces and putting them together4 ,some of the workers came near being blown off4 ,some of them lost their nerve and quit4 ,i wonder1 by the way1 if that angel on top of the prairie wagon would be there if ,saint ,gaudens hadn't put an angel in his ,sherman statue1 and if he hadn't made an angel float over the negro soldiers in his ,robert ,gould ,shaw monument in ,boston4 ,he liked that kind of symbolism4 ,he must have got it from the mediaeval sculptors who worked under the inspiration of the ,catholic ,church4 ,varying notes we found around the ,american group4 ,cleopatra's needle1 used for ornamentation1 suggested ,egypt and the ,nile4 ,that crenellated parapet once belonged to military architecture3 between those pieces that stood up1 the merlons1 in the embrasure1 the ,greek and ,roman archers shot their arrows at the enemy and darted back behind the merlons for protection4 ,in spite of its being purely ornamental it told its story just the same1 and it expressed the spirit that still persisted in mankind4 ,nowadays it was even used on churches4 ,but religion and war had always been associated4 ,besides1 in an ,international ,exposition it was to be expected that the art should be international4 ,how many people1 when they looked at ,cleopatra's needle1 knew how closely it was related to the newspapers and historical records of today8 ,the ,egyptians used to write on these monuments news and opinions of public affairs4 ,the ,romans had a similar custom in connection with their columns4 ,on the column of ,trajan they not only wrote of their victories1 but they pictured victorious scenes in stone4 ,the little sprite that ran along the upper edge of the court in a row1 the star-figure1 impressed me as making an unfortunate contrast with the stern angel1 repeated in front of each of the two arches4 ,my criticism brought out the reply that it was beautiful in itself and had its place up there4 ,these accidental effects of association are sometimes good and sometimes they're not4 ,here ,i can't see that they make a jarring effect4 ,in the first place1 a ,court of the ,universe ought to express something of the incongruity in our life4 ,ideally1 of course1 it isn't good in art to represent a figure in a position that it's hard to maintain without discomfort4 ,but here the outlines are purely decorative and don't suggest strain4 ,in my judgment that figure is one of the greatest ornaments in the court4 ,it gives just the right note4 ,the two fountains in the center of the sunken garden were gaily throwing their spray into the air4 ,the boldness of the ,tritons at the base represented a very different kind of handling from the delicacy of the figure at the top of each1 the ,evening ,sun and the ,rising ,sun1 both executed with poetic feeling4 ,in the ,rising ,sun1 ,weinmann had succeeded in putting into the figure of the youth life1 motion and joy4 ,looking at that figure1 just ready to spread its wings1 one felt as if it were really about to sweep into the air4 ,though the ,evening ,sun might be less dramatic1 it was just as fine4 ,it isn't often that you see sculpture of such imaginative quality1 said the architect4 ,those great symbolic figures by ,robert ,aitken1 at once giving a reminder of ,michael ,angelo1 impressed me as being perfectly adapted to the ,court1 and to their subjects1 ,earth1 ,air1 ,fire1 and ,water4 ,but my companion thought they were too big4 ,he agreed1 however1 that they were both original and strong4 ,there was cleverness in making the salamander1 with his fiery breath and his sting1 ready to attack a ,greek warrior1 symbolize fire4 ,under the winged girl representing air there was a humorous reference to man's early efforts to fly in the use of the quaint little figure of ,icarus4 ,water and earth were more conventional1 but worked out with splendid vigor1 the two figures under earth suggesting the competitive struggle of men4 ,i remember ,aitken in his beginning here in ,san ,francisco4 ,though he often did poor stuff1 everything of his showed artistic courage and initiative4 ,even then anyone could see there was something in him4 ,now it's coming out in the work he has contributed to this ,exposition4 ,the qualities in these four statues we shall see again when we reach the fountain that ,aitken made for the ,court of ,abundance4 ,they are individual without being eccentric4 ,compare these four figures with the groups in front of the two arches1 by ,paul ,manship1 another ,american sculptor of ability1 but different from ,aitken in his devotion to the early ,greek4 ,when ,manship began his work a few years ago he was influenced by ,rodin4 ,then he went to ,rome and became charmed with the antique4 ,now he follows the antique method altogether4 ,he deliberately conventionalizes4 ,and yet his work is not at all conventional4 ,he manages to put distinct life into it4 ,these two groups1 the ',dancing ,girls' and ',music1' would have delighted the sculptors of the classic period4 ,under the ,arch of the ,rising ,sun two delicate murals by ,edward ,simmons charmed us by their grace1 their lovely coloring1 by the richness of their fancy and by the extraordinary fineness of their workmanship4 ,there's a big difference of opinion about those canvases as murals4 ,but there's no difference of opinion in regard to their artistic merit4 ,they are unquestionably masterpieces4 ,kelham and ,guerin1 who had a good deal to do with putting them up there1 believe they are in exactly the right place4 ,but a good many others think they are almost lost in all this heavy architecture4 ,you see1 ,simmons didn't take ,guerin's advice as to a subject4 ,each of his two murals has a meaning1 or rather a good many meanings1 but no central theme1 no story that binds the figures into a distinct unity4 ,so1 from the point of view of the public1 they are somewhat puzzling4 ,people look up there and wonder what those figures are doing4 ,but to the artist they find their justification merely in being what they are1 beautiful in outline and in posture and coloring4 ,you don't often get such atmosphere in mural work1 or such subtlety and richness of feeling4 ,both murals unmistakably showed the same hand4 ,there's not another man in the country who could do work of just that kind4 ,that group in the center of the mural to the north could be cut out and made into a picture just as it stands4 ,it doesn't help much to know that the middle figure1 with the upraised arm1 is ,inspiration with ,commerce at her right and ,truth at her left4 ,they might express almost any symbols that were related to beauty4 ,and the symbolism of the groups at either end seems rather gratuitous4 ,they might be many other things besides true hope and false hope and abundance standing beside the family4 ,but the girl chasing the bubble blown out by false hope makes a quaint conceit to express adventure1 though perhaps only one out of a million would see the point if it weren't explained4 ,the opposite mural we found a little more definite in its symbolism1 if not so pictorial or charming4 ,the figures consisted of the imaginary type of the figure from the lost ,atlantis2 the ,roman fighter2 the ,spanish adventurer1 suggesting ,columbus2 the ,english type of sea-faring explorer1 ,sir ,walter ,raleigh2 the priest who followed in the wake of the discoverer1 the bearer of the cross to the new land2 the artist1 spreading civilization1 and the laborer1 modern in type1 universal in significance1 interesting here as standing for the industrial enterprise of today4 ,those murals suggest what a big chance our decorators have in the themes that come out of our industrial life4 ,they've only made a start4 ,as mural decoration advances in this country1 we ought to produce men able to deal in a vigorous and imaginative way with the big spiritual and economic conceptions that are associated with our new ideals of industry4 ,one feature of this court made a special appeal to the architect1 the use of the large green vases under the arches4 ,they're so good they're likely to be overlooked4 ,they blend perfectly in the general scheme4 ,their coloring could not have been better chosen and their design is particularly happy4 ,,vi ,on the ,marina ,along one of the corridors we passed1 enjoying the richness of the coloring and the beauty of the great lamps in a long row1 then out into the wide entrance of the court to the ,column of ,progress4 ,i wonder if that column would be there now1 said the architect1 if ,trajan had not built his column in ,rome nearly two thousand years ago4 ,the ,christianizing of the column1 by placing ,st4 ,peter on top instead of ,trajan1 is symbolic of a good deal that has gone on here4 ,but we owe a big debt to the pagans1 much more than we acknowledge4 ,when ,i expressed enthusiasm over the column the architect ran his eye past the frieze to the top4 ,in the first place1 that dominating group up there ought at once to express the character of the column4 ,but it doesn't4 ,you have to look twice and you have to look hard4 ,one figure would have been more effective4 ,but there is a prejudice among some sculptors against placing a single figure at the head of a column1 though the ,romans often did it4 ,but if a group had to be used it could have been made much clearer4 ,now in that design ,mac,neil celebrated the ,adventurous ,archer in a way that was distinctly old-fashioned4 ,he made the archer a superman1 pushing his way forward by force1 and by the dominance of personality4 ,and see how comparatively insignificant he made the supporting figures4 ,the relation of those three people implies an acceptation of the old ideals of the social organization4 ,mac,neil had a chance here to express the new spirit of today1 the spirit that honors the common man and that makes an ideal of social co-operation on terms of equality4 ,at the base we studied the figures celebrating labor4 ,konti is a man of broad social understanding and sympathy1 said my companion4 ,but picturesque as those figures are1 they're not much more4 ,they give no intimation of the mighty stirring among the laborers of the world1 a theme that might well inspire the sculpture of today1 one of the greatest of all human themes4 ,from the ,column of ,progress the ,marina drew us over to the seawall4 ,the builders were wise to leave this space open and to keep it simple4 ,it's as if they said3 ',ladies and gentlemen1 we have done our best4 ,but here's ,mother ,nature4 ,she can do better4' ,to our right stood ,alcatraz1 shaped like a battleship1 with the ,berkeley hills in the distant background4 ,to the left rose ,tamalpais in a majestic peak4 ,when ,i mentioned that there ought to be more boats out there on the bay1 a whole fleet1 and some of them with colored sails1 to give more brightness1 the architect shook his head4 ,the scene is typically ,californian4 ,it suggests great stretches of vacant country here in this ,state1 waiting for the people to come from the overcrowded ,east and ,middle ,west and thrive on the land4 ,our point of view on the ,esplanade enabled us to take in the sweep of the northern wall1 with its straight horizontal lines1 broken by the entrances to the courts and by the splendidly ornate doors in duplicate4 ,of the design above the doorway the architect said3 ,it's a perfect example of the silver-platter style of ,spain1 generally called 'plateresque1' adapted to the ,exposition4 ,allen ,newman's figure of the ,conquistador is full of spirit1 and the bow-legged pirate is a triumph of humorous characterization4 ,can't you see him walking the deck1 with the rope in his hand8 ,it isn't so many generations since he used to infest the ,pacific4 ,by the way1 that rope1 which the sculptor has made so realistic and picturesque at the same time1 reminds me that a good many people are bothered because the bow up here1 on the ,column of ,progress1 has no string4 ,the artistic folk1 of course1 think that the string ought to be left to the imagination4 ,in the distance1 to the west1 we commented on the noble outlines of the ,california ,building1 an idealized type of ,mission architecture1 a little too severe1 perhaps1 lacking in variety and warmth1 but of an impressive dignity4 ,the old friars1 for all their asceticism1 liked gaiety and color in their building4 ,as we were about to start back to the ,court of the ,universe the architect reminded me of the two magnificent towers1 dedicated to ,balboa and ,columbus1 that had been planned for the approach to the ,court of ,four ,seasons and the ,court of ,ages from the bay side1 but had been omitted to save expense4 ,they would have given the ,marina a far greater splendor2 but they would have detracted from its present simplicity4 ,,vii ,toward the ,court of ,four ,seasons ,there are critics1 ,i remarked1 as we walked back to the ,court of the ,universe1 on the way to the ,court of ,four ,seasons1 who say that the entrance courts ought to have been placed on the other side that the ,exposition ought to have been turned round4 ,they don't understand the conditions that the architects had to meet4 ,that plan was considered2 but when it was pointed out that the strongest winds here blow from the south and southwest1 it was seen that it would not be feasible4 ,besides1 the present arrangement has the advantage of leading the people directly to one of the most beautiful bays in the world4 ,the only bays at all like it that ,i know anything about are the ,bay of ,palermo and the ,bay of ,naples4 ,the view of the ,exposition from the water is wonderfully fine4 ,it brings out the charm of the straight lines4 ,all things considered1 the architects did an uncommonly fine job in making the courts run from the ,esplanade4 ,under the star figures1 among the sculptured flowers' surrounding the head of the sacred bull1 birds were nestling4 ,we wondered if those birds were really fooled by those flowers or whether1 in these niches1 they merely found a comfortable place to rest4 ,there's an intimate relation1 by the way1 between birds and architecture4 ,it's said that the first architectural work done in the world consisted in the making of a bird's nest4 ,some critics think that architecture had its start in the making of a bird's nest4 ,have you ever watched birds at work on their nests8 ,if you have1 you must know that they go about the job like artists4 ,in our profession we like to insist1 you know1 that there's a big difference between architecture and mere building4 ,in its truest sense architecture is building with a fine motive4 ,it's the artistic printing press of all ages1 the noblest of the fine arts and the finest of the useful arts4 ,i know1 of course1 the architect went on1 that there's another tradition not quite so flattering4 ,it makes the architect merely the worker in the rough1 with the artistic finish left to the sculptors4 ,but the outline is nevertheless the architect's1 the structure1 which is the basis of beauty4 ,even now a good many of the great ,french buildings are roughed out in this way1 and finished by the sculptors and the decorators4 ,under the western arch1 leading to the inner court that united the ,court of the ,universe with the ,court of the ,four ,seasons1 we found the two panels by ,frank ,vincent ,du ,mond4 ,their simple story they told plainly enough1 the departure of the pioneers from the ,atlantic border for the ,far ,west on the ,pacific4 ,in the panel to the right we saw the older generation saying farewell to the younger1 and on the other side we saw the travelers arriving in ,california and finding a royal welcome from the ,westerners in a scene of typical abundance1 even the ,california bear showing himself in amiable mood4 ,that bear bothered ,du ,mond a good deal4 ,he wasn't used to painting bears4 ,it isn't nearly as life-like as those human figures4 ,what ,i liked best about the murals was their splendor of coloring1 and their pictorial suggestiveness and vigor of characterization4 ,perhaps there was a little too much effort on the part of the painter to suggest animation4 ,but why1 ,i asked1 had ,du ,mond made most of the faces so distinctively ,jewish8 ,my question was received with an exclamation of surprise4 ,yes1 the strong ,jewish types of features were certainly repeated again and again4 ,perhaps ,du ,mond happened to use ,jewish models4 ,it hardly seemed possible that the effect could have been intentional4 ,when ,i pointed to one of the figures1 a youth holding out a long bare arm1 and remarked that ,i had never seen an arm of such length1 my criticism brought out an unsuspected principle of art4 ,the ,cubists would say that you were altogether too literal4 ,they are making us all understand that what art ought to do is to express not what we merely see with our eyes1 but what we feel4 ,if by lengthening that arm1 the painter gets an effect that he wants1 he's justified in refusing to be bound by the mathematical facts of nature4 ,art is not a matter of strict calculation1 that is1 art at its best and its purest4 ,it's a matter of spiritual perception4 ,all the resources of the artist ought to be bent toward expressing a spiritual idea and making it alive and beautiful through outline and color4 ,but how about the mixture of allegory and realism that we see in these murals and in so much of the art here8 ,don't you find it disturbing8 ,not at all4 ,there's no reason in the world why the allegorical and the real should not go together1 provided1 of course1 they don't grossly conflict and become absurd4 ,what the artist is always working for is the effect of beauty4 ,if a picture is beautiful1 no matter how the beauty is achieved1 it deserves recognition as a work of art4 ,in these murals ,du ,mond has tried to reach as closely as he could to nature without being too literal and without sacrificing artistic effect4 ,he has even introduced among his figures some well-known ,californians1 a ,bret ,harte1 in the gown of the scholar1 and ,william ,keith1 carrying a portfolio to suggest his painting4 ,in that inner court we noticed how cleverly ,faville had subordinated the architecture so that it should modestly connect the great central courts4 ,mc,laren was keeping it glowing on either side with the most brilliant ,california flowers4 ,the ornamental columns1 the ,spanish doorways1 and the great windows of simple and yet graceful design were all harmonious1 and ,guerin and ,ryan had helped out with the coloring4 ,,viii ,the ,court of the ,four ,seasons ,as we entered the ,court of the ,four ,seasons the architect said3 ,if ,i were to send a student of architecture to this ,exposition1 ,i should advise him to spend most of his time here4 ,of all the courts1 it expresses for me the best architectural traditions4 ,henry ,bacon frankly took ,hadrian's ,villa for his model1 and he succeeded in keeping every feature classic4 ,that half dome is an excellent example of a style cultivated by the ,romans4 ,the four niches with the groups of the seasons1 by ,piccirilli1 screened behind the double columns1 come from a detail in the baths of ,caracalla4 ,the ,romans liked to glimpse scenes or statuary through columns4 ,guerin has applied a rich coloring1 his favorite pink1 and ,mc,laren has added a poetic touch by letting garlands of the ,african dew plant1 that he made his hedge of1 flow over from the top4 ,see how ,bacon has used the bull's head between the flowers in the ornamentation1 one of the most popular of the ,renaissance motives4 ,and he has introduced an original detail by letting ears of corn hang from the top of the columns4 ,those bulls up there1 with the two figures1 carry the mind back to the days when the ,romans made a sacrifice of the sacred bull in the harvest festivals4 ,this ,thanksgiving of theirs they called ',the ,feast of the ,sacrifice4' ,crowning the half dome sat the lovely figure of ,nature1 laden with fruits1 by ,albert ,jaegers4 ,on the columns at either side stood two other figures by ,jaegers1 ,rain1 holding out a shell to catch the drops1 and ,sunshine1 with a palm branch close to her eyes4 ,at each base the figures of the harvesters carried out the agricultural idea with elemental simplicity in friezes that recalled the friezes on the ,parthenon4 ,here1 on each side of the half-dome1 we have a good example of the composite column1 a combination of the ,corinthian and the ,ionic1 with the ,ionic scrolls and the acanthus underneath1 and with little human figures between the two4 ,what we liked best about this court was its feeling of intimacy4 ,one could find refreshment here and rest4 ,much was due to the graceful planting by ,john ,mc,laren4 ,his masses of deep green around the emerald pool in the center were particularly successful4 ,he had used many kinds of trees1 including the olive1 the acacia1 the eucalyptus1 the cypress1 and the ,english laurel4 ,we lingered in front of these fountains1 admiring the classic grace of the groups and the play of water over the steps4 ,we thought that ,piccirilli had been most successful with his ,spring4 ,of course1 it's very conventional work1 said the architect1 but the conventional has its place here4 ,it explains just why ,milton ,bancroft worked out those murals of his in this particular way4 ,he wanted to express the elemental attitude of mind toward nature1 the artistic childhood of the race4 ,when we examined the figures of the ,piccirilli groups in detail1 we found that they possessed excellent qualities4 ,they carried on the traditions of the wall-fountains so popular in ,rome and often associated with water running over steps4 ,the figures were well put together and the lines were good4 ,all of the groups had the surface as carefully worked out4 ,in ,spring the line of festooning helped to carry on the line leading to the top of the group4 ,there was tender feeling and fine workmanship in ,summer1 with the feminine and masculine hands clearly differentiated4 ,the men of today have a chance to learn a good lesson from ,rodin1 said the painter4 ,he is teaching them what he himself may have learned from the work of ,donatello and ,michael ,angelo1 the importance of surface accentuation1 the securing of the light and shade that are just as necessary in modelling as in painting4 ,in these groups there is definite accentuation of the muscles4 ,it makes the figures seem life-like4 ,the work reminds me of the figure of ,the ,outcast1 by the sculpter's brother1 ,attilio ,piccirilli1 that we shall see in the colonade of the ,fine ,arts ,palace4 ,so many sculptors like to secure these smooth1 meaningless surfaces that excite admiration among those people who care for mere prettiness4 ,it is just about as admirable as the smoothing out of character lines from a photograph4 ,but the ,piccirillis go at their work like genuine artists4 ,those murals we were inclined to regard as somewhat too simple and formal4 ,after all1 said the architect1 it's a question whether this kind of effort is in the right direction4 ,so often it leads to what seems like acting in art1 regarded by some people as insincerity4 ,at any rate1 the best that can be said of it is that it's clever imitation4 ,but here it blends in with the feeling of the court and it gives bright spots of color4 ,guerin has gone as close to white as he dared4 ,so he felt the need of strong color contrasts1 and he got ,bancroft to supply them4 ,and the colors are repeated in the the other decorations of the court4 ,it's as if the painter had been given a definite number of colors to work with4 ,in this matter of color1 by the way1 ,bancroft had a big advantage over the old ,roman painters4 ,their colors were very restricted4 ,in this court they might have allowed more space for the murals4 ,they're not only limited in size1 but in shape as well4 ,bancroft used to call them his postage-stamps4 ,in the entrance court we found ,evelyn ,breatrice ,longman's ,fountain of ,ceres1 the last of the three fountains done on the grounds by women1 and decidedly the most feminine4 ,mrs4 ,longman hasn't quite caught the true note1 the architect remarked4 ,the base of the fountain is interesting1 though ,i don't care for the shape4 ,but the figure itself is too prim and modish4 ,somehow ,i can't think of ,ceres as a proper old maid1 dressed with modern frills4 ,the execution1 however1 shows a good deal of skill4 ,the frieze might be improved by the softening of those sharp lines that cut out the figures like pasteboard4 ,and these women haven't as much vitality as that grotesque head down near the base1 spouting out water4 ,the architect glanced up and noticed the figure of ,victory on one of the gables1 so often to be seen during a walk over the grounds4 ,there's more swing to that figure than to the one here1 and yet there's a certain resemblance between them4 ,they both show the same influence1 the ,winged ,victory of ,samothrace4 ,of course1 ,miss ,longman has purposely softened the effect on account of the mildness of her subject4 ,but she might have been more successful with her draperies if she had followed the suggestions in the ,winged ,victory more closely4 ,there the treatment of the draperies is magnificent4 ,both the ,greeks and the ,romans were very fond of this type of figure4 ,and it's often found among the ruins of ,pompeii1 which kept so close to ,rome in its artistic enterprise4 ,the need of separating the entrance to the ,court of the ,four ,seasons from ,ryan's display of scintillators on the imitation of ,morro ,castle at the edge of the bay1 had given ,john ,mc,laren a chance to create another of these deep green masses that surrounded the pool4 ,it shut the court off from the rest of the world and deepened the intimacy1 leaving1 however1 glimpses of the bay and the hills beyond4 ,,ix ,the ,palace of ,fine ,arts ,from ,across the ,lagoon ,in returning to the ,court of the ,four ,seasons1 we started along another of those inner courts1 made charming by those ,spanish doorways and by the twisted columns1 a favorite of the ,romans1 evidently borrowed from the ,orientals4 ,all through the ,exposition1 the architect remarked1 we are reminded of the ,oriental fondness for the serpent4 ,some people like to say that it betrays the subtlety and slyness of the ,oriental people4 ,but they admired the serpent chiefly because1 in their minds1 it represented wisdom1 the quiet and easy way of doing things1 a little roundabout perhaps1 but often better than the method of opposition and attack4 ,before us1 looking down as if from an eminence1 stood1 the ,palace of ,fine ,arts4 ,the architect reminded me of the clever planning that had placed this magnificent conception in so commanding a position1 looking down into the courts1 on what he called the main axis4 ,it's the vision of a painter who is also a poet1 worked out in terms of architecture4 ,maybeck planned it all1 even to the details4 ,he wanted to suggest a splendid ruin1 suddenly come upon by travelers1 after a long journey in a desert4 ,he has invested the whole place with an atmosphere of tragedy4 ,it's ,roman in feeling and ,greek in the refinement of its ornamentation4 ,that rotunda reminds one of the ,pantheon in ,rome4 ,those ,corinthian columns1 with the melancholy drooping of the acanthus and the fretwork and the frieze1 by ,zimm1 are suggestive of ,greece4 ,maybeck says that his mind was started on the conception1 ',the ,island of ,death1' by ,boecklin1 the painting that the ,german people know so well as the ',todteninsel1' and by ',the ,chariot ,race1' of ,gerome4 ,the architect went on to say that the resemblance was remote and chiefly interesting as showing how a great artist could carry a suggestion into an entirely new realm4 ,the ,boecklin painting merely suggested the general scope of the work1 and the chariot race gave the hint for that colonnade1 which ,maybeck had made so original and graceful by the use of the urns on top of groups of columns with the figure of a woman at each corner4 ,he had used that somewhat eccentric scheme on account of its pictorial charm4 ,all through the construction ,maybeck had defied the architectural conventions2 but he had been justified by his success4 ,my attention was directed to a group of columns at the end of the colonnade4 ,there's just a hint of the ,roman ,forum over there4 ,perhaps it's accidental4 ,perhaps it's developed from a picture way down in ,maybeck's consciousness4 ,however1 the idea of putting two columns together in just that way comes from the ,french ,renaissance4 ,the great ,french architect1 ,perrault1 used it in the ,louvre4 ,in the competition he won out over ,bernini1 who is living again in the ,court of the ,universe4 ,it gives great architectural richness4 ,people had wondered what ,mc,laren had meant to indicate by the high hedges he had made over there with his dew plant4 ,he had merely carried out the designs put into his hands4 ,maybeck had intended the hedge to be used as a background for willow trees that were to run up as high as the frieze1 in this way gaining depth4 ,through those trees the rotunda was to be glimpsed4 ,willow trees1 with overhanging boughs1 were also to be planted along the edge of the lagoon1 the water running under the leaves and disappearing4 ,in the lagoon swans were swimming and arching their long necks4 ,the old ,greeks and ,romans would have loved this scene1 though they would1 of course1 have found alien influences here1 said the architect4 ,they would have enjoyed the sequestration of the ,palace1 its being set apart1 giving the impression of loneliness4 ,the architects were shrewd in making the approach long and circuitous4 ,they might have done more with the water that was here before they filled in1 ,i said4 ,it offered fine chances4 ,yes1 and they thought of them and some ambitious plans were discussed4 ,but the expense was found to be prohibitive4 ,at that moment a guard1 in his yellow uniform with brass buttons1 came forward with a questioning lady at his side4 ,they stood so close to us that we could not help hearing their talk4 ,what are those women doing up there8 ,the guard looked at the urns1 surmounting the columns4 ,they're supposed to be crying1 he said4 ,what are they crying about8 ,the guard looked a little embarrassed4 ,they are crying over the sadness of art1 he said4 ,then he added somewhat apologetically1 ,anyway1 that's what the lecturer told us to say4 ,the lady appealed to us for information4 ,what this gentleman says is true1 remarked the authority at my side4 ,the architect intended that those figures should express something of the sadness of life as reflected in art4 ,oh1 said the lady1 as if she only half understood4 ,then she and the guard drifted away4 ,those people have unconsciously given us a bit of art criticism1 haven't they8 ,one of the most pictorial notes in this composition of ,maybeck's is the use of these figures4 ,but it's also eccentric and it puzzles the average looker-on who is always searching after meanings1 according to the literary habit of the day1 the result of universal reading4 ,perhaps the effect would have been1 less bewildering if those urns were filled with flowers as ,maybeck intended they should be4 ,then the women would have seemed to be bending over the flowers4 ,the little doors were put into the urns so that the man in charge of the flowers could reach up to them4 ,but this item of expense was included among the sacrifices4 ,the coloring of the columns had been a subject of some criticism4 ,the ochre columns were generally admired2 but the green columns were considered too atmospheric to give the sense of support4 ,and that imitation of green marble directly under the ,pegasus frieze of ,zimm's1 near the top1 had been found to bear a certain resemblance to linoleum4 ,but in applying1 the colors ,guerin had worked with deliberate purpose4 ,the green under the frieze was really a good imitation of marble1 and the shade used on the column suggested the weather-beaten effect associated with age4 ,there are columns that1 in my opinion1 have more beauty than those ,maybeck used4 ,but that's a matter of taste4 ,in themselves those columns are fine and they blend into impressive masses4 ,that altar under the dome1 with the kneeling figure1 only a great artist could have conceived in just that way4 ,ralph ,stackpole1 the sculptor of the figure1 worked it out in perfect harmony with ,maybeck's idea4 ,to appreciate his skill one ought to get close and see how roughly it has been modeled in order that the lines should be clear and yet give an effect of delicacy across the lagoon4 ,and those trees along the edge of the lagoon1 how gracefully they are planted1 in the true ,greek spirit4 ,the lines in front of the rotunda are all good1 as they run down to the water's edge4 ,and how richly ,mc,laren has planted the lagoon4 ,he has given just the luxuriance that ,maybeck wanted4 ,the ,western ,wall ,we turned to get the effect of the western wall looking out on this magnificence4 ,faville has done some of his finest work there4 ,all over the ,exposition he has expressed himself2 but as his name is not connected with one of the great courts we don't hear it very much4 ,when he tackled the ,western ,wall he had one of the hardest of his problems4 ,there was a big expanse to be made interesting and impressive1 without the aid of towers or courts4 ,it was a brilliant idea to break the monotony with those two splendid ,roman half-domes4 ,the figure of ,thought on the columns in front of the ,dome of ,plenty and repeated on the ,dome of ,philosophy started the architect talking on the subject of character and art4 ,only a sculptor with a very fine nature could have done that fellow up there4 ,in that design ,stackpole shows the qualities that he shows in the kneeling girl at the altar in the rotunda across the lagoon and in his figure of the common laborer and the little group of artisans and artists that we shall see on the doorway of the ,varied ,industries4 ,they include fineness and cleanness of feeling1 reverence and tenderness4 ,this particular figure is one of three figures on the grounds that stand for virtually the same subject1 ,rodin's ,thinker1 in the courtyard of the ,french ,building1 and ,chester ,beach's ,thinker1 in the niches to the west and east of the tower in the ,court of the ,ages4 ,they are all different in character4 ,stackpole's gives the feeling of gentle contemplation4 ,that man might be a poet or a philosopher or an inventor2 but a man of the kind of thought that leads to action or great achievement in the world - never4 ,you can't think of him as competing with his whole heart and soul in order to get ahead of other men4 ,however1 it would be an achievement just to be that type and it's a good type to be held up to us for our admiration1 better than the conventional ideal of success embodied in the ,adventurous ,bowman1 for example4 ,the proportions of the domes we could see at a glance had been well worked out4 ,earl ,cummings' figure of the ,youth had a really youthful quality2 but there was some question in our minds as to the wisdom of repeating the figure in a semi-circle4 ,after all1 the architect remarked1 in this country art owes some concession to habit of mind4 ,we are not trained to frankness in regard to nudity4 ,on the contrary1 all our conventions are against it4 ,but our artists1 through their special professional training1 learn to despise many of our conventions and they like to ignore them or frankly show their contempt for them4 ,that elaborate ,sienna fountain was well adapted to the ,dome of ,plenty1 though it was by no means a fine example of ,italian work1 with its design built up tier on tier4 ,it's the natural expression of a single idea that leads to beauty1 isn't it8 ,the instant there's a betrayal of effort1 the charm begins to fade4 ,there was no criticism to be made1 however1 of the ,italian fountain in the ,dome of ,philosophy1 the simplest of all the fountains1 and one of the most beautiful1 the water flowing over the circular bowl from all sides4 ,it makes water the chief feature1 said the architect approvingly1 which is the best any fountain can do4 ,is there anything in art that can compare for beauty with running water8 ,this fountain comes from ,italy and these female figures1 above the doorway1 with books in their arms1 are by one of the most interesting of the sculptors represented here1 ,albert ,weinert4 ,we'll see more work of his when we get to the ,court of ,abundance4 ,at sight of the curious groups in the niches ,i expressed a certain disappointment4 ,it seemed to me that1 in the midst of so much real beauty1 they were out of key4 ,but the architect had another point of view4 ,they are worth while because they're different1 he said4 ,they ought not to be considered merely as ornaments4 ,they have an archaeological interest4 ,they are related to those interesting studies that ,albert ,durer used to make1 and they are full of symbolism4 ,when ,charles ,harley made them he knew just what he was doing4 ,the male figure in ',the ,triumph of the ,fields' takes us back to the time when harvesting was associated with pagan rites4 ,the ,celtic cross and the standard with the bull on top used to be carried through the field in harvest time4 ,the bull celebrates the animal that has aided man in gathering the crops4 ,the wain represents the old harvest wagon4 ,that head down there typifies the seed of the earth1 symbol of the life that comes up in the barley that is indicated there1 bringing food to mankind4 ,the woman's figure1 unfortunately1 is too small for the niche1 ',abundance4' ,the horn of plenty on either side indicates her character4 ,she's reaching out her hands to suggest her prodigality4 ,the head of the eagle on the prow of the ship where she is sitting1 gives the idea an ,american application1 suggesting our natural prosperity and our reason for keeping ahead in the march of progress4 ,in one sense1 those figures represent a reactionary kind of sculpture4 ,nowadays the sculptors1 like the painters1 are trying to get away from literal interpretations4 ,they don't want to appeal to the mind so much as to the emotions4 ,x ,the ,palace of ,fine ,arts at ,close ,range ,the path leading to the northern end of the colonnade attracted us4 ,it brought us to the beautiful little grove of ,monterey cypress that ,mc,laren had saved from the old ,harbor ,view restaurant1 for so many years one of the most curious and picturesque of the ,san ,francisco resorts1 one of the few on the bay-side4 ,though the architect frankly admired ,paul ,bartlett's realistic ,wounded ,lion1 the pieces of sculpture set out on the grass bothered him somewhat4 ,he couldn't find any justification for their being there4 ,he wanted them1 as he said1 in a setting4 ,i think ,i can see what the purpose was in putting them here1 to provide decoration that would be unobtrusive4 ,but some of these pieces1 like ,bartlett's1 stand out conspicuously and deserve to be treated with more consideration4 ,besides1 there's always danger of weakening a glorious conception like ,maybeck's by putting too many things into it1 creating an artistic confusion4 ,we began to see how the colonnade in ,gerome's painting had worked its influence4 ,it was easy to imagine two chariots tearing along here1 between the columns1 after the ancient fashion4 ,and those bushes1 to the right1 rising on the lower wall1 between the vases1 surely had the character of over-growth4 ,they carried out ,maybeck's idea of an abandoned ruin4 ,the architect pointed to the top of the wall3 ,the little roof-garden on the edge of the upper wall gives the ,egyptian note in the architecture that many people have felt and it is emphasized by the deep red that ,guerin has applied1 the shade that's often found in ,egyptian ruins4 ,above the main entrance of the palace we saw ,lentelli's ,aspiration1 that had been the cause of so much criticism and humorous comment during the first few weeks of the ,exposition4 ,lentelli had a hard time with that figure4 ,it drove him almost to distraction4 ,perhaps a genius might have solved the problem of making the figure seem to float2 but ,i doubt if it could have been solved by anyone4 ,the foot-rest they finally decided to put under it didn't help the situation much4 ,directly in front of ,aspiration1 on its high pedestal1 stood ,charles ,grafly's monumental statue of ,the ,pioneer ,mother4 ,i suppose the obvious in sculpture has its place1 the architect remarked1 and this group will appeal to popular sentiment4 ,its chief value lies in its celebrating a type of woman that deserves much more recognition than she has received in the past4 ,most of the glory of the pioneer days has gone to the men4 ,the women1 however1 in the background1 had to share in the hardships and often did a large part of the work4 ,it's a question in my mind whether this woman quite represents the vigorous type that came over the plains in the prairie schooner4 ,however1 just as she is1 she is fine1 and she has a strong hand that looks as if it had been made for spanking4 ,i wonder why the sculptor gave her that kind of head-covering4 ,she might have appeared to better advantage bare-headed4 ,the children are excellent4 ,observe the bright outlook of the boy and the timid attitude of the girl4 ,there's a fine tenderness in the care the girl is getting from her mother and from the boy1 too1 suggesting dawning manhood4 ,altogether1 the group has nobility and it's worthy of being a permanent monument for ,san ,francisco4 ,by the way1 there's the old ,roman idea of the decorative use of the bull's head again1 at the base of the group4 ,it has a very happy application here4 ,it reminds us of the oxen that helped to get the ,easterners out to ,california in the old days before the railroads4 ,a good many of them must have dropped in their tracks and left their skulls to bleach in the sun4 ,the other ornamental design we found very appropriate and direct1 as we studied the pedestal4 ,there was the ship that used to go round the horn1 with the torches that suggested civilization1 and1 at the back of the pedestal1 the flaming sun that celebrated the ,golden ,gate4 ,in the rotunda we found ,paul ,bartlett1 represented again by the equestrian statue of ,lafayette1 in full uniform1 advancing sword in the air4 ,it unquestionably had a magnificent setting1 though it suffered by being surrounded by so many disturbing interests4 ,the director of the ,fine ,arts ,department cared enough about this figure to have it duplicated for the ,exposition4 ,it's a good example of the old-fashioned heroic sculpture1 where the subjects take conventional dramatic attitudes4 ,the ceiling of the rotunda displayed those much-discussed murals by ,robert ,reid4 ,up there they seemed like pale reflections4 ,you should have seen them when they were in ,machinery ,hall4 ,then they were magnificent4 ,but the instant they were put in place it was plain that the effect had been miscalculated4 ,at night1 under the lighting1 they show up better4 ,judged by themselves1 apart from their surroundings1 they are full of inspiration and poetry4 ,only a man of genuine feeling and with a fine color-sense could have done them4 ,but in all this splendor of architecture they are lost4 ,on examining them in detail we found that they covered an extraordinarily wide range of fancy1 graceful and dramatic1 even while1 save in one panel1 they showed an indifference to story-telling4 ,one group celebrated ,the ,birth of ,european ,art1 with the altar and the sacred flame1 tended by a female guardian and three helpers1 and with a messenger reaching from his chariot to seize the torch of inspiration and to bear it in triumph through the world1 the future intimated by the crystal held in the hands of the woman at the left4 ,another1 ,the ,birth of ,oriental ,art1 told the ancient legend of a ,chinese warrior who1 seated on the back of a dragon1 gave battle to an eagle1 the symbol relating to man's seeking inspiration from the air4 ,ideals in ,art brought forward more or less familiar types3 the ,madonna and the ,child1 ,joan of ,arc1 ,youth and ,beauty1 in the figure of a girl1 ,vanity in the ,peacock1 with more shadowy intimations in two mystical figures in the background1 the tender of the sacred flame and the bearer of the palm for the dead1 and the laurel-bearer ready to crown victory4 ,the ,inspiration in ,all ,art revealed the figures of ,music1 ,architecture1 ,painting1 ,poetry and ,sculpture4 ,four other panels glorified the four golds of ,california1 gold1 wheat1 poppies and oranges1 a happy idea1 providing opportunities for the splendid use of color4 ,it's a pity those murals couldn't have been tried out up there and then taken down and done over1 said the architect4 ,but sometime they will find the place where they belong1 perhaps in one of our ,san ,francisco public buildings4 ,they're too good not to have the right kind of display4 ,the ,priestess of ,culture1 by ,herbert ,adams1 one of the best-known of ,american sculptors1 eight times repeated1 we felt1 had its rightful place up there and blended into the general architectural scheme4 ,but some of the other pieces of statuary might have been left out with advantage4 ,through the columns we caught many beautiful vistas4 ,and those groups of columns themselves made pictures4 ,what is most surprising about this palace is the way it grows on you4 ,the more familiar you are with it the more you feel the charm4 ,maybeck advises his friends to come here by moonlight when they can get just the effect he intended4 ,in all the ,exposition there's no other spot quite so romantic4 ,it might have been built for lovers4 ,,xi ,at the ,palace of ,horticulture ,at the ,palace of ,horticulture the architect said3 ,here is the ,mosque of ,ahmed the ,first1 taken from ,constantinople and adapted to horticulture and to the ,exposition4 ,it has a distinct character of its own4 ,it even has temperament4 ,so many buildings that are well proportioned give the impression of being stodgy and dull4 ,they are like the people that make goodness seem uninteresting4 ,but here is use that expresses itself in beauty and adorns itself with appropriate decoration4 ,when ,i mentioned that some people found this building too ornate1 the architect replied3 ,there's an intimate and appropriate relation between the ornament and the architecture4 ,personally ,i shouldn't care to see just this kind of building in the heart of the city1 where you'd have it before your eyes every day4 ,but for the ,exposition it's just right4 ,and how fitting it is that the splendid dome should be the chief feature of a building that is really an indoor garden and that the most prominent note of the coloring should be green1 nature's favorite and most joyous color4 ,some joker1 he went on1 says that this ,exposition is domicidal4 ,he expresses a feeling a good many people have here1 that there are too many domes4 ,but ,i don't agree4 ,the domes make a charming pictorial effect1 and they harmonize with the general spirit of the architecture4 ,and as for this dome1 it is one of the greatest in the world4 ,see how cleverly the architects1 following the spirit of the ,french ,renaissance1 have used those ornamental shafts4 ,the only criticism that can be made on them is that they serve no architectural purpose1 which ought1 of course1 always to be intimately associated with use4 ,instead of growing from the nature of the building1 they are put on from outside4 ,now1 in the mosque they were very important in their service4 ,they were the minarets where the ,muezzins used to stand in order to call the faithful to prayer4 ,those minarets up there1 carrying on the dome motive1 on the corners of the walls of the main palaces are much closer to the old idea4 ,our talk turned to the subject of domes in general4 ,the idea had come from the bees1 from the shape of their hives4 ,prehistoric man used for a dwelling-place a hut shaped like a hive1 as well as an imitation of a bird's nest4 ,in formal architecture1 the dome showed itself early4 ,the ,greeks knew it2 but they didn't use it much4 ,the greatest users of the dome were the ,byzantines4 ,it was all dome with them4 ,the first important dome was built in ,rome in the second century1 to crown the ,pantheon4 ,of all the domes in the world the most interesting historically was ,st4 ,peter's1 the work of several architects4 ,it was the inspiration of the dome of ,st4 ,paul's in ,london1 built by the ,english architect1 ,sir ,christopher ,wren4 ,architecturally the most interesting of the domes was ,brunelleschi's1 built for the ,florence ,cathedral in the fifteenth century1 known throughout the world by the ,italian name for ,cathedral1 the ,duomo4 ,it was in connection with the ,duomo that the architect reminded me of the celebrated story about ,brunelleschi4 ,when the ,florentine church authorities decided to build the ,duomo they were puzzled as to how so mighty a dome should be developed4 ,so they invited the architects to appear before them in competition1 and to present their ideas4 ,one architect1 ,donatello1 explained that1 if he secured the commission1 he should first build a mound of earth1 and over it he would construct his dome4 ,but the authorities replied that there would be great labor and expense in taking the earth out4 ,he said that he would put coins into the earth and1 by this means1 he would very quickly have the earth removed by the people4 ,when ,brunelleschi was asked how he would build his dome he said3 ,how would you make an egg stand on end8 ,they didn't know how1 and he showed them1 by taking a hard-boiled egg and pressing it down at one end1 an idea like the one that occurred to ,christopher ,columbus about fifty years later4 ,the ,palace of ,horticulture as an illustration of ,french ,renaissance architecture fascinated this observer1 in spite of its overelaborateness4 ,it's marvelous to think of what the ,renaissance meant throughout ,europe1 he said1 and how it showed itself in art through the national characteristics4 ,french ,renaissance and ,italian ,renaissance1 though they have qualities in common1 are very different4 ,and you'll find marked differences even in the ,renaissance art of the ,italian cities1 such as ,rome and ,florence and ,venice4 ,but the ,renaissance showed that no matter how far apart the people of ,europe might have been they were all stirred by a great intellectual and spiritual movement4 ,it was like a vast moral earthquake4 ,it meant the rediscovery and the joyous recognition of the relation of the past to the present and the meaning of the relation for mankind4 ,it led to a new kind of self-emancipation and individualism4 ,it created art-forms that have stamped themselves on the work all over these grounds4 ,in a sense it was a declaration of artistic independence4 ,is there really such a thing as independence in art8 ,i ventured to ask4 ,the architect began to smile4 ,i'm afraid there isn't much independence4 ,if there were this ,exposition would not be quite so intimately related to ,europe and the ,orient4 ,but wait till we get into ,mullgardt's ,court of the ,ages4 ,then you'll find an answer to your question4 ,at this palace the architect found much to speculate on4 ,here is one of the few buildings in the whole ,exposition done in what might be called the conventional exposition spirit4 ,i like it immensely as an exposition building1 but ,i should hate it as a public building that ,i had to see every day4 ,it's too fantastic4 ,in this place it serves its purpose4 ,but it might fit into a setting like the ,golden ,gate ,park1 where it would be close to nature4 ,now this ,exposition is very different from most of the enterprises of the kind that have taken place in ,europe4 ,it is probably the most serious exposition ever known1 with the possible exception of the one in ,chicago4 ,if it were in a great ,european capital1 for example1 it would mainly express the spirit of gaiety4 ,but the builders here1 though they have been gay in their use of color1 have been tremendously serious in purpose4 ,they have worked largely for the sake of education4 ,the use of green on the building was unquestionably one of the most successful features of the coloring1 particularly when it suggested1 as it so often did1 old copper4 ,to me the deeper green that ,guerin uses is the more charming shade1 far more charming1 for instance1 than the light green applied to ,festival ,hall4 ,and the suggestion of green in the dome is altogether delightful4 ,but it's a pity they didn't use another kind of glass4 ,when people criticise ,ryan for not doing more with his lighting effects-in this dome they evidently don't know that a mistake was made when the glass was sent and ,ryan could do very little with it4 ,in order to carry out his original plans ,ryan would have to apply a coat of varnish to the interior of the dome1 a rather expensive process4 ,however1 it may be done later4 ,returning to the ,south ,gardens ,from where we stood we could get a good view of those green columns in the ,tower of ,jewels1 occasionally criticised as being too atmospheric to give the sense of support4 ,those columns were colored by ,guerin to get an effect of contrast4 ,that shade was one of the first of the shades he experimented with4 ,he tried it out on the sashes in ,machinery ,hall4 ,the ,french landscape painters used it a good deal in outdoor scenes1 on trellises1 for example4 ,it made a pleasing effect against the deeper tones of the grass and foliage4 ,the notion that it isn't suited to columns seems to me unwarranted4 ,as a matter of fact1 there are several kinds of green stone that have often been successfully used for columns in architecture1 like malachite and ,connemara marble4 ,the ,bank of ,montreal has some magnificent ,connemara columns4 ,of course1 the use up there is theatrical1 exactly as ,guerin intended it to be4 ,people seem to forget that ,guerin got his earlier training as a scene painter4 ,he was recognized as one of the greatest scene painters of his time4 ,he deliberately undertook to make this ,exposition a great spectacle1 and he ought to be judged according to what he tried to do4 ,it seems to me that his success was astonishing4 ,he created a picture that was spectacular without being garish or cheap and that harmonized with the dignity and the splendor of the architecture4 ,one explanation of his success lies in his being so fond of the ,orient1 where the architects have worked in color as far back as we can go4 ,every chance he makes a trip to the ,orient and he comes back with a lot of ,oriental canvases that he has painted there4 ,only a lover of the ,orient would have dared to put that orange color on the domes4 ,see what a velvety look he got1 almost wax-like4 ,he was careful not to apply1 in most instances1 more than one coat of paint4 ,he wanted it to sink in and to become weathered4 ,he knew that nature was the greatest of all artists1 always trying to remove the shiny appearance of newness and to give seasoning4 ,as we looked up toward the center of the ,south ,garden the white globes on the ,french lamp posts caught the architect's eye4 ,don't you remember how cheap they looked on the first days8 he said4 ,the trouble was that they were too white4 ,they seemed cold and raw4 ,so they were sprayed with a liquid celluloid to soften them into their present ivory hue4 ,the change shows how important detail is1 and how carefully ,guerin's department has worked4 ,while the construction was going on there was one remark that often used to be heard1 ',it will never be noticed1' and a most foolish remark it was4 ,it showed that the people who made it were lacking in imagination4 ,millions of eyes have been watching the details of this ,exposition and very little has escaped notice4 ,a great crowd was pouring out of the afternoon concert in ,festival ,hall4 ,the architect1 as he looked on1 remarked3 ,it's like being in ,paris1 isn't it8 ,or1 perhaps1 it's more like being in a lovely old ,french provincial city1 where the theater is the chief architectural monument4 ,it's hard for me to understand why the ,french have encouraged that kind of architecture for their theaters and opera houses4 ,it seems so unrelated to sound1 which ought to give the clue to the building4 ,the use of the word festival here is a little old-fashioned and misleading4 ,it doesn't mean what we usually consider festivity4 ,it is essentially a concert hall1 and the architecture ought to suggest concentration of sound by being built in a way that shall make such concentration inevitable4 ,but this kind of building is obviously related to dissipation of sound4 ,no wonder the acoustics turned out bad and the interior had to be remodeled4 ,,xii ,the ,half ,courts ,in front of the ,court of ,palms we stopped to admire ,james ,earl ,fraser's ,end of the ,trail1 the most popular group of sculpture in the ,exposition4 ,it deserves all its popularity1 doesn't it8 ,it's finely imagined and splendidly worked out4 ,the pony is excellent in its modeling and the ,indian is wonderfully life-like4 ,at our side a man and a woman were standing1 the man more than six feet tall1 with broad shoulders and a face that had evidently seen a good deal of weather4 ,i've known fellers just like that ,indian1 we heard him say1 up in ,minnesota4 ,he might be a ,blackfoot after a couple of days' tusselling with the wind and the rain in the mountains4 ,i've seen 'em come into town all beat out4 ,the man that made that statue knew his business4 ,an' ,i guess he knew what he was doing when he called it ',the ,end of the ,trail4' ,when the visitor had passed1 the architect said3 ,the symbolism gets them all1 doesn't it2 and the realism1 too8 ,but ,fraser couldn't have expressed so much if he hadn't put a lot of heart into his ',work4 ,he really felt all that the ,indian represented1 as a human being and as a representative of a dying race4 ,the ,court of ,palms captured us both1 by its shape1 by the splendor of the ,ionic columns1 by the loveliness of its detail1 by its coloring and by that charm of its sunken garden4 ,you can feel here the mind that developed those four ,italian towers4 ,it shows the same balanced judgment1 and skill and taste4 ,the two towers here1 though they stand at either end of the court1 and make a beautiful ornamentation1 are really a part of the wall4 ,they help to give it dignity and variety4 ,and how artistically the palms have been used here4 ,they can be among the least graceful of plants2 but here they are really decorative4 ,and those laurel trees at the side of the main doorway make fine ornamental notes4 ,the sculptured vases1 too1 are wonderfully graceful4 ,above the doorways we found the three murals that gave further distinction to this court and enriched the coloring4 ,in ,fruits and ,flowers ,childe ,hassam had done one of his purely decorative pictures1 without a story1 contenting himself with graceful pictures and delicate color scheme4 ,charles ,holloway made ,the ,pursuit of ,pleasure frankly allegorical1 the floating figure of the woman pursued by admiring youths4 ,over the main doorway ,arthur ,mathews had also painted an allegory1 ,victorious ,spirit1 the ,angel of ,light1 with wide-spread wings of gold1 standing in the center and keeping back the spirit of materialism1 represented by a fiery horse driven by his rider with brutal energy4 ,observe how successfully ,mathews has chosen his colors4 ,these deep purples help to bring out the splendor of those golden tones4 ,this canvas is unquestionably one of the best of all the murals4 ,it shows that in ,mathews ,san ,francisco has a man of remarkable talent1 one of the great mural painters of the country4 ,on the way to the second half-court we had a chance to see the ,south ,wall at close range1 with its rich ornamented doorways1 its little niches and fountains devised to make it varied and gay4 ,those little elephant heads were another sign of ,faville's careful attention to ornamental detail4 ,and the coloring gave warmth to the background1 contrasting with the deep green of the planting4 ,at the ,court of ,flowers we met ,solon ,borglum's ,pioneer1 too old to be typical1 different from the man in lusty middle age or in youth who came to ,california in the early days4 ,but it justified itself by suggesting perhaps the greatest of the pioneers in old age1 one who had grown with the community1 the poet1 ,joaquin ,miller4 ,it's ,miller sure enough1 said the architect1 even if the likeness isn't close4 ,but why those military trappings on the horse8 ,like the rest of the pioneers1 ,joaquin was a man of peace4 ,the ,court of ,flowers we thought well named1 both for its planting1 ,mc,laren at his best1 and for its ,italian ,renaissance decoration1 with that pretty pergola opening out on the scene1 ,calder's ,oriental ,flower ,girl decorating the spaces between the arches4 ,and those lions by ,albert ,laessle were a fine decorative feature4 ,the fountain1 ,beauty and the ,beast1 by ,edgar ,walter1 of ,san ,francisco1 was one of the most original and decorative pieces of sculpture we had seen4 ,the figure of the girl standing on the coils of the beast was remarkably well done and the water flowing over the bowl1 with the pipes of ,pan glimpsed underneath1 made a charming picture4 ,there was a whimsical and a peculiarly ,french suggestion in the use of the decorative hat and sandals on the nude figure4 ,in detail those two towers at the end were slightly different from the other two4 ,like the others they served as a decoration of the wall1 breaking the long lines4 ,,xiii ,near ,festival ,hall ,at close view we found the ,festival ,hall more interesting than it had seemed at a distance4 ,it unquestionably had something of the elegance associated with the best ,french architecture4 ,but1 unlike most of the buildings here1 it did not develop out of a central idea4 ,much of its ornamentation seemed put on from the outside4 ,of all the domes this dome impressed us as being the least interesting4 ,it did not even justify itself as being a means of giving abundant light4 ,this kind of architecture doesn't really belong in this country2 but it seems to be making its way4 ,observe the waste of space involved4 ,however1 the curving arches on either side are rather charming4 ,and the architect has succeeded in putting into the whole structure a certain amount of sentiment4 ,in fact1 throughout the whole ,exposition you feel that the architects haven't worked merely for money or for glory4 ,they have appreciated the chance of doing something1 out of the commonplace4 ,the sculpture by ,sherry ,fry was evidently executed with the idea of festivity in mind1 the ,bacchus and ,the ,reclining ,woman and two ,floras decorated with flowers1 and ,little ,pan1 and ,the ,torch-bearer reproduced above each of the smaller domes4 ,but1 somehow1 those figures did not quite indicate the real character of the building1 intended for concerts and lectures and conventions1 rather serious business4 ,the coloring1 too1 of the statues1 was disappointing1 the dull brown being out of key with the light green of the domes4 ,in the smaller concert room upstairs1 ,recital ,hall1 said the architect1 there is some very fine stained glass2 two windows1 and on the landing of the north stairway there's a third window1 all done by the man who has been called the ,burne-,jones of ,america1 ,charles ,j4 ,connick1 of ,boston4 ,instead of being hidden away there1 they ought to have been put in the ,fine ,arts ,building4 ,they represent something new in the way of stained glass1 and they have a wonderful depth and brilliancy4 ,as we drew near the ,avenue of ,progress we saw the magnificent doorway of the ,varied ,industries1 overladen with ornamentation4 ,it was clever of ,faville to put that doorway just in this spot where it would be seen by the crowds that entered by ,fillmore ,street4 ,it comes from the ,santa ,cruz ,hospital1 in ,toledo1 ,spain1 built by the ,spanish architect1 ,de ,egas1 for ,cardinal ,mendoza1 one of the most famous portals in ,europe4 ,the adaptation has been wonderfully done by ,ralph ,stackpole1 with those figures of the ,american workman carrying a pick at either side and the semicircular panel just above the door and the group on top4 ,that panel is one of the finest pieces of sculpture in the ,exposition4 ,it has tenderness and reverence4 ,it's the kind of thing the mediaeval sculptors who worked on religious themes would have been enthusiastic over4 ,see how simple it is1 just a group of workers1 with the emblems of their work1 the women spinning with the lamb close by1 the artist and the artisan1 and the woman with the design of a vessel's prow in her hands1 suggesting commerce4 ,the single figure in the center is the intelligent workman who works with his hands and knows how to work1 too4 ,the group on top is a very pretty conception1 the ,old ,world ,handing ,its ,burden to the ,younger ,world1 with its suggestions of the ,european people coming over here and raising ,american children4 ,,xiv ,the ,palace of ,machinery ,on reaching the ,avenue of ,progress we found ourselves at the gayest corner of the ,exposition1 with two fine vistas of the two avenues4 ,to our right stood the massive ,palace of ,machinery1 one of the largest buildings in the world1 so successfully treated by the architect that it did not give the faintest suggestion of being cumbersome or monotonous4 ,it's the ,baths of ,caracalla in ,rome1 said the architect1 adapted by a master4 ,those three gables above the main entrance are taken directly from the baths4 ,see how simple the ornamentation is and yet how satisfying4 ,the building as a whole is a perfect example of old ,roman architecture1 feeling its way toward the big architectural principles that are in vogue today1 among others the economical principle involved in the counteracting of thrusts4 ,if the ,roman ,emperor who was nicknamed ,caracalla on account of the hooded military tunic that he made fashionable in his day hadn't built those baths we should probably not have the glorious ,pennsylvania station in ,new ,york1 that some of the architectural authorities consider the most important building of its kind built in this country4 ,although the work here is all concrete1 ,clarence ,ward1 the architect1 says that with care1 it could last hundreds of years4 ,now we were struck by those vigorous-looking figures1 by ,haig ,patigian1 that stood on top of the ,sienna columns all evidently designed to express the power of machinery4 ,at the entrance the reliefs of the columns were in the same spirit and1 as one might have surmised1 by the same sculptor working out the meaning of the buildings in designs that kept the contour of the columns1 strong and well-modeled4 ,there's distinctive character in this building1 said the architect4 ,it actually conveys the sense of tremendous energy1 and by the simplest means4 ,and inside1 ,ward has done something new and interesting4 ,when we entered we found the supports of the roof left bare4 ,instead of being unsightly1 they had a kind of beauty and impressiveness4 ,observe the magnificence of the spaces here on the floor and up to the ceiling4 ,some one asked ,ward if all this height were necessary4 ,he said it wasn't2 but he wanted it for pictorial effect1 to carry out the feeling of massiveness and splendor4 ,in the great figures that stood on the columns in front of the ,palace of ,machinery the architect found a theme for a discourse on the human figure as the chief inspiration of art4 ,it is possible that we shall change our minds on that subject1 he remarked4 ,already the world is showing a tendency to get away from the worship of the body4 ,ever since the ,christian era1 of course1 the physical has been deprecated4 ,we may come to see that the body is useful as it develops and serves the spiritual1 that is1 as it subordinates itself4 ,the marvel is that the pagan tradition has persisted so long in spite of the ,christian influence4 ,this ,exposition shows how strong it remains4 ,but what would you have in place of the human figure as the inspiration of art8 ,i asked4 ,oh1 there are plenty of things that might take its place4 ,flower themes are just as beautiful in decoration as the shapes of men and women4 ,i can conceive of the time when it will be considered uninteresting and commonplace to have human bodies used as a means of aesthetic display4 ,the self-glorification in it alone becomes wearying4 ,we are gradually learning that the best we can do in life is to forget about ourselves and our old bodies4 ,there are even those who go so far as to look forward to the time when we shall escape from our bodies altogether4 ,it would be interesting1 by the way1 to get the point of view of a very spiritual ,christian ,scientist on the display here4 ,i suppose that it would see good in the tendency to reach finer and nobler conceptions of art according to our present understanding4 ,then the architect proceeded to discuss the artistic superiority of the ,japanese4 ,though they used the human figure in their art1 they did not play it up1 after the habit of the ,western world4 ,they did not make it seem to be of supreme importance4 ,they conventionalized and subordinated it to outline and color4 ,the use of the nude they never cultivated4 ,their attitude toward the body was characterized by discretion and modesty1 qualities that they showed in their dress4 ,you would never see a ,japanese woman1 for example1 wearing a dress that conspicuously brought out the lines of her figure4 ,on the other hand1 the architect went on1 there's no doubt we've become absurdly prudish in this country4 ,we're afflicted with shame of the body which1 in itself1 is unhealthy4 ,if art can help us to get back to a more normal attitude it will do a big service4 ,all the more reason then why it should keep within reasonable bounds4 ,,xv ,the ,court of the ,ages ,as we turned from the ,avenue of ,progress toward the ,court of the ,ages the architect said3 ,the workmen about here call this inner court ',pink ,alley1' not a bad name for it1 though its real name is the ,court of ,mines4 ,throughout the ,exposition ,guerin shows that he is very fond of pink1 probably on account of its warmth4 ,he has been criticised for using it so much on the imitation ,travertine for the reason that there is no stone of exactly this color4 ,and yet there is pink marble4 ,but even if there weren't any pink stone in the world1 ,guerin would be justified in his use of the color for purely decorative purposes1 just as he was justified in using it on his four towers4 ,inside the ,court of the ,ages the architect drew a long breath4 ,in this court we architects feel puzzled4 ,we think we can read new architectural forms like a book1 and find that they are saying things repeated down the ages4 ,but we can't read much here4 ,in that lovely round arch there are hints of ,gothic1 and yet it is not a ,gothic arch4 ,throughout the treatment there are echoes of the ,spanish1 and yet the treatment is not ,spanish4 ,the more one studies the conception and the workmanship the more striking it grows in originality and daring4 ,mullgardt has succeeded in putting into architecture the spirit that inspired ,langdon ,smith's poem ',evolution1' beginning ',when you were a tadpole and ,i was a fish4' ,in the chaotic feeling that the court gives there is a subtle suggestiveness4 ,the whole evolution of man is intimated here from the time when he lived among the seaweed and the fish and the lobsters and the turtles and the crabs4 ,even the straight vertical lines used in the design suggest the dripping of water4 ,when you study the meaning of the conception you find an excuse for ,aitken in flinging his mighty fountain into the center of all this architectural iridescence4 ,he caught the philosophy of ,mullgardt without catching the lightness and gaiety of the execution4 ,in that fountain he has brought out the pagan conception of the sun1 and he has used the notion that the sun threw off the earth in a molten mass to steam and cool down here and to bring forth those competitions between human beings that reveal the working of the elemental passions4 ,aitken is material and hard1 where ,mullgardt is delicate and fine4 ,how subtly ,mullgardt has interwoven the feeling of spirituality with all the animal forces in man4 ,that tower alone is a masterpiece4 ,i know of no tower just like it in the world4 ,from every side it is interesting4 ,and at night it is particularly impressive from the ,marina4 ,the architect went on to explain something of the court's history4 ,when ,mullgardt started to work out his plans he must have had in mind the transitional character of an exposition4 ,he knew that he could afford to try an experiment that might have been impracticable if the court had been intended for permanency4 ,he evidently was determined to cast tradition to the winds and to strike out for himself4 ,i should think most architects would like to work in that way4 ,the usual process is very different4 ,as soon as an architect decides to design a building4 he first chooses a certain type of architecture2 then he saturates his mind with designs that have already been done along that line4 ,out of the mass of suggestions that he receives he is lucky if he evolves something more or less new4 ,often he merely re-echoes or he actually reproduces something that he is fond of or that has happened to catch his fancy4 ,the chances are that ,mullgardt will go down into history for his daring here4 ,it isn't often that a man takes a big biological conception and works it out in architecture with such picturesqueness4 ,it's never intrusive and yet it's there1 plain enough for anyone to see who looks close4 ,it represented a magnificent opportunity and ,mullgardt was big enough to get away with it4 ,then the architect told me the human story behind all this beauty as we wandered back into the center of the court and stood there4 ,notice the incline1 he said1 from the entrances8 ,it reminds me that ,mullgardt had originally intended to have the floor of the court like a sunken garden4 ,and remember that the name expresses the original idea4 ,the ,court of ,abundance1 that it is wrongly called1 would have applied much better to the ,court of ,four ,seasons4 ,well1 after the notion came to ,mullgardt to suggest in the court the development of man from the life of the sea to his present state as a thinking being1 less physical than spiritual1 he planned to build a court that should be the center of the pageants for the ,exposition1 where art should have its living representation in the form of processions and of plays1 some of them written for the purpose4 ,in the sunken garden there should be plenty of room for the actors to move about1 using it as a stage4 ,there should also be room for the sculptured caldron that was to be an architectural feature and that later developed into ,aitken's massive evolutionary fountain4 ,for the base of the tower there was designed a gorgeous semi-circular staircase1 which was to serve as an entrance for the actors4 ,around the court there was to run an ornamental balcony1 covered with a great canopy in red and gold1 making an effect of ,oriental magnificence4 ,the people were to watch the spectacles from the balcony and from between the arches4 ,in addition to the main tower1 very like the present tower1 but to contain a great pipe organ1 there were to be two others1 in the corner at right angles1 to be called echo towers4 ,the music of the organ was to be transmitted to the echo towers by wires and the echoes were to serve as a sort of accompaniment4 ,the effect1 if it had been managed right1 would have been stunning4 ,mullgardt has kept the spirit of the pageant in his court1 ,i said4 ,just as it is it would make an ideal setting1 particularly for pageant with music1 opera1 for example4 ,of course1 said the architect4 ,but the music ought not to come as it does now1 from a band4 ,it ought to come from the orchestra4 ,violins belong there4 ,put brass never6 ,well1 what happened to the pageant scheme8 ,oh1 when ,mullgardt showed the preliminary sketches it was ruled out as too expensive4 ,then he removed the balcony and the staircase and1 in place of the staircase1 he introduced a cascade1 keeping the rest of the court as it had been before4 ,his idea was to use the water in the cascade only in a suggestive way4 ,it was to be almost completely hidden by vines1 after the manner of ,shasta ,falls1 and to symbolize the mysterious appearance and disappearance of water that came from - one didn't know where4 ,but that scheme was rejected1 too1 as too expensive4 ,however1 ,mullgardt accepted the situation4 ,he was so interested that he worked out himself many of the details that most architects would have left to subordinates4 ,he really cared enough to make the whole effect as close to perfection as he could4 ,everything he did he had a reason for doing4 ,not one thing here did he use gratuitously4 ,he evidently doesn't agree with the idea that1 in architecture1 beauty is its own excuse for being2 he wants to make it useful1 too4 ,then ,i was initiated into the details of the workmanship4 ,observe how the ideas in the structure of the walls of the court are carried on in the ornamental details and in the tower4 ,the primitive man and primitive woman repeated in a row along the upper edge had been finely conceived and executed by ,albert ,weinert4 ,and the nobility of outline in the tower was sustained by the three pieces of sculpture in front made by ,chester ,beach4 ,that top figure some people believed to be ,buddhistic in feeling4 ,but it belonged to no particular religion4 ,it stood for the ,spirit of ,intelligence4 ,the ornamentation on the head was not an aureole1 as bad been reported1 but a wreath of laurel1 symbolic of success4 ,the group beneath was mediaeval1 depicting mankind struggling for the light1 expressed in the torches1 through those conflicts that so pitifully came out of the aspirations of the soul1 expressed in religion4 ,the lowest group showed humanity in its elemental condition1 related to the animal1 close to the beasts4 ,so1 to be followed in sequence1 the groups ought to be studied from the lowest to the highest1 and then the eyes should be able to catch the meaning of the lovely ornamentation1 crowning the tower1 the petals of the lily1 emblem of spirituality1 the arrow-like spires above expressing the aspirations of the soul4 ,on the sides of the tower the symbolism was consistently maintained1 war and religion marking the progress of man toward the state indicated by the single figure of ,the ,thinker4 ,and1 speaking of the soul1 the architect went on1 ,observe these great clusters of lights that illuminate this court and the approach on the other side of the tower4 ,they look like stars1 don't they8 ,and the intention evidently is to use them for their star-like character4 ,but there is history behind them4 ,they are like the monstrance used in the ,catholic ,church1 to hold the sacred host1 the wafer that is accepted by the faithful as the body and blood of ,jesus ,christ4 ,since the sixteenth century it has been used by the church1 a beautiful emblem1 made of gold and designed to suggest the prayer of the sun1 the ,spirit of ,god in radiance4 ,its use here helps to give the court its ecclesiastical character4 ,as we made our way toward the ,marina we noted how much the court gained by its general freedom from color4 ,in the colonnade1 to be sure1 ,guerin had been particularly successful with the shade of blue4 ,but he would have done better if he had omitted the color1 in fact all color1 from the niches in the tower4 ,viewed from the ,marina1 the entrance to the court proved to be a vision of loveliness4 ,there was only one intrusive note to jar the harmony1 the coarse sea figure by ,sherry ,fry1 presumably ,neptune's1 ,daughter1 standing in the center1 with a great fish at her feet1 plainly out of place here1 in spite of the court's celebration of the sea as the source of human life4 ,,xvi ,the ,brangwyns ,we lingered in the colonnade to view the eight mural decorations by ,frank ,brangwyn1 of ,london4 ,in front of ,the ,bowmen we found a friend1 a gifted woman painter1 fairly bursting with enthusiasm4 ,what delights me in ,brangwyn1 she said1 is his artistic courage4 ,he dares to put down just what he feels4 ,this sturdy figure in the foreground1 for example1 peering through the trees1 how many other painters would have allowed him to turn his back on the spectator8 ,and yet how interesting he is and how alive4 ,some of those heads strike me as curious1 ,i remarked4 ,that fellow closest to the center1 just about to let his arrow fly1 seems to have no head to speak of4 ,sometimes he's careless with his drawing4 ,and yet he can draw magnificently1 too4 ,he evidently had a purpose in making so many of the heads in these murals almost deformed4 ,he wanted to suggest that these types were in no way mental4 ,they were wholly physical4 ,notice the care he has lavished on their muscular bodies1 their great shoulders and legs4 ,it doesn't seem like ,english work1 does it8 said the architect4 ,no1 there's something almost ,oriental about it both in the feeling and the coloring4 ,and there's the ,pagan love of the elemental life4 ,but what a chance ,brangwyn had to do something new with this magnificent subject1 the architect went on4 ,at last1 after centuries of effort1 men are actually conquering the air4 ,they've learned to fly4 ,they've become birds4 ,now why didn't ,brangwyn give us a pictorial expression of that miracle8 ,why didn't the artist have as much sense as the man of affairs who pays ,art ,smith to come out here and fly before the multitude8 ,i argued that ,brangwyn preferred to deal with antique themes - they were so much more pictorial4 ,the architect interrupted with some impatience4 ,but that's exactly what they're not4 ,in my opinion ,whistler was perfectly right when he said that if a mural decorator couldn't make modern life pictorial he didn't know his business4 ,flying through the air is only one of many wonders in the life of today that cry out for expression in art2 but you scarcely catch a note of them here4 ,for example8 said the painter4 ,industry - our great machines1 the new power they bring into the world1 the change in industrial relations and social and moral ideals4 ,now in these murals1 ,brangwyn has simply repeated himself and he hasn't by any means done his best work4 ,and ,i question whether his observation is so accurate as you admirers of his try to make it appear4 ,look at the way those fellows are holding their bows - with the left hand1 presumably for the pictorial effect of the composition4 ,well1 let that point pass4 ,one fellow has shot his arrow4 ,the other is holding his arrow between the fore finger and the middle finger4 ,well1 it won't go very far4 ,the ,indians know better4 ,they let the arrow rest on the thumb to give it plenty of freedom to fly4 ,one of those bows1 by the way1 has no string4 ,brangwyn probably thought it wouldn't be missed4 ,as we looked at the other panels the architect conceded that the points the painter raised for ,brangwyn1 the brilliant use of color2 the dramatic grouping and the fineness of characterization1 were true enough4 ,but he's too monotonous4 ,though his groups are of different periods1 some of them ages apart1 they're all essentially alike and the figures are even dressed alike4 ,i'm perfectly willing to make allowance for artistic convention4 ,but why should an artist limit himself unnecessarily when he has all the ages to draw on8 ,why should he neglect the present1 the greatest of all the ages8 ,ah1 ,i'm afraid you're too literal said the painter4 ,you want to limit a genius to rules4 ,we turned from ,the ,bowmen to study in detail the second illustration of ,air1 much more modern and yet charmingly old-fashioned1 the windmill and the little mill high in the background1 the group of naked boys flying kites1 the toilers and their children1 going home as fast as they could1 fighting the wind1 their picturesque draperies flying around them4 ,the architect was impressed4 ,he's caught the feeling of the thunderstorm1 hasn't he8 he said4 ,and he's brought out all the picturesqueness and the color and the majesty and even the humor1 said the painter4 ,see how wonderfully be has composed the picture1 what pictorial use he has made of every detail4 ,the background of the clouds and the rain1 the dark blues and the green and the pink2 and the kites catching some of the color1 and the lovely color of the mill and of the grass dried by the sun4 ,and see that figure up there on the steps1 all windblown and rushing under cover4 ,it's all beautiful and yet there's not one face or figure there that would be considered beautiful by the painter who works for prettiness4 ,he has no interest whatever in what the average mural decorator considers beautiful4 ,and yet he sees beauty everywhere and he makes it felt4 ,how pictorially he has used those purple flowers in the foreground at the base of the composition4 ,and observe their relation to the purple clouds on top4 ,and then what character he has put into those active figures1 particularly in this queer little boy1 naked except for the purple drapery flying from his waist4 ,he has caught something of the fantastic spirit that you often see in children4 ,in nearing the two panels illustrating ,water we had a chance to see how dexterously ,brangwyn could manage his design without perspective1 which would have made a hole in the wall4 ,those women with jars on their heads stood against a sky none the less lovely because it was flat4 ,it was exquisite in its varieties of blue and white and green4 ,that sturdy fellow lifting a heavy jar was actually working and working hard4 ,and how splendidly ,brangwyn has modeled the figure with his back turned to us1 the painter exclaimed4 ,what a stroke of genius it was that a yellow handkerchief of just that shade should hang from his neck4 ,and the figures in the companion panel drawing their nets1 they are putting their heart and soul into their work and they are having a good time1 too4 ,and this man here in the corner1 with the purple shadows on his bare back1 lifting his net1 he's evidently had a big catch4 ,he's holding the net in a way that shows it's heavy4 ,and how decorative those men in the background are1 with the baskets on their heads4 ,brangwyn loves to use figures in this attitude4 ,they are interesting and picturesque and dramatic at the same time4 ,but they're too conscious1 the architect insisted1 too posed4 ,remember1 they're not paintings1 the painter insisted4 ,they're formal decorations4 ,in the panel representing the elementary use of ,fire we were all struck by ,brangwyn's daring and fine treatment of the ugly4 ,nearly every face was almost grotesque4 ,and yet every face was appealing for the simple reason that it expressed attractive human qualities4 ,two1 a man and a woman1 had noses ridiculously large4 ,the group of men in the center of the background1 at the base1 around the fire1 had apparently started the fire by rubbing sticks together4 ,one was intently leaning forward1 as if in the act of blowing4 ,among the figures behind the group stood a man with an infant in his arms1 vividly characterized by the unseeing eyes4 ,that infant was instantly singled out by the painter4 ,brangwyn is very wonderful in his observation of children4 ,he has a quality that is almost maternal4 ,observe the difference between the expression in the face of that baby and the expression in the face of that little boy to the left of the fire-makers4 ,how intently he is looking on as he leans against the brown jar4 ,he shows all the interest of a boy just learning how to do things4 ,the kiln charmed us1 too1 though we regretted that it did not explain itself quite so spontaneously as most of the other panels4 ,but symbolism ought not to be too obvious1 you know1 the painter argued4 ,there's a certain charm in vagueness4 ,it makes you feel your way toward a work- of art4 ,the more you think about this panel the more you find there4 ,to me it suggests the relation between fire and the abundance of the earth4 ,see how cleverly1 in each case of these two panels1 ,brangwyn has used smoke1 first as a thin line1 breaking into two lines as it goes up and interweaving1 and then as a great flowing wreath1 dividing the panel in two parts without weakening the unity4 ,for composition we decided that the two ,earth panels were among the most remarkable of all4 ,with satisfaction ,i heard ,brangwyn compared by the painter to a great stage manager4 ,when ,i look at these groupings1 ,i am reminded of ,forbes-,robertson's productions of plays4 ,now we could see how brilliantly the decorator had planned in securing his effects of height by starting his group of figures close to the top of the canvas4 ,and with what skill he had used trees and vines and vegetables and fruits1 both for design and for coloring4 ,he has always been mad about apples and squashes1 said that feminine voice4 ,in nearly every picture here you will find not one squash only1 but several squashes4 ,he loves them for their color and their shape4 ,and how wonderful he makes the color of the grape4 ,he suggests the miracle of its deep purple4 ,we admired the painter's pictorial use of shadow on those powerful and scantily draped figures and the animation he put into the bodies of the wine-pressers4 ,and down there in a corner he had perfectly reproduced the attitude and facial expression of the worker at rest1 holding out his cup for a drink4 ,there's another of those queer and interesting children4 ,but oh1 most wonderful of all is the opposite panel that ought to be called ,abundance4 ,see that mother1 holding her lusty baby4 ,the face is commonplace enough1 but it has all motherhood in it4 ,and the woman behind1 she looks as if she might be a mother bereft or one of those women cheated out of motherhood4 ,the architect1 though he still had his reservations on the subject of the ,brangwyns1 conceded that they were distinctly architectural4 ,they blended into the spirit of the court4 ,the painter at once supported the opinion4 ,in these colonnades ,guerin has done some of his finest coloring4 ,the blue and the red are in absolute harmony with ,brangwyn's rich tones4 ,they must have been applied to fit the canvases4 ,but the marvel is that the murals should show up so magnificently4 ,brangwyn painted them in ,london and he must have had second sight to divine just the right scheme4 ,do you realize1 she went on enthusiastically1 fairly losing herself in her enjoyment1 the immense difficulties he had to contend with8 ,in the first place1 see how huge those canvases are4 ,their size created all kinds of problems4 ,to view them right1 to get a line on the detail1 so to speak1 would have meant1 for the average painter1 walking long distances4 ,but1 in his studio1 ,brangwyn could not have taken anything like accurate measurements4 ,perhaps he painted them out of doors1 the architect suggested4 ,i believe the explanation is that he thought them all out and he saw them in their places4 ,from ,mr4 ,mullgardt he had probably received a complete account1 with drawings1 of just what the court was going to be like4 ,then it lived before him and he made the murals live4 ,his work shows that he begins in the right place1 unlike so many people who paint from outside4 ,he feels the qualities of the people he is going to paint4 ,he really loves them4 ,he loves their surroundings4 ,he must be very elemental in his nature4 ,they say he is a great1 uncouth sort of a fellow4 ,when he first went to ,london he was very contemptuous of the work done by the academicians4 ,it must have seemed to him1 a good deal of it1 effeminate and trifling4 ,can't you see how those murals show that he is a man clear through8 ,they are masculine in every detail4 ,and yet they have a good deal of delicacy1 too1 haven't they8 said the architect4 ,see how atmospheric those backgrounds are4 ,they actually suggest nature4 ,because they are unconventional and because they are true4 ,and yet they are purely decorative4 ,you wouldn't like to think of them as standing apart in a great frame4 ,when you go close you will see that the colors are laid on flat4 ,and they don't shine4 ,for this reason they have great carrying power4 ,observe ,the ,bowmen down there in the distance4 ,even from this remote end of the court it expresses itself as lovely in color and composition4 ,let us walk down and see how it grows on us as we approach4 ,slowly we moved along the colonnade1 the figures seeming to grow more and more lifelike as the painter indicated their technical merits4 ,they are of the earth1 those men1 aren't they8 ,they are the antithesis of the highly civilized types used by so many of the painters today4 ,they suggest red blood and strength of limb and joy in the natural things of life1 eating1 drinking1 the open air1 and simple comradeship4 ,they make us see the wonder of outdoor living1 the kind of living that most of us have missed4 ,what a pleasure it is to find a worker in any kind of work trying to do a thing and actually doing it and doing it with splendid abandon4 ,now if ,brangwyn hadn't entered into the feelings of those bowmen in the foreground1 he couldn't have made the figure alive4 ,and the life1 remember1 isn't merely brought out by the happy use of the flesh tints or by the play of the muscles4 ,it's in the animating spirit4 ,as ,brangwyn painted those fellows1 he felt like a bowman4 ,so he succeeded in putting into his canvas the strength that each bowman put into his bow4 ,he isn't pretending to shoot1 that sturdy fellow in front4 ,he is shooting1 and he's going to get what he is after4 ,before each of the four pairs of murals1 the painter indicated to us the happy way in which1 by the deft use of the coloring1 each blended into the other1 and she called my attention to the clearness of the symbolism4 ,so often1 she remarked1 the mural decorators used compositions that seemed like efforts to hide secrets1 a childish way of working1 sure to defeat itself4 ,brangwyn had no secrets4 ,he was sincere and direct4 ,he was happy over this work4 ,he said that he had enjoyed doing it more than anything else he had ever done before4 ,if these canvases had been found in the heart of ,africa they would have been identified as coming from ,brangwyn4 ,no one else used color just as he did1 with his kind of courage4 ,his colors were arbitrary1 too4 ,he didn't follow nature and yet he always conveyed the spirit of natural things4 ,throughout his work he showed that he was a close and subtle observer4 ,the sweep of rain through the air1 the movement of figures and of draperies in the wind1 the expression of human effort1 how wonderfully he managed to suggest them all and to make them pictorial4 ,but he wasn't interested in merely an activity4 ,he loved repose4 ,in nearly all of these eight canvases1 so brimming with life1 there were figures looking on serenely1 calmly1 conveying the impression of being absolutely at rest4 ,in every particular1 according to the searching observer1 ,brangwyn was successful1 with the exception of one1 his treatment of birds4 ,he evidently didn't know birds4 ,if he had known them he would have loved them1 and if he had loved them he would have entered into their spirit and he would have flown with them and he would have made them fly in his painting4 ,now they merely flopped4 ,they were just about as much alive as the clay figures used in a shooting match4 ,even his highly decorative flamingoes weren't right4 ,they did not stand firmly on the ground4 ,they weren't alive4 ,and the necks of the two flamingoes never could have met in the curves that ,brangwyn gave them4 ,this very failure1 amusing as it was and hardly detracting from the effect of his work as a whole1 was another proof that he was an instinctive painter1 who relied for his guidance on feeling4 ,but it was plain enough that he had chosen those flamingoes for their color1 and a right choice it was4 ,we could not decide which of the eight murals we liked best4 ,perhaps1 after all1 they could not be considered apart4 ,though each was in itself a unity1 the eight completely expressed a big conception4 ,and in detail each canvas was full of delightful bits4 ,if you closed your hand and peered between your thumb and your fingers1 you could see how beautifully the color had been applied and how1 throughout the whole surface1 the workmanship sustained itself4 ,never was there the sense of faltering or of petering out4 ,and everywhere there were expressions of fine understanding and sympathy1 in the study of a peasant mother holding her babe1 nude boys flying kites1 a happy face with the lips blowing a pipe1 a muscular figure lifting a jar1 all conveying abundant life and rich coloring4 ,the painter finally ran away from us1 apologizing for her enthusiasm4 ,in discussing her opinions1 the architect said3 ,well1 ,i don't altogether agree4 ,but she may be right4 ,she sees from the inside1 which is very different from seeing from the outside4 ,there is a great deal of artistic appreciation that can be felt only by the artist1 by the fellow-craftsman4 ,no wonder we go so far astray when we criticise aspects of art that we're only related to indirectly or not related at all4 ,we walked to the ,marina4 ,from there we saw the sun1 a great red ball1 sinking behind the ,golden ,gate4 ,,xvii ,watching the ,lights ,change ,there probably never was an ,exposition in a more magnificent setting1 said the architect4 ,the stretch from here to the ,golden ,gate makes one of the most splendid bits of scenery in the whole world4 ,it was a good idea on the part of the ,exposition people to build the little railway here so that visitors should get a glimpse of all the beauty4 ,but1 ideally1 the view ought to be seen from a height4 ,the curve from here to the ,cliff ,house makes our foreign visitors gasp4 ,it also makes them wonder why our boasting over ,san ,francisco doesn't include some of the things we have the best excuse to boast about4 ,we stopped at one of the open-air restaurants1 where we could eat and watch the fading light at the same time4 ,then we went to the lagoon1 which the architect declared to be particularly interesting at this time of day4 ,the rotunda and the colonnade began to take on a deeper mystery4 ,across the surface of the water ran a faint ripple4 ,in the background1 over the ,golden ,gate1 the sky was turning to flame4 ,delicate1 gray cobwebs seemed to float in the air like veils1 dusk and fog intermingled4 ,the light grew dim as we sauntered along the colonnade of the ,palace4 ,through the columns we could see the ,tower of ,jewels1 suddenly illuminated from inside1 all in red1 obscuring the sculptured figures and giving the lines greater unity and reach4 ,in the red glow the ,italian towers fairly leaped into the air4 ,it's curious how the light makes them taller1 said the architect4 ,now the grounds were twinkling with a multitude of bulbs4 ,presently the red light in the tower softened into white4 ,two of the ,italian towers grew paler1 the other two retaining their brilliancy4 ,ryan was putting on his colors like a painter1 one over another4 ,we made our way back to the ,marina1 where the scintillators were soon to blaze4 ,before we arrived they informed us of their presence by the great feathered fan1 of many colors1 that rose into the sky4 ,there was some opposition to the decorating of the ,tower with jewels4 ,the architects with conservative ideas very naturally felt that architecture which depended on its lines for beauty didn't need that kind of ornament4 ,but ,ryan has unquestionably justified himself4 ,the feature has been talked about throughout the country more than any other4 ,see how the light falls on the tower like a great shimmering robe4 ,it gains by the contrast it makes with the subdued lighting beneath4 ,the group on the ,column of ,progress stood out against the sky4 ,the doorways were taking on the color of gold1 becoming even more beautiful than they had been by day4 ,what ,ryan tried hardest to get1 said the architect1 was evenness of lighting4 ,he wanted to bring out clearly the details of the architecture and he succeeded4 ,,xviii ,the ,illuminating and the ,reflections ,that motionless steam engine1 all in gray1 harmonizing with the ,travertine1 was furiously at work4 ,into the air it sent clouds of steam that turned to red and blue and green under ,ryan's magic4 ,and up there1 at the top of the ,column of ,progress1 we saw the ,adventurous ,bowman and his companions in two groups1 one reflected on the illuminated fog4 ,through the smoke and the fog the bombs were shooting and breaking into great masses of liquid fire1 golden and green and pink and yellow4 ,someone says we're all children at heart1 the architect remarked4 ,these fireworks get more attention than all the architecture and the art put together4 ,but1 after all1 they're just about as beautiful as anything man can make and1 in the way of color1 they put the artists to shame4 ,we were part of the crowd that swept to the ,court of the ,universe1 never so splendid as at night1 with the columns reflected in the pool and ,calder's star figures shining from the concealed electric bulbs4 ,on reaching the court itself we stood at the end of one of the corridors and looked down4 ,great drops of light hung on the columns like molten gold4 ,ryan has done something very artistic and unusual there1 the architect remarked4 ,so far as ,i know nothing just like it has ever been done before4 ,it suggests the tongues of fire mentioned in the ,scripture that descended from ,heaven4 ,in the sunken garden those two shafts1 rising from the fountains1 looking like stone by day1 had become great candles1 glowing from the base to the glass globe on top4 ,they're practically the sole means of illuminating this court4 ,the other lights are merely ornamental4 ,so far as ,i'm aware nothing just like these shafts has ever been tried in an ,exposition or anywhere else4 ,it's a novel ,expositional effect4 ,some people don't like it2 but most people admire it immensely4 ,it symbolizes the gold that first drew the multitude to this part of the world4 ,if the golden color had been used more extensively throughout the ,exposition it would have helped a lot4 ,guerin gets it at night by means of the light that shines through the windows and ,faville gets it in the light behind those wonderful doorways of his that haven't been praised half as much as they ought to be4 ,the ,court of the ,ages lured us along the dimly lighted inner court1 the arches taking on an even more delicate beauty in the night light4 ,once within the court we found ourselves under the spell of ,mullgardt's genius4 ,the architecture1 the cauldrons sending out pink steam1 the flaming serpents1 the torches on the tower1 the warm lights from within the tower1 the great ecclesiastical stars1 brilliant with electricity1 all carried out the idea of the earth1 cast off by the sun4 ,in the entrance court we found the effects less magnificent but1 in their way1 just as beautiful4 ,the lighting emphasized the refinement of the court1 the rich delicacy of the ornamentation4 ,mullgardt ought to go down into history for this contribution to the ,exposition1 said the architect4 ,he has shown that originality is still possible in architecture4 ,in the ,court of the ,four ,seasons we watched the ,emerald ,pool turning the architecture into a mermaids' palace4 ,the water flowing under the four groups of the seasons shone from an invisible light beneath1 coloring it a rich green4 ,when ,ryan promised to illuminate the water here without letting the source of the light be seen1 it was thought by the people it couldn't be done4 ,for a long time we sat in front of the lagoon where the swans were silently floating and1 and the ,palace of ,fine ,arts was reproduced with a deeper mystery4 ,now we could feel the relation between the colonnade and ,gerome's chariot race4 ,it would please ,gerome if he could know that he had helped to inspire so magnificent a conception1 said the architect4 ,and if ,boecklin could see this vision and hear that his ,island of the ,dead had started ,maybeck's mind thinking of it he would probably be astonished and delighted at the same time4 ,with his fine understanding of the influences operating in art he would see that his contribution did not in any way detract from ,maybeck's originality4 ,down the centuries minds have been influencing one another and1 in this way1 adding to the sum of wisdom and beauty in the world4 ,now and then1 as in this instance1 we can plainly see the influences at work4 ,behind ,boecklin and ,gerome there were doubtless influences that led to their making those two pictures1 inspirations from nature or from other artists1 or both together4 ,and this palace will doubtless inspire many another noble conception4 ,when we apply that thought to the ,exposition as a whole1 ,i said1 we can see what a big influence it is likely to have on the art of the country4 ,it has undoubtedly had a big influence already1 even though we may not he able1 as yet1 to see it working4 ,the very interest the ,exposition has1 aroused in the people that come here1 whether they are artists or not1 can't help being productive4 ,seeing the ,lights ,fade ,we went over to the ,south ,gardens to see the lights change on the ,tower of ,jewels1 passing the half-dome of ,philosophy1 the stained glass of the windows enveiling the background4 ,they were still robing the tower in pure white1 and the hundred thousand pieces of ,austrian cut glass were shimmering4 ,they must have had a hard time getting those jewels fastened on the ornamentation of the upper tiers4 ,the wind up there is very strong4 ,some of the men came near being blown off4 ,it took pretty expert acrobatic work to hang the jewels out on the extreme edges4 ,suddenly the lights on the tower glowed into red4 ,the tower itself seemed to become thinner and finer in outline4 ,there are people who don't like this color1 said the architect4 ,it's fashionable nowadays to feel a prejudice against red4 ,but it is one of the most beautiful colors in nature and one of nature's greatest favorites1 associated with fire and with flowers4 ,to me the tower is never so beautiful as it is when the red light seemed to burn from a fire inside4 ,see how it tends to eliminate the superfluous ornamentation4 ,it brings out the grace of line in the upper tiers1 like folded wings4 ,with just a few eliminations the improvement in that tower would be astonishing4 ,presently the lights in the tower went out altogether4 ,the four ,italian towers also grew dim4 ,it was getting late4 ,people were hurrying out4 ,but we lingered4 ,we wished to see this city of domes as it appeared without any lights at all1 except for those that were kept burning to meet the requirements of the law4 ,for an hour we roamed about the deserted place4 ,here and there we would meet a belated visitor or a group of people from some indoor festivity4 ,the material had taken on a finer quality4 ,it looked like stone4 ,wonderful as the ,exposition was by day and in the evening1 it was far more wonderful at this hour4 ,now it was easy to imagine the scene as a city1 with the inhabitants asleep in their beds4 ,but just what kind of city it was ,i could not make up my mind4 ,when ,i expressed this thought to the architect1 he said3 ,have you ever seen ,david ,roberts' big illustrated volumes1 ',travels in the ,holy ,land'8 ,if you haven't1 look them up4 ,then you will see what kind of a city this city is4 ,it's a city of ,palestine4 ,it's ,jerusalem and ,jaffa and ,akka all over again4 ,features that ,ought to be ,noted by ,day ,the ,south ,gardens ,hedge4 ,idea suggested by ,w4 ,b4 ,faville1 of ,bliss ,faville1 architects1 of ,san ,francisco1 and developed by ,john ,mc,laren1 landscape gardener and superintendent of the ,golden ,gate ,park1 ,san ,francisco1 to give impression of old ,english wall4 ,african dew plant grown in shallow boxes1 two inches deep1 covered with wire netting4 ,design of entrance at ,scott ,street1 by ,joseph ,j4 ,rankin4 ,south ,gardens1 ,french in character1 with suggestions of ,spanish4 ,planting by ,john ,mc,laren4 ,in center1 ,fountain of ,energy1 by ,a4 ,stirling ,calder1 acting chief of sculpture2 ,french influence4 ,expresses triumph of energy that built the canal4 ,youth on horseback1 standing in stirrups1 ,energy4 ,figures on shoulders1 ,fame and ,valor4 ,figures on globe1 two hemispheres2 ,western1 bull-man2 ,eastern1 lioness-woman4 ,figures on base1 sea-spirits4 ,upright figure on globe1 ,panama4 ,large figures in pool1 the oceans3 ,the ,atlantic1 a woman with coral in her hair1 riding on back of armored fish2 ,north ,sea1 an ,eskimo hunting on back of walrus2 ,pacific1 a woman on back of large sea lion2 and ,south ,sea1 a negro on back of trumpeting sea-elephant4 ,sea-maidens on dolphins' backs1 in pool4 ,to right and left1 in front of ,festival ,hall1 and ,horticultural ,palace1 at ends of long pools1 ,french fountain of ,the ,mermaid1 figure1 by ,arthur ,putnam1 of ,san ,francisco4 ,to right1 large building1 ,festival ,hall1 by ,robert ,farquhar1 of ,los ,angeles2 ,french theatre architecture4 ,studied from the theatres of the ,beaux ,arts style of ,french architecture4 ,details1 ,french ,renaissance developed from the ,italian influence4 ,to right1 ,press ,building1 designed and built by the ,exposition2 ,harris ,h4 ,d4 ,connick1 ,director of ,works4 ,to left1 large building1 ,palace of ,horticulture1 ,bakewell ,brown1 architects4 ,to left1 ,young ,women's ,christian ,association4 ,french light standards1 by ,walter ,d',arcy ,ryan and ,p4 ,e4 ,denneville4 ,french ornamental vases1 filled with flowers1 by ,e4 ,f4 ,champney4 ,the wall1 by ,faville1 with ornamental ,spanish entrances1 runs around main courts and palaces1 making the walled city4 ,tiled roofs suggesting mission architecture1 associated with early ,california missions1 a style developed from the ,spanish4 ,four smaller towers1 two on either side of large tower1 by ,george ,w4 ,kelham1 of ,san ,francisco2 ,italian ,renaissance4 ,sand on walks1 selected by ,jules ,guerin for its pink color to harmonize with color scheme4 ,binds together buildings1 its pink harmonizing with pink of walls4 ,grains of sand in walks translucent4 ,flag poles1 ornamented with gilt star1 by ,faville4 ,orange-colored streamers by ,guerin4 ,heraldic designs related to history of ,pacific ,coast1 by ,ryan4 ,thoroughfare running along wall and lined with palms1 ,avenue of ,palms4 ,equestrian statue1 to right of ,tower of ,jewels1 by ,charles ,niehaus1 ,cortez1 conquerer of ,mexico4 ,equestrian statue1 to left1 by ,charles ,cary ,rumsey1 ,pizarro1 conqueror of ,peru4 ,fine in action and spirit4 ,tower of ,jewels ,main tower breaking southern wall1 facing ,south ,gardens1 the ,tower of ,jewels1 by ,thomas ,hastings1 of ,carrere ,hastings1 ,new ,york4 ,developed from ,italian ,renaissance architecture1 with ,byzantine modifications1 and designed to suggest an ,aztec tower2 #dcc feet high2 original intention to make it #ajj feet higher4 ,inscriptions on wall at base of tower chosen by ,porter ,garnett of ,berkeley1 explain steps that led to building of ,panama ,canal1 celebrated by ,exposition4 ,on both sides of inscriptions ,roman fasces denoting public authority4 ,from left to right3 #aeja ,rodrigo de ,bastides pursuing his course beyond the ,west ,indies discovers ,panama2 #aeac ,vasco ,nunes de ,balboa crosses the ,isthmus of ,panama and discovers the ,pacific ,ocean2 #aijd the ,united ,states1 succeeding ,france1 begins operations on the ,panama ,canal2 #aiae the ,panama ,canal is opened to the commerce of the world4 ,large ,composite columns on base4 ,arched capitals with acanthus1 ornamented with the ,american eagle1 the nude figure of child1 and ornamental design suggesting ,california fruits4 ,colored to resemble ,sienna marble4 ,corinthian columns at either side1 eagles at corners of capital1 human head above4 ,figures by ,john ,flanagan1 of ,new ,york1 represent types in early ,california history3 ,spanish adventurer of sixteenth century1 who came to ,california and started ,spanish influence2 priest1 who brought the ,catholic religion to ,california ,indians2 philosopher1 or scholar and teacher2 and the ,spanish warrior1 the soldier of sixteenth century1 who came to win territory for ,spanish king4 ,above cornice of tower stand four figures on each of the four sides1 twice life-size4 ,between statues by ,flanagan1 square decorative panels2 youthful figures with wreath1 repeated on north of tower4 ,designed by ,hastings1 modelled by ,newman and ,evans1 ,new ,york4 ,armored horsemen on terrace1 by ,f4 ,m4 ,l4 ,tonetti1 type of ,spanish soldier4 ,repeated four times on each side4 ,well modeled1 but damaged in effect by being placed in row4 ,rows of eagles on niches of tower1 symbol of ,american initiative4 ,decorative vase on wings of tower1 ,italian4 ,use of ram's head below bowl4 ,wreaths of laurel under eagles1 rewards of courage1 suggesting triumph of building canal4 ,prows of triremes1 at corners on third lift1 denoting worldwide commerce4 ,ornamental use of niches1 columns1 vases1 head-piece1 breastplates1 shields1 the pagan bull1 ,cleopatra's ,needle4 ,human figures supporting globe1 encircled with girdle1 point of tower2 suggest ,atlas2 ancient idea2 somewhat like the group of the four quarters of the world by ,jean ,baptiste ,carbeaux in the gardens of the ,luxembourg4 ,tower broken into seven stages4 ,horizontal lines have flattening effect2 tower does not appear so high as it really is4 ,one hundred and thirty-five thousand jewels on tower1 suspended to vibrate4 ,ruby1 emerald1 aquamarine1 white1 yellow4 ,made in ,austria1 of ,sumatra stone4 ,arch of ,tower of ,jewels1 #aaj feet high1 #fj feet broad2 fine example of ,roman arch1 like ,arch of ,constantine and ,arch of ,titus4 ,figure of ,minerva on centerpiece of arch1 north and south4 ,recessed or coffered panels in ceiling1 richly colored1 blue harmonizing with murals on east and west walls4 ,murals by ,william de ,leftwich ,dodge1 of ,new ,york4 ,to west1 ,atlantic and the ,pacific1 with the ,purchase to right1 and the ,discovery to left4 ,opposite1 ,gateway of ,all ,nations1 with ,labor ,crowned and the ,achievement on sides4 ,tone of murals strengthens arch4 ,subjects related to history of ,california and the ,panama ,canal4 ,fountains1 one in each of the colonnades4 ,to right1 ,fountain of ,youth1 by ,mrs4 ,edith ,woodman ,burroughs1 of ,flushing1 ,new ,york4 ,figure of girl1 simple and well-modeled2 panels at either side show boats1 youth rowing the older people2 eagle and laurel wreath at back1 suggest that central figure is ,united ,states4 ,one figure shows a woman with hand at ear1 her attention turned toward the beauty and happiness of lost youth4 ,to left1 ,fountain of ,el ,dorado1 by ,gertrude ,vanderbilt ,whitney 7,mrs4 ,harry ,payne ,whitney71 of ,new ,york4 ,panels at either side show human struggle for land of gold1 or happiness1 or success4 ,portals ajar1 but ,egyptian guardians bar the way4 ,dramatic subject1 vigorous handling4 ,view of ,san ,francisco hills between the columns1 one of the most beautiful views on the grounds4 ,inscriptions on north of tower1 by ,garnett1 discovery of ,california and union with ,united ,states4 ,from left to right3 #aedb ,juan ,rodriguez ,cabrillo discovers ,california and lands on its shores4 #aggf ,jose ,joaquin ,moraga founds the ,mission of ,san ,francisco de ,asis2 #ahdf the ,united ,states upon the outbreak of war with ,mexico takes possession of ,california2 #ahej ,california is admitted to the ,union as a sovereign ,state4 ,forecourt of ,court of ,universe2 coloring good1 graceful planting of cypress4 ,trees in niches under tower2 contrast of colors1 dark green1 blue and pink4 ,court of the ,universe ,elephant poles1 ,roman1 by ,mc,kim1 ,mead ,white2 streamers by ,guerin4 ,bear fountains1 in walls of ,palaces of ,liberal ,arts and ,manufactures1 north of ,tower of ,jewels4 ,three on each wall4 ,colors1 pink1 dark blue1 light green4 ,largest court in ,exposition4 ,by ,mc,kim1 ,mead ,white1 architects1 of ,new ,york4 ,inspired by ,bernini's entrance to ,st4 ,peter's1 in ,rome4 ,area of court1 seven acres2 #fej feet wide from arch to arch2 #abjj feet from ,tower of ,jewels to ,column of ,progress4 ,palaces around court3 northeast1 ,transportation2 northwest1 ,agriculture2 southwest1 ,liberal ,arts2 southeast1 ,manufactures4 ,sunken ,garden1 planted by ,john ,mc,laren4 ,height of ,arches of ,rising ,sun and ,setting ,sun1 #bjc feet from base to tip of sculpture4 ,east1 ,arch of ,rising ,sun2 ,arch of ,setting ,sun1 in west4 ,suggested by arches of ,constantine and ,titus in ,rome2 modified by use of green lattices1 ,oriental1 and by colossal sculptural groups1 the ,east and the ,west1 in place of ,roman chariot or quadriga4 ,columns in front of arches2 composite1 mingling of ,ionic and ,corinthian2 female figure used as decoration4 ,angel of ,peace1 by ,leo ,lentelli1 on each side of arches on ,sienna columns1 repeated four times4 ,sword is turned down1 but not sheathed1 a commentary on modern peace4 ,pegasus1 in triangular spaces above arch1 by ,frederick ,g4 ,r4 ,roth1 repeated on the other side4 ,medallions1 right and left sides of arches4 ,female figures suggesting ,nature1 by ,calder2 male figures suggesting ,art1 by ,b4 ,bufano1 of ,new ,york4 ,above medallions on frieze1 decorative griffons4 ,quotations on ,arch of ,rising ,sun1 west side1 facing court1 chosen by ,garnett4 ,panels from left to right3 ,they who know the truth are not equal to those who love it1 from ,confucius1 the ,chinese philosopher2 ,the moon sinks yonder in the west while in the east the glorious sun behind the herald dawn appears2 thus rise and set in constant change those shining orbs and regulate the very life of this1 our world1 from ,shakuntala by ,kalidasa1 the ,indian poet2 ,our eyes and hearts uplifted seem to gaze on heaven's radiance1 from ,hitomaro1 the ,japanese poet4 ,quotations on ,arch of ,rising ,sun1 east side1 facing ,florentine ,court4 ,panels from left to right3 ,he that honors not himself lacks honor wheresoe'er he goes1 from ,zuhayr1 the ,arabian poet2 ,the balmy air diffuses health and fragrance2 so tempered is the genial glow that we know neither heat nor cold2 tulips and hyacinths abound2 fostered by a delicious clime1 the earth blooms like a garden1 from ,firdausi1 the ,persian poet2 ,a wise man teaches1 be not angry4 ,from untrodden ways turn aside1 from ,phra ,ruang1 the ,siamese poet4 ,crenellated parapet on arches1 note from military architecture4 ,archers used to shoot from behind4 ,cleopatra's ,needle repeated on edge of arches4 ,used by the ,egyptians as historical records and public bulletins4 ,merely decorative4 ,green jars1 beautifully designed1 in niches at base of ,arches of ,rising and ,setting ,sun1 ,mc,kim1 ,mead ,white4 ,eight in each arch4 ,arch of the ,rising ,sun1 surmounted by group representing types of ,oriental civilization4 ,nations of the ,east1 designed by ,calder1 and executed in collaboration with ,lentelli and ,roth4 ,from left to right3 ,arab sheik on horse1 negro slave1 ,egyptian on camel1 ,arab falconer1 ,indian prince1 ,buddhist priest or lama from ,thibet1 ,mohammedan with crescent1 negro slave1 and ,mongolian on horseback4 ,murals in arch by ,edward ,simmons1 of ,new ,york4 ,on north wall1 from left to right1 ,true ,hope and ,false ,hope1 ,commerce1 ,inspiration1 ,truth1 ,religion1 ,wealth1 ,family2 in background ,asiatic and ,american cities4 ,on south wall3 historical types1 nations that have crossed the ,atlantic2 from left to right1 ,call to ,fortune1 listening to the past1 the workman1 the artist1 the priest1 ,raleigh the adventurer1 ,columbus the discoverer1 the savage of lost ,atlantis1 the ,graeco-,roman1 and the ,spirit of ,adventure sounding the call to fortune4 ,in background1 ancient and modern ships4 ,arch of ,setting ,sun4 ,statues1 frieze1 spandrels1 parapet1 identical with ,arch of ,rising ,sun4 ,group on top1 ,the ,nations of the ,west1 designed by ,calder1 executed in collaboration with ,lentelli and ,roth4 ,american figures grouped around prairie wagon1 drawn by two oxen4 ,above wagon1 ,enterprise2 in front1 ,the ,mother of ,tomorrow1 white boy on one side1 colored boy on other2 south1 a ,french-,canadian1 an ,alaskan woman1 a ,spanish-,american1 a ,german2 north1 an ,italian1 ,british-,american1 squaw1 ,american ,indian4 ,quotations on ,arch of ,setting ,sun1 chosen by ,garnett4 ,panels from left to right1 facing court3 ,in ,nature's infinite book of secrecy a little ,i can read1 from ,antony and ,cleopatra1 by ,shakespeare1 the ,english poet2 ,facing west from ,california's shores1 ,inquiring1 tireless1 seeking what is yet unfound1 ,i1 a child1 very old1 over waves1 toward the house of maternity1 the land of migrations1 look afar1 ,look off the shores of my ,western sea1 the circle almost circled4 from ,leaves of ,grass1 by ,walt ,whitman the ,american poet2 ,truth1 witness of the past1 councillor of the present1 guide of the future1 from ,don ,quixote1 by ,cervantes1 the ,spanish novelist4 ,murals in ,arch of the ,setting ,sun1 by ,frank ,vincent ,du ,mond of ,new ,york4 ,westward ,march of ,civilization1 beginning on north and continuing on south wall4 ,four groups in north panel1 from left to right1 ,emigrants setting out for the west2 two workmen and a woman holding child2 symbolic figure of the ,call to ,fortune2 types of those who crossed the continent1 the driver1 the ,preacher1 the ,pioneer1 the ,judge1 the ,schoolmistress1 the children2 youth bidding farewell to parents2 in background1 ,new ,england home and meeting place4 ,south wall3 four groups in panel1 from left to right2 two ,spanish-,american soldiers and captain with a ,spanish priest1 suggesting ,mission period2 symbolical figure ,spirit of ,enlightenment2 types of immigrants1 the ,scientist1 the ,architect1 the ,writer ,bret ,harte1 the ,sculptor1 the ,painter ,william ,keith1 the ,agriculturist1 the ,laborer1 women and children2 ,california welcoming the easterners1 figures of ,california bear1 farmer1 miner1 fruit pickers2 orange tree1 grain and fruit1 symbols of state4 ,classic groups at head of steps in front of arches leading down into gardens by ,paul ,manship1 of ,new ,york4 ,north side1 ,the ,dancing ,girls2 south1 ,music and ,art4 ,star-figure1 along upper edge of court1 by ,calder4 ,repeated ninety times4 ,contrast with angel in front of arches4 ,lion's head1 on cornice below star-figure1 repeated around court4 ,gilt balls on the domes of all six pavilions4 ,represent an ornamental motive borrowed from the ,byzantines and often used on synagogues4 ,a feature of ,st4 ,mark's4 ,dr4 ,jacob ,nieto1 rabbi of the ,temple ,israel1 of ,san ,francisco1 has an interesting theory as to their origin4 ,the ancients always had the greatest regard for the central star of each of the constellations that made tip the zodiacal signs4 ,no doubt in their method of representation they would symbolize the central stars by a globe1 as they also did the sun and the moon1 looking upon them all as servants of the earth1 and having1 possibly1 no idea that these other constellations might be separate solar systems4 ,frieze on pavilions at corners of court1 ,signs of the ,zodiac1 ,atlas and fourteen daughters1 seven ,pleiades and seven ,hyades twelve bearing plaques1 by ,herman ,a4 ,mac,neil1 of ,new ,york4 ,on four sides of each of the six dome-covered pavilions4 ,the third figure from the end on either side represents ,electra4 ,sculptor1 in modelling the form1 put it on one side and then reversed it on the other side4 ,the daughters of ,atlas3 only those representing signs of the ,zodiac1 have shields4 ,on each shield is one of the signs of the ,zodiac4 ,what the sculptor has designed on the right is reversed on the left1 securing absolute symmetry4 ,the figures are finely done and merit special attention4 ,lamps around sunken garden4 ,women2 the ,canephori1 priestesses who carried baskets in ancient ,greek religious festivals2 men1 suggestive of ,hermes1 used by ,romans at ends of roads4 ,instead of baskets1 they all carry jars4 ,fountain of the ,rising ,still4 ,ninety-foot column crowned by figure of ,rising ,sun1 by ,adolph ,a4 ,weinman1 of ,new ,york4 ,reliefs at base of column1 ,day ,triumphant2 ,time1 ,light1 ,truth1 ,energy1 conquering ,falsehood1 ,vice1 and ,darkness4 ,ornamental figures under upper bowl looking down into water1 suggest ,neptune1 but are winged1 ,spirit of the ,waters4 ,fountain of ,setting ,sun4 ,column with figure of ,setting ,sun1 a woman2 called also ,descending ,night4 ,reliefs at base of fountain1 ,gentle ,powers of ,night1 with ,dusk covering ,labor1 ,love1 and ,peace1 followed by the ,stars1 ,luna1 ,illusions1 and ,evening ,mists4 ,tritons in pools of ,fountains of ,rising and ,setting ,sun1 by ,weinman4 ,two statues2 one1 triton struggles with snake2 in the other1 with fish4 ,two duplicated in each pool4 ,sheetlike appearance of water when full force of water is on2 streams from figures in pool1 overflowing from bowl1 spouting from lion heads above frieze4 ,the ,elements1 reclining figures at head of main stairs leading down to sunken gardens by ,robert ,aitken1 of ,new ,york4 ,in size and treatment1 suggestive of ,michael ,angelo4 ,northeast1 ,water1 riding a wave1 with his trident in one hand1 sea weed in the other4 ,northwest1 ,fire1 a ,greek warrior lies in agony1 grasping fire and lightning1 with ,phoenix1 bird of flame1 at back1 and the salamander1 reptile of fire1 under his right leg4 ,southeast1 ,earth1 a woman leaning against a tree1 apparently sleeping2 at back two human figures struggle to uproot tree1 symbol of man's war with nature4 ,southwest ,air woman holding star to ear2 birds1 symbol of air2 ,icarus1 mythological aviator who fell into sea1 tied to wings of woman1 typifying man's effort to conquer the air4 ,small lion fountains below ,the ,elements1 by ,mc,kim1 ,mead ,white4 ,bandstand1 ,arabic2 picturesque1 but inharmonious2 obstructs view through entrance court4 ,four tigers at base of bandstand1 facing pool2 decorative4 ,court leading from gardens to ,column of ,progress4 ,designs repeated in frieze and in jeweled lamps of shell design1 ,mc,kim1 ,mead ,white2 fine detail4 ,colonnades on either side of court leading to ,marina4 ,large ,roman hanging lamps4 ,stars in ceilings4 ,beauty in design1 coloring and sweep of corridor4 ,frieze around main doorway in colonnades1 bird and conventionalized foliage2 skilfully designed4 ,on the ,marina ,view from ,marina3 ,extreme right1 ,berkeley and ,oakland2 in center of bay1 ,alcatraz ,island1 like a white citadel2 left of ,alcatraz1 ,angel ,island2 left of ,angel ,island1 ,belvedere2 left1 ,marin ,county1 including ,sausalito and ,mount ,tamalpais1 with military reservation facing the ,golden ,gate and looking across to the large military reservation1 ,presidio4 ,column of ,progress1 celebrating the ,progress of ,man4 ,preliminary sketch by ,calder4 ,w4 ,symmes ,richardson1 architect4 ,reliefs at base1 by ,isidore ,konti1 of ,new ,york4 ,surmounting statue1 by ,hermon ,a4 ,mac,neil1 of ,new ,york4 ,tablets on four sides of base1 in commemoration of aerial advancement4 ,to the west1 the scientific phase1 a tribute to ,langley1 who first solved the problem of flying4 ,to the north1 aerial achievement4 ,to the east1 aerial organization4 ,to the south1 history of flying4 ,frieze at base on four sides celebrates beginning of progress4 ,on south front1 two women holding palm branches1 symbol of victory1 call mankind to achievement4 ,wreath at base of column1 reward of achievement4 ,top of pedestal1 ornamental garland1 with figure of ,sphinx at corners4 ,spiral1 winding around column1 with ships in full sail1 suggestive of upward progress of world4 ,similar spiral on ,column of ,trajan and ,column of ,marcus ,aurelius1 in ,rome4 ,circular frieze sustaining main group at top1 ,the ,burden ,bearers1 by ,mac,neil4 ,group on top1 ,the ,adventurous ,bowman1 the ,superman1 representing moment of attainment4 ,three figures1 the dominating male1 with the male supporter steadying his arm1 and the devoted woman ready to crown him with laurel4 ,first use of this kind of column for an idealistic conception4 ,prototypes of this column1 like ,trajan's ,column1 but to celebrate some warlike figure or feat4 ,best place to view column1 from north1 near ,california ,building4 ,esplanade1 straight northern wall1 broken by ,court of ,four ,seasons1 ,court of the ,universe1 and ,court of the ,ages4 ,northern facades of all four buildings1 ornate doors in duplicate of ,spanish plateresque doorways4 ,main doorways1 rich detail4 ,statues in niches1 by ,allen ,newman1 of ,new ,york4 ,center1 ,conquistador1 sixteenth century ,spanish adventurer4 ,figure on either side in duplicate1 ,newman's ,pirate1 who preyed on shore commerce of ,south ,america4 ,humorous touch in bowlegs4 ,magnificent view from ,marina of ,san ,francisco back of the ,tower ,of ,jewels4 ,like a painting by ,cezanne4 ,approaching the ,court of ,four ,seasons ,from the ,court of the ,universe ,venetian ,court4 ,palaces on sides of court2 to the north1 ,agriculture2 to the south1 ,liberal ,arts4 ,quotation on ,arch of ,setting ,sun1 facing ,venetian ,court1 chosen by ,garnett4 ,panels from left to right3 ,the world is in its most excellent state when justice is supreme1 from ,dante1 the ,italian poet2 ,it is absolutely indispensable for the ,united ,states to effect a passage from the ,mexican ,gulf to the ,pacific ,ocean1 and ,i am certain that they will do it4 ,would that ,i might live to see it4 ,but ,i shall not1 from ,goethe1 the ,german poet2 ,the ,universe1 an infinite sphere1 the center everywhere1 the circumference no where1 from ,pascal1 the ,french philosopher4 ,italian ,renaissance architecture4 ,colors rich and well harmonized2 pink and green4 ,picturesque lattice work in small doorways4 ,lighting standards1 by ,faville4 ,goats' heads at top of standards1 just below the globe4 ,arches on sides1 coupled ,corinthian columns4 ,endeavor to make them more interesting than formal type of fluted columns4 ,four designs4 ,they add to richness of court4 ,winged figures over arches1 by ,faville4 ,blue medallions above arches1 ,faville4 ,italian adaptation of ,byzantine1 ,ship of ,state1 the ,bison1 the ,twins holding garlands representing abundance1 the horn of plenty and cadeucus1 and tree4 ,coloring under eaves1 bright shades1 blue and orange4 ,planting1 by ,mc,laren1 well-massed1 in great profusion4 ,court of ,four ,seasons ,court of ,four ,seasons1 ,henry ,bacon1 of ,new ,york1 architect4 ,hadrian's ,villa used as model for half-dome and columns in front of fountain4 ,italian ,renaissance in feeling4 ,every detail in classic spirit4 ,gives impression of seclusion and peace4 ,quotations on gateways chosen by ,garnett4 ,on the eastern gateway1 ,so forth issew'd the seasons of the yeare - first1 lusty spring all dight in leaves and flowres - then came the jolly sommer being dight in a thin cassock coloured greene1 then came the autumne all in yellow clad - lastly came winter cloathed all in frize1 chattering his teeth for cold that did him chill1 from ,the ,faerie ,queene1 by ,edmund ,spenser4 ,on the western gateway1 ,for lasting happiness we turn our eyes to one alone1 and she surrounds you now1 great nature1 refuge of the weary heart and only balm to breasts that have been bruised4 ,she bath cool hands for every fevered brow and gentlest silence for the troubled soul1 from ,the ,triumph of ,bohemia1 by ,george ,sterling4 ,palaces around court3 northeast1 ,agriculture2 northwest1 ,food ,products2 southwest1 ,education2 southeast1 ,liberal ,arts4 ,emerald pool4 ,surrounded by shrubbery4 ,no sculpture4 ,architectural term1 a black mirror4 ,fine reflections4 ,planting1 by ,mc,laren1 simple and effective4 ,trees1 olive1 acacia1 eucalyptus1 cypress1 laurel4 ,all foliage1 grey-green2 banner poles same color4 ,banners1 by ,ryan2 no heraldic designs4 ,best view of court from between columns of ,fountains of ,spring or ,autumn4 ,bulls at sides1 above entrance to north court1 ,feast of the ,sacrifice1 by ,albert ,jaegers1 of ,new ,york4 ,youth and maiden leading bulls to harvest festival1 suggested by great garlands4 ,roman eagles below bulls on four corners of north court4 ,bull's head with festoons1 skull motive1 at base of corner pavilions at four corners of north court1 ,roman4 ,lion's head around cornice1 designed by the architect1 modelled by artisans of ,exposition4 ,bulls' heads above cornices between festoons of flowers around court4 ,roman motive4 ,statue above south dome1 ,harvest1 by ,albert ,jaegers4 ,seated figure with horn of plenty4 ,fruits and grains on either side4 ,abundance1 statue repeated four times over each gateway1 by ,august ,jaegers4 ,vases repeated twenty-four times on balustrade around court2 simple design1 in harmony with classic plan of court4 ,wreaths above cornice around court1 harvest motive1 wheat and grape4 ,figures in triangular spaces over three arches of each gateway1 repeated4 ,by ,august ,jaegers4 ,harvest motive4 ,in ceiling of east and west arches1 faint relief1 terra-cotta effect1 ,greek designs2 coloring1 orange1 faint greens1 and browns4 ,signs of zodiac on gateways1 ,aries1 ,taurus1 ,gemini1 ,cancer1 ,leo1 ,virgo1 ,libra1 ,scorpio1 ,sagittarius1 ,capricornus1 ,aquarius1 ,pisces4 ,half-dome to south1 ,niche of ,ceres4 ,rich coloring in vault1 contrasted with light tones in arched section4 ,figures on composite columns at right and left of half-dome1 ,rain and ,sunshine1 ,albert ,jaegers4 ,rain1 a woman shielding head with mantle and holding shell2 ,sunshine1 woman shading head from sun with palm branch4 ,capitals of columns of ,rain and ,sunshine1 agricultural figures1 small harvesters4 ,modelled by ,donnelly and ,ricci after designs of the architect4 ,pedestals at base of columns1 agricultural scenes in low relief1 modelled by ,donnelly and ,ricci after designs of the architect4 ,farmers going to work with women and children and dog4 ,in niches at corners of court1 ,fountains of the ,seasons1 surmounted by statue groups representing seasons1 ,furio ,piccirilli1 of ,new ,york4 ,delicate pink tinting of walls in niches1 by ,guerin1 in imitation of pink marble4 ,columns of colonnades1 ,ionic1 with harvest suggestion in ears of corn hanging from capitals1 flower at top4 ,flower boxes1 in walls of niches near top and at top2 ,african dew plant hanging over edge2 give note of age and break sharp outline of wall against sky1 and contrast with color of background4 ,southwest corner1 ,spring1 by ,piccirilli4 ,young woman with floral garland1 man adoring1 ,flora bringing flowers4 ,northwest corner1 ,summer1 by ,piccirilli4 ,group expresses fruition4 ,woman brings child to husband4 ,laborer with first sheaf from field4 ,northeast corner1 ,autumn1 by ,piccirilli4 ,young woman carrying wine jar1 suggests fruitfulness4 ,harvest of fields and human race2 one girl offers grapes1 other a child4 ,southeast corner1 ,winter1 by ,piccirilli4 ,bare tree at back2 laborer rests after tilling2 one begins to sow1 preparing for spring4 ,murals in colonnades with fountains1 by ,h4 ,milton ,bancroft4 ,simple and obvious1 in the pagan spirit4 ,above doorway in southwest corner1 ,spring4 ,spring and ,seedtime4 ,northwest corner1 ,summer4 ,summer and ,fruition4 ,northeast corner1 ,autumn4 ,autumn and ,harvest4 ,southeast corner1 ,winter4 ,festivity and ,winter4 ,murals in half-dome to south1 ,bancroft4 ,coloring and arrangement of figures finer than in smaller panels4 ,on east wall under dome1 ,art ,crowned by ,time4 ,father ,time crowns ,art2 on one side1 figures of ,weaving1 ,jewelry ,making1 ,glassmaking2 on other ,printing1 ,pottery1 and ,smithery4 ,man ,receiving ,instruction in ,nature's ,laws4 ,woman holds before a child a tablet inscribed ,laws of ,nature4 ,nature's laws applied to ,earth1 ,water1 ,fire1 ,love1 ,life1 and ,death4 ,north court1 entrance to ,court of ,four ,seasons4 ,wreaths1 lion heads1 bulls' beads1 harvest design on capitals of columns1 repeated4 ,ceres1 by ,miss ,beatrice ,evelyn ,longman1 goddess of agriculture1 wreath of cereals and corn scepter4 ,figure conventional1 prim and modish2 flowing skirt4 ,figures below ,ceres on drum represent carefree nature4 ,in deep relief4 cameo-like4 ,figures of women1 gracefully modeled1 with garlands and tambourines4 ,satyrs spout water into bowl of fountain4 ,trees1 yews in couples1 on either side of walks and center of lawn2 redwoods and eucalypti at sides of entrance to court4 ,shiny-leaved dark green shrub1 on borders in court1 coprosma4 ,mass of green1 placed at end of court to hide ,morro ,castle4 ,deepens intimate note of court4 ,french lighting standards at north end of court1 by ,ryan and ,denneville4 ,aisle of ,sunset ,aisle approaching the ,palace of ,fine ,arts1 leading from ,court of ,four ,seasons1 west to ,administration ,avenue1 by ,faville4 ,central portal1 ,spanish ,renaissance1 with twisted ,byzantine columns4 ,globe above1 symbolical of universal education4 ,main sculptural group3 ,education1 by ,gustave ,gerlach1 ,weehawken1 ,new ,jersey4 ,tree of knowledge in background4 ,left1 kindergarten stage4 ,center1 half-grown children4 ,right1 man working out problems for himself4 ,below1 open book of knowledge radiating light in all directions4 ,small figures draw aside curtains of darkness and ignorance4 ,hour-glass1 ,time ,flies4 ,crown1 for seekers of knowledge4 ,educational panels inlaid in wall over smaller entrances1 by pupils of ,school of ,sculpture of ,beaux ,arts ,architects1 and ,national ,sculpture ,society4 ,woman teacher1 by ,w4 ,h4 ,peters4 ,man teacher1 by ,cesare ,stea4 ,victory1 on gables of buildings1 by ,louis ,ulrich1 of ,new ,york2 ,acroterium2 like ,victory of ,samothrace4 ,charm of green lattice-work in small doorways of palace4 ,main doorway1 ,palace of ,food ,products1 by ,faville4 ,terra cotta effect on sides of door4 ,eagles above door1 inspiration4 ,green lattice-work in doors4 ,administration ,avenue ,west wall1 magnificent2 facing ,palace of ,fine ,arts1 broken by ,aisle of ,spring1 and two large ,roman half-domes in ,palace of ,food ,products and ,palace of ,education4 ,palaces facing avenue3 from north to south1 ,food ,products and ,education2 across lagoon1 ,fine ,arts4 ,greenery and niches in pink and blue prevent wall from being monotonous4 ,dome of ,plenty1 in ,palace of ,food ,products1 harmonizes with half-dome in ,court of ,four ,seasons4 ,fountain in dome2 elaborate2 ,sienna design4 ,man with oak wreath1 repeated eight times above columns in portal representing strength1 by ,earl ,cummings4 ,great columns of imitation ,sienna on either side of portal1 surmounted by ,physical ,vigor1 by ,ralph ,stackpole4 ,niches along wall1 archaeological figures1 by ,charles ,harley1 of ,philadelphia4 ,triumph of the ,field1 man with harvest symbols1 alternating with ,abundance1 woman with horn of plenty4 ,half-dome of ,palace of ,education1 ,dome of ,philosophy4 ,architecture as in ,dome of ,plenty4 ,charm of background1 ornamented ceiling1 ,corinthian columns with acanthus leaves4 ,over doorways1 beautiful use of stained glass4 ,female figure repeated eight times above inner columns1 by ,albert ,weinert2 carries books2 ,ex ,libris1 representing education4 ,statue by ,stackpole surmounting ,sienna columns1 reversed duplicate of figure before ,dome of ,plenty1 with different name1 ,thought4 ,really represents vigorous man thinking4 ,figures in niches repeated4 ,roman fountain1 ,dome of ,philosophy1 by ,faville2 simplest and one of the most beautiful of the fountains on grounds4 ,suggested by fountains in ,sienna and ,ravenna4 ,palace of ,fine ,arts ,palace of ,fine ,arts1 ,bernard ,r4 ,maybeck1 of ,san ,francisco4 ,conception inspired by ,boecklin's painting1 ,the ,island of the ,dead4 ,rotunda like ,pantheon in ,rome4 ,colonnade suggested by ,gerome's ,chariot ,race4 ,columns at end of colonnade1 hint of ,forum4 ,greek suggestion in ,corinthian columns and fretwork and frieze around rotunda4 ,roof garden or pergola around edge of roof and the ,egyptian red of wall gives ,egyptian note4 ,suggestion of overgrown ruin2 atmosphere of melancholy beauty4 ,originality of architectural design and treatment4 ,curved hedge1 obscuring view of floor of rotunda from opposite side of lagoon1 by ,john ,mc,laren4 ,african dew plant1 as in south hedge4 ,laurels and willows were originally planned to cover hedge and to reach to top of columns4 ,monterey cypress at north end of colonnade4 ,kneeling figure on altar directly in front of rotunda1 ,reverence1 by ,ralph ,stackpole4 ,can be seen from across pool only4 ,altar rock1 planting grown down over edge gives effect of draped altar cloth4 ,frieze on altar rock1 below kneeling figure1 by ,bruno ,louis ,zimm1 of ,new ,york4 ,represents ,source of ,genius4 ,in center1 ,genius2 to left and right1 mortals seeking to approach genius2 lions guard the youth4 ,seen from across lagoon only4 ,panels on exterior of rotunda just below dome1 by ,zimm1 representing progress and influence of art4 ,eastern panel1 ,struggle for the ,beautiful2 in center1 ,truth2 at sides1 ,persistence and ,strength1 struggling with centaurs1 symbols of materialism4 ,panel to left1 ,power of the ,arts2 ,genius taming ,pegasus1 inspiration in art2 ,wisdom inspiring ,youth2 ,music with lyre2 figures of ,literature and ,sculpture4 ,panel to right1 ,triumph of the ,arts2 ,apollo1 patron of arts1 in chariot2 ,fame1 with olive branches2 ,ictinius1 builder of ,parthenon1 leads procession of devotees4 ,three panels1 repeated on five sides of rotunda4 ,decorative figure1 man and woman alternating1 between panels1 repeated around rotunda4 ,corinthian columns1 ochre grouped with pale green ones2 capitals of burnt orange4 ,flower boxes by ,ulric ,h4 ,ellerhusen2 women at corners4 ,original plan was to have vines from boxes droop over1 shoulders of women4 ,architect's purpose in attitude of women to suggest sadness of art4 ,roman vases1 eight or ten feet high around colonnade4 ,massive and graceful detail4 ,sculpture ,outside ,fine ,arts ,palace ,beginning at ,northeast ,corner of ,lagoon ,north of ,lagoon ,the ,illustrious ,obscure1 by ,robert ,paine4 7,fountain on island at north end of lagoon47 ,whaleman1 by ,bela ,l4 ,pratt4 ,garden ,group by ,anna ,coleman ,ladd4 ,dying ,lion1 by ,paul ,wayland ,bartlett4 ,garden ,figure1 ,nymph1 by ,edmond ,t4 ,quinn4 ,fragment of ,fountain of ,time1 by ,lorado ,taft4 ,representing the troubled generations4 ,roadway to ,right ,before ,entering ,circle ,bird ,fountain1 by ,caroline ,risque4 ,the ,first ,mother1 by ,victor ,s4 ,holm4 ,circle at ,north ,end of ,peristyle ,mother of the ,dead1 by ,c4 ,s4 ,pietro4 7,lagoon side of circle47 ,chief ,justice ,marshall1 by ,herbert ,adams4 7,in walk47 ,destiny1 by ,c4 ,p4 ,dietsch4 ,sundial1 by ,edward ,berge4 ,head of ,lincoln1 by ,a4 ,a4 ,weinman4 ,fountain ,groups1 by ,anna ,coleman ,ladd4 ,sun-,god and ,python1 ,water ,sprites1 and ,triton ,babies4 7,to right47 ,sundial1 by ,gail ,sherman ,corbett4 ,daughter of ,pan1 by ,r4 ,hinton ,perry4 ,boy ,pan with ,frog1 by ,clement ,j4 ,barnhorn1 ,bondage1 by ,carl ,augustus ,heber4 7,only feminist note in the grounds47 ,saki1 ,sundial1 by ,harriet ,w4 ,frishmuth4 7,in walk47 ,great ,danes1 by ,anna ,vaughan ,hyatt4 ,young ,diana1 by ,janet ,scudder4 ,flower ,urns1 base of building along colonnade2 ,greek figures with garlands4 ,ulric ,h4 ,ellerhusen4 ,wall of building facing colonnade1 seventeen feet high4 ,acacia blooming there1 suggesting over-growth1 relieves severe lines of architecture4 ,broken by small doors1 at corners decorated with spears4 ,doors suggest ,greek design4 ,corinthian columns and pilasters2 harmony of color1 smoked ivory and ochre1 with shades of green in foliage4 ,urns1 on the wall on either side of the doorways and in the rotunda1 designed by ,william ,g4 ,merchant4 ,suggested by urns in the ,vatican1 ,rome4 ,north ,peristyle 7curved part colonnade north of rotunda74 ,maiden of the ,roman ,campagna1 by ,albin ,polasek4 7,to left47 ,fountain3 ,duck baby1 by ,edith ,barretto ,parsons4 ,a ,fawn's ,toilet1 by ,attilio ,piccirilli4 ,apollo1 by ,haig ,patigian4 7,to right47 ,the ,scalp1 by ,edward ,berge4 7,to left47 ,primitive ,man1 by ,olga ,popoff ,muller4 ,youth1 by ,victor ,d4 ,salvatore4 7,to right47 ,soldier of ,marathon1 by ,paul ,noquet4 7,to left47 ,fountain3 ,fighting ,boys1 by ,janet ,scudder4 ,garden ,figure1 by ,edith ,woodman ,burroughs4 7,to right47 ,l',amour1 by ,evelyn ,beatrice ,longman4 7,to right47 ,returning from the ,hunt1 by ,john ,j4 ,boyle4 7,to left47 ,boy with ,fish1 by ,bela ,l4 ,pratt4 7,to right47 ,the ,centaur1 by ,olga ,popoff ,muller4 ,the ,sower1 by ,albin ,polasek4 ,beyond1 by ,chester ,beach4 7,by main doorway47 ,aspiration1 by ,leo ,lentelli4 7,over main doorway47 ,pioneer ,mother ,monument1 by ,charles ,grafly4 7,before main doorway47 ,portrait of a ,boy1 by ,albin ,polasek4 7,outside west archway47 ,the ,awakening1 by ,lindsey ,morris ,sterling4 7,outside west archway47 ,sculpture1 relief on walls of west archway4 ,bela ,l4 ,pratt4 ,rotunda1 ,entrance ,through ,north ,archway ,william ,cullen ,bryant1 by ,herbert ,adams4 7,at northwest archway47 ,lafayette1 by ,paul ,weyland ,bartlett4 7,center of rotunda47 ,the ,young ,franklin1 by ,robert ,tait4 ,princeton ,student ,memorial1 by ,daniel ,chester ,french4 ,architecture1 relief by ,richard ,h4 ,recchia4 ,commodore ,john ,barry1 by ,john ,j4 ,boyle4 ,architecture1 relief by ,richard ,h4 ,recchia4 ,lincoln1 by ,daniel ,chester ,french4 ,thomas ,jefferson1 by ,karl ,bitter4 7,outside southwest arch way47 ,murals in dome of rotunda1 ,robert ,reid4 ,two series of paintings1 four in each1 ,birth and ,influence of ,art1 alternating with ,the ,four ,golds of ,california4 ,birth of ,oriental ,art1 panel on west wall1 toward main doorway4 ,man on dragon attacking eagle1 heavenly bird of inspiration4 ,china1 man in bright robe4 ,japan1 woman with parasol4 ,gold1 panel to right1 woman with wand2 sits on horn of plenty pouring gold4 ,ideals of ,art1 panel to right4 ,greek ideal1 nude4 ,religion ,madonna and child4 ,heroism1 ,joan of ,arc4 ,material youthful beauty1 woman at left4 ,nature without inspiration or ideal1 peacock4 ,figures with wreath and palm1 rewards of art4 ,poppies1 panel to right1 second gold of ,california4 ,birth of ,european ,art1 panel to right4 ,altar with divine fire1 guardian with torch4 ,mortal in chariot grasps torch of inspiration4 ,woman in lower corner with crystal globe1 predicting future of art4 ,oranges1 panel to right1 third gold of ,california4 ,inspiration of ,art1 panel to right4 ,angels of inspiration above4 ,figures of ,sculpture1 ,architecture1 ,painting1 ,music1 and ,poetry4 ,wheat1 panel to right1 fourth gold of ,california4 ,priestess of ,culture1 ,herbert ,adams1 of ,new ,york2 female figure surmounting columns within rotunda4 ,coloring of dome1 burnt orange1 turquoise green1 ,sienna columns4 ,south ,peristyle 7curved colonnade74 ,youth1 by ,charles ,carey ,rumsey4 7,to south of doorway47 ,an ,outcast1 by ,attilio ,piccirilli4 7,to right47 ,idyl1 by ,olga ,popoff ,muller4 ,dancing ,nymph1 by ,olin ,l4 ,warner4 ,boy and ,frog1 by ,edward ,berge4 7,to left47 ,eurydice1 by ,furio ,piccirilli4 7,to right47 ,wild ,flower1 by ,edward ,berge4 ,young ,mother with ,child1 by ,furio ,piccirilli4 7,to right47 ,wood ,nymph1 by ,isidore ,konti4 ,young ,pan1 by ,janet ,scudder1 7,to left47 ,michael ,angelo1 by ,robert ,aitken4 7,to right47 ,muse ,finding the ,head of ,orpheus1 by ,edward ,berge4 7,to left47 ,flying ,cupid1 by ,janet ,scudder4 ,piping ,pan1 by ,louis ,st4 ,gaudens4 ,circle at ,south ,end of ,peristyle ,bust of ,william ,howard ,taft1 by ,robert ,aitken4 7,to right47 ,henry ,ward ,beecher1 by ,john ,quincy ,adams ,ward4 ,bust of ,halsey ,c4 ,ives1 by ,victor ,s4 ,holm4 7,to left47 ,seated ,lincoln1 by ,augustus ,st4 ,gaudens4 ,south of ,lagoon ,kirkpatrick ,monument1 by ,gail ,sherman ,corbett1 ,indian pointing out spring to ,jesuit priest4 7,to right on roadway running back of palace47 ,american ,bisons1 by ,a4 ,p4 ,proctor4 7,sides of roadway47 ,peace1 by ,sherry ,e4 ,fry4 7,to left47 ,diana1 by ,haig ,patigian4 ,fountain3 ,wind and ,spray1 by ,anna ,coleman ,ladd4 7,in lagoon1 south end47 ,the ,scout1 by ,cyrus ,e4 ,dallin4 ,sea ,lions1 by ,frederick ,g4 ,r4 ,roth4 ,court of ,palms ,court of ,palms1 by ,kelham2 opposite ,palace of ,horticulture1 between ,palaces of ,education and ,liberal ,arts4 ,italian ,renaissance4 ,sunken garden4 ,palaces at sides of court3 to the west1 ,education2 to the east1 ,liberal ,arts4 ,the ,end of the ,trail1 equestrian statue at entrance1 by ,james ,earl ,fraser4 ,exhausted ,indian1 suggests destiny of the ,american ,indian race4 ,italian ,towers1 ,byzantine influence1 by ,kelham4 ,both sides of entrance to court2 identical4 ,simpler than towers at ,court of ,flowers1 to cast4 ,coloring of towers1 by ,jules ,guerin4 ,walls frankly treated1 not as stone1 but as plaster1 after ,italian method4 ,blue checkered border1 pink and blue diaper design2 turquoise columns on little towers above1 in harmony with domes and columns of ,tower of ,jewels4 ,design on top1 repeated four times at corners1 from choragic monument of ,lysicrates1 in ,venice4 ,sienna columns at entrances of towers4 ,effective contrast4 ,reclining women1 purely decorative1 in triangular spaces above entrances to towers1 by ,albert ,weinert4 ,figures on side of shield over all portals1 very graceful4 ,pink and turquoise4 ,the ,fairy1 crowning ,italian ,towers1 ,carl ,gruppe4 ,female figures1 the caryatides on wide frieze1 above columns1 by ,calder and ,john ,bateman1 of ,new ,york4 ,flushed pink1 against pink and blue background of imitation marble and terra cotta4 ,festoons of fruit in panels1 blues and reds4 ,coupled ,ionic columns1 smoked4 ,effective against pink walls4 ,vases1 before entrances1 by ,weinert4 ,bacchanalian revels1 low relief4 ,satyr handles4 ,lighting standards on balustrade1 designed by ,ryan1 modeled by ,denneville4 ,pool of ,reflections1 no sculpture4 ,italian cypresses1 on sides of portals4 ,balled acacias between columns on corridors4 ,palms1 in garden4 ,corridors1 pink walls1 blue ceiling4 ,lamp standards1 smoked ivory globes4 ,designed by ,kelham1 modeled by ,denneville4 ,lamps in corridors ,roman1 hanging4 ,light pink1 green1 and cream2 effective4 ,by ,kelham4 ,murals1 in corridors1 at east1 north1 and west portals4 ,pursuit of ,pleasure1 east arch1 ,charles ,w4 ,holloway4 ,light touch1 bright reds and blues in keeping with court2 difficult use of floating figure4 ,victorious ,spirit1 north arch1 ,arthur ,f4 ,mathews4 ,spirit of ,enlightenment protecting ,youth from ,materialism1 symbolized by rampant horse and the rider1 ,brute ,force4 ,arrangement good1 coloring deep and beautiful4 ,fruits and ,flowers1 west arch1 ,childe ,hassam4 ,early ,italian4 ,symbolism1 obvious4 ,warmth of color4 ,vista from south1 graceful curve of court1 view through north portal through ,court of the ,four ,seasons1 long colonnade1 to purple bills and bay beyond4 ,palace of ,horticulture ,palace of ,horticulture1 ,bakewell ,brown1 architects1 ,san ,francisco4 ,architecture dome and spires ,byzantine1 suggest mosque of ,ahmed the ,first1 in ,constantinople4 ,ornamentation ,renaissance1 popular with modern ,french architects4 ,basket on top of dome1 #cc feet in diameter4 ,dome1 #ahf feet in height1 #aeb feet in diameter steel construction ,st4 ,peter's1 #acg feet1 concrete4 ,pantheon1 #adb feet1 concrete4 ,ornamental shafts1 suggestive of minarets1 in ,french style4 ,semi-circular colonnade forming entrances1 ,french lattice-work4 ,hanging lamp1 in entrances1 flower basket design2 elaborate4 ,lamps1 hanging along porches1 simple design4 ,female figures at base of spires1 by ,eugene ,louis ,boutier2 purely ornamental4 ,lavish decorations on building suggest variety and abundance of ,california horticulture4 ,floral designs2 green wreaths with fruit motives and leaves2 lamps2 flowered shields over doorway2 decorated columns2 entrance under green lattice-work2 great ornamental vases on sides4 ,female figures used as columns supporting roof of porch1 the caryatides1 by ,john ,bateman4 ,building suggests festivity1 done in exposition spirit4 ,coloring1 green1 old copper4 ,green lattice-work in domes4 ,along the ,south ,wall1 ,west of the ,tower of ,jewels ,south ,wall1 by ,faville4 ,spanish ,renaissance4 ,domes1 ,byzantine4 ,palaces facing ,avenue of ,palms1 from west to east3 ,education1 ,palace ,liberal ,arts1 ,manufactures1 and ,varied ,industries4 ,vases beside doorways of ,palace of ,education1 finely designed2 pedestal of one1 a ,corinthian capital2 of the other1 an ,ionic capital4 ,main portals1 ,faville4 ,suggest ,roman gateway4 ,coloring1 pink1 turquoise blue1 and burnt orange2 accentuates sculpture4 ,duplicated on ,palaces of ,manufactures and ,liberal ,arts4 ,panel over doorway1 by ,mahonri ,young1 ,ogden1 ,utah2 figures of domestic life and industries1 making of glass1 metal work1 statuary1 textiles4 ,figures at side1 to left1 woman with spindle2 to right1 man with sledge-hammer4 ,flat columns at side of portals1 pilasters4 ,corinthian4 ,lion1 over centerpiece of arch4 ,victory1 on gables by ,louis ,ulrich1 like the winged figure used by the ,greeks1 ,blessings on this house4 ,niches in wall1 colored pink and blue4 ,heads of lions and elephants used as fountains1 alternately by ,faville4 ,panel over niches1 figures with garland1 by ,faville4 ,festival ,hall ,festival ,hall1 ,robert ,farquhar1 of ,los ,angeles1 architect4 ,modern ,french architecture1 of the ,beaux ,arts style1 ,paris4 ,used in many ,french theatres2 not a natural growth in this country1 but growing in favor2 building arrangement fine4 ,details from ,le ,petit and ,le ,grand ,trianon4 ,coloring4 light green1 not so effective as on ,horticultural ,palace1 popular with ,french architects4 ,figure on corner domes1 ,the ,torch ,bearer1 ,sherry ,f4 ,fry1 of ,new ,york4 ,figures on sides of shield over big central arch1 by ,fry4 ,decorative4 ,west entrance4 ,reclining figures1 above1 on sides of entrance1 by ,fry4 ,to right1 ,bacchus with grapes and wine-skin4 ,to left1 a woman listening4 ,groups in front of ball1 on sides of stairway1 by ,fry4 ,flora1 flower girl on pedestal1 repeated4 ,on left below pedestal1 ,young ,pan1 seated on ,ionic capital covered with fawn skin1 his music arrested by sight of lizard4 ,on right1 young girl seated4 ,greek drinking horns1 rhytons1 repeated around entrance1 on cornice1 suggest festivity4 ,symbol of ,music1 the lyre1 above entrance4 ,recital ,hall1 on the second floor of ,festival ,hall1 eastern end1 contains fine stained glass windows4 ,designer and executor1 ,charles ,j4 ,connick1 of ,boston4 ,three windows1 a small one or1 the landing of the north stairway1 and two larger ones on the west wall of the hall itself4 ,on the stairway4 ,figure of a young monk bearing a scroll inscribed with ,venite exultamus domin 7,come1 let us exalt the ,lord74 ,in the hall1 window to the left4 ,in the large tipper section1 a figure of ,st4 ,martha of ,bethany4 ,below1 ,christ and three women1 one kneeling4 ,in the hall1 window to the right4 ,in the large tipper section1 figures of two men1 the wise men1 one watching the star1 one seated reading2 an owl and a lantern in the window also4 ,in the small section below1 a ship with a cross on the main sail2 the cross is of the design used in the ,crusades4 ,court of ,flowers ,court of ,flowers1 by ,kelham4 ,italian ,renaissance1 ,byzantine touches4 ,opposite ,festival ,hall1 between ,palaces of ,varied ,industries and ,mines4 ,details different from ,court of ,palms2 ornament richer4 ,figure on tower1 ,the ,fairy1 by ,carl ,gruppe4 ,palaces at sides of court3 to the west1 ,manufactures2 to the east1 ,varied ,industries4 ,italian towers1 by ,kelham1 same feeling4 ,outlines on top different from those in ,court of ,palms4 ,the ,american ,pioneer1 equestrian statue at entrance1 by ,solon ,borglum1 of ,new ,york4 ,patriarchal4 ,suggests ,joaquin ,miller4 ,warlike trappings of horse picturesque1 but sixteenth century ,spanish1 out of place4 ,spanish loggia around second story of court1 southern in feeling1 implying warm climate4 ,oriental ,flower ,girl1 female figure in niches along loggia1 by ,calder4 ,griffons around frieze on top of columns4 ,corridors1 pink walls1 smoked olive columns with orange capitals4 ,against wall1 ,corinthian coupled pilasters4 ,roman banging lamps1 by ,kelham1 suggest bronze1 great weight4 ,bronze1 pink1 green1 and cream4 ,italian bronze lanterns suggest blue eucalyptus4 ,lamp standards between columns1 globe half concealed1 by ,kelham4 ,charm of effect1 improvement on those with globe wholly visible4 ,conventionalized lions in pairs at portals1 by ,albert ,laessle1 of ,philadelphia4 ,fountain1 ,beauty and the ,beast1 by ,edgar ,walter1 of ,san ,francisco4 ,sandals and hat on woman4 ,beast at her feet4 ,fauns and satyrs1 piping1 under circular bowl4 ,frieze outside edge of bowl1 lion1 bear1 ape1 and tiger repeated2 playful4 ,designed for ,court of ,palms to be seen from above4 ,lophantha trees1 trimmed four feet from ground1 branching out six feet across1 along walks4 ,vista through fairy-like ,court of the ,ages to ,florentine ,tower and blue sky beyond1 from south entrance of ,court of ,flowers4 ,along the ,south ,wall1 ,east of ,tower of ,jewels ,palaces facing ,avenue of ,palms1 from east to west3 ,varied ,industries1 ,manufactures1 ,liberal ,arts1 ,education4 ,south facade of ,palace of ,varied ,industries1 by ,faville4 ,high walls1 seventy feet in height1 suggest eighteenth century ,california missions4 ,green domes on corners1 ,byzantine1 inspired by mosques of ,constantinople4 ,coloring of flags1 cerulean blue1 pastel red1 and burnt orange4 ,windows in corners1 mosque design4 ,little hexagonal kiosks at corners below domes1 ,moorish4 ,central portal1 after portal of ,santa ,cruz ,hospital1 in ,toledo1 ,spain4 ,sixteenth century ,spanish ,renaissance1 plateresque4 ,lattice-work effect in doorway in harmony with lace-like silver-platter style4 ,niche walls pink1 with ultramarine blue4 ,pope ,calixtus ,,iii sent for a ,spanish goldsmith1 ,diaz1 to do work for him in ,rome4 ,diaz returned to ,spain1 carrying the influence of the ,italian ,renaissance4 ,he met the son of the architect of the cathedral at ,toledo1 ,de ,egas4 ,to the son he imparted his knowledge and the son applied it to architecture1 creating the plateresque style4 ,till then all ,spanish cathedrals had shown the ,gothic influence from the north4 ,figures on large door by ,stackpole4 ,upper figures1 ,age ,transferring ,his ,burden to ,youth1 ,america4 ,figure in center piece of arch1 ,power of ,industry1 the ,american workman4 ,figures in half circle above door1 ,varied ,industries1 from left to right1 ,spinning1 ,building1 ,agriculture1 ,manual ,labor1 and ,commerce4 ,figure repeated four times in lower niches1 ,man with the ,pick4 ,california ,bear and ,california ,shield on buttresses1 or square columns supporting wall4 ,used in old mission buildings4 ,avenue of ,progress ,planting1 some of the best landscape effects in ,exposition4 ,against buildings1 ,monterey cypress2 banked by ,lawson cypress in front and between these1 spruces and ,spanish fir4 ,machinery ,palace1 ,ward ,blohme1 of ,san ,francisco1 architects4 ,italian ,renaissance1 inspired by ,roman baths4 ,like ,baths of ,caracalla4 ,largest building of its kind in world2 three blocks long1 seven acres in area4 ,banners1 by ,ryan1 heraldic designs of early ,spanish explorers and soldiers4 ,lophantha lawn1 designed by ,john ,mc,laren1 trees trimmed off four feet above ground1 and trained to grow flat alongside ,palace of ,varied ,industries4 ,east facade of ,varied ,industries1 made ,italian to harmonize with ,italian ,machinery ,palace4 ,main portal1 like gateways of old ,roman walled cities4 ,the ,miner1 in niches of gateway1 by ,albert ,weinert of ,new ,york4 ,small portals ,italian1 fine color effect2 lattice-work1 orange1 blue1 light green'4 ,sculpture on ,machinery ,palace1 by ,haig ,patigian1 of ,san ,francisco4 ,large columns in front and in vestibule of half dome1 imitation ,sienna marble4 ,small portals1 orange columns at sides1 pink niche1 blue dome1 orange above dome2 pleasing tone1 ,corinthian columns at sides of portals2 eagles at corners of capitals1 at top1 symbolize inspiration4 ,frieze around drums at base of columns ,genii of ,machinery1 by ,haig ,patigian2 eyes closed1 signifying ,power of the spirit1 or blind fate4 ,figures in triangular spaces on either side above doorways1 ,application of ,power to ,machinery1 by ,haig ,patigian4 ,figures on tall ,sienna marble columns1 ,power1 by ,haig ,patigian4 ,steam ,power1 with lever4 ,invention1 carrying figure with flying wings1 suggesting quickness of mind4 ,imagination1 eyes closed4 ,eagle bird of inspiration1 about to fly4 ,electricity1 foot on earth1 carrying symbol4 ,eagles repeated on bar1 the entablature1 across front of domes2 symbol of inspiration4 ,coloring in vestibule of ,machinery ,palace3 ,finely harmonized2 brown and brick-colored walls2 orange and blue ceilings2 green lattice work4 ,genius of ,creation1 group before court leading to ,court of ,ages1 ,daniel ,chester ,french4 ,spirit above1 a woman1 creating life from shapeless mass of earth below4 ,man at left1 courageous and enterprising2 woman at right1 timid1 hesitating4 ,serpent1 symbol of wisdom1 coiled about mass4 ,court of ,mines1 ,leading to ,court of ,ages ,coloring1 pink walls1 pink streamers1 by ,guerin4 ,green shell lamp posts1 by ,mc,kim1 ,mead ,white1 architects4 ,called ,pink ,alley by workmen during construction4 ,palaces on sides of court3 to the north1 ,mines2 to the south1 ,varied ,industries4 ,lamp standards against walls1 dark bronze1 smoked ivory globes1 by ,faville4 ,flat ,ionic columns1 called pilasters1 against walls1 by ,faville4 ,figure in niches1 ,the ,miner1 by ,albert ,weinert4 ,court of the ,ages ,court of ,ages1 ,louis ,christian ,mullgardt1 of ,san ,francisco1 architect4 ,most original of the courts4 ,faint influence of ,spanish ,gothic1 ,romanesque1 ,french1 ,moorish4 ,richness and profusion4 ,suggests evolution of man4 ,palaces around court3 northeast1 ,mines2 northwest1 ,transportation2 southwest1 ,manufactures2 southeast1 ,varied ,industries1 ,decorations on columns of archways around court1 kelp1 crabs1 lobsters1 and other sea animals4 ,vertical lines in columns suggest falling water4 ,fairy lamps1 two in each archway1 delicately designed4 ,primitive ,man and ,woman1 by ,albert ,weinert1 repeated alternately above corridors around court4 ,man1 a hunter1 feeding pelican4 ,woman1 the child-bearer4 ,tower at north entrance1 suggestive of ,french cathedral architecture1 massive1 but gives appearance of lightness4 ,one of the great successes of the ,exposition4 ,the ,rise of ,civilization1 groups of sculpture on tower1 by ,chester ,beach4 ,central idea1 evolution1 ,stone ,age1 ,mediaeval ,age1 and ,present ,age4 ,primitive ,man1 lowest group1 just above great reptiles in foreground4 ,man is holding child and protecting mate4 ,mediaeval ,age directly above1 ,crusader in center1 ,priest and ,warrior on sides4 ,the candlesticks on sides of crusader1 used in mediaeval churches1 the light of understanding4 ,on sides of altar1 ,modern ,man and ,woman1 struggling for freedom from the physical to the spiritual4 ,spirit of ,intelligence enthroned above2 on one side1 child with book2 on the other side1 child with wheel of industry4 ,chanticleer1 repeated on highest pinnacles of court1 at level with altar4 ,signifying dawn of ,christianity4 ,thought1 figure on east and west sides of tower4 ,candlesticks at sides4 ,design on upper part of tower1 suggested by the lily1 emblem of purity4 ,star clusters1 at south end of court and in north court1 by ,ryan1 modeled from snow crystal1 and deepening the ecclesiastical character of the court by suggesting the golden monstrance1 shaped like the rays of the sun1 used in the ,catholic church and1 in the small glass-covered circle at the center1 holding the sacred host4 ,water ,sprites1 by ,leo ,lentelli4 ,girl archers on top of columns at four corners of central court1 launching arrow at sprites on base of columns4 ,originally designed as fountains4 ,serpent cauldrons1 around pool1 designed by ,mullgardt4 ,fountain of the ,earth1 by ,robert ,aitken1 in center of court4 ,two ,parts to fountain2 large central one with globe representing earth1 surrounded by panels showing life on earth2 and on same pedestal to south1 groups representing life before and after death4 ,setting ,sun1 group at extreme south of pool1 by ,aitken4 ,man holding golden ball1 ,helios2 serpent1 heat of sun4 ,figures on west side of southern group1 ,the ,dawn of ,life4 ,hand of ,destiny giving life1 pointing toward earth2 ,sleep of ,woman before ,birth2 the ,awakening2 ,joy of ,life2 ,kiss of ,life2 ,birth4 ,gap to central group represents time between peopling and history4 ,panels around earth2 ,south ,panel2 ,vanity in center with handglass2 man and woman with children1 representing ,fecundity1 starting on earthly journey4 ,west ,panel3 ,natural ,selection2 women turn to fittest male2 one rejected suitor angry1 other despairing4 ,north ,panel3 ,physical ,courage or ,awakening of ,war ,spirit4 ,two men fight for possession of woman on left4 ,woman on right attempts to draw one aside4 ,east ,panel3 ,lesson of ,life4 ,old woman gives counsel to young man and woman4 ,old man restrains an angry1 jealous youth4 ,right of south panel1 ,lust4 ,east side of southern group3 ,greed1 looking back on earth4 ,faith offering ,immortality1 symbolized by scarab1 to ,woman4 ,figures of man and woman sinking back into oblivion1 ,sorrow and ,sleep4 ,hand of ,destiny drawing mortality to itself4 ,hermae1 pillars with head of ,hermes1 god of boundaries1 separating panels around earth4 ,reptilian and fishy forms above panels of central mass of fountain4 ,corridors1 walls red1 blue vault above1 arches of smoked ivory1 lines of blue on wall4 ,illumination by half-globes in cups on inner side of columns4 ,murals1 by ,frank ,brangwyn1 of ,london1 representing ,elements4 ,best placed of all murals4 ,at corners of court in corridors4 ,northeast corner1 ,fire4 ,primitive ,fire1 figures around fire nursing it1 or feeding it4 ,industrial ,fire1 use of fire in service of man4 ,southeast corner1 ,water3 ,fishermen dragging in net1 carriers with baskets on backs1 ,the ,net4 ,women and men filling jars at a spring1 flamingoes in water1 luxuriant growth1 clouds1 ,the ,fountain4 ,southwest corner1 ,air3 ,men shooting arrows through trees1 birds in flight1 ,the ,hunters4 ,huge mill1 children flying kites1 clouds1 grain blown by wind1 ,the ,windmill4 ,northwest corner1 ,earth3 ,men high in trees and on ground1 ,the ,fruit ,pickers4 ,figures crushing juice out with feet1 group in front with wine1 ,the ,dancing of the ,grapes4 ,planting in ,court3 ,tall ,italian cypress before arches2 orange trees2 balled acacia2 denseness of growth along colonnades2 heavy and rank1 suggesting tropical flora4 ,large cauldrons1 at side of steps leading down to sunken gardens1 designed by ,mullgardt4 ,north ,entrance to ,court of ,ages ,daughter of ,neptune or ,aquatic ,life1 large female figure in north ,court of ,ages1 by ,sherry ,e4 ,fry4 ,planting3 eucalyptus1 acacia1 laurel4 ,features that ,ought to be in ,noted by ,night ,illumination ,three kinds of light used2 white arc lamps1 extensively behind banners and shields to flood facades of outer walls and ,court of ,four ,seasons2 warmer light of ,mazda lamps in clear and colored globes2 and searchlights concealed on tops of buildings trained on towers and on high groups of sculpture4 ,lighting scheme and scope completed long before buildings were up2 made possible by advance in illuminating engineering1 developed under name of science of lighting and art of illumination4 ,chief of ,department of ,illumination1 ,walter ,d',arcy ,ryan1 of the ,general ,electric ,company1 ,schenectady1 ,new ,york2 field assistant1 ,a4 ,f4 ,dickerson4 ,ornamental details of lighting standards and fixtures1 designed by ,j4 ,w4 ,gosling2 designs made at ,illuminating ,engineering ,laboratories1 ,schenectady4 ,keynote of lighting scheme - life and gaiety1 without garishness4 ,lighting kept subordinate to architecture2 walks shaded to throw emphasis on brilliantly lighted facades and to bring out architecture1 landscape and flowers4 ,same lighting principle used throughout2 but effect in different courts radically different4 ,area of surface illuminated1 #h1jjj1jjj square feet2 #b1jjj1jjj of wall surface1 and #f1jjj1jjj of ground surface4 ,number of searchlights used3 #cgc arc searchlights1 in diameter from #ac to #cf inches2 #dej small searchlights1 called the ,mosquito ,fleet2 #bej incandescent projectors for flag lighting4 ,fillmore ,street ,entrance ,south facade of entrance1 outline illumination1 with bare electric lights following outlines of architecture2 used elsewhere only in ,zone4 ,inside ,fillmore ,street entrance1 ,zone to right2 brilliant lighting1 outline illumination1 more or less refined2 exaggerated effects prohibited4 ,zone1 element of festivity in arches crossing street at short intervals1 ribbons of turkey red suspended from each lamp give warmth and action4 ,contrast of ,zone lights with illumination in other parts of ,exposition4 ,to left1 ,service ,building1 administration offices2 coloring1 ,pinks and blue2 ceiling of porch1 intense blue1 deepest used on grounds4 ,corner of ,avenue of ,palms and ,avenue of ,progress3 lights banners1 towers1 facades of buildings1 walks1 flood lights1 spots of light and color4 ,fairy-like effect of ,avenue of ,palms3 towers look luminous2 in early evening ,italian ,towers red hot1 throbbing2 glow stronger than ,tower of ,jewels2 later1 ,tower of ,jewels most brilliant spot on avenue4 ,tower illumination1 floods of light from searchlights2 white light creates shadows1 in turn illuminated by concealed colored light on various stages1 on ,tower of ,jewels and ,italian ,towers4 ,single light standards along ,avenue of ,palms1 light yellow1 dull points of light2 contrast with white pearly light on tops of booths4 ,avenue of ,progress ,along ,avenue of ,progress3 fine flag display2 no direct sources of light2 banners2 beautiful scenes made by planting against walls and quality of green on lawn2 daylight effect from luminous arcs which produce whitest artificial light in use4 ,gas lights on tops of booths1 emergency lights if electricity fails4 ,banners and heraldic shields1 designed by ,ryan2 banners1 of early explorers and pioneers1 heraldic shields related to history of ,california1 ,mexico1 ,central ,america1 and ,pacific ,ocean4 ,purpose of banners3 to form beautiful lines of color1 to screen eyes from direct light source1 to reflect light toward buildings1 and to suggest history of court4 ,banners suspended1 swung by wind1 form moving spots of color4 ,roman gateway1 ,palace of ,varied ,industries3 faint light through small arches above doorway2 delicate green lattice or grill work in door4 ,light in doorways3 appearance of life within1 produced by reflectors inside palaces throwing light through glass of doors2 new idea2 contrast with dark windows of other expositions4 ,arches of ,machinery ,palace3 warm red glow in domes above2 strong yellow through doors below4 ,inner ,court of ,mines ,leading ,from ,palace of ,machinery to ,court of ,ages ,illumination strongest on upper sections of wall2 it becomes more subdued as it approaches flowers and lawns1 and reaches lowest point on center of avenue2 plan used on all avenues4 ,green lattice work1 filling entire main doorway1 in harmony with lawns4 ,single globe lamps placed against walls2 only court with lights in this position4 ,shell lamps1 flooding walls with light1 advanced method of wall illumination4 ,view of central fountain in ,court of ,ages3 glow of red lights1 faint shimmer in pools1 steam rising to suggest the earth cooling after being thrown off by the sun4 ,court of the ,ages ,court of the ,ages3 mystery in blending of illumination from searchlights above2 lack of direct illumination on court itself2 steam cauldrons1 with illumination1 incandescent lights1 gas torches in small serpent cauldrons1 lanterns in arches of the arcade that burn around cloister4 ,fountain of ,earth in center of pool1 carrying mind down the ages to correspond with architect's conception of court4 ,steam rising from base of fountain2 figures silhouetted in warm red glow2 lighter tone of red at upper portion of ball2 shimmering reflection of panels1 with red background in pool at sides of fountain4 ,serpent cauldrons1 around edge of pool1 to heighten weird effect1 by the flickering of the gas lamps4 ,large cauldrons at east and west entrances2 effect of simmering molten liquid4 ,steam used in court1 obtained from twenty horse-power boiler under tower4 ,main tower1 only tower without direct light thrown on exterior2 religious feeling1 increased by candlesticks1 two on each side2 steam to suggest smoke drifting upward4 ,reflection of tower in pool1 to be seen from south4 ,cathedral appearance of windows at sides of court1 by illumination in warm orange tone from within4 ,sunburst standards modelled in imitation of snow crystal1 and resembling monstrance used in ,catholic church2 two at south of court2 only large light sources in court2 contrast with other illumination4 ,two fairy lanterns in each arch around court4 ,brangwyn murals lighted without glare by indirect diffusion from four corners4 ,play of lights along colonnade2 lighting on murals adds to apparent distance4 ,north ,entrance to ,court of the ,ages ,similar treatment of lights1 brighter than in central court2 four star clusters1 sixteen serpent cauldrons2 effect heightened4 ,tower1 more beautiful from ,marina side2 note of refinement illumination in altar1 shadow in two colors1 created by red light illuminated by pale amber lights4 ,star clusters convey to mind religious feeling in keeping with design2 cathedral effect4 ,view of ,italian ,towers at sides of ,court of ,flowers1 from north court1 red glow and green columns of towers on either side of ,mullgardt tower1 vivid contrast4 ,to ,court of the ,universe1 through ,florentine ,court4 ,florentine ,court ,florentine ,court2 only illumination1 single lamp standards2 contrast with intense light in ,court of ,universe1 beyond4 ,fine shadow effects against walls2 vertical shadows of columns in arches contrasted with shadows of trees and shrubbery4 ,court of the ,universe ,arch of ,rising ,sun2 light through latticed windows in arch to give faint spots of luminous color4 ,illumination of main and side arches2 curvature preserved and details thrown into relief by lights of different strengths and colors2 concealed red light on one side and pale lemon light on other side thrown on arch4 ,all main arches similarly accentuated4 ,urns in side arches1 effect heightened by lights thrown from sides1 bring out lines2 red on one side1 on the other pale green4 ,colonnade1 illuminated by three translucent shell cups sunk into central groove of each column at rear2 spear of light from each shell up the grooves or fluting2 pleasant glow through shells from below4 ,effect of melted gold1 suggesting the tongues of fire mentioned in the ,scriptures4 ,sculptural groups on ,arches of ,rising and ,setting ,sun1 flooded with light from searchlights1 creating black shadows1 in turn illuminated by purple lights on top of arch4 ,figures thrown into relief4 ,tower of ,jewels1 gradual illumination2 early evening1 faintly lighted2 later1 when searchlights are turned on1 tower dominates southern wall2 blaze of white light2 jewels sparkle like diamonds2 turquoise columns1 faintly colored in bright light2 statues1 orange color4 ,star figures around court above colonnades1 jewelled2 each has forty-two stones1 illuminated by small searchlights on opposite side of court4 ,early evening1 pretty effect2 little jets of light from figures shoot across the court in clearly defined rays4 ,later1 flood of lights from columns in court above the small rays4 ,fountains of ,rising and ,setting ,sun2 columns1 said to be strongest light sources ever created2 aggregate #ejj1jjj candlepower sufficient to illuminate #ejj1jjj square feet of surface2 fluting of columns glazed with special diffusion glass4 ,for elimination of shadows caused by structure1 there is diffusive glass inside4 ,the glare from the light source is not excessive2 brilliancy low2 daring illumination of entire court4 ,lights under water in pools of fountains2 source and reflection concealed2 yellow light diffused over surface4 ,figures on pedestals of balustrades mark boundary of ,sunken ,garden2 not for illumination1 but for ornament merely4 ,domes of corner pavilions1 north of ,tower of ,jewels1 fine contrasts in interior2 delicate blue ceiling2 orange at sides4 ,bear fountains at sides of ,palaces of ,manufactures and ,liberal ,arts1 north of ,tower of ,jewels2 three on each wall in flat niches2 coloring1 pink wall1 turquoise blue1 green2 lights concealed under water2 when water is flowing1 wavering light like heat waves2 niches hardly noticeable when water is not flowing4 ,tower of ,jewels1 interior of main arch1 accentuated by lights at sides above columns2 no illumination on murals4 ,in niches at either side1 ,fountains of ,youth and ,el ,dorado1 flood-lighted from above2 no colored lights2 two single lamp standards in each court2 reflection of fountain figures in pools4 ,on the ,way to the ,marina ,lighting of colonnades1 vivid pinks and blues4 ,illumination in colonnade from lamps concealed in cups in one of the inner flutes of each column4 ,notice reflections of colonnade in pool4 ,column of ,progress2 flood light on figures on top of column by searchlights4 ,on the ,marina ,north facade of buildings1 tall dark-green planting against walls1 black vertical shadows2 shading of lawn2 flood light standards1 spots of dull orange light through translucent rigid shields4 ,spots of light from single globes along avenue1 on water front1 white lights on booths2 glow from lamps at entrance to ,court of ,four ,seasons4 ,spanish doorway of ,palaces of ,food ,products1 ,agriculture1 ,transportation and ,mines1 among most successfully illuminated portals on grounds2 light pink walls in two shades1 light blue vaulted ceiling1 green edges2 three arches2 light green lattice work2 dark shadows in niches of ,conquistador and ,pirate4 ,adventurous ,bowman1 profile view of group from entrance to ,court of ,four ,seasons2 outlined against blue-black sky2 stars1 in sky about it1 mere points of light4 ,group sometimes reproduced in the fog4 ,venetian ,court ,inner ,court1 between ,court of the ,universe and ,court of ,four ,seasons4 ,only illumination1 single globe standards4 ,contrast of bright illumination in ,court of ,universe with more subdued light in ,court of ,four ,seasons4 ,coloring1 pink walls in harmony with walls of corridors in ,courts at either end4 ,planting1 low shrubbery1 with tall trees massed in corners4 ,court of the ,four ,seasons ,court of ,four ,seasons2 flood illumination on the bulls at sides1 glowing half-dome at south1 figure of ,harvest above dome1 and twin ,italian towers at sides4 ,illumination of court in harmony with architecture1 very quiet4 ,charm of lighting in colonnades against ,pompeian red walls2 three half globes in cups at rear of plain columns4 ,fountains of ,four ,seasons1 illumination of red walls against intense blue of sky1 in early evening like color in paintings by ,maxfield ,parrish4 ,concealed lights1 red1 orange1 yellow and lemon1 fall on walls and create interesting luminous shadows on fountain figures4 ,water falling from cascades1 a luminous green2 not only are lights concealed1 but also reflection of sources1 an effect that1 it was predicted1 could not be achieved4 ,figures on fountains reflected in green water4 ,reflections in pool in center of court2 from north1 half dome and figure of ,harvest above dome2 from south1 the bulls on the pylons4 ,view through north court toward bay1 from half-dome1 very interesting2 intense white light of scintillator directly opposite court2 statute of ,ceres1 silhouetted against rays4 ,banners in court1 no heraldic designs4 ,half dome in ,court of ,four ,seasons2 even distribution of light1 ceiling lighted from base of dome1 lights diffused through dome and softly graded down to floor by ten shell lamps up wall1 back of vertical projection on each side4 ,through ,aisle of ,spring to ,administration ,avenue1 facing ,palace of ,fine ,arts4 ,along the ,western ,wall ,illumination3 ,yellow glow from single lamp standards along ,administration ,avenue4 ,searchlights on top of wall1 flooding ,palace of ,fine ,arts4 ,wall1 lighted by reflection from shields2 orange light through translucent portion of shields4 ,high wall flooded with light1 in strong contrast with dark rippling surface of lagoon across the avenue4 ,half-domes2 warm golden glow2 light from interior through stained glass windows in domes4 ,planting1 trees cast tall vertical shadows against wall2 heavier shadows at base1 from massed shrubbery4 ,palace of ,fine ,arts ,illumination1 triple moonlight1 three times the strength of the moon's rays4 ,searchlights flood the building2 concealed yellow lights on cornices in rear of columns4 ,three effects2 flood lighting1 relief lighting1 and combination of both4 ,one night1 flood light2 next1 combination4 ,view from ,administration ,avenue across lagoon2 finest reflections on grounds2 changing views2 small sections of lagoon1 mirror-like2 others1 rippled or wavering2 entire colonnade and rotunda reflected4 ,suggestion of ancient ruin1 intended by architect1 brought out by lighting4 ,great shadows1 deepening toward base of columns4 ,contrasted colors in colonnade1 from across lagoon2 pink walls1 dark green doors1 columns silhouetted against walls4 ,in the ,colonnade1 ,entering ,from ,north ,triple moonlight1 bright rays across colonnade through columns1 making intense shadows2 when moon is shining the fainter rays cut weirdly through shadows2 suggestion of moonlight coming from two directions4 ,reflections in lagoon1 from along colonnade1 north of rotunda2 ,west facade of walled city1 with half domes of ,palaces of ,education and ,food ,products1 and dim reflections of ,italian towers4 ,changing reflections all along colonnade1 and from rotunda4 ,rotunda1 on nights when relief illumination is used1 lights on capitals of ,corinthian columns2 deep color effects in murals on dome4 ,view of palace from south across lagoon1 with flood lights on rotunda and colonnade4 ,avenue of ,palms ,quality of light brings out color detail2 fine display of flowers2 massing of shrubbery at base of wall1 and tall trees casting vertical shadows4 ,elephant and lion fountains along south wall2 colors1 pink and blue2 rippling of water causes light to wave4 ,central doorway of ,palace of ,liberal ,arts1 rosetta or rose-window effect in semi-circular space above door2 orange light through lattice work of door4 ,court of ,palms ,court of ,palms1 illumination of towers from searchlights4 ,only direct light1 from single white globes painted to imitate ,travertine1 and ,roman hanging lamps around in corridors2 faint red shines through from below4 ,reflections in circular and rectangular pools2 north1 east1 and west portals2 the columns1 the colonnades at sides of entrances1 the murals above doorways2 pinks1 blues1 reds1 orange4 ,murals above east1 west1 and north doorways1 best effect at night4 ,illumination at base of arches throws light on upper part of mural1 shading softly and gradually down to base4 ,palace of ,horticulture ,dome of ,palace of ,horticulture2 beams of light from concealed searchlights play through revolving lenses and color screens of green1 orange1 and red1 fading slowly into each other in moving designs on glass dome4 ,floral hanging lamps in east and north entrances2 deep green of lattice work in domes above2 hanging lamps along porches1 pearl-white light4 ,south ,gardens ,french lighting standards1 pale yellow light1 hundreds of ,travertined globes1 soft light unique ivory color4 ,clusters of lights- look like bunches of grapes4 ,reflections in pools north of ,young ,women's ,christian ,association ,building and ,press ,building ,flood lights on equestrian figure in ,fountain of ,energy4 ,court of ,flowers ,no searchlights1 no direct illumination2 suggestion of dimness and seclusion4 ,italian towers1 glow of light through small doors above entrances2 appearance of life inside2 strong strong red shadows on first lift2 turquoise columns on next lift1 pink background4 ,lamps in corridors1 ,italian and ,roman2 translucent1 dull red light4 ,floral lamp standards between columns in corridors1 pale yellow light4 ,flood light shields at south entrance to court2 too bright necessarily4 ,festival ,hall ,reflection of ,festival ,hall in pool2 ,fountain of the ,mermaid silhouetted against entrance window of hall2 golden light through colored glass4 ,warm pink illumination inside towers at corners of large dome2 green coloring of dome1 more effective than by day4 ,blending of lines of building with planting against walls4